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44-Inch-Ches.txt
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44 INCH CHEST
Written by
Louis Mellis & David Scinto
PROLOGUE
Stagnant black water ... Greasy. Pitch. Thick. Oily.
Dense. Heavy... Lapping... Slow.... A desolate canal... Night.
Onto dark stones... rain-slicked... darkest slate-grey cobbles...
And on through streets... Narrow. Grimy. Sooty. Rank...
Deserted...
Pastal-disused Victorian broken-windowed, derelict
buildings and wharf side warehouses with rotten oaky loading
beams and rusted iron chains... Mossy, mildewed walls... Dripping
fetid water from corroded dilapidated ancient ruined
guttering...
Moving... Turning... Into a pinched, arched, alleyway -- If
anything darker, blacker... Foreboding... Forsaken...
And if we listen -- If we strain our ears -- listen -- we can
hear music -- faint. Ghostly. Haunting ... "Take Me Back To
Dear Ol' Blighty " as if sung by a jolly girl in a long gone
bar surrounded by drunken men...
We keep moving... The music growing... In the distance a faint
glow.... Dirty-yellow, diffused, misty light... We move towards
it... Towards the piss-coloured light...
We stop... In the middle of nowhere... Dark nowhere... and the
music fades... Fades away... Vanished... Extreme silence... All we
have is all we can see...
The gable end of an old house.... Limey-light bleeding weakly
from a broken, filthy window... All is still -- suddenly it
comes crashing down -- the end wall comes crashing down - a
flurry of bricks and mortar... Crashing down... The tumble of
masonry... And through clouds of brick-dust and rubble we see
figures inside... Through a smokey powdered fog we can see a
group of men in the downstairs room of the derelict house...
On the walls faded 40's wallpaper, peeling in parts to reveal
older dim patterns... damp patches... A window crudely boarded
up... A few unmatched armchairs in various states of disrepair
-- a 60's black vinyl, a deco-patterned smoker, a 70's cream
plastic, a brown wooden kitchen chair etc... The colours in
the room are browns, greys, caramels, darks, muted...
In the middle of the room, standing on dusty, bare wooden
floorboards, his fist clenched aggressively by his sides, is
OLD MAN PEANUT, aged 80... Skinny... Wearing a dark three piece
suit... Gold watch chain... Black Homburg... He is squaring up to
us... Staring...
3.
CONTINUED: (2)
Slightly behind, to his left, sitting nonchalantly cross-
legged in a battered brown leather wingback armchair and
casually smoking a Davidoff cigarette, is MEREDITH, late
40's... Suave... Immaculate... Wearing black handmade boots, black
Saville Row suit, black cashmere roll neck sweater, herring
bone overcoat with a black velvet collar, brown leather
gloves, his jet-black hair is heavily brilliantined.... Behind
him an old wardrobe...
Standing with his back three quarters to us, and leaning on a
broken, chipped, mantelpiece over a smashed tiled fireplace
is ARCHIE, aged 52... Big... Avuncular... Wearing a car coat and
casual nondescript clothes... he is pouring himself a Captain
Morgan's rum from a bottle into a polystyrene cup... He sort
of sees us -- is not fussed -- drinks...
Standing at the back of the room, in front of a door which *
has at some time been on fire, (it's yellowing, tobacco-ey
paint charred and blistered), is MAL, aged mid-40's... Wearing
a silver-grey suit, white shirt, duck-egg blue silk tie...
There is another man in the room but we do not see his face --
for he s its slu mpe d, h ead in his han ds in o ne of t he
armchairs - a picture of despair. He wears an olive green
shirt, brown trousers, maroon braces... This is COLIN, aged
late 40's...
CUT TO
Blackness and silence...
In the silent black an outsize boot appears - scuffed and
tatty... Attached to skinny legs in black tights... The legs
gangle and flip pulling into view a bony, pasty, bare torso
which is undulating oddly -- and here comes the head! - Long,
lank, shoulder length hair... Dripping from a white domed pate
- The face poker straight in contrast to the comedic body-
antics -- A grave-grey face -- Fleshy, bulbous, rubbery...
