“CULLEN’S  WAR”

A Screenplay 

by

Lorrimer J. Kemp

January 2005
last draft

The screen is black. MUSIC KICKS IN. The CREDIT SEQUENCE starts.

FADE IN:

EXT. RUNWAY - DAY

A British Airways 747 PLANE touches down on the ground. Smoke comes from it’s screeching tyres.

CUT TO:

EXT. AIRPORT TERMINAL - MAIN ENTRANCE - DAY

The automated doors open, a crowd of refreshly arrived passengers come out of the entrance carrying some luggage and chatting away to each other. Amongst the crowd are two men who come out into the open, their names are TONY WILSON and IAN THOMPSON. Thompson is pushing a luggage trolley. Wilson who is feeling glad to be on dry-land looks up to the air and closes his eyes. He breathes in the fresh air through his nose then gradually breathes out it from his mouth slowly.

WILSON.
Hmm! That feels great?

Thompson looks around the airport’s carpark and it’s scenery beyond.

THOMPSON.
What does?

Wilson opens his eyes.

WILSON.
 Breathing the Western air once again, 
it’s been a long time. 

 THOMPSON.
Yip. Feels good to be home doesn’t it?

Wilson cracks a smile.

WILSON.
Absolutely.

A WHITE stretched limo drives rounds a roundabout in the airport’s carpark slowly, it then comes to a halt.

THOMPSON.
Oh aye. Somebody’s important.

The driver’s side door opens a young BLONDE-HAIRED man wearing a GREY limo driver uniform and with a grey hat appears. Thompson fires out a wise crack.

THOMPSON.
(continuing.)
Fuck. It’s Parker from the Thunderbirds.

WILSON.
(Pretended laughter.)
 Wrong car dickhead.

DRIVER.
Hi there are any of you 
gentlemen Antonio Wilson. 
By any chance?

WILSON.
I’am he. Who wants to know?

The driver nervously walks quickly round the vehicle to greet Wilson and Thompson. 

DRIVER.
I’m Martin, your father’s personal driver. 
He sent me to pick you up.

WILSON.
How nice of him.

Wilson quickly looks at Thompson, raising his eyebrows.

WILSON.
(continuing.)
Looks like I’m the lucky one.

Thompson puts his hand onto the door to enter the car. The driver intervenes.

DRIVER.
Allow me sir.

He opens the door for the men. Wilson goes in first, Thompson then follows.

CUT TO:

INT. LIMO - DAY

The passengers make themselves comfortable. The sound of the boot opening is heard. Wilson spots a bottle of CHAMPAGNE in a jug full of ice. He picks up the bottle and looks at the label. Thompson looks around the limo’s interior amazed by what he sees.

THOMPSON.
I’ve never been in a limo before. 

Wilson has opened the bottle, he then picks out a glass from a rack. He pours the wine into the glass.

WILSON.
First time for everything. Would you care for one?

THOMPSON.
Don’t mind if I do.

CUT TO:

EXT. LIMO

Martin puts the last bag into the boot, then slams the boot door shut. 

CUT TO:

EXT. WILSON FAMILY MANSION - LATER

A tall circular WATERFALL pouring out water sits in the middle of the driveway. The house is like a Dynasty clearly a family with plenty of money. The limo arrives and stops beside the water display. Martin comes out the driver door, he then opens the passenger door, the two men come out. Wilson straightens his jacket and looks up at the house. 

WILSON.
Home sweet home.

Thompson comes out of the vehicle, he is amazed at what he sees.

THOMPSON.
My god Tony is this where you live?

WILSON.
Yeah it certainly is. Beautiful isn’t it?

Thompson is looking up at the mansion.

THOMPSON.
To say the least.

Martin is unloading the bags. The front door of the mansion opens a middle-aged male SERVANT walks down steps to greet the men. He shakes hands with Wilson.

SERVANT.
Ah Tony. Welcome home.

WILSON.
Thanks Allan.

Wilson turns to introduce Thompson.

WILSON.
(continuing.) 
Oh..This is my associate Ian Thompson.

The servant nods at Thompson.

ALLAN.
A pleasure to meet you.

THOMPSON.
Likewise. 

WILSON.
So Allan. Is my father still got you 
running rings around him.

ALLAN.
Oh yes. But you know me, 
I only do it for the rewardings.

Wilson smiles.

WILSON.
Loyalty always was your strong point.

ALLAN.
Well you know what they say. Loyalty is the main ingredient to a successful friendship. That’s why your father has 
hung onto me for all these years.

WILSON.
How is the old codger?

Allan frowns.

ALLAN.
You better see for yourself.

WILSON.
Why? Is there something I should know?

CUT TO:

INT. MANSION - BEDROOM

Wilson’s father ANDREW is confined to his DEATHBED. Looking pale, riddled with sweat and struggling for breath. He is choking and vomiting BLOOD. He is comforted by a doctor who is wiping Andrew’s mouth with bedside tissues. A female SERVANT takes away a bucket full of BLOOD STAINED paper hankies.  The bedroom door opens Wilson enters. The doctor turns round and sees him. Andrew’s coughing has stopped, he is resting his eyes. The doctor rises from the bed.

WILSON.
Who are you?

DOCTOR.
I’m Doctor Carlin. Your father’s GP, you must be Antonio? 
Your father has spoken of you quite a lot.

WILSON ignores the doctor’s introduction, he walks round and sits beside Andrew on the edge of the bed. He glances at his father’s colourless face.

WILSON.
What is wrong with him doc? 

CARLIN.
Bronchitis. And with him breathing with the one lung, 
it’s making things hard for him. 

WILSON.
My god... One lung, how come?

CARLIN.
One of them became Cancerous. 
The only chance of survival was too have 
one removed. We’re at the stage now where nothing else
can be done for him. A miracle is his only saving grace.

WILSON.
Come on doc. You’re making it sound like 
he’s already at death’s door.

CARLIN.
Well son, there’s no other easier 
way to tell you this.

Wilson becomes curious.

WILSON.
Tell me what?

The doctor sighs.

CARLIN.
Six months after the operation. Your father came down with severe
headaches. There were times when he didn’t know where he was, who he was. So I arranged for him to have a brain scan to see what was causing the headaches. From that moment when I recieved the test results, it became clear what the main culprit was. We had discovered a tumour, the Cancer had spread like wild fire.

A tearful Wilson holds his mouth in shock.

WILSON.
Oh my god.

The doctor consoles Wilson, putting his hand onto the man’s shoulder.

CARLIN.
I’m so sorry. 
But we’ve done all we can for him.

Wilson sniffls. He wipes away his tears.

WILSON.
Em. Could you leave me alone with him for a few moments.

CARLIN.
No problem. I’ll just be outside.

WILSON.
Thank you.

Andrew quickly awakenes suddenly, coughing violently. His eyes are hidden showing only the whiteness of the eyeball. Blood appears from his mouth, Wilson grabs some tissues and wipes the blood away. Andrew eventually stops, he sees Wilson’s face for the first time. He doesn’t recognise his son, he just glares at him. Wilson realises, the bottom of his mouth shakes as he tries to hide the emotion.

WILSON.
(silently.)
Hi.

Andrew doesn’t respond. Wilson cleans the man’s mouth, Andrew lifts up his right hand up and touches his son’s face. Wilson holds the hand against his face and tightens his eyes. Tears stream down his cheeks.  Andrew’s eyes close slowly for the last time. Wilson re-opens his eyes slowly, the realisation hits him hard. He puts his fathers hand down.

CUT TO:

INT. LANDING.

Thompson, the doctor and Allan are conversating with another. Their exchanging of words is interrupted by the opening of the bedroom door. Wilson appears with red watered eyes. The men come to thier own conclusion.

WILSON.
He’s gone.

The doctor closes his eyes for a second. Thompson reacts to the news normally. Allan lowers head into his left hand. 

THOMPSON.
I’m sorry.

Wilson wipes his nose with a tissue.

WILSON.
Thanks.

CARLIN.
I’m very sorry Tony. 
I’ll arrange for a coroner.

The doctor walks away. Wilson gets angry.

WILSON.
(Annoyed.)
Yeah. You’re sorry now aren’t you. 

Carlin stops and turns round.

WILSON.
(Continuing.)
The man should of been in a hospital. 
What kind of doctor are you?

Thompson steps in.

THOMPSON.
Come on Tony.

Wilson glances at Thompson.

WILSON.
Don’t you come on Tony me. Do you not realise? The man was suffering from a terminal illness. He should of been in care, where he would’ve recieved all the care and attention. He richly deserved.  

CARLIN.
I thought it would of been best to treat him in hospital. But it was your fathers dying wish, to spend his last days at home. He was an honourable man. I realise your upset, you have every right to be.
But I had to respect your fathers decision. Whether I liked it or not.

Wilson stares and pauses for a moment. He is frozen unable to continue with his wrath.

WILSON.
I’m sorry.

CARLIN.
Don’t be. I’ll go make the call.

Wilson continues to remain frozen. 

THOMPSON.
Thanks doc. It’s much appreciated.

The doctor walks away and turns then quickly turns back around. He goes into his jacket pocket and produces an A4 sized brown envelope.

CARLIN.
Oh I almost forgot. Your father told me to give this you.

Carlin hands the envelope over, Wilson takes it. 

WILSON.
What is it?

CARLIN.
I’ve no idea. My instructions were 
just to give it to you.

He looks at his father’s handwriting which says ‘TONY’ on it. He unfastens the sealed part of the envelope, he sees white sheets of A4 sized paper and takes them out into the open. He begins reading them; a smile comes onto Wilson’s face. Thompson becomes interested.

THOMPSON.
What’s wrong?

Wilson continues reading.

WILSON.
My father. He’s!

THOMPSON.
What?

WILSON.
It’s all mine.

THOMPSON.
I don’t understand.

WILSON.
The house, the business. It’s all mine. 
He has signed everything over to me.

Thompson smiles.

THOMPSON.
My god. That’s wonderful.

Wilson then smiles as he continues to look at the documentation.

WILSON.
Yeah!

CUT TO:

EXT. RAILWAY STATION - NIGHT

An orange light reflects onto a rain-soaked platform. A sign that reads ‘BURNSFIELD’ hangs from the platform shelter, slowly being blowing back and forth by the light wind. Headlights from a incoming train shine; as it makes it’s approach to the destination. The train stops. An ehcoed beeping sound is heard as the train’s sliding doors open. Crowds of passengers vacate the train. Out of the crowds appears a man, his name is ‘JOHN CULLEN.’ Smartly-dressed in black leathers, he has an ‘C’ shaped scar on his forehead. He is carrying a big shaded-green ruck-sack, he walks with the other people to a slope at the end of the platform.   
CUT TO:

INT. TAXI 

A middle-aged man is sitting in the driver’s seat, looking out the window and smoking a cigarette. The cigarette is nearly finished, he takes another draw from it and blows the smoke out through the half-opened window. The vehicle’s backdoor opens. The driver looks into his rear-view mirror. He sees a big hold-all bag being thrown onto the back seat. The door shuts, Cullen opens the passenger door and enters the vehicle.

DRIVER.
Yes sir. What can I do for you?

Cullen closes the door behind him. He makes himself comfortable.

CULLEN.
I don’t suppose you know any good hotels, 
within the area do you?

DRIVER.
Yeah I know a few. It just depends on how much 
your willing to spend. Some of them don’t come cheap

Cullen goes into his inside pocket and then brings out a big wad of cash. The taxi driver is amazed by what he sees.

CULLEN.
Should this be enough?

DRIVER.
Definitely. I know just the place.

The driver throws his away cigarette, he turns the key in the ignition. The car springs into life. Cullen fastens his seatbelt.

CUT TO:

EXT. TAXI-RANK 

The car is first in line as it moves away from the queue of other cars.

CUT TO:

INT. TAXI

STREET LIGHTS reflect on the moving vehicles body and windows. Cullen is sitting contentedly admiring the moving scenery. The driver studies his passenger as he steers and changes the vehicles gears. He reaches for a pack of cigarettes which are sitting in a compartment in the dashboard. He opens the packet and takes a cigarette out. He looks over at Cullen.

DRIVER.
Do you smoke?

Cullen turns round.

CULLEN.
(Smiling.)
Yeah.

The driver hands Cullen the packet. 

CULLEN.
(Continuing.)
Thanks.

Cullen takes it and pulls out a cigarette. He puts it into his mouth. The driver is lighting up. He then hands the lighter over, Cullen takes it and lights up. The two men are now smoking, Cullen rolls his window down a bit to vaccum to the passive smoke. The driver looks over he then slips into conversation to try and break the wall of silence between the two of them

DRIVER.
So you from around here?

Cullen turns to the driver.

CULLEN.
Yeah. I was born and raised here.

DRIVER.
I see. Where have you come in from?

CULLEN.
Glasgow.

DRIVER.
Just visitng, I take it?

Cullen looks at the driver without saying a word. The driver realises by the look that he may becoming too inquisitive.

DRIVER.
(continuing.)
I’m sorry. I’m being too curious. 
Aren’t I? Just tell me to shut up.

He lets out a small nervous laugh and shakes his head. Cullen feels more lenient towards the man.

CULLEN.
No, that’s okay.

DRIVER.
I’m like this with all my passengers.
Sometimes I go a bit overboard, I do apologise.

CULLEN.
Like I said it’s okay.

DRIVER.
So have you got family here?

CULLEN.
(shaking his head.)
No. My mum died when I was ten, 
my father died six years ago.
After that I joined the army.

DRIVER.
You were a soldier?

CULLEN.
Yeah.

DRIVER.
Man, if you were living the soldier boy life.
What made you come back here?

CULLEN.
(Looking down.)
I don’t know. Guess I was looking for a new beginning.

As Cullen continues echo’s of shouting and screaming is heard.

CULLEN.
(Continuing.)
 Away from all the pain, 
the torment, the madness.
To live in a land of the free.
No more fists, no more fury.

The driver becomes concerned with Cullen’s state of mind.

DRIVER.
You ok son?

The echoing stops, Cullen comes out of his pause.

CULLEN.
I’m sorry, I just lost myself there.

DRIVER.
You alright?

CULLEN.
Yes, yes of course. 
What were you saying?

DRIVER.
You mentioned about making a new beginning. 
But no offence, if I were you. 
I would have chosen somewhere better than here.

CULLEN.
Why is that?

DRIVER.
Well from my point of view. In the last few years,  
I’ve seen this town slowly going from a New Haven
To one of the biggest shitholes on the map.
You open up the local paper and all you see is.
Muggings, robberies, shootings and shoplifting. You name it. 
All the crimes you can think of. This place has it all.

Cullen is lost for words, he continues with his cigarette.

CULLEN.
Fuck. I didn’t know it was that bad.
It seemed okay, when I left the first time around.

DRIVER.
Yeah. But times change. Around six years ago, 
you could go out and paint the town
with your mates. These days you’d be lucky
to go home without getting into a fight 
with a mindless fuckhead, thinking he’s the big man.

CULLEN.
Fun and games eh?

The driver’s mood changes.

DRIVER.
Yeah. Do you know at this moment, 
my youngest son is in hospital? 
One day he was walking home from
school with a couple of his mates. 
When suddenly they were cornered by two youths. 
They must have been in thier early twenties 
or something. But the ring-leader of the gang, 
hit my son repeatdely on the head with a golf club.
Can you believe it? A fucking golf-club.
Luckily there was no damage to his skull.
However the doctors had to reattach, his ear.

CULLEN.
That’s wild. I’m so sorry to hear that.

DRIVER.
I’m telling you. If I ever catch the wee 
fuck pig that did it. His life won’t be worth 
living. Because to me when things like that happen 
there comes a time, when the law has to 
be enforced by ourselves. You can’t depend on
anyone of authority these days. All you get is
ok we’ll look into it and we’ll let you know.
It’s fucking bollocks, what they come away with.
Sorry I may sound off putting by the way.

CULLEN.
It’s alright. I realise the picture you’ve 
painted is quite frightening. But to me and from my view. 
I’m the one who has to review your picture for myself.

The driver is understanding.

DRIVER.
That’s true. Look I’m sorry for laying 
all this onto you.

CULLEN.
Don’t be, I’m glad to have listened.

CUT TO:

EXT. TAXI

The car stops in the central-reservation of a main road, the indicators on the right-hand side of the vehicle flash. It is waiting for a gap in the traffic to turn. The car then turns right.

CUT TO:

EXT. HOTEL - NIGHT

The bright headlights flash, as the car comes into the stone covered driveway. The car stops.

CUT TO:

INT. TAXI

The driver leaves the engine running.

DRIVER.
Well here we are, the best 
hotel in town. Nice rooms, nice food 
and quite cheap too. The wife and I 
stayed here on our anniversary.

Cullen takes a look at it from the passenger window.

CULLEN.
Thanks. I’ll give it a try.

He turns away from the hotel, he goes into his pocket.

CULLEN.
(Continuing.)
How much do I owe you?

The driver looks down to think for a moment, he looks up Cullen and smiles.

DRIVER.
Nah. Don’t worry about it.

Cullen has the money in his hands.

CULLEN.
Don’t be silly, take it.

The driver pauses. He has a second thought to his decision.

DRIVER.
Yeah okay then.

Cullen opens the door.

