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Lords Of Getting Nothing
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Lords Of Getting Nothing

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  • 1. LORDS OF GETTING NOTHING Written by Tiago Lopes
  • 2. FADE IN: With slow classical music, the CREDITS BEGIN. EXT. COVEHURST BAY - BEACH - UNDERWATER - MORNING A GUY’s face in pushed into the cold dark waters of the English Channel. He screams and struggles to no use. EXT. COVEHURST BAY - BEACH - CONTINUOUS SUPER SLOW MOTION - TRUCK LEFT - The scenario is revealed: A MAN in a CHIMPANZEE MASK is doing the drowning. Both him and the guy are formally suited. GRADLAD (V.O.) My bruvver always told me life works in two ways. Those are the legal and the illegal way. They complement each other. Far behind them crashed by the cliffs is a GREEN SCHOOL BUS. Past them, running towards the bus, is CHRISTOPHER "CHRIS" BARKER. Strong guy, the right sleeve of his suit is torn and his shirt soaked in blood by the shoulder. GRADLAD (V.O.) Most people like to be under the cloth of what’s legal for its predictability, it’s safe. PAN UP to the edge of a cliff where a guy shabbily dressed in bermuda shorts with a joint in his lips looks down on the sand. His name is DUANE "JEFF" SHIELDS. GRADLAD (V.O.) Others spend their life on the edge, pumped by the adrenaline of what they know to be wrong. PAN DOWN to where Jeff’s looking reveals an handsome but worried guy, also suited, lying in the sand with a broken leg. He is our narrator: HENRY "GRADLAD" SYKES. GRADLAD (V.O.) Me? I like to think I had an excuse to choose breaking the law. Classical music ends. END CREDITS. FREEZE SHOT OF THE SCENARIO. GRADLAD (V.O.) It’s called boredom.
  • 3. 2. TITLE APPEARS: THE LORDS OF GETTING NOTHING INT. THE FUCKING OFFICE - GRADLAD’S CUBICLE - DAY PC SCREEN - All work and no play makes Gradlad a dull boy PC POV: Gradlad’s fingertips slowly hit the keyboard. His expression is the definition of “boredom”. GRADLAD (V.O.) In my brother’s eyes I was lucky for corporate Britain captured me before any gangster could. They would do that, take very smart, very poor East Enders like me to run the numbers of business. On Gradlad’s desk there’s a huge pile of sheets. GRADLAD (V.O.) Now look at it, I did it, from the best student in Economics at LSE -An ATTRACTIVE GIRL EMPLOYEE gives him a touch on the shoulder, he stops typing. ATTRACTIVE GIRL EMPLOYEE Gradlad -She adds more sheets to the pile. ATTRACTIVE GIRL EMPLOYEE (CONT’D) -- Can you? Thanks. And moves along. Gradlad stares at her behind. GRADLAD (V.O.) -- to, for a fact, the best employee ever seen in this office. And then to the sheets. GRADLAD (V.O.) But I guess it’s an Yin-yang thing. INT. THE FUCKING OFFICE - CORRIDOR - CONTINUOUS DOLLY-OUT through the corridor away from the cubicle. Corporation EMPLOYEES walk left to right and vise-versa from and into the offices in the corridor. All of them carry paperwork, an ATTORNEY passes by talking at his cellphone and an ASSOCIATE wheels a trolley behind him.
  • 4. 3. GRADLAD (V.O.) ‘Cause if my potential is somewhere this is not the place. Is like around this wankers -Suddenly the pile of sheets blows to the air spreading all over. Nor Gradlad or no one else reacts. GRADLAD (V.O.) -- I fucking have superpowers. INT. THE FUCKING OFFICE - GRADLAD’S CUBICLE - CONTINUOUS PC SCREEN - All play and no work makes Gradlad a mere toy INT. THE FUCKING OFFICE - CORRIDOR - CONTINUOUS Gradlad stands and walks through the corridor. GRADLAD (V.O.) So I see an opportunity I take it and who wouldn’t? INT. NIGHTCLUB - NIGHT The floor is crowded with dancing bodies, the music is crazy loud and the lights are on dangerous-for-epileptics mode. In some raised blocks with cages professional dancers tease the guys around them, the bartenders work non-stop. GRADLAD (V.O.) This is what illegal looks like. Lots of fun, chit-chat, Sir drunk-alot-snort-a-lot everybody does it. If it didn’t sound illegal most clubs would be named “Illegal” for all the activity happening inside. INT. NIGHTCLUB - VIP - NIGHT The 2nd level is all VIP booths that look out over the dance floor. Private waitress walks around pouring drinks. Every booth has a table in the middle and most of them are full with glasses, ice, drug leftovers and several drinks like champagne, vodka, cocktails and shots. GRADLAD (V.O.) That is what feeds the market. Not only the alcohol, but the pills, glue, sprays, tranquilizers, weed, steroids, anabolics, you name it.
  • 5. 4. In one of the booths, surrounded by TWO YOUNG GIRLS is STEVE FASSBENDER, 32, a tall and elegant guy. They snort cocaine. Gradlad is in front of them not impressed. GRADLAD (V.O.) And it’s because people like Steve here that the market is evergrowing -Steve snorts more, his eyes are massively dilated. STEVE FASSBENDER God this shit’s good. GRADLAD (V.O.) -- And lads like Jeff are everselling. EXT. NIGHTCLUB - NIGHT We TRACK alongside Jeff as he walks by a long line of people. This is no teenage club either, everybody is in their late twenties or over. Jeff greets most of them. GRADLAD (V.O.) Jeff knows every drug and everyone. Jeff grabs a small bag of weed rolls money around it and stops by the BOUNCER who doesn’t look like letting him in. JEFF Yeah I saw yo from afar you’re new here mate I know. Here, be safe. He puts the weed and money inside the Bouncer’s pocket. The Bouncer looks confused at a COLLEAGUE who nods positively. GRADLAD (V.O.) True the lad’s brain is toasted but as long as his legs move one after the other everything’s alright. Jeff goes in. INT. NIGHTCLUB - TOILET’S CUBICLE - NIGHT A SUITED GUY on his knees, face down the toilet, vomits. INT. NIGHTCLUB - TOILET - NIGHT Gradlad is seated on the lavatory. Jeff comes in. JEFF What up bruv is he here?
  • 6. 5. Gradlad points at the cubicle. JEFF (CONT’D) Are you alright bruv? SUITED GUY (O.S.) I don’t know where I am! JEFF He doesn’t sound alright. GRADLAD That’s ‘cause the fucking wanker ain’t alright Jeff. JEFF Ok, ok I get you. So what now? GRADLAD Oi teacher are you good for a chat? SUITED GUY (O.S.) I’m about to shit my pants. JEFF Eheh! Bruv you got him constipated I thought you wanted him high. GRADLAD I do but he’s a Rolling Stone like bloke. Pablo Escobar couldn’t get him to talk if he wanted to. JEFF I see, I see. So is this it? GRADLAD Well I’m not Pablo Escobar am I? JEFF Aww shit. GRADLAD Yeah I’m better. JEFF Oh ok good ‘cause bruv that’s the only teacher I know... GRADLAD He’ll have to do the fucking teacher. No noise comes from inside the cubicle. Gradlad goes there.
  • 7. 6. INT. NIGHTCLUB - TOILET’S CUBICLE - NIGHT - CONTINUOUS Steve is seated on the toilet. He’s now too drunk, too stoned and has been crying. GRADLAD (V.O.) Steve or Teacher Steve as people often call him is Jeff’s dealer. Gradlad appears and hands Steve a small whiskey bottle. GRADLAD (V.O.) Strange right? INT. STEVE’S CLASSROOM - DAY A normal and apparently empty classroom. Steve is at his desk, face all sweaty, struggling. STEVE FASSBENDER Oh Patricia. He’s receiving oral sex. GRADLAD (V.O.) He is the one teaching and developing Britain’s young minds. All the way in sweetheart, all the way. INT. NIGHTCLUB - TOILET - NIGHT Gradlad gives what’s left of the whiskey to Jeff who puts it inside a plastic cup and mixes it with a dose of cocaine. GRADLAD (V.O.) He, as many others like him will eventually have to choose what life they wanna live. INT. NIGHTCLUB - TOILET’S CUBICLE - NIGHT PLASTIC CUP POV: Steve has his drink in one go. GRADLAD (V.O.) The boring lifestyle Steve’s so hard trying to avoid will hit him hard. Poor chap. Steve babbles something at Gradlad and Jeff and faints. FROM ABOVE they look at Steve who’s snorting heavily --
  • 8. 7. GRADLAD Did you get anything? JEFF Yeah I think so. He said words and numbers and London. GRADLAD It’s an address. He’ll be fine. -- And leave. INT. THE RACEWAY - TRACK - DAY There is a race going on. TWO KARTS don’t let go of each other through the curves, really competitive. INT. THE RACEWAY - OFFICE - DAY Gradlad watches it impressed. Seated next to him is Chris. He’s not amused and looks at the track like someone cooks breakfast, he’s used to it. GRADLAD (V.O.) As Jeff knows drugs Chris here has a special thing for guns. EXT. NEW YORK - PORT NEWARK - DAY - EIGHT YEARS EARLIER (FLASHBACK) It’s the 80’s. Chris and MARLON "THE ARCHITECT" SYKES, in their mid-20’s, walk at a quick pace through the deserted parking lot. GRADLAD (V.O.) He’s no cockney either, he’s a New Yorker. He and my brother go way back. INT. THE RACEWAY - OFFICE - PRESENT DAY Chris reacts to something on the track. CHRIS Those fucking terrorists. Chris grabs a megaphone and moves towards the office’s door. GRADLAD Under the circumstances I predict you’ll make way more poppy with me and Jeff than in this classy establishment Christopher.
  • 9. 8. Chris grabs a broom by the door. CUTAWAY: A KART SURPASSES THE OTHER MISSING IT BY AN INCH. GRADLAD (CONT’D) (reaction to the race) That’s hum -- that’s bloody cool. Chris leaves the office and makes his way to the track. INT. THE RACEWAY - TRACK - CONTINUOUS Chris is halfway through the track when both karts pass by him to the finish line. KART DRIVER #1 jumps out celebrating, his crew shouts insults at the KART DRIVER #2 crew. GRADLAD (V.O.) Chris states he went to war to feel safe. I mean, it toughs a man. Chris hits the megaphone’s switch and puts it to his mouth. CHRIS Please leave the track or you’ll be forcefully removed by security. CUTAWAY: Gradlad is having a blast. The crews keep insulting each other. CHRIS (CONT’D) By security I mean me you little shits get out of the track now. The crews go back inside. GRADLAD (V.O.) Retired, Chris is eager to get back into action. Chris turns the megaphone in Gradlad direction. CHRIS We’ll need masks! GRADLAD (V.O.) Different brother, same old fun. INT. HM PRISON WANDSWORTH - CELL #1 - MORNING SERIES OF CLOSE SHOTS: PRISON INMATE #1 takes off his prison gear.
  • 10. 9. He puts on long socks. Pants. An ironed shirt, buttons it from top to bottom. A tissue he puts in his pocket. A gun belt. The very clean top of the suit. INT. HM PRISON WANDSWORTH - CORRIDOR #1 - MORNING The Prison Inmate #1 legs move across the corridor. Impeccable style of walking. GRADLAD (V.O.) There’s a reason why my brother is my brother and Chris prefers to get shot by Iraqis than stay in London. INT. HM PRISON WANDSWORTH - CHECK-OUT ROOM - MORNING The Prison Inmate #1 is BRITISH MIKE, 40’s. He’s a stylish guy with great voluminous hair and a nice shave. GRADLAD (V.O.) That reason is British Mike. A GUARD puts a paper box in front of him and takes out a tie. GUARD Here it is Mike, your tie. British Mike puts his tie on. The Guard grabs a wallet. GUARD (CONT’D) Your wallet. Empty. A watch and a comb. GUARD (CONT’D) Your watch, not working. Comb -(analyzes it) -- It works I’m sure. And a whiskey pocket bottle. He shakes the bottle. GUARD (CONT’D) It still has some. British Mike saves his belongings. GUARD (CONT’D) You’ve got yourself some good eight year old whiskey here Mike. BRITISH MIKE Would you be interested in it? GUARD (excited) Can I have it?
  • 11. 10. BRITISH MIKE You can’t. British Mike keeps the bottle and leaves. EXT. HM PRISON WANDSWORTH - MAIN GATE - MORNING The huge wooden gates slowly close behind British Mike as he looks around seeing London for the first time in 8 years. His serene expression doesn’t change. GRADLAD (V.O.) Ten years ago this was the kind of person to have around -As he buttons his jacket British Mike walks away. When he does a 1992 Bentley Turbo slowly follows him by his side. GRADLAD (V.O.) -- Trustworthy, committed and most of all a complete maniac. BENTLEY GUY (O.S.) Finally coming back home -British Mike stops and looks to the Bentley Guy. His name is RON, late 30’s, chubby, ginger, looks more like a british comedian than a hitman, which is what he is. RON -- This is the mean to your end mate, Victor doesn’t want you to walk home. The car stops. Ron steps outside, British Mike starts walking again. RON (CONT’D) C’mon Mike. Ron runs towards British Mike’s side. RON (CONT’D) Mike! Mike you dirty bastard it’s me Ron! British Mike has no patience for this clown. BRITISH MIKE What do you want? RON You’re not walking to the East End. Mike, Mike, Mike, Mike come on in. (laughs) (MORE)
  • 12. 11. RON (CONT'D) You look reinvented what have they done to you inside plastic surgery? BRITISH MIKE This is a nice vehicle. RON I borrowed it from Julio. Ron goes for a hand shake but British Mike just walks towards the driver’s seat. Ron follows after. RON (CONT’D) Oh, oh, oh. New old rules Mike I do the driving, you’re Miss Daisy today. Please. British Mike stops and stares at Ron’s stupid face. RON (CONT’D) I feel you think Victor doesn’t like you anymore -- you’ve got a kid’s imagination British Mike. INT. JULIO’S CAR - MOMENTS LATER The over-excited Ron drives, British Mike is very calm. British Mike’s eyes glance through Ron’s gun strapped inside his jacket. RON Did you receive all the stuff I sent you? Those fucking poofs had me paying five pounds for every Goldie I got you. No extra for the chocolate bars though -BRITISH MIKE Do you wanna know what I’m thinking? RON I want to know what you’re thinking, I’m a curious person c’mon. BRITISH MIKE Do you have a gun? RON That you want your gun, you’re thinking that you want it? I don’t have your gun I have a gun! Ron gives his gun to British Mike. He checks it’s magazine.
  • 13. 12. RON (CONT’D) That must feel nice. BRITISH MIKE It does. Mike cocks the gun. INT. VICTOR’S MANSION - UPSTAIRS CORRIDOR - MORNING DOLLY-IN through the corridor follows British Mike’s legs. JOKER (O.S.) Ma God. With all the anal sex, Nazi tattooing and piss food habits... British Mike stops. PED UP to his shoulders. Next to him is FRANKY “THE JOKER”, a slightly curved, hair to the shoulders, insane looking guy. JOKER (CONT’D) I’m honestly impressed. BRITISH MIKE I don’t recall you funny boy. JOKER I’m the new breed mate. The office’s door is opened by a calm and firm crime boss in his 60’s. He is VICTOR MORAN. There’s one short moment of awkwardness -GRADLAD (V.O.) The boss is the boss and harming this one is quite the task I mean, no one ever did it. Like a museum you respect the work, look but never touch. -- but Victor is pleased to see British Mike. VICTOR MORAN Mike. Victor gives British Mike a slight, warm touch. BRITISH MIKE It’s nice to see you Victor. JOKER (O.S.) Sweet. Joker has a pervert’s smile on his face.
  • 14. 13. VICTOR MORAN Hey do I look like I need to be entertained? No? So fuck off. JOKER Jeez thanks. BRITISH MIKE Are we having a drink? VICTOR MORAN Come on in. JOKER (whispers) Cunts be cunts. Victor and British Mike walk in the office. INT. VICTOR’S MANSION - OFFICE - CONTINUOUS Victor heads to his antique desk. On the wall behind him there’s a huge diamond sided by two antique shotguns. A lousy reference but nice decoration. VICTOR MORAN This new generation is all a lot of talking and very little thinking. Victor goes for the liquor cabinet. VICTOR MORAN (CONT’D) But replacements they’re not easy to find is not like you go to an auction and bid on the craziest nutter. Now... (beat) I reckon you have a lot to talk about that you want to explain things... BRITISH MIKE Explaining myself and talking a lot are two very different things. Victor fills THREE WHISKEY GLASSES and gives one to British Mike. He puts the other one on the corner of the desk. VICTOR MORAN Good. Both of us have work to do don’t we? I’ll get to that later now -- Julio that’s yours. From a dark corner appears JULIO. He’s imposing, British Mike’s age and, as all Victor hitmen do, wears a black suit.
