The Shit Flingers in One Foggy Evening
Page 1
Words Jimmy Furlong
Art Andrew Hartmann
Inks, Colours and Letters Widodo Pangarso
Little Fish
FADE IN:
SERIES OF SHOTS:
A) A goldfish and bowl fill the screen.
B) A black Neon sign in electric blue, only three letters visible; a capital B and lower case L and I. The B fizzles out.
C) A chessboard, the pieces slide from random positions into game ready ones.
D) A running terrified man’s face breathing heavily.
E) Bright red lipstick being applied to lips.
F) The neon glare in a Hackney Cab’s window.
G) A pug faced dog licking its drooling jowls.
H) Handguns being cocked and holstered.
I) A skateboard being flipped and landed on.
J) The back of a broad shouldered man in a camel hair jacket.
K) A homeless man turning over in his sleeping bag.
L) The SQUAWK of a police radio.
INT. BRENDAN’S FLAT, KITCHEN – NIGHT
Open on a gleaming white fastidiously clean kitchen. BRENDAN GLEESON (27) is on a cordless phone perched between neck and ear, his hands free, leaning on one and wiping the counter down with another.
BRENDAN
(on phone)
I know Sis… I will, I promise. I’m just not ready for it all. Not now. Not just yet.
He chats with his sister KAREN.
KAREN (O.O.V.)
(on phone)
You’ve got to get back out there. Get back on the horse. Carol left. Get over it. Move on. It’s been over a year!
BRENDAN
(on phone)
It has not been a year.
It’s been eleven months. Besides I am far too busy.
Brendan opens a cutlery drawer and picks a fork out of the knife tray and places it in the fork tray.
KAREN (O.O.V.)
(on phone)
What fussing over knives and forks?
BRENDAN
(on phone)
No.
(blushes)
Brendan SLAMS the draw and saunters around the kitchen. He idly wipes surfaces, straightens tea and coffee jars so that they are symmetrical as he does.
KAREN (O.O.V.)
(on phone)
You’re lying Bren. I know you too well.
He sprinkles fish food into a large goldfish bowl. It misses and lands on the counter.
He moves a piece on a chessboard that has been set up with a game half played out.
(beat)
He checks his move before spinning it round.
BRENDAN
(on phone)
Besides I can’t go out tonight I’ve got the whole evening planned.
Brendan peeks through the service hatch.
LIVING ROOM
Placed on a coffee table are three cans of lager, cutlery and a jigsaw, all neat and symmetrical.
KITCHEN
KAREN (O.O.V.)
(on phone)
Bren I just want you to know that I love you and you have forced me to do this. But…
It’s for your own good.
BRENDAN
(on phone)
Sis? What are you talking about?
KAREN (O.O.V.)
(on phone)
I set you up. On a date.
Brendan looks horrified
KAREN (CONT’D)
(on phone)
A friend from work. I really think you two will get on.
BRENDAN
(on phone)
What? When?
KAREN (O.O.V.)
(on phone)
Tonight. Trust me, you’re made for each other. You have to go too because I already said you would. Other than going to work you haven’t left the flat for months. I’m sorry Bren but it’s for your own good.
BRENDAN
(on phone)
You keep saying that.
Ring her! Cancel! Tell her I can’t make it.
KAREN (O.O.V.)
(on phone)
No Bren, I won’t. For God’s sake it’s just a blind date. Get out. Have some fun. You’ll have a great time. I’ve written all the details down on a piece of paper by the breadbin.
Brendan holding the phone now, spins scanning the kitchen. He spots the slip of paper and picks it up.
BRENDAN
(on phone)
It just says the time and the place. Who is she, this woman?
Brendan reads and re-reads turning it over in the hope of more information.
KAREN (O.O.V.)
(on phone)
Theresa from work. She’s lovely. You’ll love her.
BRENDAN
(on phone)
That’s it? What does she look like? What’s she like? Sis, I’m sorry but I’m gonna need a bit more than that.
KAREN (O.O.V.)
(on phone)
She will be in red so you will be able to spot her. Have fun. I’ve got to shoot. Good luck.
BRENDAN
(on phone)
Sis? Hello? HELLO? Ah Christ! Sis!
KAREN (O.O.V.)
(on phone)
Just kidding. Seriously I do have to go. Remember she will be wearing red. Bye.
(hangs up)
DEAD LINE.
BRENDAN
Oh God!
He stares at the paper with mounting horror.
EXT. CITY STREET – NIGHT
Brendan whizzes past in the back of a hackney cab.
INTERCUT - INT. TAXI / BRENDAN’S FLAT – NIGHT
Brendan is dressed for his date in a beige suit and Mackintosh. He leans forward on his seat nervous and unable to get comfortable.
The taxi driver, MOHINDA PASHI (25) drives one handed and gesticulates wildly with the other.
Brendan grips his directions and spins in his seat trying to get his bearings.
Outside street signs and neon hoardings stream past.
Mohinda drives fast and erratically as if he is back in Delhi.
BRENDAN
Haven’t we been down this way already?
INTERCUT:
Inside Brendan’s fishbowl is a bright orange goldfish. Its mouth opens and closes, eying the sprinkled fish food on the counter.
INTERCUT:
MOHINDA
Please Sir, I know where we are going. Sit back. Stop pestering and let me do the driving.
BRENDAN
Look I’m sorry bit I’m meeting someone… I’m a bit nervous.
Mohinda turns in his seat ignoring the road for a moment.
INTERCUT:
The fish prepares to leap out of the bowl.
INTERCUT:
MOHINDA
Let me do the God damn driving!
BRENDAN
Look out!
Mohinda spins back in his seat and slams on the brakes barely missing a terrified OSCAR SLOTT (45).
(beat)
With both palms on the bonnet Oscar pauses breathing heavily.
(beat)
Oscar looks at something to his right out of sight then runs off to the left.
Mohinda is about to drive off as burly gangsters, MR ROAST and MR FLAX run past the front of the taxi after Oscar.
Mohinda brakes noisily again.
BRENDAN
That was weird.
MOHINDA
(comes to a decision)
Right.
He checks the road is finally clear then pulls aggressively to the curb.
BRENDAN
Are we here?
MOHINDA
Oh we’re here all right.
Brendan looks at his paper then looks around the street.
BRENDAN
I can’t seem to see…
MOHINDA
Eight pound seventy please.
Brendan hands over a ten pound note. Mohinda grabs it curtly.
BRENDAN
(getting out)
I can’t seem to see where…
EXT. STREET – NIGHT
Brendan stands at the window waiting for his change.
MOHINDA
(waves vaguely)
It is there. There!
BRENDAN
It doesn’t appear to be anywhere I can see…
MOHINDA
There! THERE!
Waving his arms like propellers he pulls off with a SQUEAL OF TYRES.
BRENDAN
Oh. Thank you. Hey you forgot my change.
Brendan stands for a moment clutching the piece of paper his back to the road.
(BEAT)
A car drives past close to the curb and drenches him completely in a huge watery arc.
Frozen in building anger he lets out a long drawn out sigh
An old man with a dog, ARTY RIBBS (62) and BIGGINS, walks past.
ARTY
You want to get in out of it Son. You’ll catch your death.
Brendan mutters after the retreating ARTY. He thinks to ask directions but the moment has passed.
He looks at watch then looks for someone to ask.
He spots an all night shop and crosses the road.
INT. PASHI ONE STOP SHOP – NIGHT
Brendan enters a multi-purpose shop that seems to sell everything.
As he steps up to the counter a burly man, VIC SHIELD (40) is on his way out. VIC wears a trilby and holds a polystyrene coffee cup. He looks Brendan up and down as he passes.
A smiling young Asian, VANGI PASHI (21) is behind the counter. Vangi is brimming with congeniality and the desire to help.
VANGI
Yu-yesssir?
BRENDAN
Oh yeah, hi. You don’t happen to know where this is do you?
He presents the paper, still holding it but near enough for Vangi to read.
His eyes flicker down to it, his smile becoming fixed. Then he shrugs and apologises in mime that he cannot help. Brendan shakes his head wearily.
VANGI
Anything?
BRENDAN
What? Er… Yeah. Tell you what, give me a pack of chewies.
Vangi turns and puts an industrial packet of condoms on the counter, there are about a thousand in it.
Brendan had turned round appraising the shop and did not see it being placed down. He turns back to the grinning Vangi first then looks down. He does a little double take.
BRENDAN
What the hell’s this? Chewies. Mints. God what am I going to do with all of them?
(MORE)
BRENDAN (CONT’D)
God I’m not Superman. If I wanted rubbers I’d have just three, not all them…
Brendan holds up three fingers.
Vangi grins widely as if admiring Brendan’s sexual prowess or confidence and nods turning and lifts up two more boxes of condoms and SLAMS them down next to the other one.
BRENDAN (CONT’D)
What you are doing now? No. No. I don’t want condoms. Understand. No condoms.
Vangi shakes his finger, now he understands and turns back and places a steaming cup of coffee on the counter and beams.
Brendan looks at him dumbfounded then slowly at the camera.
(BEAT)
VANGI
Cream and sugar?
Brendan stares at him blankly.
EXT. STREET - NIGHT
Brendan leaves the shop with the cup of coffee. He walks onto the pavement and runs his hand down his face looking up and down the street. He turns trying to decide what to do next.
As he does Vic walks up behind him hardly noticing Brendan seeing his shoelace is undone. He sighs and places his coffee cup on the car near him and bends down to tie them.
Brendan comes full circle and sees the other cup on the car. He shakes his head, who would do such a thing? And being the good citizen that he is takes it off the car.
Just as he does Vic stands up just under the original coffee cup in Brendan’s hand.
It stays balanced perfectly on Vic’s head. Brendan follows it up then becomes trapped in Vic’s eyes.
Vic looks angrily at Brendan. He smiles nervously back, his eyes flicking from the cup to his face. Vic notices HIS cup has gone from the car and sees the remaining one in Brendan’s hand.
VIC
Give me that.
His face like thunder he snatches the coffee cup out of Brendan’s hand, shaking his head, the nerve of some people.
He curtly barges past Brendan and walks off down the street barely noticing the odd looks he is getting from passing pedestrians.
Brendan watches him depart with mounting horror his fingers in his mouth, unable to look away.
Vic stops as if some sixth sense that there is something slightly awry that he can’t quite put his finger on.
He turns back and stares at Brendan, confused but burning the odd man into his memory. Then with a little shake of his head continues on.
Brendan still transfixed at this hideous accident waiting to happen. He can’t look away. Out of sight we hear a horrible man’s SCREAM. Brendan reacts and then thinking better turns and flees.
EXT. FURTHER UP STREET – NIGHT
Further up the street Brendan stops happy he has put enough distance between him and trouble.
As he looks up to take in his new surroundings he sees the large neon sign saying – LIZZARD – in electric blue and white.
He pulls his paper out and we see it for the first time: “THERESA - LIZARD LOUNGE – 8.30.”
His watch fills the screen as he checks the time, eight thirty one.
Brendan crosses the street to the bar, hardly noticing he is in a much seedier part of the city.
INT. THE BLIZZARD BAR – NIGHT
Brendan enters the bar through big double glass doors, shaking his coat as he walks in and out of shot. The camera stays on the door.
A large biker, TUCKER, is coming in behind him, he pauses on the steps and looks up.
EXT. STREET – NIGHT
TUCKER is looking up at the sign, he bangs a power box by the side of the door with his fist.
The capital B fizzes back on.
Back to street level, satisfied TUCKER continues on in. This is a regular occurrence.
INT. BLIZZARD BAR
Brendan has moved a little further in towards the bar. He finds an empty stool and getting his bearings sits and checks out the place.
Brendan’s POV as he scans for a red dressed woman, taking in first the scary pierced women behind the bar, POISON.
A little nod and smile for them but it is not returned. The bar is crowded with large hairy men and women in leather, tattoos and bandanas.
Chairs CREEK as they turn to look at the stranger among them.
Back to Brendan’s face, his smile becoming more fixed and set. He continues looking. Nodding and mouthing “Hellos” when his eyes unfortunately alight on the scary people watching him.
At the back there is a pool table area filled with smoke. The game being played stops, the low mumbled chatter stops and only the sound is of heavy rock playing over the jukebox.
Still nobody in red as he continues to look doing a complete full 360 degrees.
Large bikers start to crowd around him invading his personal space. He has to look awkwardly past a biker to see the lounge area near the window.
There sitting on her own is a stunning blonde in a tight red leather skirt and bodice. A long black coat covers her shoulders. Brendan spots her, smiles and waves. He waves at the woman.
Close up of the woman. Her eyes narrow, She has no idea who this guy is. This is EILEEN BARKER (25) con artist and prostitute.
Brendan’s smile is unrelenting and infectious.
Back to the woman. A seconds consideration and then her face breaks into a smile. She adjusts her coat revealing more of her ample glorious body.
BRENDAN
Excuse me.
Brendan squeezes through the crowding bikers and joins her. Still standing gawky and self-conscious.
BRENDAN (CONT’D)
Wow. You look… amazing.
She smiles. Remembering himself he sticks his hand out for her to shake.
BRENDAN (CONT’D)
I’m sorry. Brendan. Brendan Gleeson. Karen’s sister. Brother, I mean brother. Sorry I’m late.
EILEEN
That’s quite alright. I prefer a man to be… Late.
He blushes at the innuendo. Her smile becomes more predatory. She casually takes a cigarette out and lights it with a slim gold ladies lighter.
Tucker comes up behind Brendan, he senses him and turns to look. The biker is looking at her.
She mouths “Fuck off” with a flick of her head and he walks away eyeing up Brendan.
When Brendan turns back her smile has returned as if it had never been away.
BRENDAN
Whoa, where are my manners? Can I get you a drink?
EILEEN
Well of course you can sugar. Something ridiculously expensive. Champagne. It’s cheaper by the bottle.
BRENDAN
Of course it is.
EILEEN
Here let me take your coat. Get the drinks and warm yourself up next to me.
Brendan grinning like he has won the lottery takes his coat off and passes it to her. She drapes it over the back of the sofa. Still smiling.
BRENDAN
I’ll be right back.
She grins and squints, giving it the “I’ll be right here look”. He does a little shoe shuffle and points his fingers like they are spinning guns. He leaves to go to the bar.
Her smile instantly fades the second he has turned his back. Keeping one eye on him as she casually pads the pockets of his coat to see if there is anything of value concealed in it.
Brendan is at the bar getting less than stellar service from Poison the surly barmaid.
POISON
Look it’s company fucking policy. You either leave the fucking card or you don’t get any fucking drinks.
Beat Brendan slides his credit card across the bar.
BRENDAN
Thank you. You have been most helpful.
POISON
Fuck off maggot!
He turns back, returning with a bottle and two Champagne flutes.
She stops searching, switches back on the smile and pretends to brush the jacket. She pads the space next to her and he squeezes in next to her. He pours them both a drink spilling some in his haste.
Back at the bar Poison grins at the bikers and waves the credit card.
She bends down and pulls up the phone and an Argos catalogue from under the bar, flips it open and licking her finger between each page starts scanning. She puts a phone to her ear.
EILEEN
What shall we drink to?
They are snuggled up now facing each other about to make a toast.
BRENDAN
You know I very nearly never came. This isn’t the kind of thing I normally do. And the time I had getting here. But now. Now that I’m actually here…
She crosses her legs revealing vast amounts of thigh and pressing it tight against his leg. She shushes him, finger on lips and kisses him long and smouldering.
He catches his breath unsure if he can continue but after a moment’s pause he does.
BRENDAN (CONT’D)
You know this was, no is the smartest thing I have ever done. Theresa. Such a beautiful name.
EILEEN
I suppose so…
BRENDAN
Do you mind if I call you Theresa?