CULLEN.
Well thanks again.
Oh and.

Cullen produces a twenty-pund note and offers it to the man.

CULLEN.
(Continuing.)
Take this.

The driver is stunned.

DRIVER.
What that’s for?

CULLEN.
Get something nice for your son.
And tell him from me to get well soon.

The driver takes to Cullen’s kind gesture and takes the money. He looks at the note for a moment.

DRIVER.
That’s very generous of you son.
I don’t know what it is. But in a town like this, 
there’s not many of your kind around.

Cullen smiles and offers out his hand, the driver looks at it. He moves his right hand and the two men’s hands meet.

CULLEN.
Take care.

The hands disconnect, Cullen removes himself from the seat. 

CUT TO:

EXT. HOTEL - GROUNDS

Cullen closes the car backdoor he throws his ruck-sack onto his left shoulder. He walks round the back of the vehicle to the front door. The taxi driver gets out of the car and stops Cullen before he goes into the building. 

DRIVER.
Hey wait up a minute.

Cullen hears the voice and stops then turns round, he sees the driver limping up to him.

DRIVER.
(Continuing.)
I forgot to get you this.

The driver hands over a small-card, Cullen takes it and looks at it. The card has a company logo of a picture of flats, in computerised text it reads. ‘CAMPBELL’S PROPERTIES, GORDON CAMPBELL, PRIVATE LANDLORD.’ 

DRIVER.
(Continuing.)
 Just in case you were looking 
for somewhere to stay. This is my brother’s business card.
He has properties all over town, and he’s a reasonable enough. 
So he’ll do you a good deal.

CULLEN.
Thank you.

DRIVER.
It’s no problem.

The driver turns away and limps back to his car, Cullen puts the card into a safe place and opens the door.

CUT TO:

INT. HOTEL - LOBBY

Cullen enters the premises and stops, he moves his head around slowly scanning the area. He’s sees two attractive women dressed up to the nines and with make-up on, sitting at a table in the hotel’s lounge-room. The both of them are drinking red-wine from tall glasses and smoking white menthol cigarettes. One of them smiles at Cullen, Cullen acknowledges it and smiles in return nodding his head.  He is interrupted by the male receptionist.

RECEPTIONIST.
Can I help you there?

Cullen turns and walks up to the desk.

CULLEN.
Yes I would like a room please.

RECEPTIONIST.
Have you made a booking?

CULLEN.
Eh, no I haven’t sorry.

RECEPTIONIST.
Ok. It will be forty-nine pounds
a night. Breakfast is at 8.30 a.m.
If I could just take some details from you.

The receptionist looks at a computer screen, he puts his fingers on the keyboard.

RECETIONIST.
(Continuing.)
What’s the surname?

CULLEN.
Patterson.

The receptionist begins typing.

RECEPTIONIST.
And the initial of your first name?

CULLEN.
S.

RECEPTIONIST.
And how long are you
planning in staying sir?

CULLEN.
A couple of days.

CUT TO:

INT. ROOM

The room is in pitch-blackness, the door opens and shines light in from the hallway. Cullen enters the room closing the door behind him. He is looking for the light switch. He finds it and switches it on. He looks around the room, inspecting it’s quality and size. The room has two single-beds sitting close to each other seperated by a bedside cabinet, that has a lamp and a clock sitting on it. Cullen takes the weight of the sack from his shoulder and puts it onto the spare bed. He sits down on the edge of the other bed. Across from him he sees a protable television set sitting on the unit. A big mirror is located behind it.He looks at his reflection and sees the distinguishing mark on his forehead, he feels it with his hand. The room door chaps. Cullen turns and looks at it. The door chaps again, he gets up and walks over.

CUT TO:

INT. HALLWAY

The door has the number ‘157’ on it. It opens Cullen looks to see who it is. He sees that it is the blonde women from the lounge. He cracks a smile.

CULLEN.
Hi.

The women smiles.

WOMEN.
(sexy voice.)
Hi.

CULLEN.
What can I do for you?

The women speaks whilst eating chewing gum.

WOMEN.
Can I come in?

Cullen opens the door wider.

CULLEN.
Yes of course.

The women walks under Cullen’s arm and enters the room. Cullen smiles whilst holding the door.

CUT TO:

INT. ROOM

Cullen closes the door. The women stands beside the bed, she starts unbuttoning her blouse. Cullen slowly walks up.

CULLEN.
What are you doing?

The women’s blouse is off, she is unfastening her bra.

WOMEN.
You’ll see.

She takes her bra off. Cullen blinks fast and smiles. The women removes the sack of the bed, it falls onto the floor. She then sits down and lies on her back. Cullen is stunned he walks a bit closer. The women lifts up her head.

WOMEN.
Well what are you 
waiting for. Christmas?

Cullen takes off his jacket quickly. He then takes off his jumper, trousers and shoes. He is left only with his underwear. He lies down on top of the women, they are kising each other. Cullen then begins kissing her on the neck, then moving down to her chest. The women moves her hand down and slips it under Cullen’s underwear. The two of them continue kissing.

FADE OUT:
CUT TO:

EXT. GRASS-FIELD - DAY

The rain is coming down in buckets. A group of five soldiers are crowding round, Wilson and Cullen. They are shouting and cheering Wilson on. An army Jeep with a fellow solider in the driving seat is waiting in the wings for a signal given by Wilson. Who is kneeling down on Cullen’s back. He has the back of Cullen’s hair in his hand. Cullen’s face is buried in wet mud. Wilson then pulls Cullen’s head up, he speaks into the man’s ear.

WILSON.
Now. Are you going
to tell me what you
said about me?

Cullen’s eyes are closed.

CULLEN.
(Shouting.)
Fuck you.

WILSON.
Now, that was un-called for.

Wilson signals the soldier. The vehicle moves forward slowly Cullen’s are open he sees the wheel coming towards his face he screams with fear he tightens his eyes. Wilson signals the driver once again, the vehicle stops. All Cullen can see is the pattern of the tyres. The wheel moves back.

CULLEN.
I can’t breathe.
Let me up.

Wilson slaps Cullen’s head.

WILSON.
Shut the fuck up. Johnny.
You speak only when 
spoken too. Got that?

CULLEN.
(Struggling for breath.)
Please. I can’t breathe.

Wilson slaps Cullen’s head back and forth repeatdely.

WILSON.
I said shut up.

Wilson stops and looks up at the soldiers.

WILSON.
(Continuing.)
Hey lads. What do we say
we crush that ugly face of his
this time around.

The soldiers shout at the same time.

SOLDIERS.
(Together.)
Yeah!

WILSON.
 Yeah why not. Well Johnny you’ve heard 
from the horse’s mouth. You better scream 
louder this time because it’s going 
to be the last thing you ever do.

Wilson signals the soldier in the jeep to move forward, Cullen sees the wheel coming he screams louder as the tyre gets closer.

CUT TO:

INT. ROOM

Cullen wakes up suddenly. Breathing heavily and sweating. The women wakes up with a fright.

CULLEN.
(Shouting.)
No.

He looks around. Eyes wide-opened. The women gets up and comforts him wraping her arms around him.

WOMEN.
It’s ok. It was just a dream

CULLEN.
I’m sorry.

WOMEN.
It’s ok.

Cullen brushes his hand arcoss his forehead then his hair. 

CULLEN.
Fucking hell. I thought it was for real.

WOMEN.
Care to tell me about it?

Cullen moves back and rests his back onto the bed, the women follows him at the same time.

CULLEN.
There’s nothing to tell
It was just a dream.

The women rests her head onto Cullen’s chest. She speaks without making eye contact.

WOMEN.
Don’t you worry, your
safe now. I won’t let
anything bad happen to you.

The women lifts up her head and moves up to kiss Cullen. They begin kissing. Cullen smiles as he is kissing.

The screen is black. A title card fades in.

TWO MONTHS LATER

CUT TO:

INT. ARMY BARRACKS - BATHROOM - NIGHT

Four soldiers in combat gear are standing at washing sinks cleaning camoflouage paint off their faces. Cullen is one of the soldiers who is washing his face. He gives his face a final rince and then picks up a face towel to dry himself. One of the soldiers walks away, while two remain. Wilson comes out from one of the toilet cubicles. He sees Cullen in the mirror reflection. He walks up to one of the sinks, he turns on the tap and begins washing his hands.

WILSON.
(Smiling.)
Alright Johnny?
Did you enjoy your
wee swim in the 
mud the other day?

Cullen closes his eyes slowly and then opens them he turns to look at Wilson.

CULLEN.
(Annoyed.)
What’s your fucking problem, eh? You’ve been on
my case since day one. It’s obviously you have 
something against a honest man’s dignity.
Or the whole of humanity even. You think because your a Corporal, 
you have the power to shit on anybody you please.
Why don’t you just fuck off and stay out my way.
I joined the army to be somebody not to be victimisied.
Now if you don’t mind, I have duties to attend too.

Cullen turns away he is blocked by a soldier, who isn’t letting him past.

CULLEN.
(Angry.)
Get the fuck out of my way. 
Or so help me god I’ll break your face.

Cullen walks to the side the soldier blocks him, Cullen loses his rag he headbutts the soldier in the face full-force. The soldier shouts in pain, the 2nd soldier punches Cullen in the side of the face. Cullen retaliates and punches the man back. Wilson comes up behind and punches Cullen in the back of the head, he feels dizzy and falls to the ground landing on his knees. Wilson shouts violently.

WILSON.
(Shouting.)
How fucking dare you.

Wilson knees the fallen man in the face, he falls back quickly banging the back of his head on one of the sinks. Cullen falls onto his side.  

WILSON.
(Continuing.)
I’m your superior officer,
you wee filthy fuck. Nobody
curses me.

Wilson kicks him in the chest.

WILSON.
(Continuing.)
You under-fucking-stand? Nobody.

The injured soldiers nose is full of blood. He is still holding it.

SOLDIER.
The fucker broke nose.

The soldier walks over and kicks Cullen in the face. Cullen by this time is close to passing out.

WILSON.
Get the medic to check it out.
We’ll sort this little fucker.

The soldier leaves the room.

WILSON.
(Continuing.)
Lock that door.

The 2nd soldier follows Wilson’s instruction and locks the door. Cullen’s vision is blinding, the soldier comes back. Wilson looks at him

WILSON.
(Continuing.)
Shall we?

The soldier smiles and nods.

WILSON.
(Smiling.)
Yeah why not!

The two men pick Cullen up on each side of his body holding the arms and legs; they take him into Wilson’s previously used cubicle.

CULLEN.
(Shouting.)
No, please don’t.  Please.

Cullen’s head is dipped into the bowl of water; Wilson pushes down the lever the toilet flushes. They lift Cullen out he chokes for air.

WILSON.
Now am I going to get an apology from you?

Cullen continues choking.

CULLEN.
Fuck you.

WILSON.
Fine have it your way.

They take Cullen to the second cubicle and dip his head into the bowel; Wilson pulls the second lever. Cullen chokes on the falling water Wilson takes him out.

CULLEN.
(Choking.)
Sorry.

WILSON.
What?

CULLEN.
I’m sorry.

Wilson and the soldier throw Cullen onto the floor. The bathroom door is kicked opened, Thompson comes rushing into the room.

THOMPSON.
What the fuck is going on in here?

Wilson looks down at Cullen.

THOMPSON.
(Continuing.)
Well Corporal.
Would you mind giving 
me an explanation?

Wilson looks at the fellow soldier. The soldier looks up at him and then looks down.

WILSON.
Or course sir. Myself and Private Collins 
were washing our hands when suddenly and 
out of the blue Private Cullen went beserk. 
He headbutted Private Muirhead, who was trying 
to restrain him. And punched Collins in the face.
I have sent Private Muirhead to be checked over by the medic.
That’s all that there is too report. Sir. 

Thompson walks calmly up to three men. Cullen’s eyes are becoming heavy, he sees Thompson and the two men looking down at him.

THOMPSON.
Thank you Corporal.
That’ll be all, I shall speak
with you in the morning. In the meantime get 
back to your barracks on the double.

WILSON.
Yes Sergeant.

Wilson and the soldier leave the room; Thompson kneels down to Cullen. He begins stroking Cullen’s hair. 

THOMPSON.
(Shaking his head)
Cullen. What am I going to do with you? 
Causing fights with fellow soldiers,
damaging army property. Giving your company a bad name. 
Ruining your chances of becoming a good soldier.
What’s happened to you Cullen, you were one of 
those promising recruits that I had faith in.
Now I’m not so sure. You know I could court-martial 
you for this, but no. It wouldn’t be worth it. Everyone
desrves a second chance to prove themselves.
So I’m going to let this incident lie for the time being.

Thompson gets up stands up he looks at the dirty sink.

THOMPSON.
Clean up this mess 
before I change my mind.

Thompson callously walks away. Tears come from Cullen’s eyes his vision begins fading. 

FADE OUT.

A buzzing noise is heard.

CUT TO:

INT. BEDROOM - MORNING

Cullen awakenes to the sound of an alarm clock, which is flashing “7.00. A.M.” in red digits. His body is riddled with sweat he rises from the bed; he goes into the bathroom closing the door behind him. THe sound of running water is heard. 

CUT TO:

EXT. GARAGE - DAY

Cullen along with five mechanics stand outside in the boiling sun exchanging words and smoking cigarettes, Cullen is chewing on a cheese and onion sandwich. He is also drinking coffee from a plastic thermos cup.  One of the workers ‘CRAIG RITCHIE’ makes a conversation with Cullen. Cullen listens.
 
RITCHIE.
Hey Stuart, have you been in 
that new pub called Murphy’s?

CULLEN.
No, not yet.
Is it any good?

RITCHIE.
Oh you don’t know what you’re missing mate. 
It’s shit hot, it’s thee place to be at the weekend. 
I’ll that you that much. You should have seen this burd 
I met in there last weekend. Nice pair of tits you 
name it she had the lot. Me and a couple of the boys
are going there for a few jars after work. You should come along. 

Cullen smiles in amusement he shakes his head. 

CULLEN.
Nah, no thanks.

RITCHIE.
Come on. It’ll be a laugh.

CULLEN.
No honestly, it’s not my scene. Sorry.

RITCHIE.
Not your scene. What the fuck 
is wrong with you? This is a good
way to get to know you, since your new here.

Cullen looks at one of the newspapers being held by one of the workers; on the front page the headline reads ‘LAND OF PAIN.’ A second part under the headline says ‘TWO MORE SUICIDES AT NOTORIOUS ARMY BARRACKS.’ A picture of Cullen’s previous base is the picture at the side of the headline. Ritchie realises Cullen is has slipped into a day dream 

RITCHIE.
(Continuing.)
Stuart. Are you okay?

Cullen blinks as he comes of out his long pause.

CULLEN.
Sorry?

RITCHIE.
You weren’t listening were you?
I was saying that if you come out with us
for a few drinks. This will be our chance to
get to know you, since your new here. So what do you say?

Cullen contemplates.

CULLEN.
Em.

RITCHIE.
Come on don’t be a lightweight.

Cullen gives in.

CULLEN.
Yeah okay.

RITCHIE.
Good man.

The sound of a loud horn to mark the end of the mechanics tea break blares. The workers finish of their drinks and walk back into the garage, other workers throw their rubbish into the outside bin as they leave. Ritchie puts his flask of tea back into his backpack; Cullen screws the plastic cup back onto his thermos flask.

RITCHIE.
Once more onto the beach.

CULLEN.
Yip.

Cullen and Ritchie walk into the building.

CUT TO:

EXT.  WILSON COMPUTING INDUSTRIES - NIGHT

A lightened up factory brightens up a darkened area. Forklift vehicles load boxes onto a cargo train.  Heavy-goods trucks with the words “W.C.I. WILSON” written on them are parked at loading bays.
CUT TO: 

INT. ASSEMBLY AREA  

Workers with blue coats and with the initals “W.C.I” sewed on them. Are working at manual production lines installing CD-ROM’s and connecting wires into the right places. Others are loading computer towers onto a plastic tray and then onto a line with metal wheels. Men wearing orange coats are supervising the production process. Wilson’s blonde PERSONAL ASSISTANT is giving new employees a guided tour of the assembly area. 

CUT TO:
INT. OFFICE 

Wilson is watching the secretary showing new employees how the factory operates. He puts his right hand into his pocket and starts rubbing his penis; the ringing of the office phone interrupts him. He takes his hand out the pocket and runs to answer the call.

WILSON.
Wilson Computing Industries. 
Tony speaking. How can I help?

CUT TO:

INT. CAR

Thompson is sitting in the passenger seat of his car. It is being driven byb his right-hand man.

THOMPSON.
Hi I thought I’d phone to see 
how you are settling in.

CUT TO:

INT. OFFICE

Wilson has his feet up on the table.

WILSON.
Oh everything is hunky dory. I didn’t think that sitting 
in an office eight hours a day and being able to pay 
off anyone I dislike. Would be so much fun.

THOMPSON.
(V.O)
I see your starting to like the job a bit too much.

WILSON.
Well in a position like this 
who gives a fuck? Certainly not me.

CUT TO:
INT CAR 

Thompson chuckles at Wilson’s remark. 

WILSON. (V.O)
(Continuing.)
So what about our client Mr. Murphy? I’m beginning to 
lose my patience with him. He hasn’t got contacted us,
regarding the new contract. Either he signs it or else.