  • 15. 14. British Mike is caught off guard, the moment is tense until -VICTOR MORAN (CONT’D) A fucking celebration this is. Julio grabs his drink and cheers respectfully. JULIO London hasn’t been the same without you Mike. BRITISH MIKE I know. INT. CONSTRUCTION SITE - THIRD FLOOR HALL - DAY A group of BUSINESSMEN walks along the hall lead by the tall and eye-catching Architect. In an expensive grey suit, he transpires success. Besides him is NIAMH "GUM" BAL, 30, attractive, the smart and independent type. She’s the one doing the talk and points to the walls partially covered in film reel. Behind the group goes MASTER PHIL, a stereotyped 50 year old construction worker followed by SIX of his CREW. GUM We’re going to cover these and this side as well straight to the end -(to the Architect) -- Isn’t that right love? ARCHITECT Films gentlemen, no matter how many times Richard the Third dies on the Old Vic’s stage people still prefer films. What can I do? Well this is what, gorgeous stuff... INT. VICTOR’S MANSION - OFFICE - DAY Victor, British Mike and Julio drink the whiskey. VICTOR MORAN It’s the good stuff. A pickey gave it to me after I shot his brotherin-law. Turns out they were actual brothers, he wanted me to shoot his sister afterwards. Guess I did shoot her -- and him. (beat) A man is capable of things when’s a lad but time end’s that. Don’t you agree Mike?
  • 16. 15. BRITISH MIKE I don’t tend to be very interested in philosophy Victor. VICTOR MORAN You see time... Now I got it. The tone in Victor’s voice changes, more serious. VICTOR MORAN (CONT’D) I flavour the meat during dinner and I clean my arse thinking about cleaning my arse. Nothing else matters when I eat, drink or shit besides eating, drinking and shitting. Actually the only thing I can’t do is take care of my own child, I’m getting old, can’t do that no more. But time brings you peace, not a lot, but enough. JULIO (to British Mike) And he means that for all of us. BRITISH MIKE Does this mean I should be in peace while on the toilet as well? VICTOR MORAN Can you deal with peace Mike? BRITISH MIKE It doesn’t sound very hard. INT. LUXURIOUS RESTAURANT - NIGHT The Architect and Gum are guided to their table in the middle of the huge salon. The Architect gives a generous tip to the HOST. They seat. ARCHITECT Thanks. (to Gum) You know who built this? GUM I think Master Phil finds our insistence in not finishing the toilets a bit awkward. ARCHITECT I would do too. But I’m sure you can come up with something.
  • 17. 16. GUM “The Architect says” is something. ARCHITECT It shall work. They share a look of trust, they’re clearly in love. ARCHITECT (CONT’D) You look fantastic Gum. Maybe we should -The WAITER appears. WAITER Good evening. ARCHITECT Hi. WAITER The Chef will come just in a second meanwhile I’ll give you -The Waiter gives the whine list to the Architect. ARCHITECT Thanks. It’s been some time since I last saw him. WAITER He’ll be right up. ARCHITECT Just give us a minute please. The Waiter moves away smiling. GUM (with posh accent) Da chef hum? ARCHITECT The Exeter project, his house. Gum looks at him. She knows he’s not telling the whole story. The Architect smiles. ARCHITECT (CONT’D) Gardening. Roses, parsley, weed. Condiments of a cook. GUM Condiments of a pothead. ARCHITECT He’s not a client, one thing led to another I just knew some people.
  • 18. 17. GUM Either way be careful. ARCHITECT I always am love. EXT. VICTOR’S MANSION - ENTRANCE - NIGHT Victor and British Mike walk towards the gates with Julio behind them. VICTOR MORAN We took care of your stuff is just like you left it, neat. From the street appears MATT MORAN, 18. He’s Victor’s son, poshy and laid-back. Looks like the popular kid he is. MATT Well hello. Strange thing is he has a black eye. British Mike notices it. VICTOR MORAN Where have you been? MATT Don’t know father -- actually I do. I was assaulted by a bunch of niggers, nasty ‘fellas no respect for the rules. VICTOR MORAN (sights) You remember Matt right? MATT (notorious false sympathy) British Mike I was looking forward for this moment although I must say I was thinking about someone more in the style of Mary Poppins. To be honest I don’t really need someone looking after me all day that is just daddy’s overzealous personality acting out. So don’t worry about the eye it is a complicated question, a racial one. VICTOR MORAN Ah c’mon. BRITISH MIKE My protection huh? Lovely. You raised a little racist Victor.
  • 19. 18. VICTOR MORAN Well get used to him. Diogo gives a devilish smile and goes home. VICTOR MORAN (CONT’D) You see Mike the concept of peace -it means problems seize to exist. BRITISH MIKE I never appreciated problems. VICTOR MORAN That’s good. So you won’t do what everyone, including me, thinks you wanna do. That’s hunting Architects Mike so I make myself clear. British Mike reacts uncomfortably to these last words. VICTOR MORAN (CONT’D) Your new job doesn’t allow you to spend time on personal vendettas. BRITISH MIKE Did you at least get near him? VICTOR MORAN If you remember old warehouse by the garbage place -BRITISH MIKE I find incredible natural my need to have an unfriendly conversation with the Architect, Victor. VICTOR MORAN Do ya? Well that cunt ain’t making my conversations longer than I want them to be. Think of him like the hopes and dreams you had as a child Mike. They’re hopes. They’re dreams. Welcome to fucking reality. British Mike swallows a big one but doesn’t loses posture. BRITISH MIKE (to Julio) That was your car am I right? JULIO You are. BRITISH MIKE I’ll drive myself to the warehouse then.
  • 20. 19. JULIO Hey I’m back with Joker aye? VICTOR MORAN Yeah keep your cock inside your pants will ya? BRITISH MIKE This is non important. JULIO Well excuse me but I’ve been with Ron that fucking tosser for over a month you now what that is? Is fucking torture that’s what. VICTOR MORAN Mike just take the guy wiv’ you. BRITISH MIKE Ok. I left him in the car. VICTOR MORAN And Mike, no Architect. EXT. ARCHITECT FIRM - DAY A BMW parks in front of the big, modern building. The Architect gets out, tips the CHAUFFEUR and goes inside. GRADLAD (V.O.) The Architect this, the Architect that. The Architect is a legend, a self-made, entrepreneurial genius. INT. ARCHITECT FIRM - RECEPTION FLOOR - CONTINUOUS The Architect walks through the reception floor waving to several workers. The security is heavy but discreet. GRADLAD (V.O.) Don’t get me wrong I’m fucking smart but this guy’s I.Q -- this is Newton’s level. INT. ARCHITECT FIRM - WHITE ROOM - DAY The Architect and DOCTOR MCGANN both wearing masks and white overalls analyze a graphic on a wall. GRADLAD (V.O.) A child prodigy. Graduation in chemistry at nineteen with specialization on hard drugs.
  • 21. 20. EXT. NEW YORK - PORT NEWARK - DAY - EIGHT YEARS EARLIER (FLASHBACK) The continuation of the earlier scene. Chris and the Architect stare at a huge red freighter. GRADLAD (V.O.) As British Mike went to jail the Architect came back from the States very rich with Chris alongside. ARCHITECT We’ll send it back to Malaysia in one piece, do they have tigers in Malaysia? I’m gonna buy a fucking tiger once we’re done mate. ARCHITECT’S POV: He does a square with his fingers and locks on one of the cargo ships. GRADLAD (V.O.) That’s right. The man everyone knows and respects, the Architect is my blood bruv. INT. ARCHITECT FIRM - ELEVATOR - DAY The Architect talks at the cellphone. ARCHITECT (into cellphone) He what? GRADLAD (V.O.) The Architect ran the gangsters’ numbers for long enough they were almost dependent on him. ARCHITECT (into cellphone) No Henry didn’t tell me nothing. INT. ARCHITECT FIRM - 13TH FLOOR CORRIDOR - MOMENTS LATER He exits the elevator and walks down the corridor. GRADLAD (V.O.) ‘Cause he is that kind of lad, he owns people. So when he turned his skills to Britain’s legal businesses that’s when he really made a name for himself. The Architect enters the office’s glass doors ahead. CLOSE-UP on a golden sign that has written:
  • 22. 21. MARLON SYKES SENIOR PRINCIPAL GRADLAD (V.O.) That’s also the reason why it would take an incredible set of events to screw everything up and I mean an incredible set of events. INT. ARCHITECT FIRM - MARLON’S OFFICE - CONTINUOUS The space is grayish dark, modern and simplistic furniture. The big windows occupying the wall are closed. There are two big tables by this wall. One is full with styrofoam models of houses and two computers, the other has a huge styrofoam model of a part of the East End. The Architect puts his briefcase down. INT. ARCHITECT FIRM - MARLON’S OFFICE - LATER THAT DAY The Architect is laid back on his huge chair, feet on the desk with a phone to his hear. ARCHITECT (into phone) No I didn’t. I didn’t influence him ma’, Jesus. I’m telling you he isn’t coming to work for me either. Well it’s his decision ma’. (beat) Oh okay. But that’s me influencing him is it not? I’ll go there let’s say next week. Tomorrow then, okay ma’ just... Yes I’ll get you bread. INT. PRODUCTION WAREHOUSE - LAB - DAY 20 MEN in monkey suits using surgical masks at work tables. They mix, cut, weight and pack cocaine. The surveillance is done by 3 HUGE GUYS. Julio watches over the works, gives one last check and goes out. EXT. PRODUCTION WAREHOUSE - PARKING LOT - MOMENTS LATER The warehouse is surrounded by barbed-wired fence and guarded by big gorilla sized SECURITY GUYS. Julio walks to the gates and looks at the construction site besides the warehouse. Julio can’t stand the unbearable noise but keeps his cool. He glances the fancy car parked by the construction site.
  • 23. 22. On the other side of the street by a coffeehouse called “Taxi Driver” is Joker. JOKER There’s a new breakfast in town! EXT. VICTOR’S MANSION - DAY British Mike is inside Julio’s car. He holds Matt’s private school jacket in the air and tries to synchronize the radio with little success. On the inside of the jacket’s collar is a little transmitter, British Mike analyses it. INT. JULIO’S CAR - CONTINUOUS Matt appears. British Mike straightens the collar. EXT. VICTOR’S MANSION - DAY British Mike steps outside and puts the jacket on Matt. MATT Thank you. They look at each other for a moment. MATT (CONT’D) (laughs) Loyal like a dog. He walks to the other side of the car. MATT (CONT’D) That explains the bitch behavior right? Fucking hilarious mate. And steps in. British Mike does too. INT. JULIO’S CAR - CONTINUOUS Matt can’t hide his pride on having his own little slave. BRITISH MIKE Be careful. MATT What? BRITISH MIKE Don’t crumble your jacket please. Be careful.
  • 24. 23. British Mike starts the car. INT. TAXI DRIVER COFFEEHOUSE - DAY A regular week day, lunch time, with just enough people inside. WAITRESS MARLA walks by the tables pouring coffee. Julio and Joker walk in. Waitress Marla goes behind the counter. JULIO Hey what happened to that gal you wanted to take to airport, to see airplanes? How did that go? JOKER Bah she doesn’t like flying. JULIO (having a crack at it) Oh is that so? JOKER It would have been bloody romantic in the hood of the car with sky and all. What’s wrong with that? JULIO Imma say -- it’s a strange idea of romance, watching big pieces of metal loud as fuck flying over you. JOKER There’s nothing wrong with a little flying. They reach the counter and seat. JULIO Yeah there’s nothing wrong with a little wanking off either... Joker flips Julio the middle finger and grabs the menu. JULIO (CONT’D) What’s new about the breakfast then? JOKER It doesn’t say is just new. (to Waitress Marla) Hey girl! Waitress Marla approaches them. WAITRESS MARLA Morning gentlemen. The usual?
  • 25. 24. JOKER No babe listen here. JULIO Excuse me. Yes I would like my milkshake please Marla. Waitress Marla rushes to get it. JULIO (CONT’D) We come here every week. JOKER Fact. JULIO Be polite you wanker. JOKER She knows me fine. JULIO Thanks Marla. Waitress Marla gives Julio the milk-shake. JOKER Marla, hear here Marla. I’m willing to order this new breakfast, it looks nutritious but also two pounds more costly. But I’ll order it. Now in this thing here I have no fucking idea what’s in it do I? WAITRESS MARLA Yes there is... JOKER Now wait, wait. Your stupid boss is right in not putting it here. I would have to read it which would make the receipt not as delicious. I need delicious in order to ask for it, in order to give two more pounds for some chips and bacon. So Marla give it to me, give it to me in a delicious manner and I’ll buy it and I -- alright Marla -- I’m not Steve Buscemi, I’ll give you a tip of a lifetime for this breakfast turn on. WAITRESS MARLA I -- Excuse me? JULIO Just explain what’s on it.
  • 26. 25. Julio gets up. JULIO (CONT’D) I need to use the stall. Waitress Marla doesn’t know what to do. JOKER Go on, we’ll make a show out of this Marla. WAITRESS MARLA So we have the sausages, smoked bacon and eggs, three of each, extra see? JOKER Yeah, yeah. Julio walks by the counter but stops and looks back admired. It’s Gum, looking at him. Julio smirks and seats besides her. JULIO Miss Gum this is unexpected. GUM I agree. JULIO Is the Architect around? GUM Sometimes. JULIO Ah pity, I thought we could enjoy a meal just like the good old days. CUT TO Joker and Waitress Marla. WAITRESS MARLA It has mushrooms, thinly sliced and, and tomato and bread, three rounds of it. JOKER Tasty! CUT TO Gum and Julio. JULIO I reckon you’ve heard the news. Gum stares at Joker and Marla.
  • 27. 26. GUM Will you control your pet over there. CUT TO Joker and Waitress Marla. Joker looks like a kid watching porn which makes Waitress Marla very uncomfortable. WAITRESS MARLA A full tin of baked beans, very good. Three hash browns and loads of salt and oil -Joker slams the counter. JOKER I fucking know it takes salt and oil Marla give me something new! CUT TO Gum and Julio. JULIO Why don’t you focus here for a second, British Mike is free. GUM Really? And I should give a fuck because... Julio leans towards Gum. JULIO Sweetheart if you fancy your clean forehead you’ll want to have a talk with the Architect about this matter. GUM You’ve learn to talk fancy Julio. CUT TO Joker and Waitress Marla. WAITRESS MARLA We put brown sauce too and a secret ingredient -- black pudding, little bit of curry and butter. JOKER You sound delicious Marla I’m salivating already. CUT TO Gum and Julio. GUM -- That pervert is making my breakfast very uncomfortable.
  • 28. 27. JULIO He’s not making a thing. I am. Gum puts on her shades. JULIO (CONT’D) Alright where, in that sentence, was I even near rude? CUT TO Joker and Waitress Marla. JOKER Awful description. I’ll have it. Waitress Marla hesitates. JOKER (CONT’D) Are you in love with me or somethin’? Waitress Marla goes to the kitchen. Joker turns and spots Julio and Gum. Gum gets up. Joker moves towards her. JOKER (CONT’D) Da bitch! Gum grabs Joker’s testicles and discreetly holds him against the counter. GUM You fucking disgust me Joker. JOKER (laughs) Your boy’s going down Gummy girl. Tell me where he is, it’s cleaner if I get to him before Mike does. Gum lets him go. GUM Look outside you naff your boss sells shit drugs to desperate junkies and filthy whores. I build the projects where they live, cheap just so they can afford it. You should thank me. JOKER Hey I’m trying to help here. Joker recomposes, Gum grabs her drink and despises him. JOKER (CONT’D) What a shame.
  • 29. 28. JULIO You believe the Architect can buy oranges at the grocery and arrive home safely to drink the juice. That ain’t a reality and he will suffer, ‘cause Victor doesn’t have any control over Mike. GUM (laughs) For all I know Victor hasn’t got any control over anything, neither do you two faggots. (beat) Tonight I’ll go home and I’ll make my boy his juice and then I’ll shag him and -- you know what Julio? -I’ll do it just to prove a fucking point, such a lively person he is. Then I light a cigarette, take a drag and puff, who are you again? I have no clue. Joker is obviously loving the sex remarks. JULIO (fake laugh) You should know darling once the Architect stops being a myth, once he becomes the normal geezer I know he is, it’s going to be the most disappointing for you. Gum flips them the middle finger. GUM This will be fun while you make it last lads. Gum leaves the coffeehouse. Waitress Marla puts the breakfast on the counter. Julio grabs his milk-shake and goes to the window, he watches Gum crossing the street. Outside is the East End by the Thames, poor but developing, new buildings rising everywhere will make it the new industrial corner of London. Gum walks to the construction site, says something inaudible to Master Phil, gets in the car that leaves. Julio watches it, Joker is by his side holding his breakfast, shewing a bacon slice. JOKER What a foul mouth.
