Read script
Lost Contact.
Written by Andrew Crawford.
At various points throughout SCENE 1 we get INTERCUT
glimpses of footage from the following scene, SCENE 2,
involving the CLOSE UP of a pair of hands weighing and
packaging small lumps of hash.
1 EXT. INDUSTRIAL UNITS (UNDER SECURITY LIGHT) -- NIGHT 1
TRACKING slowly looking down on two men under a security
light. There is nobody around and all is quiet.
TRACKING MEDIUM on one of the men, fairly tidy looking in
a dark outfit and smoking a cigarette.
He is holding a gun out in front of him (a Desert Eagle
9mm) and aimed down towards the ground.
TRACKING CLOSE UP, very low to the ground, on the other
man. He is on his knees with his head pressed right to
the ground and his hands out either side, fingers spread
wide.
We don't know what is going on here.
CUT TO BLACK SCREEN.
Words appear ON SCREEN.
"Whether he be a sinner or no, I
know not..."
- Book of John, ch 9, verse 25
CUT BACK TO SCENE 1.
We observe this scene from different angles for what seems
like quite a while, one man standing over the other, smoking
nonchalantly and aiming his gun.
The man standing says something 'matter of fact' while
gesturing with his gun.
MAN STANDING
Hands.
The man on his knees lifts both hands off the ground leaving
his face to take his weight on the concrete.
MEDIUM/WIDE on both men for a moment.
CUT TO BLACK SCREEN:
We hear dialogue from the following scene over the BLACK
SCREEN.
(CONTINUED)
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2.
1 CONTINUED: 1
VOICE
Well I know for a fact it wasn't
suicide.
CUT TO:
2 INT. DARK ROOM (WAREHOUSE SPACE) -- NIGHT 2
The same two men from SCENE 1 are now sitting opposite
each other at a table lit by a single overhead lamp in a
large room. We can just make out furniture etc dotted
around in the darkness.
The man who was standing and aiming his gun in SCENE 1 is
sitting and smoking a cigarette while telling a tale to
the other. His name is SAM and his was the voice we heard
over the BLACK SCREEN.
Opposite him sits BECK. Beck was the man on his knees in
SCENE 1 and also owns the pair of hands which are weighing
and packaging small amounts of hash. He continues to do
this throughout this scene. On the table lies narcotic
paraphernalia, empty beer cans, cigarette packets etc and
something else we don't see too clearly... a Smith And
Wesson .38 special. It lies on the table next to Beck's
right hand.
BECK
What?
SAM
I said I know for a fact it wasn't
suicide.
BECK
Suicide. I know. That's what I
heard.
SAM
No... I said it wasn't. It wasn't
suicide.
BECK
Not suicide. You sure?
SAM
Yeah I'm sure. Everyone knew he
drank like a fuckin' Guppy. He
crossed those tracks every night
on his way home from the pub.
BECK
He drank?
SAM
Yeah he fuckin' drank Beck, you
know he did. What's the matter
with you?
(CONTINUED)
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3.
2 CONTINUED: 2
BECK
Don't remember him bein' a
drinker... or the suicidal type.
SAM
I already told you it wasn't
suicide. Jesus Beck, is it
deliberate?
BECK
What?
SAM
This behavior.
BECK
Behavior? What the fuck are you
talking about?
SAM
Okay... Shudd'up. Shudd'up and
just listen for a minute. Kelly
spent all his spare time at that
place and walked home the same way
every night. To get home he had
to walk across the railway line
at the bottom of the road.
BECK
Trains.
SAM
What?
BECK
You're talkin' about trains now.
SAM
Beck... what the fuck is wrong
with your hearing?
BECK
(Facial expression
shows agreement)
Yeah I know... it's the...
Beck hits the side of his head with the palm of his hand.
BECK (CONT'D)
... fuckin' weather.
SAM
Weather?
BECK
Yeah it's... it's the change in
air pressure man it fucks up my
inner ear.
(CONTINUED)
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4.
2 CONTINUED: (2) 2
Beck hits the side of his head once more and shakes it
gently from side to side.
BECK (CONT'D)
That's better.
SAM
Hear me now?
BECK
Jesus Sam no need to shout... just
talk normal.
Beck picks up the revolver without thinking while keen to
continue the conversation.
BECK (CONT'D)
Okay... so you reckon Kelly
committed suicide.
SAM
No... that's what everyone else is
sayin' an' I'm tryin' to tell you
different.
Beck opens the revolving chamber of the gun and spins it
before swinging it shut, all in one smooth movement.
He then puts the gun against his head and pulls the trigger.
We hear a click. The chamber is empty and he rests the
gun back down on the table.
Neither says anything for a moment.
SAM (CONT'D)
You know Beck, that's fucked up.
BECK
What...
(Refers to gun)
... this?
SAM
You been at that a few weeks now.
I thought it was a...phase.
BECK
(Dismissive)
Never mind about that...
SAM
(Chuckles)
Never mind!... Jesus Beck, if you're
gonna' blow your head off you could
do it in your own fuckin' time.
BECK
This is my time Sam.
(MORE)
(CONTINUED)
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5.
2 CONTINUED: (3) 2
BECK (CONT'D)
You're a guest.
(Chuckle)
Anyway, it's all under control.
