1 INT. COACH / MOTORWAY. MORNING
A large empty coach, all dull beige seats and wood veneer,
makes its way along a stretch of motorway.
2 INT. COACH / MOTORWAY. MORNING
At the back of the coach we see a lone passenger. His eyes
closed, head drooped. Suddenly he raises a hand and rubs the
bridge of his nose. It's no use, Chris, 25, can't sleep. He
pulls up a set of head phones, puts them on, and presses play
on his MP3.
3 INT. COACH. MORNING
Long shot from the front of the coach, the driver's gruff
face to the left, empty seats filtering away from camera,
Chris' head peaking above a back seat. We hear the music
from his MP3 begin to play. It's Noel McKoy's "Brighter Day",
a northern soul track that's reminiscent of Motown and
comparable to the vocal sound of Marvin Gaye.
The track will play over the following opening scenes, the
credits fading subtly in and out in white text.
4 EXT. STREET. MORNING
We follow from behind as a hooded character walks with intent
through Dudlowe: a sprawling new town built in the fifties to
house the east end after the Second World War.
We reveal Shifty, 25, Pakistani, as he makes his way through
those morning streets. He blows on his hands to warm them up.
Suddenly he ducks down and nips through an opening in a
fence, making a short cut.
5 INT. TREVOR HOUSE / BATHROOM. MORNING
Bird's eye view on Trevor Perry, average looking, thickset,
pallid skin, lying beneath the surface of the bath water,
holding his nose.
SIDE ANGLE ON BATH: TREVOR RISES, NOT GASPING FOR AIR, JUST
CALM, UNNATURAL ALMOST. SNOT RUNS FROM HIS NOSTRILS.
6 INT. COACH. MORNING.
Chris stares out of the window. The music still playing on
his MP3. The coach makes a sharp left turn, the camera just
catching a glimpse of the sign: DUDLOWE NEW TOWN.
7 INT. GLEN'S COUNCIL FLAT. MORNING
Glen, a severe almost cruel face, empty's about a kilo of
cocaine onto a clean glass table.
8 INT. TREVOR'S HOUSE / KITCHEN. MORNING
Jasmine, 25, pretty with out make up, dressed in a white
dressing gown, prepares breakfast.
9 EXT. DUDLOWE STREET. MORNING
Shifty makes his way across a patch of waste land, jumping
over a fence at the end.
10 INT. TREVOR'S HOUSE / KITCHEN. MORNING
Suddenly Jasmine lurches toward the sink and vomits.
11 INT. TREVOR'S HOUSE / BEDROOM. EARLY MORNING
In an agreeably decorated bedroom Trevor dresses for work. He
climbs into his thick checked shirt and jeans, no real
enthusiasm - life seems to hold no motivation.
12 INT. COACH. MORNING
Chris watches out the window as the coach passes the same
strip of waste land Shifty just walked across.
13 GLEN'S COUNCIL FLAT. MORNING
Glen splits the cocaine into two piles.
14 INT. TREVOR'S HOUSE / BEDROOM. MORNING
Trevor sits on the edge of the bed, staring at the floor. His
mind is racing, thinking about the morning ahead of him.
15 INT. TREVOR'S HOUSE / KITCHEN. MORNING
Jasmine washes away the sick with a jug of water.
16 EXT. DUDLOWE STREET. MORNING
The coach pulls away to reveal Chris, his bag slung over his
He turns and walks off.
17 TREVOR'S HOUSE / BATHROOM. MORNING
Trevor looks at him self in the bathroom mirror, he rubs his
face, he seems a little more with it.
18 INT. GLEN'S COUNCIL FLAT. MORNING
Glen opens a tub of Glucose and empties a measure into one
half of the cocaine. He mixes it carefully.
19 EXT. REZ'S HOUSE / BACK GARDEN. MORNING
Shifty opens a back gate and walks towards a house.
20 EXT. DUDLOWE STREET. DAY
Chris makes his way through the streets, bag slung over his
shoulder. He looks around at the old place. Soaking it in.
21 INT. GLEN'S COUNCIL FLAT. MORNING
Glen takes a spoon of cocaine from the unmixed half and mixes
it with citric acid. He sucks it up into a syringe.
22 EXT. REZ'S HOUSE . MORNING
Shifty quietly opens the back door to the house.
23 INT. GLEN'S COUNCIL FLAT / BEDROOM. MORNING
Glen carries the syringe to Loretta, pretty , but with bad
facial burns on the side of her face. He injects the cocaine
mix into her arm. She lays back on the bed, taking on the
24 EXT. DUDLOWE STREET. MORNING
Chris walks along a residential road, in his hand a piece of
paper with a scribbled address. He finds the right house. He
stands there for a moment then hits stop on his MP3. Our
soulful soundtrack comes to an end. He pulls down his head
phones, walks to the door and knocks gently.
25 INT. REZ'S HOUSE / KITCHEN. MORNING
Shifty stands at the table sorting through letters. He hears
the knock and walks to open it. He takes off his jacket, puts
it on a hanger and opens the front door to reveal Chris.
Fucking hell, man...
Shifty can't help but smile.
A smile creeps across Chris' face.
Yes, rude boy.
You alright geezer.
I'm sweet... come in, man, come in.
Shifty and Chris embrace.
Good to see you, mate.
Good to see you too, geezer.
26 INT. REZ'S HOUSE / BATHROOM. MORNING
CLOSE ON: WATER GUSHES FROM A TAP.
Chris stands splashing his face from the sink. His bag
perched on the cistern. He looks at himself in the mirror.
27 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. EARLY MORNING
Chris walks into Shifty's bedroom. He puts down his bag and
pulls on a fresh tee shirt. He looks around at the room. New
DVD player, LCD on the wall, a new game console, DVD's, CD's,
lots of pristine trainers placed perfectly side by side,
books about business, books about film, a perfectly stacked
pile of mobile phone bills with the word "PAID" scribed
across them. A picture of Mohammed Ali next to a picture of
Allah. He approaches the window and looks out at the morning
sun resting over a dull, featureless Dudlowe New-Town. He
28 INT. REZ'S HOUSE / KITCHEN. MORNING
Chris walks into the kitchen to see Shifty getting breakfast
ready. Shifty turns to face him.
You alright son?
Yeah I just needed to splash my
face, freshen up a bit.
Have you slept?
Did I fuck.
Mate, neither have I... I just got
back from some girls yard.
You got a bird?
No, no... just some fucking booty
What, Break Glass Arse?
In case of emergency's, man... you
They both laugh. Shifty lays sausages into a pan.
Yeah, she's alright you know....
She's got fucking massive Gary's.
You always loved your titties,
You know that!
Shifty lays sausages into a sizzling pan.
Mate, do you mind halal?
No, no, that's sweet mate,
Were you on just one bus?
Yeah... no sorry, two. I had to
change at Luton.
Shifty covers the sausages with a lid. We hear someone moving
about upstairs. Shifty quickly walks over to the freezer,
opens the door, reaches into the back and pulls out a large
bag of sweet corn.
I've got a few things to do today
geezer, you can stay here if you
want, just chill out.
He rummages about, and gradually, one by one, pulls out
tightly, cellophane-wrapped bags of coke and crack. He places
them in the pockets of his hooded top. Chris watches Shifty
closely, but doesn't say anything.
Or you can come with me?
Does your brother know you keep
Shifty shakes his head.
You not worried?
Mate, he doesn't eat vegetables.
Shifty walks past Chris and taps reassuringly him on the arm.
WE STAY ON CHRIS' FACE, AS HE TAKES IT IN.
SHIFTY (O.S.) (CONT'D)
Apart from in a pot noodle.
29 INT. TREVOR'S HOUSE / STAIRWELL / KITCHEN. MORNING
We follow Trevor from behind as he descends the stairs and
walks into a large, smartly decked kitchen, an eight-year-old
boy, Freddie, circles the kitchen-table smashing a Darth
Vader into passing stools. Katie a three year old baby girl
eats breakfast and Jasmine beats eggs in a bowl whilst
talking on the phone.
... she's living like a drifter babe,
I'm telling you, she's split... sort
of... with Stefan... I know she did...
but she stays at Mike's in the
week, and then she's back at
Stefan's at the weekend... with the
kids (to baby) Katie, darling, stop
banging your bowl...
Trevor considers the bowl of cereal and fruit juice laid out
for him. His stomach churns. Cold sweat smothers his brow.
...Neither knows about the other, and
then she expects me (she drops to a
whisper) to fucking cover for her
(normal volume) Stefan's my mate
for Christ's sake, I'm not getting
caught up in that whole mess (to
boy) Freddie, sit down and finish
This is too much for Trevor. He turns and walks away from the
... and she has a go at me for taking
on too much
(she laughs - then without
Babe, I'm cooking you some eggs...
SLAM - the front door crashes shut - he's gone - his
Oh... what... nothing, Trevor's just
walked out without touching his
breakfast... I don't know, I thought
30 EXT. DRIVEWAY. MORNING
Silence. Trevor soaks it in - deep breaths - panic subsiding.
He approaches his work van. "T. PALMER - BUILDER'S MERCHANT"
inscribed on the side. He gets in - suddenly his mobile rings
- he answers.
What's the matter?
Off screen Katie continues to bash her bowl on the tray.
Nothing, I'm fine.
Why didn't you say good-bye?
You were gassing away to Nicola...
And why didn't you touch your
I'm not hungry.
Off Screen Freddie yells.
What's the matter with you?