  • 30. 29. Julio heads to the exit. Joker seats down getting ready to continue his meal. JULIO And what are you doing? JOKER I’m -- hum -- I’m having my breakfast champ Marla didn’t impress but I’m starving. JULIO I think the enormous curiosity about Gum being here should be first place in our list of concerns don’t you agree? JOKER What does that mean? JULIO It means your starvation just got down the fucking ranking you tard. JOKER Nice. Joker gets up and they leave. INT. PRIVATE SCHOOL - HALLWAY - DAY It’s lunch hour and the students fill the hallway on their way to the cantina. INT. STEVE’S CLASSROOM - DAY Steve is at his desk, looks like he is glued to it, his face is red and mouth salivating. Matt enters surprising him. MATT Hey teacher. STEVE FASSBENDER (whispers) Fuck. (to Matt) Matt. Shouldn’t you be in the cafeteria? MATT I should. I’m here instead. I went to the place where you set our meeting... STEVE FASSBENDER Yes?
  • 31. 30. MATT It’s an elders club. STEVE FASSBENDER I know, nice huh? MATT I’m eighteen years old. Steve spreads random sheets on the desk. STEVE FASSBENDER Grow up then -(gets more nervous) -- Don’t, don’t come with changes and -- do not come to me with that. MATT Well I don’t agree with the fucking place and that’s more than enough reasons to change it. STEVE FASSBENDER No it isn’t. MATT We change the fucking place now. STEVE FASSBENDER Oi, the language. Matt gets closer to the desk. MATT You sure look tense. STEVE FASSBENDER I look nothing! MATT Is if something -- or someone -- is sucking your attention elsewhere. STEVE FASSBENDER There is no suction of any kind happening I refuse to do any arrangements before lunch. MATT (laughs) What kind of a rule is that? Steve can’t move properly, something’s happening beneath. STEVE FASSBENDER Just give me five minutes.
  • 32. 31. MATT That long? STEVE FASSBENDER Five fucking minutes Matt. MATT The hypocrisy is indeed high. STEVE FASSBENDER Hey I’m sorry -MATT Bollocks. You ain’t a bit sorry Teacher Steve. STEVE FASSBENDER Hey! MATT Alright you are sorry or -(beat) -- oh my you’re not getting a blowjob with the door unlocked are you? Ups. Oh no I know. Put your pants up we need to talk teacher. Steve steps back and after a brief jumble beneath his desk a GIRL STUDENT appears and runs towards the exit. ORAL SEX GIRL (to Matt) Wanker. MATT (to Oral Sex Girl) That’s just inappropriate. (to Steve) Awkward aye? STEVE FASSBENDER Jesus... MATT You’re not flunking that one that’s for sure. (beat) Anyway I heard you chemistry geeks have a school trip coming. STEVE FASSBENDER So? MATT You don’t get one in between the lines do you? Get my name on that bus, get your butt there too.
  • 33. 32. STEVE FASSBENDER Alright, alright fuck off now. MATT (laughs) What’s up with the swear words? INT. OLD WAREHOUSE - DAY The huge warehouse door open. British Mike goes inside. There are card boxes everywhere up one floor high but also generators, scissor lifters, two telehandlers, industrial ladders, dollies, etc. It’s been a long time for him. EXT. OLD WAREHOUSE - CONTINUOUS British Mike drives the car inside. The Thames runs nearby the warehouse, the area is industrial, loads of smoke in the air. Surrounded by a barbed wire fence, with the exception of the check-in house at the gate is new. INT. COSTUME SHOP - STORE ROOM - DAY Gradlad Jeff and Chris enter the shop. They stop, look around and start walking their way past the maze of originally designed costumes. GRADLAD What people tend to look for lads -and we shall follow -- is something based on the fictionalized portrait of heists in film. What I mean is we aren’t here for the momma’s socks, we want cool. Not Michael Caine cool, that guy is just too much violence too little mask. No lads. What’s enough cool, not too cool, our cool. What do we want? CHRIS We don’t want to be recognized is what we want. GRADLAD Coolness mate, is a side effect, it comes in the disguise package. They pass by a television, Chris stops and looks it as the others continue. They pass by the masks of some U.S.A. Presidents.
  • 34. 33. GRADLAD (CONT’D) Well is that obvious how hard it is to maintain a dress code doing this sort of job, the only thing missing are the clowns. And I’m sure they are around somewhere. Jeff stops and looks up on a shelve, Gradlad does too. JEFF (laughs) Bruv how insane is that one? I like it for a fact! They’re both looking up to something out of sight. GRADLAD That’s good Jeff, it’s actually a bloody good choice mate. JEFF Is philosophical innit? GRADLAD It’s Arthur C. Clarke, it’s Kubrick, the space odyssey of the East End. CHRIS (O.S.) Hey Aristotle -Gradlad and Jeff turn to Chris still by the television. CHRIS (CONT’D) How about some pragmatism? The song “Little Green Bag” comes from the television. TELEVISION’S POV - GRADLAD, JEFF AND CHRIS LOOK AT THE SCREEN. JEFF Uou nice bruv. GRADLAD Lovely piece of cinematography. INT. PRIVATE SCHOOL - HALLWAY - AFTERNOON Among the crowd Matt walks followed by his posh gang composed by GABRIEL, ANNA, CYNTHIA and a big guy nicknamed NUN. MATT Truth is nowadays I’m loving chemicals.
  • 35. 34. He’s the leader, greeting several students along the way. ANNA Garbage is not a chemical is it Cynthia? They’re punishing you for somethin’ Matthew. CYNTHIA It’s what they do to boys of good like you Matt taking you to filthy places like that. Disgusting. MATT I’m a cultured lad in need for some education ladies please. Matt high-fives Nun and spots a student named KYLE looking in his direction. He grabs something out of his pocket. MATT (CONT’D) Kyle ma boy. In a fast gesture Matt hands Kyle a small bag of cocaine. MATT (CONT’D) Stay cool mate. Matt walks a bit further until black-skin hand stops him. It belongs to STEFAN, who’s followed by his GANG. Tell me a queer hallway believe STEFAN this Moran, if your dad was would you suck dick in the as well? I don’t fucking you would, would ya? GABRIEL (to Anna and Cynthia) Shit the coppers are here. MATT I assume you went rethorical there right? Well I don’t Stefan and that’s why when I told ya to fuck off the last time I meant it in a permanent basis mate. STEFAN Stop dealin' awer I’ll show yew how funny I am. In the hallway STUDENTS gather around them. NUN (to the crowd) Alright listen.
  • 36. 35. Nun gets between Matt and Stefan. NUN (CONT’D) (to Stefan) I’ll kick yours, your mate’s and your cunty girlfriend’s ass if you don’t get the fuck out of the way. EXT. PRIVATE SCHOOL - LUNCH COURT - MOMENTS LATER Stefan throws Nun from inside the building to the ground. Students gather outside, Matt follows behind Gabriel as they step into the middle of the crowd. GABRIEL Let’s talk like civilized people here Stefan. This’ a bit unfair. STEFAN Thee wan' ter talk? You stop dealin' dis shit inside da school. MATT This is persecution you fucking maniac it’s discrimination, racism my friend. STEFAN Say whut? ANNA You all are so childish. Stefan seems to have the same opinion. STEFAN Come and talk then. Come. They walk to the other side of a wooden wall covered by vine. STEFAN (CONT’D) Your father can’t 'elp yew if I call da cozzers on yew an' I’ll do that. Thee listen? MATT Look. If we’re being serious and all, I’m not gonna lie alright? We’re honest here. STEFAN Yeah. MATT Okay. So -(long pause and then fast) (MORE)
  • 37. 36. MATT (CONT'D) -- Three months ago I shagged Felicia behind the gymnasium. I’m sorry. STEFAN That’s my girl. MATT Hey it happens. STEFAN You mother -British Mike appears out of nowhere, grabs Stefan’s arm and throws him against the wall. His arm breaks. Stefan screams. MATT What the -INT. CAR (PARKED) - MOMENTS LATER British Mike and Matt get in. MATT All the animosity... British Mike takes his gun from under the seat. MATT (CONT’D) You’re resourceful alright. BRITISH MIKE Have you been dealing narcotics? MATT Those are daddy’s issues I’m not allowed to talk about them. British Mike discreetly grabs the transmitter in the jacket. MATT (CONT’D) What you doing? BRITISH MIKE Your outfit needs to be washed more often. MATT Oh thank-you-the-fucking-much. INT. ARCHITECT PENTHOUSE - BEDROOM - NIGHT The Architect is in bed with a pile of newspapers by his side that he has been devouring for the last hour.
  • 38. 37. Gum is in the bathroom, unseen. The bedroom, like his office, is simplistic but full of modern art and a POSTER of Al Pacino as Tony Montana in “Scarface”. ARCHITECT Come to bed babe. GUM (O.S.) Are you finished? ARCHITECT Yes I am darling. He finishes reading. Gum enters, face covered in cream. ARCHITECT (CONT’D) (laughs) You’re missing the cucumber. Cucumber, cucumber. GUM Have you heard of British Mike? ARCHITECT (surprised) I do not expect he’ll send me any letters you know. Gum waits for an answer. ARCHITECT (CONT’D) Talking about stuff like that drops our level of happiness to the common folks’ Gum please... GUM His sentence ended this week. ARCHITECT Aw I didn’t know that no just... (reflects) Don’t worry about it. GUM Yeah maybe a little bit. ARCHITECT Love as long as Victor has a leash on him you don’t -- at all. GUM I don’t like your vibe it’s totally reckless is not yours. ARCHITECT (East End like persona) Reckless? What am I doin’ here huh? (MORE)
  • 39. 38. ARCHITECT (CONT'D) For ten years I have 'ad da most disgustin' bastards known in London lookin' fer me to kindly deliver me body to my funeral, a ceremony beautifully organized by a cunt who’s criminal organization I’m about ter bring down. I am not reckless of caahrse I’m ambitious but I'll not allow my efforts to be in vain because ov a rabies-filled berk. Gum is more than proud of her man. The Architect calms down. ARCHITECT (CONT’D) I will talk with Christopher. GUM Good. Gum goes to the bathroom. The Architect reveals his true preoccupation once she leaves. GUM (O.S.) (CONT’D) What was all that “happiness” talk about baby? We are top level. EXT. GRADLAD’S MOM HOUSE - MORNING Gradlad, Jeff and Chris hold chimpanzee masks but look fancy in black suits. Chris struggles to put his mask on. JEFF The bloody seam bruv, shit. GRADLAD Just wait for it Jeff. (to Chris) Really you and my bruvver used to take a cab to this kind of thing? CHRIS I don’t know. GRADLAD I do. You didn’t. Why? Escape is if not a certainty a possibility. TWO TAXIS park in front of them. CHRIS I guess times have changed. A MAN exits the first taxi.
  • 40. 39. GRADLAD (surprised) They did indeed. It is the Architect, he carries flowers and bread. ARCHITECT You lads look fancy. JEFF Trust. Looking proper fit just like you Architect. ARCHITECT That’s how we do it mate. GRADLAD Bruv come to visit ma’ did ya? ARCHITECT I came here to go rethorical on you quitting your job little brother. So -- what the fuck? GRADLAD Right about that -CHRIS You two can do that later. ARCHITECT Oh we’re all in a hurry are we? CHRIS Yeah Architect we are. ARCHITECT Too bad I need to speak wiv’ you as well Christopher so lets step inside and have a nice cup of tea. JEFF (laughs) The way you talk bruvver is just hilarious soap opera-like innit? In the back of the SECOND TAXI are TWO SECURITY GUARDS. JEFF (CONT’D) And this blokes I never noticed them before are they new. Gradlad goes to the first taxi. ARCHITECT Yes straight from the shop Jeff. (to Gradlad) (MORE)
  • 41. 40. ARCHITECT (CONT'D) Is there anything else I should know about, Henry? GRADLAD Well Marlon one of the perks of being you is that you already know everything innit? ARCHITECT Hey -- that’s correct. Now you three lads are going somewhere I’m not liking it and I tend to respect my opinion very highly so... GRADLAD That’s what Chris is for he protects the family no? ARCHITECT (to Chris) Oh yeah? And what fucking chemical accident gave you that superpower? CHRIS I’ll take care of them. Gradlad and Chris enter the taxi. GRADLAD Are you coming mate? Jeff runs and enters the taxi. JEFF You need to chill wiv’ us more bruv don’t you get tired of being the Architect all the time? The taxi drives away. From the door up the stairs comes a traditional HOUSEWIFE, Gradlad and the Architect’s moter. GRADLAD’S MOM Marlon my baby come on in. Missed you so much. The Architect gives a last look to the taxi and walks up. INT. OLD WAREHOUSE - MORNING Lights everywhere turn on one by one. CUT TO: Up on a scissor lift British Mike makes an inventory of the card boxes. He looks at a SECURITY CAMERA, it’s offline. CUT TO:
  • 42. 41. British Mike sticks a knife in one of the boxes and cocaine pours out of it. The short distance between the entrance and the drugs don’t seem to please him. INT. OLD WAREHOUSE - OFFICE - MORNING British Mike is on his knees connecting cables beneath the table with the SECURITY-CAMERA SCREENS. CUT TO: British Mike pours whiskey into a half-filled cup of coffee and turns on the SCREENS. He can see allover the warehouse, from all angles. CUT TO: British Mike uses the paper shredder to get rid of documents. EXT. PRIVATE SCHOOL - ENTRANCE - MORNING A group of 40 STUDENTS is ready to enter a green, 50’s style SCHOOL BUS. By the bus are Steve and another teacher, EILEEN. EILEEN Everyone’s here. Let’s start getting them in. (to the students) Everybody please step inside the bus. Let’s go c’mon. The students start getting in an Steve pretends to count them as they do. Soon Matt is next in line to go in. MATT I’m so excited teacher. STEVE FASSBENDER Try to be a nice social boy don’t let their knowledge scary you. There’s an awkward pause and stare. STEVE FASSBENDER (CONT’D) I mean have fun. Matt steps inside. EILEEN (to Steve) Are the numbers matching? STEVE FASSBENDER I -(has no idea) -- They are, they are.
  • 43. 42. EXT. LONDON STREETS - MORNING VARIOUS SHOTS: BUS ON ITS WAY THROUGH THE STREETS OF LONDON. INT. OLD WAREHOUSE - MORNING British Mike reaches inside the Julio’s car. He turns on the radio and synchronizes it until the sound of a crowd in a moving vehicle is heard. INT. THE GREEN BUS (MOVING) - MORNING Steve is seated at the front besides Eileen who’s reading the newspaper. He stands up and watches over the students. Steve’s eyes meet Matt’s. He’s uncomfortable, Matt’s not. Steve sits down, he can’t disguise his nerves. INT. OLD WAREHOUSE - MORNING Standing next to the car British Mike listens to the radio. STUDENT VOICE #1 (O.S.) (over radio) ... and he’s left-handed of all things with the exams coming... STUDENT VOICE #2 (O.S.) (over radio) Yop that and masturbating, it’s a bummer. The Student Voice #2 is clearly Matt’s. INT. THE GREEN BUS (MOVING) - MORNING - CONTINUOUS INSERT: The small MECHANICAL DEVICE in Matt’s collar. Seated next to Matt is a nerdy boy called QUENTIN. QUENTIN A fella gotta pay attention, can’t keep tripping and breaking arms like that is just not right. MATT Gravity mate who knows? Newton did but he’s not here anymore is he? INT. CAR - MORNING British Mike parks the car in the back of the warehouse.
  • 44. 43. EXT. OLD WAREHOUSE - BACKYARD - CONTINUOUS He gets out, turns off the radio, cocks the gun and goes inside. EXT. OLD WAREHOUSE - MOMENTS LATER Steve gives instructions to the BUS DRIVER who’s reversing the bus into the warehouse’s grounds. The students gather in front of the Thames City Depot Factory. STEVE FASSBENDER Yes, come, come, come on. You’ve got space. BUS DRIVER I think that’s private property. STEVE FASSBENDER It’s a homeless shelter, homeless don’t have the concept of property. Eileen appears. EILEEN Do you have your permit Steve? STEVE FASSBENDER (to the driver) For God’s sake just leave it here. (to Eileen) I got it. EILEEN Excellent. We’re going in, count them and -- you’re in charge. The Bus Driver gets out of the bus. STEVE FASSBENDER No. Steve takes a cigarette out. STEVE FASSBENDER (CONT’D) Need to get used to the stink. I’ll meet you inside Eileen. EILEEN Oh, okay. Eileen walks away. BUS DRIVER Is it enough? Steve grabs his briefcase and walks to the warehouse.