THOMPSON.
Don’t worry, he’ll sign. I’ve got an 
appointment to see him next week. 

CUT TO:

INT. OFFICE 

Wilson is lying back on the chair. He is holding a picture with a picture of his father inside it.

WILSON.
Good. Let me know of the outcome,
I’m just dying to find out.

THOMPSON. 
(V.O)
No problem. 

Wilson puts the phone down. He then studies the picture.

CUT TO:

INT.  MURPHY’S -  NIGHT

Ritchie, Cullen and some co-workers come into the fairly busy pub. Punters are standing at the bar drinking pints of beer and various other drinks.  Other punters are standing round a pool table watching their pals play.  A Wilson Computer Industry supervisor ‘DAVY MCLEAN’ sees Ritchie standing at the bar just as he is about to take his next shot. He then takes his shot.

CUT TO:

INT. BAR

The men managed to find a space at the bar. Ritchie digs into his pocket and brings out a twenty-pound.

RITCHIE.
Here get the first round 
in with this, I’m away for a slash.

One of the workers takes the money. Ritchie walks away, Cullen comes out of his shell.

CULLEN.
Don’t be doing 
anything I wouldn’t do.
Ritchie smiles!

RITCHIE.
Ha, ha, very funny.

Cullen and the co-workers laugh. Ritchie walks away shaking his head, he doesn’t notice Mclean as he walks past the pool-table. Mclean and one of his friends follow Ritchie. 
CUT TO:

INT. GENTS - TOILETS 

The toilet door opens and Ritchie comes in. He goes straight to the middle of the three urinals hanging from the wall. He unzips his fly and does his thing. Mclean and his co-worker come in, he turns on a tap and begins washing his hands. The co-worker stands at the urinal next to Ritchie. Mclean looks at Ritchie in the mirror, he turns off the tap and then dries his hand using paper towels. 

MCLEAN.
Alright Craigie boy. 
You got my money?

Ritchie gets a fright then turns round. He nervously zips up his trousers quickly failing to complete his needs.

RITCHIE.
(Worringly.)
Fuck. Davy how you doing?

Mclean grabs Ritchie’s overall. 

MCLEAN.
I asked you a question.

Mclean’s workmate grabs Ritchie’s arms from behind. The man tries to struggle. 

RITCHIE.
Okay, okay. I haven’t got it.
But I promise you will get it.

MCLEAN.
When. Tomorrow, next year?  
No you’re not taking me for a fucking mug anymore. 
You wanted something for the pain. You came to me 
for help and I gave it to you. You should’ve 
of known your limitations.

RITCHIE.
(Tearful.)
Oh come on Davy just 
give me another week. Please! 

Mclean puts his left hand round Ritchie’s neck and pulls him closer. He whispers into Ritchie’s ear. 

MCLEAN.
No. Your time is up.

A hunting knife slides down the right hand sleeve of Mclean’s overall he sticks it into Ritchie’s stomach.

MCLEAN. 
(Continuing.)
This is what happens when you fuck me about.

He pushes the knife further in.

MCLEAN. 
(Continuing.)
You suddenly become surrounded by dark skies 
with no way out and no-one to turn too.

He takes the knife out, the co-worker lets Ritchie go. He falls forward hitting the ground with his eyes wide open. Mclean turns on the tap and wipes the blood off the knife. 

MCLEAN.
(Continuing.)
Let’s get out of here!

His friend leaves the bathroom first Mclean follows.  
CUT TO:

INT. BAR 

Cullen takes a drink from his glass. Mclean doesn’t watch where he’s going he bumps into Cullen causing him to spill his beer. He turns round quickly.

CULLEN.
Hey watch your going dickhead.

Mclean glares. Cullen sees a blood stain on the orange overall. Mclean walks away. Cullen turns back round clearing away the small puddle the beer created on the bar.

CULLEN.
(Continuing.)
Unbelievable, he doesn’t even 
have the decency to say sorry. Wanker!

Mclean leaves the pub. One of the punters comes rushing out of the toilet and shouts at the top of thier voice.

PUNTER.
(Shouting.)
Somebody, help me.

The life in the pub goes quiet. The punter runs to the bar.

PUNTER.
(Continuing.)
Call the police, tell them there 
has been a stabbing. Hurry.

Cullen and the workers realise. They run from the bar and then to the toilet.
CUT TO:

INT. TOILET 

Cullen comes in he sees Ritchie lying face down in a pool blood.

CULLEN.
Oh my god.

He feels Ritchie’s neck to see if there is a pulse.

CULLEN. Cont.
(Shouting.)
Oh Jesus. No.

Cullen gets onto the floor and holds Ritchie’s corpse in his arms. He begins sobbing.

CUT TO:
FLASHBACK 

Cullen’s mind skips back to the point Mclean bumped into him and seeing  the blood on the overall. A quick flash and the image appears again in slow motion.
CUT TO:

INT. OFFICE -  NIGHT

The office door opens a landlord comes in, His name is ‘PAUL MURPHY.’ Thompson is sitting on the chair opposite Murphy’s desk. His bodyguard stands with his hands crossed next to the door.

MURPHY.
Mr. Thompson. What an unexpected pleasure.

Murphy sits down.
THOMPSON.
Mr. Murphy. How nice it is to be here.

MURPHY.
Anyway, what can I do for you?

THOMPSON.
Well you probably know why I’m here.

MURPHY.
Oh yes, the new contract.

THOMPSON.
Exactly. After all we have been
waiting to hear from you for over a month. 

Murphy moves around uncomfortably.

MURPHY.
Oh. Well I’m very sorry about that, after all it 
has taken me over four weeks to come to a decision. 

THOMPSON.
I see. And what is your conclusion?

MURPHY.
Well Mr Thompson here’s the problem, I appreciate the services 
you and Mr. Wilson have given us. I mean don’t get me wrong, 
at the time I thought it was a good idea. But the time has come 
to re-consider your new contract.

THOMPSON.
I see. You do know that your re-consideration 
puts us in an awkward position? 

MURPHY.
Yes I understand. It’s just the services you have 
put upon me and my establishment has not 
lived up to it’s expectations.

THOMPSON.
In what way!

MURPHY.
Well just the other day someone was stabbed to death 
in the gent’s toilets and if your protection services 
were as good as you pledged them to be, 
then that incident would have been avoided.

THOMPSON.
Well you can’t blame me for that. If you had been more 
vigilant and professional then it wouldn’t have happened. 

MURPHY.
It would not of happened if your so called bouncers 
had been pulling their weight, thanks to them 
I could lose my licence. The way I see it they a bunch 
of time wasters looking forward to their pay cheques at 
the end of the week. And it’s this place’s profits 
that the money is coming out of.

THOMPSON.
You can’t back out now! Once you’ve signed 
something there’s no turning back.

The conversation heats up.

MURPHY.
Forgive me for being rude but do you expect 
me to sign this on the dotted line? Where ordinary human beings are 
getting hurt and you and that fuck pig are going to be robbing me lock, 
stock and fucking barrel, in the process.  I don’t think so. 

Murphy presses a button on his desk.

THOMPSON.
You’re going to wish you never said that.

MURPHY.
Are you threating me Mr. Thompson?  

Thompson stands up. He puts the document back into his case.

FREEMAN.  
(Placid)
Yes, you could say that. It’s a nice little establishment 
you have Mr. Murphy, it would be a pity to lose it all tomorrow.

MURPHY.
Look I’ve really had a bad week and I don’t want to spend 
another minute listening to your crappy threats, 
so if you could be so kind as to leave. Please.

Somebody knocks on the door.

MURPHY.
(Voice raised.)
Come in.

A heavily built barman comes in.
BARMAN.
Everything ok?

MURPHY.
Oh just in time could you escort 
Mr. Thompson out please Terry? 
As he was just leaving.

TERRY.
With pleasure!

Thompson smirks at Murphy as he walks away. His bodyguard glares at Terry in a mean looking way. Thompson turns round he points his index finger at the landlord.

THOMPSON.
I’ll be back.
 
MURPHY.
I’ll be looking forward to it.

Thompson and the bodyguard walk away; Murphy takes a deep breath he sits back down on the chair.
CUT TO:

EXT. FACTORY - CARPARK

THOMPSON’S black car parks into an empty parking space outside the factory, the passenger door opens. Thompson rises up and closes the door behind him. He goes towards the factory entrance.

CUT TO:

INT. OFFICE  

Wilson is sitting at his desk with Mclean who is holding a MARIJAUNA cigarette.

MCLEAN.
I caught someone smoking this in the 
toilets. Shall I discipline them?

WILSON.
No tell him if he wants to smoke a joint, to do it on 
his breaks not when there is work to be done. 

MCLEAN.
No bother.

Wilson’s secretary chaps the door.

WILSON.
Come in.
The secretary enters.

SECRETARY.
Mr. Wilson there is a Mr. Thompson here to see you.

WILSON.
Send him in. And another thing call me ‘Tony’.

The secretary smiles, Wilson looks at Mclean.

WILSON.
(Continuing.)
Leave that here with me and I’ll confiscate it.  

MCLEAN.
Right.

Thompson comes into the office, Mclean walks out. Thompson makes himself at home.
WILSON.
So how’s things, 
how did you get on at Murphy’s?

Wilson puts the cigarette into his mouth he picks up a lighter and ignites the remaining Marijuana cigarette. 

THOMPSON.
He’s not budging.

Wilson takes a draw from the cigarette he blows out the smoke. He passes it over to Thompson.
WILSON.
Why what did he say?

Thompson takes a draw and blows out the smoke.

THOMPSON.
(Sighing.)
Do you really want to know.

WILSON.
Go on.

THOMPSON.
Well from the top. He’s bascially told us to stick 
this contract up our arses. He’s called you a child molester, 
he made upsetting comments about your father.  Also he said he thinks W.C.I will be shut down within a year because you’re at helm. So in other words he’s implying that you’re a fuck up and I'm no better. Now some who talks like that definitely deserves.

Thompson pauses.

THOMPSON.
(Continuing.)
Well you know what.

WILSON.
That’s it. I’ve had it with this guy. 

Wilson picks up the phone. 

THOMPSON.
What are you going to do?

WILSON.
Elevate to the next step.

THOMPSON.
Which is?

WILSON.
You’ll see.

Thompson takes another puff he coughs on the smoke.

WILSON. Cont.
Good shit eh?

THOMPSON.
(Short-breathed.)
Yeah.

Wilson shakes his head.

WILSON.
(Continuing.)
Frankie. Are you and the boys free for 
tomorrow night? Good. Meet us at 4.30. Bye.

He puts the phone down.

WILSON.
(Continuing.) 
That’s, that sorted.

CUT TO:

EXT. FACTORY -  NIGHT

Workers pour out of the factory and go to their cars. Mclean is carrying a back pack; he comes out into the open and goes straight to his car.

CUT TO:

EXT. ROAD 

Darkness covers a quiet road. A figure dressed in black is sitting on a motorbike with the engine still running. The bike stops onto the side of the road. The figure looks straight ahead at the factory. It has seen Mclean getting into the car, it watches as the car drives out the factory grounds.
CUT TO:

EXT.  TERRACED HOUSES - MORNING  

The temperature is cold, the street road is damp. Mclean comes out from one of the long row of houses. He has a  slice of toast hanging from his mouth. His jacket half worn hangs from his right arm; he puts his left arm into the other sleeve and then takes a bite from the toast.  An overweight woman in a dressing gown opens the front door.

WOMAN.
Honey, you’ve forgotten your keys.

Mclean turns round.

MCLEAN.
Shit.

He walks up to her, he takes them and gives her a kiss on the cheek.

MCLEAN.
Thanks.

WOMAN.
What would you do without me?

MCLEAN.
(Whispering under his breath.)
Probably find a blonde teen babe with big jugs.

The wheel of the motorbike pulls up at the end of the street. It stops the engine remains running. Mclean hears the engine running, he looks up  at the end of the street. He sees the black-leathered biker staring at him. He becomes puzzled.   

WOMAN.
What was that?

Mclean doesn’t respond. The bike then moves away and disappears past the end house in the row. Mclean is still puzzled he blinks and shakes his head. Letting it past through his mind.

WOMAN.
Are you okay.

Mclean returns to normal, he turns round.

MCLEAN.
What, what was you saying?

WOMAN.
You weren’t listening were you? 
I was just wondering what you said. 
I heard you mumbling something under your voice.

MCLEAN.
Oh it was nothing.
Just talking to myself.

WOMAN.
(Smiling.)
Yeah right, I believe you.
A thousand people wouldn’t.

The woman closes the front door. Mclean walks to his car he puts the key into the door. 

MCLEAN. 
(Sarcastic)
Fat cow.

He turns the key. The car explodes.
  
CUT TO:

INT. LIVING ROOM

The living room window shatters, glass is thrown all over the woman as she watches the television she gets up from the couch.  She looks out the broken window she sees the disassembled car burning. 

WOMAN. 
(Frightened.) 
Sean.

She rushes to the front door, she’s the doors window thick with blood. She opens the door, the woman screams manically and hysterically, Mclean has been blown in half. His head is still connected to his torso he is lying on the front doorstep. His dead eyes are looking up at the woman.

CUT TO:

EXT.  BURNSFIELD CROSS - HIGH STREET - LATER 

The street is busy; single mothers are pushing prams around, schoolchildren looking for mischief are running in and out of shops almost causing people to trip over them. Cullen and four of his workmates are walking down the street. They are smartly-dressed in suits with black ties and white shirts. Cullen begins conversating.

CULLEN.
It was a good turn out.

WORKER.
Yeah it was.  For some reason I always get nervous 
when it comes to funereals. A few weeks after my papa 
passed away, I was get that feeling 
that I was going to be next.

2nd WORKER.
We all feel like that sometimes.
I suppose you’ve just got to get on with it.

2nd WORKER.
True.

3rd WORKER.
(Angry.)
I don’t know about you guys. But my mind is more focused on 
the fucker that took Craig’s life away from him.

As the workers are walking, they listen to thier co-worker.

WORKER.
(Conintuing.)
 Craig was a good man, although he was easily led on.
In the end his heart was full of good intentions
and he wouldn’t have harmed a soul. It’s hurtful and
and it makes you angry when your faced with the realisation, 
that young man with his full life ahead of him. 
Is now lying in a ground, while his killer
is still out there roaming the streets. Waiting to strike again.

The men all agree. They walk past a building society. Cullen sees it and takes out his wallet, he widens the money compartment and notices that it’s empty. He stops. The men continue on they notice Cullen is not with them, they stop and turn around

WORKER.
What’s up, you not coming?

CULLEN.
I need to lift some cash.
Go on I’ll catch you up.

WORKER.
We’ll get you in the pub.

The two men walk away, Cullen takes out his cash card from his wallet he puts it into the machine; he dials in four numbers and presses two more buttons. 

CUT TO:

INT.  PUB - ENTRANCE

The men open the outside entrance door they go through it. One of them then opens the inside door and the men go through.  Suddenly the barrels of two MP5 machine guns with silencers point at them.

WORKER.
What the fuck?
CUT TO:

EXT.  CASHLINE MACHINE 

The cash drawer opens money is released. Cullen takes it and puts the money and the cash card back into the wallet. He walks round a corner He sees Thompson, Wilson and five armed men come out the pub doors. Cullen stops dead he eyes widened, he lips shake with nerves.

CULLEN. 
(To himself)
What. It can’t be. No.

Wilson turns his head to towards Cullen’s direction. Cullen quickly jumps round the corner to hide. He stands with his back up against the wall.  He begins breathing heavily sweat is on his fore head and on his  mouth. He comes out of his moment of panic, he wipes the sweat away with the sleeve of his jacket. 

He turns round he sees that the coast is clear. He begins walking towards the pub. The pub explodes into a fireball throwing bricks, glass and mortar all over the street. Cullen feels the force of the blast he is thrown away into the air.  He lands on his back his left arm covers his eyes, he moves his arm away and sees huge burning flames cowering the entrance. 
CUT TO:

EXT. ROAD

A dark BLUE VAN is driving away from the crime scene.

CUT TO:

INT. VAN 

Wilson, Thompson and the men are sitting in the back of the van. Wilson is cleaning the blood off a big Samurai Sword.

THOMPSON.
(Angry.)
For fuck sake Tony. You do go  
too far sometimes.

Wilson pleasures with his weapon cleaning the blood with a cloth.

WILSON.
What the hell are you on about?

THOMPSON.
Scaring someone is one thing.
But to involve innocent lives is another
matter that I begg to differ from.

WILSON.
Well nobody asked you to come Ian.
You came at your own accord.

THOMPSON.
Yes to talk too the man,
not drive a sword through his 
chest. You know you’ve just made
yourself public enemy one number.
And you’ve only got yourself to blame for it.

The men listen to Wilson and Thompson’s bickering.

WILSON.
Whatever. Anyway why are you
so upset about it?

THOMPSON.
It just reminds of the time, when I was stationed in London. 
It was the aftermath of the Guildford Four bombing. 
So many innocent people died for nothing. I guess
today was just a reminder of that. You better pray that 
they were no witnesses. Or we’re in serious shit.

