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Spin Spin Sugar by the Sneaker Pimps (this is the radio edit version) starts to play and the white text fades out leaving the black screen. When Kelli Ali starts to sings “Spin spin sugar” we are still on a black screen but when she sings…
Kelli Ali: “I’m everyone”
Quick fade from black to a dark, moonless, cloudy and windy night and a wide view of a large imposing house which is at least four stores high with a flat roof… all is dark and quiet with just the sound of the wind rustling the nearby trees and one of the top floor windows is slightly open. The song is still playing.
The camera moves closer to the building and we slowly pan up the side of the building until we get to the open window. We look inside and can just make out a large bedroom with someone asleep in the bed. The song is still playing.
The camera continues to pan up the side of the building until we get to the roof. The roof is large, flat and laid with gravel, it also has pipes and air conditioning blocks around a couple edges but there is a large open space in the middle.
We pan up to the dark black cloudy sky. We see something black move against the black background of the sky; there is a quiet flapping of fabric noise and the flying thing gets closer.
We see a figure wearing all black flying an all-black paraglider; it is quietly moving toward the roof.
Kelli Ali sings: “I’ve seen attention. See through me”
We watch the paraglider get closer to the roof and cut to a lower angle of the gravel on the roof and black shoed feet lightly touch down.
Kelli Ali sings: “Call on me
Spin spin sugar”
Wide shot of the roof; we watch as the black clad figure collapses the paraglider and arranges it on the roof. The figure is all in black including black gloves, a black ski mask and a small black backpack that they are wearing backwards round on their chest.
The figure pulls out a black rope from the bag and ties one end to one of the conditioning blocks and moves to the side of the building that we panned up and where the open window is. They lower the rope down to the level of the side of the window. They climb over the edge of the roof.
Cut to a view of the side of the building and the figure silently climbing down the rope to the window. They look in the window and then silently open the window more and elegantly climb in to the bedroom.
Cut to inside the dark bedroom. The figure stealthily moves to the side of the bed.
Cut to an eye view of the figure looking down at the bed, there is a middle age Korean man a sleep with his arm above the covers.
Cut back to wider shot of the figure taking a hypodermic syringe with the cap on the needle out of their bag. They take to cap off and gently but quickly, as not to wake the man, they move lower and push the needle in to his right arm and press the blunder. As the figure takes the needle from the man’s arm he wakes and tries to sit up, his eyes are wide open in shock and fear. His eyes get heavy and he slowly relaxes and as him falls back to the bed and he whispers
Man in Bed: “Seoltang Jeong-ui…”
The man falls into unconsciousness. The figure puts the cap back on the syringe and puts it back into their bag and the takes out a small metal hammer and a 20cm long and 1cm thick surgical steel spike; it has two small rounded hooks at one end just big enough for one finger to go under each to pull it and the other end is a sharp point. The figure puts the hammer on the man’s chest and moves slightly to the side and bends over the man’s head with the spike in one hand.
Cut to a close up of the man’s left eyes. The spike slowly moves down towards the eye. The sharp tip of the spike moves between the man eye and the tear duct; the spike is gently push in, not damaging the eye but going all the way to the back of the eye’s socket between the eye and the socket.
Cut back to a wider shot as the figure picks up the hammer and hits the hooked end of the spike; there is a cracking sound and the figure moves the spike round inside the man’s head in a little circular motions.
Kelli Ali sings: “Twists for me
Spin spin sugar.”
The figure pulls the spike out using the finger hooks and puts it and the hammer back in their bag. They then take out something rapped in a small delicate piece of red silk and they place it on the man’s chest. The figure moves quickly to the window and climbs back out onto the rope.
Cut to the outside of the building; the black clad figure is climbing back up the rope to the roof.
Cut to the roof; the figure climbs up over the edge of the roof and runs to where to rope is tied and unties it and puts it back in the bag. They move quickly to the paraglider strapping themselves back into the harness. The figure looks up at the sky checking the wind and they pull back and up at the paraglider’s cords and the paraglider inflates in the wind. The figure runs toward the edge of the roof.
Cut to a close up of the very edge of the roof as a black shoe hits the edge and pushes off.
Cut to a wide, looking up, shot of the paraglider, the wind catches it and it flies off into the dark cloudy night.
Kelli Ali sings: “Spin spin sugar” “Spin spin sugar” “Spin spin sugar” “Spin spin sugar” “Spin spin sugar” “Spin spin sugar”
The song fades out the screen fades to black.
Fade from black to a day time sun light view of the large imposing house with it long drive way. There is four cars parked out the front of the house; two are police cars.
A black Jaguar F-Type comes roaring up the drive way and screams to a stop.
Lovett gets out of the driver’s side. And Die gets out of the passenger side.
Die: “What the hell is wrong with you?”
Die slams the door of the car.
Lovett: “What?! There isn’t a scratch on your precious little car is there?”
Lovett slams her side car door.
Die: “But I bet there’s not much left of the tyres!”
Lovett: “Oh behave.”
Die: “You think you’re James Hunt?
Lovett: What did you call me?!”
Die: “James HUNT: he was a racing driver.”
Lovett: “That better be what you said.”
Die reaches over the roof of the car with his right hand.
Die: “Give me the key.”
Lovett tosses the key into the air straight up and as it is falling back down she catches it and puts in the pocket of her bright red coat.
Lovett: “Don’t be such a Hunt.”
Lovett walks off towards the house. Die clenches his fist which is still out stretch over the roof of the car. He swears under his breath. He shakes his head, smiles and starts to walk after Lovett.
Die: “Why are we here?”
Lovett: “I’m not sure…; all Hogges said was this one is definitely for us…”
Lovett stops at the front door of the house, the door is open, and Die catches up with her. They both face each other looking at each other for a second and they both reach up with their right hand and hold each other’s noses and slightly nasally they both say.
Lovett/Die: “Deep shit.”
They let go of their noses and they walk into the house.
Cut to black.