Tirisano Diamonds Storyboard's




Frame #1

FADE IN

EXT. WORMWOOD SCRUBS PRISON - MORNING

It's a cold winter's day and we see a man shoes walking on the concrete floor.

DISSOLVE TO:

Frame #2

EXT. WORMWOOD SCRUBS PRISON - MORNING

We see a man walking out of Wormwood Scrubs prison holding a black bag in his left hand.

 

Frame #3

EXT. WORMWOOD SCRUBS PRISON - MORNING

As the man is walking out of the prison yard he stops and looks around, pauses for a few seconds.

 

Frame #4

He then turns back and continues walking towards the gate.







Frame #5

As he gets to the main road he looks right and then left. Not sure exactly where he is going he takes a left and walks towards the bus stop.

DISSOLVE TO:




Frame #6

EXT. BUS STOP - MORNING

Bruno Smith who is young black man in his early thirties is sitting at the bus stop when a car pulls up and we see someone hands winding down the window. We hear a man's voice from inside the car.

 

Frame #7

LARRY
(Looking serious)
Hello Bruno, Quintana needs to speak to you.


 

Frame #8

BRUNO
(Looking puzzled)
What about?




Frame #9

LARRY
(Looking Serious)
Look, are you going to get in the car or am I going to have to get out and drag you in?

Bruno looks at them with a serious expression on his face. You can see that he is in deep thought and then after a few seconds decides to stand up.

Frame #10

He opens the back door of the car and gets in.




 

Frame #11

Bruno slams the door and the car quickly drives of in the distance.

CUT TO:

 



Frame #12

INT. CAR - DAY

LARRY
We heard you've been in the slam for ten years now Bruno. How does it feel to be out again?

BRUNO
How does it feel to be out? Great! Just great! As soon as I'm out, who there's to greet me, Santa clause and his merry men.

Frame #13


LARRY

(Turns around and looks in Bruno's eye's)
Shut up Bruno, its pay back time. Just sit down and relax.



Frame #14

Bruno just sits back and turns his head to the left to look out of the window.

DISSOLVE TO:

 

Frame #15

EXT. STATION PUB - DAY

We see the car pull up outside the Station Pub and park up.

 



Frame #16

The doors open and two men jump out of it. Larry and Bruno make their way towards the back of the building and the car quickly drives off down the road.



Frame #17

As Bruno is approaching the gates at the back of the building he sees a bodyguard standing looking around.

 




Frame #18

Larry is walking in front of Bruno and walks up to the bodyguard standing at the gate.




Frame #19

LARRY
Where is Quintana?

 

 

 

Frame #20

BODYGUARD 1
(Pointing towards garden)
He's in the garden.



Frame #21

Larry and Bruno head down a narrow walkway which leads into the garden.

CUT TO:





Frame #22

EXT. GARDEN - DAY

As they enter the garden Bruno can see Quintana sitting at a table on the upper terrace eating some food with another bodyguard standing behind him. They start to walk over to Quintana who gets a gentle tap from his bodyguard.

 

Frame #23

Quintana looks up at the bodyguard who nods his head in the direction of Larry and Bruno.

 





Frame #24

Quintana stops eating and stands up wiping his mouth with a napkin. Larry and Bruno approach the stairs and stop.




Frame #25

QUINTANA
(Smiling with arms open)
Hello Bruno, How kind of you to join us. Come up, come up.




Frame #26

Bruno makes his way up the stairs and is greeted with a kiss on both side of the cheeks by Quintana.

 

 

 

Frame #27

QUINTANA
(Squinting his eyes)
Please sit down Bruno.

 



Frame #28

As Bruno is sitting down Larry turns around and walks back towards the gates where the other bodyguard is standing.




Frame #29

BRUNO
(Looking worried)
What do you want from me?

 



Frame #30

QUINTANA
(Laughing)
What do I want from you Bruno? Oh come, come Bruno, let's not play games here.

Quintana's smile suddenly changes to a serious look. He is looking directly into Bruno's eyes.

QUINTANA
Look Bruno we both know you owed me money before you went to prison, and I've had to wait ten years to get it back.