  • 45. 44. STEVE FASSBENDER Yeah it’s alright. BUS DRIVER The keys are inside, you’re in charge, if there’s a ticket it’s yours. STEVE FASSBENDER Don’t worry you cheap bastard. EXT. OLD WAREHOUSE - LEFT SIDE - MOMENTS LATER Steve is calmer but walks alert and then --- He jumps back as SOMEONE comes laughing out of the warehouse’s corner. It’s Matt, he is urinating. STEVE FASSBENDER Do you wanna give me a heart attack you twit? MATT That would be fun to explain afterwards so no. Matt walks to the door nearby. MATT (CONT’D) Alright! INT. OLD WAREHOUSE - OFFICE HALL - DAY Matt and Steve walk in. Matt’s backpack is on the floor surrounded by 3 BIG COCAINE PACKAGES. STEVE FASSBENDER How long is that gonna last me? MATT That depends on how much of a junkie you are. Matt goes to the office and -MATT (CONT’D) Bu’ you don’t look much like anything so I guess you’re sa --- POW! Before he goes in SOMEONE hits him in the head with a gun. Matt falls unconscious on the floor. STEVE FASSBENDER What the fuck?
  • 46. 45. EXT. OLD WAREHOUSE - DAY Gradlad, Jeff and Chris, with the chimpanzee masks on, stare at the warehouse. CUT TO: They pass by the OPEN green bus. JEFF Look at that bruv I never been inside one before. CHRIS You need to go to school for that. INT. OLD WAREHOUSE - MOMENTS LATER They walk by the card boxes. Jeff stops. Chris takes a gun out of his trousers. CHRIS (to Gradlad) Let them see the gun before they see you. GRADLAD I don’t need a pistol mate -(points to the head) -- I got this. CHRIS That will end up spread all over if things don’t go as planned. GRADLAD Pessimist points of view tend not to be realistic Christopher. CHRIS You need to be safe. GRADLAD I’m not John Wayne mate, you are. I’ll do it the Woody Allen way, talking. CHRIS Ok fuck it. GRADLAD Sound. Keep guard Jeff. JEFF Alright bruv. What do I do if I see a local?
  • 47. 46. CHRIS You -Chris looks at Gradlad, they have no clue. GRADLAD Just scream like a little girl that will be recognizable. CHRIS Let’s roll. Gradlad and Chris put their masks on and disappear in the office’s direction. Jeff walks and looks around. He gets immediately bored, makes a joint but drops it on the floor by the card boxes. Jeff picks up the joint, seats on the boxes and puts his mask on. As he lights the joint the boxes crush a bit with his weight and from inside, right through the middle of Jeff’s legs, comes a nice flow of cocaine. INT. OLD WAREHOUSE - OFFICE HALL - DAY British Mike reveals himself from inside the office. STEVE FASSBENDER Jesus Christ who the fuck are you? Do you know who that is? Have you any idea what trouble are you -BRITISH MIKE Be quiet. British Mike points the gun at Steve and checks the cocaine. BRITISH MIKE (CONT’D) How much do you have here? STEVE FASSBENDER I -- a lot. BRITISH MIKE Well this is a robbery. I request that you hand me all your belongings. I’ll also keep the drugs. STEVE FASSBENDER You can have my wallet. BRITISH MIKE If you don’t oblige I’ll shoot you. A noise comes from inside the warehouse.
  • 48. 47. BRITISH MIKE (CONT’D) You’re not alone. Steve’s almost crying. STEVE FASSBENDER I was -- I mean, I was with him. British Mike guards the gun in his trousers, puts the cocaine inside the backpack and grabs Steve’s briefcase. BRITISH MIKE Do you know who I am? STEVE FASSBENDER I don’t -- Should I? BRITISH MIKE No. Do not steal from the warehouse they have cameras here. This harm only comes from lack of caution on your part. Don’t dwell on it. British Mike prepares to leave. CHRIS (O.S.) Okay boys. Chris shows up gun pointed at Steve. Gradlad follows. GRADLAD Let’s pass the mulla to this side shall we? British Mike looks at Steve. STEVE FASSBENDER No, no, no fuck no I’m not with the monkeys, I don’t know any monkeys. BRITISH MIKE (to Gradlad and Chris) Do you know who you’re stealing from? Chris recognizes British Mike and points the gun at him. Gradlad gets in the middle of them. GRADLAD From the looks of it -- two jackasses gone wrong. He notices Matt’s body on the floor. GRADLAD (CONT’D) Well three. Now if you please...
  • 49. 48. BRITISH MIKE I don’t take shit from anyone specially monkey dressed yuppies. CHRIS The cash and the drugs -- Now. British Mike reluctantly gives Gradlad the backpack and the suitcase but slowly moves to grab his gun. GRADLAD Indeed we’ll see ourselves around lads you’ll just have no idea who we are, that shall be fun. Peace and love brothers. Gradlad exits. BRITISH MIKE I’ll count on that. CHRIS You shut it. In a fast movement British Mike pulls his gun and BUM! Chris’ shoulder is shot but he falls to the wall and shoots back. CHRIS (CONT’D) Fuck me. INT. OLD WAREHOUSE - CONTINUOUS Gradlad stoops trying not to get shot. He turns around and Chris comes running out all bloodied. INT. THE GREEN BUS (PARKED) - CONTINUOUS The back seats are all occupied by drug-filled boxes. Jeff brings another one inside unaware of the noise. The shots however are too loud not to be heard. Jeff looks curious to where the sound comes from. EXT. OLD WAREHOUSE - CONTINUOUS On the floor by the back of the bus are more boxes. Gradlad and Chris come running from the warehouse. JEFF Hey bruv you won’t believe what I found. GRADLAD Get inside the bus Jeff!
  • 50. 49. Jeff picks up another box. JEFF It’s all fucking chang bruv, fucking free chisel. GRADLAD What? JEFF It’s a proper miracle bruv. Sound. Gradlad jumps inside through the back-door. GRADLAD We’re leaving here Jeff just drop that there -Gradlad only now notices he’s on the bus. Chris shows up. CHRIS What is this? GRADLAD Have I a fucking clue! JEFF It’s a school bus innit? CHRIS We’re gonna get shot get your ass inside. JEFF What about these mate? Chris looks down at the remaining boxes. He realizes how deep in trouble they are getting into but there’s no time. CHRIS Jesus fucking Christ. Get in, just get in we’re outta here. GRADLAD Where are the fucking keys? JEFF I have the keys sir! Jeff throws the box inside and gets in. Chris takes his mask off and looks at the warehouse. As the bus drives away British Mike comes outside. Chris closes the bus back door.
  • 51. 50. INT. THE GREEN BUS (MOVING) - CONTINUOUS Chris looks at the boxes spread through the seats. He and Gradlad look at Jeff who’s relaxed speeding away. GRADLAD So are we proper rich or are we proper fucked? INT. ROBERTO’S COFFEEHOUSE - RESTROOM - DAY A police officer in late 30’s dressed washes his hands and makes strange faces checking his teeth in the mirror. He is Inspector KARL BRUCE. INT. ROBERTO’S COFFEEHOUSE - CONTINUOUS Karl walks to the counter where he meets a TALL GUY wearing a gabardine. KARL BRUCE I’m ready to go. The WAITER in front of the Tall Guy looks in shock. KARL BRUCE (CONT’D) We can go. Karl steps forward and he too gets surprised. INSERT: 3 small BAGS OF COCAINE lie on the counter. KARL BRUCE (CONT’D) Christ what are you doing Harry? The tall guy is HARRY WESTROCK, 45, an American Inspector from the Drug Enforcement Administration (DEA). HARRY WESTROCK It took you a while in there Karl. KARL BRUCE Please Inspector can you -- just -hide the cocaine out of the public’s eyesight. HARRY WESTROCK (points to the left bag) See here I have bunk. (center bag) Old good stuff. (points to the right) And the mysterious new crack.
  • 52. 51. KARL BRUCE It is a coffeehouse sir you should have coffee, sugar and a croissant. WAITER Can I -- can I get you gentlemen anything else? KARL BRUCE No excuse us. Harry stands UP. HARRY WESTROCK I’m done touring through London. KARL BRUCE Not quite yet we still have some stops to -HARRY WESTROCK It’s time to give use to those british cojones Inspector. KARL BRUCE Don’t -- don’t curse. I know el espaniol mucho bieno John Cleese made an awful job portraying us... Harry is not only uninterested as he doesn’t understand Karl. He grabs the “mysterious new crack” bag. HARRY WESTROCK I need the source of this Karl. Harry keeps the other 2 bags. They walk to the exit. HARRY WESTROCK (CONT’D) If I want to see the Big Ben, that’s what postcards are for. I know this dama branca doesn’t come from the Buckingham Palace so I don’t want to see the Buckingham Palace. Or does the Queen run a cocaine distribution business? EXT. ROBERTO’S COFFEEHOUSE - CONTINUOUS KARL BRUCE I -- what? Harry stops.
  • 53. 52. HARRY WESTROCK When it comes to drugs you Brits are trying so hard to compete with Pakistan I’m surprised how you still let your women get an educa -On an alley behind Karl there’s a MAN completely drunk urinating against the wall. HARRY WESTROCK (CONT’D) You live in a strange place ‘fella. KARL BRUCE (unaware) Don’t go on criticizing give it time. Harry takes his gun out. It’s a huge piece. KARL BRUCE (CONT’D) Get a bloody brake Harry. Jesus. HARRY WESTROCK I need a bad neighbourhood Karl. KARL BRUCE Put that away. Let me get the car I’ll show you what you want to see. HARRY WESTROCK Sure. Karl walks away. INT. THE GREEN BUS (MOVING) - DAY Chris is seated. Gradlad holds his wound. GRADLAD Iraq man this isn’t fucking Iraq. Gradlad stands up, his hands all bloodied, he clearly doesn’t know what to do. GRADLAD (CONT’D) This is bollocks. CHRIS I need to clean it off. Give me a towel or somethin’. GRADLAD We’re on a bus mate there’s no... CHRIS Hey, hey! I’m shot here asshole.
  • 54. 53. Gradlad looks in between the seats. There are card boxes everywhere. He takes off his mask. GRADLAD This bus doesn’t look like having a great room service Chris you’ll have to hold it without a towel. CHRIS Just try and find something. GRADLAD Great, feels like I’m in a Dali fucking painting. Gradlad walks to the front and opens the glove compartment. JEFF I don’t know which way to turn. GRADLAD Guess what? No towel. JEFF See here. Jeff leans right to the glove compartment taking the wheel in the same direction. The bus goes right, Gradlad falls back as do all the boxes. Jeff takes a dirty towel out. JEFF (CONT’D) Yeah I got it. Gradlad grabs the towel and turns but then stops, shocked. Chris is covered in white powder (cocaine). GRADLAD For fuck’s sake Jeff. JEFF I’m lost bruv fo’ real. Gradlad gives the towel to Chris who stands up. GRADLAD The next minute -- we should use it to do some thinking. CHRIS Is this going to get me high? This ain’t getting me high right? (worried) Yes I am, god damn it.
  • 55. 54. GRADLAD Hey Tony Montana relax your arse we’ll use the minute before you go flying to be rational. JEFF Hey guys! CHRIS Take the money, take the dope, burn the bus, get the fuck out of London. Now that you have my expertise we need to stop and make a call. GRADLAD Uou, uou, uou. Get out of London? That’s what the masks are for, be a monkey for an hour and a Lord for the rest of your life. The bus turns suddenly. Furious DRIVERS outside hunk. GRADLAD (CONT’D) Be careful bruv! (to Chris) I see you trying hard not to have a “rest of your life” obviously getting shot wasn’t expected I’m still wondering how the fuck that happened but that’s in the past, we are moving beyond the wound Chris. JEFF Am I in the right path bruv? GRADLAD I’m positive you are. (to Chris) Ok I get you alright? The teacher didn’t say a word about Hans Gruber being there. CHRIS That was British Mike. Gradlad recognizes the name. CHRIS (CONT’D) We need to stop the bus and call your brother or tomorrow we’ll be damn fertilizer and that’s something neither you or I or even that pot head ever aspired to be. GRADLAD Are we talking about the British Mike?
  • 56. 55. Chris looks outside the bus as it passes by a road signal. INSERT: Road sign is for NO HEAVY VEHICLES TRANSIT. GRADLAD (CONT’D) Hey, are we? JEFF Fam the Architect told the craziest tales about that noid bloke aye. CHRIS We can’t be here. JEFF -- Yeah it’s pret'y crowded. CHRIS We can’t be here. Shit. GRADLAD I’m sorry if Disneyland is not an option at the moment Christopher. Chris gets up and stumbles to the driver’s seat. CHRIS We need to go back. Move. EXT. ALLEY - MORNING The drunk Pissing Man doesn’t notice Harry approaching. HARRY WESTROCK You British are good at that aren’t you? He slowly turns his head to Harry. PISSING MAN What? Pissing? HARRY WESTROCK Yes. PISSING MAN I don’t know maybe yeah. The Pissing Man looks at Harry’s gun and, still urinating, walks away. He can barely do it out of his drunkenness. HARRY WESTROCK It is still a felony, doing it in public. PISSING MAN It doesn’t last long officer.
  • 57. 56. HARRY WESTROCK I’m sure it doesn’t. A wallet falls from the man’s pocket. BEAT. Another wallet falls. Harry smiles at the Pissing Man, it’s bad luck. HARRY WESTROCK (CONT’D) I bet you’re wondering how you got yourself in this situation. Drunk, holding your precious and having a night’s work being pissed on by not only yourself but also me, a cop. PISSING MAN I’m sorry. I can’t stop. Harry grabs his handcuffs. HARRY WESTROCK I understand. EXT. KARL’S POLICE CAR - DAY Karl opens the car but is distracted by the confusion at the end of the street. It’s a tight and busy street. Karl looks at where an old, green bus comes causing havoc. KARL BRUCE Now look at that. Karl walks to the other side of the street. INT. THE GREEN BUS (MOVING) - DAY Gradlad and Jeff are next to Chris who drives the bus. GRADLAD You’re doing alright Christopher. CHRIS That’s easy to say. GRADLAD Give me the fucking wheel then. CHRIS Do you know what happens if a cop stops us? What are you gonna say that we’re bakers? We don’t look like fucking bakers Gradlad and that ain’t flour. GRADLAD Well I’m trying to be the motivational force here.
  • 58. 57. JEFF Look there’s a bloke on the street. GRADLAD Ah shit, that’s a bloody cozzer. CHRIS God damn it. GRADLAD Just stay cool. Karl waves his arms. The bus slows down in front of him. EXT. STREET #1 - CONTINUOUS The bus stops ahead of a MEAT DELIVERY VAN. The doors open and Karl is greeted by 3 guys in black suits wearing chimpanzee masks. He gives no importance to that. KARL BRUCE Morning gentlemen. GRADLAD Morning. KARL BRUCE May you step down so we can have a word -- face to face -- sir. Gradlad steps down to the street. KARL BRUCE (CONT’D) You realize it is not permitted to drive vehicles over a certain tonnage in this particular street. GRADLAD I don’t. We are not from around so. KARL BRUCE You sound like you are. (to Chris) Excuse me. Can you see properly with the mask on? GRADLAD Ma mate can see fine. KARL BRUCE You didn’t spot though the sign back there. GRADLAD We didn’t no, a momentary distraction.
  • 59. 58. KARL BRUCE Distracted by your monkey business. Karl laughs, Gradlad starts laughing too and so does Jeff. A laud, fake laugh that is suddenly stopped by -KARL BRUCE (CONT’D) I’ll have to pass you a ticket anyway. Karl grabs his ticket pad. KARL BRUCE (CONT’D) License and registration please. JEFF I don’t have mine wiv’ me. KARL BRUCE Not yours. (points to Chris) His. JEFF We came by taxi. KARL BRUCE Excuse me? GRADLAD What my friend’s trying to say is -(turns to Chris) You don’t have your license there do you? Chris shakes his head negatively. GRADLAD (CONT’D) We are driving the vehicle somewhere, to someone -KARL BRUCE So is not yours. GRADLAD Well it is for the moment. KARL BRUCE Is not legally yours. Jeff appears in front of Gradlad. JEFF It’s a carnival thing bruv. Gradlad can’t believe what Jeff said. Karl’s not convinced.