Ladies and Gentlemen -- MAX WALL!
He goon-walks about for a bit in the black space... Baboon-
bottomed... As if knees tied together... Aflickin' and akickin'
his clown boots... His unhappy face... Like death... Prancing...
Ridiculous dancing... Absurd...
Giant C/U on his morose contorted phizzog...
MAX
(Directly to us... darkly)
...Evenin'!
CUT TO
Music... Loud... "BREED" by NIRVANA...
Pink Revised 21st May 2008 4.
CONTINUED: (3)
CUT TO
TITLE
44' CHEST in Caucasian-flesh-coloured writing on black... We
see chest hairs in the lettering...
CUT TO
1 INT LIVING ROOM DETACHED SUBURBAN VILLA NIGHT 1 *
MUSIC... `WITHOUT YOU' by NILSSON...
We are out of focus on purple... white... scattered sparkling
"jewels"? begin to come into focus and we see that they are
in fact pieces of broken glass... Thousands of splinters and
shards strewn across a purple Wilton carpet... the white fur
of a luxurious sheepskin rug in bits... Ripped to shreds... In
extreme C/U we begin to move along the floor slowly taking in
mor e de bri s of d est ru ct io n... Sm as he d c ha ir s... Sm as he d
photographs... Broken records... Ripped, shredded record
sleeves -- `THE POWER OF LOVE' by JENNIFER RUSH -- `HOPELESSLY
DEVOTED TO YOU' by OLIVIA NEWTON JOHN -- `I WILL ALWAYS LOVE
YOU' by WHITNEY HOUSTON etc.
The TV remote smashed to smithereens... The television --
widescreen -- TOTALLED!... We move along the plush `World of
Leather' leather sofa... See that a chunk has been bitten out
of it... See teeth marks -- like a bite out of cheese!... Moving
on past an area of slashed carpet and underfelt... Approaching
the legs of a si deboard and see ing into the bla ckness
underneath... We can just make out the quizzical, frightened
eyes of a white poodle... We move on... Past twisted, wrecked
lampshades... Broken plates, ornaments... An up-ended vase of
half-eaten flowers... NILSSON continues his self-pitying
overwrought ballad and as he hits the massive, masochistic
chorus/crescendo we come across COLIN lying rigid on his back
in the corner of the devastated room... His shocked eyes
staring wildly... His body petrified. Paralysed... As if frozen
at the height of an epileptic fit -- Like something from
Pompeii -- Like Max Schrek as Nosferatu hit by light... We stay
on COLIN... His uncomprehending terror-filled eyes... His sheer
rigor mortis-like horror... We move in on him... Into the black
of his eyes... The tragic, agonised black..
CROSS FADE TO
5.
2 EXT DETACHED SUBURBAN VILLA NIGHT 2 *
We are outside, square on to an upstairs window of a detached
suburban villa... We hear muffled sounds from inside the house...
Yells... Screaming... Cries... Commotion... And suddenly the glass
window explodes towards us as a desperate terrified woman
comes crashing through... Having run full pelt to escape from
something... This is LIZ, aged 44...
CUT TO
3 INT LIVING ROOM SMALL TERRACED HOUSE NIGHT 3
Television on... ARCHIE'S MUM aged 80 is eating soup from a
tray on her lap... ARCHIE, aproned, watches on fondly...
ARCHIE
...'Ow's that, Mum?
MUM
`S gorgeous, Archie!
ARCHIE
Put hairs on your chest, that will!...
Pananarama'll be on soon -- after the
new s... Da vi d Dim bl e- bim bl eb y! Your
favourite!
MUM
(Pleased... eating)
What is this?
ARCHIE
That -- Mulligatawny! King of soups!
MUM
`S nice!
Now a phone rings elsewhere in the house...