Frame #31

Bruno cuts his eye and turns his head to the left to avoid eye contact.




 

Frame #32

QUINTANA
(Pointing finger into Bruno's face)
Look at me when I'm talking to you.

Bruno quickly looks back into Quintana's eyes.



Frame #33

QUINTANA
Now I believe it was in the region of fifty thousand pounds but we have to add on interest over the ten year period which comes up to seventy five thousand pounds exactly.

 

 

Frame #34

BRUNO
Seventy five thousand pounds. I haven't got that kind of money.

 

 



Frame #35

QUINTANA
I know you haven't, so I have a solution for you to pay back the debt.

 

 

 

Frame #36

BRUNO
Oh yeah and what's that?

 

 

 

Frame #37

QUINTANA
I know you're the best safe opener around and theirs some rare stones that I need you to get for me.

BRUNO
What kind of stones are these?

QUINTANA
A man named Valentine Esscebar has just recently purchased twenty 3.5-carat diamonds from South Africa called the Tirisano Easter Diamonds. They are said to be worth anywhere within the region of ten to fifteen million pounds.

BRUNO
I've heard that name before, wasn't that the man who they reckon had something to do with that gold bullion robbery in 1995 at Heathrow Airport?

QUINTANA
Yes that is right. Anyway as I was saying, these are unique diamonds and the only one of it's kind. When exposed to ultraviolet light it causes the diamond to turn into a vibrant fluorescent pink. He got these stones from the mountains of Maseru and experts who have examined it so far consider it to be very unique but the exact rarity of the stone will have to be established by a laboratory.

DISSOLVE TO:

Frame #38

INT. VALENTINE'S HOUSE - DAY

At the same time we hear the voice over of Quintana speaking to Bruno, we see Valentine examining the diamonds.

 



Frame #39

We see a smartly dressed tall thin European man called Valentine Esscebar, who is a Merchant Banker in his late forties. We see him opening a safe and putting his hand inside it.

 

 

 

Frame #40

He takes out a small bag,

 

 


Frame #41

opens it and tips the bag upside down to reveal twenty diamonds, which fall into the palm of his hands.

 

 


Frame #42

He walks over to the table and sits down. Valentine puts the diamonds on top of the table and opens one of the bottom draws. He searches around and picks up a small magnifying glass, shuts back the bottom draw and picks up one of the diamonds.

 


Frame #43

Valentine puts the diamond close to his right eye and starts to examine it through the magnifying glass. He nods his head up and down with delight and smiles to himself.

 



Frame #44

Valentine then quickly collects the rest of the diamonds lying on top of the table and puts them back inside the small bag.

 

 

 

Frame #45

He then walks back to the safe where he puts back the diamonds and locks the safe with the combination.

 



Frame #46

Valentine then walks out of the room.

DISSOLVE TO:

 



Frame #47

EXT. GARDEN - DAY

BRUNO
So what do you want me to do?

 


Frame #48

QUINTANA
He's planning to fly out tomorrow morning with the diamonds to Switzerland to auction them to a private collector. I want these diamonds. They must not leave this country. Do you understand?




Frame #49 BRUNO
So if I decide to do this job, were all square?





Frame #50

QUINTANA
(Looking serious)
Yes Bruno, if you do this job for me were all square.

 



Frame #51

BRUNO
Is there anything else in the safe apart from diamonds?

QUINTANA
Cash I imagine, but whatever else is in there is all yours Bruno. Just bring back the diamonds to me within twenty-four hours and I will spare your life.

Frame #52

BRUNO
I guess I don't have much of a choice!

QUINTANA
Here is the rest of the information you need.



Frame #53

Quintana hands him over an envelope, then he gives him a set of car keys.

 

 



Frame #54

QUINTANA
Inside the envelope is a photograph of Valentine Esscebar and the address of where he lives. He has guards that surround the house so you will have to be careful.

 

 

Frame #55

BRUNO
Great!

