THE FILM SCRIPTS – 1. LOVERS, VICTIMS AND HEROES, MR. PINTER

LOVERS, VICTIMS AND HEROES, MR. PINTER

This Edition Copyright © 2011 by James Sapsard

First published in Great Britain in 2013
by James Sapsard

The right of James Sapsard to be identified as the Author of this Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher and the copyright owner, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

All characters in this publication are fictitious and any resemblance to real persons, living or dead, is purely coincidental.

James Sapsard
London

LOVERS, VICTIMS AND HEROES, MR. PINTER

Cast List

Jimmy
Mod Girl
Wendy
Julie
Lead Singer Of The Nothings
DJ
Nick
Jet
Mod
Jayne
Old Copper
Buyer
Old Jakey
Girl Assistant
Big Billy
Doorman
Johns
Harding
Mr. D
Mrs. D
Chris
Poker
Young Man
Mum
Poncer
Lorry Driver
Policeman
Warder
Prosecutor
Defence Counsel
Judge
Tart
Rick
First Boy
Second Boy
Third Boy
First Laughing Man

Non-Speaking

Girls
Middle-Aged Ladies
Mods And Rockers
Beat Group Members (The Nothings)
Ray
Stone
Disco Crowd
Doormen
Snogging Couples
Ambulance Men
Policemen
Beach Crowd
ID Parade Stand Ins
Hippies
Shoes
Second Laughing Man
Accident Crew
Jury
School Children
Suspects

FADE IN:
INT. JIMMY’S SHED – NIGHT

Track in through the open door.

The late 1960’s. Jimmy is seventeen with long brown mod hair and brown eyes. He is wearing old overalls. In the dim overhead light, he is polishing every inch of his perfect Lambretta LI 150. The scooter is purple with full spots, mirrors, chrome side panels and a fur backrest. There are old scooter parts everywhere.

EXT. STREET – NIGHT

Jimmy is wearing a black greatcoat without a crash helmet. He kickstarts his Lambretta, puts on his McGuinn sunglasses and rides into the night.

EXT. EMPTY ROADS – NIGHT

Jimmy rides several miles through unlit forest roads into a built up area, through a High Street, pulling up outside a youth club. There are kids hanging around the dozen or so scooters and fewer motorbikes outside.

He dismounts and unbuttons his coat. His clothes are ultra-mod. Guys nod to him. He is the kind of guy other guys would expect to have a beautiful girlfriend.

As he walks past a group of mod girls, her friends push one of them, MOD GIRL, forward.

Jimmy looks at her.

MOD GIRL
When you’ve finished with Wendy, will you go out with me?

Jimmy inspects her. She looks good. He looks like he might say yeah.

JIMMY
I ain’t finishing with Wendy.

MOD GIRL
(with a knowing smile)
But when you do?

JIMMY
Alright.

WENDY, a neat little mod girl, comes into frame. She gives the other girls a look and they back off. She eats Jimmy’s face to make the point. Then she hugs him and we see his face out of view to her, disinterested.

She lets him go.

WENDY
Hi baby.

They walk into the youth club past the smiling girls.

INT. YOUTH CLUB – NIGHT

Middle-aged ladies run the place. Jimmy buys two coffees and with Wendy makes his way into the dimly lit main hall.

They flop down in an old sofa. Jimmy sips his coffee. Wendy starts to cry. Other kids look at them. Music starts to play.

Jimmy says nothing. He holds her. She looks at him.

WENDY
I know about Julie. I know everything. My friends at your school told me.

Jimmy doesn’t say a word.

Is it all true?

JIMMY
Yeah.

WENDY
Do you love her?

JIMMY
Yeah.

WENDY
More than me?

JIMMY
Yeah.

WENDY
You didn’t have the guts to tell me yourself, you bastard.

JIMMY
I don’t love you anymore, Wendy.

WENDY
(panicking)
I’m sorry. I didn’t mean it. Jimmy, please don’t leave me.

JIMMY
There’s no point in me staying.

WENDY
Just stay with me tonight, please.

JIMMY
I can’t.

WENDY
Are you going to see her?

JIMMY
No.

WENDY
Then stay.

JIMMY
I am going to see her.

Jimmy kisses her because he can. She kisses him desperately.

I gotta go. Will you be alright?

Wendy, tears streaming down her face, nods at the inevitability of it all. Jimmy stands and leaves without looking back.

As he leaves, the Mod girl emerges from the gloom and follows him out.

EXT. STREET – NIGHT

Jimmy emerges from the club and walks to his scooter parked at the kerb. A couple of mods who were touching the paintwork step back.

As Jimmy revs the engine, the Mod girl approaches. He looks at her. She smiles and opens her mouth to speak. He roars away without a backward glance.

A few streets away he stops in a desolate industrial area.

JIMMY
Man, oh man. That was heavy.
(looking around)
I’m outta this place. Forever.

He gets off his scooter and walks up and down. He rides off again. At the junction he begins to turn left but hesitates. A sign points right to the town quay.

Clear your head, man.

He turns towards the town quay.

EXT. TOWN QUAY – NIGHT

There are a few people about. Jimmy parks his Lambretta under a streetlight and walks towards the water’s edge, his greatcoat flapping open.

There is a girl standing alone in the dark, looking out across the water.

JIMMY
Man, they’re all getting the push tonight.

The girl turns slowly at Jimmy’s footsteps. He goes close enough to see her face. It’s Wendy.

WENDY
Darling, you’ve come back to me.

JIMMY
(under his breath)
No I bloody well haven’t.
(to Wendy)
No. Are you gonna be alright?

WENDY
(in a whisper)
You care.

She moves towards him.

Anything you want, right here.

Jimmy shakes his head.

I’ll always be here even if you just want to use me.

JIMMY
Wendy, I’m sorry.

He turns and walks away.

Sorry I wasted my time coming down here.

EXT. JULIE’S STREET – NIGHT

Jimmy’s scooter turns into the street.

In JULIE’S house a curtain falls back into place. The front door opens and Julie comes out. She is sixteen, tall, stunning, with long brown hair and hazel eyes. She meets him halfway down the garden path with a beautiful smile. He smiles at her.

JULIE
I love you.

JIMMY
I love you too, baby.

JULIE
You gave her up?

JIMMY
Yeah. What about Geoff?

JULIE
Yesterday’s papers.

They kiss passionately for a long time. Jimmy breaks off. She laughs.

JIMMY
I got something for you, babe.

He gives her a small package.

Open it when I’m gone.

JULIE
I want to open it now.

JIMMY
Then open it now.

She tears off the paper to reveal a small jewellery box. Inside is a gold chain with an emerald pendant mounted in gold.

JULIE
(open-mouthed)
Oh, Jimmy. It’s beautiful. My favourite stone. Dad’s not here. Come in for a while.

They walk up the path together disappearing through the open front door.

EXT. COMMUNITY CENTRE – NIGHT

The Community Centre is where kids go for the Saturday night dance. They congregate in small groups outside and pay on their way in where a middle-aged lady inks the backs of their hands to show they have paid.

Conspicuously, either side of the main door, a line of scooters stretches away to the left and a line of motorbikes to the right.

Mods and rockers eye each other in an uneasy truce, which normally lasts for the duration of the dance.

Jimmy and Julie arrive on his Lambretta. They look good and they play it as heads turn to watch them go in.

INT. COMMUNITY CENTRE – NIGHT

A cluster of girls crowd the front of the stage as the LEAD SINGER of a teenage beat group, whose name, THE NOTHINGS, is emblazoned across their bass drum, finish their own raucous rock number I FOUND YOU.

LEAD SINGER
(singing)
You can take my car
but it won’t go far.
About as far
as the nearest bar.
So it’ll take you back
to the place where I found you.

As they finish with a strident instrumental burst, the local DJ carries his twin record decks to the centre of the stage. He and the group receive a small cheer. A couple of spots are turned on his decks. He waves a few discs in the air to loud whistles and with a flourish sits on his stool. Without any announcement he slams on one of the discs and with a further flourish turns up the volume.

Kids crowd on to the floor from the chairs round the edge of the hall. Jimmy and Julie start to dance slowly together. Track back as they dance and smooch.

A too tall, parka mod, NICK, comes into frame having left his group of friends. Jimmy knows him. He touches Jimmy’s shoulder to cut in.

NICK
(demandingly to Julie)
Dance?

JULIE
(shaking her head)
No.

Nick looks back to his friends who are watching.

NICK
Why not?

JULIE
(she clearly doesn’t like Nick)
I don’t want to so I don’t have to.

NICK
(with hostility to Jimmy)
You don’t mind.

JIMMY
It ain’t up to me, Nick.

NICK
You tell her to, she’ll dance with me.

JIMMY
It’s what she wants, man.

NICK
(angry and self-conscious)
If you told her she could, she would.

Jimmy and Julie start dancing again. Nick puts his hand on Jimmy’s arm. Jimmy stops dancing and looks at Nick’s hand until Nick removes it.

She’s not your property.

JIMMY
Nick, get three things straight. One, she’s my girl. She belongs to me. Two, she don’t wanna dance with you, whether she’s mine or not.

Other couples nearby stop to look and listen.

NICK
You said there were three things.

Jimmy raises his voice so the others around hear his put down.

JIMMY
Oh, yeah. Fuck off, Nick, before I drop you.

Kids start to laugh at Nick.

NICK
I can take you.

JIMMY
(lazily)
Come on then, man.

He prods Nick in the chest and pushes him back a step. Nick resists.

Start it so I can finish it.

Jimmy pushes harder.

Come on.

The DJ sees something is going on. He puts on another track, smiles and shrugs. Nick gets angrier. He looks across to his mates and then back at Jimmy.

NICK
I got friends here.

JIMMY
Then you better go get ’em.

Nick glowers then walks off towards his friends. Jimmy holds Julie and they carry on smooching. She breaks away and looks at him.

JULIE
Jimmy, what if he causes trouble?

Jimmy looks at her and they both see Nick and his mod friends advancing slowly across the floor.

JIMMY
(he looks at her, smiling)
Will you still love me tomorrow?

JULIE
(anxiously)
We can still go.

JIMMY
(shrugging)
Face.

Various leather-clad rockers have noticed the Mod group advancing on Jimmy and wait in anticipation.

Before the group reaches Jimmy and Julie, Nick pulls out a knife and exposes it to Jimmy, who laughs.

Jimmy catches the eye of a hard looking rocker, JET, about the same age as him, standing with a group of girls twenty or thirty feet to his right. Jet smiles and Jimmy gives him one finger. The smile leaves Jet’s face and he starts to stroll slowly and purposefully over.

Jimmy looks straight ahead and catches the eye of a blonde rocker, RAY, standing with his foot on a chair with a bottle of coke in one hand. Jimmy gives him the finger. Ray gives his coke to a girl and starts to come slowly over.

Jimmy looks to his left where a skinny, sinewy rocker, STONE, is leaning against a speaker having his head blown off. When he sees the other two rockers approaching Jimmy he demagnetizes himself from the speaker and starts to come across.