  • 60. 59. KARL BRUCE Lets open the boot please. JEFF Don’t you ‘no what carnival is man? Like Rio de Janeiro groove. KARL BRUCE I admit I enjoy a little samba myself son. GRADLAD (knows he’s screwed) That’s not the point officer, think of the little children. TWO DELIVERY GUYS take the meat from the van to the butchery. GRADLAD (CONT’D) Officer the door is kinda stuck. KARL BRUCE I have just the trick. Karl puts his shoulder against the door and starts pulling it out. Gradlad looks at Jeff. They are done. KARL BRUCE (CONT’D) There we go. Karl finally opens the door revealing Chris standing inside. CHRIS Hi. Chris jumps out and punches Karl in the nose. CHRIS (CONT’D) Grab him. GRADLAD I don’t fucking want to! KARL BRUCE Hey, you are under -- Chris grabs Karl’s handcuffs and Jeff’s mask. Karl has a glimpse of Jeff’s face before Chris puts the mask over him. Chris handcuffs Karl to the inside of the meat delivery truck door. KARL BRUCE This is not happening! JEFF The fed’s stating facts bruv! CHRIS Let’s go.
  • 61. 60. GRADLAD This ain’t fucking Goodfellas Chris. Shit. Chris gives a long, serious look at Gradlad and closes the van door with Karl inside. KARL BRUCE (O.S.) Hey! Wait. INT. THE GREEN BUS (MOVING) - MOMENTS LATER Gradlad’s driving, Chris besides him, Jeff’s making a joint. GRADLAD What do we do now? CHRIS (stoned) Just follow the thing -mean the road. Shit. Shit I EXT. VICTOR’S MANSION - DAY Joker is inside Julio’s car. Julio comes from the mansion. INT. JULIO’S CAR - CONTINUOUS Julio goes for the driver’s seat. JOKER This is fucking bollocks I never get to go into the office. JULIO Yeah I’m surprised how he lets you use loo. JOKER And -JULIO We are meeting Mike there and. (smells something) Did you just backfire? JOKER Why the fuck would I do that? EXT. JULIO’S CAR - CONTINUOUS Julio starts the car --
  • 62. 61. JULIO It stinks in here I don’t want you passing fucking gas on my fucking car is that fucking clear? -- And drives away. JOKER (O.S.) I didn’t fart you just don’t wash it as often as you should. EXT. OLD WAREHOUSE - POLICE VAN - DAY There’s a big fuss around the place. Steve is seated in the back of a police van surrounded by POLICE OFFICERS. The STUDENTS gather where the bus was previously. They are all pretty calm but Eileen is freaking out. Harry arrives and stares at Steve. HARRY WESTROCK Let me get this straight you went to urinate by the warehouse... (to the Police Officers) ‘Cause you brits don’t seem to ever have heard of toilets. (back to Steve) And there you found the student Matt Moran doing what? STEVE FASSBENDER He was -- huh -- he was peeing. HARRY WESTROCK Right. Then you were attacked by two individuals in monkey costumes. STEVE FASSBENDER Yes, masks, monkey masks but -that’s correct. HARRY WESTROCK Urinating victims and monkey mask wearing bad guy’s. Just another typical day I guess. (to the Police Officers) Do we have the warrant yet? FEMALE POLICE OFFICER We’re still trying to figure out who owns the building sir. HARRY WESTROCK Okay. MALE POLICE OFFICER #1 shows up.
  • 63. 62. MALE POLICE OFFICER #1 Inspector Westrock we found him. A police car arrives with Karl in the back seat. HARRY WESTROCK Thanks for the ride bud. KARL BRUCE I was assaulted by a carnival troupe. HARRY WESTROCK Great were they wearing monkey masks too? KARL BRUCE Yeah, how do you know? CUT TO: Alongside Karl, Harry shows Steve the chimpanzee mask. HARRY WESTROCK Do you recognize this? STEVE FASSBENDER It’s a chimpanzee mask. KARL BRUCE Do you know a man called Duane Shields? STEVE FASSBENDER Duane? You mean Jeff. KARL BRUCE The drug dealer. STEVE FASSBENDER (busted and nervous) I know him kind of in a way -hello, goodbye thing. KARL BRUCE (to Harry) There, Jeff lives in a bad neighbourhood. Harry looks finally pleased. INT. GAS STATION - PHONE BOOTH - DAY Chris is high out of his mind, the green bus is nowhere to be seen. Gradlad stands outside.
  • 64. 63. CHRIS (into phone) Fucking British Mike fuck. INT. ARCHITECT FIRM - MARLON’S OFFICE - DAY The Architect is incredulous at the phone with Chris. ARCHITECT (into phone) Fantastic the guy hasn’t been out for a month he’s already after us. Did he see my brother? INTERCUT WITH THE PHONE BOOTH. CHRIS (into phone) No man he didn’t, he didn’t know it was us either. Shot me by chance. ARCHITECT (into phone) What the fuck is wrong with your voice? CHRIS (into phone) They -- I’m covered in blow, no it’s flair a whole box it. ARCHITECT (into phone) What? Listen to me Christopher if somethin’ happens to my brother I’ll have your ass expatriated. CHRIS (into phone) Hey the cop saw Jeff’s mug he’s going to jail! So you -- you -- you go ahhhhh. ARCHITECT (into phone) My brother got a Ph.D in economics to get away from this shit -robbing people dressed as a monkey! CHRIS (into phone) Jeff’s screwed I need you to clean his place. I’m listening to pink and -- you can’t hear a color -but I am. Like a kite!
  • 65. 64. ARCHITECT (into phone) You better start believing in some sort of God Chris. Wait for my call. The Architect hangs up the phone. EXT. HIGHWAY - DAY Gradlad and Chris walk to the bus in the distance. INT. JULIO’S CAR - DAY Julio, Joker and British Mike in the back seat observe Steve walking away from the warehouse. EXT. OLD WAREHOUSE STREET - MOMENTS LATER As Steve walks Julio appears in front of him and from the behind Joker puts a bag on Steve’s head. INT. GARAGE - DAY STEVE’S POV: the bag is taken from his head. It reveals Julio and Joker. Steve takes a good look at them. STEVE FASSBENDER Oh dear God... Joker takes out a knife. JULIO What are you doing? JOKER Old school mate. JULIO That won’t be needed. (to Steve) Steve my boss is very unhappy and his son isn’t happy either. STEVE FASSBENDER Do I look happy to you? JULIO No one’s happy then. JOKER What hand do you write wiv´?
  • 66. 65. Steve frees his hands from the poorly tied rope and flips the bird to Joker. STEVE FASSBENDER This one. JOKER (to Julio) Isn’t he mad as hell, not able to take it anymore aye? (to Steve) Alright that one goes first. Joker grabs Steve’s left hand. JULIO Calm down. (to Steve) Just tell us who took the drugs. Steve starts crying. Joker lets go and smiles sadistically at Julio. British Mike is revealed to be behind Steve. JULIO (CONT’D) Hey I have as much patient as I have stolen drugs do you hear? STEVE FASSBENDER (sobbing) Shit I don’t know. First came this guy and then these other guys. JULIO Do I look like a want a description of a fudge packer’s orgy? STEVE FASSBENDER They just started shooting at each other! Julio looks at British Mike. They aren’t getting anywhere. STEVE FASSBENDER (CONT’D) Then the police came they are after my only fucking connection I mean I’m a teacher for God’s sake do you know how much I make a month? JULIO Be so kind and give us a name please. JOKER Slice, slice mothafucka’! STEVE FASSBENDER You know him, you know, is Jeff.
  • 67. 66. JULIO I fucking don’t. British Mike puts the bag over his head -STEVE FASSBENDER Please! I’m telling the truth! JOKER Should I stab him? -- and knocks him out. BRITISH MIKE No. JOKER Just a little bit. BRITISH MIKE We know that name. JULIO He’s not on my books. (to Joker) Jeff doesn’t ring a bell does it? BRITISH MIKE Well it should. JOKER Oh shit I know. He’s mates with -oh shit, shit, Henry fucking Sykes. Julio stares at British Mike has he realizes that -JULIO The Architect’s kid brother? That doesn’t make a fucking bit of sense. BRITISH MIKE Blood line what do you know? JULIO I know I don’t believe in big fat coincidences that’s what I know. BRITISH MIKE It’s fine I’ll pay him a visit. JULIO (laughs) Do you think the Architect will allow you to touch his family? Mike buddy if you were a rash he would not use lotion to get rid of you he would cut his fucking arm off to guarantee you’d never come back.
  • 68. 67. BRITISH MIKE Is good to know he has a place for me in his heart. JULIO Joker is going with you. JOKER I don’t want to go with him! JULIO I’ll get Ron. We meet here later. British Mike and Joker walk out. JOKER Fairness mate, fairness and the lack of it. INT. TAXI (MOVING) - DAY The Architect is on the back seat. INT. POLICE CAR (MOVING) - DAY Karl drives, Harry is on the passenger's seat. INT. JOKER’S CAR (MOVING) - DAY Joker drives, British Mike is on the passenger's seat. EXT. LONDON STREETS - DAY SEVERAL SHOTS OF THE 3 VEHICLES IN THE STREETS OF LONDON. EXT. JEFF’S APARTMENT BUILDING - DAY The Architect exits the taxi and walks into an old, yellowish apartment building. INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR CORRIDOR - DAY The Architect stops at the door numbered “8”. He knocks, waits, looks around and grabs a key from the water meter. INT. JEFF’S APARTMENT BUILDING - POLICE CAR - DAY Karl shuts down the engine. HARRY WESTROCK Are you going in?
  • 69. 68. KARL BRUCE (nervous) Me? I thought you were. HARRY WESTROCK Don’t let no one steal the car. Harry gets out and walks into the building. INT. JEFF’S APARTMENT - DAY The Architect walks around the tiny studio apartment through the sheets, pillows and plates on the floor. He gets to the kitchen corner and opens the drawers until his attention goes to the entrance, left open, from where Harry comes. The Architect and Harry look at each other. They’re strangers but have more in common than meets the eye and they know it. HARRY WESTROCK Duane Shields? The Architect smiles, Harry is a foreigner, an ignorant. ARCHITECT No I’m not Duane. HARRY WESTROCK My name is Harry Westrock I’m with the United States Drug Enforcement Administration... The Architect is cool. Harry shows his I.D. HARRY WESTROCK (CONT’D) Is Duane around? ARCHITECT You’re a long way from home mate but Duane is not here. Harry inspects the apartment only using his eyes. HARRY WESTROCK Do you know if he’s coming home anytime soon? ARCHITECT I know he isn’t. HARRY WESTROCK Listen I need a warrant to search this place, since none of us lives here I’ll just walk around, let’s make it like I wanna buy it. (beat) Is that alright with you pal?
  • 70. 69. ARQUITECT It is your house as much as it is mine Inspector. HARRY WESTROCK Good. Harry starts slowly walking around the studio. EXT. JEFF’S APARTMENT BUILDING - DAY British Mike and Joker walk along the pavement and enter the building. On the other side of the street Karl is distracted checking his teeth in the rear-view mirror. INT. JEFF’S APARTMENT - DAY The Architect makes coffee. ARQUITECT Funny thing about America you give yahr 'and fer a shake and receive a good deal attached to a bad case of diabetes. I worked there for a while myself and the only thing I really loved were the films. I could see 'em 'ere but there it feels right. See a western where a western is from, it’s only natural. Do you fancy cinema Inspector? INT. JEFF’S APARTMENT - BEDROOM - DAY There’s only a bed and a nighstand inside. The floor is filled with dirty clothes, empty weed bags and old papers. HARRY WESTROCK Not much. ARQUITECT (O.S.) No? I guess you 'aven’t heard what happened this morning then, someone transformed Victor Moran’s place down sowf in'er O.K Corral. HARRY WESTROCK (to himself) News spread fast around here. Harry inspects the nighstand. First drawer is locked. The second is filled with socks and underwear. The last one has a considerable amount of little bags with various drugs.
  • 71. 70. HARRY WESTROCK (CONT’D) (not pleased) Ah shit... INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR HALL - DAY British Mike stops Joker from moving further. BRITISH MIKE Go on the rooftop and wait there. JOKER And what’s the point in that? Joker grabs his gun. JOKER (CONT’D) This job has not been the most exciting since Victor found he was Gandhi’s fucking lost brother. BRITISH MIKE Exciting? INT. CREEPY HALLWAY - NIGHT - FLASHBACK Joker holds his gun on his chest, his forehead is bleeding and his suit is all dusty. JOKER I’m looking forward to make examples out of people lads! SOME GUY (O.S.) Fuck you! Joker knocks on the door. It’s the last door on the hallway. He looks to the gap between the door and the floor. Someone’s right by it. Joker puts the gun on the peephole and -BAM! On the other side a body slams on the floor. Joker steps back and looks at the door. Out of nothing he jumps sideways as a dozens of machine gun bullets pierce through the door in his direction. INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR HALL - PRESENT DAY BRITISH MIKE What does that mean?
  • 72. 71. JOKER Fun mate, you should have some. BRITISH MIKE Just get upstairs. Joker does so. British Mike makes sure he’s gone and looks down the hall. INT. JEFF’S APARTMENT - BEDROOM - DAY Harry grabs one of the bags, rips it open and tastes what’s in it. He throws the bag away, that’s not what he wants. HARRY WESTROCK Shit. He turns around to leave but stops, goes back and tries to open the first drawer again. Key or no key, it doesn’t open. INT. JEFF’S APARTMENT - DAY The Architect stares contemplative at the coffee pot steaming and simmering. He pays no attention to Harry audibly breaking into the nighstand. He grabs the coffee pot and brings it to the table. No cups. The stomping stops, Harry shows up. The Architect holds the pot as Harry approaches the table. HARRY WESTROCK A guy can get curious seeing a ´fella like you in a place like this. Harry throws a cocaine bag on the table. HARRY WESTROCK (CONT’D) You don’t look like someone who belongs. ARQUITECT Well done you just found out what dear Jeff does for a livin’. HARRY WESTROCK What you told me that you’re the travelling type. See these folks, like Duane, they aren’t. ARQUITECT Do you mind if -- can I tell you a little story of mine? (MORE)
  • 73. 72. ARQUITECT (CONT'D) I once rented a VHS about football, well -- soccer to you -- some of soccer’s greatest goals. So I started watching it and the truth is inside I found some quintessential pornography collection, that seventies stuff people can even learn from. You know I guess I too judged by the cover won’t you agree? HARRY WESTROCK You can’t be from around pal. ARCHITECT (calm but offended) Stereotyping. Is that an habit of yours? A rather unhealthy one. Harry throws on the table the 3 COCAINE BAGS from earlier and seats. The Architect tries not to pay attention to them. HARRY WESTROCK Are you drinking that? (beat) Or are you just here to have a seat? The Architect takes his time and smiles. EXT. JEFF’S APARTMENT BUILDING ROOFTOP - DAY It may not be the tallest building around but the view over the maze of East End’s housing projects is beautiful. Joker is at the edge of the rooftop looking at the view. British Mike steps out, Joker notices him. BRITISH MIKE He’s not downstairs. JOKER What? BRITISH MIKE The dealer is not downstairs. JOKER Well it was a nice try. BRITISH MIKE We have to wait. JOKER For fucking what?
  • 74. 73. BRITISH MIKE For me to react, wait a few moments please. JOKER Ah fantastic I’m eager to see a fucking reaction. British Mike grabs his pocket bottle and drinks. JOKER (CONT’D) Or maybe we could just look for that bitch of a girlfriend the Architect has and get us some leverage over that untouchable fucking cunt. BRITISH MIKE Gum? JOKER No I don’t want no gum let’s get out of here. BRITISH MIKE You’re intriguing, you show short glimpses of cleverness and that however is not what you seem to be. Joker looks at British Mike confused. British Mike is in great peace. Far away an airplane takes off from the London City Airport. JOKER Ah bollocks. I’d rather be watching those beauties fly, I’d rather be doing that. INT. JEFF’S APARTMENT - DAY The Architect has everything under control. ARQUITECT Have you ever heard of Mensa International Inspector? HARRY WESTROCK No. ARQUITECT Mensa is an organization to which only a very particular kind of person can belong to. You can’t train to get in, it’s something that is born wiv’ you, a gift. (MORE)
  • 75. 74. ARQUITECT (CONT'D) To belong one needs to be within the two percent most intelligent people on the planet. Do you know anyone worthy of that honor? HARRY WESTROCK Not that I’m familiar with no. ARQUITECT Well now you do ‘cause I am. HARRY WESTROCK (unimpressed) Congratulations -ARQUITECT Inspector Harry the only problem with having an high I.Q is dealing with daily basis ignorance. I hate ignorance, I grew up surrounded by ignorance and I deal with it every single day. I don’t find yew an ignoran' Inspector and it offends me that you play the ignorance game like you were one. HARRY WESTROCK No fuss you’ll get over it. ARQUITECT No listen the fn' is yew are no fucking genius either. That doesn’t worry me, i’ should worry you. It should worry you because all the other cozzers that think you’re a big shot are obviously less clever van yew are. And you are hunting very intelligent people Inspector Harry, you’re huntin' 'em with an army of Charlie Babbitt wannabes. You look at a well dressed guy in a bad shaped flat in a poor London area and you’re thinking a bunch of heroic fngs, all ov 'em which'll end up in a nice tea with good champagne to celebrate. HARRY WESTROCK You think I do it for show huh? That is interesting now said that, who the fuck are you? ARQUITECT I could be the Queen of England for all you know, awer I can be Victor Moran and you just made me very mad I had that warehouse in great esteem. Wan’ some coffee?