 

 

 

Frame #56

QUINTANA
There is a black Suzuki swift car parked up outside. That's to get you about until you complete the job. Inside the glove compartment is a gun with a silencer on it, just in case you run into trouble. Remember Bruno, you've only got twenty-four hours.



Frame #57

Bruno looks at Quintana and takes the envelope and the keys.

 

 



Frame #58

He stands up and Quintana hands him a business card.

 

 



Frame #59

QUINTANA
Once the job is completed, give me a call on this number.

 

 

 

Frame #60

Bruno takes the business card and looks at it. He then looks at Quintana and then his bodyguard standing behind him.

 

 

 

Frame #61

Without saying a word Bruno turns around and walks down the stairs.

 

 



Frame #62

We see Bruno walking through the garden and out of the gate.

FADE OUT:

 



Frame #63

FADE IN:

EXT. FRONT OF VALENTINE'S HOUSE - NIGHT

We see a black Suzuki swift car approaching the front of a private Mews (Valentine's House). Outside the front gates is two guards just standing around looking very serious.

CUT TO:

Frame #64

INT. SUZUKI SWIFT - NIGHT

Bruno is looking around nervously and sees the two guards standing in front of the Mews so he decides to drive around to the back of the house.

CUT TO:

Frame #65

EXT. BACK OF VALENTINE'S HOUSE - NIGHT

We see the Suzuki swift car front lights come into view as it appears from around the corner very slowly.

CUT TO:

 

Frame #66

INT. SUZUKI SWIFT - NIGHT

As Bruno turns the corner he sees another guard standing at the back of the house. Bruno decides to quickly park up the car and turn off the engine. He sits down patiently observing the location where the guard is standing.

 

Frame #67

While he is waiting, he reaches over to the passenger seat and picks up the envelope, which has already been torn open.

 

 

 

Frame #68

Bruno opens it and takes out a photograph of Valentine Esscebar and stares at it for a few seconds. When he looks back up he sees the guard at the back opening the gate and going into the house.

 



Frame #69

Bruno takes this opportunity to do the job and quickly goes into the glove compartment where he sees a gun with a silencer on it.

 




Frame #70

He takes the gun out and quickly shoves it into his waist.

 

 



Frame #71

Bruno looks at the rear view mirror to see if anybody is coming and then takes a deep breath.

BRUNO
OK, lets do this.


Frame #72

Bruno quickly opens the door and gently closes it behind him looking around nervously, particularly in the direction of the gate where the guard had just walked through.

CUT TO:



Frame #73

EXT. BACK OF VALENTINE'S HOUSE - NIGHT

We see Bruno walking towards the back of the house, and as he approaches the gate one of the guards starts to open it.




Frame #74

Bruno quickly throws his back against the wall and waits for the guard to come out. When the guard is walking out he has his back towards Bruno.

 

 

 

Frame #75

Bruno slowly takes the gun out from his waist and creeps up behind the guard.

 

 

 

Frame #76

Bruno points the barrel of the gun against the back of the man's head.

BRUNO
Don't say a word or I'll splatter your brains all over this side walk.

We see the guard slowly putting up his hands.

BRUNO
Get inside.

Frame #77

The guard makes his way back through the gates with Bruno pointing the gun directly at his head, following close behind.

CUT TO:

 

 

Frame #78

EXT. VALENTINE'S BACKYARD - NIGHT

We see Bruno tying-up the guard's hands with rope from behind.

 



Frame #79

He then puts gaffer tape around his mouth.

 

 



Frame #80

Still pointing the gun directly at the guard, Bruno gives him instructions.

BRUNO
Get inside the shed.

 

 

Frame #81

The guard walks into the shed and Bruno shuts the door behind him and quickly pushes down the handle to locks it.

 

 

Frame #82

Bruno then walks towards the building and sees what looks like the kitchen. It looks deserted and empty.

 

 

 

Frame #83

He tries the handle.

 

 



Frame #84

Bruno sees that the door is open so he quickly goes inside.

DISSOLVE TO:

 



Frame #85

INT. VALENTINE'S LIVING ROOM - NIGHT

We see Bruno entering the living room, which has a table lamp on and is completely quiet. He looks around and after a few seconds he finds the safe in the corner of the room.



