YOUNG SOUL REBELS
Screenplay by
Paul Hallam
Derrick Saldaan McClintock
and Isaac Julien
1 EXT. CITY - NIGHT
City silhouette. Sunset.
Main title: Young Soul Rebels
Soul sounds and punk from 1977: Parliament: 'P. Funk Wants
To Get Funked Up' and X-Ray Spex: 'Identity'.
A DJ Voice-over. He welcomes the listeners to
'Station we funk... the Mother Ship
connection... dealers of funky music and
P.funk...'
Credits over more of the DJ's upbeat patter:
'Soul Patrol on 107 FM... uncut funk
across London town...'
The DJ tells his listeners to
Come to the Crypt place/
and get some funk in your face...
before announcing a tune, The Blackbyrds: 'Rock Creek Park'.
Subtitle: London, June 1977 - the Queen's Silver Jubilee.
2 EXT. PARK - NIGHT
A blue-black summer sky. City road sounds in the distance.
The quiet is broken by a radio.
A YOUNG BLACK MAN climbs over the Park fence, moves into
the bushes. He changes station on his radio cassette
recorder, tunes into Soul Patrol.
The YOUNG BLACK MAN presses the 'Record' button. The
station DJ announces Roy Ayers: 'Running Away', a song with
an upbeat tempo yet a downbeat lyric:
We don't love each other/
like we used to do...
Running away... Running away...
You don't do the things you used to do/
Running away...
The YOUNG BLACK MAN is not alone in the Park. MEN weave
slowly through the bushes. Leaves rustle, twigs crack.
Shadows and silhouettes. The YOUNG BLACK MAN rests against
a tree. Matches are struck. The flames come and go like
fireflies. The YOUNG BLACK MAN watches the movements.
Suddenly a white hand strokes the YOUNG BLACK MAN's arm.
The WHITE MAN's voice is unnaturally quiet, edgy. It could
be seductive, it could be violent. It has a disguised
quality. The WHITE MAN reaches for the cassette player. He
tries to turn down the volume.
YOUNG BLACK MAN
That's a firm hand. What ya want? Don't
mess with the sounds, man.
WHITE MAN
Turn it down mate, draws attention. Don't
want an audience.
The YOUNG BLACK MAN holds the cassette player away from the
WHITE MAN.
WHITE MAN
Like it down 'ere, do yer? Come down 'ere
regular?
The WHITE MAN snatches again at the cassette player, turns
the radio down. The music stops but the 'Record' button is
still depressed. The WHITE MAN pulls the YOUNG BLACK MAN
towards him in a rough movement.
YOUNG BLACK MAN
Yeah, but I ain't seen you before. So
leggo ma han'... I ain't into no rough
stuff, right?
The YOUNG BLACK MAN rests the cassette player on the ground.
He kneels, starts to rub at the WHITE MAN's crotch.
WHITE MAN
Cute, aren't yer?
YOUNG BLACK MAN
So ya wanna get to know me?
WHITE MAN
Wot's yer name?
YOUNG BLACK MAN
Name? You a policeman or what?
WHITE MAN
Just being friendly, tell us yer name.
YOUNG BLACK MAN
Man, you're one stubborn white bwoy. OK -
Terry. Friends call me T.J.
They kiss, but the WHITE MAN turns violent. He grips T.J.
by the neck. There's a brief and angry struggle.
The WHITE MAN's hand grabs at the cassette recorder. The
WHITE MAN runs through the Park.
On the ground - TWO MEN making love, the WHITE MAN stumbles
over them... He drops the cassette recorder.
3 INT. GARAGE - NIGHT
The pirate radio station, hidden round the back of a broken
down car. At the back of the garage.
CHRIS, a nineteen year old light-skinned youth and CAZ,
darker skinned and a bit older, are at the turntable.
CHRIS's face is reflected in a rotating record.
The minimal lighting reveals little of the room, but the
two DJs are clearly dressed soul-style.
The last bars of 'Running Away' play. CHRIS is at the
ready. He speaks into a microphone.
CHRIS
And finally from the Players Association:
'I Like It' - out now on the Vanguard
label. This is Chris...
CAZ
And this is Caz, coming to you live on...
CHRIS and CAZ
Soul Patrol.
CAZ
East London's most exclusive P. Funk
station... reminding you to boogie down
Club 7 tomorrow...
CHRIS and CAZ
Eight till late.
CHRIS
See you there.
CAZ
Bye...
CHRIS and CAZ
And may the funk be with you!
CHRIS spins in his chair towards CAZ. They clap hands in
air, pleased the session went well.
4 EXT. CAR - NIGHT
CAZ drives to the Park. CHRIS is laid back in passenger
seat.
CAZ pulls up sharply.
The car headlamps light up a poster on the Park railings.
A punk-graphic style ad for a 'Fuck the Jubilee' concert.
CAZ
You going to the concert?
CHRIS
Oh leave it out. The only music they're
into is the 'livin-in-a-Babylon-me-no-
have-no-nice-time' music.
CAZ smiles at the exaggerated Jamaican accent.
CHRIS relaxes, takes out a spliff.
CAZ
FUNK the Jubilee, now dat would be our
event!
CHRIS
That's right. This is for punks an'
hippies. So why are we stoppin?
CAZ
I thought I might get a bit of air...
CHRIS
Likely story... I'll see myself home
then... You are ba... ad!
CHRIS draws on the spliff. Then hands it to CAZ.
5 EXT. PARK - NIGHT
MURDERER'S Point of View (POV)
CHRIS climbs out of the car, CAZ follows.
CHRIS heads off towards the estate.
CAZ walks into the Park. Like T.J. before him, he climbs over
the fence.
6 INT. BARBERSHOP - DAY
A small and intimate barbershop, like someone's front room.
Images of famous black men on the wall - Muhammad Ali,
Martin Luther King - a hall of fame mixed in with the usual
barbershop postcards and framed certificates.
A MIDDLE-AGED BLACK MAN and TWO BOYS wait their turn.
The BARBER cuts CHRIS's hair.
CAZ is in the background. He flicks through a soul magazine.
The cover: Britain's Soul Scene: The Good, The Bad and the
Plastic!
CHRIS
Hey, me can show you how to do a duck's arse.
BARBER
Look man. I do the best duck's arse in Dalston!
The BOYS fall about laughing at the mention of 'duck's
arse'.
CAZ calls across to the BARBER.
CAZ
Mr Lloyd, can I turn up the juice?
BARBER
Ah, go on, man.
As CAZ turns up the stereo, the BARBER holds a mirror to
show CHRIS the cut at the back.
BARBER
Have a look...
CHRIS
Yeah, man, you're not bad at all...
BARBER
Blessed cheek!
An OLDER BLACK MAN walks into the barbershop. He speaks
quietly and soberly so that the BOYS don't hear.
OLDER MAN
See dem kill a black bwoy in the Park las'
night?
MIDDLE-AGED MAN
What d'you say?
OLDER MAN
They kill a bwoy in the Park las' night.
Man called James, Terry James.
CHRIS turns in the chair, shocked at the news.
CAZ walks out of the barbershop as another MAN enters.
7 EXT.STREET - DAY
CAZ walks to his car, he leans on the roof.
He climbs into the driving seat.
He rests his head on the steering wheel.
Rain pours down the windscreen.
CHRIS joins him in the car.
CAZ
I know it ain't right, but I keep
thinking it could've been me, ya know?
CHRIS
How dyer know it was roun' that bit of
the park?
CAZ
Why else would T.J. be in the park for
fuck's sake?
CHRIS
I didn't mean it like that. Caz. Christ,
I knew 'im as well yer know.
CAZ
T.J. Chris... T.J....
CHRIS
Yeah... T.J.... Fuck...
CAZ
Ain't 'aving it Chris. It ain't real. Not
T.J.
CHRIS
The man says the filth 'ave been swarmin'
roun' the estate this morning' - askin'
questions. You didn't see 'im?
CAZ
Not last night. There was 'ardly anyone
there. I thought it was quiet...
8 INT. UNDERGROUND CAR-PARK - DAY
CAZ drives into the car-park.
CHRIS climbs out the passenger door.
He walks round to the driver's side. The window is wound
down. CAZ stays in the car.
CHRIS
So yer definitely not gonna come wiv us?
It doesn't 'ave to be today...
CAZ
I ain't stoppin' ya.
CHRIS
Caz, we've got to get some steady money
in, mate. An' I've got to get my Mum off
my back. D'yer know what I mean?
CAZ nods.
CAZ
Just send me yer autograph when ya sign
up wiv Metro.
CHRIS
Look Caz, I can't stop livin' my life coz
he's dead, can I?
CAZ
Rest it, Chris. I'll see ya later.
CHRIS
Where yer going?
CAZ makes some effort to pull himself round.
CAZ
I'm gonna go down and see Roland 'bout
some crisp new tunes. You wait... I'll
make tonight so damn funky even the white
boys'll shake a leg!
CHRIS
Some 'ope. An' I thought I was the
dreamer.
CAZ
Ow d'ya mean?
CHRIS
Comin' to Metro for employment!
Both smile. CHRIS rests his hand briefly on CAZ's shoulder.
He heads off. CAZ drives towards the Exit.
9 INT. METRO RADIO - DAY
An imposing foyer, tall walls, elegant.
CHRIS steels himself to go through.
Working against the elegance of the foyer there is an
extraordinary display of Jubilee tat. A vast crown with
lights and a fountain dominates the foyer.
And on the staircase that leads off the foyer there's a
cardboard cut-out of the Queen, complete with mechanical
waving arm.
CHRIS's colour and soul style stand out at Metro. There's a
compensatory cockiness to his step. He passes the SECURITY
GUARDS to speak to JILL, the young white receptionist.
CHRIS
Hi!
JILL
Hello, can I help you?
CHRIS
'ope so. I'm 'ere to see Jeff. Jeff Kane,
Soul Show.
CHRIS
Is he expecting you?
CHRIS
Yeah, he said to pass by. Me and 'im are
good mates.
JILL knows he's blagging. That view is confirmed when JEFF
KANE passes through the foyer, acknowledging only herself.
JEFF KANE
Hello, Jill.
JEFF makes to leave. CHRIS looks at JILL... she nods...
CHRIS pursues JEFF.
CHRIS
Jeff Kane? Hi, Jeff. My name's Chris,
Chris Morgan. I'm a big fan of your show,
man... I wanted to talk to you about the
station's plans...'cos me and my partner
Caz, we'd like...
JEFF pats CHRIS's shoulder.
JEFF KANE
Thanks. Glad you like the show. It's good
to meet listeners.
JEFF KANE wanders away. CHRIS catches at him.
CHRIS
I ain't just a listener... We're DJs... We
run a club, we'd like to get more into
radio, yer know?
JEFF KANE
Club DJs, radio DJs... not the same
thing. Do you know how many listeners
think they'd make DJs? Come on...
JEFF gestures for CHRIS to follow him.
CHRIS
But we're good. Anyway, you still play
clubs, don't ya?
JEFF KANE
Less now. A few weeks ago I was booked at
some goddam club in Essex. They start
giving me this ten-per-cent black-entry
crap, otherwise, they say, their regulars
are gonna cause some trouble. I told them
to sit on it.
JEFF gestures, CHRIS laughs.
CHRIS
But bout us being on the radio...
JEFF KANE
Send in a tape. Make it quality. Try Tony
Cortin first, then keep hammering on his
door. But I'll tell you something... an
hour of soul a week is an hour too much
for some. We got these patriotic
listeners out there, and they always ring.
CHRIS
I thought your show was doing well?
JEFF KANE
It's doing great. That's what they can't
handle. But let me ask you something...
As JEFF speaks, a young black woman (TRACY) comes down the
stairs towards them.
JEFF KANE
... Do you play music for yourself - to
party - or for the listeners?
CHRIS
I didn't say at first, but me and my mate
Caz, we don't just do a club... we run a
station ourselves.
CHRIS takes TRACY in.
JEFF KANE
Okay, okay. You're serious.
TRACY
Tony's screaming for you upstairs.
JEFF KANE
I gotta run. Send in that tape and keep
complaining!
JEFF holds up a clenched fist.
JEFF KANE
Be down in twenty minutes if you want to
talk some more.
CHRIS
Thanks... Yeah...
CHRIS and TRACY smile at each other. JEFF hurries up the
stairs. CHRIS watches as TRACY follows.
10 EXT. PARK - DAY
A FORENSICS MAN investigates the scene of the murder. He
hands a bag of potential evidence to a POLICEMAN. Police
radio sounds in the background.
The area around the scene of the murder has been cordoned
off with tape.
CAZ walks into the Park, carrying a Contempo Records
carrier bag.
The POLICE continue their work, they dismantle a cloth
screen.
Two MIDDLE-AGED BLACK WOMEN walk towards the scene of the
murder.
A POLICEMAN lifts the tape to allow the WOMEN to duck under.
They lay wreaths by the tree where T.J. was killed.
The WOMEN cry.
A POLICEMAN eyes CAZ suspiciously. CAZ catches the glance.
11 INT. METRO RADIO - LATER IN THE DAY
TRACY walks down the stairs towards CHRIS.
TRACY
I've seen you before... Maunkberry's.
CHRIS
No, Global Village. Lacy's? Gullivers
maybe? Or is it Saturday lunchtime down
the 100? I've seen you somewhere, I know
it.