SAM
Under control... you're dicing
with death.
BECK
Dice have got nothing to do with
it.
SAM
What!
BECK
It ain't nothing to do with chance
Sam. It's about mind over m...
SAM
Forget it. Forget I mentioned
anything. It's none of my business
okay.
BECK
No I mean if you're askin' Sam I'm
happy to talk about it.
SAM
I said I don't wanna' know Beck.
It's a gamblin' thing an' I really
don't care so... just... never
mind.
Neither speak for a moment.
BECK
Yeah, so anyway... what were you
sayin' about Kelly killin' himself?
SAM
I was sayin' Kelly didn't fuckin'
kill himself. A couple of weeks
back old Mike found him one morning
passed out. Turned out Kelly was
walkin' home pissed one night...
3 EXT. QUIET COUNTRY LANE -- NIGHT 3
We watch a man staggering down a country lane. It is KELLY.
Sam's voice is heard as a VOICE OVER.
Kelly arrives at a set of railway tracks.
SAM (V.O.)
... an' he comes to the railway
tracks as usual.
(CONTINUED)
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6.
3 CONTINUED: 3
He stumbles up the bank towards the tracks.
SAM (V.O.) (CONT'D)
He stumbles up the bank towards
the tracks...
Kelly then trips and falls over.
SAM (V.O.) (CONT'D)
... then trips over his own feet
and falls over.
C.U. Kelly's head and shoulders. He doesn't hit his head
but just lies there, unable to move and with his head above
the single metal rail.
SAM (V.O.) (CONT'D)
He just lies there for a minute...
so pissed he can't get up. He
starts getting comfortable and
then sleepy.
Kelly's eyelids start to droop and his head gets lower and
lower.
We watch as his head comes to rest on the rail before he
slips into a deep sleep, letting out a content groan
followed by heavy breathing.
SAM (V.O.) (CONT'D)
He falls asleep right there on the
fuckin' rail.
4 INT. DARK ROOM -- NIGHT 4
We are back with Sam and Beck.
BECK
Jesus Christ he's just layin' there?
SAM
That's right but lucky for him
around seven the next morning Mike
comes by walkin' his dog. He finds
Kelly there passed out on the track.
He wakes him up and lifts him off
not twenty minutes before the seven
forty six into London comes
screamin' past.
Beck chuckles.
SAM (CONT'D)
You can laugh Beck but if you ask
me that seven forty six caught up
with old Kelly a week or so later
an' he...
(CONTINUED)
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7.
4 CONTINUED: 4
BECK
... lost his head?
Pause.
SAM
That's right. That's exactly right.
Couldn't have put it better myself.
Pause. Neither speak for a minute.
BECK
Man you know a lot of stuff Sam,
you know that?
SAM
(Chuckles)
Shut u...
BECK
No I mean it Sam... I mean... you're
one clever fucking guy. You know
what I'm sayin'?
Silence. Nobody speaks for a moment. They both maintain
dead serious expressions.
It is Beck who finally starts to crack and stifled chuckles
well up from inside him.
Sam keeps his expression straight for a moment longer then
also begins to chuckle.
SAM
What's so funny?
BECK
(Cocks his ear)
What?
SAM
(Points his finger)
Don't you dare...
Pause.
BECK
Listen...
SAM
I have been. Nothin' wrong with
my hearing.
BECK
Yeah, yeah. Look I checked out
the possibilities surrounding all
that activity down at the docks.
(CONTINUED)
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8.
4 CONTINUED: (2) 4
SAM
And?
BECK
There's a bloke I wanna'see first.
SAM
Don't wait an eternity Beck.
BECK
Well Jesus Christ Sam you know you
gotta' be organised for this kind
of thing. Can't just go charging
in like a bull in a haystack.
SAM
A what?
BECK
I told you I had a contact who
knew about stuff goin' on down
there an' now we gotta' go to the
next level. Be sure of what we're
dealing with.
SAM
Jesus Beck! Make it sound like
Chicago.
BECK
Can't be too careful. Gotta' say
though Sam, seems a bit weird that
you're needing to do something
more...'elaborate'... shall we
say.
SAM
Yeah well something's come up.
BECK
Something's come up?
SAM
That's right.
We look at Sam for a moment. Nobody speaks.
CUT TO:
5 INT. CAFE -- DAY 5
Sam sits anxiously at a table with a cup of coffee and a
cigarette. He looks at his watch.
He recognises a man entering the cafe.
The man approaches the table. We look at Sam from this
man's P.O.V. as he walks towards the table. This is in
SLOW MOTION.
(CONTINUED)
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9.
5 CONTINUED: 5
6 EXT. CAFE -- DAY 6
CAMERA looks through the glass front of the cafe and slowly
ZOOMS in on sam and this other man as they talk. We do
not hear what they are saying, only the soundtrack as they
talk.
We see their lips moving and observe this for a moment.
Sam then passes a brown envelope to the man who takes it
and tucks it away inside his jacket.
CUT BACK TO:
7 INT. DARK ROOM -- NIGHT 7
Beck continues to weigh his dope and Sam just smokes as
they sit in silence for a moment.
Beck then picks up the revolver once more.
BECK
I thought you were doin' pretty
well at the... the er... aren't
you a musician or something.