Frame #86

He starts to fiddle around with the combination lock and eventually cracks it.

 

 

 

Frame #87

As Bruno is just about to open the safe he hears the front door opening.

 

 


Frame #88

Before he can fully open the door of the safe he leaves it and stands up, looking towards the window which has the curtains drawn.

 

 

 

Frame #89

Bruno quickly walks towards the window and pulls back the curtain to look outside.

 

 

 

Frame #90

Suddenly the door fly's open and a guard comes storming into the room pointing an M-16 machine gun directly at Bruno.

 

 

 

Frame #91

Bruno is too late to respond and slowly raises his hands in the air with the gun in his right hand.

 

 

 

Frame #92

GUARD
Throw down your weapon.

BRUNO
OK, don't shoot!

Bruno slowly puts down his weapon onto the floor.

Frame #93

Valentine Esscebar walks into the room looking very angry.

VALENTINE
(Hand on his chin)
Take him to the cellar.



Frame #94

We see the guard waving his machine gun at Bruno to walk towards the door. Bruno looks down with his hands still up and starts to walk towards the door.

FADE OUT:



Frame #95

FADE IN:

INT. CELLAR - NIGHT

We see Bruno sitting down in a wooden chair tied up with rope. Blood is dripping from his mouth and he has bruises all over his face.

 

Frame #96

In the distance there is a light which is shining directly into Bruno's face so he cannot see who is talking to him but just a silhouette of two men in the dark distance background.

 



Frame #97

VALENTINE
Who sent you?

 

 

 

Frame #98

Everything is silent. Bruno can hardly see with his eye's which are burning from the bright lights and bruises. He raises his left hand in silence to block out the light.

 



Frame #99

The bodyguard walks towards the table and picks up a samurai sword, which is lying down flat on its side.

 

 

 

Frame #100

He takes of the case.

 


 

Frame #101

The bodyguard walks towards Bruno.

 

 



Frame #102

He grabs Bruno's left hand.

 

 



Frame #103

The bodyguard raises the sword.

 

 



Frame #104

BODYGUARD
Tough bastard uh! Well I'll show you tough.

 

 

 

Frame #105

The bodyguard swiftly brings down the sword.

 

 



Frame #106

It cuts of one of Bruno's fingers. We see the finger fall onto the floor and blood squirting everywhere furiously.

 

 

 

Frame #107

Bruno starts to scream out in pain loudly.

BRUNO
(Shouting out loud)
OK stop, I will tell you who sent me. Please stop.



Frame #108

VALENTINE
Who sent you and why, that's all I want to know.

 

 

 

Frame #109

BRUNO
OK, OK it was a man called Quintana.

 

 

 

Frame #110

Valentine and the bodyguard both look at each other in astonishment for a few seconds.

 

 

 

Frame #111

Valentine then looks back towards Bruno's direction.

VALENTINE
(Looking Confused)
Quintana, what has my brother got to do with this?



Frame #112

BRUNO
Your brother! He never told me he was your brother, I swear I didn't know. He just sent me to get the diamonds.

 



Frame #113

VALENTINE
Why?

 

 

 

Frame #114

BRUNO
I don't know why.

VALENTINE
I will only ask you one more time. Why did he send you?

 

 

Frame #115

BRUNO
(Face has the expression of serious pain)
Look, look I owed him fifty thousand pounds, ten years ago from a gambling debt and he said that if I don't pay him within the next twenty-four hours he would kill me. So I had no choice but to do this job.



Frame #116

VALENTINE
Do you really expect me to believe that?

 

 

 

Frame #117

BRUNO
If you don't believe me I can prove it. Please, just give me a chance.

 

 

 

Frame #118

Valentine and his bodyguard look at each other again.

 

 



Frame #119

Valentine nods his head to the side as to indicate to the bodyguard that he wants to leave the scenery.

 

 

 

Frame #120

They both walkout of the room together.

FADE OUT:

 



Frame #121

FADE IN:

INT. CELLAR - NIGHT

Bruno is sitting down in the chair dazed and half a sleep, almost to the point where he looks like he has been drugged.