Nick reaches Jimmy. One of Nick’s friends, MOD, pulls his arm and indicates the approaching rockers.

NICK
(to Jimmy apprehensively)
Shit, grease. Are you with us?

JIMMY
No, man. I’m with them.

The three rockers have arrived simultaneously and surround Nick’s group. Jimmy introduces the rockers in the order he summoned them.

This is my friend, Jet. This is his brother, Ray. This is their cousin, Stone.

JET
(so cool it’s untrue)
Any probs?

JIMMY
Yeah. I’ve got lacquer on my hair. Can you do this for me?

JET
You fucking girl. Okay.
(to Nick)
You want it in here or outside?

Nick pales.

(to Julie)
Hello Julie. When you gonna get yourself a man?

MOD
We can take ’em, can’t we Nick?

NICK
Shut up.

Nick tries to put away the knife.

JET
(loudly)
You gonna use that toothpick?

Nick shoves away the knife in embarrassment and tries to turn away. The mods behind him stumble and he pushes through. A path opens through the assembled crowd and he leads his group away into the darkness.

Jet, Ray and Stone slowly make their way back to where they had each come from and resume what they were doing as though nothing has happened.

Julie holds Jimmy tight as they start dancing again. In the darkness she smiles.

EXT. JAYNE’S TRIUMPH SPITFIRE – DAY

Julie and JAYNE are identical twins aged seventeen.

Jayne is driving fast on a dual carriageway with the top down and lots of engine roar.

JAYNE
Where are you meeting Jimmy?

JULIE
(quietly)
I’m seeing him tonight.

JAYNE
You’re two crazy people.

JULIE
We’re not two people.

EXT. JAYNE’S TRIUMPH SPITFIRE – DAY

Jayne pulls up in town. Julie climbs out of the car.

JAYNE
Don’t spend too much.

JULIE
Just enough to look good for my man.

JAYNE
Hey, you do look good. You look like me.

Jayne pulls away. Julie walks away, tall and with fabulous skinny legs from any angle.

INT. JIMMY’S BEDROOM – DAY

Jimmy wakes up. He is now eighteen. The walls are covered with images of Vietnam, The Byrds, Dylan, Donovan, The Small Faces and psychedelia.

He has painted the words ‘Make Love Not War’ in red on a banner above his bed.

He turns on his bedside radio and leaps out of bed.

INT. BATHROOM – DAY

Jimmy looks closely at his face in the mirror and feels his stubble. He looks at his watch. It’s midday.

JIMMY
Oh, Jeez, man. Where’d the day go?

EXT. TOWN CENTRE – NIGHT

Deep snow on the ground. Jimmy and Julie are leaving a cinema featuring “ZULU”. They are both wearing long trench style overcoats. He wears his open so she can cuddle under his arm and they walk away from the cinema.

JIMMY
It is so cold.

JULIE
Oh God, I feel like ice.

JIMMY
We wouldn’t have made it on the scooter.

JULIE
I didn’t want to come on the scooter anyway. It’s too cold and we can’t snog. I love it on the bus when it’s empty. Your cold fingers.

JIMMY
(laughing)
So do I.

They walk through a few streets, looking in shop windows at clothes, kissing and laughing. They stop to look in a jeweller’s window. Julie puts her hand to her neck and stops suddenly.

JULIE
(panicking)
My pendant’s gone.

JIMMY
Look in your coat, darling.

Julie unbuttons her coat and shivers. She checks her clothing.

JULIE
It’s gone. It’s gone. I had it at the pictures ’cos I was holding it. Oh Jimmy, what am I gonna do? You bought it for me.

Jimmy stands there thinking.

What streets did we walk through? We’ve got to find it. I’m sorry. I’m so sorry.

JIMMY
We’ll walk back. I can remember the streets.

JULIE
Jimmy, if somebody’s picked it up, they’ll keep it.

JIMMY
Maybe nobody’s noticed it.

JULIE
But it’s gold and emerald.

JIMMY
Yeah, but it’s small.

JULIE
We’ll never find it in the snow and if we go back we’ll miss the last bus. But we’ve got to find it.

Jimmy takes her in his arms and holds her close. Tears run down her face and he lightly brushes them away. He smiles at her confidently.

JIMMY
Don’t worry about the bus, baby. I got some money. I love you. Let’s go back.

They turn and retrace their steps through several streets, crossing roads where they crossed before. Their eyes searching the trodden snow, they reach the cinema, which is locked up and in darkness.

JULIE
(shivering and tearful)
I’m sorry. You must be so angry.

JIMMY
Why would I ever be angry with you?
(his eyes watering)
Nothing I’ve done has ever been important to anyone before. It means a lot to me that something I’ve given you matters so much to you.

JULIE
I feel so bad that I’ve lost it ’cos I can’t bear to hurt you.

JIMMY
Honey, we’re not gonna find it. Let’s go home. We’ll have one last look on the way to the bus station. You’re all that matters to me. Hey?

JULIE
You’re all that matters. Period.

They turn again to make their way back towards the bus station still searching the ground with their eyes. A big, OLD COPPER with Santa Claus whiskers is walking towards them looking at the ground. Neither of them sees him until he is four or five paces away.

OLD COPPER
What have you lost?

They look up at him expectantly. He looks patiently at them.

JULIE
I’ve lost my gold pendant, officer.

JIMMY
We walked back to the cinema to look for it.

OLD COPPER
What does it look like?

JIMMY
It’s a gold chain with an emerald set in gold. Not a real one.

The Old Copper smiles.

Have you seen it? Has anyone handed it in?

The Old Copper looks at them as if understanding everything. He smiles kindly and shakes his head.

OLD COPPER
No.

JULIE
Where have you come from?

OLD COPPER
I’m sure you’ll find it, young lady.

He walks on past them and they resume their journey. They take two paces and simultaneously see the pendant lying conspicuously in the middle of the pavement behind where the Old Copper was standing.

JULIE
That’s it!

She picks it up. A glance tells her it is undamaged. She and Jimmy turn to tell the Old Copper. The long street behind them is deserted. There is nowhere he could have gone.

Where did he go? Jimmy?

Jimmy is reflecting.

JIMMY
It wasn’t there just now. We would’ve seen it.

Julie looks at him.

It wasn’t there, was it? When we walked down here just now?

JULIE
No and he didn’t put it there.

JIMMY
Let me see it.

Julie shows him the pendant in her hand.

He must have seen it but then he would have picked it up. He’s a copper.

JULIE
It wasn’t there Jimmy or we’d have seen it. He wasn’t real, was he?

JIMMY
No, I guess he wasn’t.

JULIE
Do you think we’re special to God?

JIMMY
I think you are, baby. You know, don’t you, the last bus will still be there.

Track back and up as they gaze down the empty street.

EXT. STREET CORNER – NIGHT

The BUYER, smartly dressed, is standing on a busy, well-lit street corner like he is waiting for his date.

OLD JAKEY approaches him, self-conscious in his too tight suit. He is too old for the scene and looks around uneasily. He pulls the Buyer by the arm off the street into the shadows.

OLD JAKEY
For Chrissake, man.

BUYER
(brushing his sleeve)
Don’t touch me, man.

OLD JAKEY
I gotta be careful.

BUYER
Then be careful, man. Don’t touch me.

OLD JAKEY
I’m taking a risk.

BUYER
You better know it, man.

OLD JAKEY
(not taking the point)
Don’t tell Big Billy you got a deal from me.

BUYER
I ain’t no public address system, man. I buy where I want and sell where I want. I believe in the profit.

OLD JAKEY
(looking confused)
What?

BUYER
Forget it, man. Are you freaked?

Old Jakey looks at him blankly.

Where is it, man? I ain’t got all night.

OLD JAKEY
This is a good trip, man.

He exchanges a small package for a bundle of notes. He looks anxious.

I gotta go.

BUYER
(making no attempt to conceal his contempt)
Yeah. You have a good trip.

EXT. SHOP – DAY

Julie is in a boutique. Guevara and Hendrix posters on the walls. A clock says 12.30. She is trying on straight narrow blue jeans and a tight white top and turning in front of the mirror outside the changing room. She has no shoes on and moves to the background music.

GIRL ASSISTANT
You look fabulous.

Julie smiles at her.

Are you still at school?

JULIE
Yes.

INT. JULIE’S BEDROOM – NIGHT

Julie’s bedside transistor radio is playing.

A huge Art Deco style poster of Sonny and Cher covers one wall.

Jayne is fighting Julie for the hairdryer. They are in their underwear. Julie’s new clothes are laid out on her bed.

JAYNE
(shouting)
Mum, Julie won’t give my hairdryer back.

JULIE
You selfish cow. I haven’t finished with it yet.

JAYNE
Give it to me.

JULIE
(holding the dryer away from Jayne)
Jimmy will be here in a minute. That’s all I need. A minute.

JAYNE
No. You’re always taking my things when I need them.

JULIE
But you don’t need it now.

JAYNE
I do. Chris might come round.

JULIE
You said he’s not coming round.

JAYNE
It’s mine. Give it to me or I’ll smash your radio.

She lets go of Julie and picks up Julie’s bedside transistor radio.

I’ll smash it.

JULIE
Don’t.

She hands over the hairdryer. Her long brown hair is a damp mess.

Jimmy gave it to me.

Jayne takes the hairdryer, turns Julie’s radio up loud and flounces out of the room.

Julie sits on her bed, covers her face with her hands and bursts into tears. She doesn’t see Jimmy come in. He silently kneels in front of her, takes her hands away from her face and kisses away her tears.

JIMMY
I love you so much.

Her crinkled face smiles. He leans her back on the bed and lies on her.

JULIE
Mum might come up.

JIMMY
Yeah, she might.

Jayne, eyes brimming with tears, is leaning against the doorframe. She looks sorry, like she wishes she had a guy like Jimmy.

JAYNE
You’re both so lucky.

INT. DISCO – NIGHT

Jimmy and Julie dance slowly gazing constantly into each other’s eyes.

Jayne is sat at a table gazing into her coke. She shakes her head when guys, including BIG BILLY, ask her to dance. Julie glances at her.

JULIE
She’s really miserable.

JIMMY
Shall I dance with her?

JULIE
After this.

She gives him a long, long snog and moans.

Pan to Jayne’s seat. It’s empty. Julie and Jimmy are still snogging unaware.

INT/EXT. DISCO – NIGHT

Jayne is leaving the disco. The doormen move aside.

JAYNE
Can I come in again if I go out?

The doormen eye her up and down.

DOORMAN
Yeah. I’ll remember you darlin’

INT. DISCO – NIGHT

Jimmy and Julie are still dancing. Julie looks to where Jayne was sitting.

JULIE
Jayne’s gone.

JIMMY
She’s probably in the loo.

Julie looks around anxiously but the music pulls her back.