C.U. Sam's face.
CUT TO:
BLACK SCREEN.
Words appear ON SCREEN.
"Every child is an artist...
We hear the clicking sounds of case buckles being undone.
A classical guitar passes upwards through the picture.
8 INT. ANOTHER DARK ROOM -- NIGHT 8
A man sits down with a classical guitar on his lap. It is
Sam. We can just make out his face in shadow.
He strokes the neck of the guitar. We view this from
several angles. He then goes to adjust one of the tuning
pegs.
FADE TO BLACK.
More words appear ON SCREEN.
"... the problem is how to remain an artist
when he grows up."
- Pablo Picasso.
(CONTINUED)
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10.
8 CONTINUED: 8
9 INT. DARK ROOM -- NIGHT 9
MEDIUM on Beck as he spins the bullet chamber once more.
He swings it shut and puts the barrel to his head.
EXTREME C.U. on Sam's face as he sits looking at Beck.
He just puffs his cigarette.
SAM
There's no money in it.
CUT TO:
10 INT. OTHER DARK ROOM -- NIGHT 10
Opening credits begin.
Sam launches into a blistering piece of solo guitar playing
as the opening credits roll.
We watch him play from all angles illuminated only by a
single overhead light.
Opening credits end.
Sam finishes the opening title music.
FADE OUT:
FADE IN:
11 EXT. DESERTED RAILWAY YARD -- NIGHT. 11
Beck is talking to another man next to a disused railway
carriage.
Sam is off to one side and puffing madly on a cigarette
while keeping one eye on Beck and his associate.
Conversation can be heard going on though we cannot hear
what is being said.
It suddenly flares up and Beck is given a push but quickly
restores a semblance of calm. Sam looks on.
Beck then leaves the other man and walks over towards Sam.
SAM
What the fuck is goin' on Beck?
BECK
Nothin'. Nothin'. Everything's
fine.
SAM
I mean you know this guy or what?
Beck looks over to see the man leaving.
(CONTINUED)
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11.
11 CONTINUED: 11
BECK
Yeah, yeah. It's cool. No problem.
SAM
Jesus Christ!
BECK
Calm down and listen. Turns out
he knows a guy who knows a guy
whose brother drives the boat.
SAM
He knows a guy who knows a...
guy's... fuckin'... brother who
dri...?
BECK
What!
SAM
Jesus Beck...
BECK
What! What!
SAM
What's the matter with you? Sounds
like an Abbott and Costello movie.
BECK
What?
SAM
What is that, the weather again?
BECK
No, I mean...
SAM
Guy's brother's friend who knows
somebody on first, what's on second,
who's drivin' the fuckin' boat.
BECK
Sam what's the fuckin' problem?
SAM
Who was he?
BECK
He's a friend
(Coughs)
... come on. Jesus Christ!
(coughs)
Sam turns away for a moment.
Beck starts coughing a lot. He bends over and tries to
cough it out.
(CONTINUED)
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12.
11 CONTINUED: (2) 11
SAM
(To himself)
Brother's cousin's fuckin' auntie
drives the fuckin' boat.
(To beck)
What is it now?
BECK
Jesus Christ!
(Cough)
These fuckin' Marlbroughs.
(Cough)
Sam just stands over him and waits patiently.
Beck gets it under control.
SAM
You don't drive a boat Beck.
BECK
Yeah yeah.
(Cough)
Look... are you interested or not?
Pause. Sam has calmed down.
SAM
Go on.
BECK
Okay.
(Pause)
The first of every month. Comes
in the first of every month. The
shipment arrives at the north end
of this small, secluded dockyard
around 2am. It's all pretty low
key... tryin' to give the impression
that not a lot is going down.
Anyway the gear's unloaded, sorted
and the main deal goes down around
three.
SAM
Main deal?
BECK
Well it doesn't all get sold on in
one go. There's other customers,
you know?
SAM
They hold onto it?
BECK
Yeah. The place is pretty secure...
you know... isolated.
(MORE)
(CONTINUED)
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13.
11 CONTINUED: (3) 11
BECK (CONT'D)
Deals go down for about a fortnight
after the initial delivery.
SAM
So what are we talkin' about here?
BECK
How d'ya' mean.
SAM
I mean Beck, how much stuff is
there all together? What amounts
are we talkin' about?
Beck hesitates for a moment.
BECK
Around half a ton but we're gonna'
just grab what we can.
Sam chuckles.
SAM
Jesus Christ!
BECK
I know. I mean this is pretty
organised shit Sam. No messin'
around. We gotta' know what we're
getting into. This is gonna' piss
people off.
SAM
And that's what I'm talkin' about
Beck. We're gettin' information
in a fuckin' railway yard from
some guy's brother's mate who knows
someone on the boat.
BECK
Well you just gotta' trust me...
Sam.
Sam looks away.
SAM
You don't drive a boat Beck.
BECK
Sam? You hear me? You gotta'
trust me.
Sam just puffs his ciggy.
We look at them for a moment as they just stand in silence.
(CONTINUED)
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14.
11 CONTINUED: (4) 11
12 EXT. BOAT YARD (DRY-DOCK) -- NIGHT 12
MEDIUM on a 40 foot yacht in the corner of this boat yard.