She runs the tap, water gushes on to the discarded eggs.
Where's the grey suitcase?
What? I can't hear you babe.
I want to start getting stuff ready
for next week - where's the grey
I'll find it when I get home.
It's all right babe I'll get it.
Jasmine, I'll get it when I get
Babe it's fine, I'll get it down.
I'LL FIND THE FUCKING THING WHEN I
He breathes in hard, takes a moment to calm down and then
starts the engine.
31 INT. TREVOR'S HOUSE / FRONT ROOM. MORNING
Jasmine drops the phone by her side, shocked at Trevor's
temperament, and watches through the front room window as he
32 INT. SHIFTY'S HOUSE / KITCHEN. MORNING
Shifty's laying out the breakfast. At that moment, Rez,
Shifty's brother, walks in. Mid 30's, portly. He sees Chris.
(PAKISTANI - SUBTITLED)
Motherfucker, the return of the
Chris stands and goes to embrace Rez, but Rez walks past and
grabs a glass of orange juice from the side.
How you doing Rez, good to see you,
I wondered why I could hear voices.
I thought he'd brought home a rent
Shut up you prick.
You look like a rent boy.
What are you talking about?
Points at Chris.
That top cost more than my
My pants cost more than your
Shifty lays down three plates of breakfast. Rez fakes a heart
Soak it in fat boy.
I take it this doesn't happen
You know what, I'm emotional,
where's my camera, bring me my
camera. Quick, man, quick.
Yeah, fucking laugh it up.
Don't worry I will.
Shifty sits down and they begin their food.
33 EXT. TREVOR'S VAN. MORNING
Trevor sits at the wheel, parked in a residential street. He
dials a number on his mobile but gets the following message
This number is currently
unavailable please try agai...
He puts down the phone, and sits there, waiting, agitated.
34 INT. REZ'S HOUSE / KITCHEN. MORNING.
All three of them eat in silence. Chris' eyes dart
occasionally to Rez who pays no attention to anything but the
food. There is an uncomfortable air in the room.
35 INT. TREVORS'S VAN. MORNING
Trevor does a line of cocaine of the tip of his car key. We
see that he doesn't have a huge amount left in his wrap.
36 INT. REZ'S HOUSE/KITCHEN. MORNING
Shifty's putting away breakfast, Chris and Rez sit at the
table. Rez stabs away with a tooth pick measuring up Chris,
who reads a magazine.
Do you think I've put on weight?
Chris looks up.
Do you think I've put on weight?
I dunno. Not really.
I told you I haven't put on that
Shifty lets out a sarcastic laugh.
How long since you've been back?
Shifty sits back down and answers for Chris.
Is that the last time I saw you,
Yeah. Was it? Yeah, four years ago
Where you living?
What you doing?
What, work wise? I'm in
Chris abandons his magazine.
I do alright, yeah.
You need to get this Gadha (donkey)
some work, four A-levels and no
I pay you fucking rent don't I?
No, not yet.
I'm asking the questions padre... for
your information... no, I'm not...
but Shifty is.
What have you got, rent or
Fucking hell, tag team... Mortgage.
Yeah, mature, man.
Why do you leave without saying
goodbye to my brother?
Chris is stumped. Shifty looks down at the floor.
I'm only joking...
But really, why?
Leave him alone.
I need info, man. I'm like a
sponge, do you know what I mean,
I'm like a flannel... How come
your back, what's the deal?
I invited him to a party.
Mate, Rachel and Serena.
Rez pauses, thinking. Chris clocks him with an almost icy
Chris looks back down at his magazine. Rez knows he hit a raw
nerve. An uncomfortable silence. Shifty tries to break the
ice by talking about a more trivial topic.
You remember Rachel, you fucking
lunged her at Jazzbo Browns?
WHAT... that's BULLSHIT.
Yeah, yeah, you went in for the
kill and she lent away like she was
doing the fucking limbo.
Chris is back in the conversation.
Her ponytail swept the floor.
Shifty and Chris touch fists.
You boys need to get your facts
straight... she fucking lunged me.
You couldn't even remember who she
was five minutes ago.
Shifty and Chris crack up laughing.
I wouldn't mind if he did it
discreetly, but he lunged her from
about three feet.
Shifty mimics Rez's historic lunge, Rez starts to laugh at
the memory of it, covering his face with his hands.
37 INT. TREVOR'S VAN. MORNING
Trevor tries the mobile again but gets the same message. He
throws his phone onto the passenger seat and exits the car.
38 INT. REZ'S HOUSE / KITCHEN MORNING.
They still sit around the table.
You can come along if you want.
Yeah, I feel like it now, don't
I... fucking hell...
Suddenly the door bell goes.
Get that, it's probably your viagra
39 INT. REZ'S HOUSE / FRONT DOOR. MORNING
Shifty opens the door.
Shifty steps out and pulls the door to behind him.
40 INT. REZ'S HOUSE / KITCHEN. MORNING
Rez stares at Chris who's still reading a magazine.
So come on, why are you back...
Chris looks up at him. He's not ready for this question.
Because of the, erm, because of the
There's been hundreds of parties
mate, what's so special about this
I dunno, I just wanted to see
Shifty didn't I.
Rez just stares at him. Chris looks back at the magazine,
trying to pretend he's reading.
41 EXT. REZ'S HOUSE. MORNING
I was trying to bell you geezer,
your phones off.
Yeah I know, mate?
Trevor, what do you want?
Trevor doesn't say anything, just nods his head, as if Shifty
should know what he's talking about. Shifty closes his eyes
Mate, you haven't... you haven't
paid me for last week yet?
Trevor looks a little uncomfortable.
Do me a favour, I've probably put
your fucking kids through college,
do you know what I mean?
Mate, keep your voice down.
Meet me at the top of the road by
the telephone box.
Mate you're a fucking diamond.
42 INT. REZ'S HOUSE / KITCHEN. MORNING
Still watching Chris, Rez speaks.
For some reason... I dunno why...
he still thinks of you as his best
He get's up to leave.
Why don't you try acting like one.
WE'RE TIGHT ON CHRIS. HE'S TAKEN ABACK BY REZ'S COMMENT.
43 INT/EXT. REZ'S HOUSE / HALLWAY. MORNING
Trevor goes to walk away.
Don't ever fucking come to my house
Yeah, no worries, I'm sorry, man.
Shifty walks in, shutting the door. Rez walks past him to go
Who was that?
Nothing, geezer wanted to talk to
me about a job.
Rez ascends the stairs.
What did you say?
I'd think about it.
Shifty goes to walk off.
44 INT. REZ'S HOUSE / UPSTAIRS HALLWAY. MORNING.
Rez, reaching the top of the stairs, calls down.
Mum and dads.
Do me a favour.
Just do it.
45 INT. REZ'S HOUSE / HALLWAY. MORNING.
Shifty looks agitated.
I'm going to this fucking party.
You can be there at seven.
For fucks sake.
46 INT. REZ'S HOUSE / UPSTAIRS HALLWAY. MORNING.
JUST FUCKING BE THERE.
47 INT. REZ'S HOUSE / DOWNSTAIRS HALLWAY. MORNING.
Shifty stands there, seething, and walks away.
48 INT. TREVOR'S VAN. MORNING
Trevor, sits in his van, by the telephone box waiting..
49 INT. REZ'S HOUSE / HALLWAY. MORNING
Shifty and Chris stand in the hallway putting on their
jackets. They go to leave when Shifty stops and considers
Actually, let's go out the back
way, it'll be quicker.
They head for the garden.
50 INT. TREVOR'S VAN. MORNING
Trevor sits. Waiting. He taps his finger on the steering
wheel. Agitated. Every second an eternity.
51 EXT. BACK PASSAGE. MORNING
Shifty and Chris walk for a moment in silence.
We gonna see your mum and dad
I just heard... erm... I wasn't
being nosey, I just heard Rez...
Chris doesn't want to push the subject any further. There's
silence as they walk.
...Do you know they've ignored me for
about a year...
I didn't know?
...my mum puts the phone down when
she hears my voice...
My dad crosses the road if he sees
me in the street, then they fucking
summon me for a fucking job
Silence, the two carry on walking.
They just want me to meet some up-
his-arse-paki who'll look at me
like some lost fucking cause!
You gonna go?
Am I fuck.
52 INT. TREVOR'S VAN. DAY
Trevor drives slowly past the house to see Rez putting out
the rubbish. Rez turns around and stares at Trevor. Trevor
looks away and drives off.
53 INT. TREVOR'S HOUSE / UP STAIRS BATHROOM. DAY
Jasmine sits on the toilet, she opens a pregnancy test and
urinates onto it.
INT. TREVORS' HOUSE. BATHROOM (PART 1) / FREDDIE'S BEDROOM.
DAY (PART 2)
Freddie is on his games console. He's at the controls of a
racing game. It's on really loud.
Holding up the pregnancy test Jasmine see's it turn to a plus
sign. She's pregnant again.
Tight on the screen as Freddie's computerised car screeches
around a corner.
Jasmine stares forward, her face fretful.
Freddie's car smashes loudly against a barrier.
Sitting, staring, suddenly Jasmine notices something on the
tiled surface. She rubs her finger over it to reveal the
residue of a white powder.
The game is loud. Echoing through the house.
She dabs finger with tongue, her face sours. She was almost
hoping she was wrong.
Freddie laughs as his car smashes into another opponent.