EXT. ALLEY – NIGHT

Jayne walks slowly around the outside of the disco past other illuminated doorways. Snogging couples look at her with a sympathetic ‘She’s been stood up’ look.

She reaches the end of the path, which turns around the building into the blackness of an alley. She becomes aware of where she is. She turns slowly to make her way back when she hears a noise of a dustbin being knocked over.

INT. DISCO – NIGHT

Julie is making her way back to Jimmy who is standing by Jayne’s table.

JULIE
She’s not in the loo.

EXT. ALLEY – NIGHT

Jayne’s eyes have become accustomed to the darkness of the alley at the back of the disco. She hears a whimper. She stops and peers into the alley. She can just make out a big man, BIG BILLY, holding a smaller, much older man, Old Jakey, by his lapels.

BIG BILLY
You know what I have to do.

OLD JAKEY
No, Big Billy. It was only once. It wasn’t a big deal. Please.

BIG BILLY
You think you don’t have to take me seriously. Is that it? You think that you’re the one who can get away with making me look stupid. Is that it?

OLD JAKEY
No, no.

Big Billy holds up a cut-throat razor.

Please.

Big Billy puts a huge hand over Old Jakey’s mouth.

Hurrgh. Mmm.

Jayne’s hand flies to her mouth.

INT. DISCO – NIGHT

JULIE
Jimmy, something’s wrong. I feel it.

JIMMY
Yeah. She must have gone outside.

He pulls Julie towards the exit.

INT. DISCO – NIGHT

Jimmy and Julie approach the doormen. Jimmy looks at his watch.

JIMMY
Did a girl who looks …

DOORMAN
(cutting in) (to Julie)
I didn’t see you come back in, darlin’.

Jimmy and Julie look at each other and push their way out.

EXT. ALLEY – NIGHT

Big Billy lifts the cut-throat razor high and brings it down in an arc. It comes back into view with blood on it. He lifts it again to throat height and we see his hand in a cutting motion. Old Jakey’s feet drumroll on the floor and he gurgles and dies. Jayne gasps. Big Billy turns and sees her silhouetted in the entrance to the alley. A back door opens. A bag of rubbish is thrown out and Jayne and Big Billy see each other’s faces clearly in the light. She recognises him as one of the men who asked her to dance earlier. He moves towards her. She screams and turns to run.

BIG BILLY
(turning lightly on his feet and moving towards her)
Hey, come ’ere you.

Jayne runs into Jimmy who doesn’t see Big Billy who turns and disappears into the alley. She is white and shaking with fear.

JAYNE
Jimmy, run!

JIMMY
(moving her swiftly away to where Julie is standing)
What is it, baby?

He looks back at the alley and puts an arm gently around her.

Are you alright?

EXT. ALLEY – NIGHT

Ambulance, police cars, flashing lights, a police cordon. Old Jakey’s body is being removed.

Detective Sergeant JOHNS is talking to Detective Constable HARDING.

JOHNS
From what the girl heard and the description, we’re looking for Big Billy.

HARDING
Yeah. The word is Old Jakey went independent.

He looks towards the ambulance.

But his career was cut short.

JOHNS
Get a statement from the girl while it’s fresh in her memory. Go easy. Her father’s an old drinking buddy of mine.

HARDING
What about the sister and her boyfriend?

JOHNS
Okay, say you want a statement from him then they can all go to the station together. I’ll ring her old man.

HARDING
She said Big Billy saw her face.

JOHNS
And she saw his. He’s too cool and clever to run. Pick him up and set up an ID parade.

HARDING
I’m worried about the girl, sir.

JOHNS
It’s not his style to harm witnesses. He’s never gone beyond empty threats.

HARDING
He’s never been arrested for murder either, sir.

He turns and approaches Jimmy, Julie and Jayne and leads them to a police car. Johns watches them with a thoughtful expression then strides briskly to his own car.

INT. LIVING ROOM – DAY

MR. D is reading his newspaper. MRS. D comes in from the kitchen with two coffees. She nestles down next to him as Jayne and CHRIS come in from outside. Chris is a real greaser. Jayne has been crying. The atmosphere between her and Chris is strained.

MRS. D
Do you two want some coffee?

Jayne shakes her head.

CHRIS
No thanks.

MR. D
How’s the car?

CHRIS
It’s going alright.

MR. D
You did a good job there. Jayne’s a lucky girl.

Jayne and Chris both look down and then at each other. Jayne looks annoyed and hurt.

JAYNE
It’s not my car.

CHRIS
Yes it is.

JAYNE
You bought it. It’s yours.

CHRIS
I did it up for you.

MR. D
We’ve always got openings for skilled mechanics.

JAYNE
Chris doesn’t want the job. He doesn’t want me. He’s given me up.

She runs upstairs with silent tears running down her face. Mr. and Mrs. D don’t know what to say.

CHRIS
I guess I better go.

MRS. D
Chris, we’ll see you tomorrow?

CHRIS
I don’t think so. Things aren’t working out.

MR. D
(standing)
I’m sorry, boy. You come round any time you want to. It’s just this business with the police. She’s shocked but she’ll be alright in a week or two.

CHRIS
It was before that. Goodbye Mrs. D.

EXT. BOURNEMOUTH BEACH – DAY

Jimmy in white Jantzen trunks and Julie in a pink bikini are lying pressed against each other on a Coca Cola beach towel on a crowded beach.

Their eyes are closed and their lips are touching. Her transistor radio is playing. He is still wearing his watch.

Their lips part and he stands up with her in his arms, as though they must never stop touching. He carries her effortlessly into the sea and puts her gently into the water. She dips completely under then runs back up the beach. He dips under and runs after her. They dive on to the towel.

She blows gently into his ear making him laugh.

JIMMY
What’s happening with Jayne and Chris?

JULIE
It’s over. He gave her up.

JIMMY
He must be crazy.

JULIE
Yeah. Poor Jayne. I don’t understand the guy.

JIMMY
I love you like …

JULIE
(cutting in)
Like Yeats loved Maud Gonne.

JIMMY
Yeah. Jesus baby, if you left me I’d be cut in half.

JULIE
(laughing)
That’s poetic.

JIMMY
No. This is poetic.

He reaches over to his jeans and pulls out a folded piece of foolscap. He reads from it.

Superimposed montage, over Jimmy’s reading, of newsreel and stills, suited to the words, of Vietnam war atrocities, of LBJ, Nixon, and Minh and of police and National Guard violence to disperse student protest.

I am a fighter
I am a writer
I am a Reuter
I am a rioter
I am the knife
with my blade in your wife

I am a newsman
I am a ruse, man
I am a fuse, man
I am your views, man
I am the reporter,
with a story on your daughter

I am a lawyer
I am a liar
I am for hire
I am an ayah
I am the nurse,
with my hand in your purse

I am the Pope
I am no hope
I am the hangman’s rope
I am the world’s supply of dope
I am the priest,
riding bareback on the beast

He draws a breath.

It’s not finished yet.

JULIE
(sitting up)
You wrote that? It’s fab.

JIMMY
Yes. Did you finish what you were writing?

JULIE
Yes. I was going to read it to you when we’re alone later. What’s yours called?

JIMMY
Someplace I Don’t Know. Read yours to me now and then to me again later when the world around us is different.

JULIE
I can’t believe you’re mine. You think my thoughts.

She reaches into her brown Spanish leather handbag and takes out her diary. She reads from the back pages.

I called it Universal Outcast.

Superimposed still images, over Julie’s reading, of empty, hollow, hungry, ravaged adults and children’s faces.

there is nothing in my heart for you
there is nothing in my purse for them
there is nothing in my belly for me
I no longer care which is more important
or whether it’s more important that I no longer care

all men look the same to me
perhaps they believe they are different
who can care more for me than I
who can care less for you than I
or does it not matter when concern has no consequence

what is it to you what I want
when what you want is nothing to me
I want your money
you want my forgiveness
why, when you did not put me here

but I do not care why
I just want your money because I have none
in your mind it is a bargain
then believe that if it pleases you
I have no conscience to be concerned with yours

there is no fraternity of men like you and me
you hedge your bets with money you do not need
in case there is a God
there is no fraternity of men like me
we are merely wolves.

She lays her head on his shoulder.

I love you.

JIMMY
The rest is silence.

Except for the radio.

Pull back slowly to show Jimmy and Julie surrounded by an empty beach looking like washed up survivors of the bomb.

INT. POLICE STATION – DAY

Mr. D is with Jayne who has come to view an ID parade. He waits outside while she goes in and walks up and down slowly behind a one-way screen.

Big Billy is in the line-up. He cannot see her but seems to be looking directly at her menacingly. She comes out looking apprehensive.

INT. LIVING ROOM – DAY

Mr. D is sat in an armchair. He is talking to Julie who is standing.

MR. D
You know what Jayne’s going through. Why don’t you spend a little more time with her?

JULIE
I am always here for her. So is Jimmy.

MR. D
If you didn’t spend every minute of the waking day with him, then you might be here for her.

JULIE
It’s not fair to take it out on Jimmy and me because Chris gave her up.

MR. D
Frankly, I don’t know what you see in this Jimmy. He dresses like a male model. Like a girl. That’s how he dresses.

JULIE
I suppose his hair’s too long as well? Why don’t you say it.

MR. D
I don’t like him.

JULIE
(in an angry outburst)
He is me!

Mrs. D comes into the room.

MR. D
He’s after one thing.

MRS. D
Dad!

JULIE
Well he can have it. Perhaps he already has. You don’t mind a plain bloke like Chris being after one of your daughters.

MRS. D
(trying to help)
Jimmy does seem more interested in fashion.

JULIE
You are both so out of touch. He doesn’t give a damn about fashion. He’s a face. He has style.

MR. D
You’re not the same girl anymore. Your mother and I can’t trust you.

Julie walks out.

(shouting after her)
You’re too young!

EXT. BOURNEMOUTH BEACH – NIGHT

Jimmy and Julie are sitting on the sand. Some hippies have lit a fire nearby and the flames flicker on our lover’s faces. Jimmy pulls Julie closer. There are tears on both their faces. He kisses her. She looks at him. He looks up at the stars and so does she. She smiles. They are oblivious to the world around them.

INT. JAYNE’S BEDROOM – NIGHT

Jayne is lying awake in the dark. She gets out of bed and goes to the window. A shadow-faced man, SHOES, is standing outside staring at her bedroom window. She shrinks back in fear and peeps again. He is gone. She stands a long time in the dark until Jimmy and Julie pull up on his Lambretta.

Jimmy is wearing his greatcoat. He and Julie kiss as they get off. He brings her to the front door. They kiss again, reluctant to part. When Julie finally closes the door, Jimmy walks back to his scooter and Jayne goes back to bed.

INT. PRISON VISITORS ROOM – DAY

Big Billy is sat opposite POKER with a glass screen between them. They talk through a grille.

BIG BILLY
You gotta put the frighteners on her.

POKER
She knows we’re watching.