She puzzles this for a second and shrugs.
EILEEN
Honey as long as you’re paying you can call me whatever you like.
Brendan doesn’t register this straight away, still wrapped up in the moment.
They grin, CLINK their glasses and take sips.
They break from their clinch and the last sentence sinks in, a ripple of confusion on his brow.
BRENDAN
What a strange thing to say.
EILEEN
You’re not a copper are you?
BRENDAN
No, I’m an accountant.
EILEEN
Good. How do you want to do this?
BRENDAN
Oh right,
(places drink down)
Well I thought a few drinks, maybe a meal. Later I dunno, go to a club. Or if you’re not into dancing, maybe a movie.
EILEEN
Look darling, that’s all very sweet but I’m on a schedule. You’re an accountant, you understand. Time is money. Tick tock. Tick tock. Got your own pad? Car? Or maybe a hotel? The ally?
BRENDAN
A hotel? God no. I’ve got my own flat. I don’t drive. God Karen told you nothing.
EILEEN
Karen?
BRENDAN
Karen. Karen Gleeson. From work.
EILEEN
Karen? Karen. Is she blonde that works the pitch under the flyover by the cash and carry bins?
BRENDAN
No. She works at Dixon’s call centre in Edge Hill. I thought you worked there too.
She laughs and his belly make nervous noises.
EILEEN
No I don’t work there.
BRENDAN
My Sister? You work with my sister?
EILEEN
Your Sister’s a prostitute?
BRENDAN
NO!
They both look away lost in their own thoughts.
EILEEN
Look you seem like a nice guy. Look at me. Look at this body.
BRENDAN
You’re very beautiful.
EILEEN
Exactly. So let’s just go somewhere and fuck.
Brendan spasms and coughs his drink up.
He reaches for a napkin and knocks the drinks over, the bottle spilling over the table and down his leg.
He stands up fussing. She pulls a face. This is not worth the hassle.
BRENDAN
I’m so sorry…
EILEEN
It’s okay. Leave it. Go and clean yourself up. I’ll get this.
Brendan nods, his pants are wet all round the crotch, and his right leg is soaked from the knee down to his socks. He squeezes out and leaves to find the toilet.
EILEEN (CONT’D)
Oh and Brendan…
She crosses her legs suggestively, licking her red lips and heaving her breasts up to maximise her cleavage.
EILEEN (CONT’D)
Hurry.
Brendan clearly aroused has to placate an angry erection. It has been so long. His pace quickens. He catches Poison’s eye and mimes with his finger if he is going in the right direction for the toilet.
POISON
(the bird then mouths)
Fuck off.
BRENDAN
Thanks again.
CORRIDOR
Brendan disappears down a long dark corridor hopefully on the way to the toilets.
He squeezes past Tucker on the phone. He is ordering something and we pick up only bits. Tucker is taking up most of the narrow space and does not yield to Brendan even though he can clearly see him.
Brendan has to make himself as small as possible to get through but being a mouse he says nothing.
BRENDAN
Can I just squeeze past? Thanks. Sorry. Sorry. Got it. Ta.
We stay on Tucker as Brendan moves past. He turns back still engrossed on the phone.
TUCKER
(on phone)
Yeah. The black leather vibrating Lazy Boy with built in fridge.
He holds up Brendan’s card into shot and begins reading from it.
TUCKER (CONT’D)
(on phone)
Yeah, that’s Brendan Glesson. Yeah, it’s four, nine, nine…
INT. THE BLIZZARD BAR, TOILETS - NIGHT
Brendan enters by far the dirtiest toilets in history. It is dark, the lighting is low if not non-existent.
The hand dryer has been ripped off the wall. There is no door on the cubicle.
The basin looks like bites have been taken out of it. There is blood around the breaks as if someone’s head at sometime had been smashed against it.
The floor is wet with piss and leaks, loud drips echo and there is continuous running water sound.
The walls once Mayfair Blue are now chipped through to the plaster with holes, dents and scratches. Marked with graffiti, blood and smeared shit daubs.
Brendan gets some hand towels and toilet paper and tries to dry himself as best he can.
He spies the condom machine and his thoughts return to sex. He rummages in his pocket for change and pulls out a pound.
He goes to put his pound in but there is a sticky substance around the slit. It could be fresh phlegm or semen. Quite frankly he would rather not know. It clings to the pound in stringy threads.
Brendan grimaces and getting one of the paper towels cleans the slot. He slings the pound away. Her tries again but the machine is broken. In frustration he bangs it a few times.
The door bursts open making him jump. Two bikers, a young man and a young woman, MIDDEN and SAFFY fall through it locked in passion in each other’s arms. They eye him suspiciously up and down.
Brendan backs away up to the far wall and gives them a little don’t mind me wave.
They proceed to ignore him. Midden with one arm around Saffy’s waist rips open the condom machine with his free hand and begins feeling around inside.
Brendan – Eureka, why didn’t I think of that? Clever.
Success. He pulls out a condom triumphantly. This pleases Saffy and they begin smooching aggressively blocking up further access to the condom machine.
With stealth he edges forward, he teases his hand into the machine in the breaks between them rolling around the wall.
Eventually getting his hand in himself and feeling around. Empty. Damn! Midden got the last one.
BRENDAN
Hello. Excuse me. Hello.
He is invisible. Unseen and unheard to them. With considerable daring he taps Midden on the shoulder. Once. Nothing. Then twice, a little harder.
They stop and stare at him with utter malice. He moves back to a safer distance his palms up.
BRENDAN (CONT’D)
Hi. Hello. Sir. Madame.
They continue to stare at him blankly.
BRENDAN (CONT’D)
Yeah. Far be it for me to break up this magical romantic moment you’re both sharing but the condom currently clenched in your grubby fist is mine. I tried to put a pound in not realising you simply had to open the machine…
MIDDEN
You what?
SAFFY
Hit ‘im Midden.
BRENDAN
No wait. We don’t have to resort to violence. I don’t mean any offence but I was here first. I put my pound in. Two pound. Look I’m with a girl, she’s outside. We’re leaving in a minute. Look I need a condom…
MIDDEN
Fuck off. I’m using it.
They continue to kiss passionately. Brendan stands there beaten. Midden pulls down Saffy’s pants and unbuttons his fly, and begins putting the condom on.
BRENDAN
Oh you meant you’re using it right now.
He stands there stunned unable to tear himself away. The girl notices him still there. Midden first slows down, then stops.
MIDDEN
What’s up babe?
SAFFY
I can’t. Not with him watching.
Midden can’t believe the audacity of the stranger, surprised that he is still there. He pulls out. The girl leans on the wall and twiddles gum in her mouth with her free fingers.
MIDDEN
Fuckin’ ‘ell, you still here?
He grabs Brendan by the collar and the small of his back. Saffy cringes away from Brendan as if he were toxic.
SAFFY
Pervert.
He is frog marched out of the toilet deeper down the corridor and booting a fire escape open launches him out into the night.
Brendan protests physically and verbally but to no avail.
Midden pulls the door shut locking it. Slapping his palms together he returns to the waiting Saffy in the toilet.
MIDDEN
(shaking his head)
Filthy fuckin’ freaks… Ooh a pound. Cool.
He bends down to pick up Brendan’s discarded pound and shaking it dry. He puts it in his mouth to test it’s real. Then grinning slips it into his pocket.
Saffy pops her gum back in her mouth and they begin making out again.
EXT. BLIZZARD BAR, ALLY #1 - NIGHT
Brendan appears out of a pile of bin bags, coughing up rubbish. He jumps up, runs to the door and begins to bang on it crazily.
BRENDAN
Hey! Hey! Let me back in! I have a date in there and that’s my God damn condom! I HAVE A DATE IN THERE!
Close up of Brendan’s fists as he beats the door.
We drift through the woodwork to the other side.
INT. BLIZZARD BAR – NIGHT
The shot casually drifts up the corridor glancing left at the humping couple in the toilets going at it full speed now.
The pace quickens and we pass the phone. Another biker MULCH is on it now ordering something else with Brendan’s card details.
We move quicker into the bar. It’s a free for all now with Brendan’s card, everyone buying drinks and having a great time.
We glance over at the Eileen, she is fleecing Brendan’s coat for everything she can steal. She then flings his coat and walks out the door.
Tucker puts on Brendan’s raincoat for size.
We follow her out through the door.
EXT. STREET – NIGHT
She goes right but we go left. The pace quickens weaving through the pedestrians and traffic.
We catch little glimpses of the people we have already met. Arty and Biggins, Vic, Vangi, Mohinda and some others we have yet to meet.
The speed of the shot goes into overdrive and we shoot through the street. Then stopping abruptly.
EXT. THE LIZARD LOUNGE - NIGHT
Through glass doors we can see another woman in a red dress. This is THERESA, Brendan’s real date.
INT. THE LIZARD LOUNGE – NIGHT
Theresa sits alone obviously bored and a little let down. She is in red but is dressed more demurely, more sophisticated. There is an empty glass next to her. She checks her watch again and sighs.
A kind faced BARMAN asks her if she wants another drink. She smiles and nods yes. Deciding to grin and bear it for a little while longer.
She gets her mobile phone out and rings Karen. Who then rings Brendan.
EXT. STREET - NIGHT
Eileen walks down street. Brendan’s mobile goes off in her pocket. She takes it and glances at it. Karen’s name blinks on it.
EILEEN
(on phone)
Hello?
KAREN (O.O.V.)
(on phone)
Bren? Where’s Bren? Hello? HELLO?
EILEEN
(on phone)
Bren’s in the bathroom.
(hangs up)
Eileen stares at phone saying nothing more.
She slips it back in her pocket. With a little sneer she continues brassily on.
INTERCUT - EXT. ALLY #1 / BRENDAN’S FLAT – NIGHT
Brendan is still banging on the door screaming to be let back in. A hand grasps around Brendan’s soggy trouser leg and tugs on it.
BRENDAN
(high pitched)
Eeek!
BIN BAG BOB
Got any spare change man?
BRENDAN
Ahh! Jesus Christ!
Bin Bag Bob continues to tug on his wet leg but does not let go.
BIN BAG BOB
They won’t let you back in man. You said something about a pound? Got any spare change?
Brendan shaken for a moment with fear cringes away from the filthy man. He tries unsuccessfully to shake his leg free.
BRENDAN
No get off of me.
Hopping on one leg trying to free himself.
BIN BAG BOB
I know you have, I heard the rattle man. You’ve got change. Hey you know your pants are all wet man?
BRENDAN
I need it. Look never mind that. Don’t touch me.
He finally shakes his leg free almost falling backwards. He goes to walk off.
BIN BAG BOB
You’re legs all wet man. We make our own Karma.
Brendan walks off.
BIN BAG BOB (CONT’D)
I have a condom. You said you wanted one. I’ll sell you it.
Brendan comes back a dubious look on his face.
INTERCUT:
Brendan’s chessboard set up for a game.
INTERCUT:
BRENDAN
You have a condom?
INTERCUT:
A white pawn moves into play.
INTERCUT:
BIN BAG BOB
I might have.
INTERCUT:
A black knight moves out.
INTERCUT:
BRENDAN
You know what forget it. I don’t want no tramp’s condom.
INTERCUT:
A white pawn moves out, an indecisive move.
INTERCUT:
BIN BAG BOB
That’s harsh man. I’m a person too you know. Is she pretty?
INTERCUT:
A black pawn moves a double square freeing up the black queen.
INTERCUT:
Brendan stops and slowly turns round, Bob is interesting and not as stupid as he seems. He is rummaging in the folds of filthy clothes.
INTERCUT:
Brendan brings his knight into play.
INTERCUT:
BIN BAG BOB
You see what we have here is a classic situation of supply and demand. I have something you want. And you have something I
want. Simple economics.
INTERCUT:
Bob moves his black queen threatening Brendan’s knight.
INTERCUT:
Bob holds up a brand new condom still in its wrapper. Brendan’s eyes glaze greedily.
INTERCUT:
Brendan’s knight moves out of danger.
INTERCUT:
BIN BAG BOB (CONT’D)
I bet she’s pretty.
INTERCUT:
Bob’s moves pawn to free up his castle.
INTERCUT:
Brendan goes to take it but the Bob palms the condom and moves it out of Brendan’s reach.
INTERCUT:
Brendan’s pawn tries to take Bob’s knight.
INTERCUT:
BIN BAG BOB
Easy man. Nothing’s free. We’re negotiating. I’ll sell it to you. I know you got money. I heard it.
INTERCUT:
Bob’s knight moves easily out of reach and threatening his undefended pawn. He is two moves away from check.
INTERCUT:
Brendan pulls a face digging into his pocket and pulls out a pile of shrapnel and starts to finger it, counting it up.
INTERCUT:
Brendan misses the danger and moves his bishop into play.
INTERCUT:
BIN BAG BOB
What do you say to ten pound?
INTERCUT:
Black queen takes Brendan’s bishop. The queen and the knight now threaten on both sides.
INTERCUT:
BRENDAN
I’d say fuck right off! It’s a pound in there. I’m not paying ten pound for a grubby tramp’s jonnie.
INTERCUT:
Brendan’s queen moves into play checking Bob’s king.
INTERCUT:
BIN BAG BOB
Ah it’s a pound in there yes, but we’re not in there. Are we. And out here it’s ten pound. Hell man I know you can afford it. And I bet she’s worth it.
INTERCUT:
Bob moves pawn taking king out of danger.
INTERCUT:
Brendan puts the slummy back in his pocket thinking and pats his pockets. His wallet is in his overcoat he stares through the wall. Bob grins and shakes the condom like a sugar sachet.
Brendan stares slowly back at Bob and his eyes narrow. They stand eyes narrowing like gunslingers and there is a pause. Brendan lunges at Bob’s fist.
They struggle, a dance of grasping fists and fingers.
BRENDAN
Give me that you!
BIN BAG BOB
Aaaaaagh! Help!
BRENDAN
Scruffy pirate!
INTERCUT:
The chessboard rattles violently.
INTERCUT:
BIN BAG BOB
Thief!
BRENDAN
Me a thief? Hah!
BIN BAG BOB
Aaaagh! Rape!
BRENDAN
(worried)
Rape?
INTERCUT:
Chessboard becomes still.
INTERCUT:
There is an impasse as they stop struggling both become acutely aware that there are people moving down the alley towards them.
A dozen teenage SKATER YOBS moves into view.
Brendan and Bob are a frozen tableau of gripped fists. Panic registers on both their faces but they stay in that position, Bob still sitting Brendan standing over him.
Their leader SKIDZ (15), stares angrily at them both, their confusion as to what’s going on only making them even angrier.
SKIDZ
What the fuck is going on here?
A horrible drawn out moment were the two of them still stubbornly cling to each other. They realise that it is in their best interests to let go.
Brendan composes himself. He has gained control of the condom, it’s in his hand. He goes to explain.
BIN BAG BOB
HIM! He tried to rape me. Tried to make me do terrible things. Unnatural things for… For money! Pervert!
BRENDAN
I…
(spluttering)
I did not!
Skidz’ and the gang’s focus flicks back and forth to the two of them.
Back to Bob who for a second fumbles for a retort.
BIN BAG BOB
Oh yeah, then what’s the condom for?
He points at the implicating rubber. Brendan brings it up to his face. He ponders a range of excuses. He smiles. He frowns. He looks down at Bob.
INTERCUT:
The queen slams down hard on the board with a deadening final THUD. Checkmate.
INTERCUT:
Bob grins triumphantly. Brendan stares at the Skater Yobs. They stare back at him in grim faced silence. Brendan squeals, drops the condom, turns and runs for his life down the alley and into the night.
SKIDZ
(pointing aggressively)
Get him!