Jasmine's eyes are alive with rage; the TV bellows out -
suddenly she stands, pulls up her kickers and steams towards
TURN THAT FUCKING TV DOWN BEFORE I
THROW IT OUT OF THE FUCKING WINDOW!
Freddie little face is totally bewildered.
55 EXT. RESIDENTIAL STREET. DAY
Shifty and Chris approach a clapped out, red four-door VW
Golf circa 1986. As they loom closer Glen exits the car from
What you saying you fucking rag-
head, you alright bad boy?
You been on the roids mate you're
Shifty's almost exasperated with Glen already.
No, I haven't, no.
You getting ready for a fucking
Yeah, just a small one.
Shifty and Glen knock fists.
We better be careful, seems like
there's a Tally-barn in town.
Give it a fucking rest geezer.
You know I'm only fucking about you
Glen looks over at Chris. He takes him in.
How you doing mate, you alright?
Glen grabs Shifty and pulls him to one side. His face is
close to Shifty's ear, his insipid breath hot.
Who the fuck is that?
Chill out, he's an old mate of
Don't just bring any fucking Muppet
to the party, at least let me know
first, do you know what I mean,
give me a fucking heads up.
Anyway, I've got, erm, I've got a
message for you.
Magnus wants you to call him
What? Magnus never wants me to call
I dunno, mate...
Shifty watches Glen.
Where's the gear?
Lenny's got it.
As Shifty walks to the car he discreetly backhands a roll of
money to Glen. Seated in the driver's seat sits Lenny, a
frail man, eyes sunken, hair thinning. His denim jacket
giving him the only dignity from looking like a walking
corpse. Seated next to him is Loretta. She's pulling out a
crack pipe itching to take a hit. Shifty leans through the
window and in one swift move takes a package from Lenny,
slipping it into his jacket, and drops a pile of cash into
You alright Loretta.
56 INT. REZ'S HOUSE / FRONT ROOM. DAY
Rez lays down a prayer mat. He kneels down and begins to
57 EXT. RESIDENTIAL STREET. DAY
Glen stands smoking, staring at Chris. Suddenly Glen speaks.
I fucking... I swear I know you
Chris can feel Glen's eyes on him.
I do, I know you from somewhere.
Chris stays silent.
D'you used to knock out pills?
Yeah, now and again.
Glen carries on staring at him.
Yeah, yeah, I know where I fucking
know you from... you used to go out
with Serena Ellis?
Yeah, a few years ago?
You'd fucking hope so, she's dead
Glen laughs at his own joke. Chris looks furious. Shifty
walks back over.
Right you done?
(he takes a final drag on
Don't go blowing up any fucking
Glen walks back to the car. Chris throws Shifty a look and
storms off, Shifty follows after him.
58 INT. LENNY'S CAR. DAY
Viewing the action from the dashboard we see Glen enter the
rear door. Loretta, puffing away on a crack pipe, passes it
What are we waiting for?
Give me a fucking break I'm rushing
my tits off...
Lenny attempts to start the car.
Where's the keys babe?
Let's just go Lenny. I'm freaking
Lenny, having found the keys, starts the car simultaneously
tooting the horn and igniting the window wipers. They drive
off, frog-hopping the VW down the road.
Yeah, it's a good job we're not
making a fucking scene.
59 EXT. ROW OF GARAGES. DAY
Chris and Shifty turn a corner into a row of garages. Chris
stands there for a moment his fists clenched.
Mate, are you alright?
Yeah, I'm fine.
What's the matter, what did he say?
Geezer don't worry about,
just...don't worry about it, it's
cool, I'm alright.
60 EXT/INT. BUILDING SITE. DAY
Trevor makes his way across muddy terrain to a porta-cabin
and let's himself in. We follow him into see Bob Moran,
portly, sitting at a desk, another gentleman, in a suit and
hard-hat stands before the desk. Bob spots Trevor.
No, no, no, no, no, no, no...
Bob comes around from his side of the desk.
No, Trevor, no.
Bob just hear me out.
Get out of my office.
Bob please I've paid out on all the
materials, I've lost money.
You should have thought about that
before you started bringing drugs
onto my site.
You owe me money.
I owe you fuck all.
YOU OWE ME MY FUCKING MONEY.
Tell it to the police, and I'll
tell `em why you got kicked off the
Fuck off, Trevor.
Bob turns and walks out the porta-cabin. Trevor follows.
Bob ignores him.
Bob I need this money.
Bob stays quiet, approaches a workman and starts talking to
him. Trevor stands behind them.
Bob turns to him, and puts out his hand.
Thank's for coming today Trevor,
we'll definitely be in touch.
Bob's hand hangs there. Trevor looks at him, to the hand. Bob
turns away and carries on talking. Trevor stands for a moment
then turns and walks away. Trevor's face is awash with
emotion, it looks like he wants to cry but he holds it
61 EXT. HILL TOP. DAY
Shifty and Chris sit atop of a hill looking out across a
skate park - The camera observing them from behind. Shifty
hands Chris a rolled spliff. Shifty doesn't say anything,
doesn't want to push Chris.
Was that Loretta Martin in that
I used to fancy her big time when
we were kids.
Yeah, I remember.
She fucking... she loves a wrong'un
though don't she?
Loves a wrong'un.
What happened to her face?
Apparently... Glen... I think...
injected her with some fucking
cocktail... I dunno... smack, I
think... he passed out first... she
passed out... but apparently she
was lying up against a radiator...
the fucking thing came on full
whack. She was so out of it, she
didn't even know it was on....
...the paramedics had to peel her
Chris looks back out over the estate. Shifty's phone starts
ringing. He looks at the screen it reads Trevor P MOB. He
62 INT. TREVOR'S VAN. DAY
Trevor gets the answering machine. He smashes out at his
63 INT. REZ'S HOUSE / KITCHEN. DAY
Rez carries a bundle of dirty clothes to the washing machine
and clumsily throws them in. He pulls out the powder tray but
it comes out completely from the machine.
He tries to wedge it back in but it doesn't want to go. Rez
gets down on his knees and tries again, to no avail. He looks
in the gap, and sees something.
He sticks his fingers in and starts rooting around. He has
something; slowly Rez pulls out a large, see-through,
watertight bag brimming with wraps of cocaine and crack. Rez
sits back against the machine just staring at it.
64 EXT. HILL TOP. DAY
Shifty and Chris just sit. Suddenly Chris notices something.
That fucking thing.
65 EXT. PARK. DAY
Shifty and Chris approach an extreme sports park ride that
helps build upper strength. At either end of a raised beam
are two handles.
What does it fucking do?
Chris grabs the handles and starts moving with it.
Mate, grab the other end.
Shifty grabs the handles and starts running parallel to
Chris, suddenly they both lift off the ground.
They're both cracking up laughing, loving it.
66 INT. TREVOR'S HOUSE / KITCHEN / BATHROOM. DAY
On Jasmine's kitchen floor, just outside the connecting
bathroom, are stacked a variety of toiletry goods. The sounds
of scrubbing and movement echo out. Jasmine, her dressing
gown grubby and soaked, cleanses, scrubs, and cleans the
emptied bathroom like a woman possessed. She's purging her
haven, washing away the sin that has tainted her sanctum.
WE CUT TO A LONG SHOT, OVER FREDDIE'S SHOULDER TO SEE HIM
67 EXT. VALERIE'S BLOCK COUNCIL FLATS. DAY.
A fairly respectable but featureless tenement block looms.
68 INT. VALERIE'S BLOCK COUNCIL FLATS/CORRIDOR. DAY
Shifty and Chris stand before a racing green door upon which
a small ceramic emblem of a cat nestles under the number
eight. Shifty knocks on the door. Silence. He stares at the
emblem of the cat.
Fucking cat lovers.
I can't stand people who feed their
cat's... fucking red snapper... or
goose liver, because they say the
fucking things fussy...
...it's a fucking cat.
Wait until you see this...
Starve the fucking thing for a week
and it'll eat a condom, do you know
what I mean...
Shifty laughs. Then they stand for a second waiting. Shifty
Sorry about this geez.
Mate, it's cool.
I didn't wanna drag you around all
Shifty bends down and looks through the letterbox. He sees a
shadow approaching. He stands back up. The latch snaps,
echoing down the clinical looking hallway.
INT. VALERIE'S FLAT / HALLWAY. DAY
We follow Shifty through a corridor deprived of light and
colour. Valerie, who leads the way, is considerably smaller.
We open into the front room and Valerie's revealed for the
first time. At 5'5" with long arms book-ended by bony hands
and a sculptured face, she smacks of an ageing Goth and is
clearly an old hippie, her brain starched by LSD. Sleeping
cats inhabit the surroundings like stationed guards.
Valerie looks towards Chris.
Valerie, this is Chris, he's erm,
he's an old friend of mine, we grew
up together. He's cool. We go way
back. So it's cool, you know.
How you doing?
He offers a hand that she takes politely.
A moment of uncomfortable silence.
I called yesterday but you were
I dunno, It was probably about two
in the afternoon.
I was in all day.
You must have been asleep.
No, no I was awake, I didn't sleep.
I dunno then.
Did you say two o'clock.
Are you sure it wasn't two thirty.
It may have been.
I was out on the balcony at two
But I was in here at two.
I'll make us some tea.
Yeah, that'll be sweet.
INT. VALERIE'S FRONT ROOM. DAY
Chris looks about at the bits and bobs that litter her front
room. Sleeping felines. Chintzy ornaments of cats. He picks
up a framed photo of her daughter, Loretta, in better days,
fresh faced, before the scars, ready to take on the world. He
looks slightly shocked to see this.