It is pretty run down looking and totally dark on the
outside. None of it shines in the moonlight. Halfway up
the mast is a flag blowing in the breeze.
C.U. on this flag. It is a skull and crossbones emblem on
a black background.
13 INT. BOAT -- NIGHT. 13
We watch two figures sitting in a dimly lit, fairly spacious
room in the hull of this boat. They lounge opposite each
other on worn out sofas. Wall hangings from around the
world adorn the walls with traveling paraphernalia dotted
around. There is a general 'new age junkie' feel to the
place. As can be said for the two figures sitting and
puffing on an opium pipe placed on a small table between
them.
One is TOMMY the other FELIX.
They are both stoned.
FELIX
I'm tellin' you man that guy...
that fucking... guy... was tryin'
ta' sink the boat.
TOMMY
No way.
FELIX
Yeah way. They do that shit all
up and down the coast... I mean
Goa man... it's become a real shit
hole... you know what I'm sayin'?
TOMMY
I dunno' man, I've never been.
FELIX
(Surprised)
You never been! Christ Tommy, you
don't know what you're missin'.
TOMMY
I'm missin' a real shit hole Felix
you just said so.
FELIX
Yeah... well, what I mean is...
you gotta' experience it at least
once, you know. That's what I'm
sayin'. That's what I'm talkin'
about.
They puff on the pipe some more.
(CONTINUED)
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15.
13 CONTINUED: 13
TOMMY
I see, so you gotta' experience
shitty places in the world for the
experience, right?
FELIX
Right... wrong. I mean Tommy man,
you know, the shit they got out
there, I mean it's beautiful man.
Takes you somewhere else, so the
fact that Goa's becoming a dump
makes no fuckin' difference.
(Pause)
You can't take everything I say so
literal Tommy when I'm off my face.
(Chuckle)
TOMMY
That's fuckin' true.
FELIX
Lucky I was onto him though. Saved
the fuckin' day I did, little shit
stick.
TOMMY
What are you talkin' about now
Felix?
FELIX
I'm talkin' about the little scamp
tryin' to scuttle the ship man.
TOMMY
Oh yeah. So you really reckon he
was gonna' do it.
FELIX
Fuck yes!
TOMMY
I mean I don't know man. Sounds a
bit far fetched. That an' what
you were sayin' about bein'
illiterate when you're stoned.
FELIX
Never said I was illiterate man, I
can fuckin' read an' write.
Tommy chuckles.
TOMMY
Yeah man I know. I mean I don't
see how he was gonna' sink your
fuckin' boat that's all.
(CONTINUED)
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16.
13 CONTINUED: (2) 13
FELIX
I'll tell you how Tommy, all you
gotta' do is ask.
They puff more on the pipe.
FELIX (CONT'D)
They usually do it in threes or
fours. They wait 'til after
midnight and swim out to your boat,
I mean these little shits been *
swimmin' since they were fuckin'
born man, you know what I'm sayin'?
They're like fuckin' fish man... I
swear some of 'em can breath under
water like they got gills or
something. So anyway you're docked
in the harbour there sleepin' like
a baby an' they're swimmin' around
underneath your boat. Then they
start drillin' holes in the hull
with hand-drills... you know them
old fashioned things you turn like
this...
(Demonstrates with
his hands)
... They're puttin' holes in your
hull man an' you can't hear a
fuckin' thing. By time you wake
up your knee high in the Indian
Ocean an' your boat is goin' down.
All you can do is abandon ship
man. I mean you're half asleep
an' you just wanna' get off the
fuckin' thing right, deal with
insurance an' that in the mornin'.
Your boat goes down an' the little
'squids' that sank it come on back
to retrieve anything they like
from the bottom of the harbour.
TOMMY
That's hard man. Fuckin' hard.
FELIX
They don't give a fuck man. I
mean if you got a bicycle on ya'
boat an' it's sittin' in ninety
feet of water man they'll go down
just for the fuckin' handlebars
you know what I'm sayin'? Tommy?
They're fuckin' fearless... or
stupid. Fuck me this stuff ain't
bad.
(Winces)
They puff some more on the pipe.
(CONTINUED)
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17.
13 CONTINUED: (3) 13
TOMMY
Yeah well at least your boat was
in the water in the first place
man.
FELIX
Now don't be takin' the piss Tommy,
you know I gotta' dry dock this
baby for a while. Supposed to do
it from time to time.
(Pause)
Soon as I got the money man I'm
hittin' the water.
Tommy just chuckles.
FELIX (CONT'D)
Fact I'm seein' Beck tomorrow about
a nice little job he's workin' on
at the moment.
TOMMY
Beck! He still alive?
FELIX
Yeah he's still alive. What's the
matter with you?
TOMMY
Well he's got that fixation thing
happening... you know... with the
old...
Tommy puts a finger to his temple in the shape of a pretend
gun.
TOMMY (CONT'D)
Click, click.
FELIX
(Chuckles)
It's all bullshit. You think he
puts bullets in that fuckin' thing?
TOMMY
Well...
FELIX
Course he fuckin' doesn't.
(Chuckle)
Are you crazy?
TOMMY
No, but Beck is.
FELIX
Beck's crazy but he's not mad.
(CONTINUED)
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18.