 

Frame #122

In a flash he receives a heavy slap across the face which scares him and wakes him up.

 

 

 

Frame #123

When he looks up he cannot see anybody's face because of the direct light shining in his eyes but only two silhouette figures standing up in the distance again.

 



Frame #124

VALENTINE
OK Bruno, we have a plan so that you can prove that it is my brother Quintana who set you up.

Bruno just looks down at the ground in pain.



Frame #125

VALENTINE
I will give you the diamonds to bring to him but you must put on a small microphone so we can hear every word you are saying. If what you say is true, then I will spare your life but you must bring the diamonds straight back to me once we have killed Quintana.



Frame #126

Bruno slowly starts to raise his head.

 

 

 

 

Frame #127

VALENTINE
So what do you say Bruno, are you in?

 

 

 

Frame #128

BRUNO
OK, OK I'll do anything please don't hurt me.

 

 

 

Frame #129

VALENTINE
Free his hands.

 

 

 

Frame #130

Valentine orders his bodyguard to untie Bruno's hands from the wooden chair.

 

 

 

Frame #131

The bodyguard starts to unloosen the ropes around his hands.

 

 



Frame #132

Valentine walks up to Bruno with a mobile phone in his hand and passes it to him.

VALENTINE
OK Bruno, tell him you got the diamonds and arrange the meet.



Frame #133

Bruno takes the phone and searches in his pocket for the business card that Quintana gave him earlier that day.

 

 

 

Frame #134

After a few seconds he finds the card and starts to dial the number. We hear the phone ringing in the distant and then after a few seconds someone answers the phone.

 

 

 

Frame #135

QUINTANA (V. O.)
Hello.

BRUNO
Quintana, it's Bruno hear.

QUINTANA (V. O.)
Oh Bruno, did you get the job done?

BRUNO
Yeah, Yeah it's sorted I got the diamonds. Where should we meet?

Frame #136

Bruno is looking directly at Valentine.

QUINTANA (V. O.)
Meet me at the old lock-up garage, just off the Edgware Road. Do you know it?

BRUNO
Yeah I know it. How long will it take you to get there?

QUINTANA (V. O.)
Give me two hours and I'll meet you at the entrance.

BRUNO
OK I'll see you in two hours.

Frame #137

Bruno hangs up the phone and gives it back to Valentine who puts it into his inner blazer pocket.

 

 

 

Frame #138

VALENTINE
So is it all set?

BRUNO
Yes, I have to meet him at the old lock-up garage, just off the Edgware Road in two hours.

VALENTINE
OK, untie him.

Frame #139

We see the bodyguard starting to untie Bruno.

FADE OUT:

 



Frame #140

FADE IN:

EXT. LOCK-UP GARAGE - NIGHT

We see Bruno standing up with a big bandage on his left hand by the entrance of what almost looks like an abandoned, derelict lock-up garage, which is deserted with no one around.

Frame #141

Suddenly we see a car lights brighten the area opposite where Bruno is standing and then a car comes into view and parks up opposite Bruno.

 

 

 

Frame #142

The doors open on either side of the car, Quintana and his bodyguard step out the car, slamming the door behind them. They start to walk towards Bruno.

 



Frame #143

QUINTANA
So Bruno, have you got the merchandise?

 

 

 

Frame #144

Bruno starts to walk towards them clinching a small bag with diamonds in his hands.

 

 

 

Frame #145

BRUNO
Yeah, I've got it.

 

 

 

Frame #146

As Bruno starts to get closer to Quintana and his bodyguard we hear one shot ring out from above. The bodyguard gets shot and falls to the floor.

 

 

 

Frame #147

Then two more shots follow seconds apart. One bullet gets Quintana in the chest and the other just misses Bruno who is ducking down beside the car.

 

 

 

Frame #148

  BRUNO  (POV)
(looks up but sees nobody)

 

 

 

Frame #149

Everything is quiet again and Bruno quickly gets up holding the small bag with the diamonds in it.