ARCHIE
Whoops -- there's me mobilius! `Scuse I!...
He leaves the room... Goes into the darkened pokey hallway...
Takes his mobile phone from his car-coat pocket... Answers...
ARCHIE (CONT'D)
...Who is this?... I'm not understandin'
ya!... I'm not getting' ya!... `Ooever you
are, stop cryin'!... Stop it! Listen -- I
wanna help you... but I can't help you if I
don't know who you are... and what you're
on ab out ! W hat a re yo u on ab ou t? ...
(listens)... Yeah, Archie, that's me... slow
down... we'll get there much quicker if you
-- ( re al is es ) -- Col?
(MORE)
6.
3 CONTINUED: 3
ARCHIE (CONT'D)
Colin ?!... Wha's happened?... (alarmed)
Whaaat?!... No?!... When?!...
CUT TO
4 INT LIVING ROOM DETACHED SUBURBAN VILLA NIGHT 4
Music `WITHOUT YOU' by NILSSON...
COLIN, as before, lying in the wrecked room... The music ends...
Suddenly we hear ARCHIE'S voice ...
ARCHIE'S VOICE
(Gently)
... Col... Col... C'mon mate this is no good...
Colin...
We now see ARCHIE sitting in a nearby armchair, smoking,
patient...
ARCHIE
... C'mon mate, you can't lie `ere forever!
The rigid COLIN, ignoring him, has suddenly, belatedly,
realised that the music has stopped... Desperately needing his
friend, NILSSON -- like a man in excruciating pain reaching
for a gallon of morphine, he frantically, urgently twists his
body on the floor and reaching behind, hammers the play
button on the nearby ghetto blaster... And slowly, gently,
kindly, the piano intro of NILSSON'S gorgeous wallow re-
commences... Colin, somewhat soothed, eases back into his
former rigid, mortified position.
CUT TO
5 INT LUXURIOUS THAMESIDE PENTHOUSE NIGHT 5 *
MEREDITH, sits on a sofa staring intently at another man on *
an opposite sofa. A phone begins to ring. *
CUT TO
6 INT HUGE TASTEFULLY DECORATED LIVING SPACE PENTHOUSE NIGHT 6
The phone continues to ring... *
MEREDITH
`Allo?... (amiable) `Allo, Arch!...
CUT TO
7 INT VAN DAY 7
We are on MAL in the back of the scruffy van seated on the
wheelbase... Opposite him is MEREDITH calmly smoking ... ARCHIE
drives... COLIN slumped beside him in the passenger seat...
7.
7 CONTINUED: 7
ARCHIE
(concerned)
You alright, Col?
But COLIN is sobbing... quietly sobbing... sobbing his heart
out... ARCHIE looks in the rear view mirror at MAL... Who in
turn looks to MEREDITH who calmly smokes raising an eyebrow...
Now the van swings into a cul-de-sac, headlights illuminating
a row of tatty garages and picking out OLD MAN PEANUT who
stands there stony-faced... MAL opens the rear door... OLD MAN
PEANUT clambers in... ARCHIE throws the van into reverse and
takes off again....
CUT TO
8 EXT/INT VAN HIGH STREET DAY 8
The van double-parked engine running ... COLIN still slumped
in his seat staring teary-eyed at the dash-board... MEREDITH
and OLD MAN PEANUT in the back focused on the exterior of an
Italian restaurant...
CUT TO
9 INT FRENCH RESTAURANT DAY 9 *
Busy, bustling atmosphere... Customers becoming aware of a
co mm o ti on at t h e ba c k of th e r es t au ra n t... N o w th e ir
consternation grows as MAL who has got hold of one of the
waiters (we cannot see his face as his red shirt has ridden
up over his head in the struggle) is violently, relentlessly,
frog-marching him at great pace towards the door... We are
with ARCHIE overseeing the 'operation'... Staff terrified...
Customers alarmed... ARCHIE wheels round wielding an outsize
pepper grinder like a club... Crash/zoom in on him...