13 CONTINUED: (4) 13
TOMMY
So what's he got brewing on the
'back-burner' then?
FELIX
Not a hundred percent but what I
do know is that the money is good.
TOMMY
How much?
FELIX
Enough to get me back in the
shipping lanes man. That's all
I'm interested in.
TOMMY
What's he want with you then?
FELIX
I gotta' organise a getaway of
some kind.
TOMMY
Getaway?
FELIX
Yeah man, you know... he's up to
something an' what he wants me to
do is get him and his merry men
the fuck out of there.
TOMMY
Where?
FELIX
(Losing his patience)
Wherever man. Jesus Fucking Christ
Tommy I just told you I don't know
the details. I mean I know the
area but like I don't wanna' know
man, it's none of my fuckin'
business. The least I know the
better is how I see it. All they
want from me is to get them out.
I'll know more tomorrow when I see
him.
Neither speak for a moment.
TOMMY
Whaddya' think about him cuttin'
me in?
FELIX
I dunno' Tommy, ask him.
Neither speak for another moment.
(CONTINUED)
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19.
13 CONTINUED: (5) 13
TOMMY
Wasn't he into acting or something?
FELIX
Who knows man... who cares. Pass
me that joint will you.
C.U. unlit joint sitting on a tobacco tin next to Tommy's
foot.
Tommy Passes it to Felix.
FELIX (CONT'D)
Just so long as he hasn't fuckin'
shot himself before the job.
TOMMY
Thought he didn't put bullets in
it.
FELIX
Shuddup, just shuddup Tommy will
you an' suck on the pipe.
Tommy chuckles.
FELIX (CONT'D)
Whadam' I doin'? Whadam' I doin'
here man lettin' you smoke my dope.
Wanna' have my fuckin' head
examined.
Tommy chuckles some more, indifferent to Felix's whining.
TOMMY
You're a fuckin' moaner Felix, you
know that.
FELIX
Yeah, yeah.
They suck frantically on the pipe.
14 INT. DARK ROOM -- NIGHT 14
Beck sits forward on a small sofa with his head down and
his elbows on his knees. His hands are limp.
We cannot see his face. It is in shadow and the only light
comes from a single overhead lamp.
We ROTATE 360 degrees around him as he sits there
motionless.
He finally leans forward and picks up a small mirror on a
small table in front of him.
He snorts the cocaine on the mirror then begins speaking.
(CONTINUED)
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20.
14 CONTINUED: 14
It is Shakespeare.
BECK
(Quietly)
"Go bid thy mistress, when my drink
is ready, she strike upon the bell.
Get thee to bed.
Beck looks down at the revolver on the small table.
BECK (CONT'D)
(More outward)
Is this a dagger I see before me,
the handle toward my hand?
He slowly picks up the gun and studies it.
BECK (CONT'D)
Come let me clutch thee. I have
thee not, and yet I thee still.
Art thou not, fatal vision, sensible
to feeling as to sight?
He holds the gun with both hands, the barrel against his
forehead above his eyes.
BECK (CONT'D)
Or art thou but a dagger in the
mind, a false creation, proceeding
from the heat-oppressed brain? I
see thee yet, in form as palpable
as this which now I draw. Thou
marshall'st me the way that I was
going, and such an instrument I
was to use. Mine eyes are made
the fools o' th' other senses, or
else worth all the rest. I see
thee still; and on thy blade and
dudgeon gouts of blood, which was
not so before. There's no such
thing. It is the bloody business
which informs thus to mine eyes.
Now o'er the one half-world nature
seems dead, and wicked dreams abuse
the curtained sleep; witchcraft
celebrates Pale Hecate's offerings;
and withered murder, alarumed by
his sentinel the wolf, whose howl's
his watch, thus with his stealthy
pace, with Tarquin's ravishing
strides, towards his design moves
like a ghost. Thou sure and firm-
set earth, hear not my steps, which
way they walk, for fear thy very
stones prate of my whereabout, and
take the present horror from the
time, which now suits with it.
(MORE)
(CONTINUED)
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21.
14 CONTINUED: (2) 14
BECK (CONT'D)
Whiles I threat, he lives: words
to the heat of deeds too cold breath
gives.
We hear a telephone start to ring in the distance. It
slowly gets louder.
BECK (CONT'D)
I go, and it is done. The bell
invites me.
Beck spins the bullet chamber of the gun, swings it shut
and puts it against his temple.
BECK (CONT'D)
Hear it not Duncan, for it is a
knell that summons me to heaven or
to hell."
The room grows lighter as Beck is brought back into reality.
The phone is ringing on the other side of the room.
He slowly puts the gun down and moves over to the phone to
answer it.
When he gets there it stops.
He just stands there for a moment looking at the phone.
He turns around and is about to return to his seat when it
starts ringing again.
He answers it.
BECK (CONT'D)
Hello.
(Pause)
Yeah.
(Pause)
Tommy who?
(Pause)
Oh yeah. What do you want?
(Pause)
We just look at Beck as he stands there on the phone.
FADE OUT:
15 INT. CAR (STATIONARY) - DAY 15
Beck and Sam are sitting in this car which is parked next
to a river in a small lay-by.
Beck sits in the passenger seat smoking, Sam in the driver's
seat.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
22.