BIG BILLY
Watching her ain’t gonna stop her. You gotta speak to her. Threaten her, pay her off. Anything to stop her coming to court. Christ man, she picked me out.

POKER
Anything?

BIG BILLY
No, not anything. You threaten her. You make her believe it. Short of actually hurting her. She’s only a little girlie.

POKER
It’s a murder rap, Billy, not just a bit of GBH. You’re talking life.

BIG BILLY
I ain’t ever hurt a woman, or a child, and I ain’t gonna start now.

POKER
It’s not just that. If you go away Poncer will take over. He’s a nutter.

BIG BILLY
If she’s hurt, I can reach you, Poker and I can reach Poncer too.

INT. LIVING ROOM – DAY

Mrs. D and Julie are sat together. Mr. D comes in.

MR. D
(holding up Jimmy’s poem)
What’s this?

JULIE
It’s a poem I’m helping Jimmy finish.

MR. D
(reading Julie’s writing)

I am the top attraction
I am a political faction
I am a terrorist action
I am a chemical reaction
I am the figure,
with my finger on your trigger
I am the perfect
(mispronouncing)
panakea

JULIE
(cutting in)
Panacea.

MR. D
(ignoring her)

I am the spread of fear
I am an orphan’s tear
I am diarrhoea
I am the plan
for the future of man

He explodes angrily.

It’s one of those bloody protest songs, isn’t it?

JULIE
(finishing the poem)

I am beauty bright and fair
I am a diplomat’s affair
I am a child with no hair
I am a generation’s despair
I am your guest,
with a message from the West
(smiling proudly.)
He doesn’t know I’ve written it yet.

MR. D
It’s a bloody Vietnam thing. He’s a bloody Communist.

JULIE
He’s a pacifist.

MR. D
Idiots like him will have us all eating bloody rice.

JULIE
(defiantly)
People like him will stop the killing.

MR. D
Who the hell do you think you are? I fought in a war, some of my best mates died, so that shits like him could have freedom.

JULIE
Then give him the freedom they died for. His freedom. Not yours.

MR. D
This is his freedom.

He tears the poem into pieces.

You know what his freedom is? Too scared to fight. Conscientious bloody objector.

JULIE
(shaking with a fury that frightens her mother then speaking calmly)
If you’d been in Burma then you’d know that you’re trying to do to us what the Japanese did to prisoners of war. You can take our minds. You can destroy our capability to think and reason. But that beautiful poem existed and it served its purpose when you read it.

MR. D
It never existed and as far as I’m concerned, nor does he. You’re not seeing him again. White collar bloody dropout.

JULIE
How can my boyfriend rock your world so fundamentally unless there is something so terribly, terribly wrong with your world?

MR. D
It was a mistake letting you go to grammar school. Jayne isn’t full of this nonsense.

JULIE
No? She went to your school and you’re the man who said that U.S.S.R. means United States of Soviet Russia.

MR. D
It does.
(turning to Mrs. D)
Doesn’t it?

He turns back but Julie has gone. Jayne comes in.

JAYNE
What poem did she write?

EXT. UNDERGROUND CAR PARK – DAY

Jayne walks back to her car, which is parked rear end to the wall. She climbs in and starts the engine. Just as she is about to pull away a big black car pulls across in front, an inch from her bumper.

Two young LAUGHING MEN, wearing Italian suits, get out the far side, walk round to her bonnet and point pistols at her face. She screams and covers her face with her hands.

When she looks up the car and the young men have silently gone. She struggles out of her car to get her breath. A handsome, YOUNG MAN in a sports jacket trots up.

YOUNG MAN
Good God, I saw that. Are you alright?

JAYNE
Yes. I think so.

YOUNG MAN
Who were they?

JAYNE
I don’t know.

YOUNG MAN
You’re in shock. Just relax.

He puts a comforting arm around her.

JAYNE
You’re very kind. I’ll be alright.

YOUNG MAN
No, you won’t be.

Jayne looks at him with a smile to show that she will be.

Jayne.

She looks at him in surprise and he hits her in the face and supports her as she starts to fall. She is still conscious.

Be very frightened, Jayne. Trust no one until the day you die. And you will die.

Jayne freezes with fear.

We can do anything we want.

He kisses her brutally.

The pleasure is mine. Ciao baby.

Jayne blacks out.

INT. JAYNE’S BEDROOM – DAY

Jayne has a real shiner. Julie is holding her hand.

JAYNE
How’s Jimmy?

Julie nods.

That was a good poem you wrote.

JULIE
When did you read it?

JAYNE
I stuck all the pieces back together again. It’s under your pillow. Dad doesn’t know.

JULIE
I’m so sorry about you and Chris.

JAYNE
I tried too hard to love him. Don’t ever lose Jimmy.

JULIE
(gently squeezing Jayne’s hand)
Even if we spend our lives apart we’ll never lose each other.

JAYNE
You and me?

JULIE
Jimmy and me.

She sees Jayne’s look of pain and responds quickly.

You and me as well.

Julie squeezes Jayne’s hand again and Jayne leans back. There is a light knock on the door and Mr. D comes in followed by Johns.

MR. D
Jayne?

Jayne turns away and closes her eyes.

INT. JIMMY’S BEDROOM – DAY

Jimmy’s MUM is picking up his scattered clothing. She opens the window to let in air and breathes deeply.

Jimmy and Julie come in.

JIMMY
Hi, Ma.

JULIE
Hello Mum.

MUM
Hello dears. Jimmy, you know I don’t approve of you bringing Julie up here.

JIMMY
Ma, what are we going to do here that we can’t do outside.

MUM
That’s not the point and you know it.

JULIE
May we stay up here for a little while, just to talk and play some music. We’ll be down soon.

MUM
Make sure he’s good.

JULIE
Oh, he’s good.

Jimmy and Julie exchange glances and smile. Mum walks to the door.

MUM
Jimmy, try and leave your window open.

JULIE
I’ll make sure he does.

Mum leaves.

Mr. Johns said Jayne would be in trouble if she doesn’t go to court. What do you think she should do?

JIMMY
What would you do?

JULIE
If I didn’t have you, I wouldn’t go to court. She hasn’t got Chris anymore.

JIMMY
She’s got both of us.

JULIE
She hasn’t got you ’cos of my dad.

JIMMY
I’m here for her if you both want me to be.

JULIE
I wish I could take you home with me.

INT. HALLWAY – DAY

Mr. D is on the ’phone.

MR. D
Yes. No. She’ll be there.

He puts down the ’phone and looks at Jayne who is standing in the living room doorway. Her shiner is almost gone.

That was Mr. Johns. The trial’s next month.

Jayne nods.

They’re going to put a policeman outside the house. Take my word for it, you’ll be safe now.

Jayne looks at him unconvinced and turns away.

INT. JULIE’S BEDROOM – DAY

Julie’s radio is on.

JULIE
Jimmy agrees with me. Dad can’t make you go to court.

JAYNE
(uptight)
Why the hell are you discussing what I should do with Jimmy. It’s my business. And if Dad thinks he can make me go, he’s wrong, too.

JULIE
Jimmy cares about you. But I’m sorry I ever told you. All I’m saying is you won’t get into trouble if you don’t go.

JAYNE
You know that for a fact, do you? Well, I’m gonna go. Not for Dad, not for Mr. Johns, but for me.

Julie looks at her but holds her tongue.

And if you want to know why, it’s because I don’t want to wallow in self-pity over Chris anymore.

JULIE
But it’s dangerous.

JAYNE
Yeah? Maybe I want to be hurt, or take the risk.

JULIE
After what that man did to you?

JAYNE
Because of what he did to me. Julie?

She looks down and away suddenly vulnerable.

I liked it and I don’t want to like it but I win ’cos that’s not what they wanted.

JULIE
You mean it turned you on?

JAYNE
(looking up reluctantly)
And that’s why I feel dirty. But I tell myself that it’s not ’cos of any of that. It’s because it’s right and for the poor old man who got killed.

JULIE
He was no better than any of them. He probably deserved it.

JAYNE
(her eyes watering)
Far away is a land called “Someplace I Don’t Know”. No matter how bad the people are there, it’s wrong to kill them for politics or hate. So we must speak out against the people who kill them regardless of the consequences to ourselves. That’s right isn’t it?

JULIE
(hugging Jayne)
Yes, Jayne. That’s right.

JAYNE
I no longer care which is more important or whether it’s more important that I no longer care. All men look the same to me.

She gazes into space.

That’s right too, isn’t it?

JULIE
(her eyes watering)
Poor Jayne. I’ll look after you.

JAYNE
(sobbing)
Just because I went to a secondary modern doesn’t mean I’m stupid.

INT. PONCER’S DEN – NIGHT

Poncer is talking to Poker and Shoes who is wearing a distinctive dark blue Italian suit and Italian hand-stitched shoes. We never see Shoes’ face.

PONCER
Just go and kill the girl. I don’t care how you do it. So long as it’s nasty.

POKER
Big Billy won’t like it.

PONCER
No one’s gonna tell him they did it, are they, unless they’re tired of livin’? And when he’s out he won’t care, ’cos it won’t have been him who did it. And you don’t have to do it.
(nodding towards the other man)
Shoes will.

INT. MR. D’S DEN – DAY

Mr. D is cleaning his collection of World War Two pistols. His prize possession is his army Colt which is disassembled.

There is a bold knock on the door.

MR. D
Come in.

Jimmy enters. Mr. D looks back to his pistols.

JIMMY
Hullo, sir.

MR. D
Who let you in my house? You’re not welcome.

JIMMY
I want to ask you something.

Mr. D turns on his radio loudly. Jimmy smiles, nods appreciatively and sits down.

MR. D
I didn’t tell you to sit down.

Mr. D picks up and drinks his coffee.

JIMMY
No, sir. You didn’t ask me to either.

Jimmy stands up.

I’d like to ask for Julie’s hand in marriage.

Mr. D coughs his coffee over his guns.

MR. D
Shit! Is she pregnant?

JIMMY
I know you don’t think much of me but I’m surprised you think so little of her.

MR. D
She’s been telling you what I think has she?

JIMMY
No, sir. Nobody knows what you think. She’s been telling me what you said.

MR. D
You’ve been seeing her behind my back?

JIMMY
I don’t have to come and ask you, sir. She’ll be eighteen before we get married.

MR. D
Did you think for one moment that I’d say yes?

JIMMY
With respect, sir, that’s not the point and you know it.

MR. D
What exactly is the point? And stop calling me sir.

JIMMY
There is no point, sir, but it’s something people like you expect.

MR. D
What do you care about what I expect?

JIMMY
I don’t but Julie does and I care about what she expects.

MR. D
Is that what they teach you at grammar school? To have a smart answer for everything?

JIMMY
That’s part of it but I’ve left school.

MR. D
Dropped out. Isn’t that what it’s called nowadays?
(holding up his reassembled Colt)
Do you know what this is?

JIMMY
It’s an army colt.

MR. D
It’s a weapon.