TRACY nods.
TRACY
So what are you doing down here, apart
from harassing poor Jeff and making
Security nervous? Most DJs run a mile
when a fan turns up... Jeff's fighting to
keep the Soul Show running and along
comes you saying you want your own soul
show. I think he was pretty polite
considering...
CHRIS ducks back, as if fending off the blows.
CHRIS
Okay, cool... I'll split, yeah? Listen,
'ow did you get to work for him anyhow?
TRACY
I don't. I wouldn't mind. I'm on the 'In
Town Tonight' show - PA to the producer.
CHRIS
The 'In Town Tonight' show?
CHRIS unfolds a piece of paper from his pocket.
CHRIS
I'll tell you what's in town -- where
those in the know go - those who tune
into Radio Soul Patrol!
TRACY chuckles.
TRACY
Soul Patrol?
CHRIS
107 FM. It's badly funky! I'll leave your
name at the door.
TRACY
Oh...
CHRIS has performed the patter and chat-up line, now he
makes to go. TRACY calls him back.
TRACY
You'll leave a name at the door?
CHRIS
Yeah, sure!
TRACY
Well, what is it?
CHRIS
Shame!
TRACY
Tracy! Plus one... !
CHRIS smiles. He and TRACY part, CHRIS breezes past the
SECURITY GUARDS.
12 EXT. PARK - DAY
CHRIS walks across the Park. He keeps to the paths. There
is an unease about him. The Park, the scene of the murder,
now the site of everyday park pleasures. A JOGGER pounds
past CHRIS, startling him.
CHRIS passes a POLICEMAN.
CHRIS finds his nine year old sister, TRISH. She's with two
of her FRIENDS. They're some way from where the murder took
place. A quick hug for CHRIS from TRISH. She and her
friends seem pleased to be talking to a 'big boy'. TRISH
jumps to touch the new haircut.
TRISH
Watcha, baldie!
CHRIS
Alright, Trish? What yer doin' round 'ere?
TRISH
Police wouldn't let us play over there.
Bloke got killed.
CHRIS
Yeah. I know.
TRISH turns to her FRIENDS.
TRISH
My bruwa's a soul boy, and I'm a soul
girl.
TRISH breaks into her soul girl routine. She has obviously
practised. She half-hums, half-sings as she dances. They
sing and dance to El Coco: 'Let's Get It Together'.
TRISH stops the dance and takes CHRIS to one side.
TRISH
Will yer show us the formation dance? I
wanna show my mates, but it's too 'ard. I
can't rememba it.
CHRIS
One dance yeah? An' that's it. Mum'll
kill me, lettin' you 'ang about 'ere.
Ready? One...two...three... four...
The three girls fall into line as CHRIS turns, kicks and
steps. Neat, precise movements. The girls are good.
The actual song over the girls' legs as they do a formation
soul dance step. Finally TRISH breaks off, runs to the
nearby bushes.
TRISH
Got something to show yer.
She picks up a battered radio cassette recorder, T.J.'s.
Left in the murderer's panic.
CHRIS
One... two. ..three...four...
TRISH holds the cassette player for CHRIS to see.
TRISH
Shame this is broke.
CHRIS looks it over. Unimpressed.
CHRIS
Where d' ya get that?
TRISH
Found it... Can yer sell it for us?
CHRIS
Dunno... it looks well broke.
TRISH
Please.
CHRIS
Alright, I'll check it. Come on girls...
They move to leave the Park.
13 EXT. BACKSTREET - DAY
CHRIS, carrying the cassette player, is followed by TRISH
and the girls. They're still dancing to 'Let's Get It
Together'.
CHRIS
Listen Trish, I'll see ya back at the yard.
Yer dinner'll be ready...
The GIRLS dance away. CHRIS walks on alone. He passes a
National Front slogan, painted on a railway arch wall.
CHRIS bangs his fist hard against the wall.
The MURDERER (seen only from the back) watches as CHRIS
ducks under the bridge... walks on...
14 INT. GARAGE - DAY
The garage, site of the night-time pirate radio, now seen
more fully in the daytime. A large room, a certain grandeur
to it. It's almost a shrine to reggae/roots/rasta. Red,
green, gold... in clothes, on album covers and posters.
There's a boxing punch-bag suspended from the ceiling and a
rough and ready shower area.
A battery of homemade speakers, loose wires, valves and a
throbbing sound - reggae.
CARLTON, Caz's brother, works on an engine in the middle of
the room, his overalls dirty with grease.
As CHRIS enters, DAVIS, a young black man, wraps a small
parcel. He pulls out a betting slip to do the job. His
customer is a young, white punk, later identified as
BILLIBUDD.
BILLIBUDD
Yeah, nice gaff you got 'ere... You got
any wiz?
DAVIS
No suh! We don deal in chemicals.
BILLIBUDD watches as CHRIS crosses from CARLTON to DAVIS,
touching hands in greeting. CHRIS waits for BILLIBUDD to
leave before speaking.
CHRIS
You 'eard about the murder in the Park?
DAVIS kisses his teeth. He clearly doesn't want to talk
about it. CHRIS glances at BILLIBUDD.
CHRIS
Look, it's Johnny Rotten...
BILLIBUDD leaves the garage.
CHRIS
Gimme a three pound draw.
DAVIS pulls out a plastic bag full of weed from his jacket,
and another betting slip. He sprinkles a cluster of weed
onto the slip before folding it up and handing it to CHRIS.
CHRIS takes it in one hand, puts it to his nose and smells
it. With the other hand he pays over three pound notes.
CARLTON
Go easy on the draw ya know Chris, min'
it don' lick aff ye 'ead!
DAVIS takes out the packet of drugs.
DAVIS
Hold on a minute, don' be in no haste.
DAVIS hands the weed to CHRIS and takes the money.
CHRIS
Any sign of Caz?
CARLTON
Only see dat brudda o' mine when 'e wants
something...
CHRIS tests the cassette recorder from the park. It seems
to be broken. He flips out the tape and crosses to the
garage tapedeck.
He takes out the reggae tape, plays the tape from the park.
He's excited to find the tape is of his and Caz's Soul
Patrol station.
On the tape: Roy Ayers: 'Running Away'.
CHRIS
You hear that man! Soul Patrol!
DAVIS
Tek aff dat pretty bwoy music, man. Unna
Soul bwoy! Ye wanna fling aff dem earring
an' tune into the roots man, ye no see?
CHRIS
Bwoy, rest yerself. You're only into the
roots 'cos you can't dance!
Everyone laughs.
DAVIS
How you mean?!
The laughter increases as DAVIS turns up the cassette and
dances to the music. It's a fast and furious dance, a
satire on the Soul Boy style. DAVIS gets wilder in the
parody, he's ready to end with a spot spin...
DAVIS
Shuck!
The spin stops halfway...
TWO UNIFORMED POLICEMEN and a CID MAN walk in on them.
The CID MAN switches the cassette player off.
CARLTON
Hey!
CHRIS
Oi, oi... leave the tunes ..
CARLTON
Who ask you for come in here?
They ignore the question. The UNIFORMED POLICEMEN rifle the
shelves in the garage, knock things about, upturn boxes,
twist aerials and topple spare parts for cars.
CID MAN
Whose premises?
CARLTON
Mine. So what ya sayin?
CID MAN
Terrence James. Friend of yours, wasn't
he? He's been murdered.
CARLTON
We heard. So what ya gettin' at?
CID MAN
Anywhere near the Park last night?
Dealing were you?
CARLTON
What kind of fuckeries you talkin' about?
CID MAN
Well since he was supposed to be your
mate, thought you might have some ideas
about it.
DAVIS
Since when you interested in our ideas
eh? Eh? But as you say you is why don't
you go and check your skinhead friends
first?
CHRIS
(to DAVIS)
True. Since when Babylon cared inna black
man murder?
CID MAN
You said it son. Let's go.
The CID Man and the POLICEMEN leave as abruptly as they
arrived.
CARLTON punches the punch-bag in anger.
15 INT. CHRIS'S BEDROOM - DAY
CAZ is stretched out on Chris's bed. He looks intense,
absorbed. He swigs whisky from a bottle.
Jean Carn: 'Don't Let It Go To Your Head' on the stereo.
CHRIS comes in.
CHRIS
Last place I thought I'd find you!
CAZ
Ya Mum let me in.
CHRIS sits down beside him, notices the half-empty bottle,
but says nothing about it.
CHRIS
Filth were round the garage. Makin'
enquiries an' generally kickin' the place
in. An' your bruwa wants us out. Come to
think about it, it's not safe now anyway.
CHRIS picks up the Contempo record bag. Tips it up, looks
through the records.
CHRIS
Great, yer got them new tunes.
CAZ
Yeah... So what time you on Metro then?
Wiv you gone so long, took it they'd
given you a programme on the spot.
CHRIS
Look, it was a waste of time, jus' like
you said. I spoke to Jeff Kane though...
Great, you got the new Slave...
CAZ
Mnnn... mnnn...
CHRIS
Look, I made myself look a right wally.
Does that satisfy yer?
CAZ
You actually met Jeff Kane?
CHRIS
Yeah, the man 'imself. Hey, is that the
new Benson?
CAZ
Yeah, yeah. What'd he say?
CHRIS
He said an hour a week of soul is an hour
too much for some - for a starter. Lots
of people go and see him, not so many
pirates though, Tracy was sayin'... Donna
Summer?!
CAZ
The very latest. I 'ad to fight 'alf the
gay disco DJs to get that one. So who is
Tracy?
CHRIS selects a record to play. He looks at one of the new
ones, it's in a blank, white sleeve.
CHRIS
Ow come there's nothin' on this label?
CAZ
That's a rejects, ain't it? All the big
labels are binning the records now -
well, they can't get the black bands on
tele, so they can't be bothered to
promote 'em.
CHRIS
As if they try though.
CHRIS half-dances to the new record. He still has some of
the others in his hand.
CHRIS
... So what else 'ave we? Right, you got
the new Parliament, what about the Philly
stuff?
CAZ
I can't keep shelling out, can I Chris?
We're gonna have to get some
advertisin'...
CHRIS
Tried that before. What we need is new
listeners, a bigger radius.
CAZ
Yeah, betta aerial, it's the only way.
I'll 'ave a word wiv Ken.
CHRIS
Oh yeah? An' 'ow we gonna pay for that?
CAZ rubs his hands together.
CAZ
'Ave to sell my body!
CHRIS
Yeah, I can see you down the Dilly, wiv
yer 'Sex' trousers!
16 EXT. ESTATE - DAY
A MAN and a WOMAN unfurl a large Union Jack.
They drape it over the railings of a second-floor outside
balcony. The beginnings or the estate courtyard's Jubilee
decoration.
17 INT. CHRIS'S BEDROOM - LATER IN THE DAY
CHRIS searches for a cassette. CAZ is seated on the bed
absorbed in a 'Black Music' magazine.
CHRIS
Is that where it is, in the box?
CAZ
Mnn... yup... yup...
ANN, Chris's mother, a white woman in her thirties, puts
her head round the door. She looks to be halfway through
getting ready for a night out.
ANN
'Lo Caz.
CAZ
Hello, Ann.
ANN looks to CHRIS.
ANN
So 'ow did yer get on?
CHRIS
Forget it, Mum.
ANN
Well yer went, didn't yer? What did he
apply for Caz?
CHRIS
Look Mum, yer don't exactly apply. Like I
said, can you forget it please? It's a
joke tryin' there, ain't it Caz?
CAZ refuses to be drawn.
ANN
Oh yeah, an' it ain't a joke playing at
bloody pirates? Chris, when are you gonna
bring some respectable money into this
house?
CHRIS silently mimics her, it's a speech he's heard before.
ANN
I'm absolutely sick of it... Anyway, get
off yer backside and take Trish round to
Caz's Mum's. I don't want her out on her
own.
CHRIS
You out on the town again? Aren't yer
gettin a bit past it?
ANN
You cheeky bastard!
CHRIS
Can't argue wiv that, can I?
ANN grabs CHRIS by the ear.
ANN
You ain't too big for a clip round the
ear, you know Chris. You got one of them
funny cigarettes for me?
CHRIS
Mums don't smoke weed!
ANN
They smoke it if they pay for it.
ANN smacks the side of CHRIS's head.
ANN
An' if you touch my catalogue money
again...
CHRIS
Alright Mum, alright! There yer go.
CHRIS passes her a spliff.
CAZ
I'll run Trish over to Mum's for you.
ANN sits and leans towards CAZ.
ANN
Thanks Caz.... I didn't say anything
earlier. Well, what can yer say? I'm
sorry about Terry. Friend of yours,
wasn't he?
CAZ
Just knew him around. Not close. But
thanks anyway Ann. Is Trish ready?
ANN
Yeah. Don' say nuffin to her, will yer?
Bout the park. She knows somebody's dead,
but I think that's all she knows. Ow you
s'posed to explain it to a kid? Can't
even explain the bastards to meself.
CAZ
I know.
ANN
It's only a week since Shuresh's sister
got attacked.
TRISH shouts from the hall.
TRISH
Mum. I'm ready.
CAZ
Yeah. Anyhow, gotta go home and get
changed. Gotta get sexy for tonight!
CAZ leaves. ANN slaps CHRIS's leg to demand attention. She
holds up the spliff for him to light.