15 CONTINUED: 15
They are looking at something on the other side of the
river. It is a number of small buildings and a jetty with
one or two boats tied to it.
Three or four men are milling around outside the buildings.
We just watch Sam and Beck as they observe. The inside of
the car starts to fill with smoke as Beck puffs away on
his ciggy.
SAM
Jesus Beck I'm gettin' cancer over
here.
(Winds his window
down)
Give me one will you.
Beck passes Sam his cigarettes and lighter.
BECK
So what do you think?
Sam lights up.
SAM
Well you can see as much as I can.
BECK
I know... but I'm asking for your
opinion.
SAM
I mean Christ... it looks like it
looks... I dunno', why not rob the
place. If this is where it all
goes down then if you ask me it's
cryin' out to be done I mean...
look at it.
BECK
This is what I was thinking. Now
from what I can gather, the best
time to do this is when they're
unloading or having just unloaded.
Everything will be out in the open
and they won't have organised the
gear in any way. I don't think
there's heavy guard or anything.
SAM
Don't think or don't know?
BECK
Yeah I know, it's just...
SAM
Just what Beck? You know or not?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
23.
15 CONTINUED: (2) 15
BECK
Yeah just... we gotta' be prepared.
Anything could happen on the night,
you know what I'm sayin'?
They just sit and watch for a moment, puffing away on their
ciggies.
We see what they see. Two men are hanging around the
buildings on the other side of the river.
CUT TO:
16 EXT. SMALL DOCK -- DAY 16
We are now with the two men on the other side of the river.
They are DANNY and BILLY.
They stand around with their hands in their pockets, smoking
cigarettes and talking chit chat etc.
DANNY is noticing the car parked on the other side of the
river and is looking right at it.
17 INT. CAR (STATIONARY) - DAY 17
BECK
He lookin' at us?
Pause.
SAM
He's looking at nothing.
18 EXT. SMALL DOCK -- DAY 18
BILLY
Danny. Danny. Danny are you
listening?
Danny looks at Billy and thinks nothing of the car he has
seen.
DANNY
What? What the fuck is it Billy?
BILLY
I'm tryin' to tell you Danny this
guy was a total fuckin' disaster.
God knows where he came from but
you can bet he ended up at the
bottom of some fuckin' where, you
know what I'm sayin'?
DANNY
(Inconvenient
confusion)
Why? What did he do? What?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
24.
18 CONTINUED: 18
BILLY
I just told you. What's the matter
with you? The guy was dyslexic
man. Can you imagine? His boss
sends him down the docks to pick
up a container an' he fucks it
right up, I mean big time. He had
no idea what this container was
all about. If he did, he woulda'
paid more fuckin' attention.
Danny is chuckling.
DANNY
Dyslexic huh?
BILLY
(Chuckling)
That's right. Couldn't spell to
save his life...
DANNY
Literally.
BILLY
That's right.
Pause. They just stand and puff their ciggies for a moment.
DANNY
You set for Saturday night.
BILLY
Yeah, su...
DANNY
Oh, watch out. Here we go.
Danny and Billy throw their cigarettes down and put them
out.
A man has walked towards them and they stand at the ready.
19 INT. CAR (STATIONARY) - DAY 19
From Beck and Sam's P.O.V. we watch the third man approach
the other two.
SAM
Who's he?
BECK
He's the man. It's his place.
His name is Ray. I don't know
him, only that that is his name.
I intend to spin some bullshit on
the night about me knowing him to
get inside the door though I know
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
25.
19 CONTINUED: 19
BECK (CONT'D)
he won't be there, no need. He's
just checkin' the place over by
the looks of it.
Beck and Sam just watch for a moment.
BECK (CONT'D)
Sam, what do you think about
numbers?
SAM
Numbers?
BECK
Yeah. I was thinking one or two
more, just in case.
SAM
You an' me Beck, no-one else.
That's how I want to do this thing.
BECK
You sure? Christ Sam we gotta'
have back up.
SAM
For getting out of there yes, but
I don't want to go cluttering up
the whole place with fuck-wits I
only have to keep an eye on. Now
if the numbers are right from your
aunties second cousin twice removed
we'll have no problem. In, out,
no problem at all. You lining up
someone to get us out of there?
BECK
Yeah, I'm sorting that out this
afternoon. I really think I oughta'
check out back up Sam. I got one
or two in mind who need the work
an' besides, how the fuck are we
gonna' carry the shit out of there.
I mean, you an' I can't do this on
our own Sam. Sam.
Sam just stares out of the front windscreen across the
river.
BECK (CONT'D)
Sam.
CUT TO:
BLACK SCREEN.
We hear the sound of furious guitar playing on a classical
guitar.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
26.
19 CONTINUED: (2) 19
Nothing particularly musical just incredibly fast scales.
They continue into the following scene.
CUT TO:
20 INT. SAM'S STUDIO -- DAY 20
C.U. of a typed, headed letter.
It is addressed to Sam and reads...
?
"Dear Mr. Bowyer, with regard to
your recent inquiry at our clinic
and subsequent tests regarding
your condition, I write to you
with the results and can tell you
that they are conclusive. Our
initial prognosis has been confirmed
and we recommend you contact us if
you wish to seek treatment.