WILSON.
Relax. If we all play things by ear and
act as if nothing has happened. Then we’re fine.

THOMPSON.
Yeah but for how long Tony, eh?
You fail to realise. That today
was just the beginning. The point of no return.

WILSON.
What’s wrong with you Ian? To me I 
think your losing the touch.
Maybe you should think about taking
a back seat. And lets us get on with.
I can’t afford to work with someone,
who’s unsure of his current position.

Before Wilson’s get the chance to continue, his mobile phone rings. He takes it out from his inside pocket. He presses a button.

WILSON.
(Continuing.)
Hello. Mitchell what’s up?

A grim look on Wilson’s face appears, he looks at Thompson.

WILSON.
(Continuing.)
Oh my god. How’d it happened? I see, 
 I shall be back at the factory in ten. See you.

Wilson hangs up he puts the phone back into the pocket.

THOMPSON.
What was that all about?

WILSON.
(Saddened.)
One of my employees was killed.

THOMPSON.
Killed. How?

WILSON.
Car bomb. 

THOMPSON.
You see this was just as I expected.

WILSON.
Oh your not going to lay that
sentimental shite on us again are you?

THOMPSON.
No. But I’m going to warn you all.
Just watch your backs from now on,
because today could lead to a serious
chain of events. Although we may be protected 
behind  the barrel of a gun but in the 
end we’re still vulnerable.

The men including Wilson heed Thompson’s warning and check their weapons. Wilson glares at Thompson with Snake eyes, Thompson takes no notice. 

CUT TO: 

INT.  INTERVIEW ROOM - DAY

Cullen is sitting at a table looking at the palm of his hand. As he is rolling an unsmoked cigarette around slowly. The room door opens, Cullen looks up to see a policeman. His name is “BRANDON O’HARA.” He is accompanied by a female colleague. 

O’HARA.
Mr. Patterson I’m so sorry for 
keeping you waiting. Please forgive me,
the paperwork on my desk is so sky high.
You wouldn’t believe the amount of work
a Detective Inspector has to go through.

The woman closes the door behind her after she enters. O’Hara sits down on a chair opposite Cullen. He puts a tape into a machine sitting next to wall

 O’HARA.
(Continuing.)
Anyway Mr. Patterson let me introduce myself, 
I’m DI O’Hara and this is my associate DS Ferguson. 
First of all I just want to thank you for making yourself 
available to attend this interview. I trust the hospital was
okay in letting you come out a day early; no broken bones or anything?  

Cullen shakes his head.

CULLEN.
No.

O’HARA.
Good. That’s good. Shall we get on 
with the interview then?

Cullen nods.

O’HARA.
(Continuing.)
Excellent.

O’Hara presses the ‘record’ and ‘play’ on the tape player at the same time.

O’HARA. 
(Continuing.)
This is Detective Inspector Brandon O’Hara 
interviewing commencing at 18.00 hours. 
Mr. Patterson for the tape could you tell us 
about the events that afternoon of March the fifteenth?

CULLEN.
Em. I had just been at my workmates funereal.
Me and about four of my other co-workers, decided
that after the service we would go for a drink. To
drink a toast to the memory of our friend, 
who was unfairly taken from us.

O’HARA.
Is this the same friend, 
who was stabbed to death?

CULLEN.
Yes.

O’HARA.
I see. Go on.

CULLEN.
Anyway we had arrived in the town.
Talking about how the service went,
you know about the amount of people
that were there. Stuff like that.
On the way to the pub, I realised
that when I checked my wallet there was no money in it. 
So I told the lads just to go on and that I would meet
them in the pub. I stopped off at the bank to 
lift some money. They walked on. After I had got the money, 
I walked round towards the pub then it happened. 
Boom. The next thing I knew I was lying on my side.
And in front of me all I saw and heard were people
screaming. Some of them were covered in glass and
some of them had been hit with the flying debris.
It was a site that I would never 
forget, not even for a millisecond

O’HARA.
Did you see anyone leaving the place 
minutes before the blast?

Cullen remembers the image of Wilson’s face coming out of the bar, in slow motion.

CULLEN.
No. I saw no one.

O’HARA.
Are you sure? Although you may be unaware there was a car bomb 
earlier on that same day. We have come to the conclusion 
that it may have been the same person that did this.

CULLEN.
I’m sorry I didn’t see anybody. All I saw that day was 
a image of my workmates engulfed by flames 
shouting for me to help them. But I was unable to.

O’HARA.
I see.  
O’Hara looks at his watch.

O’HARA. 
(Continuing.)
Interview suspended at 18.45 hours.

O’Hara stops the taping.

O’HARA.
(Continuing.)
Well Mr. Patterson I think 
we’ll call it day a from there.

O’Hara takes a business card and offers it Cullen.

O’HARA 
(Continuing.)
 Here’s my card. If you can think of anything else, 
that may help us with our enquiries. 
Don’t hesitate to call us. Ok?

Cullen takes the card, he shakes his head. He is the first to leave the room. O’Hara whispers into the female’s ear.

O’HARA. 
(Continuing.)
Have someone keep an eye on him.
Somehow I think he knows more 
than he’s letting on.

Ferguson nods.

CUT TO:

INT.  JACUZZI ROOM -  NIGHT

Thompson and a young man are sharing a SPA bath. They are sitting close together relaxing, drinking champagne and enjoying the steam and the bubbles. Thompson puts his glass away; he then uses the back of his fingers and rubs up and down the young man’s cheek. 

THOMPSON.
You’re beautiful, you know that?

There is a knock on the door.

THOMPSON. 
(Continuing.)
Who is it?

Someone answers.

PERSON.
It’s Allan.  Mr. Thompson 
I need to have a word with you.

THOMPSON.
Allan I’m kind of busy at the moment. 
Could you come back later.

ALLAN.
 I’m afraid I can’t Mr. Thomspon.
This is urgent, please I may I speak with you?

Freeman sighs he looks at his male companion.

THOMPSON.
I’ll be back in a tick.

Thompson gets out of the bubbling water. He puts on a bathrobe, he walks over to the door. He opens it.

THOMPSON. (Continuing.)
(Annoyed.)
What’s the problem?

Allan hands over a white envelope. Thompson squeezes through the open door and comes out into the hallway.

ALLAN.
This just came through the letterbox.
A couple of minutes ago, I’m unsure who it was
addressed to. And seeing that Tony is 
working. I thought I’d give it to you.

Thompson takes the envelope and looks to see whom it is addressed to. There is no name is written on it, it reads ‘To the present occupier.’ Thompson opens it he takes out a folded over A6 size piece of card. It has a drawn of a held up hand with the words ‘B.V.F.’ and ‘BURNSFIELD VIGILANTE FORCE’ written under the picture. He opens the card and reads the words, they read. ‘THE EYES OF VEGENANCE SAW EVERYTHING.’ He pauses.

ALLAN. 
(Cont.)
Something the matter.

THOMPSON.
It’s nothing everything’s okay.

ALLAN.
What did the card say?

THOMPSON.
Like I said, it’s nothing.
Nothing to get worked up about.
In the meantime I’ll get back to my bubbles.

Allan is unsure of Thompson’s attitude. He looks at Thompson strangely as if the man has got something to hide. 

ALLAN.
Yeah ok. I’ve finished duties 
for tonight. Tell Tony I’ll 
see him in the morning. 

THOMPSON.
Okay. Goodnight.

ALLAN.
Goodnight Mr Thompson.

Thompson closes the door, Allan walks away slowly still inflexible of Thompson’s initial reaction.

CUT  TO:

INT.ROOM.

Thompson walks up to to the Jacuzzi. He takes off his bathrobe he looks at the young man as he climbs back in. He smiles.

YOUNG MAN.
Is everything all right?

THOMSPON.
Everything is fine.
Nothing for you to worry about. 

Thompson puts his hand onto the back of the young man’s neck he pulls his head closer. They start kissing.

CUT TO:

INT.  MURPHY’S - BAR AREA - LATER

A darkened figure squeezes through the boarded up bar entrance. It  enters the wreckage of the bar.

CUT TO:
INT. OFFICE 

The office is in a total mess.  A filing cabinet is lying on the floor Paper work is scattered all over the place. The office door opens the figure comes in, it looks around the mess.  It comes across an undamaged video recorder that is sitting on the floor. The figure checks to see if there is a tape in it by looking in the tape compartment. A tape is found it has the words ‘SECURITY VIDEO FOR MARCH 15th’ The figure picks up the VCR and puts it into a sports bag, he walks out the office.

CUT TO:
EXT. TOWN CENTRE. 

Two teenagers come out of a INDIAN TAKEAWAY shop. They are walking to a bus stop across the road. They are carrying leather snooker cue cases with them and are holding brown paper bags, which contains their food. The teenagers sit in a bus shelter and begin to tuck into their food.

1st TEENAGER.
There’s not much happening 
around this way tonight.

2nd TEENAGER.
Yeah I know it’s quiet for a change.
 
1st TEENAGER.
By the way that was some blinder you played. 
Have you been practicising? 
It’s usually me that comes out winning.

2nd TEENAGER.
I don’t know I just seemed
to play well for some unknown reason.

1st TEENAGER.
Too right you did, you were practially on fire.

Two of Wilson’s foot soldiers enter the shelter. Thier names are ‘FRANKIE VALENTINE’ and ‘KYLE HOUSTON.‘ The teenagers look at them.
The two men stare at them.

HOUSTON.
What the fuck are
 you two looking at?

The teenagers do not take notice, the men walk closer.

VALENTINE.
By the way my big friend here,
has just told me. That he 
fancies you two. Don’t you?

HOUSTON.
Oh yes I just love young boys.

Houston wiggles his tongue around to the teenagers, he finishes off by making a kiss. They don’t respond.

HOUSTON. 
(Continuing.)
Let us have a look at your cue.

The 2nd teenager agitatedly hands over the case.

2ND TEENAGER.
(Reluctant.)
No bother.

Houston takes the case. He unzips it and brings out the dissasembled cue into the open. He attaches the two bits of wood and then screws them together tight. 

VALENTINE.
How much money do you two have?

1ST TEENAGER.
Just about enough for the bus home.

VALENTINE.
You’re a fucking liar. 

He looks at the 2nd teenager.

VALENTINE. 
(Continuing.)
How about you, what do have?

 2ND TEENAGER. 
(Timid.)
I, I don’t have that much either.

Valentine uses the palm of his hand to search the teenager’s pockets.

VALENTINE.
Well if I find anything, 
I get to keep. Okay?

Valentine freely puts his hands into the teenagers pockets. The teengaer embarassingly lets the man move his hand around. Valentine finds something and brings out his hands. There is FIVE POUND note in his left hand. He looks at it.

VALENTINE.
What the fuck is this. Eh?

The teenager moves around anxiously, his jaws shakes as he tries to speak.

2nd TEENAGER.
It’s, it’s all I’ve got.

VALENTINE.
You wee fucking liar.

Valentine headbutts the 2nd teenager in the face, the teenager takes to the attack. Houston grabs a hold of the 1st teenagers jacket. The teenager tries to struggle with Houston’s strong hold.

1ST TEENAGER.
(Shouting.)
Leave him alone.

Valentine punches the 2nd teenager across the face. The teenager falls onto the ground. Valentine then kicks him in the face repeatedly.   Houston swings the cue around.

JOHNSON.
This is a nice cue you have here.

Houston snaps the cue in half over his knee, he throws the bottom part away.

1ST TEENAGER.
(Raised voice.)
No.

Houston whacks the broken stick across the side of the 1st teenager’s head. The teenager falls onto his knees Houston them whacks him three times.  The teenagers are unconscious, the two men stop. Houston throws the cue down, he sees a piece of CHICKEN PAKORA lying out of the paper bag. He picks the bag up and eats the food.

HOUSTON.
Oh good. Chicken Pakora, 
I’m fucking starving.

VALENTINE.
Don’t eat the boy’s 
food you sicko.

HOUSTON.
What?

VALENTINE.
  Check his pockets.

Houston searches his teenage victim’s pockets he finds two pound coins.

VALENTINE. 
(Continuing.)
Have you found anything?

Houston is chewing on the food.

HOUSTON.
Yeah about two pound.

VALENTINE.
Come on we better
get out of here. 

The 2nd teenager moves around slowly. Valentine kicks the teenager in the face and walks away. The two men leave the shelter, Houston’s voice is heard as he chuckles.

HOUSTON.
Did you see the way 
I struck that little prick?

VALENTINE.
What are talking about? 
My headbutt was even better; 
you used a weapon. I didn’t!

The figure has seen the incident from the shadows.  He is standing watching the two men walking around a corner. The figure’s legs run to the right into an alleyway. 

CUT TO:

INT. CAR 

The men get into their car; they close the doors. Valentine starts the engine. Out of the blue a figure wearing a black helmet, and a black scarf and wearing a pair sunglasses. Jumps up from the back of the passenger’s seat.  He punches Houston in the back of the head he is knocked out cold. Valentine gets a fright.

VALENTINE.
What the hell.

The figure is holding a bread knife to the side of Valentine’s neck.

VALENTINE. 
(Continuing.)
Who the fuck are you?

FIGURE.
Drive.

He reaches into Valentine’s inside pocket. He finds a SILVER HANDGUN and takes it out.  He sticks it into Valentine’s neck.

VALENTINE.
Okay, okay, okay 
I’ll drive.

Valentine drives the car.

VALENTINE.
(Continuing.) 
What are you going to do?

FIGURE.
Turn in here.

VALENTINE.
What here?

FIGURE.
Yes.

CUT TO:

EXT. WIDE OPEN FIELD 

The car comes into an open field.

CUT TO:

INT. CAR 

FIGURE. 
(Continuing.)
Stop here.

The car stops the back door opens.

FIGURE. 
(Continuing.)
Get out.

Valetine opens the drivers door and climbs out slowly. The figure follows continuing to point the gun.  

CUT TO:

EXT. FIELD

The figure grabs Valentine’s blue denim jacket and points the gun to the man’s head. He puts his hands in the air.

VALENTINE.
What the hell are you?

FIGURE.
Death with a disguise.
  Grab your friend and lay him 
face down on the ground.

Valentine holding his hand in the air, walks to the passenger door. The figure uses the gun to follow his hostage every move. Valentine opens the door, he grabs a hold of his unconscious associate dragging him out of the car. He lays him down onto the muddy grass.

VALENTINE. 
Cont.
Okay. I’ve done what you
ask, now can you tell me
what this is all about?

FIGURE.
All in good time,
now get on your knees.

Valentine gets on his knees.

FIGURE. 
(Continuing.)
What are your names?

VALENTINE.
I’m Franike and 
this is Kyle.

FIGURE.
Well Frankie. Let me ask you something. 
How did you feel about robbing those 
two teenagers, then beating them up?
I mean I saw the whole thing, they were
just minding thier own business. When you
and fat fuck here invaded thier innocent
lives. And gave them a kicking 
as a thank you note. Is this the price 
they  have to pay for being human, 
for being young and defencless? 

VALENTINE.
Is this what this is 
all about. Retaliation? 

FIGURE.
My god, you are an educated man.
Obviously not educated enough,
to let your mind do the talking for you.

Valentine angrily goes into his pocket. 

VALENTINE.
(Shouting.)
Well here take this, for fuck sake.

He brings out the money he obtained. The figure walks closer and digs the barrel of the gun into Valentine’s forehead.

FIGURE.
Do you honestly think, that money is going to
buy back those teenagers’s. Dignity? 
Or thier liberty to go out and enjoy 
thier lives without having to worry about
getting thier heads kicked in by mindless
retards, like you and fucko here. Do you?

VALENTINE.
All right, I’m sorry.
Is that what you want to hear.

FIGURE.
It’s not me you should
be apologise too. But I’ll
accept the apology on thier behalf.

The figure looks at the car.

FIGURE. 
(Continuing.)
What’ve you got in the boot?

Valentine shakes his head.

VALENTINE.
Nothing.

FIGURE.
Show me.

Valentine get up onto his feet, he walks over to the car. The figure follows behind pointing the gun at the back of the man’s head. Valentine reaches into the car and take the car keys out of the ignition.

CUT TO:  

The screen goes back, THE FIGURE and VALENTINE are then revealed.

CUT TO:

EXT. CAR BOOT - NIGHT

The storage compartment has a huge arsenal of shotguns; handguns and machine guns followed by rounds of ammunition.

FIGURE. 
(Continuing)
I thought you said 
there was nothing. 
You lying to me now?

The figure poitns the gun at Valentine.

VALENTINE.
Look there’s a shit load 
of weapons here and here’s 
a set of keys, if your finished with
us. Just take the lot and go.

FIGURE.
Well that’s very kind of you.

The figure bludgeons the back of Valentine’s head with the handle of the gun.  Valentine falls forward and slumps onto the ground. The figure closes the boot and walks round to the driver’s side. He opens the door and gets in; Houston remains out for the count. The car jumps into life, it drives away kicking up mud, it goes all over Valentine’s face. He moves around slowly.

CUT TO:

INT. RESIDENTIAL HALLWAY - DAY

The double doors that lead into the hall open. Cullen is struggling with the weight of a sports bag, he is dragging it along the stone floor.  A door with the number NINE on it opens. A female brunette comes out her name is ‘MELANIE NORTON.’ She locks the door, she sees Cullen dragging the bag along.