18 EXT. REDBRICK ESTATE - EARLY EVENING
SPARKY, a white boy, heavily tattooed, wearing full skinhead
gear, hangs round the estate. Paint smears on his clothes
and a spray can jutting from his pocket.
To get to the car, CAZ and TRISH have to pass him.
SPARKY
Oi, soulhead, where's yer boyfr... oops,
children present, where's yer friend
then?
CAZ
Don't change, do ya Sparky? Always was a
little slimebag at school, now you're a
bigger one.
SPARKY
My feelings is really hurt now Caz...
CAZ opens the car door for TRISH to get in. He turns
directly to SPARKY.
CAZ
Yeah, well be thankful it's only yer
feelings.
19 INT. CHRIS's FLAT - EVENING
Eddie Henderson:'Say You Will' on the stereo.
CHRIS is stretched out, trying to push himself into a pair
of tight, black leather trousers. He tugs the zip. They're
at least two sizes too small.
Later: CHRIS has changed his mind... he zips up red leather
trousers. He's happier with the effect.
He pulls on tight cowboy boots, but decides against...
20 EXT. ESTATE COURTYARD - EVENING
CAZ, in a fresh outfit, returns from dropping TRISH off.
SPARKY has been joined by two mates, BIGGS and KELLY. KELLY
is a mixed-race skinhead.
As CAZ's car pulls into the courtyard the gang hover round,
half-blocking CAZ's way.
BIGGS
Wot you up to these days, Caz? We 'eard
something bout some poncy little radio
for all yer little soulboys.
As BIGGSY speaks, KEN, a handsome if slightly going-to-seed
man, aged about thirty, appears in the shed area, in the
background.
CAZ
Secret list'ner Biggsy? You used to be
into it, didn't ya?
BIGGS
Oi, you wanna watch yerself, soulie.
Uwerwise yer might find yerself arrested
for one fing or the other..
CAZ notices KEN and moves to speak to him. Away from the
gang.
CAZ
You got a minute Ken? Wanted a word...
That mixer ya got us.
KEN
Yeah, what about it?
CAZ
It's duff...
KEN
Oh, yer jokin? Look, tell yer what. I'll
come and 'ave a look at it. If I can't
fix it I'll find yer something else.
Something better this time.
CAZ
Cheap! I ain't linin' yer pockets again,
Ken. Specially if ya spending it on
shirts like that!... Sad.
CAZ touches KEN's shirt with a gesture of distaste.
CAZ
Nah... forget the mixer. I'm afta a betta
aerial, bigger radius. An A.H.?
KEN
I'll see what I can do for yer...
21 INT. CHRIS's FLAT - NIGHT
On the stereo the end of Eddie Henderson: 'Say You Will'.
CHRIS dances to the music, he's still getting ready.
CAZ appears at the doorway. Unnoticed he watches CHRIS
dance.
CAZ enjoys the sight of CHRIS changing, the successive
revealing and concealing of flesh as CHRIS tries to settle
on a shirt.
CAZ
You're getting thinner...
CHRIS
Yeah, it's all the 'ard work.
CAZ
I've noticed...
CAZ nods approval at the final selection of shirt. CHRIS
checks out his overall look in the mirror. He's satisfied.
22 EXT. ESTATE BALCONY (overlooking courtyard) - NIGHT
CAZ and CHRIS haul records out onto the balcony. They stop
to briefly hug. Part of the building up for the night.
They're off...
23 EXT. ESTATE COURTYARD - NIGHT
But as CAZ and CHRIS head for the car, the gang is again in
evidence. BIGGSY is perched on Caz's car bonnet.
CHRIS hits BIGGSY with a record case.
CHRIS
Hey, off the metallic...
BIGGSY slides off the bonnet, KELLY plays suggestively with
the car aerial.
KELLY
Wanna play wiv yer aerial!
CHRIS hits KELLY with the record case.
KELLY
Oi, watch the cloth, moth!
CHRIS
Piss off!
SPARKY intervenes.
SPARKY
Bit wound up, aren't we? Wot you need is
a party, Chris. Comin' to our little
Jubilee get togewer? You could wear your
white suit, an' I'll wear mine...
CHRIS speaks in mock East End white...
CHRIS
Thought that was your style Sparky, my
son. A big hood to hide yer ugly face, an'
slits for yer nasty little eyes.
CHRIS has to push his way to the car, knocking BIGGSY aside.
BIGGS
Oh steady, rocky...
CHRIS joins CAZ in the car.
CHRIS
Give us a lug of that... nice...
CAZ hands a spliff to CHRIS.
24 INT. CAR - NIGHT
As CAZ pulls out of the estate, the gang make various
obscene, trouser-drop style gestures.
CAZ reverses sharply to make them jump out of the way. CAZ
remains cool throughout. CAZ puts a tape on the car
cassette. The Blackbyrds: 'Time Is Moving On'.
CHRIS
You don't think they 'ad anything to do
wiv the murder?
CAZ
Leave it out, just the usual windin' us
up.
CHRIS isn't totally convinced.
CHRIS
Yer neva can tell wiv Biggsy's lot.
CAZ
No, but if'e has had anything to do wiv
it, I'll break his fucking neck.
CHRIS
I didn't tell ya, did I? I had a word wiv
Ken about the A.H. He's on the case.
They slap hands, back to the mood of anticipation...
25 INT. THE CRYPT - NIGHT
A club in the crypt of a church. The odd tomb and engraved
stone plaque remains, and the arches allow for small,
disparate groups to appear in, then disappear from view.
It's a young, mixed crowd, 50% black, 50% white. Mixed gay
and straight, male and female, punk and soul. Most of the
white crowd are punks. The punks stand round the edges like
clumps of decaying flowers.
CAZ and CHRIS move towards a raised altar-like platform.
Two female PUNK DJs are behind the decks, playing X-Ray
Spex: 'Oh Bondage Up Yours', a strong punk dance number:
Punks pogo furiously on the dance-floor.
There is a bit of banter between CHRIS, CAZ and the punk
DJs as CAZ sets up a second table, ready to fadeout the
X-Ray Spex. CHRIS digs through his record collection. He
selects The Players Association: 'I Like It?'
CHRIS
This is Chris...
CAZ
And this is Caz.
CHRIS and CAZ
Soul Patrol.
CHRIS
You like it, 'I Like It' ...
CAZ
Players Association.
The Players Association: 'I Like It' draws the soul crowd
from behind the stone pillars to the dance-floor. Some of
the punks move away, others shift into the soul-dancing,
an altogether more engaged and stylish dance.
As the record continues, the floor fills. The dancing is
close. The unique and extraordinary mix of the seventies'
soul clubs emerges - girls dance with girls, boys with
boys, girls with boys, punk with soul, black with white...
A long, held view of the dance.
CHRIS and CAZ touch hands as they see the crowd get down.
They're at their closest in creating the club atmosphere.
People join in and add to the music - with whistles,
tambourines and shouted 'whoop/whoop' sounds.
TRACY and JILL from Metro Radio arrive, unseen by Chris.
They stand at the edge of the dancefloor. TRACY looks a
little out of place here, her South Molton Street style
too upmarket for this crowd. She is a bit older, a bit
classier, less street.
JILL might be the right class, but her clothes are markedly
high-street. She openly stares at the clubgoers, it's clear
she hasn't been to a club like it. JILL and TRACY knock
back their fist drinks. JILL, in for a penny attitude,
pulls TRACY to the dancefloor.
CHRIS sees the two women making their way through the
dancers, finding a space. TRACY edges their dance towards
the DJ rostrum. Towards CHRIS. CHRIS goes down to meet
them, without saying a word to CAZ.
He dances alone at first, he's a good, vain, self-absorbed
dancer. He dances alone till he knows TRACY'S attention is
firmly on him. He then breaks the pose and steers himself
close...
CAZ watches as the trio of CHRIS, JILL and TRACY forms.
CHRIS looks across to CAZ at the deck, breaks from the
dance. TRACY continues to dance with JILL, but watches as
CHRIS rejoins CAZ at the deck. CAZ and TRACY exchange looks.
JILL is distracted by styles and colours, ears pierced with
multiple ear-rings, 'granny shoes', tight jeans, baggy
trousers tightened at the ankles, plastic sandals, cowboy
boots, pointed shoes, collarless shirts, ripped fish-net
stockings, jackets made out of plastic bags, maxi-skirts,
mini-skirts... and that's just the soul crowd! A PUNK then
catches her attention, he wears a pair of Union Jack briefs
tacked to his jacket. He notices as she laughs.
TRACY tries to smile at CHRIS, but CAZ is in the way, and
when he's with CAZ, CHRIS seems to be avoiding her.
A BLACK BOY, his hair dyed blond, wearing a very thick,
purple mohair jumper, dances up to TRACY. She accepts the
unspoken invitation to dance. Though the dance involves
holding hands, there is a distance between them. JILL jumps
around with THE UNDERPANT PUNK, sending him and his dance
style up...
The pattern on the dancefloor changes. People form two
circles. In the first - two black boys and a white boy. In
the second - a black boy and black girl. We lose sight of
JILL and TRACY. CHRIS and CAZ sort through their records,
CHRIS keeps an eye open for TRACY. It's a while before he
speaks.
CHRIS
Did ya see that girl?
CAZ
What girl?
CHRIS
The one I was dancin' with. Tracy.
CAZ
Oh.
CHRIS
She's the one I was tellin' ya about...
works at Metro.
CAZ
She's well out of your league. What ya
ask her down 'ere for?
CHRIS
Do I object to your friends comin' down 'ere?
CAZ
Na. Nice to be liberated, ain't it?
CHRIS
Look Caz, I didn't mean it like that.
Hey... What ya sayin'?
CAZ
Rum and coke, large!
CAZ fades out The Players Association, fades in: Funkadelic:
'One Nation Under A Groove'.
CHRIS leaves CAZ at the turntable. CHRIS pushes through the
dancers, disappointed not to see TRACY. Quite close to the
DJ platform there's a small group of PUNKS. BILLIBUDD, the
punk who tried to score at the garage, is one of them.
BILLI has his eyes fixed on CAZ. CAZ notices the cruisy
stare and smiles.
CHRIS sees JILL and the PUNK, he laughs as she interrogates
the soft-spoken, middle-class, art-school boy. JILL knocks
back the drink. She nods at CHRIS but her attention is on
the two men behind him - the men are kissing.
CHRIS finds TRACY. She's talking to the PUNK DJs. He
hovers, waiting for a chance to speak to her alone. KEN,
the equipment dealer, bumps into CHRIS. KEN looks out of
place in the club, he's more an East End pub disco type. He
manages to slop beer onto CHRIS's shirt in the crush near
the makeshift bar.
CHRIS
Shit. Ken! Watch it wiv the drink...
TRACY notices the drink incident.
KEN
Sorry... Sorry... Thought I'd come and
check the club... spoke to Caz 'bout the
aerial today... I'm working on it. Look,
let me get you a drink...
CHRIS
No. No, Ken... No...
KEN
What, yer busy ?
CHRIS
Yeah... Yeah...
CHRIS is clearly annoyed about the shirt, and he wants to
be on his own with TRACY. KEN gets the message and leaves.
CHRIS turns to face TRACY.
CHRIS
I'm getting 'em in. Tracy. Do you want a
drink?
TRACY holds up her full glass.
TRACY
I've got one thanks... It's a bit mad in
here, nice though!
CHRIS
Yeah, listen Tracy, gimme a shout before
you leave, yeah?
TRACY
You're not going to join us?
CHRIS
I'm gettin' one in for Caz. I'll see you
afta, yeah?
CHRIS smiles and leaves, pushing through to the bar.
Everybody knows him. He turns down the gestured 'Let's
dance' from two guys doing the bump at the edge of the
dancefloor.
DISSOLVE: To much later in the evening.
JILL and TRACY are well plastered. JILL tries to avoid the
now rather pressing attentions of the PUNK.
JILL
Stop it...
She steers TRACY into a quiet corridor, away from the
dancefloor.
TRACY
What are you like?... So what do you
think of the Crypt then Jill?
JILL
It's good. I've never been to a
coloured... a black club before. Not to
mention one wiv blokes kissin' in it.
TRACY
It's only fashion, Jill...
JILL
Nah?
TRACY
I'm only kidding... !
JILL laughs.
JILL
You know what Trace, when you first
started at Metro I thought you was a bit
of a snob... but we've 'ad a good laugh,
ain't we?
CHRIS, seeking TRACY out, interrupts.
CHRIS
Tracy, Tracy..... So what you hidin' from,
eh?
JILL
A punk in red, white and blue underpants!
CHRIS
My God, you 'ad his trousers off?
JILL
No! They was on the back of his jacket!
They move back towards the dancefloor, laughing. But CHRIS
clearly wants to talk to TRACY, JILL is a bit in the way.
She registers the fact.
JILL
God, I can see when I'm not wanted.
A PUNK places his arm round JILL's neck.
PUNK
Oi, get dancing!
They move into the dance.
Later: CHRIS and TRACY in mid-conversation.
TRACY
... I don't know... I want to extend
it to clubs. What's really happening.
They've got no idea at Metro. The
programme is dead.
CHRIS
Yeah... so what you suggestin' then?
TRACY
I'm suggesting that you make up a tape,
and leave the introductions to me.