  • 76. 75. HARRY WESTROCK I’d prefer to have your name. ARQUITECT No, no, no Inspector. What you want is to know how come us British are ge'in' drugs into your big, McDonald’s lovin’ country. You want the truth? Obesity, racism, bad education, corporate tax loopholes and Michael Jackson’s friends ages. Sickness of the body and sickness of the mind Jesus a fat person alone costs a thousand and five hundred dollars more than a junkie on the streets. Movies see? Like that George Romero one where sick people, if not exterminated, would fuck up all the healthy, regular people. That’s already happening in your country. Drugs, thee 'ave so much more to worry about than drugs. But congratulations, you’re quite the skinny lad, you proudly do not represent the American stereotype. HARRY WESTROCK Boy you sound as ignorant as everyone else. ARQUITECT Drug traffic does some four hundred billion dollars every year, five billion pounds in the UK alone. Ignorance is not getting in the business is getting caught in it. HARRY WESTROCK And you know about the business. ARQUITECT I know about everything. I know who you are, I know that mensa means table in Latin, I know Queens is named after the same Portuguese Queen who introduced tea in England and most importantly I know what you’re looking for was really popular in Queens during the eighties. HARRY WESTROCK How the hell do you know that?
  • 77. 76. ARQUITECT That’s irrelevant. What matters is that you know that I know you’re trying your hardest to get something out of me so you can get me in prison but you still have to know who I am. The issue you’re really facing is you know every time you open your mouth my very complex brain processes your every word into something new I know about you. But if you don’t keep talking, you might as well leave. So what do we do here? Should I give you some coffee or are we done? EXT. JEFF’S APARTMENT BUILDING ROOFTOP - DAY Joker looks at the airplanes taking flight. BRITISH MIKE I almost forgot. British Mike gets closer. JOKER What? BRITISH MIKE I believe the Architect is downstairs. JOKER What? BRITISH MIKE How much do you enjoy flying? JOKER I don’t know what they did to you inside but fuck me if you’re British Mike you sound a lot like a fucking Turkish salad you retarded. Call Julio now! British Mike is right behind Joker. INT. JEFF’S APARTMENT - DAY Harry reaches discreetly to his apparently empty belt. HARRY WESTROCK Have you ever been arrested?
  • 78. 77. ARQUITECT I don’t believe in getting arrested. HARRY WESTROCK You’re afraid of it. The Architect doesn’t let go of the coffee pot. ARQUITECT Is that a sign of weakness? HARRY WESTROCK There’s nothing a criminal fears more than getting canned. SUDDENLY a BLACK SHAPE passes outside by the window and CRASH -- Straight onto a car’s roof. In that instant Harry grabs the Architect’s arm, pulls it into a chair and moves his other hand towards it just like he’s handcuffing him. But -His hand’s empty. No handcuff. Harry realizes this too late. HARRY WESTROCK (CONT’D) Fuck. The Architect smashes the boiling coffee pot in Harry’s head. As Harry falls to the floor British Mike shows at the door and fires at the Architect who jumps through the window. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS The Architect falls onto the smashed car. In pain and slips to the floor where Joker’s dead body lies. The Architect lumps out of the alley and tries to maintain his composure as walks into the street. INT. JEFF’S APARTMENT - DAY Harry gets up in pain. British Mike sees him and hides inside the bedroom. Harry leaves the apartment. EXT. JEFF’S APARTMENT BUILDING - SIDE STREET - MOMENTS LATER Karl stands and looks around suspicious but unaware. KARL BRUCE (into walkie-talkie) Inspector are you there? Over. (beat) Inspector Harry I think I heard somethin’ is everything --
  • 79. 78. Harry suddenly appears. His face and clothes are a mix of blood, coffee and burns. Karl can’t believe what he sees. EXT. JEFF’S APARTMENT BUILDING - DAY The Architect enters the taxi who brought him there. EXT. JEFF’S APARTMENT BUILDING - SIDE STREET - DAY Karl lowers the walkie-talkie. KARL BRUCE Harry what... HARRY WESTROCK Contact the station tell them the Architect’s in on this. Harry enters the car -KARL BRUCE Where are you going? HARRY WESTROCK Wait for my call. -- And drives away. INT. JEFF’S APARTMENT - DAY British Mike goes to the window and looks to Joker’s body. In the street he sees Harry driving away. British Mike runs out of the apartment. EXT. TAXI DRIVER COFFEEHOUSE - NIGHT Julio parks outside. Steve’s in the passenger seat. INT. JULIO’S CAR - CONTINUOUS Julio opens the door. JULIO Come on. STEVE FASSBENDER I’m in a very fragile place now. JULIO Get your arse out.
  • 80. 79. INT. TAXI DRIVER COFFEEHOUSE - MOMENTS LATER Julio and Steve get in. It’s closing time. Waitress Marla is cleaning the counter. JULIO Hey Marla. WAITRESS MARLA Oh hi. I’m sorry we’re just closing. JULIO I know I’m here for Ron. STEVE FASSBENDER Aww that’s a weight off my back. JULIO It’s a coffeehouse what you think would happen? STEVE FASSBENDER I don’t know man I’m too nervous. WAITRESS MARLA What about Ron? JULIO Have you seen him? WAITRESS MARLA No I haven’t seen him in a while. JULIO Me neither. (to Steve) I think that cock-up ran away the motherfucker. INT. CONSTRUCTION SITE - THIRD FLOOR HALL - MORNING Gum is besides a pile of film reel talking at the cellphone. GUM (into cellphone) I don’t know if they’re ready Marlon I don’t know. Why don’t you come and see for yourself? Why -(beat) This is very upsetting baby. EXT. FAIRLIGHT COVE - BATTERY HILL - MORNING The Architect exits the taxi and looks around kind of lost.
  • 81. 80. ARQUITECT (into cellphone) Love the walls are done the lines are set just get Phil out of there. INTERCUT WITH THE THIRD FLOOR HALL GUM (into cellphone) The site needs to be solid before it goes down sweety or they’ll rat us to the inspectors. ARQUITECT (into cellphone) They won’t no one will care about that place once it happens. Gum stop, breathe and do what I’m telling you love. GUM (into cellphone) I’m doing that you are the one going on picnics. ARQUITECT (into cellphone) Are the walls thin enough? INT. CONSTRUCTION SITE - THIRD FLOOR HALL - MORNING Gum walks to the end of the hall. She passes by WORKERS gluing film reels on the wall and knocks on it. GUM (to the cellphone) They’re good to fry. EXT. COVEHURST BAY - CLIFFS - DAY The green bus is at the edge of the cliffs. Chris is sleeping inside, his legs coming out through the back door. At a distance is a small, abandoned and wooden made fisherman's bar. Jeff is besides the bus. Gradlad shows with his mask off. JEFF I fing this is that situation innit? Like you go ter 'ave pizza and everyone asks fer pineapple and you’re like I ain’t 'avin' pineapple in ma pizza it’s a fuckin' pizza. So you don’t ‘no do ya? What to do fam? I don’t ‘no.
  • 82. 81. GRADLAD Well do yew believe in fishes getting high? JEFF (laughs) That just sounds wrong. GRADLAD Yeah who knows what’s wrong. JEFF You know bruv -Jeff starts undressing the suit. This reveals his usual clothes beneath. JEFF (CONT’D) -- Is not wrong ter do what yew fnk ain't wrong. GRADLAD Is right. JEFF Whut? GRADLAD You mean is not wrong to do what I believe to be right. JEFF Yeah yew know it. Is right ‘cause we know i' an' is right because ain't cool ter let da blow abandoned, like a puppy. Jeff makes a joint. JEFF (CONT’D) We care for it -GRADLAD Although we plan to sell it to complete strangers. JEFF We care for it because we know is right for us. Is never wrong if is right fer us. GRADLAD You sound like the Architect talking. JEFF (laughs) Yeah he told me this. Take here.
  • 83. 82. Jeff passes the joint to Gradlad. GRADLAD Thing is... I can see his shade from here for fuck’s sake you know what I mean? I can’t see mine but his... is like he’s behind me all the time. It’s shit. Gradlad and Jeff seem to share a deep though until -ARQUITECT (O.S.) Hey you wankers! The Architect walks towards them. JEFF Architect’s in the house. GRADLAD Alright bruv... The Architect punches Gradlad in the stomach. Gradlad drops the joint to the floor. JEFF Hey be careful wiv that it’s homemade cookin' mate. Jeff picks the joint up. ARQUITECT Get up you tosser. GRADLAD Shiat Marlon. ARQUITECT Where’s Chris? GRADLAD He’s sleeping. ARQUITECT I’ll fucking wake him up. GRADLAD No man he almost overdosed on coke. ARQUITECT How? GRADLAD You don’t want to know.
  • 84. 83. INT. THE GREEN BUS - MORNING The Architect looks at the cocaine filled scenario. Chris sleeps at his feet. ARQUITECT (to Jeff) So this was your idea? JEFF Have yew seen that much ammoun' ov stach fer free in yo life befawer? ARQUITECT I did yes Jeff. This is crank. GRADLAD What? ARQUITECT That’s synonymous for shit. GRADLAD Aww c’mon this is Victor’s you dealt it you’re only saying that because we have it. ARQUITECT Do you remember when? GRADLAD When what? ARCHITECT When I sold this, do you remember? Let me answer that question for you -- you don’t. Do you get it Henry? Gradlad looks like a child who knows he learned a lesson. JEFF Yeah, yeah huh I’m a bit lost fam. GRADLAD (re: the Architect) It’s his formula innit? Britain’s best export. JEFF Yeah, yeah. Wait no, that’s what the ppz use aw bruv that’s the stuff that sells here. ARQUITECT Not anymore. It will cease from the market. Chris starts to wake up. The Architect pulls him inside.
  • 85. 84. JEFF Is it? Is Victor retiring? GRADLAD That’s impossible there’s no retiring in Victor’s business. JEFF Yeah he’s retiring mate. GRADLAD He is not retiring if somethin’ he’ll come after us and that, there’s no fucking way mate. ARQUITECT I’ll make him retire. GRADLAD Don’t tell mum I said this but -come again? The Architect softly slaps Chris. ARQUITECT Wake up. (to Gradlad) I said I’m retiring Victor. Chris awakes. CHRIS What’s -- what’s happening? ARQUITECT You stole cargo from Victor Moran, British Mike is on to kill us and I have the police after me. CHRIS What? ARQUITECT Yeah it’s quite complicated. EXT. COVEHURST BAY - OLD BAR - DAY A car is hidden by the bushes. Besides it, Harry watches the guys talking. He goes to the trunk of the car, grabs some bullets and loads his gun. The rest he puts in his pocket. INT. CONSTRUCTION SITE - MAIN ENTRANCE - EVENING By a wall Gum handles electric cables switching some cutting others. Master Phil, followed by his CREW, appears.
  • 86. 85. MASTER PHIL Miss Bal we’re done for today. GUM Thank you so much Phil. MASTER PHIL I guess huh we’ll be done for a while now. GUM Yes. But I guarantee you our next project is yours. MASTER PHIL Ah no, no problem just -- do you want a hand with that? GUM I got it. MASTER PHIL Have a nice day then. GUM Goodbye. Master Phil and his guys leave. Gum looks around to the empty building, it’s all dusty, but beautiful. INT. ARCHITECT FIRM - WHITE ROOM - DRESSING ROOM - NIGHT Gum dresses a white overall and puts a lab mask on. INT. ARCHITECT FIRM - WHITE ROOM - CONTINUOUS Gum enters. The wall on her left is covered in graphics. She walks by a white office table and reaches a big window. On the other side is a wide laboratory. There Doctor McGann and his TEAM analyze and pack cocaine into boxes. INT. ARCHITECT FIRM - WHITE ROOM - LAB - CONTINUOUS Gum approaches Doctor McGann on the lab table. GUM Doctor. DOCTOR MCGANN Hello Niamh how are you? GUM I’m fine thank you. Do we have any numbers out yet?
  • 87. 86. DOCTOR MCGANN It may be too early to say. GUM Hum they don’t junkies like they used to that’s for sure. See me the results as soon as you can please. DOCTOR MCGANN I sure will. INT. OLD WAREHOUSE - NIGHT There are POLICE OFFICERS everywhere. As are the cocaine boxes, opened, checked and spread all over. Karl comes inside. CAPTAIN MCCARTHY, 58, approaches him. CAPTAIN MCCARTHY Any word of the American? KARL BRUCE Nothing yet. CAPTAIN MCCARTHY I spoke with one of his guys, he called him unorthodox. KARL BRUCE Yes I -- I agree. (looks around) Loooks like someone got a couple million quid poorer. CAPTAIN MCCARTHY Those are the good news. Captain McCarthy gives Karl a sheet. KARL BRUCE What’s this? CAPTAIN MCCARTHY That’s the owner’s name. An identification sheet with a name written on it: Name: Wong Pla Surname: Se Fuk Ofe KARL BRUCE Mister Wong? He’s Indonesian? CAPTAIN MCCARTHY It’s “wrong place fuck off” one of Victor Moran’s many aliases. (MORE)
  • 88. 87. CAPTAIN MCCARTHY (CONT'D) We’ll search Chinatown tomorrow for more funny names. This place is as good as empty. (beat) We’ll take the cocaine as a souvenir though. EXT. COVEHURST BAY - HIGHER CLIFFS - NIGHT Gradlad, Chris and the Architect look at the beach. CHRIS No. No. No, no, no, no, no. No more karts I’m done with that shit. ARQUITECT You must at least have an emotional connection to it Christopher. CHRIS None. ARQUITECT Well you keeping it anyway. (pause) Actually you’re buying it. CHRIS You fucking with me? ARQUITECT With your new substantial salary provided by our future activities I don’t see where you can fit a bad connotation here Christopher. CHRIS I don’t want to stay there. GRADLAD You need to wash your filthy lucre mate my brother is correct. ARQUITECT I know I am thanks. GRADLAD So I suppose I can buy the club... ARQUITECT You’re getting fuck all. GRADLAD What? Please care to fucking explain that.
  • 89. 88. EXT. COVEHURST BAY - CLIFFS - NIGHT Jeff is sleeping leaned on one of the bus’ tires. GRADLAD (O.S.) I’m your brother Jeff’s a street dealer even he’s getting some. EXT. COVEHURST BAY - HIGHER CLIFFS - CONTINUOUS Gradlad is obviously pissed off. ARQUITECT He’s the street dealer. You on the other hand are nothing but a major conoseur in the art of the fuck up. GRADLAD (not fine) Fine. ARQUITECT Maybe Chris can have the club instead of the karts. CHRIS No fucking way. Gradlad smiles. ARQUITECT What? Are you allergic to that too? GRADLAD Chris doesn’t club don’t you know that? INT. NIGHTCLUB - NIGHT - FLASHBACK Gradlad, Chris and Jeff drink by the bar. They’ve taken an interest on THREE WOMEN not far. The Woman notice them. INT. NIGHTCLUB - VIP - LATER The guys and the woman ATTRACTIVE REDHEAD and DRUNK BLONDE. They all and a BLONDE MILF make hit it off. Gradlad flirts with an next to him Jeff talks clumsily with a turn to the sofas ahead where Chris out passionately. INT. WOMEN’S FLAT - ATTRACTIVE REDHEAD ROOM - LATER Gradlad stands against the wall while the Attractive Redhead kisses him. Jeff is pulled by the Drunk Blonde to the bed.