Best Regards
Dr. P. Conroy MD
Having been there long enough for us to read, the CAMERA
PULLS BACK from the letter and TRACKS across the work
surface it lies on. We see recording equipment, musical
instruments etc.
All the while we hear the sound of scale exercises being
played.
CAMERA eventually reaches Sam's face. He has his head
down and is in a dream world. It shows no emotion,
expression, tension or otherwise. He seems to be in an
effortless trance.
The CAMERA moves slowly down from his face towards his
hands which are effortlessly moving rapidly up and down
the fingerboard in an endless stream of movements and
sounds.
We slowly PULL BACK to MEDIUM at which point Sam stops
playing and just sits there.
He is motionless for a moment.
He then, very suddenly, springs into life, reaches for his
cigarettes and lights one up.
We watch him puff on it for a moment while in thought.
FADE OUT:
(CONTINUED)
-----------------------------------------------------------------------------------------------------
27.
20 CONTINUED: 20
FADE IN:
21 INT. TOMMY'S FLAT -- NIGHT 21
Tommy is sitting in his living room and watching The
Simpsons on television.
The place is a mess as he sits there quite wasted.
There is a knock at the door.
Tommy gets up to answer it.
He opens the door and Billy walks in.
TOMMY
Hey there Billy. What can I do
for you?
BILLY
You can do for me what you always
do for me Tommy.
TOMMY
(Chuckles)
Become a right little junkie haven't
you Billy... how much we after
tonight then?
BILLY
Don't be clever now Tommy. I
wouldn't class what you give me as
narcotic, barely alcoholic...
TOMMY
So why do you keep coming back
man?
BILLY
Cos' I like you. You sell me shit
an' rip me off but I like you Tommy.
You got a certain class about you.
They both chuckle as Billy sits down.
Tommy gets out a set of scales and gathers things together.
He offers Billy a line while he's waiting. Billy accepts
eagerly and snorts for all his worth.
TOMMY
How much you want tonight Billy?
BILLY
Same as usual.
Tommy gets on with it.
Billy looks around at Tommy's flat.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
28.
21 CONTINUED: 21
BILLY (CONT'D)
I see your decorating's really
coming along Tommy.
TOMMY
(Sarcasm)
Ha, ha.
BILLY
No... I mean you've really captured
that 'stressed' look. That kinda'
'see what kind of dump I live in'
affect.
TOMMY
You're a funny guy Billy, should
be on the fuckin' tele with that
kind of talent.
BILLY
Just teasin' Tommy, just teasin'.
Pause. Neither say anything for a moment.
BILLY (CONT'D)
You doin' anything tomorrow night?
Could have some work on.
TOMMY
No thanks Billy. I got somethin'
else on.
BILLY
Sure? It's good money, no 'heat'.
TOMMY
No I'm already committed.
BILLY
Yeah... what you got cooking?
TOMMY
Warehouse raid or something, don't
have the details yet. Probably a
bunch of geriatric assholes mindin'
a fuckin' safe. Anyway the money's
pretty good so I'm all tied up
tomorrow night Billy. Thanks all
the same.
BILLY
Thought I'd ask.
TOMMY
And that you did.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
29.
21 CONTINUED: (2) 21
22 INT. FELIX'S BOAT -- MORNING 22
The sun is just peeking through the portholes in Felix's
boat.
He is crashed out on the sofa, arms everywhere and mouth
agape.
Empty beer cans, cigarette packets etc are strewn about
the place after quite a session the night before.
We watch him for a moment as he lays there sleeping.
He slowly starts to open his eyes and we PULL BACK from
him very slowly.
We PULL FURTHER AND FURTHER BACK until Felix's eyes are
almost open.
His eyes open properly and this corresponds to a shoulder.
arm and leg ENTERING FRAME.
Felix almost jumps out of his skin when he realises someone
is sitting opposite him on the other sofa.
He relaxes when he realises who it is.
FELIX
Jesus fucking Christ pete you scared
the crap out of me.
It is the man Felix had contacted the day before and who
returned his call in the night. His name is PETE.
PETE
Well you know I'm not one for
messing around Felix so lets get
on with it.
FELIX
Yeah. Yeah Pete no problem. You
wanna' cup of tea or something?
PETE
No thanks.
Felix feels his pockets...
FELIX
Umm...
... then reaches for his cigarettes on the table and offers
one to Pete.
FELIX (CONT'D)
Cigarette?
Pete takes one and Felix hands him a lighter after lighting
up his own cigarette. Pete lights up.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
30.
22 CONTINUED: 22
FELIX (CONT'D)
I'm sorry man but I gotta' have a
coffee or something. You sure you
don't want anything?
PETE
Yes I'm fine but I have got things
to do today so...
FELIX
Yeah, yeah sorry Pete I know.
I'll just get the kettle on an'
we'll get down to business. Just
takes me a minute to get my head
engaged in the morning.
Felix fills a kettle and puts it on the gas burner.
PETE
(Looking at the
drugs on the table)
Maybe it's just a reflection of
how disengaged it gets during the
night.
FELIX
(Chuckles)
Yeah, probably. You got a point
there Pete. Did you understand
what I was after in the message I
left you?
PETE
I think so. Something small but
fast.