CHRIS
Are you serious?
TRACY
I'm sick of being a PA I want to make
some changes Chris. Are you interested?
CHRIS
Yeah, you bet!
CUT TO:
LATER IN THE EVENING. CHRIS at the decks. JILL and TRACY
dancing together, JILL getting a bit out of order,
enjoying herself hugely.
CAZ is by the bar. He talks to IRVINE, a young black man.
IRVINE is dressed in red, skin-tight jeans with see-through
plastic pockets and a bright green top. In spite of being
very much dressed for the club, he's visibly low.
As they talk KEN passes by. CAZ ignores him.
CAZ
It's jus' the thought of T.J. lyin'
there... That boy could really dance...
IRVINE
Don't think about it, girl, don't do no
good!
CAZ laughs at the 'girl'. He looks over to a fairly quiet
dancefloor, then up to CHRIS. CHRIS catches the look.
CUT TO:
CHRIS changing the record to the fast and funky sound of
War: 'Me and My Baby Brother'.
A line of dancers, predominantly black, forms. They bump
with shoulders, hands, hips, groins - the speakers
tremble.
CAZ and IRVINE join the dance. They give the dance
everything they've got... an undefeated, controlled yet
wild dance.
26 EXT. GRAVEYARD/STREET BY CLUB - NIGHT
CAZ and CHRIS carry record cases through the churchyard to
the nearby sidestreet. They pass TWO PUNK WOMEN kissing.
Jill's UNDERPANT PUNK sits looking startling and miserable
on a tombstone. Most of the club crowd have gone. They're
still half dancing as they pack up for the night.
CHRIS
Now that was... Soul Patrol... Soul
Patrol ...
CAZ
That was a cool night.
CHRIS
Yeah... Listen Caz. I wanna make a tape
up, somebody asked me.
CAZ
So what you up to now Chris?
CHRIS
Nothin'... Jus' need a few of the records.
Some of the imports. I'll get the last
lot...
CHRIS goes back to fetch the rest of the records. CAZ knows
he's up to something, and he's annoyed about it.
A COUPLE of MEN stagger up to the car.
MAN 1
Where'd yer get the motor, man?
MAN 2
Look at that car, man!
CAZ jumps in the car and drives off. CHRIS is stranded with
four boxes of records.
CHRIS
Caz! Where are you? Shit!
TRACY is parked across the road, she laughs at his burst of
temper. CHRIS steps to the car, leans in at the open window.
TRACY
What's with your friend?... Need a lift?
CHRIS
Caz has got the 'ump. Can I put the
records in the boot?
TRACY
Sure.
CHRIS
Thanks... Nice car...
TRACY
Thanks.
TRACY gets out, opens the boot. CHRIS puts the records in.
CHRIS
So where's yer mate, Jill?
TRACY
Doing it with that punk!
CHRIS
Nah!
TRACY
Yeah!
They lean against the boot.
TRACY
So where to?
CHRIS
Tracy... Can I trust yer?
TRACY
What do you mean?
CHRIS
Tell you in the car...
CHRIS gets in the passenger seat. TRACY drives...
27 INT. GARAGE - NIGHT
Torchlight. Searching the cluttered shelves. The light
rests on T.J.'s cassette player where CHRIS left it.
The gloved hand of the intruder grabs the cassette player.
28 EXT. STREETS - NIGHT
CAZ drives. On the car cassette: Dr Buzzard: 'I'll Play the
Fool'. A crossover song, a mix of soul and disco, with
elements of the big band dance sound.
meet a guy/ain't it funny.../
keep on dancing... keep on dancing...
He halts at a set of traffic lights. In the car alongside,
BILLIBUDD - the punk from the garage and the club. CAZ and
BILLIBUDD exchange glances.
The lights change. BILLI changes lane, pulls ahead...
CAZ's car eventually following BILLIBUDD's.
29 EXT. EDGE of PARK - NIGHT
BILLIBUDD locks the door on his car, he looks round to see
if he has been followed. He climbs the fence, moves into
the Park.
CAZ drives to the edge of the Park, pulls up behind
BILLIBUDD's car.
30 INT. GARAGE - NIGHT
TRACY and CHRIS stumble through the garage in the dark.
They're laughing, a bit drunk.
TRACY
Well, there's not much to it, is there?
Through here?
CHRIS
Yeah, yeah...
TRACY
God, it reminds me... I used to listen to
Caroline a lot... I even remember Radio
390, the R & B show.
CHRIS
That dates you.
TRACY
Shut up!
TRACY knocks the punch-bag at CHRIS.
CHRIS
Missed!
CHRIS leads her through the broken down car, into the
hidden pirate radio base.
TRACY
Fancy having a radio station at the back
of a garage.
Once they're through to the base, CHRIS seems awkward.
CHRIS
Tracy, er... would you like to... are you
going to... you could stay you know
and... save me...
TRACY
What, here? No chance! You're joking...
They kiss. CHRIS is all for going further.
TRACY
Hey, I've got work in the morning. And
you're gonna make me a tape, remember?
CHRIS
Yeah... Right... Yeah...
31 EXT. EDGE OF PARK - NIGHT
CAZ listens, there is a man following him.
CAZ is near the murder spot. There is little light. The
footsteps are unnerving. Something of the tension of the
opening scene... But it is BILLIBUDD who follows him. They
turn to face each other. BILLIBUDD untucks CAZ's top.
CAZ
You pick your places, don't ya? You heard
what happened?
BILLIBUDD
I heard.
CAZ
Ya like living dangerously?
BILLIBUDD
I just wanna show the bastards - I ain't
stoppin' comin' 'ere. Brought this with
me. Get them in the eyes if there's any
trouble.
BILLIBUDD brings out a small anti-perspirant spray can. CAZ
laughs.
CAZ
Any good trouble and ya'll smell nice
afta!
BILLI laughs. He presses the spray, in play. BILLIBUDD
moves to kiss CAZ. To get into his trousers. CAZ is still
on edge.
CAZ
Not now, not now. Not here... it feels a
bit weird. Give us yer number.
BILLIBUDD
Yeah, yeah... I've heard that before.
CAZ
Nah, it feels a bit weird... Give us your
number... I mean it.... I mean it...
BILLI takes out a felt tip, he lifts up his t-shirt....
BILLIBUDD
Your number. Write it here!
CAZ writes his number across Billi's bare chest....
32 EXT. STREET - NIGHT
The back of a MAN in a telephone booth. The MAN disguises
his voice, muffles it.
MAN
Listen... I was there... he mugged him.
His name's Chris Morgan. I think he lives
on the Ladywell... No - I can't give
my... no names... right?... No... no.
The MAN slams the phone down.
At the MAN's feet - T.J.'s radio/cassette recorder. He
picks it up, leaves the booth.
33 INT. GARAGE - NIGHT
CHRIS runs the tap of a makeshift shower. He sticks his
head under it. He notices the big beer stain on his shirt.
He takes the shirt off, tries to get the stain out with
soap. It won't go.
He curses and returns to the deck. He works fast, by
lamplight, to compile a tape. He links the songs with a
DJ's patter. He listens to part of the tape, already
finished.
CHRIS
Uncut funk at he bop... coming to you
directly from the Mother Ship... on top
of the chocolate Milky Way... five
hundred thousand kilowatts of P Funk.
He speaks into the microphone.
CHRIS
This one's dedicated to all you East
London funketeers out there,
Parliament... P. Funk... we funk, you've
got the funk...
Parliament: 'P. Funk Wants To Get Funked Up' plays.
CUT TO: CHRIS reaches for a fag, but he's out. He seems
stuck for an idea. Finally he remembers the tape his sister
gave him. He looks across to where he left the cassette
recorder. He notices it has been moved, he's not unduly
concerned.
He took the tape out, he has it. He plays the park tape,
lets it run beyond the song: 'Running Away'.
Suddenly the WHITE MAN (MURDERER's VOICE) can be heard,
albeit a bit muffled and crackly.
WHITE MAN
Like it down 'ere, do yer? Come down 'ere
regular?
T.J.
Yeah, but I ain't seen you before. So
leggo ma han'... I ain't into no rough
stuff, right?
34 EXT. ESTATE - Shed/Dustbin area - NIGHT
T.J.'s radio cassette player burning, melting on a pile of
rubbish.
35 INT. GARAGE - NIGHT
CHRIS, exhausted, lies back on a car seat.
He runs his hands over his chest, over the crotch of his
jeans. There's someone watching, unnoticed. We see CHRIS
touching himself from an unidentified POV
36 EXT. GARAGE FORECOURT - EARLY MORNING
A milk lorry passes the garage.
37 INT. GARAGE - EARLY MORNING
A MAN'S gloved hand. A tense, stealthy movement of the MAN
through the garage.... CHRIS's feet protrude from the
backseat of the winched up car. He's fast asleep. The MAN's
head is covered with a metal mask.
The gloved hand grabs at Chris's feet, making him jump...
But the hand is DAVIS's the gloves, work gloves. The mask -
for car repair/welding.
DAVIS
Yo!
CHRIS
What.... Jes.... Davis....
DAVIS
Yow! Check dis brudda boot nuh!
DAVIS has arrived for work, CARLTON follows him in. CARLTON
stares at CHRIS'S footwear.
CARLTON
What we 'ave here?.... Daggers? Hey bwoy,
min' you don' kick me wi yo daggers, ye
hear?
CHRIS is not in the mood, he looks at his watch.
CHRIS
Oh no... Sh...it!
He runs out past the bemused CARLTON and DAVIS.
38 EXT. TUBE STATION - MORNING
At the tube CHRIS has to push past FIVE POLITICOS. A youth
has his back to CHRIS, his leather jacket bears a painted
'Anarchy in the UK' slogan.
The youth turns round, his front lapel is covered in
badges... like a noticeboard for the left of 1977. It's
BILLIBUDD.
CHRIS half-recognises him from the garage. He catches hold
of BILLIBUDD'S lapel, peers at the badges: various
distorted images of the Royal Family, Mary Whitehouse with
'Gay News Fights On' across her features, Punk badges,
Grunwick support, Stuff the Jubilee... But CHRIS takes
issue with one badge in particular.
CHRIS
So disco sucks, does it?
BILLIBUDD
Mindless, capitalist crap!
CHRIS
And punk's not?
BILLIBUDD
Depends how you use it. Don't it?
He hands CHRIS a 'Fuck the Jubilee' concert flyer. A list
of bands.
BILLIBUDD
Should be something there you could dance
to...
BILLIBUDD is provoking/flirting, looking CHRIS over.
CHRIS
Jumpin' up and down like my arse is on
fire.
BILLIBUDD
No, no, no... We've got reggae bands
billed. Look, Misty and Roots, you'd like
that, wouldn'd yer?
CHRIS
(sarcastic)
Oh Wow! Look... I'm in a rush...
AN ASIAN PUNK GIRL interrupts.
ASIAN PUNK
Ain't there more important things to talk
about fo' fuck's sake. Like this for
instance.
She starts to read from a leaflet, a list of recent racist
attacks in the area.
ASIAN PUNK
Like two Somalis burnt to death, arson.
Like flats doors kicked in, windows
broke. Like Bengali schoolkids getting
their faces kicked in. Join a picket
'bout police indifference?
She hands CHRIS the roneod leaflet. CHRIS looks it over, it
is a long and horrific catalogue of attacks. CHRIS takes a
few copies.
CHRIS
Alright, alright. Look, I'll place a few
of these. Did you hear about that murder
in the Park?
ASIAN PUNK
Yeah, same night I was running these off.
CHRIS heads down the tube steps, BILLI is still watching
him. The ASIAN PUNK GIRL turns to BILLI.
ASIAN PUNK
Cock on the brain you 'ave.
39 INT. METRO RADIO/RECEPTION - LATER IN THE DAY
CHRIS talks to JILL at reception.
CHRIS
D'yer get his pants off then?
JILL
I can't remember...
CHRIS looks at his watch. He's restless, impatient.
He looks relieved when TRACY arrives.
TRACY
Ready for the verdict?
CHRIS
It's pretty obvious, ain't it? I mean the
tape wasn't exactly professional...
TRACY
Stop worrying Chris. I told him you made
the tape up last night. It's only an
impression he's after. I think I'm
getting somewhere with this club idea...
And, er... can you keep quiet about your
pirate credentials? He's dead set against
that.
CHRIS
So who's supposed to play our music then?
TRACY
You don't have to tell me. Come on, we'll
be late.
They leave Reception.
40 INT. CITY RADIO STUDIO - DAY
CHRIS and TRACY walk into a studio to find DAVE, a white,
middle-aged, middle-class producer, listening to Chris's
voice on tape.
TRACY
Hi Dave, this is Chris Morgan.
As DAVE talks he walks around and leans on his desk.
DAVE
Take a pew Chris. Yes, well, nice choice
of music, if a bit obscure. But you come
over well. It's just that it's a bit, um
- how shall I say, er - casual. I mean
not everybody will understand what you're
trying to convey. I like it, but the
powers that be... Listen, Chris - to be
honest with you - if we were to take you
on as a presenter - out and about in the
clubs... if we were - and that's a big if
- we'd be looking for a more recognisable
style, something a bit more... um...
CHRIS
English?
DAVE
Yes... well... I wouldn't put it quite
like that... but... er...