  • 90. 89. DRUNK BLONDE Come here, come here fat baby. Catching Gradlad by surprise the Attractive Redhead gets on her knees, Gradlad is really happy until an outside moan stops her. The Attractive Readhead stands up and they all look to the sounds source outside. INT. WOMEN’S FLAT - KITCHEN - LATER Against the kitchen counter Chris is banging hard the Blonde Milf, in doggy style, and she’s loving it. BLONDE MILF Fuck, fuck, fuck, fuck. Yes fuck me, fuck me big boy. Oh yes, fuck me like you know it all. She grabs his chin and pulls him towards her. Chris can’t believe how fierce the sex is. BLONDE MILF (CONT’D) Right there, right there, make me come, right there. No. Fuck! Not there. CHRIS I’m fucking, I’m fucking you. BLONDE MILF Fuck me in the ass, fuck me in the ass, fuck my ass, my arsehole hard! Chris tries to keep it up but he’s getting uncomfortable. CHRIS What? BLONDE MILF Fuck me in the ass big boy. INT. WOMEN’S FLAT - ATTRACTIVE REDHEAD ROOM - CONTINUOUS The situation is awkward and the mood is gone. Gradlad grabs a pack of cigarettes and takes one. GRADLAD (to the Attractive Redhead) Care for a fag? ATTRACTIVE REDHEAD (rejecting it) Yeah right.
  • 91. 90. INT. WOMEN’S FLAT - KITCHEN - CONTINUOUS The Blonde Milf grabs Chris collar and pushes him against her back. He stops thrusting. OLDER BLONDE Get you cock in my arse! Chris gets back repulsed and stumbles with his pants down. CHRIS Fuck no! EXT. COVEHURST BAY - CLIFFS - NIGHT - PRESENT DAY Jeff is deep asleep. The back of the bus is opened. Someone is inside. Jeff almost wakes up, just almost. EXT. COVEHURST BAY - HIGHER CLIFFS - NIGHT Gradlad and the Architect laugh. CHRIS Nympho-whatever-it-is-maniac. ARQUITECT How come I don’t know about this stuff? It’s hilarious... CHRIS You were too busy having lunch with politics jerk off. GRADLAD Yeah what about my compensation for you being an away brother huh? I’m scarred on the inside. ARQUITECT And I’m not a psychiatrist am I? GRADLAD Tell that to ma’. ARQUITECT Mum is a Queen and she lives like one you know what really messes her up? Not achieving, giving up you know? Quitting. EXT. COVEHURST BAY - CLIFFS - NIGHT Still noise inside the bus, still Jeff sleeps. Slowly the bus goes forward.
  • 92. 91. EXT. COVEHURST BAY - HIGHER CLIFFS - NIGHT Gradlad is not happy. The Architect voice changes, he sounds like an unschooled street kid. ARQUITECT Dad would smack your face if he knew what’s goin' fruff your head little bruvver. You’re a stupid boy. GRADLAD We both know that’s not truth. ARQUITECT No it isn’t. Thee see why? You stupid boy? ‘Cause yew fuckin' have it all, the life, da future ahr dad wanted fer us and yew pissin' it away on your cowboy dreams. Worst ov all you’re taking deese two wankers wiv you. CHRIS Hey. ARQUITECT You should be aht there saving starvin’ children and winning Nobel Prizes. GRADLAD You’re the fucking genius not me. ARQUITECT I’m a lost cause. God. Ten years I’m still here. Dad died believin' I was gonna be a junkie 'e knew I would end up like him god damn dead in jail. There’s no retirin' this. So long bein' unable ter escape yew become stuck ter it, da life. GRADLAD Nice this is working I’m actually feeling guilty. ARQUITECT I promised dad, I believe mum would also love for you to be some kind ov -- honest person. BEAT. Gradlad seems effected by those word until -GRADLAD That’s just hypocrite. So you’re still in business well you are wrong brother. (MORE)
  • 93. 92. GRADLAD (CONT'D) After all there is retiring, Victor’s retiring how come don’t you just follow that nice example of citizenship? ARQUITECT I said I’m retiring Victor. GRADLAD Yeah I got the metaphor. Do you need help retiring? A friendly hand? It shouldn’t be too hard for you Victor doesn’t have a degree in law or an architecture firm and I’m sure he will adjust fine to normal life. EXT. COVEHURST BAY - OLD BAR - NIGHT Through binoculars Harry watches Gradlad, Chris and the Architect. He grabs a box and takes out FOUR HANDCUFFS. EXT. COVEHURST BAY - HIGHER CLIFFS - NIGHT The Architect and Chris give a “wisdom glance” at each other. GRADLAD What? ARQUITECT You clearly didn’t understand the metaphor. GRADLAD Fucking retiring. CHRIS Retiring as in Victor stops breathing like forever. GRADLAD (finally gets it) Oh. JEFF (O.S.) Heeeeeeeeyyyyyy! Gradlad, Chris and the Architect turn to the cliffs. EXT. COVEHURST BAY - CLIFFS - CONTINUOUS Jeff waves his arms. The bus slowly slips down the cliffs. JEFF Gradlad! Fuuuuck!
  • 94. 93. Gradlad, Chris and the Architect run towards him. CHRIS Get inside on the fucking brakes! JEFF Right. Jeff jumps on to the door but can’t open it. The bus starts to speed up. GRADLAD Shit! Shit! Shit! Jeff! INT. POLICE CAR - NIGHT Harry cocks his gun and reaches for the cellphone beneath the passenger’s seat. He grabs the binoculars, points them forward and -- there’s MAN WEARING A MONKEY MASK standing in front of him. Harry puts the binoculars down. The Man is gone. At far the guys keep shouting. As Harry dials on the cellphone a hand reaches from the back and covers his mouth. Harry can’t even react as his back is stabbed multiple times. Through the rearview mirror he can only see a MONKEY MASK. EXT. COVEHURST BAY - LOWER CLIFFS - MOMENTS LATER The bus is crashed nose down into the cliffs below. Jeff is seated on the sand smoking a joint. Gradlad, Chris and the Architect look astonished at the scene. CHRIS How the fuck did that happen? JEFF Bruv I don’t know. I’m sleeping I didn’t touch it. Blame it on poxy breaks. INT. VICTOR’S MANSION - OFFICE - DAY Victor is behind the desk. Julio is in front of him. VICTOR MORAN What did you do with the teacher?
  • 95. 94. JULIO I left him in my garage. (beat) Tied up. VICTOR MORAN I mean during the night. JULIO Yeah. VICTOR MORAN What? JULIO Tied up in the garage. VICTOR MORAN You left him all night tied up in your garage? JULIO Well boss my baby-sitting skills have greatly decreased in the last twenty years. VICTOR MORAN Don’t you get funny with me. JULIO Sorry boss. VICTOR MORAN You read Agatha Christie? No? Me neither. But there’s a little story I know. Victor gets up. VICTOR MORAN (CONT’D) Four little Soldier Boys watching around was the key, one got scared of another and then there were three. Three little Soldier Boys is not normal, is new, specially when another fucks off and that makes it two. Two little Soldier Boys both experienced with a gun, one got carried by vengeance and then there was one. One little Soldier Boy searching the Boys on the run he went out leaving his boss alone and then there were fucking none. JULIO What do you want me to do?
  • 96. 95. VICTOR MORAN I want you to fix this Julio. Go to the dealer’s house, find them. Julio walks to the door. VICTOR MORAN (CONT’D) And get rid of the teacher. EXT. VICTOR’S MANSION - ENTRANCE - DAY Julio walks to his car. INT. JULIO’S CAR - CONTINUOUS On the passenger’s seat Steve is mad out of his mind. Julio gets in. STEVE FASSBENDER You’re back you weasel shit come on where am I gonna get locked now huh? I have classes to teach! I’m calling the police man you don’t want to deal with that kind of -Julio punches Steve in the nose. He bleeds profusely. JULIO Are you hungry? STEVE FASSBENDER I’m berserk. JULIO We’re getting breakfast. EXT. TAXI DRIVER COFFEEHOUSE - STREET - DAY Massive confusion and panic. Fire trucks, FIREMEN all over and POLICE. Julio’s car appears from the corner. INT. JULIO’S CAR - CONTINUOUS As Julio drives forward he and Steve watch the warehouse and the construction site swallowed by flames and black smoke. JULIO Oh my fucking god. EXT. TAXI DRIVER COFFEEHOUSE - STREET - CONTINUOUS Julio gets out.
  • 97. 96. JULIO (to Steve) Stay there. STEVE FASSBENDER Fuck off. Waitress Marla watches the fire. Along the policemen Karl can also be seen. Julio approaches Waitress Marla. JULIO What happened here? WAITRESS MARLA I don’t know it just -- bursted into flames. Julio can’t react to what’s happening. JULIO (beat) Marla can you -- can you get me a milk-shake? Waitress Marla looks at him without the disposition. Julio takes out a tenner and gives it to her. She goes inside. Steve appears. STEVE FASSBENDER This is huge. JULIO (surprised by him) I left the car unlocked and you didn’t run huh? Good lad. STEVE FASSBENDER Jeez I forgot. EXT. JEFF’S APARTMENT BUILDING - DAY Julio, holding his milk-shake, stands in front of the building. The sirens from the fire can be heard. He walks in. INT. JEFF’S APARTMENT BUILDING - CONTINUOUS Julio walks up the stairs. INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR HALL CONTINUOUS Julio goes through the hallway, he passes by a FAINTED MAN on the floor and reaches Jeff’s apartment. The door is open.
  • 98. 97. INT. JEFF’S APARTMENT - CONTINUOUS Julio gets in with caution. The house has been vandalized. He checks all the rooms. There is even a junkie laid on the bed. INT. JULIO’S CAR - DAY Steve tries to open the car to no use. He is more bored than scared. He checks the glove compartment, the ceiling, goes for the radio and turns it on. Steve tries to synch it, no music comes out but instead voices. Steve can’t get the frequency right. STEVE FASSBENDER C’mon. INT. JEFF’S APARTMENT - CONTINUOUS Julio walks to the kitchen table. He looks at the signs of the earlier struggle and closely at the bullet holes on the wall. He then goes for the broken window. EXT. JEFF’S APARTMENT BUILDING - CONTINUOUS Julio looks out. His expression changes to total discomfort. INT. JULIO’S CAR - DAY Steve still tries to synchronize the radio. Julio gets in and gives him the milk-shake. JULIO Hold it. Julio drives to the back alley. He turns the car around and puts it in reverse into the alley. JULIO (CONT’D) Don’t you drink that. Julio leaves the car. Steve is clearly tempted to drink. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS Julio stares at Joker’s body. JULIO Fucking hell mate. Julio looks up to the roof and goes back to the car.
  • 99. 98. INT. JULIO’S CAR - CONTINUOUS Julio grabs the milk-shake. JULIO Give me that. STEVE FASSBENDER What now? EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS Julio puts the milk-shake in the car’s rooftop. INT. JULIO’S CAR - CONTINUOUS Steve turns on the radio on. The voice slowly get clearer. VOICE (O.S.) (over radio) Is not -- just -- air. Outside Julio drags Joker’s body. Steve finally gets the synch right. The voice has been heard before both by Steve and us. It’s Matt’s. MATT (O.S.) (over radio) -- how’s it my fault? He is having an argument with Victor. VICTOR MORAN (O.S.) (over radio) You think there are no consequences you... you brat. Behave. And Steve doesn’t have a clue what they are talking about. MATT (O.S.) (over radio) Yeah? Wasn’t the great British Mike supposed to be protecting me? But slowly starts to get it. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS Julio arrives with Joker’s body to the back of the car. STEVE FASSBENDER (O.S.) Hey mate! Julio doesn’t give a damn about Steve.
  • 100. 99. STEVE FASSBENDER (O.S.) (CONT’D) Mate. Julio opens the trunk. JULIO Don’t get too wet wait a second. And looks inside. He can’t believe what he sees. INT. JULIO’S CAR - CONTINUOUS Steve is very aware of the conversation. VICTOR MORAN (O.S.) (over radio) The cozzers’ all over it. Do you know how much worth of business I got there? MATT (O.S.) (over radio) I’m a fucking school boy dad! STEVE FASSBENDER I think this is happening now. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS A GUN touches the back of Julio’s head. He is astonished. EXT. COVEHURST BAY - LOWER CLIFFS - MORNING From the back of the bus Jeff passes a heavy card box to Chris. He takes the box through the rocks, can barely walk and his shoulder is killing him. But he does it. JEFF Ah bruv that’s the last. Do you want me to bring anything for ya? EXT. COVEHURST BAY - CLIFFS - CONTINUOUS Chris puts the box down next to the other boxes. CHRIS Yeah bring me a postcard. EXT. COVEHURST BAY - LOWER CLIFFS - CONTINUOUS Jeff is not pleased with Chris’ comment.
  • 101. 100. JEFF Patronizing bruv, just hate that patronizing all the time. EXT. COVEHURST BAY - BEACH - MORNING Gradlad walks towards the Architect who speaks at the cellphone by the water. ARQUITECT (into phone) Are you there yet? GUM (V.O.) (over cellphone) No. ARQUITECT (into phone) Okay. Are you alright? GUM (V.O.) (over cellphone) I’m a bit nervous. The Architect signs Gradlad to wait. ARQUITECT (into phone) That’s natural. Me and the boys are dumping kilos of Victor’s stuff in'er da Channel I wish you could be here. It’s a -- a so long ceremonial kind ov thing. GUM (V.O.) (over cellphone) Victor’s stuff? ARQUITECT (into phone) My brother robbed Victor crazy fucking kids you know. Look don’t yew do anything until I know if the bobbys are involved okay? GUM (V.O.) (over cellphone) So you’ll call me baby? ARQUITECT (into phone) Yes. Love you. Gradlad gets closer and back again when the water touches his shoes. The Architect hangs up the call.
  • 102. 101. GRADLAD Are we doing this? ARQUITECT Come on. As the Architect puts his arm around Gradlad shoulders a shot hits him straight in the stomach. Gradlad looks to the high cliffs where the bushes move. The Architect falls on his knees. GRADLAD Marlon! Chris shows up running from the bus. CHRIS What was that? GRADLAD Someone shot my bruvver! (points to the bushes) There. Gradlad leans on to the Architect. GRADLAD (CONT’D) Marlon, shit. ARQUITECT I’m okay. Ahh bloody hell it hurts. GRADLAD (to Chris) Hold him. CHRIS What are you doing? TRACK alongside Gradlad as he runs, passes by the green bus and goes up the cliffs. EXT. COVEHURST BAY - HIGHER CLIFFS - CONTINUOUS Jeff looks around. JEFF There’s no one here bruv. GRADLAD Be careful.
  • 103. 102. JEFF It’s fucking hard bruv I’m mighty high bruv I felt such a pitty for the blow. GRADLAD Jesus Jeff just -- don’t trip. JEFF I’ was just a lil’ bit I’m tripping a lot mate, aww I’m sorry. GRADLAD It’s not trip is -- be careful where you walk don’t wo-British Mike comes out of the bushes and pushes Gradlad over the cliff. His body is heard hitting the sand. BEAT. Jeff and British Mike look at each other. JEFF What the fuck man? Jeff surprises British Mike and punches him in the nose. JEFF (CONT’D) My fucking bruv. GRADLAD (O.S.) Ahhhhhhh. EXT. COVEHURST BAY - BEACH - CONTINUOUS Chris and the Architect walk to the bus. Chris looks back where Gradlad is. CHRIS God damn Gradlad. ARQUITECT Argh Chris help my brother. CHRIS What about you? ARQUITECT Help him. EXT. COVEHURST BAY - DOWN THE HIGH CLIFFS - CONTINUOUS Gradlad’s leg has an exposed fracture. Chris appears. GRADLAD Where’s my brother?
  • 104. 103. CHRIS He’s fine let me see that. Chris rips his sleeve and uses it as tourniquet. Gradlad grabs him. GRADLAD It’s him -- fucking British Mike. Chris looks in shock at Gradlad. CHRIS British Mike? Too late. Gradlad looks in panic to off camera. GRADLAD Marlon! Chris looks back and sees --- the Architect trips and falls back shot TWO MORE TIMES. EXT. COVEHURST BAY - BEACH - CONTINUOUS British Mike, holding the monkey mark, approaches the Architect who is still alive. ARQUITECT (in pain) What a joy to see you Mike. BRITISH MIKE Joy is the fucking antonym of your situation Architect mate. Actually, you’ll be in quite a lot of pain. A LOUD BOT HORN is heard and the sound fades to -EXT. NEW YORK - PORT NEWARK - DAY - EIGHT YEARS EARLIER (FLASHBACK) The earlier scene. Chris, the Architect and the freighter. ARCHITECT I’m gonna buy a fucking tiger once we’re done mate. ARCHITECT’S POV: He does a square with his fingers and locks on one of the cargo ships. A Toyota Camry DX arrives. Is Ron and he looks lost.