ARCHIE
(Menacingly)
Just get on with yer meals! Concentrate
on your snails! *
He too backs out of the door...
CUT BACK TO...
10 EXT/INT VAN HIGH STREET DAY 10
MEREDITH and OLD MAN PEANUT watching as MAL, THE WAITER and
ARCHIE spill onto the street... ARCHIE discarding the giant
pepper grinder as he goes... THE HAPLESS WAITER is bundled
into the back of the van... ARCHIE gets in... It drives
off...
CUT TO
8.
11 EXT STREET OUTSIDE CORNER SHOP SUNNY DAY 11
ARCHIE, holding a carrier bag of shopping, is in conversation
with another man, BIGGY WALPOLE, aged 58, wears tweed sports
jacket, cavalry twills, brown suede brogues, handlebar moust-
ache, Daily Mail under his arm, his dog ROSEMARY, a wire-
haired terrier, by his side...
BIGGY
...That's a bad show.
ARCHIE
'S a fuckin' bad show... He couldn't do
nothin'... like a wet lettuce! (they both
shake their heads)
BIGGY
Liz, eh? - Who'da thought it?!... Poor
Colin! (PAU SE) S o you 're b ack t here
tonight then?
ARCHIE
(Wearily)
Yup, back again... Round two... Poor
bastard... anyway... Anyway...
BIGGY
Cuckoldry - Cuckoldry - terrible word! -
Terrible Thing!... Is he up to it d'you
think? Will he do it?
ARCHIE
(Protective)
Oh, he'll do it! He'll do it! He'll kill
'im! 'S gotta in'he?! Just needs a bit of
time that's all - get over the shock...
Oh, he'll do it - no question!
BIGGY
Well g ive h im my rega rds.. . Sen d my
condolences.
ARCHIE
I will - I will, Bigg - I'll pass them
on.
BIGGY
(Almost to himself. Suddenly
sinister)
... Meredith, eh?... Meredith.
ARCHIE
... And Mal ... and Peanut ... and me...
BIGGY
... Meredith.
9.
11 CONTINUED: 11
ARCHIE
(Changing the subject)
'Ow's Rosemary?
BIGGY
... I dunno... ask her!
ARCHIE
(Looking down at the dog)
Allo, Rosemary... 'Ow's you?
We are on ROSEMARY'S expectant face looking up at ARCHIE ...
Over this we hear...
BIGGY'S DOGGIE VOICE
(Gruff)
I'm alright, 'spose -- thanks for askin'.
ARCHIE
(To Rosemary)
'S he lookin' after you? Keepin' you in
sausages?
We are on ROSEMARY...
BIGGY'S DOGGIE VOICE
What this cunt?!! Jokin' intchya?! - If
he opens another tin of Chum, I'm gonna
bite his bollocks off!
ARCHIE smiles. Looks back to BIGGY...
BIGGY
(Tuts)
Charmin'!
ARCHIE
(Beginning to move off)
...Well I'll catch ya later, Biggy ...
Bye Rosemary!
BIGGY
(Beginning to walk off in the
other direction)
Toodle pip!
ARCHIE is walking away... BIGGY and ROSEMARY in the other
direction... Suddenly BIGGY stop's... turns... stares darkly
at the departing figure of ARCHIE who ambles off unaware...
BIGGY is staring with such hatred... we move in on his
face... His hating face... we are close up... he stares just
off camera... seems he is growling... low... primal growls...
and now his hand, claw-like, comes into frame... he is
reaching towards us... threatening-ly ... and slowly his
hating eyes follow... and he is staring right at us...
CUT TO.
Pink Revised 21st May 2008 10.
12 INT ROOM IN DERELICT HOUSE NIGHT 12
The room is as described in the prologue albeit with gable
wall intact... MAL stands by the crumbling mantelpiece his
back to the room... Touches the back of his head as if
something has brushed against him... Over this we hear...