Chris sits in a sunken armchair, and looks around the room.
He looks closely at a sleeping cat near his chair. He moves
his foot and touches it but it slides along the floor, not
moving just solid, as if frozen. It dawns on Chris that all
the cats in the room are stuffed.
Chris sits back in the chair, suddenly from next door, the
deep hum of a drum and bass track starts thumping through the
wall. It's so heavy it makes the shelves of chintzy cat
INT. VALERIE'S KITCHEN. DAY
Valerie prepares the tea whilst Shifty leans against the
How you been, alright.
Yeah, I'm alright babe, you
Yeah, I'm alright.
Silence as Valerie prepares the tea.
She visited you yet?
No... not for a long time,
Shifty... not seen her for a long
time really, darling.
Shifty walks over to Valerie and starts helping her make the
tea. He seems to know where stuff is in this kitchen. He
places a hand on her arm.
She'll come back one day.
They carry on making the tea.
INT. VALERIE'S FRONT ROOM. DAY
The drum and bass track continues to thud through the wall. A
fresh pot of tea stands next to an empty can of soft drink.
Shifty pulls out two rocks of crack and places them before
Val. Chris watches with intent. He almost can't believe what
he's seeing. She opens the cellophane and places down a small
yellowy lump. Then carefully she fashions the can into a
smoking utensil. At that moment, one of her cat ornaments
falls from the shelf because of the vibrating bass. Valerie
walks over, picks up the china tabby, and places it carefully
back on the side. She sits back down, clearly distressed by
We're tight on the can as Valerie lifts the paraphernalia to
her mouth and takes a hit, a small grimace etched across her
lips. She gestures with her hand offering Chris some.
No, no, I'm fine......thanks
CLOSE ON SHIFTY.
Look Val we're gonna have to do
THE CAMERA PANS TO VAL- SHE LOOKS ANAESTHETIZED - BACK TO
Shifty nods at Chris for them both to leave. The thudding
bass echoes out as they exit the flat. Chris looks slightly
unsettled by what he's seen.
EXT. OUTSIDE VALERIE'S FLAT. DAY
Shifty shuts the door to Valerie's behind him. They go to
walk off when suddenly Shifty stops dead in his tracks. He
pauses for a while, and then shouts to Chris who has carried
Geezer, give me a minute.
Chris turns to see Shifty pulling up the sleeve on his
jacket. Shifty reaches through the letterbox and manages to
unhook the latch. The door swings slowly open, the drum 'n'
bass booming out.
INT. OTIS' FLAT / FRONTROOM. DAY
Shifty enters. The CAMERA follows. We're introduced to a dark
hallway, clothes, magazines and CD's litter the floor. Shifty
peers into one of the bedrooms leading off from the hallway -
a mattress with no sheets. Shifty carries on down the
hallway. Reaching a door, he slowly pushes it open, to reveal
a grotty front room. On the TV a violent movie scene plays
out, the sound turned down. A wiry looking 18 year old,
Otis, sits on the sofa rolling a spliff, absorbed by the
films images. A chavvy-looking bird sits to his left. Shifty,
cool as a cucumber, rolls into the front room, straight up to
the stereo, and turns it off. The young kid sits there, just
staring, a spliff held in his two hands, totally flummoxed.
Shifty stares him out.
Shifty looks about at the room.
What's your name?
Where do you get your weed from?
It aint... it aint mine, my erm, my
mate left it, he left it here... I
could phone him if you want, he'll
sort you out...
Where d'you get your fucking weed
from rude boy?
I get it from this geezer... Glen
No, you don't.
74 EXT. VALERIE'S BLOCK COUNCIL FLATS / CORRIDOR. DAY
Chris stands waiting, he looks uncomfortable.
75 INT. OTIS' FLAT / FRONTROOM. DAY
No his names Glen, I'm sure it is
man, his names Glen innit?
Yeah, I think so.
From now on you get your weed from
At half the price.
Otis looks at his girlfriend, and back to Shifty, utterly
76 EXT. VALERIE'S BLOCK COUNCIL FLATS. DAY
Chris watches a young mum below, she can't be more than 16,
pregnant, and with another baby in a pram. He looks saddened
by the girl. He turns and walks into the flat.
77 INT. OTIS' FLAT / FRONTROOM. DAY
I'm gonna sell you your weed half
price, and your gonna keep this
At that moment Otis and his girlfriend look up to see Chris
standing in the doorway. His presence adds menace to the
Yeah, alright, yeah.
Because if I hear one word of
complaint from next door, just one
single complaint, I'll come back
here and I'll take your TV, I'll
take your stereo, and I'll shove em
up your birds arse.
He lets the words sink in. The girl looks a little shocked.
Do you understand me?
DO YOU UNDERSTAND ME?
Yeah, yeah, it's cool, I'm sorry,
man, I didn't know I had it on
loud, I would have turned it down,
Silence. Shifty stares Otis out. Otis looks away. Shifty
picks up a biro from the floor and writes a number on Otis'
Call me if you need any more weed.
He walks into the hallway, past Chris.
You don't miss a fucking trick.
You know it.
78 INT. VALERIE'S BLOCK COUNCIL FLATS / STAIRWELL. DAY
Shifty and Chris make their way down the winding stairs of
the tenement block, Shifty's phone vibrates.
CLOSE ON: THE SCREEN OF THE PHONE READS: TREVOR P MOB.
Shifty hits the reject button. Chris follows behind.
That was all a bit fucking surreal.
What d'you mean?
I can't believe you just sold crack
to Miss Marple and struck a deal
with Blazing Squad.
Shifty laughs as they carry on descending.
How old is she?
She's been doing drugs longer than
we've been alive.
Yeah, d'you reckon.
When did you start knocking out?
Knocking out what?
(lowers his voice)
I dunno, about...three, three and a
half years ago.
Why when d'you stop knocking out
When do you think?
Do you get involved?
They still descend the stairs.
Do you wanna try it?
Chris looks at him, unsure if he's joking.
Only if I get a fucking discount.
I have to charge you wholesale, you
know. I got family in Pakistan,
they need ticket for plane travel,
They both laugh.
79 INT. TREVOR'S HOUSE / KITCHEN. DAY
Jasmine is at the kitchen table with Freddie and Katie who
are doing potato painting. Jasmine is dialing her mobile. She
presses it to her ear.
80 INT. TREVOR'S VAN. DAY
Trevor is parked up in his van, just staring out. We see his
phone vibrating on the dash board. He answers.
81 INT. TREVOR'S HOUSE / TREVOR'S VAN. KITCHEN. DAY
Her tone is cold distant.
Where's the credit card?
I want to book a hire car.
We don't need one.
How are we gonna get about with two
We'll get taxis.
It'll be cheaper to get a hire car.
Jasmine, we're not getting a hire
Don't ruin this for me, Trevor.
What do you mean?
Don't ruin this holiday for me.
Trevor goes quiet.
Are you still there?
Where are you?
Where do you think. I'm on site.
It doesn't sound like it...
Babe, look I've got to go,
Well what should I do about the
Babe, I've gotta go, Bob's calling
me... we'll talk about it later...
I'll call you...
CLICK! He puts down the phone.
82 INT. TREVOR'S HOUSE / KITCHEN. DAY
Jasmine sits there for a moment, slightly distracted, then
carries on painting with the kids, her mind elsewhere.
83 EXT. COUNCIL ESTATE. DAY
Shifty and Chris walk in silence. Chris looks about at the
buildings, his eyes searching across the domain that he once
knew so well.
Did you tell Rachel?
No, I didn't.
I thought it'd be a surprise.
Chris looks a little uncomfortable.
Mate, it's gonna be fine.
Who else is gonna be there?
I dunno, lot of her new mates, I
don't know many of them.
So what's the plan, are you gonna
go and see your mum and dad first?
Shifty looks at him.
You should go man, see what they've
got to say?
I thought you worked in
When do you become a fucking family
What are you talking about you
nutter, I was just saying?
I'll be stuck in some fucking
warehouse... looking after twenty
Bengalis... knocking out dodgy
Fruit of the Looms.... I know
exactly who they want me to meet,
It might not be, mate, it might be
some sweet little earner... in the
city somewhere, do you know what I
I've got a sweet little earner.
Yeah, but you won't be sweating
bullets everytime the door bell
You're not knocking out weed
anymore, man.... This aint
college... you're in deep bruv...
that shit'll put you down for life.
Only if you get caught, mate.
Suddenly from around the corner we see someone come sprinting
Malik, small, Turkish, stops dead in his tracks and spins
round, he carries a large black holdall.
(OUT OF BREATH)
Fucking hell Shifty... you alright
bruv... I didn't even notice you.
What's going on?
Long story, geezer (Looks at Chris)
you alright mate?
How you doing?
Malik, this is an old mate of mine,
Someone's gotta be.
Where are you going, man why you
Fucking hell, do you remember I was
telling you about Craig?
Yeah you fucking do, Craig Whittle,
the guy who's seeing Desmond
What, Craig, small Craig.
Yeah, yeah. D'you remember I told
you he had that job at the
pinnacles, the, erm, storage
Yeah, go on.
Anyway, Craig tells me every
Friday, on the fucking dot, a
delivery gets made, all this top
fucking electrical gear...
Shifty offers him a cigarette.
Cheers mate... yeah every Friday
[lights his fag] they make this
fucking drop off, but because the
lorry can't reverse into the
courtyard, something to do with the
angle of the gates or something, I
dunno mate, you'll have to ask
Craig, they fucking, cos they can't
get in, they leave all these crates
sitting on the fucking road...