CHRIS performs a DJ act, imaginary microphone in hand.
CHRIS
'Ow 'bout this...... 'bout nah, bringin
the man cal' Jah Fatman singin: Ye can'
keep we down cause we all aroun'... Step
forward yout', come let me tell de
trut'... That do yer?
DAVE
There's clearly no point in our
continuing. I was merely offering
professional advice, but it's obvious
you're not interested. Tracy, I've got a
programme to do. I'll speak to you later...
DAVE leaves.
TRACY
You stupid arrogant fuck! I went out of
my way to get you in here. Bang goes my
idea.
CHRIS
Shame, innit? The man missed his chance
of signin' up a mega-star.
TRACY
I just can't believe this punk,
'no-future' attitude.
CHRIS
I ain't no punk. What are yer suggestin'
exactly? Was I supposed to play Elvis
Presley records and sound like Tony
Blackburn? They've gotta realise that I
am your original, your wicked...
Pee-funk-a-del-ic wanna-get-people-all-
funked-up-DJ.
TRACY
You've got no idea.... come on...
TRACY catches CHRIS by the arm and leads him to the door...
41 INT. METRO RADIO/OFFICE - DAY
TRACY leads CHRIS into a cramped office, picks up a
cardboard box and places it on the desk.
TRACY
Jeff Kane, one of the best. Right?...
See this?
TRACY looks into the cardboard box.
TRACY
His office! This is what he gets for his
five years and the sacks full of fan
mail. He's the only black D.J. in the
whole place, and still he's offered a
contract he has to renew every three
months.
TRACY looks round the cramped room.
TRACY
This is where they'd like to keep him,
keep all of us for that matter.
CHRIS
Why'd yer stay if they insult you all the
time?
TRACY
They're not gonna run me out that easy.
CUT TO:
42 INT. CITY RADIO RECEPTION AREA - DAY
The cut-out QUEEN waves.
CHRIS walks quickly down the steps that lead into
Reception. He gives the Queen's waving arm a sharp chop.
He lunges into the Jubilee crown/fountain.
Panics the SECURITY GUARDS. But he's out the door before
they can catch him.
The cut-out Queen still waves, but more limply now.
43 EXT. PARK - DAY
CHRIS, hot and restless, wanders the park. Finally he
settles by the pond. Near a YOUNG FAMILY.
Radio sounds over: A DJ tells the story of the Sex Pistols'
recording of 'God Save the Queen', the initial pressing of
a thousand copies. A & M's disassociating themselves from
the group and the record.
A WOMAN re-tunes her radio.
CHRIS lays back on the grass, to rest and think things
over...
Later: CHRIS still stretched out on the grass. TWO
SUNBATHING WOMEN to the side of him.
A man stands menacingly over CHRIS. He looks down on
CHRIS's vulnerable, sleeping form. CHRIS's eyes open,
startled. He looks first at the man, now recognisable as
the plainclothed CID MAN, then at the back-up: TWO
POLICEMEN.
CID MAN
Alright, son?
The CID MAN addresses one of the POLICEMEN.
CID MAN
Okay...
The POLICEMEN converge on CHRIS, pull him to his feet.
CHRIS
What yer doing....?
They're dragging him off.
44 EXT. POLICE STATION/ENTRANCE - DAY
KELLY, the mixed-race skinhead from the estate is let out
of the station as CHRIS is led in. KELLY smirks at CHRIS.
CHRIS is confused. A POLICEMAN hurries CHRIS into the
station.
POLICEMAN
Come on...
The CID Man follows them into the station.
45 INT. POLICE STATION/INTERVIEW ROOM - DAY
Close on CHRIS's socks.
Part-way into an interrogation. CHRIS is facing the CID MAN
over a table. Both are seated. The PAR)( POLICEMAN takes
notes. The CID MAN ducks his head down to look at Chris's
feet.
CID MAN
What sort of socks are those?
CHRIS
What?
CID MAN
I said... What sort of socks are those?
CHRIS
What's that got to do with anything?
PARK POLICEMAN
The man wants to know about your socks.
CHRIS bends down, undoes his shoes, pulls off a loud
fluorescent sock and drops it slowly onto the table.
CID MAN
Listen smartarse, no monkey business. You
don't seem to realise, do you? You're not
in here for showing disrespect to Her
Majesty at Metropolitan Radio. No, nor
for running your jungle bunny club on
hallowed grounds, neither.
CHRIS
So what yer tellin' me?
CID MAN
We know all about yer, that's what. We've
been watching you.
CHRIS is increasingly uneasy.
CID MAN
Oh and you might be interested to know
we've heard of your tinpot little radio
station...
This knowledge seems to worry CHRIS more than
anything so far.
CHRIS
I'm not sayin' anything. I'm entitled to
a phone call, right?
CID MAN
You can tell Mum all the news later. But
it's not the radio. And you're not here
for snatchin' some poor dear's handbag.
You're in here for murder.
CHRIS is shocked almost to the point of nervous laughter.
INTERCUT WITH:
46 EXT. GARAGE FORECOURT - DAY
CARLTON works on the car he worked on before.
DAVIS does business with KEN. KEN is considering a car, a
price sticker is splashed across its windscreen.
CAZ polishes the car that interests Ken. CARLTON shouts out
to CAZ.
CARLTON
Yo! Sweetbwoy! Come over 'ere and 'elp me
wiv dis dam engine. I'm tired an' the man
comin for it tonight.
CAZ
Ye mad? I ain't going near dat engine.
You mus' want me to nasty up ma garments.
DAVIS
Dam pretty bwoy no wanna help nobody. If
he can drive the motors he should be
prepared to dirty up him clothes too. Man
going like a African prince - or should I
say princess?
CAZ
Piss off, Davis.
KEN runs his hand on the bonnet of the car.
KEN
Can I take her out for a spin, then talk
prices?
DAVIS
Yeah, Ken. No problem.
KEN approaches CAZ.
KEN
What dyer reckon then? Is it worth it?
CAZ
Well, there's nuffin' wrong wiv it.
KEN
You 'ave a word wiv Davis 'bout the price
an' I'll 'elp you out with that gimmick
you're after.
CAZ
Betta be worth my while, Ken.
KEN climbs into the car. Drives off...
DAVIS
Easy now, Ken. She fast.
DAVIS boasts to CAZ.
DAVIS
Take notice soulhead... Number One
salesman roun' dese parts!
CARLTON catches the conversation.
CARLTON
Why, ye sell it?
DAVIS
Good as done. Ye no see me 'av the deadly
patter? Deadly! Yeah bwoy...
47 INT. POLICE INTERVIEW ROOM - DAY
CHRIS has lost much of his earlier spark. The questioning
is wearing him down.
CID MAN
Are you gonna tell us? Where were you the
night before last?
CHRIS
Easy... . I was wiv me mate, makin' up
tapes. Look, I want my phone call...
CID MAN
Not impressed. 'Wiv me mate'. And do you
think that'll hold? Suppose I tell you
that you were seen, you and your mate, by
the Park that night? Drives a Triumph,
right?
This catches CHRIS off-guard. If he tells them he and CAZ
were broadcasting, then it gives the pirate away. Now he
has to lie.
CHRIS
So what? It's the truth I'm telling ya.
I want my phone call. You ain't got
nothing on me.
The CID MAN opens a cupboard. He takes the badly burnt
cassette recorder out of a plastic bag. He holds it (in
gloved hands) to CHRIS's face.
CID MAN
Seen it before?
CHRIS is now totally unnerved, he has handled the recorder,
but if he says he has...
CHRIS
No.
CID MAN
No? Your kid sister has. She was seen
with it in the Park, before you burnt it,
that is. Panicked did you? Tried to burn
your dirty black paw marks off it, did
you?
CHRIS looks across to the PARK POLICEMAN, furious at what
appears to be a set-up, and furious that Trish has been
involved. He shouts out.
CHRIS
You bastards. Bastards! What ya doin'
gettin' at a nine year old kid?
CID MAN
You're calling me a bastard. You'd kill
to get your filthy muggin' hands on a bit
of plastic. Kill one of your own. I say
one of your own, not that you'd see it
that way you being a half-breed, a
mongrel...
CHRIS can't take it. He screams out.
CHRIS
I want my phone call, my phone call, my
phone call!
CHRIS thumps on the table... repeats his demand over and
over... his movements restrained by a POLICEMAN.
CID MAN
Went back to find it, didn't you?
Whatever your little sister says. She
stuck up for you, so just who is
involving kids in this? Give the coon his
call...
The CID MAN lights a cigarette, and casually leaves. A
POLICEMAN places the phone in front of CHRIS and leaves.
CHRIS is left on his own.
He picks up the phone, tries a number, mutters 'Caz, Caz'
into the receiver. Panic in his voice. There is no reply.
He slams down the receiver. Picks it up again and dials.
He half-sings a Metro Radio jingle, to jog his memory. The
jingle incorporates the station's number. He dials the
number.
CHRIS
Hello... can I speak to Tracy... no...
no... no I don't know her surname... she
works on the 'In Town Tonight' show. Look,
look, it's urgent, please... Just
use the fuckin' tannoy!
There is a pause as he waits.
48 INT. GARAGE - DAY
CARLTON is in the garage's rough and ready shower.
Scrubbing off the oil and grease. Slow movements, he's
proud of/enjoys his body.
KEN is back from the test drive. Watching CARLTON, but
talking business with DAVIS.
KEN
Yeah, Davis. Like the motor. Just a
question of the right price.
CAZ throws the car's keys to DAVIS.
KEN puts his arm round CAZ and walks him away from CARLTON
and DAVIS.
KEN
Did you 'ave a word? I got you that
present. Should do yer nicely.
CAZ
Believe it when I see it, alright Ken?
KEN
Trustin', aren't yer?
CAZ continues polishing the car. KEN leaves.
DAVIS calls across to CARLTON.
DAVIS
Hey Carlton, dem say they're lookin' for
a half-caste bwoy now for that murder...
KEN's POV: CARLTON emerges from the shower, drying himself.
Kissing his teeth.
CARLTON
Can't trust dem 'alf caste bwoy ye no. Ye
don't know which side them on. I could
well believe it was one a dem kill that
black bwoy.
DAVIS
No, man. Dat's what they wan' you to
think. So when the people dem say 'What
you gonna do bout the murdersa?' Babylon
can say, 'Is black a kill black'. I don'
see it.
CARLTON
Well, as far as I and I concern, musa be
a white bwoy, an' if it wasn't a white
bwoy. I'll lay on money it was a 'alf
caste.
KEN is back, listening in.
KEN
Nah, I reckon it's an NF job myself...
See yer later.
KEN leaves.
CAZ
Are you serious? Ya tryin to wind me up
again?... Yeah, it's true it most
probably was a white bwoy kill T.J. But
it could have been a black man. So what
ya sayin? It can't happen? What exactly
you gettin' at Carlton, with all this
'half-caste' crap?
CARLTON
Caz, the trouble with you, right can't
always tell what side you're on.
CAZ
Now what ya sayin'? What, 'cos Chris is
my mate? Or 'cos I mix with white peop...
DAVIS
MAN! White MAN!... Nastiness!
CAZ
So dat's wot it's about, yeah? I mix with
white man... I fuck with white men!
DAVIS
Jesus!
CAZ & DAVIS are near to blows. CARLTON intervenes, steering
CAZ away.
CARLTON
Long as you doin' it to them... innit Caz?
DAVIS
Min' the rod a correction no fuck up dem...
CAZ turns on DAVIS.
CAZ
You're fulla shit Davis! The bruwa dat
got killed on the park - he was what you
call an anti-man, a bwatty bwoy. Dat make
it alright now? You concerned 'bout who
did it now?
DAVIS hesitates, he has no quick answer.
CAZ throws down his cloth, leaves the garage, not waiting
for one.
49 EXT. STREET - AFTERNOON
TRACY'S POV from cab.
CHRIS and a SOLICITOR leave the station.
CHRIS
Thanks a lot, mate.
They shake hands.
TRACY looks across to CHRIS.
CHRIS still looks shaken, surprised at the sudden release.
He holds his stomach, he has been roughed up.
TRACY
You've been nothin' but trouble Chris.
You screw up at Metro and then you have
the nerve to drag me down here.
CHRIS
Bastards!... What was I supposed to tell
'em?... Oh, I was pirate broadcasting at
the time, and my best mate hangs about in
parks after dark...
TRACY
Chris, are you listening to me?
CHRIS
Tracy, I'm sorry. Thanks for gettin' the
solicitor for us. Listen, I've got this
tape, right? It was in the beat box.
TRACY
You've got to give it in, Chris.
CHRIS
What? Go back in there? You're jokin'.
TRACY
Look, I'm no friend of the police, but if
it's evidence you're dealing with, you
don't mess with it.
CHRIS
So I just let 'em drag my sister in for
friendly questionin'?
TRACY
Yeah, yeah. Alright. Forget it. It's none
of my business. Just keep me out of it...
I've got to get back to work.
CHRIS looks disconsolate and confused.
TRACY
You look pathetic... Come on... I'll drop
you off.
CHRIS climbs into the cab, TRACY pulls the door shut.
50 INT. GARAGE - LATE AFTERNOON
CHRIS plays the Park tape.
The crackly but just audible opening exchange:
VOICES ON TAPE:
WHITE MAN
Cute, aren't yer?