They stream as a mob down the alley after Brendan. Death to the pervert. Bob stands up chuckling, he walks to the end of the ally in the direction of the running mob.
INT. THE LIZARD LOUNGE – NIGHT
Theresa is paying her bill and leaving.
EXT. LIZARD LOUNGE - NIGHT
She exits and trots down the steps and deciding what to do next walks off up the street in the direction of The Blizzard Bar.
EXT. ALLY #1, STREET EXIT - NIGHT
Brendan hurtles pell-mell out of the ally shortly followed by the Skater Yobs.
A young policeman, PC HALLIWELL catches the commotion and quickens his pace, he reaches the ally just as Bob lumbers out too. He collars him.
PC HALLIWELL
What the devil’s going on here?
Bob’s chuckling face replaced by one of misery.
BIN BAG BOB
A pervert. A man, he tried to… To do terrible things.
Those kids saved me. He tried to ru… ru… rape me.
(sobs)
PC HALLIWELL
Jesus Christ!
(on radio)
Sierra Oscar. Two Three to Control. Yeah I’m on Palatine Street. I’m going to need some back up. Got a situation brewing down here. I mean building. Building down here.
EXT. STREET – NIGHT
Brendan runs at speed down shop fronted streets at break still pursued by the gang of Skater Yobs.
He loses a shoe. He stops hopping back but then seeing the charging gang thinks better of it and leaves running one shoed.
EXT. STREET, SHOP DOORWAY – NIGHT
He darts into the shadows of the doorway, shoulders hunched makes himself as small as possible.
The Yobs tear past in an angry whooping mob.
He waits panting till enough space between him and the mob has passed. His breath becomes slower and easier. He stops, realising he is not alone.
BRENDAN
Ah!
ARTY
Decided to take my advice eh?
BRENDAN
(breathless panic)
What?
Brendan looks out carefully into the street.
ARTY
Getting in out of the pissing rain. Soaks you right through it does.
(beat)
Do you know you’re only wearing one shoe?
BRENDAN
What? Yes. I am aware of that fact.
ARTY
You hiding?
Brendan ignores him checking the coast is clear.
ARTY (CONT’D)
What was all that fuss? That anything to do with you?
Brendan turns back and stares wide eyed at Arty. Their eyes lock, Brendan looks deranged.
There is a flicker of fear in Arty’s eyes.
Brendan’s face frozen in a grimace looks down.
Arty’s dog is humping merrily away on Brendan’s leg.
ARTY
You’re honoured. He’s normally shy with strangers.
Brendan shakes his leg to try and free himself and the dog mewls with pleasure but it does not let go.
BRENDAN
Could you please stop him from doing that?
ARTY
Best just let ‘im finish. Trust me it’s best that way.
The dog finishes and then pisses on Brendan, he is about to complain when a commotion stops him.
The Skater Yobs bustle past and Brendan freezes back into the corner. There is a WHOOP of a police siren.
People we have met before pass in the street, the odd copper as well.
They look at each other and realisation hits Arty.
ARTY
(gasp of horror)
My God… It’s you. You’re HIM!
BRENDAN
Oo-er!
Brendan darts from the shop doorway into the night and he is off again. Arty leans out and shouts.
ARTY
That’s him! That’s the PERVERT! Quick he’s getting away! The Animal had sex with my doooooooooooooog..!
INT. STREET - NIGHT
People turn to see what he is shouting at and then look in the direction of the fleeing Brendan.
Another copper, PC COBB turns and BLOWS a whistle, and begins chasing after him.
Arty bends and comforts his pet, stroking and hugging it as if it has been some terrible trauma.
ARTY (CONT’D)
There, there Biggins. The nasty man has gone now.
Brendan flees crazily down the street. One shoed, one leg covered in dog piss.
BRENDAN
I haven’t done anything.
Brendan runs for his life. Again.
We pass Theresa and stay with her. She looks back at the retreating Brendan. Standing still as Halliwell and Cobb chasing him run past. She shrugs and continues on.
She passes Eileen and they exchange double takes, two hot but very different women assessing each other, looking each other up and down.
Eileen sneers at Theresa and continues on.
Brendan runs still pursued by Halliwell and Cobb. He ducks into another ally.
INT. BRENDAN’S FLAT, KITCHEN – NIGHT
The goldfish lies on the counter and gasps, its breathing becoming shallow.
EXT. ALLY #2 – NIGHT
Brendan ducks into a wheelie bin and cowers inside.
Further off Halliwell and Cobb splash past.
Breathing heavily Brendan lifts up the lid and peers out. He hears footsteps and it slips back shut.
The two policemen from a low angle they stare back and forth in different directions. Cobb’s walkie talkie squawks into life. Halliwell lifts his.
PC HALLIWELL
(on radio)
Yeah Guv, come in.
VIC (O.O.V.)
(on radio)
What’s your status Two Three?
PC HALLIWELL
(on radio)
Yeah suspect, White Caucasian Male. Late twenties to early thirties. Five seven, slim average build. Wearing a beige suit. Dishevelled. Wearing one shoe. Attempted sexual assault on a homeless male. And…
VIC (O.O.V.)
(on radio)
And? Yes. Go on.
PC HALLIWELL
(on radio)
And a report as yet unconfirmed at this stage of an actual sexual assault on a…
EXT. STREET – NIGHT
VIC’S feet. The camera pans slowly up his legs, we see the huge brown coffee stain on his white shirt.
He is leans next to his car, the lead to a police radio stretches through the open window.
He grips the mike aggressively to his chin. Vic is the Chief of Police.
PC HALLIWELL (O.O.V.)
(on radio)
On a Staffordshire Bull Terrier.
VIC
(on radio)
Jesus H Christ on a bike! Stay in that area Two Three. We’ll send more of the boys down your way. Sweep the area properly. Guv out.
He clicks the mike back into his car as another copper, SGT BRICE comes over with a cup of coffee.
SGT BRICE
(smirking)
Coffee, Guv.
He hands it to him.
SGT BRICE (CONT’D)
Will you be alright with that Guv?
VIC
(without looking)
Do me a favour Sergeant, fuck off. Right I want a description and drawing of the suspect. Get a picture out. Interview the locals. I want to know who he is and where he has been.
(loud but to himself)
Vigilance lads! We have a madman out there to catch boys. A regular Hanibal Lecter.
(whisper)
White male? Wearing a beige suit? Hmmm.
(fingers coffee stained nipple)
Oooh!
(ouch)
EXT. FURTHER UP STREET – NIGHT
Theresa walks up the street. She is by contrast to Brendan the complete opposite, in harmony with life and her environment
She passes the Arty, already reaching into her pocket for a doggy type treat.
She feeds it to Biggins and ruffles his head, stands and smiles at Arty. He smiles back then she continues on.
EXT. PASHI ONE STOP SHOP – NIGHT
She starts to be aware of the commotion going on further up the street, the fact that there are lots of police in the street.
Bin Bag Bob is sitting on some steps and she checks that he is alright. He is wrapped in a blanket. She asks him if he wants a coffee and goes over to the all night shop over the road.
Mohinda’s cab is parked outside. She goes inside.
INT. PASHI ONE STOP SHOP - NIGHT
Vangi and Mohinda are having a heated debate.
MOHINDA
(in Urdu; English
subtitles)
It seems the Devil himself walks the very streets. The Beast, if it is the same man was in my car.
(to himself)
I shall have to get it cleaned.
VANGI
(in Urdu; English
subtitles)
He was in my shop as well.
(with fingers)
He wanted three! Count them, three thousand prophylactic sheaths!
MOHINDA
(in Urdu; English
subtitles)
He has the sexual appetite of Vishnu herself.
VANGI
This is true.
MOHINDA
He must be stopped.
They nod agreeing, lost in their own thoughts. They notice Theresa and the Mohinda moves to let his cousin serve her. They smile.
THERESA orders a coffee and leaves. They continue their heated debate in Urdu.
EXT. STREET – NIGHT
Back outside Theresa hands the coffee to Bin Bag Bob. He smiles accepting it gratefully.
The police are now handing out photocopies of the artist’s sketch of Brendan.
Eileen passes then, seeing all the police she holds her head down trying to get through them all while remaining invisible.
PC HALLIWELL
(hands out pictures of Brendan)
Be careful tonight ladies. There’s a mad rapist on the loose.
Eileen grabs one and hurries on. There is a moment of recognition from PC Halliwell as she does.
PC HALLIWELL
Miss? Er Miss?
He thinks to go after her but then changes his mind.
As soon as she is safely past she crumples it up and throws it away.
Theresa turns hers around and looks at the picture of Brendan up. It is obviously Brendan but he has been demonised in the caricature. She shudders.
PC HALLIWELL
Don’t worry Mam. We’ll find him.
Theresa looks at him and smiles kindly. She pulls her coat closer around her neck as if she was suddenly cold. Only now seeming to take in the scale of commotion around her.
We leave her lost in her own thoughts.
Other people from this evening mill about. We move to the Blizzard Bar steps and see PC Cobb interviewing the clientele of outside. He is talking to Midden and Saffy.
Lots of others from the bar stand around either listening or watching the circus. One is ignorantly wearing Brendan’s.
PC COBB
Is this the man, Sir?
MIDDEN
(glances at photo-fit)
Yeah, that’s ‘im.
SAFFY
(hugs her boyfriend)
Bleedin’ pervert.
PC COBB
Thank you for your time Sir.
(turns to leave)
MIDDEN
When you catch ‘im? This monster. (pause) Cut his fuckin’ balls off.
PC COBB
(considers for a moment)
Oh don’t you worry Sir, we will.
He doffs his helmet and walks off. This seems to sit okay with Midden and Saffy.
There is a bit of a fuss further up the street and the police, Vic included converge on the spot.
PC Halliwell crouches down. It is a low shot looking up we see the others coming closer but we cannot yet see what it is that caught his attention.
It’s like he is Indiana Jones at the beginning of the first movie when he spies the idol.
VIC
What you got Halliwell?
PC HALLIWELL
Behold…
He lifts Brendan’s shoe with the tips of his fingers.
PC HALLIWELL (CONT’D)
A clue.
Halliwell turns it around in his fingers and dog piss trickles out. His face crinkling as he cautiously sniffs it, quickly pulling it sharply away.
VIC
(unimpressed)
You mean a shoe.
PC HALLIWELL
I think it’s the suspects.
VIC
Bag it then and get it to forensics.
Next to him stands Arty. Biggins growls with displeasure but it could just as easily be lust.
Vic looks down an idea forming. Halliwell is already pulling out a forensics bag. Doing it one handed his tongue poking out from the side of his mouth concentrating hard.
VIC
Hang on Halliwell, I’ve got an idea. You. You’re the old guy that encountered this madman? It was your dog wasn’t it, that was involved with the… unpleasantness?
Arty nods.
VIC (CONT’D)
I wonder if you would permit me to use your pet’s unique abilities as part of an ongoing police investigation?
ARTY
What do you mean?
VIC
Halliwell, pass me that shoe.
Arty crouches shielding Biggins no longer wanting to put him through any more discomfort.
Halliwell passes the shoe and Vic takes it, careful to keep it covered in the plastic. Sgt Brice leans in to his ear.
SGT BRICE
(whispers)
Careful Guv, media. The world is watching.
VIC
The world is always watching. So unless you’ve any better ideas..?
Sgt Brice leans back away giving it the “I tried to warn you” look.
ARTY
What have you got in mind?
VIC
(crouches)
What’s the little feller’s name?
ARTY
Biggins.
VIC
Well hello there Mister Biggins.
It’s clear that Vic has no experience with animals.
ARTY
It’s just Biggins. I named him after that fat poof off the telly with the big red glasses.
VIC
That’s great. Look here’s the thing. As you know we have a bit of a situation here. And we would like to use your dog’s olfactory senses. Use them to apprehend the villainous perpetrator of these heinous crimes before he hurts anyone… It’s his nose. We want to use his nose to catch the bad man.
(shakes shoe)
ARTY
He’s not a sniffer dog.
Vic nods that he understands this.
ARTY (CONT’D)
And he has a cold. Terrible with the sniffles he is.
VIC
(understanding)
We only ask that he tries.
ARTY
He has been through quite a lot this evening.
VIC
I know we all have. If it works and we catch him he’ll be a hero. And you by association will be a hero too. Pictures in the local rag. Envy of all your friends. Tea with the Mayor. Who knows maybe even a medal.
ARTY
Oh go on then, you twisted my arm.
VIC
(under breath)
Thank Christ.
Vic stands up, Arty prepares BIGGINS for his task.
ARTY
This is rather exciting. Right what do you want me to do?
He waves the shoe expressively in front of Arty.
VIC
I want him to sniff this and lead us to the villain.
ARTY
Coo.
He bends down, unclips Biggins leash. Vic waves the shoe under the dog’s nose. Arty is thrilled.
VIC
Ready?
ARTY
Ready.
(to Biggins)
Over the top Biggins. Into the breach.
(kisses the dog)
Into the valley of death you shall fear no evil.
Vic rolls his eyes. Biggins sniffs the shoe and mewls with barely contained excitement and aggression. He has picked up the owner’s scent.
VIC
Now!
Arty lets Biggins go and the dog barrels off out of shot. They all follow him with their eyes.
Facing away down the street, BIGGINS racing away into the night and eventually disappearing.
The watching crowd, their faces changing slowly from excitement to confusion. Arty looks up expectantly at the police. Sgt Brice leans in once more.
SGT BRICE
Shouldn’t someone be following the dog Guv?
Vic explodes.
VIC
Good God do I have to do everything! Follow that mutt!
They chase after Biggins. It’s like the Benny Hill show.
A dog’s eye view of the street as we bound along at dog level. In black and white as we follow Biggins progress to find Brendan.
We pass people we have already met as we move. He is in a hurry but like all dogs can be momentarily distracted. It gives the others a chance to catch up while he sniffs things, or has a leak.
EXT. ALLY #2– NIGHT
Brendan is still hiding in the wheelie bin. He peeks a little, getting braver and braver as he listens to the night to see if it is safe to re-enter the world.
Happy it is he lets the lid slap all the way open. One leg over the side he struggles to climb out. It tips over and he tumbles awkwardly out.
He stands up brushing crap from his clothes. It is a futile action for he looks a mess. He is now almost feral in appearance.
He stops and listens, his head jerking back and forth up and down the alley sniffing the breeze.
Satisfied it is okay to continue, his only care now is to get home. He goes one step and freezes. He hears a strange sound.
Squinting he sees a tiny white shape appear around the far end of the ally. It neither stops nor slows but continues bulleting towards him unrelentingly.
BRENDAN
What the hell..?
It grows bigger. He can now hear noises. Crazy animal noises.
His eyes widen as he recognises Biggins the dog from earlier on. He registers shock then his eyes narrow as he remembers the incident with his trouser leg.
He takes up a defensive stance.
BRENDAN
Come on. Come on. You horny little piece of…
The dog knocks him to the floor, clawing his chest.
Brendan just manages to disengage the dog and hurl it over his shoulder. The dog rolls away, quickly rights its self and prepares for another charge.
Brendan stands and readies for another assault. The dog charges again. Brendan thinking quickly reacts at the last minute, grabbing the fallen wheelie bin, aiming the opening in the dog’s path.
Once in, he stands it up and closes the lid trapping the dog. Biggins goes insane inside.
BRENDAN
Hah! You wanna piece of me? You wanna piece…
Brendan leans on the wheelie bin for support. The dog explodes from the lid, momentarily snapping and foaming before falling back in.
Seconds later he is back up doing it again, jumping up and down inside forcing the lid the back. Brendan scrambles for a better hold, pinning the lid down.
Using all his strength he manages to keep the lid shut. He scouts for some weight to pin the dog in.