NORTON.
Looks like you could 
use a helping hand there.

Cullen turns round.

CULLEN.
No you’re ok, I’ll manage.

NORTON.
(Insistent.)
Here let me grab an end.

CULLEN.
Okay then since 
you’re offering.

Cullen lifts up one side of the bag Norton grabs the other. She feels the weight.

NORTON.
God what the hell do you 
have in this bag? It weighs a ton.

CULLEN.
It’s tools for my work.
I’m a mechanic.

They reach Cullen’s front door.

CULLEN.
This is me thanks for helping.

NORTON.
Your welcome.

CULLEN.
I can’t say, 
I’ve saw you around.
You new here?

NORTON.
Yes I’ve just moved
into number nine.

CULLEN.
(Offering his hand.)
Oh right. Well, welcome
to the neighbourhood. I’m Stuart.

Norton takes the hand and shakes it.

NORTON.
I’m Melanie.

They stop shaking.

CULLEN.
Well as a friendly neighbour,
I’ll go with the oldest cliche in
the book, by saying if there’s
anything you want to borrow. Or
anything you need, don’t hesitate to ask.

Norton laughs.

NORTON.
I might just do that. Bye.

Cullen smiles.

CULLEN.
See you later.

Norton walks away, Cullen puts his key into the door. Norton looks at Cullen she stops. And walks back up.

NORTON.
Em. You said you were
a mechanic?

Cullen smiles.

CULLEN.
Yeah that’s right.

NORTON.
Oh good. I was just wondering if you 
could take a look at my car? There’s
something wrong with the starter.
I mean if it’s not too much trouble.

CULLEN.
Of course I will 
I’m always happy to oblige.

Norton smiles.
NORTON.
That’s great.

She gives Cullen two keys.

NORTON. 
(Continuing.)
Here is the key for the garage 
and the other one for my car.
Good luck with it, I’ll be 
back within the hour.

CULLEN.
No problem,
I should have it 
sorted by then.

Norton smiles she walks away towards the exit. Cullen opens the door.

CUT TO:
INT. GARAGE - LATER.

Cullen’s legs are lying down under the car he hears footsteps.  He looks up, he sees bare legs and a pink mini skirt.

NORTON.
How are you getting on?

Cullen appears from under the car, he stands up.

CULLEN.
I think I have solved the problem.

He climbs into the driver’s seat and turns the ignition key; the engine jumps into life. Norton is happy.

LINDSAY.
Oh brilliant.

Cullen climbs out of the driver’s seat, Norton kisses him on the cheek.

LINDSAY.
How can I ever repay you?

CULLEN.
 What did you have in mind?

She pauses she looks up and down at Cullen.

LINDSEY.
I’m good at making home made 
curries. Would you care to join me?

CULLEN.
Ok.

CUT TO:

INT. OFFICE - NIGHT

Wilson comes in, Valentine and Houston are sitting on the chairs opposite the desk. Wilson sits down at his desk. He looks at the men’s dirt covered faces.

WILSON.
Fuck sake what happened to you two? 
Looks as if you spent the whole 
night mud wrestling.

HOUSTON.
Some motherfucker punched 
me in the back of the head.

WILSON.
Somebody assaulted you?

VALENTINE.
He won’t be able to tell you the 
full detailed story. But I will.

WILSON.
Go on.

VALENTINE.
I was forced to drive to an open field. The person was dressed 
like a biker wearing thier leathers and spoke with a husky voice.  
He held me at gunpoint. He then stole our weapons and car  

WILSON.
What was the reason for this?

The men look at each other.

VALENTINE.
I’ve no idea. He just came 
out of the blue and did
this to us.

Wilson begins to have doubts.

WILSON.
Like the ghost and the darkness.

The men are looking down.

WILSON.
(Continuing.)
And you couldn’t even
defend yourselves.

Wilson shakes his head.

WILSON.
(Continuing.)
Anway I was wondering if you'd mind 
chasing up a Mr. Singh. He owes us three weeks 
protection money. Do you think you 
can mangae that, without fucking up?

The men nod their heads.

WILSON.
(Continuing.)
Good. 

Wilson gives Valentine a key.

WILSON. 
(Continuing.)
Here take this it’s the access 
key to the armoury get what you need.
And try not lose them this time around.

VALENTINE.
Thanks.

Wilson goes into one of his drawers he takes out two brown envelopes. He throws one to Valentine and the other to Houston.

WILSON.
Another thing. Here is the money I promised 
you four days ago. Take it and get yourselves
cleaned up, the both of you are a fucking disgrace.

Wilson gets a pen and writes down something on a pad he then rips the bit of paper off and gives it to Valentine.

WILSON.
This is the address. 
Do you know where to find it?

VALENTINE.
Yep.

WILSON.
Good.

The two men leave the office Wilson gets a black pen and a piece of paper.  He draws a mini portrait of the man from Valentine’s description.

CUT TO:

INT.  NORTON’S APARMENT - LIVING ROOM -  NIGHT.

Cullen is enjoying Norton’s spicy hot curry. He has finished the last bit, he puts the knife and fork back onto the plate.

CULLEN.
That’s the best curry, 
I have tasted in ages.

LINDSAY.
I’m glad you enjoyed it.  
Would you care for a cup of coffee?

CULLEN.
No thank you.  Would you like a 
hand with the dishes?

Norton takes the empty plates to the kitchen.

LINDSAY.
Ah don’t bother, I’ll 
leave them till later.

Norton puts the dishes into the sink. She walks back over and sits down on the couch next to Cullen and puts her legs up.

NORTON. 
(Continuing.)
So how long have you been 
working as a mechanic for?

CULLEN.
About a month.

NORTON.
You’re kidding?

CULLEN.
No. Been a mechanic for 
a whole month!

LINDSAY.
Well you did a good job on my car.

CULLEN.
I’m a man of many talents.  
What about you what do you do?

NORTON.
I work in a beauty parlour.  
I’m on holiday at the moment so I’m 
chilling out to enjoy the rest 
of the free time. And to get this
place organised especially.

CULLEN.
It’s all right for some.

Norton notices the scar on Cullen’s forehead. She points to it.

NORTON.
What happened to your head?

CULLEN.
Oh this, I fell off 
my bike when I was ten.

NORTON.
You poor thing.

CULLEN.
Well I guess those things
kind of happen, when 
you are at the age.

NORTON.
Yeah and always to 
the nicest people.

Norton moves closer; she gives Cullen a friendly kiss on the cheek.

CULLEN.
What was that for?
 
NORTON.
I never gave you a proper thank you.

She kisses Cullen on the lips. He moves back.

CULLEN.
Wait, wait. Hang on a sec.

NORTON.
Why. What’s the matter?

CULLEN.
I don’t usually do this 
on the first date.

Norton smiles.
NORTON.
Neither do I but there’s 
always a first time.

Cullen and Norton kiss again.

CUT TO:
INT. BEDROOM 

Norton and Cullen enter they continue to kiss.  She takes off her blouse and throws it onto the floor.  She unbuttons Cullen’s shirt; his chest and golden medallion are revealed. They fall onto the bed kissing they roll over Norton ends up on top of Cullen. 

FADE OUT.

CUT TO:

INT. CAR - MORNING

Houston is driving through the quiet streets looking mean and moody.
Valentine is sleeping, he then wakes up. He yawns.

VALENTINE.
What time is it?

HOUSTON.
Quarter past eight.

VALENTINE.
Fuck. We’ve been driving around 
these streets all night. And we still
haven’t found this bastard. The sooner
we get our weapons back the better

HOUSTON.
Do you think Tony
bought our story?

VALENTINE.
Did he fuck. You
heard what he said.

HOUSTON.
Yeah I know. We’ve
really disappointed him
this time, haven’t we?

VALENTINE.
I suppose we have.
But nobody’s perfect, we can’t turn 
back the clock. What’s done is 
done. We just need to make sure that
next time, the both of us are more prepared.

Valentine goes into jacket he brings out a Colt .45 he takes out the magazine; he puts it back in and cocks the gun. Valentine looks at the clock in the dashboard.

VALENTINE.
(Continuing.)
That’s twenty-five past 
we’d better get a move on.

CUT TO:

INT. BEDROOM 

The morning sun shines through the window; Norton is sleeping. She turns over and puts her arm onto an empty part of the bed. She opens her eyes and looks; she looks at the bedside clock the time reads “8.30 a.m.”  She sees a note with the words ’MICHELLE’ written on it. She leans over and picks it up, she then opens the piece of paper. The note reads. ‘BACK SOON. STUART. XXX.’ She smiles and puts the note back onto the bedside cabinet and then falls back asleep.

CUT TO:
EXT. THE ALL NIGHT GARAGE 

Cullen parks the car at the petrol pumps. He gets out and begins to fill the car up.  He looks at the price of the petrol rolling up; the car is full he puts the petrol handle back onto it’s bay.  
CUT TO:
INT. SHOP

Cullen comes into the garage; the PAKISTAN garage attendant is reading a pornographic magazine. He sees Cullen entering, he quickly puts the magazine away.  Cullen picks up a basket and starts to put wanted items into it.

CUT TO:

EXT. GARAGE

Houston parks the car outside the shop.

CUT TO:

INT. CAR

Valentine looks in at the shop window.

VALENTINE.
Right you wait here,
I’ll go in and do the
talking. I’ll signal you
if I need any help. Ok.

HOUSTON.
No problem.

CUT TO:

INT. SHOP

The attendant sees Valentine coming out the car and walking towards the shop doors.  Cullen continues to fill the basket. Valentine comes in, he walks up to the counter.

VALENTINE.
Mr. Wilson is getting very impatient 
with you. So where is the money.

Cullen stops as he overhears the words ‘WILSON’ being mentioned.

ATTENDANT.
I no understand.

VALENTINE.
Let me make it clear. You owe Mister. 
Wilson three weeks protection money, 
if you do not pay him he 
will be very angry. You understand?   

ATTENDANT.
My father is away on holiday he won’t 
be back for two weeks. I do not 
have anything to give.

Valentine brings out his weapon and points it at the attendant’s head; the attendant puts his hands in the air.

VALENTINE.
Look you smelly bastard. If don’t give us any fucking 
money in the next ten fucking seconds 
I’m going to shoot you. Now pay us what you owe. One.

ATTENDANT.
I cannot give money my father has the safe key. 
I can give you what is in the till.

Cullen watches the situation.

VALENTINE.
Two. How much is in the till?

ATTENDANT.
Too hundred pounds.

VALENTINE.
Three. That’ll do. 
Open the till now!

The attendant opens the till.
ATTENDANT.
Please don’t shoot me.

Cullen butts into the situation.

CULLEN.
Excuse me. Can you not
just leave the boy alone?

Valentine turns round and points the gun at Cullen.

VALENTINE.
And who might you be?

CULLEN.
Careful that’s a deadly weapon you have 
there someone could get hurt. 

VALENTINE.
That’s the general idea. Scarface.

CULLEN.
Look why don’t you put the thing 
away and leave. I’m sure we could 
come to some sort of arrangment.

Cullen secretly reaches for a tin of beans.

VALENTINE.
Your voice sounds 
familiar, do I know you.

CULLEN.
No. I can’t say that you do.
Anyway how about lowering that weapon.

VALENTINE.
Go fuck yourself.
This is my situation, so
do the decent and fuck off.

CULLEN.
I can’t do that. I’m
involved now, if I survive this. 
That makes me a material witness to a crime. 
So come on, why don’t you do 
the decent thing and let it go.

VALENTINE.
Look pal, just the who fuck
are you? Because really 
starting to do my head in.

CULLEN.
(Sarcastic.)
Malcolm X, protector of the black people. 
In fact I’m actually Peter Parker, the only 
thing is I’ve left my Spider-Man suit at home.

Valentine raises his gun at Cullen.

VALENTINE.
Fuck you.

Cullen throws the tin before the gun is fired. It hits Valentine on the nose full force, he points and shoots for the ceiling a light is shot out. Cullen dives for the ground, the attendant hides behind the counter Houston comes running into the shop. Valentine has his left hand onto his blood soaked nose.

HOUSTON.
What’s happened?

VALENTINE. 
(Angry.)
Somebody just broke my fucking nose. 
Go around the other way he’s hiding 
behind the shelves.

Cullen crawls round to the counter area. Houston catches a glimpse of his legs.

HOUSTON.
I’ve got him

VALENTINE.
Where?

HOUSTON.
Over here!

Houston fires his gun, the bullets hit the floor and some fragments of stock on one of the shelves. Cullen rolls over to avoid the incoming fire Houston runs out of ammunition. 

HOUSTON.
(Shouting.)
Fuck it.

He changes the magazine.  Valentine walks quickly round a shelf containing washing up powder, Cullen takes a moment of bravery and gets up he runs towards a window. The men see him, they both start firing bullets hit the shelves at the shop counter. Cullen dives for the window he smashes through it like a brick, he lands onto the ground with the glass landing on him. He cuts the side of his left hand.  He gets up and runs to the car, he gets in starts the engine and drives away. Valentine and Houston stop shooting.

VALENTINE.
He’s getting away. Let’s go.

Houston runs out the door. Valentine walks towards the door, the attendant gets up from behind the counter. He stands up slowly holding his hands into the air; Valentine sees him.

VALENTINE.
What the fuck are you 
looking at? Ya Paki bastard.

Valentine fires his gun into the attendant’s direction. The bullets hit the attendant in the chest, he’s thrown backwards into a shelf containing cigarettes. Valentine fires a single shot the bullet hits the attendant in the forehead he slides down slowly. 

CUT TO:

INT. CAR

Houston starts up the car. He hangs out the side of the and shouts.

HOUSTON.
Come on; come on. Let’s go!

CUT TO:

EXT. SHOP

Valentine comes running out the shops main doors, then to the car he opens the door quickly and gets in. The car’s tyres screech on the ground and moves forward. The garage shop with a hole in the window remains the way it is.  

CUT TO:

INT. CAR

Cullen looks in the rear view mirror he sees the other car catching up.

CUT TO:

INT. CAR

Valentine changes the magazine.

VALENTINE.
There he is!

The car catches up. 

CUT TO:

INT. CAR

Cullen is jerked forward by the force of a bump, he looks in the mirror and sees the car and the men. 

CUT TO:

INT. CAR

Valentine picks up a MP5 machine gun from the back seat he cocks it; he then rolls down the passenger seat window and sticks out.

VALENTINE.
OK.

He shoots. The bullets hit the back of Cullen’s car smashing the rear window and hitting the boot. 

CUT TO:

INT. CAR

Cullen ducks down, he speeds up.

CUT TO:

INT. CAR

Houston rams the car into Cullen’s; Valentine tries to go for the tyres but he’s unsuccessful. The bullets create sparkes on the ground.  

CUT TO:

EXT. ROAD

The two cars are coming towards a roundabout. Cullen’s car swerves right into the wrong direction. It skids round and comes into a road loaded with speed bumps. The chasing car makes the same move. Valentine shoots again his bullets smashes Cullen’s cars licence plate and back lights.  The first car jumps over a speed bump, 

CUT TO:

INT. CAR

Valentine fires again. 

VALENTINE.
(Angry.)
Come on.

The car jumps over the bump, it causes Valentine to lose his balance. He falls out the car window and smashes his head onto the concrete curb, he is killed instantly. He violently rolls along the road, an oncoming vehicle in the other direction runs over the body.

HOUSTON. 
(Shouting.)
Frankie.

CUT TO:

INT. CAR

Cullen looks out his mirror and sees Valentine’s blooded dead body lying on the road. The other car manically smashes into the back of him.

CUT TO:

EXT. ROAD

The chasing car drives up to the right side of the leading car. It begins smashing into the side of the car. 

CUT TO:

INT. CAR

Cullen struggles to keep control. 

CUT TO:
EXT. ROAD

The two cars jump over another bump, the chasing car smashes into the side of the leading car again.

CUT TO:

INT. CAR

Houston becomes a physcopath behind the wheel.

HOUSTON.
(Maniacally.)
Come on. Crash.

Houston swerves into the leading car.

CUT TO:

EXT. ROAD

A speeding single-deck bus is coming down another road that leads to a different roundabout, it connects to the road the two cars are on.

CUT TO:

INT. CAR

Cullen tries to keep the car steady, the other car continues to smash into the side. 

CUT TO:
EXT. ROAD

The bus is slowly turning left.

CUT TO:

INT. CAR

Cullen sees the oncoming obstruction, he turns the wheel right. 

CUT TO:

EXT. ROAD

The car smashes into the left-hand side of the other car. forcing it into the direction of the bus.  The cars jump over the final speed bump, 
Cullen’s car swerves to the left out of harm’s way.

CUT TO:

INT. CAR

Houston sees the bus, he eyes widen.

CUT TO:

EXT. ROUNDABOUT.
 
The car crashes through the middle section of the bus throwing glass and steel all over. The car then lands on the ground, a tyre bursts on the glass. It flips over and crashes on the ground. Rolling over three times, the roof slides along and then stops. The car is then hit full-force by an on-coming double-decker bus. The bus driver gets out his cab 

CUT TO:

EXT. ROAD.

Cullen has made an emergency stop.