YOUNG BLACK MAN
So ya wanna get to know me?
WHITE MAN
Wot's yer name?
KEN arrives at the garage.
YOUNG BLACK MAN
Name? You a policeman or what?
WHITE MAN
Just being friendly, tell us yer name.
KEN crawls through the broken down car that blocks the back
of the garage, the pirate base, to where CHRIS is listening
to the tape.
YOUNG BLACK MAN
(on tape)
Man, you're one stubborn white boy.
CHRIS is startled by KEN.
KEN
Chris... Brought you something... it's
out the front... Give us a hand, it's a
bit 'eavy...
YOUNG BLACK MAN
(on tape)
Terry, friends call me T.J.
CHRIS turns off the tape, ejects and pockets it.
CHRIS
Be right wiv yer, Mr Stylee!
51 EXT. TOWERBLOCK/ROOFTOP - DUSK
CHRIS and CAZ carry a new aerial onto the roof, CHRIS at
the front, CAZ at the back. They negotiate an awkward hatch
that leads up on to the roof. They're sweating. On the
roof - they clap hands in air. They rest on a ledge.
CAZ
Twice as many soul patrollers! Neva
enough for you though, is it? Won't rest
till you're on Radio One!
CHRIS
(In BBC accent)
This is the BBC Soul Service. Are you
sitting comfortably?
They set to work, laughing at the thought. But CHRIS is
still distracted, tense after the police questioning.
Thinking back.
CHRIS
What really fucks me in all this is they
were questionin' ma sista! A nine-year
old girl! Is like they're goin' wild. Ye
know wot I mean?
CAZ
Pure slackness, man!
CHRIS steps towards a pole, holds the new aerial against
the pole. It's right at the edge of the rooftop. CAZ stands
by with a roll of heavy-duty sticking tape.
CAZ
I'll keep dog.
CHRIS
Kelly was in there. I mean, what is it?
'Let's Get The Half-Caste Week' or
something?
CHRIS is still shaky from the interrogation. Dangerously
close to the edge. Suddenly CHRIS slips, hangs over the
side of the tower block. He screams out.
Tilt down: the dizzying height of the block, the ground far
below.
CHRIS clings to the aerial, CAZ grabs him, carefully pulls
him back to safety.
CAZ
You were nearly a gonna, man! Right, no
more time up 'ere, let's just do the ting
and get down.
CHRIS
Thanks, man.
They move back from the edge. Finally satisfied with their
handiwork, and relieved it's done, they embrace. They cross
the roof to go back down.
CHRIS
Oh... yeah... Tracy fixed up a meeting
with this producer down Metro. It was her
that got me out of the nick.
CAZ
Are you serious? You been crawlin' round
Metro again?
CHRIS
Caz, I've got to get some steady....
CAZ
(mimics Chris)
'Some steady money in'. I got us the
fuckin' aerial, right? You think I like
doing Ken favours? Draggin' me bruwer
into it? Carlton's gonna let a car go
cheap for me and you, ya know...
CHRIS
Metro weren't interested, so just forget
it, right?
CAZ
Chris, I'm just sayin'. We are gettin
through there's an audience buildin'.
We'll get the advertisin' and we'll 'ave
the money...
CHRIS
Look, you was tryin' your way, I was
tryin' mine. It's the same thing.
CAZ
I wanted a partner, not your fuckin'
vanity!
CHRIS suddenly puts his arm round CAZ.
CHRIS
Caz, I am your partner, Caz. We gonna hit
the airwaves, yeah? Funk the Jubilee
special!
CAZ
I can't tomorrow. Said I'd play the
concert tomorrow wiv that punk I met -
Billibudd.
CHRIS
Don't joke about it, Caz.
CAZ
I promised.
CHRIS jumps back up to the aerial.
CHRIS
Might as well smash it down then,
mightn't I? Cos Caz can't be bowered.
He'd sooner go off wiv some BILLEE-BUDD
to play for a bunch of middle class punks
an' hippies - wankers, Caz. Where's your
loyalty man? Where's the fuckin' loyalty
in that?
CAZ
Where's the loyalty in you going behin'
ma back, struttin' roun' Metro, prattlin'
bout what we're doin? Ain't you got no
sense? A quick word wiv the Home Office
and they can 'ave a station like ours
wiped out before breakfast... I thought
I was supposed to be your main man?
CHRIS
What are you talkin' about? You are ma
main man. I've had a day of it, right? An'
a bit of sympathy might be in order...
CAZ
Cry on Tracy's shoulder...
CHRIS
I'm gonna smash that thing...
CHRIS turns to the aerial...
CAZ
Smash it, you might as well.
CAZ leaves the roof. CHRIS calls after him.
CHRIS
Caz. I ain't begun to tell yer 'bout what
happened down the nick.
CAZ
I ain't got the time, I'm gonna and go
an' see Billi.
CAZ leaves the roof, furious. He doesn't hear Chris's
words, or see the Park tape that CHRIS takes out from his
pocket...
CHRIS
Caz... See this tape, Caz? It's T.J.'s
tape...
52 EXT. WEST-END STREETS - NIGHT
CAZ and BILLIBUDD are out for the night. BILLIBUDD's
daytime politico wear is replaced by a sexier, night-time
punk style. He's also wearing black eye make-up.
CAZ and BILLI steer a course through a pedestrianised part
of central London. There are book and ballet shops,
jewellers and smart hairdressers. Attempts at upmarket
Jubilee displays in many of the windows.
CAZ and BILLI drink from cans of imported lager. They're
laughing, exhilarated. BILLIBUDD has something to say to
half the passers-by, his first victim is a WOMAN in
evening dress.
BILLIBUDD
Bomb the rich! Bomb the rich!
BAY CITY ROLLERS fans in full fan regalia roll by.
BILLIBUDD
Bay City Rollers, why don't yer listen to
some decent music, eh?
CAZ remains a bit detached, part enjoying BILLI's outgoing
cheek, part unsure.
There's a bookshop with racks of books on sale outside.
'Gay News' on sale inside. Mary Whitehouse and Anita Bryant
making the headlines. The shop stocks a mix of respectable
gay novels - Gide, Cocteau, Genet - and old muscle
magazines, like 'Adonis' and 'Body Beautiful'. Collector
gay porn.
Posters for Divine and Nureyev, both on in town.
A MAN BROWSING.
BILLIBUDD grabs a book, collars the man.
BILLIBUDD
Jean Genet, ever read that, 'ave yer? Eh?
Eh?
BILLI disturbs the book rack, flicks at postcards on
revolving stands. The MAN mutters politely, embarrassed, a
bit afraid.
MAN
Thank you... yes .. yes... I have.
A MAN with a DOG passes by.
BILLIBUDD
Look after your bloody dog....
BILLI picks up a book and throws it for CAZ to catch. A
WINDOW-DRESSER stares out from a tasteful array of ballet
frocks. He stares at BILLI, BILLI stares back.
BILLIBUDD
What you looking at? Piss off...
BILLI and CAZ watch the WINDOW-DRESSER complete the
display. He looks distinctly nervous.
It's not only BILLI and CAZ who are watching. THREE
SCOTLAND SUPPORTERS reel in. They're in town for the
England/Scotland match. One of them is shirtless and
kilted. A flag draped over his shoulders.
BILLI watches the shirtless man. The shirtless Scot sings
and chants:
'Scotland, Scotland'...
BILLIBUDD raises his arm, clenches his fist. Shows
solidarity with the Scottish cause.
BILLIBUDD
Devloution now!
The shirtless SUPPORTER steps up to BILLIBUDD.
SUPPORTER
Fuck off, ye Southern poofter!
BILLIBUDD lowers his arm...
TWO WOMEN pass the shirtless SUPPORTER.
SUPPORTER
Gie us a kiss, darlin'.
WOMAN
Fuck off!
The other two SUPPORTERS sing and chant anti-English songs,
laugh at the posh shop displays.
A mad, chaotic clash of people and styles, everyone out on
the town, enjoying the hot, summer night.
53 EXT. GAY CLUB ENTRANCE - NIGHT
BILLIBUDD and CAZ arrive at the entrance to a gay club. It
is guarded by BOUNCERS.
CAZ and BILLI wait to be let in.
A BOUNCER blocks THREE BLACK SOUL BOYS who are trying to
get in.
BOUNCER 1
Look boys. It's gay tonight. Official
policy. No straights. Fuck off.
1st BLACK SOUL BOY
Leave it out. What you talkin' bout man?
We're gay.
BOUNCER 1
No membership card. No entry. Simple. 'Op
it.
TWO WHITE BOYS pass straight through, no membership cards
shown.
2nd BLACK SOUL BOY
You let them in...
BOUNCER 2
I recognised their faces.
2nd BLACK SOUL BOY
Yeah. And we all look the same, right?
BILLIBUDD waves his card at the BLACK SOUL BOYS and the BOUNCERS.
BILLIBUDD
It's alright, alright. I've got a card,
right... I'm allowed guests, huh?
1st BLACK SOUL BOY
This club's got some crisp music, man.
All we wanna do is check out the groove.
The BOUNCER decides in their favour, but glares at BILLI.
BOUNCER 1
Right. They're in. But if there's any
trouble I'll personally ram that card
down yer throat...
The BLACK SOULBOYS head into the disco.
The shirtless SCOTLAND SUPPORTER staggers down the road,
sees the club. Calls his mates.
SCOTLAND SUPPORTER
'Ere boys, a club!
He looks up at the bulky BOUNCER.
SCOTLAND SUPPORTER
Any chance of a dance, big fella?
BOUNCER 1
Get out of it...
54 INT. CLUB CORRIDOR - NIGHT
Disco music reverberates in the corridor. Sylvester: 'You
Make Me Feel (Mighty Real)' CAZ and BILLIBUDD walk a little
way into the club.
CAZ
What would we do without ya, Blondie?
Golden tongue, golden hair, golden boy!
BILLI looks baffled. CAZ ruffles his hair, mock-
affectionate.
A parade of clubgoers squeeze past them in the corridor.
The mix of '77 gay style: Brixton radical drag and
neo-hippie, US moustache macho, suburban 'wedge queen'
(geometrically styled haircuts), rent boy and punk.
But for all the mix it is almost entirely male and almost
entirely white. A GAY GUY eyes Caz up, as he walks past he
strokes CAZ's arm, brushes against him. The gay guy's
FRIEND notices...
FRIEND
Mary, you are such a dinge queen...
BILLIBUDD catches the comment and grabs the FRIEND's arm.
BILLIBUDD
Oi you, fuck off....
CAZ takes BILLI's hand off the man. CAZ turns to leave the
club. BILLIBUDD follows.
55 EXT. CLUB - NIGHT
BILLI takes chewing gum from his mouth. Leaned against the
club wall, CAZ and BILLI kiss.
A passing STRAIGHT COUPLE look startled by the sight. The
MAN mutters, 'disgusting'.
56 EXT. METRO RADIO/ROOFTOP - NIGHT
A warm night. The roof lit by safety lamps and the moon.
TRACY breathes in the air.
TRACY
Makes me feel like a criminal, sneaking
in here at night!
CHRIS
We ain't doing no harm.
TRACY
We'll wait till the cleaners have gone
from the studio.
CHRIS lays his jacket down on a skylight. He sits on his
jacket. TRACY joins him. They looks over the city.
57 EXT. CAR - NIGHT
CAZ and BILLI in the car. CAZ looks moody.
BILLIBUDD
You annoyed?
CAZ
Should've given him a good slap!
BILLI laughs.
CAZ
I've been thinkin'... about Soul
Patrol... me and Chris, it ain't workin'.
Told you about him getting nicked today,
didn't I? Well I wasn't exactly
sympathetic.
BILLIBUDD
Caz, you talk about him a lot. I mean...
what... You two do it, then?
CAZ
Why? What's it to you?
BILLIBUDD
Nothing Caz, no. I just want to know,
that's all. You do realise I fancy you,
don't you?... Fancy you a lot.
CAZ quietly smiles.
CAZ
Yeah, well, I did sleep with Chris for a
coupla months. His Mum was in hospital at
the time, having Trish, his little
sister. Chris stayed over at my house...
BILLIBUDD looks a bit dejected.
BILLIBUDD
So he is gay then? I thought he was.
CAZ
Well.... we were about ten at the time!
He turned out straight. Sad story really!
CAZ and BILLI both laugh.
BILLIBUDD
Caz, are you seeing anyone?
CAZ
I'm seeing you, ain't I?
The car passes underneath the bridge seen earlier. The NF
sign has been spray-canned over with 'Black and White Unite
and Fight'.
BILLIBUDD
Black and white unite and fuck!
BILLI laughs at his own joke. CAZ is only half amused. He
raises his eyebrows, as if to ask, what is this man like?
58 EXT. METRO RADIO - NIGHT
TRACY and CHRIS kiss. TRACY unbuttons Chris's shirt.
She strokes his chest, pushes the shirt off his shoulders.
She runs her fingers across his crotch. Slowly she moves
astride him, pulling back her long skirt. CHRIS quickly
undoes his flies. CHRIS moans and mutters as they make
love.
TRACY is half touched by his words, half laughing. For a
moment she breaks the rhythm.
TRACY
Less of the patter, DJ...
Slow love-making, cries of pleasure. Their shirts ripple in
the wind.