 

 

 

Frame #150

He walks over to Quintana who is lying on the floor with blood streaming from his chest.

 

 

 

Frame #151

He goes into Quintana's jacket pocket and takes out his gun.

 

 



Frame #152

Bruno points the gun down in the direction of where Quintana is lying on the floor and fires twice, just to make sure that he is dead.

 

 

 

Frame #153

Bruno then quickly runs away from the scene.

FADE OUT:

 

 

 

Frame #154

FADE IN:

EXT. VALENTINE'S HOUSE - MORNING

We see Bruno walking towards Valentine's house where there is a guard standing outside.

 

Frame #155

GUARD AT FRONT DOOR
Is Mr Esscebar expecting you?

BRUNO
Yes he his.

 

 

Frame #156

GUARD AT FRONT DOOR
What's your name?

 

 

 

Frame #157

BRUNO
Just tell him that it's Bruno.

 

 

 

Frame #158

The guard radios inside to someone who gives him the all clear.

GUARD AT FRONT DOOR
OK Bruno, Mr Esscebar is expecting you.

 

 

Frame #159

The guard opens the front door and Bruno walks inside the house.

CUT TO:

 



Frame #160

INT. VALENTINE'S LIVING ROOM - MORNING

We see the door open and Bruno enters the room to see Valentine sitting down by the table.

VALENTINE
Hello Bruno.

BRUNO
Hello Valentine.

Frame #161

Bruno walks over towards the sofa and sits down. He goes into his pocket and takes out the small bag, which contains the diamonds.

 

 

 

Frame #162

He looks at it.

 

 



Frame #163

Bruno throws it towards Valentine who grabs it in mid air.

 

 



Frame #164

BRUNO
Is there anything else?

 

 

 

Frame #165

VALENTINE
No Bruno, you can go.

 

 

 

Frame #166

BRUNO
Thank you.

Bruno gets up of the sofa and starts to make his way towards the door.

 

 

Frame #167

VALENTINE
(Soft voice)
If you ever try anything like this again, I know where you and your family live, so be warned.

 

 

Frame #168

Without saying a word Bruno looks at Valentine and then just simply walks out of the door.

 

 

 

Frame #169

After Bruno leaves the room, Valentine picks up his magnifying glass and starts to examine one of the diamonds.

 

 

 

Frame #170

He realises that the diamonds are not real and quickly runs out of the living room to stop Bruno from escaping.

VALENTINE
(shouting out loudly)
Stop that man, stop that man.

CUT TO:

Frame #171

EXT. VALENTINE'S HOUSE - MORNING

We see Valentine running out into the middle of the street.




Frame #172

VALENTINE
(Looking from left to right)
Which way did he go damn it?

 



Frame #173

The guard follows Valentine into the street and points furiously to his right.

 

 



Frame #174

GUARD AT FRONT DOOR
He went down there.

 

 

 

Frame #175

VALENTINE
Quickly get the car and see if you can find him. He couldn't have got far!

 

 

 

Frame #176

The guard runs away to get the car and leaves Valentine by himself looking lost.

 

 

 

Frame #177

Within seconds the guard arrives in a BMW car.

CUT TO:

 



Frame #178

INT. BMW CAR - MORNING

GUARD IN DRIVERS SEAT
Jump in Sir.

CUT TO:

 

Frame #179

EXT. VALENTINE'S HOUSE - MORNING

Valentine quickly jumps into the car and they both drive off down the road to look for Bruno.

DISSOLVE TO:

 

Frame #180

INT. BMW CAR - MORNING

We see Valentine and his bodyguard looking around the streets to see if they can see Bruno anywhere. After ten minutes of looking for him they give up.

 

 

Frame #181

VALENTINE
Shit, where could he be?

 

 

 

Frame #182

GUARD IN DRIVERS SEAT
I don't know Mr Esscebar. It looks like he's got away.

 

 

 

Frame #183

Valentine puts his hands on his head in disbelief and is slowly moving his head from left to right.

VALENTINE
OK, take me back home.

CUT TO:


Frame #184

EXT. SIDE STREET - MORNING

We see the car with Valentine and his bodyguard quickly drive off down the road.