CUT TO:

INT. CAR

Cullen raises his head and gets out. He walks round the damaged bus to see the accident, he looks and then shakes his head.

CULLEN.
Amateurs.

He walks back to his car.

CUT TO:

INT. NORTON’S APARTMENT - LIVING ROOM

Norton comes out the bathroom, she is holding a towel and is drying her hair. Sounds of sirens are heard, the noise go past the window she walks over and pulls back the curtain.  She sees two police cars followed by a fire engine and an ambulance. She becomes concerned, there is a knock on the door. She goes to the door and opens it, Cullen is holding a shopping bag he has a smile on his face.

CULLEN.
Breakfast is served.

She grabs a hold of Cullen.

NORTON.
Jesus Stuart. I was worried about you, 
there has been some sort of accident.

CULLEN.
And you thought I might 
have been involved in it?

NORTON.
Yes.  Where have you been?

Cullen looks straight on.
CULLEN.
 The car’s has been playing up again. 
So I took it to the garage, to get it sorted.

CUT TO:

INT. ASSEMBLY AREA - SUPERVISOR’S OFFICE - DAY

Wilson is sitting on a chair rolling a pen around with his fingers. One of his workers wearing an orange overall is operating a computer. His name is ‘MITCHELL IRONSIDE.’

WILSON.
So how has things been?

Ironside continues to type.

IRONSIDE.
Yeah not bad, shame about Davy though.
I still can’t get my head round it.
I mean somebody planted a bomb in his
car. And I’m asking myself 
what kind of person would go that far?

WILSON.
The sooner we find out, the better

IRONSIDE.
 Any idea when the funereal is?

WILSON.
I haven’t a clue. As far as I know,
the police are still investigating.

IRONSIDE.
I can work with that.

Wilson gets up off his seat.

WILSON.
Well I had better get my finger 
out and get some work done. The
company won’t run on it’s own.

IRONSIDE.
No problem, I’d better get 
cracking with these reports.

Ironside looks at the computer screen.

CUT TO:

INT. DINING ROOM - NIGHT

Wilson and Thompson are sitting on both sides of the dinning room table they are tucking into a Chinese Meal. The television is on, but the volume is not loud. Wilson is watching the TV as he eats. Thompson interrupts.

THOMPSON.
You had any word from,
Frankie or Kyle yet?

Allan is holding a green bottle that is covered by a white hankerchief.

ALLAN.
Some more, Mr. Thompson.

THOMPSON.
Yes please.

Allan is pouring white-wine into Thompson’s. Wilson speaks back with his eyes still watching the screen.

WILSON.
(Chewing on his food.)
No. I haven’t seen them since last night. 
I’ve been trying Kyle’s mobile all day.
And all I’m getting is his voice-mail. 

Thompson looks down at his plate. Allan offers Wilson some wine.

ALLAN.
How about Tony, more wine?

Wilson looks at Allan.

WILSON.
Nah, no thanks.

Allan puts the bottle back into it’s bay that’s full of ice. Thompson is looking down at his plate as he speaks.

THOMPSON.
Let’s hope they haven’t 
fucked off with Singh’s 
protection money.

WILSON.
They know better 
not to do that.

THOMPSON.
Are you sure?

WILSON.
Positive. 

Wilson’s eyes move away from the screen. He puts food onto the fork. An image of the GARAGE regarding a news report comes onto the television screen, Wilson sees it. His facial expression changes. Thompson notices the sudden change in Wilson’s appearance.

THOMPSON.
Tony, you alright? 

WILSON.
Is that not Mr. Singh’s garage?

Thompson turns round and looks at the screen. Wilson turns up the volume with the remote control. 
CUT TO:

INT. TELEVISION-SCREEN

The male news caster is heard, at the back of him is a picture of the garage. With a small headline uunder it entitled. ‘ATTEMPTED ROBBERY.’

NEWSCASTER.
In the early hours of this morning in 
what looked like an attempted robbery.
Ended up leaving three people dead. 
A twenty-year-old Pakistan garage 
worker was killed.

CUT TO:

INT. DINING-ROOM

Wilson, Thompson and Allan are watching.

THOMPSON.
This is not happening.

WILSON.
Listen.

CUT TO:

INT. TELEVSION-SCREEN

NEWSCASTER. 
(Continuing.)
Two cars were seen leaving the crime scene. 
However only one got away; after the driver 
of the car lost control and crashed.

The pictures of Valentine and Houston appear. 

NEWSCASTER.
(Continuing.)
The driver has been identified and named 
as twenty-three-year-old Kyle Houston, 
his passenger has also been named as Frankie Valentine 
also twenty-three. Both of whom have had 
a long list of criminal offences.

The screen is deactivated.

CUT TO:

INT. DINING-ROOM

Wilson and Thompson are both stunned and lost for words. Suddenly the room telephone starts to ring. Allan walks over and answers it. 

ALLAN.
Tony, there’s somebody
wanting to speak to you.
Shall I tell them you’re busy?

Wilson blinks and returns to reality.

WILSON.
No. I’ll take it.

Allan brings the phone over. Wilson takes it and puts it to his ear.

WILSON.
(Continuing.)
Hello.

The caller’s voice is heard.

CALLER.
I had a feeling, the news report 
on channel three. Would grab 
your attention, Tony.

WILSON.
What, who the hell is this?

CALLER.
Somebody who saw everything.
The day Murphy’s went boom.

The caller hangs up. Wilson looks at the phone and puts it down, Thompson has a predictable feeling.

THOMPSON.
What was that about?

WILSON.
I don’t know.

THOMPSON.
What did they say?

WILSON.
They said something about
the bombing. That they saw
everything. But how did they get
this number? It’s ex-directory.

THOMPSON.
It has begun.

WILSON.
What has?

THOMPSON.
The retribution for our actions. 
One by one, each of us are being punished.
Your friend was the beginning. And now
Frankie and Kyle. After all that, the only 
thing we wonder now is. Who’s next?

WILSON.
Maybe your right. This could
jeopardise our business transaction.
If it’s true what you are saying, then
we may have keep security at a high alert.
I don’t care who you get or what you do.
We can’t afford to lose this merchandise.

THOMPSON.
I’ll go make some calls.

Thompson gets up off his seat, he leaves the dining room. Wilson stares into space he takes a drink from his glass. He picks up the phone and dials a number.

WILSON.
Hi it’s me. You said I should phone, 
if I had any problems. Yes well I have one. 
And I need your expertise to solve it.  

Wilson pauses for half a second.

WILSON. 
(Continuing.)
Good. See you then.

Wilson puts the phone down Allan enters the room.

ALLAN.
Are you finished?

WILSON.
Yes.
 
Allan takes the plates away. Wilson puts his hands together and rubs the side of his index fingers on his lips.

CUT TO:

INT. NORTON’S APARTMENT - BEDROOM - MORNING

Cullen is lying on his back on his bed. The back of his head is resting on his right arm; which is hanging up on the headboard. Norton is sitting on a chair she is looking into a mirror putting lipstick on.  She finishes with the lipstick and puts it down. She stands up and walks over to the bed and then lies down next to Cullen. Laying her head onto his chest.

NORTON.
Are you not going 
into work today?

CULLEN.
No, I’ve got a bit 
of a headache.

NORTON.
Oh what a shame.

She uses the palm of her hand to feel Cullen’s forehead.

NORTON. 
(Continuing.)
Your head is a bit warm. 

She puts her hand underneath the covers and rubs Cullen’s groin; Cullen smiles.

CULLEN.
What are you doing?

NORTON.
Just giving 
you a manicure.

CULLEN.
You better go you 
will be late for work.

NORTON.
OK. See you later.

She gives Cullen a goodbye kiss, she gets off the bed. She picks up her handbag and walks to the bedroom door. She opens it she then looks at Cullen and blows him a kiss. Cullen pretends that he has caught the kiss and puts it onto his face, she walks away. His smile is quickly wiped, he looks at the bedside clock. It reads ‘07:00.’ He rises up.

 CUT TO:

EXT. WILSON COMPUTING INDUSTRIES - CAR PARK 

It is 7.30 A.M. The morning sky is a dark-blue colour. Employees  who are on foot are walking through the factory’s main gates, wearing their blue coats covered over by their own jackets. The sound of the beeping clock machine is heard in the distance as the worker’s are clocking in before the day shift starts. Other employees and supervisor’s entering the factory grounds in their cars and cycle bikes.

Wilson’s limousine stops at a turning. It’s left indicator flashes, the car then turns into the road leading up to the gates. The workers give way to let the vehicle come into the car park area. It drives round a circular shaped car park used only for the office workers. It comes to a stop.  Martin the limousine driver opens, the driver’s door and gets out he walks to the passenger door and opens it. Wilson comes out he goes into his pocket and then bring it back out, producing a twenty-pound note. He hands it over to Martin.

WILSON.
Thanks Marty. Could you pick 
me up a little later tonight?
There’s some stuff, that I want 
to catch up on

MARTIN.
Sure Mr. Wilson 
no problem.

A silent stray bullet hits Martin in the side of the throat, the blood splashes onto Wilson’s face. The driver is struggling for breath, he is holding his wound. He falls into Wilson. Wilson tries to hold him as he goes down slowly. Another two bullets are fired, one of them hits Wilson in the right shoulder. He shouts in pain, he falls to the ground. The other one smashes the limousine’s rear window.  The crowds of people have heard the shot, they run over to Wilson.
CUT TO:

INT. BYPASS ROAD BRIDGE

Mitchell is revealed as the guman. He opens his closed eye at the at the line of the sight. He pulls the weapon back into a BLACK SPORTS car. It’s automatic window goes up; He starts the engine, then drives away.

CUT TO:
INT. CAR PARK 

Wilson is lying on the ground holding his wound with his left blood soaked hand; he looks at Martin’s opened-eyed dead body. One of the supervisors kneels down to Wilson.

1st SUPERVISOR.
Your okay Tony 
just lie still.

He looks at the two other supervisors.

1st SUPERVISOR. 
(Continuing.)
Don’t just stand there, 
phone for a fucking ambulance.

The factory workers are crowding around the scene like fans at a football match. One of the other supervisors gets out his mobile phone and dials the emergency service number.

2nd SUPERVISOR.
Hello, I’m going 
to need ambulance.

The man comforts Wilson.

1st SUPERVISOR.
Just hang on in there 
help is on it’s way.

The supervisor on the mobile phone gives some details.

2nd SUPERVISOR.
14 Riverside Way 
and make it quick.

He comes off the phone.

2nd SUPERVISOR.
They’ll be here 
in twenty minutes.

1st SUPERVISOR.
Right. Could you tell 
those people to get to work?

The two supervisors turn round to the employee’s.

2nd SUPERVISOR.
All right you lot 
there’s nothing more 
to see here. Go on.

Wilson looks up at Ironside with tired eyes.

1st SUPERVISOR.
Just you hang 
on in there.

His vision fizzles out the supervisors voice gets deeper.

CUT TO:

INT. CULLEN’S APARTMENT - LIVING ROOM - NIGHT

Cullen’s face is lighted up by the screen of the television because of the darkness in the room.  He is sitting on the edge of a couch. There are sounds of screaming coming from the television. 

CUT TO:

INT. TELEVISION - SCREEN

In black and white, Wilson is seen slicing up the punters with his sword his gang members are smashing up the bar area with baseball bats. Cullen’s co-workers come in the main doors, two armed members watching the carnage turn round quickly and point their guns at them.

WORKER.
What the?

Wilson walks over to them.

WILSON.
Hi there. Welcome to 
the fun house.

Wilson slices the 1st workers from the throat right down his chest. He falls down. Wilson then sticks the sword through the 2nd worker’s torso, Thompson is no where to be seen. There is the sound of three gunshots the video shows the back of Thompson’s head coming into the bar.

WILSON. 
(Continuing.)
Are you done?

Thompson looks around at the carnage of dead people

THOMPSON.
(Shouting.)
Tony, what the fuck 
have you done here?

WILSON.
Taking care of business.
Just the way we planned it.
 
THOMPSON.
You stupid fucking idiot.
I didn’t want this.

The video cuts off showing a fussy screen. The screen is then reversed the image reappears at high speed, it then replys.

WILSON.
Taking care of business.
Just the way we planned it.
 
THOMPSON.
You stupid fucking idiot.
I didn’t want this.
 
CUT TO:

INT. LIVING-ROOM

Cullen presses stop on the video remote. He begins to have concerns.

CUT TO:

EXT. W.C.I FACTORY - LOADING BAY - NIGHT 

Heavy rain is falling from the night sky; Ironside and ten factory workers are on the loading bay platform. Helping to load the cargo train.
CUT TO:
EXT. PERIMETER FENCE. 

A black car arrives near the factory, it dimes it’s headlights. The engine switches off. The unknown figure wearing a helmet, black sunglasses, leather scarf and a black leather jacket is looking straight on at the arriving train. He uses his left hand to pick up a pair of binoculars hanging from his neck, he places them on his eyes. 

CUT TO:
INT. BINOCULAR VIEW. 

One of the cargo train cars side door is open, a forklift truck is loading a huge box onto the car. Ironside and the workers continue to load the train. A white removal van arrives.

CUT TO:
EXT. LOADING BAY.

Thompson comes out of the driver’s seat. His male companion comes out of the passenger seat, Thompson walks round to the back of the van; Ironside walks over to greet him.

IRONSIDE.
How’s Tony?

Thompson is unlocking the back of the van

THOMPSON.
Yeah he’s fine, he had just come
out of theatre when I visited him.

IRONSIDE
Any leads on who may 
have done this?

THOMPSON.
Not yet, how about you?

IRONSIDE.
I have raised a few suspicions.
But nothing concrete yet.

Thompson unlocks the pad lock, he takes it off and rolls up the door.

THOMPSON. 
(Continuing.)
All right lads 
we’re here let’s go.

A gang of twenty male volunteers come out of the van one by one they stand lined up; Mitchell looks at them all.

IRONSIDE.
God. Where did 
you get all these men?

THOMPSON.
EX-Soldiers
from Civvy Street.

IRONSIDE.
Are they any good?

THOMPSON.
They all served under my company.
You could say they’re the best of the best 

IRONSIDE.
Sorry, silly question I suppose.
 Are they aware of why they’re here?

THOMPSON.
Not yet but let me have 
a few minutes with them.

Thompson turns to the men, who are in a single line standing together side by side.

THOMPSON. 
(Continuing.)
Right listen up men, I just want to say thanks for making yourself’s available. And for volunteering to undertake this mission tonight. You will be rewarded dearly. As you maybe unaware we may have 
a saboteur within our midst, he’s armed and extremley dangerous.

Thompson produces an enlarged photocopy of Wilson’s sketch. He gives it to the first volunteer in the line-up.

THOMPSON. 
(Continuing.)
If you could pass this 
around for me please.

The 1st volunteer looks at the picture he passes it to the next volunteer.

THOMPSON. 
(Continuing.)
Take a good look at the picture men. 
This man has already killed a lot of people and 
just the other day an attempt was made on Tony’s life. 
So all I ask of you is not to miss a single shot, if you have 
him in your sights. Do I make myself clear?

The picture continues to get passed around; the men nod their heads.

MEN.
(All together.)
Yeah.

THOMPSON.
Right. Let’s saddle up

CUT TO:

INT. BINOCULAR VIEW.

The figure watches the men board the train. The workers have finished loading, they close the train doors and seal them. One of the workers signals the driver to let him know that everything is ready. The train begins moving.
CUT TO:

INT.CAR 

The figure puts the binoculars onto the passenger seat turns the key in the ignition. The car starts up and drives off.

CUT TO:

EXT. CARGO TRAIN 

The lights on the railway track light up the darkened area the train moves along.
CUT TO:

INT. RELAXATION CAR 

Thompson comes off the phone. He puts it down; there is a knock on the door.

THOMPSON.
Come in.

Thompson’s male companion comes in.

THOMPSON. 
(Continuing.)
Ah Danny! How are the men?

DANNY.
They’re all armoured up 
and ready for action.

Thompson takes a bottle from a wine rack. He reads the label. Danny sits down at the table.
THOMPSON.
Good! You know there’s one outstanding 
quality that Tony’s father had. 

DANNY.
What was that?

THOMPSON.
A great taste in wines 
Chardonay, freshly bottled from 1994!

DANNY.
Whoa, has it been that long?

THOMPSON.
Would you care for a drink? 

TONY.
I’m sorry I never drink 
when I have got a job to do.

THOMPSON.
Oh come. One drink isn’t 
going to kill you.

Danny has second thoughts.

DANNY.
Oh go on then.

THOMPSON.
Wise choice.

Thompson pours out a glass. The wine is filled to the top, he picks up the glass and hands it over to the young man.

CUT TO:

EXT. BRIDGE - NIGHT  

The black car stops at the middle part of the bridge. The headlights switch off. The figure comes out the car, he closes the door, he looks ahead at the track. The headlights of train is in the distance; The figure climbs onto the wall and stands on the edge. The train reaches the bridge the figure waits for the right moment to jump. The train engine is going under the bridge. The figure jumps onto it and lands, he is lying face down. He rolls onto his back, he then gets up.

CUT TO:
INT. DRIVER’S CAB. 

The solo driver is concentrating on the rail tracks ahead; the side door  opens. The figure enters quickly. He points a hunting knife to the drivers neck.
 