He spies an old tyre and reaches for it with his toe. He hefts it on top trapping the dog.
He pants heavily clinging to the wheelie bin like it’s a life buoy and he is a drowning man.
BRENDAN (CONT’D)
(with respect)
You wanna piece of me?
Brendan stands up. He looks at the bin and tyre, hearing the wrath of the dog inside. He boots the bin hard.
BRENDAN (CONT’D)
That’s for my pants you cock on legs.
He strides off down the alley heading for the street, his gait is slow and painful like he has just fought some arduous battle. There is almost a playful smile on his face.
The light from the streets becomes like a beacon of hope. Almost heavenly. Out of the darkness and into the light. A lone trumpet plays
Brendan staggering almost lets out a little smile as he rejoins the street. It slowly disappears as he comes face to face with the Skater Yobs.
Some are holding copies of the photo-fit drawing of Brendan. They blankly look at him some even take the time to look at the picture and compare it with the sight standing before him.
Slow thoughts cross their bovine faces.
BRENDAN (CONT’D)
Now listen…
He is no longer the agoraphobic mess he once was, he is stronger, wiser, more powerful of mind and will.
SKIDZ
Get the fucking freak animal pervert!
BRENDAN
Ah shit!
Brendan turns and runs, he will save his growing for another day. And he is off again belting down the alley once more, splashing through puddles.
BRENDAN (CONT’D)
Oh for God’s sake.
It seems he has spent most of the evening running for his life through allies and side streets. He passes the upright wheelie bin with Biggins inside still snarling its head off. He peeks out foaming at the mouth for a second as he runs past.
Brendan heads for the other end of the ally just as the mob appears at the other end. They look like rabble that would turn up at a Transylvanian castle to burn the monster.
Some are holding burning torches and garden tools.
MOB
There he is!
Brendan skids to a stop. If they catch him he will be burned, lynched or worse.
MOB (CONT’D)
Monster!
ARTY
What have you done with my Biggins?
BRENDAN
Oh you got to be kidding me?
MOB
Get him!
EXT. ALLY #3 - NIGHT
Brendan doubles back, he is getting really good at it now. This area is more industrial and the rear doors lead on to warehouses.
The Mob has now grown in size having absorbed the Skater Yobs.
Brendan frantically checks doors on either side of the entry for a way of escape.
One is unlocked and with a crazy laugh he ducks inside just as the Mob turns the corner.
They miss but some dwindle down searching anyway. PC Cobb hears the CLICK of a door locking.
INT. LOCK-UP – NIGHT
Brendan stands gripping the bar of the door lock his back to us. He is trembling and breathing heavily. His gasps get slower and slower as he calms down.
He stands up straight and turns round. His eyes widen and he freezes rigid taking in the frozen tableau in front of him in small pieces.
It is the Mr FLAX and Mr ROAST from the beginning. Flax is standing and Roast is kneeling.
Brendan takes them both in individually. With each new piece of information he takes in his eyes grow wider and his face more worried.
Roast is holding a saw and cutting up something. Scattered about are bin bags of varying sizes sealed with insulating tape. A bright lake of blood covers most of the floor.
Flax mops it up, he stops leaving large figure of eights in it revealing the floors true colour. There are several bloody saws of varying sizes.
Roast is shoving a severed hand into a bag. A man’s leg pokes out of another. We see the full picture and the full horror sinks in.
INT. BRENDAN’S FLAT, KITCHEN - NIGHT
On the counter the goldfish stops breathing.
INT. LOCK-UP - NIGHT
Brendan cannot move or think. He just stands there like a statue.
The two thugs exchange looks. They don’t speak but communicate with raised eyebrows and shrugs.
MR FLAX
(miming not speaking)
What’s this?
MR ROAST
(shrugging not speaking)
You got me.
MR FLAX
(gestures not speaking)
What should we do?
MR ROAST
(flick of his head not speaking)
Deal with it.
There is a blank expression on Flax’s face
MR FLAX
(silent)
Uh?
MR ROAST
(eyes widen not speaking)
You deal with it I’m busy.
(gesturing to the job in hand)
MR FLAX
(nods but doesn’t speak)
Okay.
Flax turns back and fixes Brendan with a gimlet stare and lets the mop fall to the floor and begins lumbering towards him. Roast shakes his head, his partner is an idiot.
The CLACK of the mop snaps Brendan out of inertia. He puts his hands up in defensive placating manner.
BRENDAN
(laughs nervously)
You’re obviously busy. I’ll leave.
He turns and opens the door only to be confronted by a startled PC Cobb. He pulls the door back shut and we hear the Mob call out that they have found him only to be cut off as the door closes.
He turns back to face Flax who has lumbered even closer, it is like Brendan had forgotten he was there. Flax lunges for Brendan but he ducks under his reach and heads for a side door.
Roast shakes his heads and sighs audibly. Flax grimaces, angered and goes after Brendan.
He goes one step then the door bursts open and cops and members of the public spew into the lock-up.
Flax turns at the commotion and slips comically in the slick blood on the floor. Roast arms himself with a saw.
The Mob, the police at the forefront and the Vic all freeze creating a long barrier as they take in the scene Brendan has just seen.
INT. LOCK-UP, WASHROOM – NIGHT
Brendan in a panic darts inside and locks the door. He jars a mop under the handle.
He is on the sink and trying to wrench the window open even though it is painfully obvious to us he is going to struggle to get through that in a hurry.
From beyond the door there are sounds of fighting and fuss. SCREAMS, WHISTLES, COP SPEAK. Brendan is about to climb out the window, just as he is about to duck through he spots an aged condom machine.
A thought crosses his mind. If he gets one he might just be able to salvage this evening. He kicks out and it opens, fresh rubbers spew out of it.
The door RATTLES.
He does not want to relinquish his position at the window and he can not quite reach with his hand. No matter how hard or for far he stretches.
The door RATTLES again, this time with a bit more urgency. He pulls his sock off and reaches with his toes, almost getting one but always a little short. It quietens down next door, more under control.
PC COBB (O.O.V.)
Police. Open up!
Soon all attention will be focused on this door. He misses a few more times and then all of a sudden it hits him.
Brendan what the hell are you doing? Let it go. A calm passes over him and he comes to a decision. He ducks out the window.
INT. BRENDAN’S FLAT, KITCHEN - NIGHT
Brendan’s fish starts breathing.
EXT. ALLY #4 – NIGHT
Brendan lands in a crouch.
He sees shiny black shoes standing there and stands up slowly. We rise with him. It is PC Halliwell, his face is calm, almost pitying.
He puts an arm on Brendan’s shoulder. Brendan sags, enough is enough.
PC HALLIWELL
I think you better come with me Sir.
Brendan nods dumbly.
He is walked round the front, through the crowd. The police hold back the crowd but they are less angry more subdued. The Skater yobs are there and the Bikers from the Blizzard Bar, they are all grinning.
BRENDAN
Hey is that my coat?
He pushed further along.
POISON
(hands credit card)
You left this.
(card is smoking)
Brendan dumbly accepts it.
BRENDAN
Thank you.
POISON
No, thank you.
Midden and the Saffy link each other, she cringes from him, he mimes getting balls cut off and sneers.
MIDDEN
Don’t come back here again man.
Arty hugs Biggins away from him. He is led up to the Vic who stands at the end like his judge. The two thugs are being put in police cars along with bloody bin bags, which are evidence.
VIC
You! I might have known.
BRENDAN
Look it’s not what you think. It’s all a huge misunderstanding. I can explain everything.
MOB
Monster! Animal!
Mohinda stands outside his cousin’s shop holding a can of cleaning spray, his back door open while he cleans the interior. He pauses to join in the shouting.
MOB (CONT’D)
Pervert! Cannibal!
Brendan turns slowly to face the crowd.
MOB (CONT’D)
Nail ‘im up! Burn him! Yeah!
BRENDAN
Is that what you want? Is that what you really think..? That I’m some kind of monster? Look at yourselves? I just went on a blind date. That’s it. It’s the first time I’ve been out of the house for a year. It didn’t exactly turn out quite the way I planned. I made mistakes, yes. Some bad choices. Some really bad choices. All over a woman. A really hot woman. But… probably the wrong woman. The wrong woman… for me. I’m a man. I’m weak. Flawed. To driven by impulses, instincts and desire. I had forgotten about what’s important. What matters.
Brendan picks out individuals to preach his sermon to, like a minister and they cannot hold his gaze.
BRENDAN (CONT’D)
Like feelings. Compassion. Compatibility. About… yes even love. If you wish to condemn me, do so for that. I’m not a monster. Or an animal. I’m just a man. Just Joe. I’m Joe Everyman.
BIN BAG BOB (O.O.V.)
Hang him anyway.
Calls from the rest of the Mob to do just that.
MOB
Yeah!
VIC
Now that’s quite enough of that. There will be no hangings tonight. Now move along. Sergeant, clear this crowd away.
SGT BRICE
Yes Sir.
The crowd is dispersed, abet reluctantly.
VIC
Right Mister Gleeson…
BRENDAN
I haven’t done anything. It’s all a big misunderstanding.
VIC
Yes, I know.
BRENDAN
What?
VIC
I said, I know. This is your wallet.
He hands it back. Brendan looks confused.
BRENDAN
But how?
VIC
We picked up this woman trying to buy stuff with your credit cards.
He indicates to the Asian shop and Vangi waves kindly. His cousin still cleaning his taxi scowls.
VIC
You have the quick thinking Officer Jones to thank for that.
Eileen is led handcuffed to a car defiant to the last. She blows a tarty kiss at him.
BRENDAN
But that’s impossible. There must be some mistake. That’s my date. A friend of my sisters. Theresa McVey.
VIC
Now that may be what she is calling herself now but this is Eileen Barker, AKA Selene Punch, AKA Candy Von Dorn, AKA The Red Scorpion.
BRENDAN
What? No. It was a blind date arranged for me by my sister tonight at The Lizard Lounge.
Brendan thumbs behind him at the Blizzard Bar.
VIC
That Mister Gleeson is the Blizzard Bar. I suggest you buy some glasses. Sir.
BRENDAN
So what, I’m free to go?
VIC
Sure, unless there are any crimes or offences you have committed tonight that I don’t know about.
BRENDAN
No. No nothing.
He eyes the coffee stain nervously.
VIC
You’re an idiot Mister Gleeson, not a criminal. That unfortunately it is not a crime.
He nods and walks away.
EILEEN
They’re right Sweetie. I never even met your sister.
She shrugs and is led away by an PC Cobb. Brendan is left lost and confused on an almost empty street.
BRENDAN
I don’t understand any of this. Then where the hell is the woman I am supposed to meet.
He drops some of his stuff. He bends to pick it up and Theresa McVeigh rushes over to help him.
They look at each other and there is an instant attraction. They stand together in silence.
THERESA
These are yours.
She hands him his things.
THERESA (CONT’D)
Brendan Glesson? I’m Theresa. I heard what you said. I thought you had stood me up.
BRENDAN
God, no. No.
They laugh nervously, first date nerves. Unaware that in passing back his things they are still holding hands.
THERESA
You’ve had quite a night.
BRENDAN
Christ I must look a sight.
THERESA
No you look fine.
BRENDAN
Look it’s probably a bit late but do still want to go and do this. Salvage what’s left of the date?
THERESA
Yeah, sure I would like that very much.
Still holding hands the two of them walk off into the moonlight, smiling lovingly into each other’s eyes.
INT. BRENDAN’S FLAT, KITCHEN – LATER THAT NIGHT
The goldfish lies on the counter on its final breaths. All blurry in the background we hear the key in the lock and Brendan moves into the flat. He sees his fish straight away rushes to his aid.
BRENDAN
Ah Jesus, Austin not again.
Brendan grabs a skillet and scoops him up and plops him back into his bowl. AUSTEN is instantly revived the second he splashes into the water. No worse for wear after his ordeal. The phone RINGS.
BRENDAN (CONT’D)
(on phone)
Hello?
KAREN (O.O.V.)
(on phone)
It’s me. How did you get on?
BRENDAN
(on phone)
What, with Theresa? Oh okay.
He sounds completely under-whelmed.
KAREN (O.O.V.)
(on phone)
What, you didn’t like her?
BRENDAN
(on phone)
She was… okay. Nice. But I don’t think she’s the one for me.
KAREN (O.O.V.)
(on phone)
Oh that’s a shame. I thought you two would really get on. Do you think you will see her again?
BRENDAN
(on phone)
Nah, probably not.
(PAUSE)
KAREN (O.O.V.)
(on phone)
Well look there is a girl in accounts called Susan. She’s lovely… I think you two would really get on.
BRENDAN
(on phone)
No. Now wait just a minute…
KAREN (O.O.V.)
(on phone)
Look don’t go mad but I’ve already arranged it. You’re meeting her…
Are focus drifts to the goldfish bowl as we leave Brendan and his Sister arguing over the phone. We zoom in on the fish until it fills the screen.
Framed by a shrinking black circle it winks out. Then for a second blinks back in and we catch a wink from Austen.
FADE OUT.
END OF FILM
The Difference Between Night and Day
FADE IN:
EXT. FACTORY – DAY
Open to exterior of factory. The movement of the camera is in long slow sweeping arcs from left to right.
We hear the rhythmic pulse of machines. Bump, bump, bump, like a heartbeat. The cuts get a beat shorter with each sweep.
INT. FACTORY FLOOR – DAY
Men walking into work in tight packs.
Men doing dull repetitive.
Laughing, standing about drinking coffee and sharing jokes.
Three men in overalls work separately at machines, one, the team leader, SOUNDSLIKE, is filling out a factory quiz. He stops writing and looks up.
SOUNDSLIKE
Tone?
(louder)
TONE?
TONY snaps back his eyes flickering.
TONY
What?
SOUNDLIKE
Lightbulb just asked you a question.
TONY
(sighing)
What?
LIGHTBULB
The names of the original Magnificent Seven..?
TONY
What? I dunno… It doesn’t matter.
ANGRY HEAD
Course it fucking matters.
LIGHTBULB
Yeah. We’re stuck on two. We got Yul, McQueen, Coburn, Bronson and Robert Vaughn. Need two more. Any ideas?
TONY
Fuck. No. I don’t know. I don’t care. Shut up.
SOUNDSLIKE
Fucking hell Tony, what’s the matter with you? Just a bit of fun to pass the time.
TONY
That’s just it. Time doesn’t pass. It stands still. The same fucking thing every day. Every night. The same shit over and over. It’s monotonous, it’s boring, it’s shit.
He looks to them for agreement but they stare blankly ahead.
TONY (CONT’D)
(quieter)
Well it fucking is.
He goes back to working.
SOUNDSLIKE
It is… But. You just get used to it. You Will get used to it.
TONY
(whisper)
That’s just it I don’t want to.
ANGRY HEAD
Fuck Tone, you’ve only been here five minutes and you’re whinging.
TONY
(muttering)
Eight fucking months.
LIGHTBULB
The first five years are the worst.
SOUNDSLIKE
Tone, seriously, you’ve got to chill out. Stop thinking too much. We’ve all got to be here. The job’s not hard and we get paid as well.
He hugs Tony’s shoulders until he get a smile.
SOUNDSLIKE (CONT’D)
So we might as well have a laugh. Turn in, tunes on. And…
ALL
Fucking switch off!
Even Tony reluctantly, but he does not want to drop it just yet.
TONY
I know but… The same repetition. Every shift the same.
(to the roof with a tool)
Not knowing if it’s night or day. I… I… I just don’t know how you can do it.
SOUNDSLIKE
Sounds like someone needs to have a wank and just chill out.
Tony grins but it doesn’t last long.
SOUNDSLIKE (CONT’D)
You just get used to it. We’ve all been there. And you just do.
An idea forms in his mind.