What... are you on your way there
What... no, no, no, I drummed the
place ten minutes ago blood. This
fucking... forklift went inside
yeah, with this first load, so I,
fucking, I nipped in, started
whacking in the gear, only turns
out they've got another forklift...
Hold up, hold up...Why are you
Cunt caught me right in the middle
a loading up.
CLOSE ON: SHIFTY AND CHRIS' FACES DROP.
MALIK (O.S.) (CONT'D)
Are you sure you don't want
anything, I'll do you a proper
deal, sort you right out?
At that precise moment a plain clothes police car comes
heading toward them. The siren blares out. Chris and Shifty,
caught between a rock and a hard place, turn and sprint.
84 EXT. BACK STREETS. DAY
Chris runs, suddenly Shifty overtakes. Chris is fast but
Shifty's like a whippet.
Shifty swerves down a side lane, Chris follows.
85 EXT. ALLEYWAY. DAY
Malik's legging it down an alleyway, he throws the bag over a
wall and goes over after it, he vaults, landing knee deep in
a shitty garden pond.
86 EXT. SIDE STREET. DAY
Shifty and Chris sprint, the police close behind.
This is bollocks.
Shifty vaults a brick wall, Chris follows. The drop on the
other side is far deeper than expected, they hit the floor
hard. Suddenly they see something that grabs their attention.
87 EXT. CYCLE TRACK. DAY
Shifty and Chris come swerving around the corner on the
crappest kids' bikes you've ever seen. Shifty's knees are
near his chin, and Chris' bike is pink with a fairy flag
whipping off the back.
THE CAMERA RIDES PARALLEL WITH THEM AS THEY HURTLE ALONG THE
It's not perfect but it's better than running. Shifty starts
cracking up laughing. Chris' face looks a little more
serious, however. He doesn't find this all quite as funny as
EXT. GROSVENOR ROAD CUT THRU. DAY.
Shifty sits in an underpass. Random graffiti tarnishes the
walls behind them, their bikes lent against the wall. Chris
is stood up, leaning on his knees, breathing hard.
Mate, I'm telling you, this is no
way to live.
Chris sits down next to Shifty.
I'm serious, mate, you need to get
away from this shit, come and live
with me for a bit.
Shifty looks at Chris, and reaches into his pocket pulling
out a pack of fags.
I'm serious, mate... Why not?
Shifty doesn't say anything.
You'd love Manchester, man, it's
full of fitness.
Shifty stays quiet, and smokes. They sit their for a moment.
I can't just fuck off.
Yeah, you can.
Shifty looks at Chris.
Yeah, but I wouldn't mate... I
don't want to... I'm perfectly
fucking happy where I am...
INT. GLEN'S COUNCIL FLAT. DAY
Glen sits perched on the end of the bed, his top off. Loretta
lays on her side, behind him.
He gets up and walks about.
... is that better?...it's Glen...
you alright... can you hear me?...
yeah I'm good mate, I'm good... No,
you...no mate... no I, erm, I put
the word about...you know...what we
were chatting about... and I, erm,
I think I've got a pretty good idea
what's going on... well, erm...
I've heard this off a few people...
a lot of `em have said the same
thing... it's, erm, it's Shifty
innit... Shifty... yeah, yeah
I mean I could have told you that
in the first place, mate...who else
is it gonna be... Cos I tell you
one thing, I aint fucking cutting
up the gear, Lenny aint fucking
cutting it up is he, look at the
state him... I mean mate, they're
all on the make... he's a fucking
Paki ain't he... he'd sell his
sister for a set of rims, do you
know what I mean... Yeah I did, I
had a word with him... told him
what I'd heard... yeah. Little
prick told me to go fuck myself,
said he'll call you himself... the
geezers getting out of control
Magnus, something needs to be
done...alright mate...alright, I'll
speak to you later...cheers
He stands there for moment, thinking. He walks over to
Loretta and pulls back the sheets. He leans over and starts
kissing her all over, she tries to ignore him, but he's
licking her ear, grinding his crotch into her arse.
Glen, I'm not in the mood.
He doesn't listen, and pulls down her knickers.
EXT. GROSVENOR ROAD CUT THRU. DAY
There's a silence between the two of them. Shifty looks as if
he's mulling something over in his head.
If Manchester's so full of gal, how
come you haven't got a bird yet?
I've been on nuff dates. Some of
them fucking lovely.
I just haven't been able to get my
head around it since Serena.
Mate, that was four years ago.
91 INT. TREVOR'S VAN. DAY
Trevor's makes his way through the lifeless avenues of
Dudlowe, a repetitive New-York house tune plays out - Trevor
does a line of coke off the tip of a credit card.
EXT. GROSVENOR ROAD CUT THRU. DAY
In the distance we can hear the faint resonance of traffic
and far-away cries from a children's playground....
Did you go to the funeral?
Shifty soaks in the question.
Yeah of course I did.
Did anyone say anything?
I dunno, about me?
People were saying a lot of shit
about both of us.
Just... fucking...just rumors,
Did you get drilled by the old
What did people say when I left?
I don't know mate. Whatever they
were saying about you they were
saying about me.
There's an uncomfortable silence between them.
I'm gonna get fucking lick-shot
You fucking know that... back to
mine... bit of munch... couple of
You getting changed?
Yeah, of course I am
Let's get a bottle of whisky.
You always kick off.
No I don't.
Mate, last time you drank a bottle
of whisky you pissed on my leg.
Chris is laughing.
In a club.
In front of the bouncer.
Oh yeah, I remember.
Chris cracks up.
I gotta do one last drop off and we
can chill out.
93 INT. TREVOR'S VAN. DAY
We see Trevor walk back to the van, in his hand he has a can
of beer. Getting in, he settles down and begins to unwrap his
gram of coke on the passenger seat. He places down the can to
take a hit when suddenly he knocks it, spilling beer all over
No, no, no, no, oh fuck, oh fucking
He's at it. His fingers dabbing at the clammy remnants,
fingering it into his gums and teeth.
94 EXT. TREVOR'S VAN. DAY
Trevor gets out, he's furious and kicks the side of the van.
95 EXT. STREET. DAY
We see Shifty and Chris approach a house, Shifty leads the
way through the gate.
96 EXT. TREVOR"S VAN. DAY
Trevor's driving, full of desperation. He phones another
Ken, it's Trevor... yeah I'm alright
mate... yeah, no, not for about a
week... Look I can't get hold of
Shifty... I know, I know he's a
nightmare... you haven't got any
various have ya... what you're dry as
well... I know... I know but I can't
get hold of him... alright mate... look
if you see him yeah, get him to
call me straight away...
97 INT. BLAIR'S HOUSE / FRONT ROOM. DAY
We're at Blair Wyards, 35. His room is full of twelve inch
vinyl and cool framed posters. They all sit around on low
comfy chairs. Blair smokes on a stacked spliff.
How many do you want?
Just two... fuck it, it's Friday,
make it three... Yeah, make it
How about four!
Do me a favour, Jesus Christ.
98 EXT. STREET. DAY
Malik walks, head down, carrying the bag of stolen gear.
99 INT. BLAIR'S HOUSE / FRONT ROOM. DAY
Shifty's phone goes off on vibrate. He looks at the screen:
TREVOR P MOB. He ignores it, rifles through his cellophane
bag and pulls out three grams of coke.
What's work saying?
Fuck all really.
Blair works at St. Marks.
I used to go there, what do you do?
He's head caretaker.
I'm not, I'm head of English.
Chris' laugh is met by silence.
100 EXT. STREET. DAY
Trevor's van pulls up behind Malik tooting his horn - Malik
almost defecates his jeans - Trevor winds down the window.
Fucking hell Trevor, my hearts
beating like a techno track.
You seen Shifty?
Earlier, yeah, why?
This morning, why what's the
matter, what's going on?
Get in and show me where to find
him, you know where he hangs out.
I, erm, I'm on my way to, erm, my
Don't worry about it, we'll only be
about ten minutes.
I don't think Shifty's gonna want
to see me at the moment though
Trevor steps out.
Get in the FUCKING car Malik.
101 INT. BLAIR WYARD'S HOUSE / FRONT ROOM. DAY
Yeah it's good, mate, thriving.
I was reading the other day that
it's a good time to be in the drugs
trade... government's raging war on
terror... no one gives a fuck about
Yeah but I'm a Muslim drug
So he's fucked either way.
Blair and Chris laugh.
Ha Dee fucking Ha... wankers.
Shifty sits back in his chair, thinking.
102 INT. TREVOR'S VAN. DAY
They're driving. Trevor almost fanatical, eyes searching -
Malik in the back of the car, looking anxious, offering
103 INT. TREVOR'S VAN. DAY
Trevor scours the streets, Malik in the back. The house tune
104 INT. BLAIR'S HOUSE / FRONT ROOM. DAY
Blair sniffs up a line of coke and offers some to Shifty and
Chris who decline. The mellow tunes plays out. Chris passes
the spliff to Blair who takes a deep drag. Shifty sits back
and looks at the clock on the wall. It reads 18:45. He thinks
for a moment. He looks at the lines of coke lined up on
Blair's table. He looks back at the clock. 18:46. Chris is
I tell you what?
I could fucking smash one of your
Shifty looks at Chris straight in the eyes.
Do you think she would have made
We could still make it, man.
Shifty looks at Chris.