ARCHIE'S VOICE
...Bells, aintcha?
MAL glances over his shoulder... ARCHIE is crouching over and
sorting through a card-board box containing various bottles
of spirits...
MAL
Yeah, that's me... or Teachers!... This
is beginnin' to piss me off, this is!
ARCHIE
And me!... 'Ere y'are!
MAL is handed a bottle of Bells whiskey - he slumps in one of
the armchairs... Opens the bottle...
MAL
...I mean, I'm sorry for the cunt an' all
that but there's no point in draggin' it
out, is there?... We're goin' round in
circles!... Fair do's, the guy's hurtin'
but fuck me!
ARCHIE
I know, I know... it's mental!
MAL
Shit 'appens... deal with it!
ARCHIE
'Ow's your hand?
MAL
(Flexing his fist)
'S throbbin' like fuck!...' Ad it in a
bowl of iced water when I got back ...
It's my own fuckin' fault!
ARCHIE
That'll teach ya! (PAUSE)... He was on
the phone to me last night...'our and a
'alf!... Woke me up!..."Cunt" this and
"cunt" that ... r eckon ed he coul dn't
sle ep .. pi ss ed ou t of hi s hea d! .. .
Talkin' a load of cobblers!... Doesn't
know where he is!
MAL
I been there!
11.
12 CONTINUED: 12
ARCHIE
Not like this!... Not like `im!... Not
like Colin!... Not like Colin Diamond!
CUT TO
13 EXT DARK RAIN SOAKED DESERTED OLD STS & ALLEYS NIGHT 13
Back view of a rain-coated man slowly walking the bleak
ancient streets.... We follow him... Over this we hear...
ARCHIE'S VOICE
...Believe me, you shoulda heard `im...
fuckin'ell... On and on!... Tellin' me
'is fuckin' dreams! - Get this - He's in
a phone box - only it's not a phone box --
it's her cunt!
The man turns a corner and we see his face... Sad, sorry, lost,
self -pit yin g, b een thr oug h th e m ill. .. This is COL IN
DIAMOND...
CUT BACK TO
14 INT ROOM IN DERELICT HOUSE NIGHT 14
ARCHIE and MAL as before...
MAL
Her what?
ARCHIE
Yeah!... With teeth!... No, pardon me,
so r ry , l e t' s g e t t hi s r i gh t - no t
teeth... Dentures!
MAL
Dentures!
ARCHIE
Dentures!... Her cunt's got dentures!
MAL
Jesus Christ!
ARCHIE
Oh, yeah!...
CUT BACK TO
15 EXT DARK RAIN SOAKED DESERTED OLD STS & ALLEYS NIGHT 15
The lonely figure of COLIN walks...
ARCHIE'S VOICE
... Snappin'... Clackin' at 'im... On
'im...
(MORE)
Pink Revised 21st May 2008 12.
15 CONTINUED: 15
ARCHIE'S VOICE (CONT'D)
Nibblin' his arse... Bitin' his balls... I
was tryin' not to laugh... I'm knackered
-- It's 'alf three in the fuckin' mornin'
hearin' this shit!
MAL'S VOICE
Fuckin' `ell!
COLIN walks under an old iron bridge...
ARCHIE'S VOICE
That's right!... It goes on... A door
opens... In walks a cock -- Yeah, you
heard, a cock!... In walks a cock!...
Massive... Not his - guess who's?...
That's right!... Fuck's sake!... Then
he's on a plane... Club class... 'avin'
is dinner... dressed as a clown!...
COLIN stops... Lost in thought... Staring down at/into
puddles...
ARCHIE'S VOICE (CONT'D)
...Big red nose!... Like Ronald fuckin'
McDonald!... Waitress comes up the aisle,
starts punchin' im in the head!!
Big C/U on COLIN'S little boy lost face...
ARCHIE'S VOICE (CONT'D)
...You make sense of it... It's fuckin'
tragic!