DISSOLVE TO:

 

Frame #185

INT. VALENTINE'S LIVING ROOM - MORNING

We see Valentine picking up the phone and start to dial a number.

 



Frame #186

After a few seconds someone answers the phone.

VALENTINE
Hello Fernandes, I want a contract out on Bruno Smith.

 

 

Frame #187

VALENTINE
How much, A hundred thousand pounds reward for the first man who brings me back Bruno Smith alive or dead, but I need to get him as soon as possible, even if it's information on which location he's heading.

 

 

Frame #188

VALENTINE
I know you will try your best, but Fernandes, if you do get him theirs a little bonus in it for you as well.

 



Frame #189

Valentine puts down the phone.

 

 



Frame #190

He gets up looking towards the window.

FADE OUT:

 



Frame #191

FADE IN:

EXT. LATIMER ROAD TRAIN STATION - DAY

We see Bruno sitting down at the train station with a suitcase beside him.

 


Frame #192

He is wearing a hat and is looking towards the floor to disguise his face from the on coming commuters flooding the platform.

 

 

 

Frame #193

He slowly goes into his jacket pocket and takes out some tickets and a passport which he carefully looks at.

 

 

 

Frame #194

After a few seconds he hears the train coming and quickly puts them back into his pocket.

 

 

 

Frame #195

The train swiftly approaches the platform and Bruno steps onto the train and departs the station.

DISSOLVE TO:

 

 

Frame #196

INT. REDHILL AIRPORT CHECK-IN DESK - EVENING

We see a middle aged women in her early thirties standing up behind a desk, and is looking directly at the camera.

 

 

Frame #197

AIR HOSTESS
Hello Sir, can I help you?

 

 

 

Frame #198

BRUNO
Yes I booked a flight to St Tropez this morning, which I believe should be leaving at six thirty.

 



Frame #199

Bruno looks at his watch, which reads 6.30pm.

 

 

 

Frame #200

AIR HOSTESS
Yes Sir, your pilot should be with you shortly. Please take a seat.

 

 

 

Frame #201

Bruno looks around and sees a waiting room.

 

 



Frame #202

BRUNO
OK thank you.

 

 

 

Frame #203

Bruno walks inside the waiting room.

CUT TO:

 

 

Frame #204

INT. REDHILL AIRPORT WAITING ROOM - EVENING

We see Bruno standing up looking outside the window.

 



Frame #205

Within a few minutes the pilot walks into the room and walks over to Bruno.

 

 



Frame #206

PILOT
Hello Mr Smith, my name is Andrew Brown and I will be your pilot today. The flight to St Tropez will be two hours and we are expecting some rough turbulence.

 

 

Frame #207

BRUNO
That's fine. When can we leave?

 

 

 

Frame #208

PILOT
Now Mr Smith, are you ready?

 

 

 

Frame #209

BRUNO
Yes.

 

 

 

Frame #210

The pilot turns around and starts to make his way out of the building.

CUT TO:

 



Frame #211

INT. REDHILL AIRPORT FIELD - EVENING

He walks towards a Cessna 152 aeroplane and is closely followed behind by Bruno who is clinching his suitcase and looking around nervously.




Frame #212

We see Bruno and the pilot get onto the plane.

DISSOLVE TO:

 



Frame #213

EXT. REDHILL AIRPORT RUNWAY - EVENING

We see the Cessna 152 aeroplane start to move down the runway very quickly and start to take off.

CUT TO:

 

Frame #214

EXT. REDHILL AIRPORT FIELD - EVENING

We see the plane start to rise and then the camera tracks to the right to reveal Valentine and his bodyguard watching the plane.

CUT TO:

 

Frame #215

EXT. REDHILL AIRPORT CAR PARK - EVENING

Once the plane is high in the sky Valentine and the bodyguard jump into the car.

 

 

Frame #216

They drive out of the car park.

 

 



Frame #217

FADE TO BLACK:

 

 

THE END




Copyright © 2004 Notting Dale Technology Centre. All right reserved. Designed by NDTC.