105 INT. SHIFTY'S PARENTS HOUSE. DAY
Rez stands in the hallway of his parents house, we can see
Shifty's parents in the kitchen chatting to an elderly
gentleman in a suit. Rez looks at his phone, it reads: Shafiq
Mobile. He looks at it for a while. Then answers.
Rez, it's Shifty
Where are you?
Mum and dads.
106 EXT. STREET. DAY
Shifty and Chris walk.
You alright mate... you sound a bit
Is that still job thing still on?
Of course it is. Why wouldn't it
Alright mate, I was just asking.
Just get here.
107 INT. SHIFTY'S PARENTS HOUSE / HALLWAY. DAY
Rez puts down the phone. He stands there for a while,
thinking, then walks into the kitchen to join his parents and
108 INT. TREVOR'S VAN. DAY
Silence as Trevor and Malik drive. Suddenly Trevor notices
Shifty and Chris walking down a grass verge, making their way
beneath the underpass.
He brings the van to a halt at the side of the street. He
exits the van, leaving Malik sitting in the back passenger
seat slightly non-plussed.
109 EXT. UNDERPASS. DAY
Shifty and Chris walk through the tunnel, from the far end we
see the shadow of a heavyset man approaching. Shifty and
Chris walk unfazed. Shifty recognises the guy.
(under his breath)
Trevor, appearing from the gloom, walks directly towards
Where you been geezer, I've been
trying to get hold of you.
He stops about a foot away from Shifty. Too close for
comfort. Shifty takes a step back.
I've been busy, mate. You alright?
Trevor assesses Chris.
I need to get hold of some gear.
There's nothing left Trev, that's
why I haven't answered?
Trevor's face drops.
Don't fucking bullshit me Shifty.
Mate, call me in an hour and I`ll
sort you out.
You won't answer your phone mate,
you've been blanking me all day.
Mate, I'm in a rush, I'll call you
Fuck off, I know you're carrying,
don't try and mug me off.
Take it easy rude boy. Just chill
I am fucking chilled out, I just
don't like being mugged off, do you
know what I mean?
Trevor's in Shifty's face.
I've had a long fucking day,
Trevor, just leave me alone.
Don't tell me what to fucking do
He pushes Shifty hard. Chris steps up.
Mate, leave it out!
Trevor's on Shifty and has him pinned up against the wall,
his hefty hand gripped around his neck, Suddenly he brings a
Stanley knife up to his temple.
Empty your pockets! EMPTY YOUR
Mate what are you doing?
Just leave it, Chris. Trevor, think
about what you're doing, man.
JUST EMPTY YOUR FUCKING POCKETS.
Trevor edges the knife harder into Shifty's neck. Slowly
Shifty surrenders the large bag of coke and a cellophane bag
of crack with about two grand in cash.
Why do you lie to me you prick, why
do you tell me you weren't fucking
Trevor, you need to calm down.
Trevor's eyes are bulging, face crimson with rage, his knife
nestling at the tip of Shifty's Adams apple.
Empty your fucking other
Shifty does what Trevor says.
And the inside pockets you prick...
At that moment, Trevor lowers his knife, Shifty takes heed
and grabs him, swinging him around and pushinhg his palm into
Trevor's face. They fall into a messy clinch, but their now
facing the opposite way. Chris and Shifty turn and sprint as
fast as possible. Trevor falls to his knees scrambling for
110 INT. TREVOR'S HOUSE / FRONTROOM. DAY
Jasmine is in the front room ironing. In front of her she has
two suit cases laid out perfectly. She keeps and eye on the
kids who are still painting. She presses one of Trevor's
EXT. OLD SPORTS CENTRE. DAY
Shifty and Chris come to rest behind a gathering of bushes.
Their lungs on fire as they grab for air. Shifty looks down
at his top and realises he's bleeding.
Mate, are you alright?
Chris reaches to help him, but Shifty swats away his hand.
Get off me, man.
Mate, I'm only trying to help.
It's a bit fucking late now.
Mate, the geezer had a fucking
knife at your throat.
Yeah exactly mate. Help might have
been fucking nice, do you know what
What was I supposed to do?
You're supposed to fucking help me,
man, fucking do something.
Mate, I'm sorry, I'm just not used
to being fucking mugged in tunnels.
It's not part of my daily routine?
I'm surprised you didn't do a
What are you talking about?
I'm surprised you didn't fucking...
run off and leave me to sort out
Fuck you, Shifty. Fuck you, man.
Why, why, cos I'm speaking the
truth. Talking about the past,
talking about Serena. Oh no you
can't talk about that, you mustn't
talk about Serena.
Let's fucking talk about it. Let's
talk about how you left two weeks
after she died without saying
goodbye to me, everyone fucking
asking me what's going on, every
one saying shit about you, bad
mouthing you, let me tell you about
the fights I had sticking up for
you, the broken nose I got when
some meathead slagged you off,
let's fucking talk about that,
I left because of one fucking
reason... this shit hole...
this fucking cess pit that you love
so much... where has this place got
you, man, where has it fucking got
you, smartest kid in the class,
four fucking a levels and you're
getting chased by the police,
getting mugged, selling crack
cocaine to OAP's. Nice life.
I'll tell you where it's fucking
got me mate. It's got me earning
four thousand a week...How much do
you earn in your little cubicle up
in Manchester...go on how much do
you fucking earn... you probably
don't even earn two grand a fucking
month you prick...
You don't know what the fuck I've
How would I you prick I haven't
seen you for four years.
No FUCK YOU!
Shifty turns and steams off leaving Chris seething.
INT. TREVOR'S VAN. DAY
Trevor gets back in the van, wiping the blood from his nose
with the sleeve of his shirt and breathing heavily. He's
counting the money, looking in the bag of drugs - PAY DIRT.
He's a bundle of nervous energy.
Who d'you fucking rob - Cuba?
Trevor spins round in his seat.
JESUS MALIK... what are you doing?
I thought you wanted me to wait.
Trevor starts to laugh; it's a nervous display, almost
Sort me out with some out that (he
nods to the coke).
What's it worth?
Malik considers, puts his hand in the bag and pulls out a
camcorder he nicked earlier with a bunch of tapes.
INT. SHIFTY'S PARENTS HOUSE. DUSK
In a respectable dining room sit Shifty's parents and Mr.
Ahmed. Their silence is awkward as they sit waiting for
Shifty. Shifty's mum pours Mr. Ahmed some tea.
INT. TREVOR'S VAN. DUSK
Trevor takes out a wrap, places a huge pile on the end of a
credit card and tries to snort the lot in one go. His broken
nose proves difficult, blocked by clotted blood, so he eats
INT. SHIFTY'S PARENT HOUSE / KITCHEN. NIGHT
Rez sits on a stool drinking a cup of tea, he tries to ring
Shifty but gets no answer. Rez's face shows frustration.
EXT/INT. REZ'S HOUSE. NIGHT
Shifty walks down the path and opens the front door, calling
The house is empty.
INT. REZ'S HOUSE / SHIFTY'S BEDROOM. NIGHT
Shifty's on the phone.
... Why... that's not true... Magnus...
Magnus it wasn't... come on, man... I
know but... I know... what the fuck was
I supposed to do... you know I don't...
Magnus, chill out, man... Yeah...
yeah... I'm... fucking... WHAT! I'm
not in on anything with Glen...
whatever your problem is with him
that's nothing to do with me... Why
you even use that prick... I...
what...when... I do know who it
was... yeah, Trevor Palmer... you don't
know him... yeah... you don't know him...
but I... yeah... I will, I will, look
man, I didn't kno... I will... CLICK!
Shifty's punching his bedroom door yelling out.
FUCK! FUCK! FUCK! FUCK!
INT. SHIFTY'S PARENTS HOUSE. NIGHT
Shifty's mum shuts the door as Mr. Ahmed leaves. She turns
back into the hallway and suddenly begins to cry. Shifty's
dad walks in and holds her tight, Rez holds back, not knowing
what to do.
119 EXT. LONDON STREET. NIGHT
Five heavy looking bastards walk out of a house and towards a
serious looking black range rover. One of them opens the boot
and they throw in baseball bats, a crowbar, masking tape.
120 EXT. HOUSE PARTY. NIGHT
Chris sits on a wall the other side of the road, a carrier
bag full of beer. He sits, drinking, just staring at the
house, the music pumping from within. He watches as people
arrive. He looks about. He's anxious, upset, he doesn't want
to do this on his own.
121 INT. TREVOR'S FRONT ROOM. NIGHT
Trevor unlocks the door and walks into the house, his nose
swollen, face sullen, guilty. We follow as he walks toward
the front room where we see suit cases placed over the floor
as Jasmine busies herself packing. She doesn't look at
Trevor, she's too angry with him.
What are you doing babe?
What does it look like.
We've got another three days yet?
I've got two kids to pack for...
...three including you...
Where are they?
Where do you think they are,
they're in bed?
What's wrong with you?
Jasmine walks past him, still not looking him, and into the
kitchen where she takes wet washing from the machine.
Babe, what's the matter?
She walks back past him to the front room.
When did you start using again?
When did you start using cocaine
What are you talking about?
I'm not going through this again
Trevor, don't fucking lie to me.
What are you going on about?
Is that why the card failed.
I tried to book a car and the card
I told you not book it.
She turns to look at him.
I swore to you Trevor, I said to
you...what the fuck happened to
122 INT. RANGE ROVER / MOTORWAY. NIGHT
The five heavies sit in the car, heavy music playing out, the
motorway lights flashing past.