CUT BACK TO
16 INT ROOM IN DERELICT HOUSE NIGHT 16
ARCHIE and MAL as before...
MAL
He needs pullin' back... He's on the
slippery slope... We better watch'im ...
(slight pause)... Dressed as a clown?!
ARCHIE
Fuckin' Coco, mate!
Immediately the door opens and COLIN enters... Atmosphere. He
take s of f h is M ac. .. A nd sits in one of the ba tter ed
armchairs...
ARCHIE and MAL look at each other...
ARCHIE (CONT'D)
...Alright, Col?
COLIN grunts... ARCHIE resumes sorting through the cardboard
box... MAL lights up... smokes...
Pink Revised 21st May 2008 13.
16 CONTINUED: 16
ARCHIE (CONT'D)
(Holding up a near empty bottle
of Smirnoff)
...He is vodka, Old Man Peanut, I'n'e?
MAL
Yeah, he's vodka
ARCHIE
(Showing Mal the bottle)
Cor, he's taken a sizeable lump outa this
look...
COLIN
(Surly)
You can look at me, you know... I'm not
invisible!
MAL
(Jokingly looking around the
room)
Who said that?
The three men smile ... MAL and ARCHIE look at COLIN...
ARCHIE
(Kindly)
You alright, son?
COLIN
(None too convincingly)
I'm bearing up, Arch, I'm bearing up.
MAL
It's never easy, mate, its never easy.
Silence...
COLIN
Give us a fuckin' drink!
ARCHIE tosses him a bottle.
ARCHIE
'Ere y'are, brandy... Doctor's orders!
COLIN opens it and drinks... ARCHIE and MAL watch him
intently...
COLIN
(Paranoid)
What are you starin' at?... 'Ave I got a
knob on my forehead or somethin'?!
Pink Revised 21st May 2008 14.
16 CONTINUED: (2) 16
MAL
Shut up, Colin! You're amongst friends...
Don't make this any more difficult than
it already is... Y'hear me?... Y'hear
me?... Colin?... Look at me...
COLIN
(Grudgingly)
...I hear you.
ARCHIE
C'mon, mate, be brave.
COLIN
... Yeah... I will... I've got to ain'i?
ARCHIE
That's the stuff!
MAL
That's the spirit!
COLIN
I can' t bel ieve it... I st ill c an't
bel ie ve it .. . I j us t c an 't fu ck in '
believe it...
MAL
Yeah, I know, it's unbelievable... It's
like a bad dream, innit?
ARCHIE and MAL look at each other... knowingly...
ARCHIE
Where's Old Man fuckin' Peanut?
Suddenly the doo r flies open an d there stands O LD MAN
PEANUT...
OMP
I'm fuckin' here!... That's where he
is!... Cunt!
MAL
Sorry, Pop... We wondered where you was.
OMP
Don't Pop me!... I'm fuckin'.ere!...
Give's a fuckin' drink... Bunch o' cunts!
OLD MAN PEANUT sits... ARCHIE takes him the bottle of vodka
and a plastic cup... stands over him...
ARCHIE
D'you want me to pour it for you?
15.
16 CONTINUED: (3) 16
OMP
(Snatching the bottle and cup)
Give it 'ere!... Treat me like a fuckin'
cunt!... Tosser!
ARCHIE shrugs...
OMP (CONT'D)
(indicating Colin)
...'Ow is he, alright?
MAL
Yeah, he's doin' good... Aintcha, Colin?
COLIN
(Weakly)
Yeah, I'm good.
...OLD MAN PEANUT gets up ... goes over to him... stares him
in the eyes...
OMP
You get it together, you cunt!... You
hear me?... Eh?... (slaps COLIN)... Get
it to-fucking-gether!... We can't 'ave
this.. . Can 't' a ve it !...Y ou we re a
fuckin' disgrace last night! Inept!...
Tonight the kid gloves are off... Show
some fuckin' backbone! - You're a man...
Fucking act like one!