JIMMY
Depends on who’s holding it.

Mr. D looks up at him.

For some men it’s a penis extension.

MR. D
I’m sorry, Julie. Your boyfriend was accidentally killed by a penis extension.

JIMMY
I like that and as much as I’d like to spend my time indulging in amusing badinage I have other things to do.

MR. D
Don’t insult me you snotty little bastard. You’re just a child.

JIMMY
(insincerely)
That was rude of me. Do you often threaten children with guns?

MR. D
I can’t imagine you’d ever have the guts to use one of these. You don’t believe in war, do you?

JIMMY
Oh, it exists, sir, but no, I don’t believe it’s a human necessity.

MR. D
So you couldn’t shoot a man?

He holds up a bullet.

One of these would take your head off.

JIMMY
I could shoot a man without compunction to save the life of someone who meant more to me than that man.

MR. D
You may as well save your breath. I don’t know what compunction means.

JIMMY
I could shoot with pleasure any man who came between Julie and me.

MR. D
But that’s not what she expects, is it?

JIMMY
No sir. She expects me to be her husband.

EXT. STREET – NIGHT

Dark and misty. Shoes leaves his house. We see his distinctive dark blue Italian suit trousers and hand-stitched Italian shoes. He walks towards his dark blue Corvette Stingray carrying a small toolbox.

EXT. STREET – NIGHT

Jayne’s car is parked on the drive at the side of the house. Two police officers are sat in a police car parked in front of the house.

From the officers’ point of view they cannot see Jayne’s car. Shoes’ car drives past and turns into the road alongside the drive. The officers ignore it.

Another angle. Shoes car is parked past the house. We see his legs and feet as he gets out. He walks towards Jayne’s car carrying the small toolbox. Now he is wearing black leather driving gloves.

INT. KITCHEN – NIGHT

Mrs. D is cooking the evening meal. Julie comes in dressed to go out.

MRS. D
Julie, where are you going this time of night?

JULIE
I’m just going over to see Jimmy.

MRS. D
No you’re not. It’s far too late.

JULIE
I’ll take Jayne’s car. I won’t be long. I just have to see him.

MRS. D
What for?

JULIE
To tell him I love him.

MRS. D
But you’ve been on the ’phone to him for an hour. Don’t be silly.

JULIE
But I haven’t seen him today. Jayne said I could take her car. It needs a run.

MRS. D
Your father has something to say to you.

Mr. D comes in.

I think he’d better say it now.

MR. D
Where are you going?

JULIE
To see Jimmy.

MR. D
No you’re not.

JULIE
(raising her voice)
Yes I am.

MR. D
Don’t you raise your voice at me.

He unbuckles his belt.

Get to your room before I beat some sense into you.

JULIE
Mum?

MRS. D
Your father knows best.

INT. JIMMY’S BEDROOM – DAY

Jimmy and Julie are sat on his bed with their backs to the wall and a blanket over their legs. Their jeans are on the floor.

JIMMY
We should just go somewhere hot and live on the beach.

JULIE
That’d be great. What about your folks?

JIMMY
No. They’d wanna stay here.

JULIE
You’re so smart.

JIMMY
We’d still see them.

JULIE
Can’t we live in your bedroom?

JIMMY
No, Ma would be embarrassed.

Julie moans and slides under the blanket. She wriggles around, throws out her top and pulls Jimmy under.

INT. JAYNE’S BEDROM – DAY

Jayne is sitting on her bed. Julie walks in and opens her mouth to speak. Jayne speaks first.

JAYNE
I read your essay about the second child born always being cleverer than the first. Now I know just how arrogant and insensitive you are and that you’ve never understood the way I feel over Chris. You must have pushed me to get me out of Mum first.

JULIE
I beg your pardon and I don’t want to hurt your feelings but let’s not forget who passed the eleven-plus. Keep out of my room. There’s nothing in there you’d understand.

EXT. FAIRGROUND – DAY/NIGHT

Julie is wearing a very short, red Biba dress. She is arm in arm with Jimmy, smiling, laughing, kissing and playing. They climb into The Waltzer.

After The Waltzer they ride the dodgems and try their luck on several stalls. Jimmy wins a Monkees’ album for her. They eat candyfloss and doughnuts.

It becomes dark. Jimmy notices that two BOYS are following them and paying close attention to Julie. She is oblivious to their attention because she only has eyes for Jimmy. Jimmy notices them looking and is getting tense.

JULIE
Why don’t rockers go to grammar school?

JIMMY
(preoccupied)
I don’t know. Why don’t rockers go to grammar school?

JULIE
Because they’re secondary mods.

JIMMY
Yeah.

JULIE
What’s wrong, babe?

JIMMY
Let’s go somewhere else.

As they walk off the two boys wolf whistle at Julie and she smiles at them spontaneously. Jimmy turns her away from them and faces them.

JIMMY
What are you looking at?

JULIE
Jimmy, it doesn’t matter.

JIMMY
I know them. They’re trouble.

One boy pulls the other away. Julie is taken away by Jimmy into the darkness.

EXT. STREET – DAY

Jayne’s Spitfire is still in the drive. She comes out of the house, climbs into her car and drives off. The police car starts up and follows her at a distance. Both cars go out of sight.

Jimmy walks into frame from the opposite direction. There is a movement at a curtain and Johns comes out of the house. He intercepts Jimmy at the gate. Jimmy smiles at him warmly. Johns puts his hands on top of the gate. Jimmy still smiles.

JOHNS
I’m sorry, Jimmy. You can’t come in.

Jimmy looks uncomprehendingly at Johns then past him to the house.

She can’t see you again. I’m sorry, boy.

Jimmy tries to speak but he is dumbstruck. He tries to get past Johns who stops him. He stands looking at Johns then he nods almost imperceptibly to show Johns it’s not his fault and turns and walks away without looking back.

EXT. DUAL CARRIAGEWAY – DAY

A crash scene with attendant emergency vehicles.

Jayne’s Spitfire is on the wrong side of the carriageway on its side completely smashed.

Jayne, with her head bandaged, is being stretchered to an ambulance. She is being given a drip and oxygen. A LORRY DRIVER is talking to a POLICEMAN who was in the car following Jayne.

LORRY DRIVER
I saw her coming up in the mirror. She swung out and just kept going out.

POLICEMAN
It’s alright, mate. It wasn’t your fault.

LORRY DRIVER
She hit the middle and just took off. Jesus, she must have rolled three times. I didn’t do anything.

POLICEMAN
I know. We were behind you. Christ.

He turns to the other officer with moist eyes.

We were supposed to be looking after her. Christ.

EXT. MOORLAND ROAD – NIGHT

Jimmy is walking along a deserted road across moorland in the middle of the night. He is a forlorn figure in the headlights of passing cars. A car slows after passing him and reverses back. Jimmy walks away across the heather. The driver shrugs his shoulders and drives off. Jimmy returns to the road. In the moonlight he starts to kick a stone along the road. His tearstained face looks numb. He disappears into the night. After he has gone we can still hear the stone being kicked along the road.

INT. PRISON CELL – DAY

Big Billy is lying on his bunk. A Prison WARDER opens the hatch.

WARDER
I wouldn’t take a shower if I were you.

Big Billy sits upright as a newspaper is thrust through the hatch.

A seventeen-year-old girl. I didn’t think even you were that low.

The hatch slams shut and Big Billy takes the paper from the floor.

Headlines MURDER CASE GIRL IN HORROR CRASH. Big Billy sits and reads the article becoming more and more enraged. He stands up and pounds on the cell door.

BIG BILLY
Hey! Hey! Open this door!

INT. PONCER’S DEN – DAY

Poncer is sitting at his desk. A TART is sitting on his desk showing him plenty of leg. The telephone rings for a while then the Tart picks it up, listens and hands it to Poncer.

PONCER
Have you picked up Big Billy?

POKER
(on the telephone)
No. He’s still in custody. She’s here. The girl. She’s here to give evidence.

Poncer stands and pushes the Tart away.

PONCER
No! It’s a trick! Stay there. I’m on my way.

He slams down the telephone and makes for the door.

(to the Tart)
Hey you, tart, tell your girlfriends the party’s on hold but you stay here. I’ll be back.

He leaves and the Tart looks after him vacantly.

INT. COURTROOM – DAY

Big Billy is in the dock. There is no jury. Both PROSECUTOR and DEFENCE COUNSEL are on their feet. The JUDGE addresses them.

JUDGE
I had been given to understand that the alleged victim, Miss Deer, could not be here to give evidence because she had been involved in a serious car accident. Do I now understand the position to be otherwise?

PROSECUTOR
Your Honour, yes. Miss Deer is here. An officer has spoken to her and I’ve been told it was her sister, Julie, who was quite seriously injured when she was driving Miss Deer’s car, which overturned.

Big Billy’s face looks grim at the news.

JUDGE
Oh dear. How very distressing for … Miss Deer. I trust both Counsel will bear that in mind during the evidence. Let’s get on with it.

INT. COURTROOM – DAY

The courtroom is full. Poncer is keeping a low profile at the back. Big Billy has seen him. Jayne is in the witness box. The clock says 4.15.

DEFENCE COUNSEL
The first time you saw my client was inside the discotheque when he asked you to dance, wasn’t it?

JAYNE
Yes.

DEFENCE COUNSEL
It’s right then, that at the ID parade you picked him out because you recognised him as a man who had earlier asked you to dance?

JAYNE
No, not at all. I picked him out because I identified him as the man I’d seen in the alleyway.

DEFENCE COUNSEL
There is no lighting in the alleyway. You accept that don’t you?

JAYNE
At night, that’s right.

DEFENCE COUNSEL
Well of course at night.

JUDGE
I don’t think you need to be harsh with a witness who has given the answer you presumably wanted.

DEFENCE COUNSEL
You said earlier that you saw his face in the light from a door, which was opened when a bag of rubbish was thrown out. That door presumably closed again?

JAYNE
Yes.

DEFENCE COUNSEL
Very quickly?

JAYNE
Yes.

DEFENCE COUNSEL
You are asking the jury to believe that you identified the defendant in a split second of light from a doorway as a man who had spoken to you for a few seconds earlier?

JAYNE
No, I saw him in the alley. That’s why I was able to identify him at the ID parade. There’s a difference.

JUDGE
I see the time.
(to Defence Counsel)
Would this be a convenient moment?

Defence Counsel nods and sits down.

(to the jury)
Ten thirty tomorrow, ladies and gentlemen.

INT. COURTROOM – DAY

Next day. Jayne is dressed differently. Johns is in Court. The clock says 10.50.

DEFENCE COUNSEL
How many men asked you to dance?

JAYNE
Five.

DEFENCE COUNSEL
When you go to a discotheque you actually take notice, do you, of how many men ask you to dance?

JAYNE
Yes.

DEFENCE COUNSEL
And although it’s not specifically mentioned in your statement …
(holding up some papers)
… you can now say, all these months later, that on that particular night, five men asked you to dance?