123 INT. TREVOR'S FRONT ROOM. NIGHT
Babe people walk into scaffolding
all the time.
No Trevor only you walk into
scaffolding... cos coked off you're
just off you're fucking tits.
I'm not off my tits babe.
What did I say to you Trevor, I
said as god is my witness, I'll
walk out of that door with my kids
and never look back...
What did I say?
What did I fucking say.
Trevor drops his head.
You promised me you'd stopped, You
swore on your baby daughter's life
that you were clean, Trevor. You
swore on our nine-month old baby
daughter's life that you wouldn't
touch that... that shit anymore.
Trevors starts crying.
No, don't you cry, don't you dare
fucking cry, because to me that's
even more repulsive. I want you to
be a man for Christ's sake. I want
you to be a fucking man about this,
Trevor, for once in your life take
control of the FUCKING situation.
She's at him, screaming, hitting. He just stands there limp,
absorbing her blows.
WE'RE YOUR FAMILY, YOU SHOULD BE
FUCKING LOOKING AFTER US YOU WEAK
Jasmine walks away from him. Trevor's just left there,
INT. REZ'S HOUSE. BATHROOM. NIGHT
We jump cut as Shifty cleans his cut, puts on a fresh tee
shirt, freshens his face in the sink.
INT. REZ'S HOUSE KITCHEN / NIGHT
Shifty is then down in the kitchen, at the washing machine.
He pulls out the powder tray, nothing there, he's digging
about inside, he gets a torch, he's trying to peer in,
Where the FUCK have you been?
Shifty's head darts. They stare at each other for a moment.
Rez, I'm sorry, man.
Where the fuck have you been... why
didn't you phone mum and dad?
Rez walks into the kitchen.
I ran out of juice.
Why didn't you use a pay phone?
Shifty doesn't answer. Rez looks at the open tray on the
washing machine. Shifty look him in the eye.
I need it Rez, where is it?
Where is it? Where the fuck is it.
You bring drugs into my fucking
house... the house that I pray
He pushes Shifty hard in the chest.
Rez, Rez, man.
I looked after you Shifty, I took
you under my roof, let you live in
my house, and this, this is how you
Rez pushes Shifty again hard. Shifty grabs Rez but Rez
punches him around the face, they fall to the floor in a
messy clinch, Rez pulling at shifty's face, hitting him.
Rez, Rez, Rez...
Shifty manages to wrangle himself free. Rez is up and at
Get out of my fucking house, get
Rez, Rez, I need that bag...
Rez, if you don't give it to me I'm
a dead man.
Rez storms off upstairs. Shifty stands just rubbing his face
with his hands muttering under his breath.
Fuck, fuck, fuck, fuck, fuck,
He can hear Rez rustling about upstairs. Shifty starts
ascending the stairs.
INT. REZ'S HOUSE. BATHROOM. NIGHT
Shifty's enters the bathroom to see Rez emptying the drugs
into the toilet.
Rez flushes the chain. Shifty pushes Rez aside and reaches
into the toilet but it's too late.
What the fuck have you done, what
the FUCK have you done?
Get the FUCK out.
Get the FUCK out of my house.
Rez is pushing Shifty again. Shifty backs away down the
125 INT. RANGE ROVER / MOTORWAY. NIGHT
The motorway lights flicker through the glass, illuminating
the guys faces. One of them rotates a knife in his hand.
126 EXT. REZ'S HOUSE. NIGHT
Shifty exits his brothers house. He stands there for a moment
breathing hard, thinking, then heads off with conviction.
127 INT. TREVOR'S FRONT ROOM. NIGHT
Jasmine, still in a bit of a state, her eyes reddened from
tears, sits sorting stuff out in the front room. She picks up
the carrier bag that Trevor brought home with him and looks
inside, she pulls out the camera and tapes.
128 EXT. TREVOR'S GARDEN. NIGHT
Trevor sits at the garden table smoking a fag. Jasmine walks
Trevor looks up.
I brought it for you.
He walks past her back into the house and kisses her cheek
she flinches slightly, She stands there for a second soaking
129 EXT. HOUSE PARTY. NIGHT
Chris sits on the wall, he downs his beer, straightens
himself up, and walks towards the house. A voice calls out.
Chris turns to see Shifty approaching. They stand there for a
moment. Neither one saying anything.
Yeah, I'm alright. You alright.
Chris looks down.
Look man, I'm not gonna do this
I've got too much shit to deal
You don't have to come with me.
It's up to you?
Yeah, cool, I'll probably just grab
my stuff from yours then.
Shifty nods with acceptance, but Chris smiles.
As if I'm not gonna come with you
Shifty shakes is head.
Fucking hell, man. I thought you
were gonna leave me cold.
I thought you were used to it.
There's only so much one man can
They walk off. Chris throws Shifty a light punch.
Now you start throwing punches.
130 INT. TREVOR'S / BATHROOM. NIGHT
Quietly Trevor sniffs up a corner of coke. He carefully opens
the door to make sure Jasmine's not nearby. He exits and we
follow him into the front room where Jasmine sits with the
Camcorder. She aims it at Trevor and presses record. Jasmine
peers into the Lens.
INT. COUNCIL ESTATE / HALLWAY. NIGHT
Shifty and Chris approach a rundown council flat. The door is
shabby, black bin liners decorate the floor. Shifty knocks.
They stand for a moment when suddenly the door creaks open to
reveal Loretta peaking through.
Loretta, is Glen there?
She watches them for a moment then shuts the door. Shifty
looks at Chris. They stand for a moment when Glen opens the
I need to talk to you about
Glen just looks at him.
Can we do it inside.
Glen opens the door. They both walk into the flat. Glen stops
shifty and points for him to go into the bedroom.
Mate, I'll only be a minute.
Chris walks into the front room where he sees Lenny and
Loretta playing Connect 4.
He looks at Lenny.
Lenny looks slowly up.
Chris perches himself on the edge of a dusty old armchair. He
looks at Loretta.
You alright Loretta.
She smiles at him.
You alright Chris.
He smiles nervously.
132 INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT
What's going on, what are you
fucking doing here?
Something happened today...
something, I dunno, something
serious... so I phoned Magnus...
talked to him about it... told him
What Losing all his gear?
Who told you that?
And what did he say?
That you've lost all his gear...
all of his money.
Shifty pauses thinking.
Yeah well he went mental, saying
some other shit about me cutting it
up, mixing the coke, he was saying
all sorts of... bullshit...
Glen stays quiet. Shifty waits for a reaction.
Why would he be saying that...
who's been talking to him?
Dunno mate, you're guess is as good
Shifty pulls out his phone.
Perhaps you should phone him up
now, here, in front of me, tell him
it's all bollocks.
Glen just looks at Shifty.
You can tell him yourself.
Shifty holds the phone to Glen's face.
Go on mate, call him up, tell him
that I don't cut up the coke.
Glen knocks down Shifty's arm.
I don't know what the fuck you do
133 INT. GLEN'S COUNCIL FLAT / FRONTROOM. NIGHT
Chris watches Loretta and Glen play connect 4.
134 INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT
I know that you bowl around this
town like it's your fucking
manor... with your smooth fucking
Paki chat... giving it the large..
What are you talking about you
Mugging off Magnus, saying that
he's getting weak, losing all his
What the FUCK are you going about.
And then you come to my house and
you threaten me...
Shifty stays quiet.
...Shooting off your fucking mouth,
telling me what you're gonna do to
Magnus... telling me how you're
gonna take him down...
Shifty stares at Glen, seething.
135 INT. GLEN'S COUNCIL FLAT / FRONTROOM. NIGHT
Lenny and Loretta, having ditched the connect 4, are chasing
the dragon from a piece of tin foil. Chris looks totally
uneasy, the situation is making him uncomfortable.
136 INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT
You've been chopping up the fucking
gear all along. Selling half of it
to the fucking Turks, cutting out
A BEAT. Glen looks a little shocked by Shifty's revelation.
Who told you that?
Fuck you, you cunt. You're just
jealous cos you didn't think of it
first. You're not that fucking
I didn't think of it, cos I'm not
that fucking stupid.
There's a knock at the door. Shifty hesitates, then answers
Mate, can we go?
Don't worry about it, I'm fucking
Shifty goes to walk out with Chris. Glen follows them into
It's about time you both fucked
Fuck off Glen.
After what happened.
Shifty and Chris carry on walking out.
No wonder you left mate.
Couldn't show your face after what
What did I do exactly.
Get the fuck out of my house.
What the fuck did I do?
Mate, just leave it the geezers a
WHAT DID I FUCKING DO?
Don't start shouting mate.
Or what... you gonna kill me like
you did Serena.
Suddenly, with out hesitation Chris grabs Glen by his tee
shirt and slams his forehead into Glens nose. It breaks in a
clean crack, blood spurting out. Glen doubles over, holding
his face. Chris smashes his fist into the back of Glens head,
Glen goes down on his knees. Chris is kicking him. Shifty
comes in and pulls him away, laying in a few boots himself.
Glen stands up.
You broke my fucking nose. You're a
fucking dead man Shifty... you're
all ready a fucking dead, man,
you're fucked... fucked...
INT/EXT RANGE ROVER. MOTORWAY. NIGHT
The black Ranger Rover soars along the motorway.