DISSOLVE TO: later that night
59 INT. METRO RADIO STUDIO - NIGHT
Myriad yellow, red and green lights. Almost darkness.
TRACY at the control desk. The Park cassette is in a
machine. CHRIS and TRACY listen, TRACY adjusts controls for
optimum sound.
VOICES ON TAPE:
YOUNG BLACK MAN
So ya wanna get to know me?
WHITE MAN
Wot's yer name?
YOUNG BLACK MAN
Name? You a policeman or what?
WHITE MAN
Just being friendly, tell us yer name.
YOUNG BLACK MAN
Man. you're one stubborn white bwoy. OK -
Terry. Friends call me T.J.
Sounds of struggle...
Close on the glowing red studio clock.
TRACY switches the machine off.
CHRIS
Is that it?
TRACY
That's enough.
CHRIS
No... There's more... There's more...
TRACY
Game's over, Chris. It is weird, I don't
like it.
CHRIS
Jus' lemme listen again.
TRACY
Look, if that's what that tape sounds
like, you've got to hand it over.
CHRIS
Look... I just want to copy it...
TRACY
Okay...
They work fast to copy the tape.
VOICES FROM TAPE:
WHITE MAN
Like it down 'ere, do yer? Come down 'ere
regular?
YOUNG BLACK MAN
Yeah...
Later: Close up: CHRIS packages a copy of the tape.
The address on the package:
TERRY JAMES CASE
DALSTON POLICE STATION
LONDON E8
CHRIS seals the flap.
TRACY watches. They kiss. CHRIS picks up his jacket.
They leave.
60 EXT. STREETS NEAR ESTATE - DAY
CAZ and BILLIBUDD walk near the estate. BILLIBUDD stops as
they near area the drive-way into the estate.
CAZ
So why are we stoppin'?
BILLIBUDD
Thought we'd drop in on the party.
BILLI reaches into his canvas bag full of leaflets and
newspapers.
CAZ
Oh yeah, thinkin' of doin' a bit of
canvassin' are we? Forget it...
BILLIBUDD
Course not. Caz. Course not. Just thought
I'd tell a few more people about the
concert, you know? Funk the Jubilee! Caz
at the controls - right?
CAZ
Spare me, Billi...
BILLIBUDD
Don't worry 'bout it, I'll be a good boy.
I won't be an embarrassment.
CAZ
Embarrass yaself as much as you like.
Just leave me out of it.
A MAN in DRAG from the estate JUBILEE party glares at them.
At evident gayness, at punk versions of the Queen (on
BILLI's shirt), at black and white boy together. He forgets
the incongruity of his own get-up. CAZ follows BILLI into
the estate.
INTERCUT WITH:
61 INT. GARAGE/RADIO - DAY
CHRIS moves towards the radio base at the back of the
garage. He calls for CAZ. There is no reply.
With a shock he sees a mesh of brown tape curled up round
his feet. There is brown tape everywhere. Their every
cassette has been unwound and ruined. Roughly spelt out in
cut-up tape - an NF sign.
Shards of broken cassette boxes crack under CHRIS's feet.
Yet the records and the equipment are left intact. CHRIS is
totally unnerved.
Nevertheless he climbs through the wrecked car entry to the
pirate base. He switches the turntable. He carefully
selects a record, steadying himself. Puts on headphones.
He picks up the mike, begins to play Funkadelic: 'One
Nation Under A Groove'. His voice is fragmented, shocked.
CHRIS
'One Nation Under A Groove'... and most
of all right now... we're going out to my
main man, Caz... Funk the Jubilee... Hold
tight... The groove's travellin' on the
park tonight... Main man Caz is gonna
be... funkin' the Jubilee...An' if you
ain't gonna be there... you ain't gonna
be nowhere... I'll see you later Caz...
nuff luv...
The song goes on:
... this is a chance/this is a chance/
to dance your way/
out of your constrictions/...
With the groove/our only guide/
we shall all be moved...
One nation under a groove/
gettin' down just for the funk of it/
One nation and we're on the move/
Nothin' can stop us now...
CHRIS cries.
INTERCUT WITH:
62 EXT. ESTATE JUBILEE PARTY - DAY
CAZ and BILLIBUDD at the street party, enclosed in the
estate courtyard.
The estate has been transformed into a riot of red, white
and blue. Flags everywhere. Tables decked out for a meal,
stalls selling all manner of Jubilee junk.
Children take turns to sit inside a huge gold-sprayed
carriage made of cardboard and crates. They sit in serious
mimicry of royals.
A YOUNG BLACK BOY cuts through the crowd on his chopper
bike, riding directly at the carriage. Handlebars fill the
screen. He looks set to crash but skids and steers sharply
to avoid it. On the back of the bike - a Union Jack,
blowing in the wind.
Many of the party-goers are in fancy dress, from BEEFEATERS
to ELVIS PRESLEY. BILLI relishes the sight, can't wait to
send it up. He heads for a stall and grabs a Jubilee fan.
BILLIBUDD
This is nice. How much is this? Just the
right thing for my 'friend'.
STALLKEEPER
Get yer bleedin' 'ands off...
BILLIBUDD heads down past a row of stalls, finally pausing
at a goldfish stall. Ball in the bowl and you win a
goldfish.
The GOLDFISH STALL MAN struggles to keep control as BILLI
pokes at the fish prizes in their polythene bags.
BILLIBUDD
This is cruelty to animals. How'd you
like to be stuffed up in a plastic bag?
This your idea of fun, is it? You're sick,
you are.
BILLI turns his attention to a MIDDLE-AGED COUPLE, he
proffers a copy of Socialist Worker.
BILLIBUDD
Oi... Socialist Worker, right? Stuff the
Jubilee ... the only paper for the
working class... look, we're having a
party down the park, why don't yer come
down, have a look?
The MAN pushes BILLI away.
MAN
Just piss off...
A GIRL notices the row...
GIRL
Wot was that all about, then?
She stares at BILLI.
INTERCUT WITH:
63 INT. GARAGE/RADIO - DAY (continued)
CHRIS on his own.
End of 'Running Away' on the tape...
KEN appears in the background, remarks on the mess.
KEN
Hi... blimey... what 'appened?
CHRIS
Not now Ken, I'm in the middle of a show,
mate.
KEN
D'yer call the police?
CHRIS shakes his head,'No'.
CHRIS
Nah, it's no use... no use...
KEN calmly closes in on CHRIS.
Suddenly KEN smashes out, pushing CHRIS over the desk...
CHRIS
What yer doin'... ?
KEN knocks the tape deck to the floor.
KEN
You know wot I want. You fuck me about
and I'll kill yer.
KEN has CHRIS by the throat, he tightens his grip.
KEN
Always thought you were so smart, didn't
yer? Well I set you up... I set you up
nicely...
CHRIS struggles... KEN's speech is disjointed, a struggle
to force the words out...
KEN
Since when've you fuckin' cared? You
don't understand... you're not like
Caz... Thought I'd kill two birds with
one stone.... But pretty boy...
KEN pulls CHRIS round to face him. He grips CHRIS's face.
KEN
You pretty boy... You had to stick yer
nose in. Gimme the tape, Chris ...give me
the fucking tape!
CHRIS
I haven't got it...
CHRIS summons all his force to push KEN off. They fall to
the ground fighting.
CHRIS kicks out. Kicks KEN in the face...
CHRIS dives through the car at the back of the garage...
runs towards the street...
KEN has lost him.
KEN wipes his bloodied face...
INTERCUT WITH:
64 EXT. ESTATE JUBILEE PARTY - DAY (continued)
ANN, CHRIS's mother, walks through the estate. She's
cornered by an elderly BLUERINSED WHITE WOMAN.
BLUE RINSE
Lovely atmosphere, innit Ann? Remember
what it used to be like round 'ere? When
you could leave your door open an' not
worry 'bout bleeding muggers - or worse...
ANN
Yeah. I reckon I know what you mean Lil,
reckon I know.
A YOUNGER WOMAN passes by. She greets BLUE RINSE. She
carries a copy of a National Front newspaper.
WOMAN
National Front News...
ANN grabs the paper from the startled YOUNGER WOMAN. She
glances across the headlines: 'Hundreds of Thousands Turn
Out to Vote National Front!' ANN slowly tears the newspaper
apart, scatters it on the ground. The YOUNG WOMAN backs
off, angry but a bit afraid of ANN.
TRISH and her FRIENDS are nearby.
FRIEND
Trish, there's your Mum...
TRISH
Mum!
TRISH runs up to ANN. ANN kisses her on the forehead.
ANN
Alright, babes? You enjoyin' yerself?
TRISH
Yeah...
TRISH is clutching a small radio. There's a small Union
Jack sticking out of the machine. ANN takes the radio and
snaps off the flag.
ANN
Here, come on, yer don't need that.
She hands the flag-free radio back.
ANN
Let's go over the park, eh? And get some
clean air.
CAZ approaches.
CAZ
'Lo Ann. You ain't seen some punk walkin'
about, 'ave ya?
ANN
Not noticed. Wot are you doin 'ere
anyways?
CAZ
Passin' through fast. You goin' over the
Park?
ANN
Yeah, thought we might go for an hour.
Then I thought I might drop round your
Mum's.
TRISH tugs at CAZ's waistcoat.
TRISH
Did you 'ear Chris on the radio?
CAZ
What? Been on air, 'as he?
TRISH
Said about the Park, said you'd be on,
Mr. 'Main Man'.
CAZ
He talked about the park?
ANN
Why ain't yer workin' wiv 'im today, Caz?
You alright, you and Chris?
TRISH interrupts.
TRISH
Soul Patrol went dead!
CAZ
That bloody equipment...!
CAZ continues to look for BILLI.
ANN
Catch yer later, babes.
CAZ
Right...
TRISH
Bye...
CUT TO: BILLIBUDD at a stall run by a PEARLY KING and QUEEN.
BILLIBUDD
So what's all this then?
PEARLY KING
It's a raffle, and you 'ave to 'ave a
ticket.
BILLIBUDD
A raffle. Alright, give us a ticket, then.
The PEARLY QUEEN opens a book of tickets. BILLI mauls the
prizes.
BILLIBUDD
After Eights, huh?
BILLI puts down the chocolates and snatches the whole book
of tickets.
BILLIBUDD
'S alright, darling, don't worry, I'll
take the lot.
PEARLY KING
Oi, oi - where's yer money?
BILLIBUDD
Whoa.. whoa... alright, hold on...
The PEARLY QUEEN grabs the book of tickets back.
BILLIBUDD reaches into his bag and pulls out a newspaper.
Starts his sales patter again.
BILLIBUDD
Have one of these. Socialist Worker ...
Only paper for the working class... look
- free membership on the back... don't
worry about it ..
PEARLY KING
Oi you, fuck off out of it and take that
shit wiv yer!
BILLIBUDD
Wait, wait, wait... So what's your
problem, eh? What's your problem?
Looking across at BILLIBUDD: perched on the rubbish sheds:
the skins, KELLY, BIGGSY, SPARKY...
BILLI continues to aggravate the PEARLY KING.
BILLIBUDD
Why don't you read this sometime? It
might educate yer.
PEARLY KING
Go on .. on your way...
Suddenly a beercan is hurled from the sheds, it catches
BILLIBUDD across the face. It cuts him just above the eye.
As BILLI holds his face a conga of Jubilee revellers curls
past him. The beercan carrying SKINS jump down to close in
on BILLI.
CAZ arrives.
SPARKY
Better get yer noo boyfriend 'art of 'ere
Caz, or else 'e might need carryin'...
BILLI is panicked. CAZ more casual about it. He can usually
handle SPARKY and Co. He pushes SPARKY and BIGGSY aside,
leads BILLI through the skins. CAZ ignores the taunts, the
crushing of cans, the gestures...
Safely away, CAZ rounds on BILLI. But at the same time as
he shouts he wipes the blood from BILLI'S face, tends him.
Some of the blood has dripped down onto the t-shirt image
of the Queen.
CAZ
You stupid fuckin' wanker. You can't
listen to no-one, can ya?
BILLIBUDD
I was only doing my paper round, Caz!
CAZ
You're well out of order, Blondie. You're
always shoutin' 'bout imperialism... jus'
look at yaself...
BILLIBUDD looks bemused.
CAZ
You think if it's there, yer can take it,
don't ya? Ya think you can go where the
fuck ya like.
BILLIBUDD
But I'm wiv you Caz.
CAZ
Yeah, well that depends... dunnit?
BILLIBUDD
We're still playing the park, aren't we?
CAZ
Plenty of time for that. Let's get your
face fixed, Blondie.
CAZ wipes blood from BILLI's face.
BILLIBUDD
Why'd you keep calling me Blondie? I'm
not even blond.
CAZ
Don't worry about it. You're near enough.
They embrace, head away from the estate.
65 INT. BILLIBUDD'S FLAT - DAY
More flags on a wall, but these are inside, they're ripped
and defaced or plastered in punk imagery...
Billi's room is as much a shrine to Punk as the garage is
to Reggae - skip furnished, vinyl chairs and dead branches
of a tree forming a bed board of sorts.
BILLI comes into the room, an icepack over the cut on his
face, a beer bottle at his mouth. CAZ takes a cigarette.