JAYNE
Yes.

DEFENCE COUNSEL
(smugly)
Which one do you say was the defendant?

JAYNE
The third.

The jurors smile.

DEFENCE COUNSEL
You must have a remarkable mind?

JAYNE
I have. Remarkably remarkable.

The jurors laugh. The Judge smiles wryly.

DEFENCE COUNSEL
Had you previously seen any of the other four men who asked you to dance?

JAYNE
No.

DEFENCE COUNSEL
But with your very remarkable mind you’d recognise them now?

JAYNE
Yes, if I’d seen them cut someone’s throat twenty minutes later.

A loud murmur runs through the jury and heads nod. Jayne looks unflinchingly at Big Billy and continues speaking when his eyes meet hers. She holds his gaze.

JAYNE
I saw you cut that poor man’s throat in the alleyway after he begged you not to hurt him and you know that I saw you. I heard him say your name.

Poncer catches Big Billy’s eye, glances towards Jayne and runs his finger across his throat. Big Billy looks back at Jayne then turns to Poncer and back again to Jayne. He rises to his feet.

JUDGE
(to dock officers)
Hold the defendant.
(turning to Jayne)
Miss Deer …

BIG BILLY
(cutting in)
I want to change my plea.

JOHNS
Good God!

Defence Counsel looks stunned. General uproar. Poncer storms out.

INT. PONCER’S DEN – DAY

Poncer is pacing the room. Poker is sat looking anxious.

PONCER
So little Jayne didn’t get the message. Ignored my warning. Nobody, nobody ignores me. I’m going to finish the job.

POKER
There’s no point now. Big Billy’ll go mad.

PONCER
He’s not here is he? He might have been if he hadn’t been so bloody soft. I’m in control now and when little Jayne is lying in the gutter no one will ever ignore me like they ignored him. No more Old Jakeys. No more little Jaynes.

Poker looks at him.

No one.

INT. JIMMY’S BEDROOM – NIGHT

Jimmy is lying on his bed staring at the ceiling in absolute silence.

FLASHBACK TO:

EXT. SCHOOL – DAY

The only sound is the soundtrack music. This is the day Jimmy first saw Julie. He is the leader of a group of five or six mods. They all have long mod haircuts and are all wearing school uniform but are wearing mod shoes and black instead of grey trousers like the other boys. Their striped school ties have been altered to have parallel sides. Everybody wants to be them and they walk with easy confidence. They are the elite. They are making a statement and they know it. A crowd of younger schoolgirls pursues them at a distance.

The group enters a building laughing and joking and walks upstairs.

There is a group of girls in the corridor around the corner at the top of the stairs. One of them, with her back to us, is wearing the uniform of a different school.

The group rounds the corner at the top of the stairs into the corridor. There are classrooms on the left and windows overlooking a quadrangle on the right.

On hearing the boys, the group of girls turns.

Slow motion. The girl in the different uniform turns. She is Julie. Without makeup she is truly beautiful. She and Jimmy meet each other’s gaze simultaneously. He stops dead and so does she. They stop breathing. Their pupils enlarge.

The boy immediately behind Jimmy, RICK, walks into him. He puts out an arm to stop the other boys going past him and they stay behind him. They look from him to the object of his attention.

Jimmy’s lips part as do Julie’s. The girls with her lead her into a classroom. Jimmy’s friends move him on. He returns to reality and passes slowly by the classroom looking at Julie who holds his gaze. She looks stunned.

End of slow motion.

JIMMY
God, Rick. Did you see her?

Rick has blonde hair and very blue eyes.

RICK
Hey man, it’s just some chick from another school.

JIMMY
I’d give my life to have that girl.

RICK
Don’t waste your time, man. You’ll never see her again.

JIMMY
I know. How do I get a girl like that?

RICK
You got a rep to keep, man. Don’t chase it, it’s everywhere.

FLASHFORWARD TO:

INT. PRISON VISITORS ROOM – DAY

Big Billy is talking to Johns and Harding.

BIG BILLY
That girl who got hurt, the sister. I didn’t want that.

HARDING
Are you confessing?

BIG BILLY
Who is this prat, Mr. Johns?

JOHNS
He’s got a point. Did you get us here to tell us something we couldn’t prove anyway?

BIG BILLY
I don’t care whether you believe me or not about that. Two things you do know about me.

JOHNS
You don’t hurt women and kids.

HARDING
And you don’t rat.

BIG BILLY
Said the prat. Listen. I pleaded guilty because the jury would have believed the girlie. As it happens I did do Old Jakey and I’ll do my time. Life. So what. I’ll be out again.

JOHNS
But?

BIG BILLY
Mr. Johns, this is for you. Just you.

He stops talking and Johns nods to Harding who leaves. Harding’s footsteps echo as he walks away down the corridor.

BIG BILLY
Alright, I started it off. I told Poncer to frighten her, not to hurt her. He’s a bloody nutter. He’ll have her done to make his point. Stupid, ain’t it? If she hadn’t been in the alley Poncer would still be a nobody and she’d be safe.

JOHNS
I’ll pull in everybody to warn him off and put a watch on the girl.

BIG BILLY
You put a watch on the girl before. If that was the best you can do I’ll deal with it myself.

JOHNS
You’re not doing yourself any favours with that kind of talk.

EXT. POLICE STATION – DAY

Poncer is roughly pulled out of a police car in handcuffs by two officers and rushed into the police station. He looks back and laughs as other police cars pull up and other suspects are brought in.

FLASHBACK TO:

INT. SCHOOL – DAY

Julie’s class lesson is just finishing. The kids in her class stream out the door into the corridor. She stays behind sitting on her desk and Jimmy comes in. Her eyes light up. She is wearing her new school uniform.

JIMMY
Hi.

JULIE
Hello.

JIMMY
You, uh, doing anything at break?

JULIE
No. Well, I told my friend I’d help her with some work she’s got to hand in this afternoon. And I’ve got to learn some Hamlet.

JIMMY
Hamlet?

JULIE
From ‘To be or not to be’. Do you know it?

JIMMY
Francis Bacon?

JULIE
(seriously)
No. Shakespeare.

She sees Jimmy’s wide grin.

Oh!
(smiling sheepishly)
Just before the end of the speech he says ‘Soft you now, The fair Ophelia’. I can’t remember the last line. Have you done it?

JIMMY
I’d remember it if I had.

JULIE
Oh.

She stands up and moves closer to Jimmy.

Did you want to see me?

JIMMY
Yeah.

He hesitates.

I always want to see you.

Rick comes into the room.

RICK
Hey guys, am I interrupting something?

Julie and Jimmy move apart.

(to Jimmy)
Hey, man. Get in there.

Julie blushes. Jimmy is embarrassed for her.

JIMMY
Hey, Rick, with respect man, this ain’t the time.

Rick makes a placatory gesture with both hands and walks out backwards.

(to Julie)
I’m sorry.

JULIE
Is he your best friend?

JIMMY
Yeah.

JULIE
He’s funny really.

She comes very close to Jimmy. They look into each other’s eyes. Their heads move slowly closer. Their lips meet. This is their first kiss. The moment their lips touch their heads almost jerk apart but they seem fused together. Their arms wrap around each other and hold tightly. Rick stands outside the door looking on approvingly. Other pupils stop to watch open-mouthed. After about half a minute Jimmy and Julie separate and gasp for breath. They look at each other in shocked disbelief. They each put a hand to their lips.

JIMMY
Did you feel …

He hesitates.

JULIE
(cutting in, stunned)
God. Like an electric shock?

JIMMY
Yeah.

JULIE
Did you?

JIMMY
Yeah.

He looks at her wonderingly.

I never had a kiss like that before. Oh, man. I feel inside out.

JULIE
I feel like my soul went into you. Who are you?

The school bell rings.

RICK
We gotta go man.

JULIE
When will I see you?

JIMMY
Are you mine?

JULIE
Always.

JIMMY
Only mine?

JULIE
Yes. Are you only mine?

JIMMY
Forever.

JULIE
When will I see you?

JIMMY
When do you want to see me?

JULIE
Every night I pray to be with you all the time.

JIMMY
(imitating Richard Burton)
Nymph, in thy orisons be all my sins remembered.

He turns and is gone.

Julie picks up and opens the copy of Hamlet on her desk to a marked page where we see that Jimmy has spoken the line she cannot remember.

JULIE
(in awe)
Oh God!

FLASHFORWARD TO:

EXT. POLICE STATION – DAY

Poncer comes swaggering out of the police station. He stops on the steps and turns his face arrogantly into the sun. He looks at his watch and smiles. The two Laughing Men pull up in their black car. One gets out and holds open the rear door for him and he climbs into the back. The car races away.

INT. PONCER’S DEN – DAY

Poncer is leaning back in his chair with his feet on his desk with an empty bottle in front of him. The Tart is lying on the settee half-dressed. Poker is sitting quietly.

PONCER
Hey slut. Go and get me another bottle.

TART
I’m cold.

Poncer stands up and walks around the desk. Poker looks apprehensive.

Poncer grabs the Tart by her hair, twists it and throws her onto the floor.

TART
Eeeow!

POKER
Take it easy, Poncer.

PONCER
What did you say?

POKER
Nothing.

TART
He said bloody take it easy.

Poker winces.

What’s come over you lately?

PONCER
(looking at Poker)
Is that what you said?

POKER
(looking down)
I didn’t say nothing.

PONCER
So she must be lying.
(to the Tart)
You must be lying.
(to Poker)
Unless you’re lying. Are you lying, Poker?

Poker blanches. The Tart looks at him.

(louder)
Are you lying, Poker?

POKER
No.

Poncer pivots and catches the girl a full punch to the side of the head. She crashes across the room. Slowly she drags herself to her knees and looks up at Poncer defiantly. He walks towards her and slowly lifts his foot, bringing it back to kick her in the head.

POKER
(blurting)
I am lying.

Poncer stops and turns back to Poker.

PONCER
Did you tell me to bloody take it easy?

POKER
All I said was take it easy.

PONCER
She says you said bloody take it easy. Is she lying?

The Tart looks imploringly at Poker with blood and saliva dripping from her mouth. He looks from her to Poncer who is a coiled spring.

POKER
No.

PONCER
Do you think I enjoy this? Inflicting pain on people I love. I have to protect you. The only way I can do it is by teaching you.
(to Poker)
Look what your lies have done to her. Stand up.

Poker stands as Poncer takes a pair of black kid leather gloves from his pocket and starts to pull them on.

TART
Poncer, please. No. What are you going to do?

PONCER
I told you. Go and get me another bottle.

She hesitates and Poncer turns his head slowly to look at her. Poker takes the opportunity to nod towards the door. She gets herself together and moves. Before she is gone, Poncer punches Poker in the stomach slamming him against the wall and winding him.

Control.

As Poker slumps forward Poncer lifts Poker’s head and punches him in the mouth with his right fist.

Control.

A punch.

Control.