FELIX
That's right. Doesn't have to be
a fuckin' rocket or anything but I
do need a bit of pace, you know
what I'm sayin'?
PETE
You need it for tonight?
FELIX
That's right. I know it's a bit
short notice but all of this is
last minute Pete. That's why I
needed to see you this morning.
Felix sits down with his coffee opposite Pete.
PETE
And here I am Felix. Here I am.
(Smiles)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
31.
22 CONTINUED: (2) 22
FELIX
(Smiles back)
Yeah.
PETE
Felix the cat.
(Chuckle)
Felix chuckles along obligingly.
PETE (CONT'D)
So whaddya' say felix... you a
curious kinda' person... ey'?
(Chuckles)
Felix... the cat.
(Chuckles some more.)
C.U. on Felix as he smiles and sips his coffee.
CUT TO:
EXTREME C.U. of cigarette being lit.
CUT TO:
23 EXT. SMALL DOCK -- NIGHT 23
Danny and Billy are standing under a security light outside
the main building at the small dock we saw them at earlier
in the script.
Billy has just lit his own cigarette and is now lighting
Danny's.
When they are lit up they just stand for a moment puffing
and getting their ciggies started.
BILLY
So do you hear me Danny? You know
what I'm sayin'?
DANNY
You say a lot Billy.
BILLY
I know. That's because I have
plenty to talk about.
DANNY
Plenty to talk about?
(Chuckles)
BILLY
Yeah.
DANNY
Then why don't you get some therapy.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
32.
23 CONTINUED: 23
BILLY
Therapy! You know anyone who needs
to sit down an' spill the beans to
a total fuckin' stranger wants to
have their fuckin' head examined.
DANNY
That's what they're doing.
BILLY
What?
DANNY
When they're in therapy.
BILLY
What!
DANNY
You know what you just said?
BILLY
Yeah, I just said "anyone who needs
therapy wants to have their fuckin'
head examined."
DANNY
You don't get it do you?
BILLY
What! What!
DANNY
Never mind.
Danny looks away.
BILLY
What! What's the matter with you?
DANNY
I said never mind. Come on, we
better get inside.
From P.O.V. of a distance across the river we watch Danny
and Billy turn and walk into one of the buildings through
a small door which is next to a much larger door left
closed.
We PULL BACK further and realise we are inside a car.
24 INT. CAR (STATIONARY) - NIGHT 24
Beck is in the driver's seat and Sam in the passenger seat.
They are watching the dock once more.
SAM
It's been twenty minutes now Beck.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
33.
24 CONTINUED: 24
SAM (CONT'D)
The boats gone. How long do you
reckon before we move?
BECK
Not long now. I'd give it another
minute or two.
Beck looks at his watch.
SAM
(Refers to the car)
So who does this belong to?
BECK
The car? My sister.
SAM
Will it get us far enough away
from here in plenty of time?
BECK
This isn't what we're using.
SAM
It isn't?
BECK
We're swapping over to something
else a bit later.
There is a noise behind them and they both look around to
see Tommy getting into the back seat.
No-one says anything for a moment.
SAM
(To Beck)
Who's this?
(To Tommy)
Who the fuck are you?
BECK
Sam.
TOMMY
Who the fuck are you?
BECK
Take it easy. This is Tommy.
Tommy, Sam.
TOMMY
The guitarist?
SAM
Well what the fuck is he doing
here?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
34.
24 CONTINUED: (2) 24
TOMMY
Beck what's the fuckin' problem.
BECK
I arranged for him to meet us here.
He's hired help Sam... we need it.
SAM
Jesus Christ!
TOMMY
Are we cool?
BECK
(Reassuring)
Yeah Tommy we're cool. Just do as
we say okay. This is a piece of
cake an' you're just insurance.
No need for any bullshit. We just
need a hand carrying the stuff.
(To Sam)
Sam we need him. You know we can't
carry it on our own and get out of
there without any fuss.
Sam looks at Beck for a moment.
SAM
What about our transport? Have
you sorted it out?
BECK
Course I have. He's a good guy.
Tommy knows him...
(Looks at Tommy)
... don't you Tommy?
TOMMY
Sure.
BECK
He's meeting us not far from here
in about...
(looks at his watch)
EXTREME C.U. of wristwatch. It reads 2:05 am.
BECK (O.S.) (CONT'D)
... twenty five minutes.
25 EXT. DESERTED ROAD ALONGSIDE A RIVER-- NIGHT 25
We move straight from the C.U. of the wristwatch to a shot
of Felix on this deserted road looking at his watch.
He puts his arm down again and with his other reaches into
his shirt pocket.
He is BACKLIT by the only street lamp for miles around.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
35.
25 CONTINUED: 25
He brings out a large joint and proceeds to light it up.
He sucks hard and inhales deeply. It has an immediate
effect and Felix relaxes his shoulders before looking at
his watch once more.
FELIX
(To himself)
No problem man. Plenty of fuckin'
time. All the time in the world.
(Chuckles then starts
singing Louie
Armstrong)
We have all the time in the world...
Felix carries on singing and smoking while he waits.
CAMERA slowly pulls further and further back from Felix as
he sings and smokes.
FADE OUT:
Sorry - to find out where it goes you need to see the film!