ARCHIE
He'll get there... He'll get there.
OMP
(Vociferously)
...And the bloodied slave rose to 'is
feet, thrust his hand into 'is defiant
chest, tore out `is own heart and threw
it at the aggressor, sayin' "Free from
bondage!... Free from fuckin' bondage'
you CUNT!!"... Eh?... Eh?...
MAL
(Offhand)
Yeah, you're right, Pop.
OMP
Eh! .. . F uc ki n' ri gh t I 'm r igh t! .. .
Fuckin' right I'm fuckin' right!... It's
th e s t ro n g t ha t s h al l i n he r it th e
earth... Not the fuckin' weak!...
ARCHIE
(Flat ... Patent)
You tell 'em!
Pink Revised 21st May 2008 16.
16 CONTINUED: (4) 16
OMP
Not the fuckin' weak!
MAL
Yeah, well, whatever ... But this's gotta
be finished tonight cos I'm busy tomorrow
OMP
(Riled)
You break every other fuckin engagement
... Every other fuckin' engagement! ...
This! ... This takes top priority! ...
Above everything ... Everything!...'Til
this is done and dusted ... Put to bed...
Lai d to re st .. No bo dy do es fu ck in '
nothin' but this! ... This - This is
where we are... 'Ere! ... Now! ... This..
Where's fuckin' Meredith?
ARCHIE
He's late.
OMP
Late? Late!.. No such fuckin' word!...
And I'll tell you this ... If Brighton
Billy - God rest his tortured soul - had
ever caught anyone being late ... He
would've cut their eyelids off, stuck 'em
in a f uc k in ' s a ck wi t h a s n ak e , a
cockerel and a dog and chucked 'em in the
fuckin' sea!
MAL
Charmin!
OMP
(Vehement)
It was! It fuckin' was!... That was how
it was! ... Believe you me - Once he'd
made up his mind, that was it!... That
was it !... Nothi n wou ld sw ay 'i m...
Nothin!.. No surrender!... Immovable he
was!... Immovable! A mountain!... A
fu c ki n ' C ol o ss u s! . .. Yo u h e ar me ,
Colin?... A fuckin' giant!... A Titan!...
Spectacular!... My God!!
COLIN
(Miles away)
I can't believe it ... I still can't
believe it...
OMP
(T h r o w in g h i s h a n d s u p i n
despair)
OOWW!!
Pink Revised 21st May 2008 17.
16 CONTINUED: (5) 16
Suddenly the wardrobe wobbles... Creaks... They all turn to
look at it... Faint sounds of struggle from within... It
stops... Is still... Silence eventually...
ARCHIE
(Peer ing i nto t he c ardbo ard
box... Nonplussed)
Who wants crisps?
CUT TO
17 EXT GRASS VERGE BY ELEVATED MOTORWAY RAIN NIGHT 17
Sounds o f traffi c... LIZ is try ing to s cramble up the
embankment ... Trying... Failing ... She is cold, wet, muddy,
bloody ... No shoes ... Her white dress torn and blood-soaked
... She tries to climb ... In vain ... Slips in the mud ...
No strength ... Cries in frustration... Falls on her back...
Lies there...still ... Curls up... Above her the traffic
zooms by.
CUT TO
18 INT ROOM IN DERELICT HOUSE NIGHT 18
Now t he do or o pe ns. .. M ER EDI TH s ta nds f ra me d b y th e
doorway... Immaculately dressed... A wry smile... He raises
his arm in a Romanesque salute...
MEREDITH
Salutee!
OMP
(Mouthful of crisps)
You're late!
MEREDITH
So sue me!... *
He sits... Looks around the room.
MEREDITH (CONT'D)
...Cor, fuck me - Deja Vu!... *
(studies OLD MAN PEANUT) *
... You enjoying those?
OMP
(Munching)
Fuck off!
MEREDITH smiles...
MEREDITH
...So, Kittens, what's happenin?
MAL
More of the same.