The camera pulls back and out the door to the rhythmic sound of Poncer’s punches interspersed with his voice repeating the same word and Poker’s fading moans.

EXT. BOURNEMOUTH SEAFRONT – DAY

Rick is sitting sideways on his parked Lambretta SX 200. Like Jimmy’s it has full spots, mirrors, chrome panels and a backrest but if Jimmy’s LI 150 is something, Rick’s SX 200 is something else. Jimmy is standing a few feet away from his LI 150 looking out to sea. The two mods are sharply dressed but no parkas. Jimmy looks like he hasn’t slept for a week. Rick and Jimmy are Faces and people look at them. A couple of short haired mods with unadorned Vespas and shabby parkas look at them with begrudged admiration mixed with envy but do not come too close clearly conscious of their standing.

RICK
Man, I know a couple of chicks. You’ll be in.

Jimmy turns.

JIMMY
(out of it)
No, man. I’ve never been unfaithful.

RICK
James, you gotta let her go. It’s screwing up your mind.

Jimmy is completely lost. His tears start to flow and he makes no move to hide or wipe them away. Rick stands and puts his arms round Jimmy and hugs him tight. People look but the two are totally indifferent.

Hey, man. I’m sorry. You’re on a bad trip. I’m here for you man, whenever, wherever, you need me.

Jimmy clasps Rick to him.

JIMMY
(shivering in the sun)
Don’t fake me out, man. Life is cold turkey after a trip like Julie. Forever.

Jimmy steps back from Rick to the horizontal railings behind him. He outstretches his arms and hangs on the railings, crucified in the sun.

RICK
Don’t man. You’re McGuinn. You’re Hendrix.

JIMMY
No man, they’re still flying.

INT. JIMMY’S BEDROOM – DAY

Jimmy’s Mum stops cleaning to read a handwritten epigram which Jimmy has pinned on his wall.

Close up on epigram.

countless times I called to you
and countless times you sighed.
countless times I lied to you
and countless times you cried.
only once you said we’re through
and countless times I died.

She stops cleaning and sits on his bed quietly for a while thinking. Then she shakes her head slowly, stands up and resumes her task.

INT. HOSPITAL – DAY

A policeman is sitting in the corridor outside the door to Jayne’s private room. Her head is still bandaged and she is asleep. Julie is sitting in a chair holding her hand. Jayne opens her eyes. She focuses on Julie’s face. Johns appears at the door unnoticed by Julie.

JAYNE
Julie.

JULIE
Thank God, Jayne.

Johns looks confused.

INT. PONCER’S DEN – DAY

Heavy makeup does not disguise the tart’s bruised cheek. Poncer is wearing a new suit.

PONCER
How do I look?

TART
Like a million dollars.

PONCER
Yeah? What else?

TART
Strong?

PONCER
Yeah? What else?

TART
In control.

PONCER
You’re a good girl, you know that. Poker can’t cut it. He hasn’t got the brain see. I’ll still be here, in control, long after the likes of him are gone.

TART
That’s right Poncer. Teach me to be a good girl. How you want me to be.

PONCER
Poker’s dependent on me, see. He’ll lick his wounds and come crawling back. He just had to be shown the right way. Like that stupid copper.
(shouting)
He thinks he can control me? He can threaten me?

He takes a cut-throat razor from his desk drawer, opens it and holds it up before his eyes.

(laughing maniacally)
I’ll do the bloody job myself.

INT. HOSPITAL – DAY

Julie’s radio is on Jayne’s bedside cabinet.

A policeman is sitting in the corridor outside the door to Jayne’s room. Jayne is sitting up in bed with Julie sitting next to her. Johns is looking out the window.

JULIE
That’s right, Mr. Johns. I gave Jayne’s evidence for her. When she was threatened we decided then what we’d do if anything else happened. Jayne went through every detail of her evidence. I was apprehensive at court but when you gave me her statement to refresh my memory that was the icing on the cake.

JOHNS
You know what I have to do, even though it seems wrong.

JULIE
But you’re Daddy’s friend. Do you want that man back on the street and me in prison?

JOHNS
No, but there’s a proper way to do things. Prosecuting counsel was entitled to make an application to the judge for Jayne’s evidence to be read to the jury because she was too unwell to attend and the application would probably have been granted or the trial adjourned.

JULIE
Probably just isn’t good enough. He might have been let off. Is that what you wanted?

JOHNS
No, of course not.

JULIE
And if it Jayne’s statement had been read you’d have the same result as now, wouldn’t you?

JOHNS
It’s bound to come out as soon as someone realises that Jayne was here in hospital all along.

JULIE
The newspapers made assumptions because it was Jayne’s car, but she was brought in here in my name. The hospital staff have been treating Julie. Look at her charts. She’ll get completely better. What difference does it make? Apart from the old man and Jayne, no one has been hurt. Anyway, what is your problem? The guy confessed in court.

Johns shakes his head and paces the room.

JOHNS
Jesus Christ, Julie. Was your old man in on this? No, don’t answer that.

He and Jayne look at each other and he takes in her injuries.

Alright, I’ll live with it. No, I know absolutely nothing about it.

He raises a finger.

Don’t tell your old man I know.

Julie nods. Jayne lays back to sleep. Johns’ face shows the ghost of a smile of resignation. He walks to the door.

See you around.

JULIE
Yeah. Leave the door open. It’s stuffy in here.

Johns walks away. Neither Julie nor the policeman outside Jayne’s door notices a storeroom door opposite open slightly. Close up on eyes watching Julie. Just when we think it is Poncer, we become aware it is Jimmy. He closes the storeroom door silently.

EXT. STREET – DAY

Jimmy, in a parka, is walking, hands in pockets and head down, in an empty street. He bumps into three boys in leather jackets and continues walking. Two of them are the boys from the fairground. The one who was pulled away by his friend turns and calls out.

FIRST BOY
Hey, tough guy.

Jimmy keeps walking.

How’s your girlfriend?

Jimmy stops and turns.

JIMMY
What?

FIRST BOY
You heard me.

JIMMY
Get lost.

FIRST BOY
Make me, tough guy.

SECOND BOY
(to First Boy)
Leave it. He’s just a fucking creep.

They decide to leave it. As they turn away Jimmy speaks.

JIMMY
You’d both wet your knickers if you couldn’t hold each other’s soft little hands.

The First Boy moves forward and is held back by both of his companions.

Let him go if he wants it.

SECOND BOY
You fight him, you fight all of us. Just walk away.

Jimmy shrugs his shoulders and turns away.

FIRST BOY
Coward.

Jimmy ignores him.

You’re all mouth.

Jimmy still ignores him. The boys turn away.

Go back to your tart.

At the last remark, Jimmy turns and launches himself at the group of three. They don’t have time to prepare. He poleaxes the First Boy with a punch to the head. He kicks the Second Boy between the legs. He goes down with a silent scream. Jimmy takes the Third Boy by his lapels.

THIRD BOY
I haven’t done anything. I don’t even know you.

JIMMY
Then you’d better help your girlfriends.

Jimmy lets him go and walks away. The boy turns to help his groaning friends.

INT. JAYNE’S BEDROOM – DAY

Julie’s radio is playing.

Mrs. D and Julie are gently helping Jayne into her own bed. She still has bandaging on her head and difficulty moving her legs.

JAYNE
(to Julie)
You’ve moved your bed in here?

JULIE
In case you need anything during the night.

MRS. D
I’ll bring up a hot drink and it’s time for some more of your tablets. Julie, make sure she keeps warm.

Mrs. D goes out. Jayne watches her go.

JAYNE
I don’t understand about Jimmy. What happened?

Julie sits on the bed. Her face crinkles and she sobs. Jayne tries to hold her but can’t reach. She looks like she’s going to cry too.

Julie?

JULIE
It’s over. For the rest of my life I’ll never love anyone else. Dad stopped it.

JAYNE
(crying too)
If he’d been mine, I wouldn’t have let him go.

JULIE
(her face flickers at Jayne’s comment)
What could I have done?

Mrs. D is standing in the doorway with Jayne’s drink and tablets.

INT. PRISON CELL – NIGHT

WARDER
(speaking through the hatch in the cell door)
Here’s the smokes you wanted, Billy. Sleep soundly.

BIG BILLY
I will, mate. No worries.

EXT. STREET – NIGHT

A police car drives slowly past the empty drive of Jayne’s home. There are no lights on inside. After the car has gone, Poncer emerges from a hedgerow and disappears around the side of the house.

INT. MR. & MRS. D’S BEDROOM – NIGHT

Mr. and Mrs. D are in bed asleep.

INT. UPSTAIRS LANDING – NIGHT

Poncer, his face now covered by a headscarf, emerges from the staircase and moves stealthily along the corridor in the darkness.

He opens a bedroom door.

From his point of view we see Julie’s room without her bed. Most of the room is in darkness. He begins to close the door when a light comes on behind a door further along. He ducks into Julie’s bedroom leaving the door ajar. The other door begins to open throwing light into the corridor. Mr. D comes out of his bedroom. As he walks past Julie’s room he notices the door is ajar. He looks in to face Poncer who pulls him in. Mr. D shouts and there is a terrific struggle. A porcelain ornament smashes with a deafening crash.

Mrs. D emerges from her room and turns on the landing light as Julie emerges from Jayne’s room.

MRS. D
(anxiously)
Father?

Poncer emerges slowly from Julie’s room. Mr. D is held in a stranglehold with the cut-throat razor at his throat. Stand-off.

Poncer’s headscarf has slipped down. He looks psychotic.

INT. PRISON CELL – NIGHT

Big Billy is lying awake in the dark staring at the ceiling with his head resting on his hands.

INT. UPSTAIRS LANDING – NIGHT

Silence. Then Julie speaks.

JULIE
Dad, are you alright?

Mr. D nods as much as he is able to.

PONCER
(looking at Julie)
First, I want you. You put him away.

Mrs. D instinctively clasps Julie.

MRS. D
No!

MR. D
(struggling to speak)
What do you hope to achieve?

PONCER
Don’t you know? Don’t you understand anything?

Blank faces look at him.

I had the car rigged. I did it for Big Billy but I’m doing this for me.
(smiling)
Where’s the other one?

Mrs. D spontaneously looks towards Jayne’s bedroom door.

Thank you, mother. No time to say goodbye.

MR. D
Why? What’s the point?

PONCER
Control, baby. Doesn’t it blow your mind?

He brings up the razor in a swift movement. Julie screams. Jimmy’s hand emerges from Julie’s bedroom holding Mr. D’s army Colt.

JIMMY
(emptily)
Control this, baby. Doesn’t it blow your mind?

Jimmy blows away Poncer’s head at close range. Poncer is thrown away from Mr. D who falls to the floor unhurt. There is a big mess on the wall and utter, shocked silence. Jimmy emerges, looking like death.

You should keep guns away from children, Mr. D.

INT. LIVING ROOM – NIGHT

MR. D
I never thought he could actually shoot someone. I owe him my life. What’ll happen to him?