  • 105. 104. ARQUITECT I asked for an experienced fucking driver. RON (nervous) It’s Mike’s idea man he’s not okay he’s nervous says he wants to do it tonight I mean -- the shipment is coming earlier. ARQUITECT And do you agree with that Ron? RON How do I know? Victor called and gave him the order. ARQUITECT And when did Victor arrived? RON No he’s not here. ARQUITECT So neither of us is fucking blind, that’s good to know. Get in the car. They get in and drive away from the parking lot. EXT. COVEHURST BAY - DOWN THE HIGH CLIFFS - MORNING - PRESENT DAY SUPER SLOW MOTION - Gradlad screams inaudibly. GRADLAD (V.O.) For a moment I wondered if my choice was the wrong one. Maybe I should have kept my boring life as it was. EXT. NEW YORK HARBOR - NIGHT - EIGHT YEARS EARLIER (FLASHBACK) AERIAL SHOT over the harbor, low lights, loads of ships. GRADLAD (V.O.) But this way of living and these -quote myself -- incredible set of events, they are not my choices, they’re someone else’s mistakes.
  • 106. 105. INT. HARBOR - SECOND FLOOR OFFICE - NIGHT (FLASHBACK) A tight room with a desk where the Architect is seated. British Mike, in his 80’s self, is well dressed and very posh looking. But he doesn’t look comfortable. Ron is vigilant outside. BRITISH MIKE If the bloody cargo is here you need a very good reason not to unload it. ARQUITECT I take my word for it. BRITISH MIKE That’s doesn’t cut it boy. The Architect grabs a familiar SMALL METALLIC WHISKEY BOTTLE. ARQUITECT Just take a sip and relax. GRADLAD (V.O.) The mistakes of the cleverest of the lads. British Mike grabs the bottle, smells it and drinks. EXT. CARGO SHIP - BRIDGE - LATER THAT NIGHT (FLASHBACK) On the dock DOZENS OF MEN move the shipment of drugs to several vans parked and ready to drive away. From above the Architect observes the action. GRADLAD (V.O.) The Architect knows he can’t escape it, not this life, so he decides to make a life of his own. The Architect turns his walkie-talkie on. ARQUITECT (into walkie-talkie) Are you there? EXT. CARGO SHIP - MAIN DECK (FLASHBACK) Chris supervises the WORKERS who take the smaller drug containers out of the ship. CHRIS (into walkie-talkie) Yeah you can speak.
  • 107. 106. INTERCUT WITH THE CARGO SHIP’S BRIDGE. ARQUITECT (into walkie-talkie) Is British Mike wiv’ you? Chris looks around, he doesn’t see British Mike. CHRIS (into walkie-talkie) He must be down in the holds. ARQUITECT (into walkie-talkie) Brilliant, can you keep him there? The Architect walks to the other side of the bridge. Ron gives instructions to some of the WORKERS. ARQUITECT (CONT’D) Hey Ron come over here. (into walkie-talkie) Can you? Chris walks to the holds. Only TWO CONTAINERS left to go. British Mike watches over the CREW emptying them. CHRIS (into walkie-talkie) There is still product here. The Architect watches the vans being driven away one by one. ARQUITECT (into walkie-talkie) I don’t need my pinky to jerk my Johnson. Don’t let him leave mate. The Architect goes downstairs. EXT. CARGO SHIP - DECK - BRIDGE SIDE - CONTINUOUS (FLASHBACK) Ron reaches him. ARQUITECT Where’s the phone? RON Oh I thought i’ was somethin’ serious. ARQUITECT It is fucking serious. Where is it? Ron points port side where a phone booth is.
  • 108. 107. ARQUITECT (CONT’D) Go on. The Arquitect walks to the phone booth. The walkie-talkie gives sign. ARQUITECT (CONT’D) (into walkie-talkie) Yes? EXT. CARGO SHIP - HOLDS (FLASHBACK) British Mike watches the vans leaving. BRITISH MIKE Those bastards need to slow down I’ve still got merk here. EXT. CARGO SHIP - DECK - BRIDGE SIDE - CONTINUOUS (FLASHBACK) The Architect gives a quick dial on the phone. ARQUITECT (into walkie-talkie) Don’t you worry mate -The Architect watches as only THREE TRUCKS are left behind. ARQUITECT (CONT’D) (into walkie-talkie) -- From this moment onwards we’re considered rich lads Mike. (into phone) Yes hello, I would like to speak with Captain Westrock please. EXT. DOCKS - CONTINUOUS (FLASHBACK) The drugs are loaded to the remaining vans. GRADLAD (V.O.) And to imagine all the crooks in London he knows will be filthy rich once the night is over. EXT. ARCHITECT’S PENTHOUSE BUILDING - DAY - PRESENT DAY Gum drives away from the garage in a Volkswagen beetle 1990. It’s a busy street, it takes a while, but she’s on her way. GRADLAD (V.O.) Not the people he loves.
  • 109. 108. EXT. DOCKS - NIGHT - EIGHT YEARS EARLIER (FLASHBACK) Chris cocks his gun and comes down through the bridge. He looks back at British Mike. GRADLAD (V.O.) People he works with and for. EXT. VICTOR’S MANSION - ENTRANCE - NIGHT (FLASHBACK) A BUTLER welcomes several COUPLE GUESTS to the house. They’re London’s biggest criminals and their families. GRADLAD (V.O.) -- all the big bosses -At the mansion’s door is a yet naive 10 year old Matt Moran. GRADLAD (V.O.) -- the boss’ family -INT. VICTOR’S MANSION - OFFICE - NIGHT (FLASHBACK) Julio, with huge 80’s sideburns, is on the phone. JULIO (into phone) His to busy to notice. GRADLAD (V.O.) -- his old friends -An OLDER GANGSTER goes in the office but Julio stops him. JULIO The bathroom is on the left, left. EXT. NEW YORK’S DEA OFFICES - NIGHT (FLASHBACK) An AMERICAN POLICE OFFICER is on the phone. POLICE OFFICER Yes right away. He turns to the DESK ROOM where a younger, slim Harry Westrock and his team wait by the radio for information. GRADLAD (V.O.) -- also the ignorants -FAT POLICE OFFICER Captain Harry -- is for you.
  • 110. 109. EXT. CARGO SHIP - DECK - BRIDGE SIDE - NIGHT (FLASHBACK) The Architect finishes his call. He walks through the deck as fast as he cans. He passes by Ron and gives him the walkie-talkie. ARQUITECT Take this. You’ll have no use for it and honestly if I were you I would just fuck off Ron. Before Ron can react the Architect runs out of there. RON Uh -- what? GRADLAD (V.O.) -- of course the fools -INT. VICTOR’S MANSION - LIVING ROOM - NIGHT (FLASHBACK) Victor laughs alongside his BUSINESS ASSOCIATES. He opens the “gypsy whiskey” bottle from the earlier scene and pours some to them. He’s as happy as ever. GRADLAD (V.O.) -- the boss Victor himself -EXT. CARGO SHIP - HOLDS - NIGHT (FLASHBACK) British Mike sees the Architect getting to the dock. He knows something’s up. EXT. DOCKS - NIGHT (FLASHBACK) The Architect walks at fast pace to one of the vans. ARCHITECT (to some Workers) Hey what’s the rush lads? He enters the passenger side of a van. INT. VAN - CONTINUOUS (FLASHBACK) On the driver’s seat is Chris. ARCHITECT Where’s the driver? CHRIS Wanna know Englishman? I shot him.
  • 111. 110. ARCHITECT Well it happens. They drive away. EXT. CARGO SHIP - PORT SIDE - MOMENTS LATER (FLASHBACK) British Mike walks towards Ron who, again, looks lost. BRITISH MIKE I need more men to take all that out of here tonight. RON We didn’t hire anyone else. British Mike glimpses the dock, only a FEW MEN left. BRITISH MIKE Where’s everyone? RON They’re distributing the Architect’s base. BRITISH MIKE I mean him, where’s the Architect? RON I -- I have no idea. He gave me this and -British Mike sees bright blue and red lights far away coming in the harbor. The sirens start to be heard. British Mike now knows he’s been screwed. RON (CONT’D) (also realizing) -- told me to fuck off. Oh fuck. GRADLAD (V.O.) -- and finally -BRITISH MIKE No. GRADLAD (V.O.) -- Victor’s most trusted guy -Ron gives British Mike the walkie-talkie. RON Oh shit hold it. Goes starboard side and jumps into the water.
  • 112. 111. British Mike, destroyed, accepts what’s coming to him. EXT. COVEHURST BAY - BEACH - MORNING - PRESENT DAY British Mike puts the mask on and points the gun at the Architect. GRADLAD (V.O.) The Architect makes his choice. Desperate the Architect raises his hand open at British Mike. GRADLAD (V.O.) Not only will he outsmart his way of living, he’s also outsmarting every single bastard he can. Suddenly he grabs his cellphone and turns to Chris. ARQUITECT Call Gum, tell her to blow it up. Do it Chris -British Mike jumps on top of the Architect, punches him and throws the cellphone into the water. Chris runs to the bus. British Mike overpowers the Architect, stands up and drags him to the rocks near the water. EXT. COVEHURST BAY - BEACH - UNDERWATER - CONTINUOUS This is where our story started. The Architect’s face is pushed into the water, he screams. EXT. COVEHURST BAY - DOWN THE HIGH CLIFFS Desperate Gradlad tries to stand up but he can’t. GRADLAD Marlon for fuck’s sake. JEFF (O.S.) Oh bruvver I’m kind of scared. Gradlad looks up. EXT. COVEHURST BAY - HIGHER CLIFFS Jeff is too stoned. He slowly moves towards the bus.
  • 113. 112. JEFF Unpredictability, I don’t deal well wiv’ it bruv my head can’t stand unpredictability. EXT. COVEHURST BAY - BEACH Chris runs, his shoulder pain makes it almost impossible. GRADLAD (V.O.) This is what the Architect’s plan looks like -EXT. COVEHURST BAY - CLIFFS - MORNING Chris goes inside the bus. Jeff arrives, Chris shows up. GRADLAD (V.O.) Desperation. CHRIS Where’s my fucking gun? Chris jumps out of the bus. CHRIS (CONT’D) I’m running to the village -Chris looks at British Mike drowning the Architect. CHRIS (CONT’D) -- and I’m coming back. And runs off. EXT. COVEHURST BAY - BEACH British Mike pushes the Architect’s face further. The Architect grabs a rock, pushes his body up and hits British Mike with hit. Their position doesn’t change but British Mike is dizzy. The Architect emerges. EXT. COVEHURST BAY - LOWER CLIFFS Gradlad looks at his leg and that at the fight. His expression slowly changes, he’s calmer. GRADLAD (V.O.) ‘Cause life only works in two ways, there’s no third.
  • 114. 113. EXT. COVEHURST BAY - BEACH The Architect throws British Mike on the sand, the monkey mask comes off. The Architect punches him, grabs the mask and tries to suffocate British Mike with it. EXT. COVEHURST BAY - OLD BAR Chris passes by Harry’s car. He slows down, surprised. From behind the car an almost zombie-like Inspector Harry emerges. Full of blood, coffee, burns and ripped clothes. Chris lips do a clear “what the fuck” as he moves on. EXT. COVEHURST BAY - LOWER CLIFFS Jeff appears. Offers his joint to Gradlad. He refuses it. GRADLAD (V.O.) That fact can’t be changed a person can not be only sort of a criminal. INT. JULIO’S CAR - DAY (FLASHBACK) The continuation of an earlier scene. British Mike checks the gun Ron just gave him. RON That must feel nice. BRITISH MIKE It does. Mike cocks the gun. BRITISH MIKE (CONT’D) Ron your decision of coming back to London after New York, I find it a very stupid one. RON (surprised) Aww I just felt bad about it, Americans stepping over us. BRITISH MIKE He’s not American Ron.
  • 115. 114. RON (nervous) It makes me nervous to think about shit like what all da mess at da 'arbor fuck knows what I was fnking. I didn’t see i’ coming that Architect he was just an insolent kid playing wiv’ us. BRITISH MIKE You’re unloading -RON You got me memories back. BRITISH MIKE -- I’ll unload too. EXT. CLAPHAM COMMON NORTH SIDE - CONTINUOUS Several gun shots are heard. GRADLAD (V.O.) And if broken the rules will force themselves unbroken. Julio’s car slowly goes to the sidewalk. British Mike gets out calmly and goes to the driver’s side. GRADLAD (V.O.) For the Architect can be a fucking genius -EXT. COVEHURST BAY - BEACH - MORNING - PRESENT DAY British Mike grabs the Architect’s hands and pushes them up along with the mask that slips into the Architect’s face. The Architect pushes British Mike arms away and punches him hard one, two, three and four times. ARQUITECT I’ll rule you, I’ll rule all of you cunts. You are no one! British Mike is down. The Architect gets up -GRADLAD (V.O.) -- but he can’t be the most honest man to ever fill England’s streets with drugs -And looks forward. There he is, Harry, pointing a gun at him.
  • 116. 115. INT. JULIO’S CAR - TRUNK - DAY In the open trunk is Ron’s rotting body. EXT. COVEHURST BAY - BEACH - MORNING Harry shoots the Architect down. The Architect is dead. GRADLAD (V.O.) -- not at the same time. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY The gun in Julio’s head slides to his back. So this is revealed to be the PRESENT DAY and the gun belongs to British Mike who shoots Julio’s back three times. INT. JULIO’S CAR - CONTINUOUS And keeps shooting. The back windows shatter, Steve covers his hears. STEVE FASSBENDER Jesus Christ. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS Julio’s milk-shake falls to the floor as his dying body slides down the car. British Mike looks at Julio. BRITISH MIKE You’re finished. INT. JULIO’S CAR - MOMENTS LATER British Mike points the gun at Steve’s head and pulls the trigger. The chamber is empty, is Steve’s lucky day. BRITISH MIKE Get out. EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - MOMENTS LATER British Mike drives away in Julio’s car. Steve peed himself. He stands confused with Ron’s, Joker’s and Julio’s dead bodies lying in the alley.
  • 117. 116. EXT. COVEHURST BAY - LOWER CLIFFS - MORNING Gradlad and Jeff watch Harry crumbling down dead on the sand. Jeff puts his arm around Gradlad saddened. GRADLAD (V.O.) As for me -INT. TAXI DRIVER COFFEEHOUSE - STREET - DAY The fires burns strong. Karl walks back amazed until he stumbles on SOMEONE. Is Gum. She admires the fire. BEAT. She walks to her car and as she drives away, throws a piece of circuit out the window. GRADLAD (V.O.) -- Yeah I cry, I’m sad too I have bloody feelings. People come hurt out of these things. But look -INT. NIGHTCLUB - NIGHT Just another night at the club. Loud music, dancing bodies, crazy lights and BARTENDERS working non-stop. GRADLAD (V.O.) -- This is what illegal looks like. Here it’s all about fun and chitchat and Sir drunk-a-lot-snort-alot everybody does it. EXT. NIGHTCLUB - NIGHT TRACK alongside Jeff as he, as always, walks by the long line of happy people and they all know him. GRADLAD (V.O.) ‘Cause legal is boring and people will always want to live on the edge. That grand illusion. Now Chris is the bouncer. He handshakes Jeff and lets him in. GRADLAD (V.O.) They’ll always come back to one more party. And to the alcohol, the pills, the glue -INT. NIGHTCLUB - VIP - NIGHT Jeff walks by the booths.
  • 118. 117. GRADLAD (V.O.) -- the sprays, tranquilizers, the weed -He reaches one where a lonely and sad Steve Fassbender is. GRADLAD (V.O.) -- to the steroids, the anabolics and most important -His table is full of empty glasses. JEFF Oh bruv you have nothing to play wiv’? STEVE FASSBENDER No man can you get me some? Jeff smiles and gives a cocaine sachet to a desperate Steve. GRADLAD (V.O.) -- the Architect’s best creation. TRACK alongside Jeff as he walks into a back door -INT. NIGHTCLUB - DISTRIBUTION ROOM - CONTINUOUS Where SEVERAL PEOPLE select, spread and pack cocaine sachets. He goes to a “caution” signaled door that leads to -INT. NIGHTCLUB - GRADLAD’S FUCKING OFFICE - CONTINUOUS -- A fake wall. There is a huge, dark table in the center filled with sheets of paper, money and drugs. One of the walls is all made of glass with a view over the dance floor and pretty much all the club’s balconies. A SUITED FIGURE observes through the glass. GRADLAD (V.O.) -- Now is like around these mates of mine -He’s a content Gradlad. Jeff lights a joint and joins him. JEFF How’s things? Bloody cool aye? GRADLAD That you’re right bruv. GRADLAD (V.O.) -- I fucking have superpowers.
  • 119. 118. With Gradlad and Jeff’s silhouettes over the glass the sheets, money and drugs on the table blow and spread all over. CUT TO BLACK