LIGHTBULB
We could send him…
Angry Head flashes him a look that shuts him up.
TONY
What? Send me where?
Soundslike still thinking.
TONY
Just tell us.
LIGHTBULB
The Wizard. Send him to the Wizard.
Tony’s face falling a little because for a second he actually thought somebody might be able to help.
TONY
Porn? From the porn guy? Look, I don’t need po…
SOUNDSLIKE
Not him. Another guy. You don’t know him. He’s through The Wall.
TONY
And?
SOUNDSLIKE
He can help you.
TONY
Help me what?
SOUNDSLIKE
Feel better.
Tony pauses looking at their faces in turns still unsure if it’s a wind-up.
TONY
Did he help you?
SOUNDSLIKE
Yes.
TONY
You?
To Angry Head who nods reluctantly.
LIGHTBULB
Everyone sees the Wizard.
SOUNDSLIKE
Everyone here needs help. Now and then.
LIGHTBULB
He does tricks.
ANGRY HEAD
Shut up you tit!
TONY
So what now? Where’s he? Here? Do I need an appointment?
SOUNDSLIKE
Go. Just go now.
Looks for a pen and something to write on and scribbles something down.
TONY
Now?
(checking time)
It’s not break for another hour and a half.
SOUNDSLIKE
Don’t worry about that. Here.
(passes the paper over)
There’s the directions, just follow the stanchions. Just go.
TONY
What about the job?
SOUNDSLIKE
Don’t worry, we’ll cover.
He moves off still worried about leaving his post mid-shift, turning back after a few seconds.
TONY
If this is a wind-up I’ll see me arse. It’s not no fucking “glass hammers” and “long weight” shit is it?
SOUNDSLIKE
It’s not.
All three of them look earnest. The FOREMAN walks up looking at his watch.
FOREMAN
Where do you think you’re going? It’s not Blow Time yet.
Tony looks worried.
SOUNDSLIKE
It’s alright. He’s off to see the Wizard.
FOREMAN
Oh okay, off you go then.
He waves him off with his pen and jabs it at the others to get back to work, then walks off.
Tony walks a little bit further but turns back again. They’re all grinning, watching him.
LIGHTBULB
Get him to do some magic.
ANGRY HEAD
Good luck Dorothy.
SOUNDLIKE
Yeah, follow the yellow brick road.
LIGHTBULB
(Singing badly)
He’s off to see the Wizard.
They all join in singing and soon the whole factory joins in and they all fall about laughing.
Tony heads off through The Wall which is just a black square doorway. It’s like he’s entering a cave on some quest.
INT. A DARKER PART OF THE FACTORY – AS NIGHT
Tony comes through the other side of The Wall. It is darker here. An absence of people but noisier because there are more machines here.
He follows the yellow pedestrian traffic lines.
He stops once to ask directions. An old guy directs him to some metal stairs.
He finds the right stanchion and holding the piece of paper looks up to see that it matches his instructions.
P9 and three quarters. The three quarters has been added in sloppy paint.
TONY
Nine and Three Quarters. Very amusing.
He crumples the piece of paper and throws it away in disgust.
To his left a door in the shadows creaks open. A strip of light reveals a room and a shape shuffling about inside.
He edges forward and sees an Old Man tinkering in a workshop.
The Old Man framed in the light has a big cigar in his mouth and is going through the motions of looking for a light.
He pats his breast pockets theatrically.
Then being unable to find any matches he lights the cigar with his thumb and puffs merrily away on it.
Tony’s eyes widen.
A metal CLANG somewhere off in the factory.
He looks to the sound of the noise. When he looks back the Old Man has moved out of the frame.
He edges closer towards the door, rapping lightly as he pushes it further open.
INT. THE WIZARD’S WORKSHOP - NIGHT
The old guy tinkers without turning or looking up from what he is doing.
THE WIZARD
Hello.
TONY
Hello? Hi. Er, hello. Yeah, I’m looking for the Wizard.
WIZARD
You found him. Come in I won’t bite.
Tony edges all the way in. He stands looking about the workshop.
The WIZARD finally stops and turns round.
WIZARD (CONT’D)
Well? What can I do for you?
TONY
Tony. Just Tony.
WIZARD
Well Tony, what can I do for you?
The Wizard sits down but continues to stare at him.
TONY
I dunno. The lads said to come and see you. Said you could help me.
WIZARD
With what?
TONY
I dunno. This place. Me. Look, I hate it here. It’s driving me mental. I…
WIZARD
Then leave. It’s not a prison. Walk out the gate and go do something else.
TONY
I can’t.
WIZARD
Can’t or won’t?
TONY
Me and Angie have just bought a house and we’re trying for a kiddy and…
WIZARD
I can’t help you Tony.
TONY
Can’t or won’t.
WIZARD
Hmmph! I said it wasn’t a prison. But we create our own prisons. Haven’t you not learned that already? What do you really expect me to do?
TONY
I dunno, help? Advice?
WIZARD
Wave my little magic wand and make it all better.
TONY
Well yeah.
WIZARD
Sorry can’t help you.
TONY
Tell you what, forget it. I’m out of here. Fuck I don’t even know why I came down here in the first place.
WIZARD
They come for the wisdom of the wise.
The Wizard does an impressive flourish with his hands.
WIZARD (CONT’D)
But they stay, for the magic.
TONY
Look, I’m going. You’re just some lonely nutter whose been down here on his own for too long.
WIZARD
Tell you what, I’ll show you a trick. I bet that’s what they said. Your friends, that sent you down here. I bet they said, “Get him to show you a magic trick.”
TONY
Yeah, that’s right.
WIZARD
Go on, what harm could it do?
The old guy spreads the card out in a fan, face down, on the table.
WIZARD (CONT’D)
Forgive the cliché but, “Pick a card”.
Tony teases one out but leaves it on the table without turning it. The old guy turns back round.
WIZARD (CONT’D)
The Eight of Spades.
TONY
I haven’t even looked yet.
WIZARD
It doesn’t matter. It’s still the Eight of Spades.
Tony turns the chosen card over, it is indeed the Eight of Spades.
TONY
So how you do it? What are they, all the Eight of Spades?
Tony makes to turn the rest of the pack over but the old guy’s next words stop him.
WIZARD
That would be a trick. An illusion. Where’s the fun? Where’s the magic?
TONY
So how is it done?
WIZARD
Bah! Where’s the trap-door? Where’s the strings? Does it matter? Don’t you remember what it was like when you were a kid? It was all about that wonder. You didn’t care how it was done. You just pissed your pants at the belief it could happen. If you’re forever looking to see how it’s done you lose that sense of awe. Sheer wonderment. Remember?
TONY
It wasn’t that impressive. And any way what’s wrong with wanting to know how shit’s done? Speaking of which, just before I came in you were looking for a match, did I see you..?
WIZARD
Nothing wrong with that I suppose. Except waste time and brain space. Some things don’t need explaining. They just are. Miracles happen all the time and you don’t need them explaining. The sun rises, babies are born and men like me and you work all the long good day in shitty thankless jobs. Is it all an illusion or magic? It’s up to you.
Tony ponders this for a moment.
TONY
So what you’re saying is that how I feel when I’m here is basically down to me and not this place? And I, only I can change that? Simple as that?
WIZARD
Yup.
He turns them over. They are all the Eight of Spades.
TONY
Sounds like bullshit. A couple of party tricks and a pseudo David Blaine philosophy. Some wannabe Alistair Crowley isn’t gonna cut it with me. That may work with the rest of the brain dead morons in here but not me.
WIZARD
You’re smarter.
TONY
Fucking A!
WIZARD
You know best.
TONY
I’m out of here.
THE WIZARD
Drop by anytime.
Tony looks at him a moment.
The old guy holds his gaze. Then feeling that there is nothing more to say he turns to storm out.
TONY
Fraud.
WIZARD
There was one more thing. I wonder if you would mind looking at this before you go.
TONY
What now?
He turns, The Wizard is holding his hand out. It’s empty but Tony is concentrating on the guy’s face.
WIZARD
This.
At first his palm is empty. Tony goes to protest but The Wizard shushes him.
A tiny white spark appears an inch above his palm. It grows quickly to the size of a tennis ball.
TONY
It’s beautiful.
It disappears, winking suddenly out.
Tony only snaps back when the old guy CREAKS back into his chair.
TONY
What the hell just happened? What the hell was that?
WIZARD
Magic. I’ll see you around then.
He waves him off. Tony almost stumbles backwards.
TONY
(whisper)
Yeah, sure.
Tony walks off in mild shock.
INT. FACTORY FLOOR – DAY
The lads wait with grins and questions.
He says nothing but picks up his tools and begins to work. Soundslike shushes the others.
SOUNDSLIKE
You okay?
TONY
Yeah, fine. Thanks.
Soundslike leaves him to it. He is now working with a new vigour and unable to stop smiling.
TONY
Brad Dexter and Horst Buckholz.
LIGHTBULB
What?
TONY
That’s the answer to the quiz. They played the other two in The Magnificent Seven. Dexter was Harry Luck and Buckholz played Chico.
ANGRY HEAD
Are you sure?
TONY
Yup.
LIGHTBULB
He’s fucking right and all. Get it written.
Soundslike fills in the answers. They all LAUGH.
FADE OUT.
Nightwatchers
FADE IN:
INT. CRYPT – NIGHT - DREAM
SERIES OF SHOTS:
A) A crypt wall.
B) A woman dressed in white.
C) Bare feet on a stone floor.
D) A gargoyle statue.
E) Her hand stroking it. Her hand in the maw of the gargoyle.
F) Its mouth closes and her palm is pinned.
G) A tooth shoots through her palm. Blood. Teeth snap ripping through bone. More blood.
NANNA (O.O.V.)
I love you.
END DREAM
INT. CARLIE’S APARTMENT – EVENING
CARLIE STANLEY (25), terrified sits up at her desk.
A moment, then she frantically checks her hand. There is a pinprick of blood on one finger.
There is also blood in the corner of the book she has slept on, she closes the book.
Carlie wanders around the apartment. She starts her answer machine.
MACHINE VOICE
(on answer machine)
You have two new messages. Beep. First new message.
Her fridge is empty apart from a slice of pizza, which she slams in the oven.
CARLIE’S MUM
(on answer machine)
Hi treasure. We’re missing you. Haven’t heard hide nor hair from you since the funeral.
She picks up a photograph of her grandfather and a little girl, standing by a statue.
The image comes alive, the old man grabs her nose.
CARLIE’S MUM (CONT’D)
(on answer machine)
Your dad says Hi. He’s waving. Be careful. Clean knickers love, remember. Hope you’re doing okay. Give us a call. I don’t think she’s in.
(hangs up)
Carlie holds the photograph lovingly to her chest.
MACHINE VOICE
(on answer machine)
Beep. Second new message. Beep.
TOM
(on answer machine)
Hi Cars, Tom here. Look I won’t be able to make it tomorrow.
(NOISY BAR in the background)
I haven’t heard from you in weeks. You don’t answer my texts, return my messages – what the fuck is going on? Are you Amish or what? Come out, reconnect. Actually… you know what, this isn’t working. You know what, fuck it, it’s over.
(GARBLE. MUSIC. LAUGHING.)
(hangs up)
CARLIE
I miss you so much.
MACHINE VOICE
(on answer machine)
Beep. End of messages.
She places the photograph down.
She stares at her sad reflection in a mirror.
INTERCUT - INT. HALLWAY/CARLIE’S APARTMENT – NIGHT
A man heavily in shadow enters. He stops.
(beat)
He reaches up, unscrews a light bulb and pockets it.
He turns and faces a door and RINGS the buzzer.
His face is still hidden.
INTERCUT:
Carlie reacts to the noise and heads to the door.
She peers through the spy-hole.
CARLIE
Yeah, hello?
OLENUS (O.O.V.)
(male and deep)
Carlie? Carlie Stanley?
CARLIE
Hello? Yes. Can I help you?
OLENUS (O.O.V.)
Please don’t be alarmed.
(cultured, kind and slightly embarrassed)
CARLIE
I’m not alarmed, simply cautious at this stage. Just so you know I have a bat. Well what is it you want? It’s late, do I know you?
INTERCUT:
The man rummages in his pocket and pulls out an envelope and slides it under the door.
INTERCUT:
It appears at her feet, Carlie simply stares at it.
OLENUS (O.O.V.)
It’s about your grandfather.
CARLIE
What? My grandfather? Sorry, my grandfather is -
OLENUS (O.O.V.)
Dead. Yes I know. That’s partly the reason I am here. My name is Olenus.
CARLIE
Sorry? Did you say, Olenus?
OLENUS (O.O.V.)
Yes Olenus. I am an old friend of your family. Your grandfather asked if anything ever happened to him that I would come and speak with you.
Carlie fishes for her necklace. It reads: “TRUST OLENUS” And on the reverse it reads: “LOVE GRANDDAD”
CARLIE
Really? About what?
INTERCUT:
OLENUS
Please, the letter.
INT. CARLIE’S APARTMENT - NIGHT
She opens it and quickly scans the contents.
TED (V.O.)
Trust Olenus.
She grabs a baseball bat and opens the door.
CARLIE
Come in then if you’re coming.
Olenus stands there and Carlie begins to fuss.
CARLIE (CONT’D)
Thirsty? With all the creeping around. Would you like a drink?
OLENUS
No. No thank you.
(pause)
Your kitchen is on fire.
Smoke from the kitchen and she rushes away cursing.
She comes back Olenus has sat down, the lamp off, his face is still hidden.
CARLIE
So what’s all this about? Going to be some huge revelation about me is there? All a bit cloak and dagger isn’t it.
She sits at a distance on a stool, cradling the bat.
OLENUS
I know why you have nightmares.
CARLIE
You can’t possibly kno…
OLENUS
Let me explain. Ted wanted me to tell you a story about him. I need you to understand. Please, I gave my word.
CARLIE
God you’re so annoyingly polite. Fine. What kind of story? A ghost story? OLENUS
There are ghosts in it.
CARLIE
Really?
OLENUS
Really – Now your grandfather…
INT. TED’S KITCHEN – EARLY EVENING - FLASHBACK
TED (50), grumpily sitting at the breakfast table. ROSE (48), standing cooking and STEFF (20) fussing over baby CARLIE (4) sitting in a high chair.
Ted likes order and routine. His cutlery and condiments our lined up with precision. He has his watch in his hand, watching the seconds.
OLENUS (V.O.)
… was an uncomplicated man. A good man as you probably remember. However this was not always the case. Back then he was, well let’s say different. For the most part he enjoyed life and loved his family. Rose his loving wife…
His breakfast is placed in front of him by Rose at exactly the right time.
OLENUS CONT’D (V.O.)
…daughter Steff…
STEFF
Evening Dad.
TED
(tucking in, not looking at her)
No. Morning, I think you’ll find.
Steff goes to correct him but behind Ted’s back Rose gives her a “just leave it face”.
OLENUS (V.O.)
…and a beautiful granddaughter, you.
Baby Carlie gurgles in front of him. She flicks a spoonful of porridge at Ted.
He silently fumes and methodically wipes himself clean with a napkin.
Ted leaves for work – he kisses Rose goodbye.
OLENUS CONT’D (V.O.)
He just had a little trouble showing it to them.
END FLASHBACK
INT. CARLIE’S FLAT – NIGHT
Carlie almost up and out of chair in frustration.
CARLIE
Wait – wait – Bollocks! What do you mean by, had trouble showing it to them? My granddad was a great man. A loving kind man. Look is this actually going anywhere! I have a paper to finish before morning and…
OLENUS
You’re forgetting I knew Ted a lot longer than you. This is important. I’m trying to tell this right. Please don’t interrupt.
CARLIE
Alright but I haven’t got all night.