138 EXT. FIELD. NIGHT
Shifty and Chris cross a field, trudging through the ankle
length grass. They reach a hedge. Shifty reaches into the
bushes and starts rummaging around. He pulls out a black bin
liner containing something heavy. He unwraps one bin liner to
reveal another which has been tied with elastic. He undoes
another black bin liner until finally he's left with just a
leather sports bag.
139 INT. RANGE ROVER. NIGHT
Through the front windscreen we see a sign indicating a
turnoff for Dudlowe New town. The jeep veers, making the exit
just in time.
140 EXT. DUDLOWE STREETS. NIGHT
Chris and Shifty make their way through the town. Shifty's
walking fast, dictating the pace.
Where are we going?
We should just go, man, get the
fuck out of this shithole, leave
now, go to Manchester, tonight, I'm
Chris I can't. I'm not leaving...
I'm not leaving my brother.
Silence. They carry on walking, together, side by side.
141 INT. SHIFTY'S HOUSE / FRONT ROOM NIGHT
Silhouetted by the night sky, Shifty and Chris sit on dining
chairs, before the front window, lights off, waiting.
142 EXT. RANGE ROVER. NIGHT
The Range Rover creeps along the streets of Dudlowe.
143 INT. SHIFTY'S HOUSE / FRONT ROOM. NIGHT
Does everyone think it was me?
If they did you'd be in prison
Running off didn't help.
I can't even remember giving it to
We were all pretty fucked Chris.
She told me she'd done pills
Chris if it wasn't you, she would
have got it from someone else mate.
Yeah but she didn't did she.
Shifty leans forward and opens the leather sports bag. He
pulls out a .38 six shot revolver and a hand full of bullets.
He starts loading the gun. Chris stands up.
Jesus Christ man what the fuck are
Shifty gestures for him to be quiet, and points upstairs to
Fucking hell, man, this is
Chris sit down, man.
Chris sits down. Shifty reaches in the bag and hands him a
knuckle duster. Chris looks at it.
Glad you're fucking sorted.
144 EXT. STREET. NIGHT
The Range Rover pulls into a turning.
145 INT. REZ'S HOUSE / FRONTROOM. NIGHT
They sit there, just waiting.
Do you think they'll come.
A moment of silence.
Wish I'd slept last night.
Shifty nods. He's feeling the pain.
Got any coke?
Silence. Chris laughs.
We've been chased by the police...
Chris' laughter increases.
We got fucking mugged...
They're both starting to laugh.
And my brother flushed my gear down
They're both cracking up.
Party was blinding though weren't
They're both laughing, Shifty motions for them to quieten
down in case they wake Rez.
Fuck the party. I never wanted to
146 EXT. STREET. NIGHT
The Range Rover turns off it's lights. The guys just sit
147 INT. SHIFTY'S HOUSE / FRONT ROOM. NIGHT
Chris is falling asleep, head drooping. Shifty's trying to
stay awake, one eye open, struggling, but he's too tired.
Both their heads are drooped, they're dead to the world.
148 EXT. STREET. NIGHT
The Range Rover creeps along with its lights off.
149 INT. SHIFTY'S HOUSE / FRONT ROOM. NIGHT
Shifty jolts as if he's heard something, going for the gun in
his jacket. He looks around... nothing there.
150 EXT. STREET. NIGHT
The five heavies get out of the jeep. Pulling on balaclava's,
bats, knives, guns at the ready.
151 INT. SHIFTY'S FRONT ROOM. NIGHT
Shifty and Chris are silhouetted against the night sky.
152 EXT. STREET. NIGHT
The five heavies approach the house.
153 INT. REZ'S HOUSE / FRONT ROOM. NIGHT
A shadow streaks across the front window but Shifty and Chris
154 EXT. STREET. NIGHT
The five heavies assemble outside the door. One of them kicks
the front door with an almighty crash.
155 INT. REZ'S HOUSE / FRONT ROOM.
Shifty awakes with a jolt to see broad day light streaming in
through the windows of the house.
156 EXT. REZ'S HOUSE. MORNING
Shifty steps out the front door to look about. It's a nice
day. He looks up and down the street, nothing. He goes to
walk back in the house when suddenly his eye catches
something on the floor. He reaches down and picks up a large
jiffy envelope that's been left leaning against the bin
cupboard. Scribed across the front is: SHIFTY
157 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING
Shifty rips open the Jiffy envelope. He pulls out a
Camcorder, a Polaroid falls to the floor, face down. Shifty
looks at both. His face displays concern.
JUMP CUT TO:
158 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING
Shifty's packing, fast. Loading stuff into a sports bag, tee
shirts, jeans, socks.
JUMP CUT TO:
159 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING
Shifty pulls out a large bundle of money that he's been
160 INT. REZ'S HOUSE / KITCHEN MORNING.
Shifty places an envelope on the table. REZ scribed across
161 INT. REZ'S HOUSE / FRONT ROOM. MORNING
Shifty walks into see Chris sitting up on the sofa. He throws
Chris' bag at him. He looks at his bag. At Shifty's bag slung
over his shoulder.
JUMP CUT TO:
162 EXT. RIVER SIDE. MORNING.
Shifty stands at the river side. Chris beyond, watching.
Shifty reaches into his jacket and pulls out the .38
revolver. He throws it into the river.
Give me your phone.
Give me your phone?
He takes Shifty's phone and chucks into the river.
JUMP CUT TO:
163 EXT. COACH STOP. M0RNING
Shifty and Chris sit in silence. The bus pulls up.
164 INT. COACH. MORNING
The bus pulls away. Chris settles back, and offers Shifty one
of his head phones to share. Shifty takes it and sits back,
looking out the window. The track we heard at the beginning
of the film begins to play: Noel McKoy's "Brighter Day". It
plays softly over the following scenes.
165 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST
Shifty stands, staring at the camcorder in his hand, and the
Polaroid, face down on the floor.
166 INT. GLEN'S COUNCIL FLAT / FRONT ROOM. MORNING - PRESENT
Loretta awakes from a drug inflicted sleep and sits up. She
looks around. No one.
167 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST
Shifty leans down to pick up the Polaroid.
168 INT. GLEN'S COUNCIL FLAT / HALLWAY. MORNING - PRESENT
Loretta walks towards the bedroom, she reaches for the
169 INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT - PAST
We see the same scene from the night before. But from a lower
angle to see Shifty holding his mobile phone by his side.
CLOSE ON SCREEN: IT SHOWS AN OPEN LINE TO MAGNUS' MOBILE
Who told you that?
Fuck you, you cunt. You're just
jealous cos you didn't think of it.
You're not that fucking smart.
I didn't think of it, cos I'm not
that fucking stupid.
170 INT. RANGE ROVER. NIGHT - PAST
CLOSE ON: PHONE HELD TO A MANS EAR - MAGNUS WE PRESUME
LISTENING TO THE CONVERSATION.
171 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST
Shifty turns over the Polaroid.
172 INT. GLEN'S COUNCIL FLAT. MORNING - PRESENT
Loretta opens the door to reveal Glen taped to a chair and
beaten to death.
173 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST
Shifty turns over the Polaroid to see a picture of Glen,
taped to the chair and beaten to death.
174 INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST
Shifty opens the LCD on the Camcorder and presses play and
begins to watch.
175 INT. TREVOR'S HOUSE / FRONT ROOM. NIGHT - PAST
CAMCORDER: Jasmine peers into the lens. She then turns the
camera and follows Trevor who plants himself on the other
settee, he looks uneasy.
Babe, do me a favour.
There is a colossal banging sound.
What the fuc...
Trevor's up on his feet. The banging becomes a crash as
something gives way.
TREVOR WHAT IS IT? PHONE THE
Three heavyset men in balaclava's charge into the front room.
Jasmine screams, dropping the camera on its side yet still
giving a viewpoint on events. Three men are on Trevor, he's
receiving a serious beating.
THE MUSIC ON THE SOUND TRACK BEGINS TO GET LOUDER.
A man grabs Jasmine by the hair and drags her to the middle
of the room, she attempts to fight back, feisty as ever. This
is bedlam. Suddenly someone rushes in from the left and lays
a vicious right hook to Trevor's head. He goes down like a
lead weight. Jasmine's crying, fear washing over her. A child
cries out from upstairs.
Tell that fucking slag to stop
Two hooded men drag Jasmine off to another room. She's
fighting back clawing at them. Trevor's face is pressed
against the cold lino flooring. Someone has grabbed the
camera and angles it on Trevor's bloodied features. Congealed
blood envelopes his eyes and nose cavities.
A hand moves into shot and grabs hold of his face, squeezing
his cheeks so he looks sadly comic. Trevor's eyes flicker
VOICE (OS) (CONT'D)
Look into the lens...
Trevor fails to comply. The hand slaps him hard and grabs his
VOICE (OS) (CONT'D)
Look into the FUCKING lens!!!
VOICE (OS) (CONT'D)
Say you're sorry.
Trevor begins to weep - a painful sight.
VOICE (OS) (CONT'D)
SAY YOU'RE FUCKING SORRY!!!
The voice echoes out.
176 INT. REZ'S HOUSE / KITCHEN MORNING - PRESENT
Rez' opens the envelope on the side and pulls out a mass of
money left for him by Shifty.
177 INT. GLEN'S COUNCIL FLAT. MORNING
Loretta puts on her jacket and walks out of the flat.
178 INT. COACH. MORNING - PRESENT
Shifty sits looking out the window, Dudlowe passing him by as
he exits the town. He nestles back into his chair and closes
his eyes. He and Chris seated next to one another. Shoulder
The music rises.
CUT TO BLACK.