DRIVER. 
(Continuing.)
What the hell?

FIGURE.
Get off.

DRIVER.
What?

The figure grabs the back of the man’s light-green reflective jacket.

FIGURE.
I said get off.

The figure forcibly drags the driver to the opened door.

DRIVER.
Wait a minute!

The figure shoves the man off the train. The driver shouts as he is thrown.

CUT TO:

EXT. TRAIN

The driver is seen landing on the ground, his body rolls repetitively.

CUT TO:

INT. DRIVER’S CAB 

The figure walks over to the control panel. He looks at a dial that has actual speed title to it. He puts his hand onto the lever and moves it up until it reaches stopping point. The figure walks away from the control panel and goes out the cab side door.
CUT TO:

INT. RELAXATION-CARRIAGE 

The song ‘MAD WORLD’ by Gary Jules featuring Michael Andrews is playing in the background. Thompson and Danny are drinking. Danny is the first one to finish. 

DANNY.
How long does 
this journey take?

Thompson finishes the last bit.

THOMPSON.
I’ve no idea, I guess 
the driver. will inform us 
when we reach the destination.

Thompson pours himself another glass.

THOMPSON. 
(Continuing.)
Would you care for another?

Tony holds his glass up.

DANNY.
Yeah go for it!

CUT TO:

EXT.  SLEEPER CAR - ROOF  

The figure is crawling towards the second last car. He stands up, he then jumps onto the second carriage and lies down. He sees a small hole on the roof he crawls over to it, he looks down through the hole the armed men are talking.  The figure stands up and runs to the end of the car he jumps down in between the second and third car. He opens up a panel inside it has a lever. The figure puts his right hand onto it, he begins to pull it up. It becomes released the last two cars separate from the train.
CUT TO:

INT. SECOND LAST CARRIAGE 

The men feel a shudder one of them wonders what’s happened.

MAN.
What the hell 
is going on?

CUT TO:

INT. THIRD CARRIAGE. 

A gang of ten armed men are guarding a big box that is sitting on a pallet. The carriage door opens, the men react. They see the figure who is armed with two UZI nine milimetres in each hand coming in.  One of the men shouts.

MAN.
It’s him!

The figure starts firing. He moves his hands from side to side, the bullets hit the first five men they die violently. The other five men return fire, the figure dives behind some boxes. The returning bullets hit the boxes. The figure lifts up his armed right hand and fires, the fifth and sixth man are shot dead. The figure runs out of ammunition. He throws the two machine guns down, he goes into the side of his boot. Two very sharp hunting knifes are produced.  The last three men run out of ammunition they prepare to re-load. The figure quickly gets up, he throws the first knife. It sticks into the eighth man’s throat. He throws the second one, it hits the ninth man’s chest. The man holds the knife as he falls down. The last man standing sees his brother in arms falling.  

MAN.
(Angry.)
You bastard!

The man shoots. The figure ducks down, the bullets hit the side of the boxes. He reaches for the back of his trousers, he brings out a silver DESERT EAGLE handgun and quickly fires one shot. The bullet hits the man in the middle of the head. The stunned man falls backwards banging his back on the exit door he slides down; The figure stands up, he walks towards the box looking around the corpses.

FIGURE.
Amateurs! 

CUT TO:

INT. RELAXATION CARRIAGE. 

Danny finishes his glass

DANNY.
I need to go to the toilet 
I’ll check on the men on the way.

FREEMAN.
 Don’t forget to take your weapon with you.

Tony stands up and then picks up his weapon he walks to the exit towards the first goods carriage.

CUT TO:

INT. CARRIAGE. 

The figure finds a carpet knife, he picks it up and rips open the plastic tape wrapped round the box to keep it secure. He then slits the brown tape open and opens the lid. Inside the box bags of white powder are revealed. The figure takes one of them he opens the plastic seal. He pulls his leather scarf down, his mouth is revealed. He puts his pinkie into the white powder and then tastes the substance.

FIGURE.
(Shocked.)
Eh!

Suddenly the barrel of Danny’s gun digs into the figure’s neck. The figure puts the plastic bag down and covers his mouth. he moves his hands up slowly.

DANNY.
Don’t move a 
fucking inch.

Danny is holding a GMDSS Radio. 

DANNY. 
Continuing.
Danny to Ian. Target 
has been acquired.

The radio doesn’t respond. The figure picks it up the knife.

DANNY. 
Continuing.
I say again target is acquired!

Danny puts the radio away.

FIGURE.
Sounds like he’s 
not giving a shit!

DANNY.
Looks like I’m going to 
have kill you myself.

FIGURE.
You don’t really 
want to do that do you?

DANNY.
I have my orders and I must abide by them. 

FIGURE.
 Can’t we at least come too 
some sort of agreement?

DANNY.
Afraid not. I wasn’t trained to negotiate

FIGURE.
Oh what a shame. Instead of being enemies we could 
have became allies. But still, you’re a good man and 
you’ve got a job to do. So it looks like I’m 
going to have to switch to plan B.

DANNY.
Oh yeah and what’s plan B?

The figure turns round quickly knocking the gun out the way. He slits Danny’s throat. The young man drops his gun and then holds his throat struggling for breath. He falls down onto his knees and then onto his side.  The figure kneels down.

FIGURE.
One of us must die!

CUT TO:
INT. RELAXATION CAR. 

Thompson’s is talking to Wilson over the phone.

THOMPSON.
Thought I’d phone 
to see how you are.

CUT TO:

INT. ROOM 

Wilson is lying down on his bed relaxed and with his left arm in a sling.

WILSON.
I’m fine. How’s things on 
the transportation front?

Thompson answers.
THOMPSON.
(V.O)
Running smoothly!

The back of a woman wearing a nurse’s uniform walks over to Wilson’s bed. The uniform falls off, her bear behind is revealed. Wilson is lost for words.

WILSON.
Em! Ian I have some important business 
to see too. Speak to you later on.

Wilson puts the phone down 

CUT TO:
INT. RELAXATION CAR. 

Thompson hears the line going dead and puts the phone down. He picks up the radio and turns up the volume.  

THOMPSON.
Ian to Danny, come in please.

The radio doesn’t respond.

THOMSPON.
Continuing.
Hello Danny come in please.
Stop messing around.

His legs come off the table he then stands up. He then picks up his gun and cocks it.  Suddenly he hears footsteps running on top of the carriage. 

THOMPSON.
I fucking knew it!

He runs to the exit
CUT TO:
EXT. ROOF. 

The figure is standing at the edge of the car waiting for the moment to jump off the runaway train. Thompson confronts him!

THOMPSON.
Hold it right there.

The figure tries to steady himself. He holds his hands in the air and turns round to see Thompson pointing his gun at him.

FIGURE.
Ian Thompson long time no see.

THOMPSON.
How do you know my name?

The figure removes his scarf, the glasses and finally the helmet. Cullen is revealed, Thompson is shocked.

THOMPSON.
Oh my god.

CULLEN.
Surprised?

THOMPSON.
 So this is where you’ve been hiding.
You realise you’re still a wanted man.

CULLEN.
I know. But I’m getting used to
living the fugitive lifestlye.
To tell you the truth, I’m actually enjoying it.
 
THOMPSON.
So this is what you’ve 
become, a soldier of fortune? 
Living without a care, without a heart.

CULLEN.
And what about you Ian. Look how the mighty 
for you has fallen. From a Major 
to Tony’s number two. Why do you do it?

THOMPSON.
This is not about me, this is about you.
And you’re little personal war for all
 those things that happened?

CULLEN.
It’s not about anyone Ian, I’m only doing this for
the people who died at Murphy’s. To hit Tony where 
it hurts the most. To make him realise, that he a force 
to be reckoned with.

Thompson remains quiet, he looks down. Cullen realises Thompson’s sorrow.

THOMPSON.
I didn’t want those people to die.
It was only supposed to be a routine visit.
But Tony’s indifference made him go too far.

CULLEN.
I know! I seen the security video. 
Now you come to realise what he’s really 
like. And I hate to have to tell you this but.
He’s using you Ian, that stuff you would call cocaine 
down there is nothing but bags of castor sugar.
 It seems that I’ve wasted my time being here tonight, because 
he’s  fooled me and he’s fooled you.

THOMPSON.
(Angry.)
What?

CULLEN.
Go ahead, see for yourself.

An angry expression come onto Thompson’s face.

THOMPSON.
Your lying.

CULLEN. 
 This train is a decoy. And Tony is laughing at 
you behind your back. All you are to him is 
the bait at the end of a fishing hook.

THOMPSON.
(Shouting.)
Shut up!

CULLEN.
The realisation hurts, when it hits you.

THOMPSON.
I said shut up.

Thompson raises his gun at Cullen and shoots; Cullen is hit in the right shoulder. The force of the shot throws him onto his side. His body lands on the roof. He rolls over the side of the carriage. He grabs a pole with his left hand, his body comes off the carriage and hangs down the side. He looks up and sees Thompson standing above looking down athim.

THOMPSON. 
Continuing.
You expect me to believe those lies 
you’ve just told me? Why don’t you do us 
all a big favour and die.

Cullen sees an on-coming bridge.

CULLEN.
Only if you go first, Ian!

He braces his body against the carriage to avoid hitting the bridge wall; Thompson turns round he sees the bridge but doesn’t get a chance to scream his head is decaptitated from the body as it hits the concrete. Cullen closes his eyes looking away.  He re-opens them and finally let’s go of the pole he lands onto a small grassy hill. He watches the train speeding away towards its destination. 

CUT TO:

EXT. FACTORY 

The signalman at the factory’s side entrance signals the train to slow down he sees the runaway train rushing towards the metal shutter. 

SIGNALMAN.
Holy shit!

He jumps out of harms way.

CUT TO:

INT. FACTORY 

The East End factory’s workers stand at the platform waiting for the train’s arrival. It comes crashing through the shutter speeding through the factory like a fast car, it crashes into buffers at the end of the track forcing it self through the wall and through the ground. 
It finally comes to a stop. The stunned factory workers run to seek for survivors.

CUT TO:

EXT. GRASS AREA 

Cullen stands up and looks on. He then runs off into the night towards a hill surrounded by trees and bushes.

CUT TO:

INT. ROOM

A woman naked under bed covers has her head rested onto Wilson’s chest, she is sleeping. Wilson opens up his eyes he turns to look at the bedside clock, which is sitting on top of a cabinet. The time is ‘21.30.’ He then picks up the phone and dials a number. He then puts the phone to his ear.

WILSON.
Mitchell. It’s Tony, 
how’s everything going?

CUT TO:

EXT. HARBOUR - QUAYSIDE - NIGHT

Ironside is standing behind a fence holding his mobile phone to his ear. He is with a group of twenty men. A dark-blue W.C.I box van is sitting stationery in the quayside.  His voice is raised as he is speaks, he is watching a huge container ship reversing slowly up the water.

IRONSIDE.
Yeah fine. The ship had to alter course
on the way in, due to high tide. 
But it’s okay. She’s coming in now.
Everything is on schedule.

WILSON.
(V.O)
Excellent. Make sure you
keep the money in a safe place.

IRONSIDE.
I will do Tony.
I will do!

CUT TO:

INT. ROOM

Wilson is holding the phone to his ear. 

WILSON.
Good. I’ll speak to you in the morning.

IRONSIDE.
(V.O)
Okay!

Wilson hangs up and puts the phone back. He then relaxes and begins to smile.

CUT TO:

INT. BATHROOM 

Cullen switches on the bathroom light he is holding his right shoulder with his left hand. He removes his jacket and his shirt hanging them onto the hook on the bathroom door.  He stares at himself in the mirror, letting the running water fill the sink. He opens the mirror cabinet and picks up some surgical spirits and bandages then puts them on the sink.

He takes a scalpel and a deep breath he opens up a little bit of the wound. He grunts with the effects of the pain, he then picks up metal tweezers and puts them into the wound reaching for the bullet.  He takes the tweezers it grabs a hold of the the bullet. He drops it into the watery sink. 

He takes the bottle of surgical spirits and unscrews the bottle top. The top comes off, it falls on the floor. The liquid is poured into the wound. Cullen shouts in pain at the top of his voice groaning and breathing heavily. The bottle smashes on the stone floor, he looks up at the steam filled mirror. His knees fall to the tiled floor, his arms are hanging onto the sink. He then falls backwards, his back hits the side of the bath. He slids down and lands on the floor on his side. His eyes are closed.

WIPE, NARROW RIGHT

EXT. FOREST - DAY

A TITLE CARD FADES ONTO THE SCREEN

Rosebush Forest, GERMANY. 
B Company training excerise
Two months earlier

It is a sunny but breezy day. Light winds are blowing against the trees. Cullen dressed in a combat uniform is sitting down alone up against one of the trees. He is holding a army issued rifle. Other soldiers are sitting in a group chatting amongst themselves. Wilson and two of his compadre’s come out from behind the tree. They walk round and stand around Cullen. The two soldiers stand at each side of Cullen as he is looking up at Wilson.

WILSON.
Hello Johnny.

CULLEN.
What do you want? 

Wilson looks down at his dirty steel toe-capped boots.

WILSON.
I want my boots cleaned.

CULLEN.
Sorry, I don’t do requests.

Cullen freely stands up, Wilson lets him squeeze past him. Cullen walks to re-join the group of soldiers. Suddenly from behind, Wilson puts his arm around Cullen’s throat and forces him to the ground. The others soldiers see this but do nothing to intervene. The man is turned over onto his back, Wilson is kneeling down and has a strong hold of Cullen’s throat. 
  
WILSON.
You just don’t fucking
listen do you Cullen?
It wasn’t a request, it
was a fucking order.

Cullen’s face is going purple. He manages to blurt something out.

CULLEN.
Fuck you.

Cullen lifts up his legs and kicks Wilson in the back of the head, the man releases Cullen due to the reaction. He falls over to his side. Cullen is choking hard trying to regain his breath. The two soldiers intercede and grab Cullen. The other soldiers are too afraid to get involved, they watch helplessly. Wilson feeling dizzy rises back onto his feet. His facial expression shows severe anger, his eyes are widened. The soldiers turn Cullen over, he is lying face down. They each have a side of the breathless person. 

WILSON.
(Shouting.)
Think you can hit me.

Wilson kicks him in the face. He grabs the back of Cullen’s hair and forces the man’s head down onto his boots. 

WILSON.
(Continuing.)
I said clean.

He is rubbing the man face in the thick mud. He sees the mud coming off.  

WILSON. 
(Continuing.)
That’s it, every last bit.

Cullen’s face is soiled in thick mud.

CULLEN.
(Shouting.)
Let me go.

Wilson looks at the other boot and points.

WILSON.
I don’t think so, you’ve 
forgotten the other one.

Wilson forces the man to clean the other boot. Cullen can smell traces of cow pat, he feels his stomach starting to turn. His anger begins to boil. Tears come to his tigthened eyes. The boots become clean, Wilson lets Cullen’s hair go.

WILSON. 
(Continuing.)
All right let him go

The men release him; Cullen lying down on the ground is crying. His anger at breaking point. He is breathing heavily. Wilson heartlessly looks at the boots.

WILSON. 
(Continuing.)
Hey! You’ve done a 
pretty good job, thanks.

The contents of Cullen’s stomach comes out into the light of day. Wilson moves out of the way he and the soldiers laugh.

WILSON. 
(Callous.)
Fuck sake Johnny, you feeling okay?
Looks like you could do with a sick bag. 

Cullen continues to choke and cough at the same time. He finishes he listens to Wilson’s continous laugh. He wipes the mud away from his eyes using his sleeve. His vision is clear, he sees Wilson and the men with thier amused faces. Wilson is pointing at him and laughing, he and the men walk away. Cullen picks up the rifle, he rises to his feet. He turns round and sees Wilson walking with his back to him. Out of the blue and in a fit of rage he whacks the back of Wilson head. Wilson shouts in pain and falls forward landing on his chest. He then thumps the first soldier across the face, the force of the hit also throws the man onto the ground. The second soldier defends himself by trying to grab the gun of Cullen, Cullen pulls him forward and kneecaps him in the private parts. The soldier shouts his legs give way, he is hanging onto the weapon. Cullen then head-butts him in the face, the soldiers nose explodes. He then falls, three men wounded men are lying on the ground. The group of soldiers are astounded at Cullen’s retaliation, they begin cheering him on. 

SOLDIERS.
Go on, get in there.

Cullen realised what he has done he looks at the soldiers with thier chanting and smiling faces. He lips shaking and tears runnning down his eyes, he falls to his knees. Holding the gun. Thompson dressed in his combat gear and along with two other sergeants come up a hill. His loud voice interrupts the men’s cheering.

THOMPSON.
(Shouting.)
What the hell is
going on here?

Thompson and the men squeezes through the crowd.

THOMPSON.
(Continuing.)
Out of the fucking way. Move!

He sees the three men lying on the ground and Cullen sitting on his knees groaning like a child, holding the gun in his lap. Thompson sees the blood on the weapon. He then judges the incident for himself as he looks at Wilson holding his wound. He then looks back at Cullen.

THOMPSON.
Sergeant Millington.
Round the men up and
take them back to the base.

MILLINGTON.
Sir!

The sergeant turns round.