EXT. WASTELAND – LATE AFTERNOON - FLASHBACK
A bored Ted walks around a white cabin.
OLENUS (V.O.)
Ted was a security guard for a plot of land.
He stops, scratches, shines his torch on and off in his face. Picks his nose, wipes it discretely.
OLENUS CONT’D (V.O.)
Property developers bought it hoping to make a killing through urban regeneration.
Being a relatively unimaginative man and lacking in ambition the job suited him just fine.
CARLIE (V.O.)
Hey, this is my grandfather we are talking about.
INT. PORTA CABIN – LATE AFTERNOON
Ted enters the cabin, inside there is simple furniture and a small kitchen.
Ted passes the day watchman ALAN (35).
TED
Alan.
ALAN
Ted.
Ted sees the mess Alan has left. He shakes his head and starts to clean up.
EXT. WASTELAND – DAY
Ted stands front of a large advertisement hoarding and watches a new poster being erected.
OLENUS (V.O.)
The owners of the land made promises of this and that. Things to be built. First it was a new superstore.
Ted unimpressed looks at new poster for a car park.
OLENUS CONT’D (V.O.)
Then a new multi-storied car park.
Ted static as a procession of changing posters fill the hoarding all promising something different.
OLENUS CONT’D (V.O.)
All things promised but never to materialize.
Ted watches the bill poster finishing the latest poster, luxury apartments this time.
He turns and gives the thumbs up to Ted.
TED
That’ll be the bloody day!
INT. CARLIE’S FLAT - NIGHT
Carlie more relaxed, is now listening intently.
CARLIE
You have a beautiful voice. I think I could listen to it all day.
OLENUS
Eventually all the different plans fell through…
INT. PORTA CABIN – NIGHT
TED sits reading a book.
OLENUS (V.O.)
…so Ted, being a patient man, kept watch and waited.
(pause)
Now you see Ted had never truly been aware of his hands. That is, what they really looked like. For him, every night was like discovering them for the very first time.
CARLIE (V.O.)
His hands?
OLENUS (V.O.)
Yes, his hands.
Blood seeps through a page of the book.
TED
Ah bloody hell.
Blood glistens from Ted’s finger and drops to the floor.
Ted stomps over to the sink.
Water and blood mingles down the plughole. He gets a plaster from the cupboard.
He looks at the clock, five to midnight.
Then at the door.
He sits back down to his book. A LOUD BANG and Ted looks up startled.
INT. TED’S BEDROOM – AFTERNOON
Ted wakes up in his bedroom.
OLENUS (V.O.)
Only when Ted wakes up he has forgotten the whole thing. The blood, his fingers, everything, all forgotten. And the same thing happens again the next night. The very same thing over and over.
INT. TED’S KITCHEN – DAY
Ted has breakfast.
He kisses Rose on the cheek as he walks out the door. We hear the TOOT of his horn as he drives off.
INT. PORTA CABIN – EARLY EVEING
SERIES OF SHOTS:
A) Ted arriving at work.
B) Ted reading, noticing the blood on the page.
C) Changing his plaster.
D) He looks at clock.
E) Looks at the door, a deeper frown this time. A double take.
F) Then he sits back down and continues to read.
OLENUS (V.O.)
Over and over. Never remembering the next day… Until!
G) A CRASH from above, the looks up in shock.
INTERCUT - INT. TED’S BEDROOM/EXT. CEMETERY – NIGHT
Ted wakes up with a start.
He picks the clock up but it is too early.
He lies back down and closes his eyes.
OLENUS (V.O.)
Something different happens.
INTERCUT:
Ted opens them up in a cemetery still wearing his pajamas. The wind is whipping about.
Ted closes his eyes.
INTERCUT:
He opens them back in bed. He closes them again.
INTERCUT:
And they open back up in the cemetery. Leaves fly about.
NANNA (O.O.V.)
Teddy. Teddy. It’s time little teddy bear.
There is an UNGODLY SCREECH.
NANNA CONT’D (O.O.V.)
Time to. Wake! Up!
INT. TED’S BEDROOM – DAY
Ted wakes up with a start.
INT. TED’S KITCHEN – DAY
Ted walks into kitchen, Rose is making breakfast.
OLENUS (V.O.)
But today something is just not quite right.
Ted eats and looks distracted.
He leaves barely remembering to kiss Rose.
He drives off, his TOOT a bit late.
EXT. WASTELAND – DUSK
Ted still distracted swaps shifts with Alan.
INT. PORTA CABIN – NIGHT
It is half eleven and Ted is reading.
Blood seeps through the page.
A spot of blood drops on his shirt.
TED
Shite. Rose is gonna bloody kill me.
NANNA (O.O.V.)
Teddy bear. It’s time!
Ted stands, searching for the source of the voice.
He sees the blood on the page. He turns the page, another identical red blob, another page the same.
He flicks through the book, each page has blood.
TED
What the fu…
He throws the book away in disgust.
He notices his hands as if for the very first time. The fingers look terrible. He begins to
TED (CONT’D)
When the hell did I do this?
He tugs off plasters as he walks to the sink.
He washes hands, water and blood mingle.
His face is white in the mirror.
He reaches to the cupboard and notices the blood streaks around the handle.
He opens the cupboard, inside a brown box, bloody handprints all over it.
He ignores it and affixes clean plasters.
OLENUS (V.O.)
But now that he had seen, he could no longer not see.
Ted sees blood spots wherever he looks.
TED
Get a grip on yourself Ted.
TED grabs a cloth and begins to wipe surfaces. He gets mop out and frantically cleans the cabin.
OLENUS (V.O.)
But the more he tried to reassure himself the less confident he felt. But Ted being Ted, he fathomed that he would stay calm till morning and have Rose sort it all out.
TED
Yeah. Yeah. Right emergency over, back to me book.
He stops and looks at the clock. A quarter to twelve. He stares at the door. He watches the glass window. The sound like a BIG DOG RUNNING outside.
The clock ticks to midnight.
There is a CRASH on the roof. He jumps.
EXT. PORTA CABIN – MORNING
Shift change. ALAN arrives. TED bustles past him.
OLENUS (V.O.)
But come morning. He had forgotten everything again.
ALAN
Ted. Ted? Ted!
TED gets in his car and drives off in a hurry.
INT. TED’S BEDROOM – DAY
TED wearing blue and white striped pajamas, he picks up an old picture of NANNA.
EXT. CHURCH GROUNDS– DAY - FLASHBACK
NANNA is talking and pointing at a detail on the church. She is domineering, YOUNG TED looks scared.
END FLASHBACK
INT. TED’S BEDROOM – DAY
He places the picture back down. TED gets into bed. He stares at his hands, then turns off the light. TED settles then dreams.
INT. TED’S PARENTS HOUSE – NIGHT - DREAM
YOUNG TED still wearing the blue pajamas sits up in bed. He climbs out and tiptoes out onto the landing.
INT. NANNA’S ROOM – NIGHT
He enters and closes the door. It is a shrine to the great woman. At the window an open coffin. NANNA is inside. He passes a painting of NANNA. He stops at the coffin.
He turns to face the portrait, NANNA looks younger but is still scary.
WHISPERING. Something creepy flashes past the windows. A SHRIEK. He spins round but it is gone. His back now to the open coffin. He looks at NANNA’S black veiled face. Her eyes open. TED stumbles.
PAINTING NANNA
They’re coming for you Edward!
NANNA leans out of painting and grabs him close.
PAINTING NANNA (CONT’D)
Little Teddy Bear!
END DREAM
INT. TED’S BEDROOM – DAY
TED sits bolt upright in bed.
TED
Ah Jesus Christ!
TED sweating and shaking gets out of bed. He looks at the framed picture of NANNA on the dresser.
TED (CONT’D)
What’s happening to me?
He turns the photo face down. He gets dressed.
INT. TED’S KITCHEN – DAY
TED full of anxiety going through the motions. STEFF bustles around with LITTLE CARLIE. He ignores them. ROSE notices he is not himself. They all do.
He packs his work stuff oblivious as he passes ROSE.
He drives off, no TOOT this time. ROSE worried.
EXT. WASTELAND – DAY
TED ignores ALAN. ALAN shakes his head.
INT. PORTA CABIN – NIGHT
TED agitated watches the clock and the door. His hands drip growing circles of blood on the floor.
He ambles towards the sink. Plasters off. Red vortex.
His hand hovers at the handle. He opens it and sees the brown medicine box. He rips the box apart and hundreds of plasters spill out across the counter.
It is almost twelve. The light FIZZES and goes out. A CRASH on the ceiling. He sits on the floor.
TED
I’m shaking like a shitting dog.
With both hands he steadies the torch. Its beam plots the course of the creature across the roof.
A CRASH as the thing lands outside the door. The torch skitters across the floor and goes out. The handle shakes. Ted SCREAMS.
INT. PORTA CABIN – DAY
ALAN arrives. ALAN sticks his head through the door.
ALAN
You alright?
Ted stood at the sink in just his shirt, naked from the waist down, frantically scrubbing at his pants.
TED
Yeah. I’m fine.
He scrubs harder. ALAN comes further in.
ALAN
What have you done?
TED
Er nothing. Just a dodgy chicken sarni the wife packed.
ALAN spots the stained underpants on the radiator.
ALAN
You shit yourself?
TED
Things change when you get older.
ALAN laughs, teasing. TED grabs his underpants and strides out. ALAN follows him.
ALAN
Shitty arse!
INT. TED’S KITCHEN – DAY
TED enters and throws his pants in the laundry.
ALAN (V.O.)
(hysterical)
Shitty arse!
TED
Hello! Rose! Steff!
No answer. He moves through the house. There is a resolve to him now. He knows what he must do.
INT. TED’S BEDROOM – DAY
TED goes to bed in his pajamas. He closes his eyes.
INT. NANNA’S ROOM – NIGHT - DREAM
YOUNG TED enters, the furniture covered in white sheets. He pulls one off NANNA’S painting. It is empty. The cemetery from his dream is in the b/g. He pulls a chair over and climbs into the painting.
EXT. CEMETARY – NIGHT
TED barefoot. The trees sway and the wind picks up.
TED
Nanna! Nan-
A wet leaf smacks him in the face. He peels it off.
TED (CONT’D)
Nanna!
NANNA (O.O.V.)
Oh do stop calling you stupid boy. I heard you the first time.
TED spins, NANNA is approaching from the shadows, she looks younger.
TED
What is happening to me? Am I losing my mind?
She glares at him, TED holds her gaze, her face softens.
NANNA
No. Rather than losing it you are finding it again. You are beginning to see the world as it really is.
(gently)
Walk with me.
The wind stops, clouds clear to reveal a night sky.
NANNA (CONT’D)
How much do you remember of our time together?
TED
Scraps. Not much. Long walks. Lots of churches, graveyards and old buildings. Actually - not much really. Is it to do with?
NANNA
Yes. It will all come back to you eventually.
TED
You mean what happens to my hands?
NANNA nods. There is a SCREECH and the sound of FLAPPING. He sees a glimpse of a black shape.
TED (CONT’D)
What in Christ’s name was that?
Adult TED runs behind NANNA.
NANNA
That is them.
YOUNG TED peeks out from under NANNA’s arm
YOUNG TED
Them? - the ones that come every night?
NANNA
See, you are starting to remember. Don’t be such a silly boy, they can’t hurt. Well, actually… Oh, I suppose I better go through this. One. More. Time.
INT. ROMAN CHURCH – NIGHT - 1400
A group of 15th Century bishops huddle over scrolls with drawings of monsters on them.
NANNA (V.O.)
A long time ago, the church became aware of a type of creature that feeds on the living. It had been written and spoken about for centuries in myth and legend but up until that point, it had always been dismissed as just that. Tall tales.
TED (V.O.)
What changed their minds?
Their WHISPERS stop as a creature in chains. We barely see it but it is not human. It HISSES and the clergy GASP and make signs of the cross.
NANNA (V.O.)
They caught one alive. When I say alive I just mean moving. They are not alive in the same definition as you and I are.
EXT. CEMETARY – NIGHT
TED raises his eyebrows and snorts.
NANNA (CONT’D)
Don’t get smart with me boy. They do not possess a soul.
INT – INQUISITION CHAMBER – NIGHT - 1400
Priests PRAY over the creature, most of its body hidden on its knees. A huge hammer is raised.
NANNA CONT’D (V.O.)
Well first - being the blinded, repressed bunch that they were, they set about destroying them. Wiping them out.
EXT. WOODS – NIGHT - 1465
A hunting party, priests and soldiers chase the creatures through the thicket.
NANNA CONT’D (V.O.)
After years of war…
INT. ROMAN CHURCH – NIGHT - 1480
The elders and the gargoyles forge an alliance.
NANNA CONT’D (V.O.)
The church decided rather than destroying them, they should employ them. For services to the church, they offered them sanctuary and a safe place to feed. And so it went for a couple of centuries. Until some fire and brimstone bishop decided that the modern church should not be harboring demons. So off they set again, wiping them out. Once you know their secrets they are remarkably easy to destroy.
The jailer’s hammer SMASHES the creature’s head.
EXT. CEMETERY – NIGHT
The noise carries over.
NANNA (CONT’D)
But in time the church simply forgot its bargain. It’s a s4hame really - that they were not more thorough in their fanaticism.
TED
How so?
NANNA
Some survived. Other matters became more pressing. Wars and such. But just because the church forgot did not mean that the contract would just be dissolved.
(raises her hands)
The debt still had to paid.
TED shrugs not understanding.
NANNA (CONT’D)
In blood! That was the price.
TED
What’s that got to do with me?
INT. STATLEY HOME – NIGHT - 1588
Priests gesturing to a list on a table, nervous men stand about. Names are signed in blood.
NANNA (V.O.)
I am getting to that bit. Over two dozen families were chosen, ones loyal to the church. Volunteers. Chosen for the honour of being both ward and keepers of the demons.
A creature’s hand snatches the signed scroll off the table.
A sepia parchment with a long family tree. The names through history to modern day to TED and CARLIE.
EXT. CEMETARY – NIGHT
TED looks up at the stone tablet on the church wall.
TED (V.O.)
Bloody hell.
NANNA (V.O.)
The only relief is that it skips a generation. It fell to me. Jumps one missing your father - and now you.
TED
But… But that means. Christ Little Carlie. Ah Christ. Is there no way to get out of it?
NANNA
Death is the only way of… avoidance.
TED
She’s too young for all this. If anything happened to me.
NANNA
And you’re doing such a grand job of taking care of yourself. Easy Edward, you still have time to prepare her for what is to come. Establish a link.
TED
What’s the point if she is not going to remember?
NANNA
When there is no link it can lead to breakdowns, all manner of mental problems. It is imperative you set it up with little Carlie as soon as possible.
TED
What happens if I don’t believe it? What if I refuse?
NANNA
You! Can! Not! Refuse!
(Ted cowers, she softens)
They have the right to take it. By force if necessary. Imagine the mind awake and have to suffer this indignity against ones will. Don’t look so glum Teddy. It’s not all bad. They are not intelligent creatures but nor are they mindless. Once we have paid them their due, they must in turn pay theirs.
TED
Pay theirs? Pay how?
NANNA
Well. They will then do whatever you tell.
(evil in her eyes)
Whatever you wish.
EXT. ALLEYWAY – NIGHT - FLASHBACK
YOUNG NANNA in gothic Victorian garb stops two thugs raping a girl. The girl runs off.
NANNA gives a signal and a beast rushes past her, smiling as the men are killed out of sight.
NANNA (V.O.)
You have earned it. It is your birthright. Do everything, do nothing. Be good, be bad.
(LIGHTENING FLASH)
Have some fun.