BILLI puts on X-Ray Spex: 'Identity'. Climbs on the bed,
takes off his studded belt. CAZ laughs at the choice of
music, turns the record off.
BILLI
Not the best idea... Agreed!
BILLI climbs off the bed. Kisses CAZ then sorts through his
mostly punk records, finally he finds a reggae song. Junior
Murvin: 'Police and Thieves'.
Another kiss. CAZ laughs at the attempt to seduce with
black music, the record goes the same way as the first.
CAZ
'Ow about quiet?
They walk towards the bed. CAZ takes off BILLI's shirt,
kisses the plaster on his face. Places his cigarette into
BILLI's mouth.
BILLI takes off CAZ's shirt. They move to the bed. BILLI
kisses CAZ's chest... and moves down his body.
Gulps of beer, drags at the cigarette, undressing... Then
the slow thump of serious pleasure.
66 EXT. ESTATE - LATE AFTERNOON
The debris of the Jubilee party. A messy, bleak, near
deserted courtyard. A voice-over from a the Queen's
broadcast.
QUEEN
(VOICE-OVER)
At the Silver Jubilee of 1935... and at
my Coronation...
Flags flutter in the wind. The wind's dry metallic sound.
CHRIS runs into the estate.
Just a few JUBILEE STRAGGLERS are left, a couple heading
drunkenly home, a couple clearing the mess from their
doorsteps. CHRIS kicks a can along the ground.
QUEEN
(VOICE-OVER CNTD.)
... the Empire and the Commonwealth came
to London...
CHRIS collides with an abandoned pram... it rolls across
the courtyard. KEN's voice still in his head.
KEN
(VOICE-OVER)
Give me the tape Chris. Give me the
fucking tape.
QUEEN
(VOICE-OVER)
... the travelling is in both
directions... and I think we can claim
to be doing our fair share...
CHRIS looks round the estate, searching. Finally he runs
out.
67 EXT. PARK - LATE AFTERNOON
Distant sounds of music in the Park.
TRACY and JILL from arrive for the concert, JILL is now
dressed soul-girl style, a total convert. They run into
CAZ and BILLIBUDD.
TRACY
Caz... You're Caz, aren't you? Chris's
other half, er, DJ spa, right? We never
did get properly introduced at the Club.
Where is he? Have you seen him?
CAZ
Yeah, he's my other half. An' you're
Tracy from Metro... I hear they're
letting us in now, one at a time. That's
really metropolitan of 'em...
TRACY
What are you talking about? I don't 'ave
to justify what I do to you.
TRACY takes in BILLI's 'clean' t-shirt. It features two
cowboys, naked from the waist down....
CAZ
Chris was on the air this afternoon. It
seems he got cut off. Metro had any
pirates taken off the air lately, has it?
TRACY
Come on!
BILLIBUDD
Capitalist crap. Metro Radio.
CAZ
Shut up, Billi.
TRACY
Spending twenty pounds on T-shirts from
Vivienne Westwood has got nothing to do
with capitalism, hmmm?
BILLIBUDD
It has to do with homoerotica. Nicked
homoerotica, actually. Like it?
TRACY
Luv it. It's like Anarchy courtesy of
EMI... so rebellious... so St Martin's
School of Art... excuse me.
CAZ has to smile at the send-up of BILLI.
TRACY leaves.
TRACY
Come on, Jill...
JILL
Coming...
CAZ taps BILLI in the stomach, time to move on...
CUT TO:
68 EXT. ESTATE - EARLY EVENING
CHRIS returns to the estate, still searching. Bunting
dropped from a balcony falls across his path.
A voice calls out to him.
VOICE
Oi, soulboy!
CHRIS looks up to see SPARKY, KELLY and BIGGS.
Closing in on him.
CHRIS walks straight up to KELLY.
CHRIS
Wot was they askin' yer down the nick?
KELLY
Wanted an 'alf caste. Told 'em they musta
got the wrong one.
SPARKY
Oh dear, I forgot to wear me white suit.
CHRIS looks him up and down: the shaved head, Union Jack
t-shirt, the patriotic skinstyle.
CHRIS
You look pretty white to me.
The gang laugh.
SPARKY
Shut up! Don't know why you're laughin',
Kelly.
KELLY stops laughing.
CHRIS
Kelly laughs at anythin','cos he knows
nothin'. And as long as he knows nothin',
he can make out he's whi...
KELLY shouts to drown the word 'white'.
KELLY
Wot's it to you?
CHRIS
Ain't nothing to me, it's only yerself
yer connin'.
SPARKY smiles, enjoys CHRIS and KELLY arguing it out
amongst themselves. CHRIS knows SPARKY would relish a
fight.
Instead CHRIS walks up to KELLY, he grabs him, pulls him
close. CHRIS is too angry to be worried by any of them.
CHRIS
Why're you lying and hidin' all the time,
Kelly? They were pissing about wiv us
down at the station. Ken killed T.J. and
tried to pin it on us. You listenin'?
Have you seen Ken?
KELLY
I ain't seen him, Chris. Honest.
CHRIS lets go of KELLY, KELLY stumbles backwards.
SPARKY crashes a milk bottle to the ground, it smashes
close to CHRIS.
CHRIS starts to scream out.
CHRIS
Caz. Where are you Caz?... Where are you?
... Where are you?
The SKINS are confused and angered by Chris's behaviour,
there's none of the usual banter. Neighbours come out of
their doors, look down from their balconies. So many eyes
on them, the gang can't risk a fight. CHRIS keeps calling
for Caz. Even SPARKY is unnerved.
69 EXT. PARK - NIGHT
CHRIS runs into the Park.
He pushes through punks and hippy-types. Still shouting.
CHRIS
Where are you?
There are heaps of banners and placards round the edge of
the Park. Emblems of the Socialist Workers' Party, labour
groups and trades' councils, mixed with the punkier
graphics of the Anti-Nazi League. A sharp contrast to the
Estate Jubilee decorations. CHRIS stumbles through the
placards.
In the distance, a stage. A 'Fuck The Jubilee' banner
emblazoned across it. A short way from the main crowd,
CHRIS spots TRACY and JILL. JILL is dancing with TWO BLACK
WOMEN. Live music from an Asian band fills the Park.
TRACY catches sight of CHRIS.
TRACY
There's Chris... Chris!...
CHRIS calls out to TRACY, TRACY leaves the WOMEN to reach
him. A blur of extraordinary images, seen selectively, in
fragments, through Chris's anxious eyes. The 'Fuck the
Jubilee' is as much a pageant as the Jubilee itself. People
are decked out in masks, in parodies of Jubilee costumes.
CHRIS pushes past the ASIAN GIRL PUNK, seen earlier with
Billibudd leafleting the tube. She is dressed as Britannia,
with spear and shield - an outfit to offend just about
everybody.
The ASIAN PUNK GIRL's friends wear satiric and grotesque
masks - of Callaghan, Steel...
Others wear clothes featuring distorted images of the Royal
Family. A small group wear cardboard corgi masks. Finally
TRACY reaches CHRIS.
TRACY
Chris!
CHRIS grabs hold of her arms. A panic in him.
CHRIS
Ken did it... it was Ken... Listen...
something's gonna happen. I've gotta find
Caz...
TRACY
Ssshhh... Slow down, Chris. Slow down.
What are you talking about, who's Ken?
CHRIS
Just help me find him...
TRACY
No Chris. No more. We're going. Have you
seen all the police? Vans loads of 'em,
all round the park. I don't like the look
of it...
CHRIS
Tracy... please...
CHRIS grabs TRACY, she sees all the fear in him and
follows. They head for the stage...
CUT TO:
The stage. An Asian band pack away their instruments,
unaware of the growing chaos round the edges of the park.
They move to leave the stage for CAZ and BILLIBUDD to keep
the disco going between acts. The stage is stacked with
large, heavy speakers. Drum kits and electrical equipment.
CAZ steps up to the turntable, puts on a record.
CUT TO:
SPARKY and BIGGSY converge round the edge of the Park.
They mix with a group of older men - many of them seen
earlier in fancy-dress on the estate. A BEEFEATER, A
POLICEMAN amongst them. Whether the policeman is real or
not it's impossible to tell. The costumes make convenient
masks. The men hand round bulging plastic bags.
CUT TO:
CHRIS and TRACY in the crowd. SKINS steam into the
crowd... kicking people to the ground... CHRIS gets
pushed... he loses TRACY.
CHRIS
Get off!... Tracy!... Tracy!
The surrounding fights get more vicious.
People, especially people with young children, are
beginning to panic...
Gangs of NF thugs pick out the armbands of the Anti-Nazi
League stewards, and move in to attack any who are on their
own. Some of the Anti-Jubilee revellers run to the
stewards' assistance.
The CID MAN from the police station is in the crowd,
watching, not moving to anyone's assistance.
A man wearing a BEEFEATER costume lights a petrol bomb.
CAZ and BILLIBUDD survey the growing chaos from the stage.
A petrol bomb, seen close, pulled from a carrier bag... it
hurtles through the air... a streak of light against a
darkening sky.
The bomb hits the stage... starting a fire.
BILLI jumps down, CAZ tries to save the records, but in the
middle of increasing chaos, some of the records spill onto
the mud.
Roll over the ground.
CAZ
Shit... Billi... the records ...
They have to make a run for it. The stage banner is in
flames. Floodlights crash down on the crowd ...
CUT TO:
KEN runs into the Park. Pushes through the crowd. People
are running to get out.
ANN tries to reach the Park gates with TRISH.
KEN bangs into ANN and TRISH, he knocks TRISH to the ground.
ANN yells after him as she picks TRISH up.
ANN
Watch out... Are you all right?
She kisses TRISH, protects her as they move to get out.
They're surrounded by PUNKS and TEDS, PUNKS in anti-Nazi
t-shirts, others in confusing swastikas...
CUT TO:
YEOMEN of the GUARD, BEEFEATERS, HENRY VIII, SIR WALTER
RALEIGH, a group of heavily disguised men who work their
way systematically towards the stage.
Screams and chaos.
Some of the Anti-Jubilee crowd tear at the flags and
costumes of the Jubilee revellers. Carnival attacks
Carnival. The police wade into selective Anti-Jubilee
targets.
CUT TO:
CHRIS nears the stage. KEN in pursuit.
Smoke billows up, CHRIS can't see whether CAZ is still
there.
SPARKY and BIGGS fall about laughing at the destruction.
CUT TO:
CHRIS reaches the stage, only to find CAZ gone. He climbs
through flame.
Takes the Park cassette out of his back pocket. Screams
into the microphone. The chill sound of KEN and T.J. in the
opening scene, now broadcast across the Park.
CHRIS
I know you're here. Hear it!
VOICES ON TAPE:
T.J.
So leggo ma han'... I ain't into no rough
stuff, right?
KEN
Cute, aren't yer?
CAZ and BILLIBUDD hear the tape... CAZ suddenly recognises
the first voice.
CAZ
It's T.J.
VOICES ON TAPE (cntd):
KEN
So ya wanna get to know me? What's yer
name?
T.J.
Name? You a policeman or what?
CAZ recognises the other voice.
CAZ
Ken!
KEN reaches the stage. Pushes and crawls through burning
speakers to get to the tape deck. To stop the tape.
VOICES ON TAPE (cntd):
KEN
Just being friendly, tell us yer name.
T.J.
Man, you're one stubborn white bwoy.
CHRIS raises his arms to shield his face from the flames.
He sees KEN coming towards him.
KEN tries to protect himself with his jacket hood.
Suddenly part of the stage gives way under him. He
disappears in flame.
CHRIS manages to jump off the stage just before the whole
structure goes up in flame.
Screams from the crowd....
CUT TO:
Away from the stage area, the Park is emptying, quietening.
JILL cries. TRACY holds her, steadies her.
But there's also rage on TRACY'S face. Rage at the
destruction.
CHRIS finds them...
CHRIS
Tracy...
Not far away from CHRIS and TRACY, CAZ has covered his
ears in horror. BILLIBUDD touches CAZ's face. BILLI tries
to comfort him.
BILLIBUDD
It's alright...
CAZ and CHRIS finally see each other...
CAZ
Chris... Chris...
CHRIS leaves TRACY.
CHRIS
Don't go. I'll be back.
CHRIS and CAZ step towards each other.
CHRIS
Caz, thank Christ...
BILLIBUDD watches the meeting of CAZ and CHRIS.
70 EXT. CITY - NIGHT
Across rooftops. Night sky. The garage.
71 INT. GARAGE - SAME NIGHT
Towards dawn.
JILL and BILLIBUDD gently clean the mud off records rescued
from the Park.
They've set up a kind of record repair production line.
TRACY takes the polished records, passes them onto CHRIS
and CAZ at the turntable. CAZ and CHRIS test the records
for playability, for scratches.
CHRIS turns to CAZ.
CHRIS
I wasn't runnin' from yer, Caz. We're
okay now, yeah? Soul Patrol again...
CAZ
Yeah, let's start over...
They shake hands, then hold each other in a warm embrace.
CAZ
Come on...
The records continue to pass from hand to hand... JILL
steps out of the line to dance... TRACY joins JILL in the
dance.
BILLIBUDD leaves the records to dance with TRACY and JILL.
CAZ moves from the turntable to join the dance...
CHRIS joins them...
Charles Earland: 'Let The Music Play'.
The laughter and the dance continue over:
END