JOHNS
Nothing. His statement says he came here to throw stones at Julie’s window to attract her attention. He heard Poncer coming, saw him slip the French windows and followed him in.

MR. D
That took some guts. I misjudged him.

JOHNS
You might have done if it were true. Jimmy broke in. He found your pistol, came upstairs, was disturbed by Poncer and hid in Julie’s room.

MR. D
But you said his statement …

JOHNS
(cutting in)
I wrote his statement. He wouldn’t say a word.

MR. D
Then he’s bloody crazy. He should be arrested and locked up.

JOHNS
On what evidence? He made his statement on your wall in blood. It served its purpose when you read it.

MR. D
You’re both bloody insane.

JOHNS
Thin line between genius and insanity. He’s certainly a bloody enigma, that boy.

MR. D
I want him kept away from my family.

JOHNS
He won’t come back. You don’t exist now. It’s over and it isn’t over.

MR. D
What do you mean?

JOHNS
For Julie, he’ll wait forever. He has to. There’ll never be anyone else.

MR. D
Let him wait. If I see him, I’ll shoot him.

JOHNS
I’m taking away the guns. All of them. Consider it an amnesty. Consider yourself lucky.

EXT. STREET – NIGHT

Dark and misty. Shoes leaves his house. We see his distinctive dark blue Italian suit trousers and hand stitched Italian shoes. He walks towards his dark blue Corvette Stingray carrying a small toolbox.

EXT. STREET – NIGHT

The Young Man who beat up Jayne is waiting on a street corner. The two Laughing Men pull up in their black car. The Young Man leans down to the First Laughing Man who is driving.

YOUNG MAN
Poncer hasn’t shown yet. What’s this all about?

FIRST LAUGHING MAN
Poker wants a meet with Shoes and us. Big Billy’s dividing up his manor. Forget Poncer. If he’s not in, he’s out.

The Young Man climbs into the back of the car which speeds off with a squeal of tyres.

INT. PRISON CELL – NIGHT

Close slowly on Big Billy lying awake in the dark. He looks at his watch.

EXT. STREET – NIGHT

Shoes gets into his car and starts the engine.

The car explodes.

EXT. STREET – NIGHT

The Laughing Men’s car is moving down an empty road.

Close on interior. The three occupants are laughing.

The car explodes.

INT. JULIE’S BEDROOM – DAY

Julie is studying. Jayne comes in. She has recovered and looks more attractive than Julie who doesn’t look up.

JAYNE
Once, when Jimmy was waiting for you, he told me that the relationship between America and ’Nam …
(smiling momentarily)
… he always called it ’Nam, was a parallel to your relationship with him.

JULIE
I told him that.

JAYNE
We talked about the difference between what America wants everyone to think is happening and what’s really happening.

JULIE
Jimmy didn’t want anyone to know how Dad’s attitude was affecting him. Don’t think I didn’t love him. I just couldn’t take the pressure anymore from both sides.

JAYNE
(starting calmly, getting angrier)
No warning. Jimmy knew exactly where he stood with Dad and so did you but you just let Dad bomb him. What surprised me was your total lack of response or resistance. Jimmy knew he was walking on the edge for you. That was his charm and I thought you loved him for it. But you never did anything to help him. You could have done something. You just ignored his needs ’cos while you had him, all you saw was the status symbol that he was to other girls. Is that what it’s like at grammar school, sacrifice everything for your own selfish ends? At my school, we learned to be real people. You know, not too bright, but we knew right from wrong. Jimmy will never see you for the one Godalmighty selfish bitch you are, Julie. You never let anyone be more important to you than yourself. I guess I got the heart and soul and you got the brains. Well, you can fucking keep them. Chris, Chris hurt me, but you, you let a life go.

JULIE
I did stand up for him.

JAYNE
Well you just didn’t try hard enough ’cos you never held on to him like I would’ve done if he’d been mine. You just, you just …
(struggling for the right words)
… fucking naped him. Was a time I was proud to be mistaken for you. I just hope that one day you find it in you to get to him before he blows his own head off ’cos he’ll never get over you.

Mr. D, standing outside the door, has heard it all. He swallows hard and turns slowly away looking introspective.

INT. POKER’S DEN – DAY

The Tart is sensibly but attractively dressed. Poker’s face shows the signs of his savage beating.

POKER
How did you get involved with Poncer? If you don’t mind me asking?

TART
Same way you did, I expect. The promise of something for nothing.

POKER
I kind of wish you’d get it over and done with. Say something about me letting Poncer beat you. That was low of me.

TART
I didn’t think for a moment that you thought I’d get beaten like that. You couldn’t have stopped it. I don’t blame you at all.

POKER
You’re a nice girl you know.

TART
(smiling)
I do know. I’m glad he’s dead. That’s wrong, isn’t it, to be glad someone’s dead?

POKER
Not if they were evil and he was evil.

TART
I can’t get over the irony of that boy shooting Poncer who thought he was so tough.

POKER
I didn’t know you knew words like irony.

TART
(smiling)
How ironic and sexist. You don’t know most things about me. How long have you known me, three years?

POKER
I don’t suppose Poncer told you anything about me?

She shakes her head.

I’m, I was, an accountant. Started off fiddling tax for Big Billy. Got more and more involved. Became the go-between for everything.

TART
What’s your real name?

POKER
John.

TART
No one ever called me by any name. They just started talking and expected me to answer. Except you, you always called me Miss.

Poker swallows.

My name is Jane. John, do you want to go for something to eat, I mean, take me somewhere?

POKER
Don’t get me wrong but …

TART
(cutting in)
He never slept with me. Poncer. We never made love. He just couldn’t do it. I mean, I never wanted to anyway, but he couldn’t. I don’t know why.

POKER
I didn’t mean …

TART
(cutting in)
John, I’m not offended, but I wasn’t offering you sex.

POKER
I’m sorry. I’m, I’ve never, I’m not used to talking personally to a lady.

TART
Do you think I’m a lady?

POKER
I’ve always thought you were a lady, Jane. I’ll never understand men who hurt women.

TART
Sometimes it’s just down to them being insecure and not knowing how much they’re already loved. It’s a lot to do with lack of confidence and irrational fear which gives them a need to control or dominate. And there’s nothing they can do about it for themselves. And the people they want most, people who love them, are driven away from them.

Poker looks at her almost reverently.

That’s a generalisation, not a complete overview. I didn’t ever love Poncer.

They sit looking at each other.

What do we do now?

POKER
Big Billy says we’re to get out. He’s given me one of the accounts. I’m to see you’re alright. He’s got new people who arranged, you know, what happened.

TART
I thought you did that.

POKER
(smiling)
Me? No, I’m too soft.

The Tart reaches out and touches his cheek.

TART
Not too soft. You took a beating for me.

Her hand remains on his cheek and he closes his eyes.

How old are you, John?

POKER
(opening his eyes)
I’d guess ten, fifteen years older than you.

TART
How are you going to see I’m alright?

POKER
Give you everything. It’s enough to go far away and buy a house. You can get a job somewhere, start a new life.

TART
What about you?

POKER
I’ll be alright. My expectations aren’t high.

TART
Am I good enough for you?

POKER
Don’t tease me. I’ve become rather used to loneliness.

TART
Am I good enough for you, John?

POKER
You’re a dream, beyond my wildest expectations. For three years I haven’t known you at all. All my assumptions …

TART
(cutting in)
And all mine, were so wrong.
(looking around the room)
Can we fall in love somewhere else?

They fall into each other’s arms.

POKER
I’m so scared that I’ll say something wrong. I’m scared of getting involved and being left alone again.

TART
If you want me to be yours then I will be, for as long as you want me. My expectations are less than you’ve already given me.

POKER
I think I love you.

TART
I love you, John. There’s a clean, happy world out there and it’s ours.

EXT. BOURNEMOUTH BEACH – DAY

Jimmy is lying face up on an empty section of beach.

A battered jeep drives onto the sand and coasts down to Jimmy. Jimmy turns his head. He sees Julie jump out.

She looks like G.I. Jane gone A.W.O.L. As Jimmy is about to speak, she puts a finger to her lips.

EXT. BOURNEMOUTH BEACH – DAY

Later. They lie exhausted and glistening in each other’s arms in the shadow of the jeep.

JULIE
Will you marry me?

JIMMY
I don’t think so. It wouldn’t work. I’d rather lose you than have us grow to hate each other. I don’t want to hurt you anymore.

JULIE
Jimmy, you’ve never hurt me.

JIMMY
I’ve hurt you mentally. If I’d not deliberately always battled your father, if I’d been more like my friend Jet and you’d been more like Jayne.

She kisses him deeply and passionately.

It’s strange. Your kisses seem more passionate now. Just when it’s all over you do everything better or is it just because it’s the last time?

JULIE
I never met Jet.

JIMMY
Yeah you did, when Nick wanted to dance with you and you said no and he wanted a fight and his little mods thought they were gonna mash me but Jet was there with Ray and Stone.

JULIE
You would have died for the old Julie, wouldn’t you? You still would. Remember when you rescued Jayne in the alleyway. Even in a brotherly way, you held her more tenderly and with more love than Chris ever did.
(a tear suddenly rolls down her cheek)
You’ve got so much heart, Jimmy.

JIMMY
Did Jayne tell you that or did it show?

JULIE
Neither. I used to look at you and Julie and envy her so much. She had you and you made everything go right. You were always there for everybody but nobody was ever there for you and it hurt me that no one could see that you hurt sometimes and I used to wish you were mine.
(tears streaming down her face)
And when you held me in the alleyway you were so fearless and your arms were so strong and you smelled so good and your chest was hard as a rock but you were so soft and gentle yet it felt like you could have stopped a bullet.

JIMMY
Oh my God, Jayne? Jayne?

JAYNE
Chris never wrote me a poem. He never dreamed impossible dreams. He was never a rebel. He never walked recklessly in the face of danger. He never did magic. He was never crazy. He was so solid and dependable and mundane and we tried to love each other for each other’s sake, out of kindness, I guess, but we couldn’t because we didn’t. If men didn’t have dreams or believe in the impossible we’d still be living in caves and dear Chris, bless him, was a caveman. Jimmy, you enter people’s lives in a way I’ve never seen anyone else do. You’re Merlin and King Arthur and Launcelot all in one and you’re who I want forever. I want you inside me, inside my life, inside my mind, inside my soul, in every way, inside me. I love you, I love you, I love you, Jimmy. I love you. I love you beyond passion, but I’m not and never will be Julie, not in any way or for any reason, so if you love Julie then walk away because I’m not a substitute. I’m real and I breathe and I bleed.

JIMMY
Whom art Thou, Nymph, of Loneliness and Longing?

JAYNE
I’m Guinevere, Morgan Le Fay and Nimue all in one and I’m your life and death and for me you are au sud de la rive gauche.

Jimmy holds her close and buries his face in her.

FADE OUT.

THE END