END FLASHBACK AND DREAM
INT. CARLIE’S FLAT - NIGHT
CARLIE has lost the bat and has pulled her stool closer towards OLENUS, gripped by the tale.
CARLIE
Wait, wait, Nanna did what?
OLENUS shrugs.
EXT. CEMETERY – NIGHT - DREAM
Nanna begins to fade.
NANNA
There is nothing more I can tell you. The rest is up to you…
She disappears.
NANNA CONT’D (O.O.V.)
…my lovely Teddy bear.
TED
Wait!
TED runs around the tree but she evaporates.
TED (CONT’D)
Don’t go. Come back. I need to known more. Come baaaack! Nan-
TED crashes into branches, struggling, screaming…
END DREAM
INT. TED’S BEDROOM – AFTERNOON - FLASHBACK
His voice becomes the sound of an ALARM CLOCK. Trapped in his duvet. He silences the clock.
TED now no longer afraid gets up.
EXT. TED’S KITCHEN – LATE AFTERNOON
He walks past ROSE who sticks her cheek out. He walks past her then stops. They kiss passionately. She is stunned, grinning like a teenager.
He hugs STEFF, pinches CARLIE on the nose and grinning leaves.
He drives off TOOTING wildly.
EXT. WASTERLAND – LATE AFTERNOON
He arrives at work. ALAN waits on the stone steps grinning. TED strides past him.
ALAN
Shitty a-
TED slams his head into the wall and goes inside.
INT. PORTA CABIN – LATE AFTERNOON
The cabin is a mess as usual. He leans back out the door. ALAN gets in his car, no longer grinning, rubbing his head.
TED
And you can start cleaning your own bloody mess up an all.
INT. PORTA CABIN - NIGHT
TED reading, turning the bloody pages. He checks the time. Quarter to midnight.
A brief flash of NANNA, himself and baby CARLIE and a bloodline.
A GARGOYLE being killed in the shadows.
A SCREAM. A vicious attack.
He stands at the door dripping blood, hand hovering by the handle. He turns it and goes outside.
EXT. PORTA CABIN – NIGHT
He does a complete 360 degree turn. Nothing. A SCREECH. He freezes. Distant FLAPPING.
THUD! He shines his torch at the roof. Nothing. Another SOUND. He trips, losing the torch. He picks up the torch shining it on the creature.
TED
Jesus! Mary and Joseph!
A FEMALE GARGOYLE stands in front of him.
FEMALE GARGOYLE
Cheeezzzzuuuuuussssss.
The light hurts it. It HISSES and moves forward.
THUD! A MALE GARGOYLE drops from the roof. They circle him. He trips, they waddle into the light. TED lifts his hand, they watch as if hypnotised.
NANNA (O.O.V.)
…they will have their due with your consent or not.
He pulls off the plasters with his teeth, holds his hands like a preacher. They take a hand and drink.
TED
Go on drink. Knock yourselves out. You’re not animals, no matter what Nanna said. Ted.
(tapping badge)
Ted Curry.
GARGOLYES
Teeeed Stanleeee…
He wobbles and uses their heads as support.
TED
Now, both of you come inside. I want to tell you something.
TED walks up the steps, the GARGOYLES follow, the door shuts. A kettle BOILS and a chair SCRAPES back.
TED (CONT’D)
Just dim the lights. Right then lets start with your names.
END FLASHBACK
INT. CARLIE’S FLAT - NIGHT
CARLIE stands there, teary eyed.
CARLIE
Oh my god.
OLENUS
Ted discovered that they didn’t have names. So he named them. He came to love them and they in turn loved him. Rather than turning them into things of fear like Nanna did. Ted brought them into his home made them family and introduced them to its one other special member.
CARLIE
Me.
OLENUS
You.
INT. LITTLE CARLIE’S BEDROOM – NIGHT
Baby Carlie in her cot, being introduced to the MALE GARGOYLE. Baby Carlie grins, waving her doll.
CARLIE (V.O.)
I remember, Olenus. I remember.
OLENUS (V.O.)
Back then you used to call me-
BABY CARLIE
Mr Olly.
INT. CARLIE’S FLAT - NIGHT
OLENUS removes his hat –
CARLIE
Mr Olly? But that’s impossible. That’s just something I made up.
- and flicks the on lamp.
CARLIE (CONT’D)
Jesus.
OLENUS
Not quite. Though I have been associated with some of the lesser known fallen angels.
(upset by her reaction)
I am so sorry. I did not meant to startle you. Really, I am truly sorry. I will leave if you wish?
CARLIE
No! No I just meant I never imagined. You’re real. So it’s all true. All of it. I’m not having a nervous breakdown?
OLENUS
No, I am afraid not.
CARLIE
Its not every day you find out your imaginary childhood friend is real. So – where’s Lethaea?
OLENUS
Lethaea is dead.
Flash image of Lethaea dying. A horrible SCREAM.
CARLIE
I’m so sorry. You must be so l-
OLENUS
There is just me. But I am not alone.
She sits next to him. CARLIE’S stomach rumbles.
CARLIE
Sorry, haven’t eaten much today.
OLENUS
No neither have I.
CARLIE
You… Oh? Oh of course I should have realized. How rude am I?
OLENUS
Thank you, you are very kind.
CARLIE
(notices pin prick on finger)
Oh. Have we done this before? Of course we have except I don’t remember, right?
OLENUS
Every night since your grandfather died.
CARLIE
Oh. It’s all right Mr Olly. I’m sure you were the perfect gentleman.
He delicately pricks her finger with a pin, then sucks from it. Finishing he smiles guiltily. She picks up the picture of her and Ted.
CARLIE
I miss him so much.
OLENUS
I know… I do too.
We now see that the statue is Olenus in the b/g.
CARLIE
Hey! That’s you. Hah! Freaky.
OLENUS
Got your nose.
CARLIE
I’m going to forget all this again aren’t I?
OLENUS
Yes. It won’t be forever. And it will be easier from now on.
CARLIE
But what about? Wait! Are you going?
OLENUS
Sunrise is nearly upon us.
CARLIE
But – why? Oh the daylight. Stay with me. Please. For as long as you can at least.
OLENUS sits, they snuggles and watch the sunrise.
CARLIE (CONT’D)
It’s good to see you again Olenus.
FADE OUT.
END
TIX TOX - Episode 1: Magic Bootz
FADE IN:
EXT. LONDON – NIGHT - 1858
Smoky cobbled empty streets.
In an alleyway stand twins, a boy and girl of about twelve. They are thin, dressed in rags and both have long fine white albino hair.
The girl TAM is rubbing her hands together fretfully over her kneeling brother, TIM.
Tim is hunched over a cardboard box writing carefully.
CADUCEUS (O.S.)
Quickly children, they are coming. You must hurry.
A huge shadow of a wolf is cast upon the wall.
Tim finishes writing on the box and stands up.
TIM
There. I think that’s right, though it makes little sense.
TAM
Hurry The Tox. Oh God, they’re nearly here. I can hear them.
An ODD CLOCKWORK NOISE, a POLICE WHISTLE then SHOUTING from a distance.
The huge wolf shadow of Caduceus paces back and forth GROWLING.
The twins join hands and begin WHISPERING.
A light glows from their fingers and a small ball of white light appears. With their hands raised they keep it suspended and continue to WHISPER.
Paper and rags stream from all corners and slowly begin piling up. In seconds a fully formed shape of a man stands there.
CADUCEUS (O.S.)
(laughing)
By the Great Gods that trixum never fails to astound.
The MAN OF RAGS bends down and picks up the box.
The Man of Rags lurches out from the alley heading towards the light of the Post Master’s office.
The twins still hiding watch it go.
INT. POST OFFICE – NIGHT
A quill pen scribbles in a ledger. A bell JINGLES above the door.
POST MASTER
I’m sorry, Sir, we’re closed. You will have to return in the morning.
The Man of Rags shuffles forward and places the box on the counter with a THUMP.
The Post Master looks up about to protest then changes his mind.
POST MASTER (CONT’D)
(swallowing)
What was it you wanted?
When the Man of Rags speaks it is with the twins’ voices, the action cutting back and forth to them.
MAN OF RAGS/TIM/TAM
You shall take this box and hide it away safe.
POST MASTER
Of course Sir.
He takes the box, he now looks slightly hypnotised.
MAN OF RAGS/TIM/TAM
It has glamour that will keep it hidden. It will stay hidden until the time it is ready for it to be finally delivered.
He processes the box.
RAGS/TIM/TAM (CONT’D)
You will forget but the box will be protected.
The Man of Rags turns and leaves the post office.
The Post Master follows him, SLAMS the door and quickly locks it. He stares out and then pulls the blinds down.
EXT. STREET – NIGHT
Two policemen spot The Man of Rags and chase after it.
POLICE MAN #1
You, halt!
The Man of Rags begins to fall apart as the magic fails.
Baffled the police scrabble in the loose paper and rags.
CLICK - HISS - SPRING
TIM
Saint Mick. He’s here!
CADUCEUS
We have done all we can. We must away. You have The Always Key?
Tam grips the thing around her neck and nods she has.
ANGRY VOICE (O.S.)
Tix! (Louder) Tix!
TIM
What of the Inventor?
CADUCEUS (O.S.)
It is too late for him but not for us, if we move now. Quickly climb aboard!
The shadows of the twins climb on the back of huge wolf-shape.
It bounds off deeper into the ally and is swallowed by fog.
INT. POST OFFICE, BACK ROOM - NIGHT
The Post Master carries the box into the dark. A room of shelves filled with boxes of many sizes.
He places it deep at the back and walks away.
We focus on the box, hiding in the shadows as the years pass
INT. MODERN POST OFFICE WAREHOUSE – PRESENT DAY
The box now ancient just visible behind piles of other newer boxes.
The SOUND of people at work.
OLD POSTAL WORKER (O.S.)
Hey careful with that trolley!
A CRASH and then the SOUND of boxes tumbling. Light streams onto the hidden box.
OLD POSTAL WORKER (O.S.)
Hey look out.
The boxes stop tumbling.
Old Postal worker approaches Young. Young red faced is already loading the fallen boxes back on to his trolley.
OLD POSTAL WORKER
You okay?
YOUNG POSTAL WORKER
Sorry, I wasn’t looking where I was going.
OLD POSTAL WORKER
Nothing fragile in that lot was there?
YOUNG POSTAL WORKER
No. No I don’t think so.
OLD POSTAL WORKER
Okay then. Bit more mindful in future. That’s the public’s property you’re toting there.
YOUNG POSTAL WORKER
Aye, I know. Sorry.
He continues to load up boxes back onto the trolley.
He grabs the old box and picks that up too. It is heavy and he strains to lift on.
SERIES OF SHOTS:
A) The box now loaded is wheeled through the warehouse.
B) The box is lifted onto a rolling conveyor belt. It joins more boxes and parcels and disappears through some slats.
C) The box is loaded into the back of a van. The doors close and the van drives away.
D) The van pulls up outside a house in a nice residential street.
E) The postman slides the side door open, puts the box on a trolley and wheels the box up to the door. He RINGS the bell.
INT. HASKIN HOUSEHOLD, HALLWAY – DAY
YVONNE HASKIN (35), black and beautiful, opens the front door to the postman.
He passes in parcel and then a clipboard for her to sign.
POSTMAN
If you would just sign here?
She signs.
YVONNE
Thank you.
She checks the label and closes the door.
YVONNE (CONT’D)
More rubbish off e-bay. Jack! Jack!
A teenage girl, SHANICE (13), walks past and opens the front door. She is dressed a little too much for school
YVONNE (CONT’D)
Where are you going?
SHANICE
School.
YVONNE
Not dressed like that you’re not. Change! Jack!
Shanice closes the door.
YVONNE (CONT’D)
Here give that to your brother.
She passes her the box. Shanice sulkily complies and thumps back up the stairs to change.
YVONNE (CONT’D)
Kids.
She marches into –
INT. KITCHEN – DAY
Jack’s dad, MARCUS (38), sits at the breakfast table slurping tea and crunching toast.
YVONNE
Grrrr, kids.
MARCUS
Relax my queen. I seem to recall you being in favour of having them at the time.
YVONNE
You not going to work
MARCUS
I am leaving. Look I’m getting up and walking out the door.
He slurps his tea and with a piece of toast still in his mouth, closes the kitchen door behind him.
MARCUS (O.S.)
I’m gone.
Yvonne grins, and he opens the door back up.
MARCUS (CONT’D)
I’m back.
He grabs his wife and kisses her.
YVONNE
Get out, you old rogue
INT. JACK’S BEDROOM - DAY
JACK, (13), lies on his bed reading, he wears headphones and the tinny beat of rap music can be heard from them. The book’s title reads “Basketball Theory”
His room is like any black teenager of his age apart from the shelves of dozens of pristine trainers.
Shanice enters and dumps the box on the floor. Her brother completely misses her. She leaves.
INT. HALLWAY – DAY
A contended MARCUS leaves through the front door.
A couple of seconds later and Shanice creeps back down the stairs unchanged and slips out the front door.
EXT. JACK’S HOUSE – DAY
MARCUS climbs into the front seat of a Hackney Cab and drives off.
Shanice heads off on foot in the other direction, mobile out already making a call.
INT. STAIRS – DAY
Yvonne back at the bottom of the stairs.
YVONNE
Jack, you’re going to be late for school. Jack, important day remember.
No answer, she bangs up the stairs.
INT. JACK’S BEDROOM - DAY
Jack still sits in bed, engrossed in his study.
Yvonne enters, she repeats her last line of dialogue but all we hear is the RAP music from Jack’s POV.
He glances up.
Yvonne pulls out a wad of white card and begins to communicate via pre-written messages.
SERIES OF CARDS:
A) JACK!
B) TIME FOR SCHOOL
C) YOU HAVE EXAMS TODAY…
D) …AND DON’T FORGET YOU HAVE YOUR BIG TRYOUTS TOO
Jack grins and pulls out his headphones.
JACK
No, I haven’t forgotten.
He lifts his book up to prove it.
YVONNE
Well you don’t want to be late.
JACK
I’m up. I won’t.
She kisses him on the forehead and leaves him to get up.
YVONNE (O.S.)
There is breakfast downstairs, make sure you eat something.
JACK
I will, thanks.
She leaves him to it and he grabs his school things, dumps them in a bag and leaves.
He completely misses the box at his feet.
His mobile BEEPS. He checks it.
SHANICE (TEXT)
“Loser!”
He ignores it.
EXT. STREET - DAY
Jack jogs to school.
Ahead of him a large group of mixed teens in the same uniform hang about by a wall. This is the cool set. They are what parents would call the “wrong crowd”. Shanice is with them.
Head down Jack jogs around them.
One of them takes a swing at Jack he ducks and carries on running. They taunt him but he simply ignores them.
INT. SCHOOL – DAY
Jack arrives at school. It is a modern comprehensive, packed with teeming diversity.
MONTAGE:
A) JACK excelling throughout the day at his exams.
B) He finishes his exams quickly and with confidence.
C) The bullies from the street, still doing their exams eye him with hostility.
D) One tries to trip him up, he dodges it.
E) The teachers all like him. He hands his exam in and get a thumbs up and a grin off the examiner.
EXT. SCHOOL YARD– DAY
He passes his sister, who is hanging with the cool popular crowd.
The head bully JELLY, (14), stares at Jack as he passes. He draws his finger across his throat. Jack ignores him.
Shanice sees this and punches Jelly on the arm. Jelly reacts with over the top aggression. Shanice a little taken aback tries to placate him.
INT. BASKETBALL COURT, SCHOOL – DAY
Jack arrives for the school basketball team try-outs. He sits on a bench and gets ready. His mobile BEEPS.
SHANICE (TEXT)
“What was in the box?”
Jack types a reply.
Shanice’s mobile BEEPS.
JACK (TEXT)
“What you on about?”
He pockets his phone and looks at who is here.
The dangerous cool set are represented in the try-out team, Jelly among them. They mock him. He ignores them.
Shanice is there too, she waves at Jelly.
A WHISTLE blows and the try-outs begin.
SERIES OF SHOTS:
A) Jack doing his best to keep up.
B) It is obvious it is an aggressive and competitive game. Jack is out of his depth.
C) Jack grabs the ball, and makes a valiant charge for the hoop.
D) Shanice is secretly delighted.
E) Jelly makes an aggressive tackle and wins the ball. Jack skids to the floor.
F) Jelly makes the hoop. A WHISTLE blows, game over.
G) Shanice looks upset for Jack.
H) Jack gets up brushing himself down, clearly upset.
Coach Tito stands with clip-board, the team hopefuls all line up and walk forward, Jack is last.
COACH TITO
Sorry Jack, not this time.
JACK
Why?
COACH TITO
Well, you have no competitive edge or instinct. Sorry Jack, you’re a good kid, I hear great things from the other teachers but maybe sport isn’t for you.
JACK
Please, give me just one more try. I can improve.
COACH TITO
Okay. One more. Come back on Thursday and I will give you one more shot. But that’s the last one. But to be honest it doesn’t look good.
INT. JACK’S HOME, KITCHEN– EARLY EVENING
Jack goes to fridge, drinks several mouthfuls of orange juice and then SLAMS the door.
YVONNE
I’m sorry love.
He says nothing and stomps upstairs.
INT. BEDROOM – EARLY EVENING
He throws his bag at wall, then slumps on his bed.
He picks up his basketball and begins throwing it at the hoop on the wall.
He scores a hoop and the ball falls to the floor. It bashes the box, and it begins CLICKING.
For the first time Jack notices the box.
He slides off the bed onto his knees and approaches it.
It continues to CLICK. He begins to open it. He carefully lifts up the flap and looks inside.
(beat)
A gold blur shoots upwards from the box barely missing his face.
INT. KITCHEN – DAY
Yvonne and Marcus canoodle at kitchen table. There is a LOUD SMASH. The little moment they were sharing lost.
An angry Yvonne, charges out the kitchen leaving a sighing Marcus.
INT. BEDROOM - DAY
Yvonne quickly spots the square hole in the ceiling. Jack guiltily toys with his basket ball.
JACK
Sorry mum.
YVONNE
You’re paying for that.
JACK
I will sorry. Sorry.
Yvonne leaves and Jack pulls back the quilt he has used as camouflage. He goes back to investigating the box.
He lifts out the second gold shoe, more careful and more respectful this time.
He turns it around in his hand. He has never seen anything like it. It is gold and polished to a high shine. It has intricate workings inside, all cogs and dials. It has large springs on either side of the heel.
This one is primed to pop, so he places it carefully down and picks up the sprung one. He turns that around and sees the markings on the heel – the letters - I K B.
He investigates the box further and finds old style goggles and flying hat and an old jacket. He places them down and pulls out a book. He turns it round.
WRITTEN ON THE COVER
“Very Important! Please Read Carefully.”
Jack flips it open at random and begins to read –
TAM (V.O.)
November the twenty-sixth, the Year of Our Lord, Eighteen-hundred and fifty-six.
The sound of FLAMES CRACKLING and children SCREAMING.
TAM (V.O.)
We are being hunted. The orphanage burned tonight. We were trapped.
He slams it shut.
Shanice stands at the door, a sarcastic grin on her face.
SHANICE
A diary? You’re such a girl.
JACK
What do you want?
SHANICE
If Mum asks, I’ve gone to Trina’s.
JACK
I’m not lying for you. Tell her yourself. We are meant to be going to see Gramps.
SHANICE
You go. Telling him I will see him next time.
She spots the box, she says nothing but their eyes lock for moment. Some secret knowledge passes between them.
(beat)
She leaves.
Jack opens the diary back up and a small photo slips out.
He hold it up, it is an old black and white sepia image of the twins and a portly smiling man in his fifties.
He turns it over, written on the back - “Watcombe 1857”.
He turns the photo back round. Behind the trio is a black shape. The longer he stares at it the more the shadow resembles a massive black dog.
He slips the photo back in the book and hides it under his pillow.
He puts the boots carefully back in the box and hides that in a cupboard.
As he pushes the box back he notices the old stamp on the flap. His thumb grazes over the penny black. He sees the delivery stamp date is 1858.
He ponders this as he closes the cupboard door.
INT. KITCHEN – EARLY EVENING
Marcus sits at the table working out his takings in a small notebook. He has his notes and coins all piled up.
Jack enters, grabs a drink from the fridge and joins him.
JACK
Good day?
MARCUS
No not really. This credit crunch. Might have to go out again tonight for a few hours.
He writes his total up in his ledger and closes the book.
MARCUS (CONT’D)
Your mother told me you never made the team. I’m sorry son. I was never that sporty myself. I was a lover and a poet. Is it a girl? It’s a girl isn’t it?
JACK
Shut up. It’s not a girl.
MARCUS
You will find as you get older the ladies, the smart ones at least will want brains over brawn every time.
JACK
Thanks for the advice dad but Coach T is giving me another chance. So it’s not over yet.
MARCUS
Good stuff. What are you up to?
JACK
Going to see Gramps.
MARCUS
Good man. Tell him I will see him tomorrow. Where’s your sister?
JACK
I will. Er… I think she has gone to Trina’s.
MARCUS
That girl. Don’t tell your mother that.
JACK
I won’t.
(pause)
Dad how long does it takes for stuff to be delivered? You know say you posted it. How long roughly should it take? I mean it wouldn’t take years, would it?
MARCUS
I don’t think so. I remember reading that during the war sometimes mail bags got displaced so when they were finally discovered decades had passed. Extreme cases like that. Very rare. Why what’s this for?
JACK
Oh nothing. Just wondered. Right I’m off. Might see you later.
MARCUS
See you son.
INT. OLD PEOPLE’S HOME - NIGHT
Jack walks through the reception of the home. The woman on the desk recognises him and waves him through.
Jack enters a large room with large bay windows. A mixed group of elderly sit in chairs facing the window watching the sun set.
Jack comes up behind an elderly black gentleman. This is THOMAS Jack’s granddad. He has a satisfied smile on his face.
Jack lays his hand on the old man’s shoulder and Thomas looks up. His smile widens.
THOMAS
Jack.
Jack sits in an empty chair opposite. Thomas cranes round to see who else is here. His smile only falters when he realises Jack is alone.
JACK
Hey Gramps.
THOMAS
Just you, no Shanny?
JACK
No, she promised she would make it next time.
They both know that this is a lie.
Thomas’s smile beams back and he takes Jack’s hands.
THOMAS
Well that will have to do. It’s fantastic to see you my boy.
(to the room)
This is my grandson, the athlete. So what’s new? You make the team? Course you did. You’re a Haskins.
JACK
I didn’t get in. But I have another try on Thursday.
THOMAS
Well you will make it in then. I have no doubt.
(pause)
Everyone doing okay?
JACK
Yeah, we are all fine. I think dad is finding it hard at the moment.
THOMAS
Everybody is tightening their belts. It is only temporary son. You will see. Things will get better. You don’t get to my age and not realise that. Things have a habit of coming full circle.
JACK
Hey Gramps have ever heard of a place called Watcombe?
Thomas’s face clouds over, remembering something.
THOMAS
Watcombe? Down Devon way I think. Nice beeches. So I have heard. Why do you ask?
JACK
Oh no reason. What?
THOMAS
You, you have that face on.
JACK
What face?
THOMAS
The face I used to wear when I was thinking of getting up to no good. Are you?
JACK
What? No, of course not. Can I get you a cup of tea?
THOMAS
That would be lovely. Of course not. You’re a good boy.
Jack goes off to prepare the brew.
LATER
JACK
It’s getting late. I better get off. I will see then next week.
He kisses the older man on the cheek. Waves and walks off.
THOMAS
Great to see my boy. Let me know how you get on, on Thursday.
JACK
I will.
INT. BEDROOM - NIGHT
Jack is lying on his bed trying to read. He throws down his book, opens the cupboard and lifts the box down.
He empties the box into his holdall and leaves.
EXT. ISOLATED SPOT – NIGHT
Jack satisfied he is far from prying eyes, unpacks the contents of his bag. He places the boots carefully down. He puts on the jacket, goggles and hat and throws the bag back over his shoulder. He puts the boots on.
Carefully he stands. He gingerly begins putting more weight on each foot becoming more confident with each passing second.
Nothing happens.
TICK - TICK - CLICK – HISS.
The boots begin to depress at the soles. Then SPRING.
The spot he had been standing in is empty.
JACK (O.S.)
(getting fainter)
Aaaaaagghhhh!
SERIES OF SHOTS:
A) Jack leaping over a tall building.
B) Jack lands in garden. The security light comes on and he is trapped in its glare.
C) A woman in the garden’s house gets up and moves to the patio windows.
D) CLICK – HISS - SPRING and Jack is gone. Just imprints in the soft grass and the gentle sway of garden swings.
E) Jack arms wind milling as he flies high above the streets.
F) Jack lands in a park. He spots Shanice with Jelly. Jelly is trying to kiss his sister. She is trying to pull away. Jack does a double take.
G) One of the group is filming a group of friends with his phone. Jack is in the background, in shot.
H) The boy notices Jack and begins filming him. CLICK – HISS – SPRING and Jack leaps off. The boy follows the movement up with his mobile
MOBILE BOY
Whoa! Did you see that? Did you see that?
I) Jack lands in a residential street. Marcus’s cab is just dropping a fare off. He catches movement out of the corner of his eye.
J) SPRING and he is gone.
K) Jack lands in the grounds of the old people’s home. The residents all wide eyed see it and grin excitedly.
L) Thomas though looks troubled. SPRING and he is gone again. Alerted to the fuss none of the nurses see its cause.
M) Arial shot, five hundred feet in the air looking down. JACK grows bigger as he flies upwards in a long high arc. He SCREAMS all the way then falls back down.
N) In the distance we can see the Thames approaching. SPRING.
O) Then SPLASH Jack lands in the Thames.
P) Jack flounders nearly drowning.
Q) Jack pulls himself up onto the bank. Coughing and spluttering. He rolls onto his back and pants.
EXT. STREET – NIGHT
JACK walks home soaking wet, carrying the boots wrapped up in his jacket.
INT. JACK’S HOUSE – NIGHT
Jack sneaks into the house via the kitchen.
He creeps past the living room where his mum and dad watch telly.
Shanice creeps in through the front door.
Both catch sight of each other at the same time.
Shanice looks dishevelled and has a bruised eye. Both communicate without speaking, both agreeing to keep the others secret.
They creep into their separate rooms and close the doors.
INT. KICHEN – DAY
Marcus, Jack and Shanice eat their breakfast in silence while Yvonne potters about. Shanice cannot make eye contact. She is wearing her hair over her bruise.
YVONNE
How was your Grandfather?
Jack and Marcus look at each other.
JACK
Great, fine.
YVONNE
Seem alright to you did he Shanice?
SHANICE
What? Yeah. Fine. I’ve got to go to school.
YVONNE
Shanice, don’t walk away while I am talking to you.
She does not stop but walks out of the kitchen.
YVONNE (CONT’D)
Shanice!?
(pause)
What on earth was that all about?
JACK
It’s okay mum, I will have a word with her.
He stands and chases after his sister.
Yvonne shakes her head and gives Marcus an icy stare.
Marcus SIGHS, grins at his wife but it is not returned.
EXT. HOUSE – DAY
Jack chases down Shanice.
JACK
Hey sis, wait up.
(catches up)
What happened to you last night? What’s this?
He circles his eye and points at hers.
SHANCIE
Nothing, mind your own business. Why were you all soaking wet?
JACK
I fell in The River. What happened to your eye? Was it that thug Jelly?
SHANICE
Just drop it Jack, it’s sorted. Leave me alone.
She walks faster away from him and joins a group of three girls, the walk off together.
Jack stops and watches them go.
JACK
Oh it will be sorted all right.
INT. JACK’S BEDROOM - NIGHT
Jack dresses up in front of mirror in a jacket, goggles and flying hat. He has a bandana that he pulls up and covers his face.
EXT. STREET – NIGHT
Jack sees Jelly with another girl. She turns her back and JACK leaps over grabs Jelly then leaps off. The girl turns back round. Confused to now be alone.
The two fly high in the air, Jelly is terrified.
JACK
You better start being nicer to girls!
(Shakes him)
You hear me?
Jelly scared dumb shakes his head.
Jack lets him go while up in the air.
EXT. GARDEN - NIGHT
Jelly drops from the sky and lands in pool like a bomb.
(beat)
Jelly drags himself out… Shell shocked but okay.
INT. BASKETBALL COURT, SCHOOL – DAY
Jack plays, there is a definite change in him. He seems more confident. It is still rough out there with Jelly being extra mean. But despite that Jack still manages to score one hoop before the whistle blows.
GAME OVER
JACK wanders over to Coach Tito after he has changed.
COACH TITO
Better. Not much. But better.
You can gather the balls and the kit. That’s no guarantee of a game mind. It’s not a sub position.
JACK
That’s okay.
COACH TITO
Okay then. So we understand each other.
JACK walks away grinning.
INT. KITCHEN – DAY
Jack’s family are all around him.
YVONNE
Well done love.
She hugs and kisses him.
JACK
Okay mum chill out.
MARCUS
Give him air Eve. Well done son, I’m proud of you.
They high five each other.
They all turn to look at Shanice.
SHANICE
What? Whoop-de-Doo.
YVONNE
Don’t be rude Shanice. Congratulate your brother.
SHANICE
Er… Well done.
That will have to do.
INT. JACK’S BEDROOM – DAY
We see JACK unscrewing his basketball hoop. He is grinning and whistling. He leaves the room and closes the door.
(beat)
The door opens and Shanice sticks her head in. She glances about then spots the diary. She opens it up and begins reading.
TAM (V.O.)
We are being hunted. I saw the monster dog again.
She closes it. Tucks it under her arm and leaves Jack’s room.
EXT. BUILDING – NIGHT
We see JACK screwing the hoop back in to wall outside.
JACK in a car park, he pulls up his hood and takes out his basketball. He bounces it a couple of times and looks up.
We follow his gaze to the top of a five hundred foot tall block of flats. The hoop is up by the roof.
BANG – 500 feet in a second – JACK slam-dunks the basket. He is very pleased with himself.
JACK
Woo hoo!
Freeze frame.
DISSOVLE:
INT. THE CAVE ROOM – NIGHT
There is a still of Jack on a TV screen in mid-leap. It is the clip from you tube.
The TV is only one of a bank of TV screens. Over a dozen play simultaneously, different news channels from around the world.
Something hidden SHUDDERS in a large high backed chair. The image of Jack rewinds and then plays again. All the screens click over and play that image. They freeze all at the same time on Jack and zoom in.
More ODD BUBBLING NOISES as if something is struggling to breath and a strange CLOCKWORK NOISE.
FIGURE IN CHAIR (HIDDEN)
Tix! Tox! (Louder) The Tix is back! Tix! Tox!
There is a table next to the chair. Something makes clockwork noises and begins to move.
We pan up slightly and the shadow of a hand crawling across the shadow of the table. The shadow of a wrist flops down from the chair to the table.
FIGURE IN CHAIR (HIDDEN)
(Almost screaming)Tix! Tox!
The shadow hand affixes to the shadow wrist, with CLOCKWORK CLICKS and WHIRRS.
It flexes its fingers then BANGS down hard on to the table with a CRASH.
FADE OUT.
About me
A small collection of my short stories, film & comic scripts.