MILLINGTON.
(Continuing.)
Everybody get back to the trucks.
On the double, move it.

The men begin walking away down the small hill.

THOMPSON.
And you Sergeant Hill.
Take this man to the
military stockade and detain 
him till further notice.

HILL.
Sir!

The second sergeant walks over to Cullen who is in shock, staring into space. He goes behind Cullen and picks him up, the angst-riddened man stands onto his feet. Dropping the blood soaked gun onto the ground. They walk away from Thompson and the three men. Wilson pain-looked facial expression gets up. The other two soldiers recover from the attack.

THOMPSON.
What happened?

WILSON.
(Rubbing his wound.)
He went bersek again.
Wait till I get my hands on him!

THOMPSON.
Don’t bother. Let the authorities 
handle it this time.

  CUT TO:
EXT. FOREST - DIRT ROAD  

The camoflouaged four-tonne army truck containing the soldiers drives away. The sergeant has Cullen’s arms up behind his back and walks with him to one of the two army land rovers. The sergeant takes Cullen to the passenger side, he opens the door. Cullen prepares to go into the  Unexepetedly Cullen comes out of his state of shock and seizes his chance. He grabs the sergeant’s back and pushes him forward. The sergeant hits his head on the edge of the vheicles’s roof. The sergeant is knocked outcold, Cullen lets him go. 

The man falls to the ground. Cullen kneels down and searches the unconsious man’s pockets. He finds a set of keys. He then closes the passenger door, he then runs round to the driver’s seat. He get in and puts the key into the ignition. The vehicle springs into life. Cullen shifts into the gear-stick into gear, he slams onto the accelerator and drives away. Cullen looks in the mirror there is nobody apart from the fallen man. Feeling relived, liberated and emotional he starts crying with joy as he drives.

FADE OUT.

INT. BATHROOM - MORNING

Daylight shines into the room. Cullen is lying on his side with his back up against the bath tub. He opens his eyes slowly. He rises up.

CUT TO:

INT. RESIDENTIAL APARTMENTS - MAIN HALLWAY - LATER

A light-grey door with the number ‘6’ on it opens. Cullen fully-dressed comes out and enters the hall. He shuts the door behind him. He reaches into his pocket to get the keys. He finds them and brings them out into the open, he puts the key in the keyhole and turns it. He turns round and sees Norton’s door is sitting wide open. There is no sign of life. He also sees’s a trace of human blood on the stone floor and on the door aswell.  He becomes walks over quickly and goes through the door. 

CUT TO:
INT. NORTON’S APARTMENT - LIVING ROOM 

Cullen comes in and sees Norton sitting on the couch, looking distressed. He comes over and sits on the couch next to the woman, he picks up her hand. 

CULLEN. 
Mel. What’s happened?
There’s blood outside.

NORTON.
I’m sorry Stuart.

CULLEN.
For what?

All of a sudden O’Hara and a gang of armed men come out of the bedroom. And from Norton’s breakfast bar in the kitchen. Cullen sees them and tries to run out the front door. He is stopped by more police men coming in. He is grabbed and flung to the ground, his hands are handcuffed by behind his back. O’Hara reads him his rights.

O’HARA.
Stuart Patterson you’re under arrest. 
You do not have to say anything, which may harm your 
defence for which you can later rely on in court.
Do you understand these right, I have given you?

CULLEN.
(Relunctant.)
Yeah!

O’HARA.
Good. Take him away.

The officers pick Cullen up and walk him out the apartment.

CUT TO:

INT. INTERROGATION ROOM - NIGHT

A male police officer is sitting opposite Cullen; Cullen is fulfilling his boredom by trying to stare out the officer. The officer looks the other way. O’Hara opens the door and comes in, he is carrying a brown folder. He sits down on the chair next to the officer. He puts the folder onto the desk. He then opens a tape which is situated inside packaging. He puts the tape into the machine.

O’HARA.
Well Mr. Patterson, we meet again.

Cullen doesn’t respond. O’Hara presses record on the machine.

O’HARA.
(Continuing.)
This is Detective Inspector Brandon O’Hara.
In the room I have with me PC Malcolm Struthers
And interviewing arrested subject, Mr. Stuart Patterson. 
Interviewing commencing at 10:00 hours.

CULLEN.
What is this all about?

O’HARA.
Oh I think you know.

CULLEN.
I’m sorry, what have I supposed to have done?

O’HARA.
Well let me refresh your memory. Within a space of 
a month, we’ve had two bombings. An attempted
robbery. An assination attempt. And now we’ve got a runaway train 
full of dead bodies. My god the list is endless. 
And the only thing that puzzles me in my
investigation is. Apart from the pub bombing and the robbery, the
remaining two incidents all relate to Tony Wilson.
Now, how do I explain that to my superiors.

CULLEN.
Well aren’t you the professional. Isn’t it your job too 
put two and two together? I mean you don’t have anything
on me. So why don’t you just let me go and stop wasting
valuable time in your investigation.

O’HARA.
You’re not going anywhere.
Because I think you’re lying to me.

O’Hara looks at the officer.

O’HARA.
What do you think?

The officer nods.
O’HARA. 
(Continuing.)
(Nodding his head.)
Me too! 

O’Hara studies Cullen for a second.

O’HARA.
Why are you hiding from the truth Patterson?
We have CCTV video footage of you at the garage,
on the day of the robbery. We also found
the car you drove riddled with bullet holes. 
The same car you borrowed from one of 
our fellow officers. PC Melanie Norton.

Cullen is stunned.

CULLEN.
What?

O’HARA.
Whoops. Did I put my foot in it there?

Cullen’s eyes moves down.

O’HARA.
(Continuing.)
Now do you care to explain.

CULLEN.
What do you want to know?
Fair enough I was there, so what.

O’Hara studies Cullen for a moment.

O’HARA.
I know what kind of game you’re trying to play Patterson.

CULLEN.
(Annoyed.)
Oh do you? And what kind of game is that?

O’HARA.
The one where innocent people lose thier lives.
All because one man has a grudge against another.

CULLEN.
You’re delirious!

O’HARA.
 It’s was you who planted that bomb in the pub wasn’t it.

CULLEN.
No, it was Tony Wilson.
I saw him with my own eyes. 

O’HARA.
I see! Then why didn’t you tell me about this, when I interviewed you the first time around? Or were you too secretive. You decided to leave the guilt for someone else to face. Or was the weight of guilt to heavy for your shoulders to bare? Come on Patterson, I’m not a fool. 
Why don’t you just admit to it.

CULLEN.
(Annoyed.)
Because I have nothing to admit too, and I have nothing to hide. 
Like I said, it’s Tony Wilson you should be seeking a confession from.

O’HARA.
Mr Wilson is a respected business man.

Cullen lets out a slight ingorant rasberry noise with his mouth.

CULLEN.
Don’t make me laugh.

O’HARA.
It was you that tried to kill him wasn’t it?

CULLEN.
No!

O’HARA.
Come on Patterson, don’t play dumb.

CULLEN.
You don’t give up do you?

O’Hara looks at his watch.

O’HARA.
Nope! 

O’Hara sits back and crosses his arms.

O’HARA.
(Continuing.)
I don’t have anywhere to be right now.
I mean you could give me the silent treatment, or we could
easily stare each other out. But one thing I will tell you, is that
I’m not budging from here untill I get what I want. Understand?

Cullen remains silent. O’Hara notices a small fragment of the cotton on the shoulder of Cullen’s V neck sweater.

O’HARA.
(Continuing.)
What is it you have against Mr. Wilson, eh?
With everything that’s happened recently. 
It’s all been related to him. Do you have a vendetta against him?
Did he do something to you, that you just can’t let go of. Talk to me.

CULLEN.
Do you really want to know?

O’HARA.
Yes I do.

Cullen slams a pair of keys onto the table.

CULLEN.
Here’s the keys to my flat, there’s a tape in the VCR.

O’HARA.
And how is a video going to convince me?

CULLEN. 
Because it contains CCTV footage, of Tony’s
presence in the bar on the day of the bombing.
I suggest you watch it with a strong stomach.

O’Hara speaks to the officer!

O’HARA.
Have someone check his flat to see, 
if he’s telling the truth.

The officer takes the keys.

CULLEN.
Yeah you do that!
 
The officer leaves the room.

O’HARA.
For the tape, Struthers leaves the room.
If you’re telling me the truth about this, then fair enough.

CULLEN.
Why would I lie about that? 
Four of my friends died that day.

O’HARA.
I uderstand that. But somehow it going to take more than that to induce me. You see Patterson, I still think it was you who did those other things. I think you had it planned from the start.

Cullen shakes his head in disbelief.

CULLEN.
I didn’t plan anything.
 
O’HARA.
 I think you’ve got some skeletons in your cupboard 
and now is the time to let them be known.

CULLEN.
You don’t know anything about me. 

O’HARA.
Is that a fact? You may want to re-think about that. Because I’ve been doing a little snooping around and this is what I’ve come up with. I know who are you really Patterson. I know that you name is not Stuart Patterson, it’s John Cullen. Or should I say Private John Cullen of the Royal Highland Fusiliers. The man who went A.W.O.L and today this is still wanted by the German authorities.

CULLEN.
(Worried.)
What?

O’Hara opens up the brown paper folder. It contains newspaper cuttings. One of them has a picture of Cullen’s face under a big headline, it reads‘SOLDIER OF FORTUNE’ there are also pictures of Cullen in uniform. Other cuttings say ‘A.W.O.L SOLDIER STILL AT LARGE’ 

O’HARA.
Don’t try and deny it Cullen. It’s all here in front of you. It seems to me that your days as an innocent man have come to an end. And the skeletons in your cupboard, have just fallen out. And do you want to know something else? I also found out that Tony Wilson was a Corporal in the same company as you, and that Ian Thomspon was a Major in charge of your squad. You do realise that going absent without leave is a serious crime? It could see you being put in a military stockade before being transferred to a real prison. Where you can be spending the next ten years in. My god Cullen, your life won’t be worth living.    

O’Hara sees Cullen beginning to sweat.

O’HARA. 
(Continuing.)
What’s the matter Cullen, 
cat got your tongue?

O’Hara notices a small fragment of cotton wool on Cullen’s grey V neck sweater. 

O’HARA.
(Continuing.)
What happened to you shoulder?

CULLEN.
I had an accident at work.

O’Hara nods, he gets up off his seat and put his hands in his pocket and he walks past Cullen. He looks at Cullen from behind, he puts his finger on his mouth. He walks back, as he goes past he grabs the arm part of Cullen’s sweater and pulls it down.

CULLEN.
Hey, what the hell are you doing?

O’Hara rips off the bandaging, Cullen yelps. O’Hara sees the closed bullet wound. 

O’HARA.
Accident at work, my arse. 
That’s a bullet wound. How did you get that?
No wait, it was you last night after all. Wasn’t it? It was you that killed all those men on the train, including Ian Thompson?

CULLEN.
Fuck you.

O’HARA.
Getting agressive are we. I’m getting 
closer to the truth, aren’t I?

CULLEN.
Okay, okay it was me.

O’Hara moves his head closer to Cullen. He uses his fingers to turn his ear round.

O’HARA.
I’m sorry, I didn’t catch that.

CULLEN.
I said it was me, 
I hijacked the train.

O’HARA.
Why?

CULLEN.
You wouldn’t believe me, if I told you.

O’HARA.
Try me.

CULLEN.
OK. I did some snooping around.
Curious to know what the train was carrying.
It turned out the whole thing was set-up, a decoy. 
I discovered a box full of castor sugar was used, 
Tony tricked Thompson into thinking that it was cocaine 
that was being transported. He even staged his own shooting so that he wouldn’t have had to be there. He used Thompson and the men as bait. They were instructed, to elimate me. If I was sighted. I didn’t want anyone to die, but I was left with no choice. It was merely self-defence 
against all the odds.

O’HARA.
Wait a minute, I can’t get my head around this.
Why would Mr. Wilson jeopardise his reputation.
By going into drug dealing, and sacrifcing his own
men in the process? It just doesn’t add up. Surely you
can build up a better fairy-tale than that.

CULLEN.
Well I’m sorry. But that’s the story, I’m sticking too.
You wanted an explanation, I gave it to you. Plain and simple.

O’HARA.
It wasn’t about snooping around was it? 
It was about retribution. You wanted to hit Mr. Wilson,
where it hurt the most. To kick a man, when he’s already down.
What was it he did to you in the army? That lead you onto the
path of destruction. To start your personal war against him?  

CULLEN.
I joined the army in March 2004. I was unhappy working in the retail trade and wanted to try something different. After basic training, my squad were given their first post. We were stationed in Germany.
It was their I met Tony Wilson, who had just been promoted to a Corporal. He took the promotion too seriously, he thought he was the big man. He was on a power trip, barking out his orders. A case of anything that we could do, he could do better. It was from there that he took an instant dislike to me. So he started a bullying campaign. To him it was a game, an endurance test to see how much I could take. My vulnerable soul didn’t realise this. So I suppose in the end he won and I lost.
Ian Thompson was in on it too, he took Tony under his wing and turned a blind eye to the victimisation. I considered suicide but for them that’s what they would’ve wanted. So I decided enough was enough, 
I had gone beyond breaking point and fought back.     

O’HARA.
You had reached your point of no return.
And that’s why you went A.W.O.L?

CULLEN.
Yeah! Well Detective now you know
the motive and my true identity. 
What’s going to happen to me?

O’HARA.
I really don’t know, 
it’s not for me to decide.

CULLEN.
If you were in my position,
what would you have done?

O’HARA.
The same thing as you probably.
But unfortunately you and I 
are living within different worlds.
My job is to uphold the law, not break it.

O’Hara looks at his watch once again.

O’HARA.
Interview supsended at 10.30 hours.

O’Hara stops the tape, there is a knock on the door. 

O’HARA.
Come in.

The door opens, Norton dressed in her uniform is standing at the door arch looking at Cullen with sorrow. Cullen looks away in revulsion. O’Hara turns round to Norton. 

NORTON.
Sir, there’s an urgent phone call for you.

O’HARA.
OK. Stay here and keep an eye on for me.
I won’t be long till I’m back.

O’Hara gets up off seat and walks to the door. He squeezes past Norton leaving the room. Norton comes into the room shutting the door behind her. Cullen looks at her.

CULLEN.
Come to apologise have you?
Well don’t expect me to accept it.

NORTON.
No. There’s no time for that. Come with me!

Cullen looks at her abnormally.

CULLEN.
What?

Norton opens the door, she looks out into the corridor. The coast is clear.

NORTON.
I said come with me.

CULLEN.
You serious?

Norton gets intolerant.

NORTON.
Yes. Now hurry before he gets back.
Or there’s no point in doing this.

Cullen stands up and goes to the door. Norton stops him, she produces an envelope.

NORTON.
(Continuing.)
Here take this.

Cullen takes it.

CULLEN.
What is it?

NORTON.
It’s a plane ticket.
Now get going.

Cullen goes into the corridor.

CULLEN.
Thank you.

Norton heeds him, Cullen smiles at her. He puts the ticket into his jacket and leaves the building unseen.

CUT TO:

INT. O’HARA’S - OFFICE

O’Hara has the phone held to his ear.

O’HARA.
Yes sir, he’s just admitted 
to him being responsible for
the train. He was a tough one to crack.
But I got there in the end.

CUT TO: 

EXT. POLICE STATION

Cullen comes out the building through the side door. He walks to the main road. He then runs across the road dodging the on-coming traffic.

CUT TO:

INT. POLICE STATION - OFFICE

Norton is doing some paperwork looking pleased with her self. O’Hara hysterically comes into the office looking for her. He sees Norton and rushes over to her. And grabs her.

O’HARA.
(Shouting.)
What did you do with my suspect?

Norton coureagously replies.

NORTON.
I let him go.

O’Hara slaps Norton across the face. She yelps. The male officers try to pull off Norton. He struggles!

O’HARA.
You stupid woman.
Do you realise what you have done?
He’s going to go after the source. Let go of me.

O’Hara break free for the officers hold. Norton is holding her red cheek, O’Hara points his finger at her.

O’HARA.
(Continuing.)
I hope your proud of yourself.
Because when this is over,
you can kiss your career goodbye.

Norton even’s the score in anger.

NORTON.
(Shouting.)
 Yeah? Will tell that to someone
who gives a flying fuck. Sir!

O’Hara looks at her with angered eyes, but doesn’t say anything. He rushes off. He is cornered by Struthers who is holding the video tape.

STRUTHERS.
Sir!

O’HARA.
What?

STRUTHERS.
I retreived the tape from Cullen’s apartment.
I have seen the footage and it seems 
that he was telling the truth.

O’Hara looks up at Struthers.

O’HARA.
Show it to me.

CUT TO:

INT. WILSON COMPUTING INDUSTRIES - WORK AREA - DAY 

It is business as usual for the factory workers. Ironside is seen walking the process towards the Wilson’s office.

CUT TO:

INT. OFFICE

Wilson is sitting at his desk looking at his father picture. His arm is in a sling. He is interrupted by Ironside coming into the office. 

IRONSIDE.
Alright Tony? You
wanted to see me about something?

WILSON.
Yes I did.

Wilson picks up a brown envelope and throws it to Ironside. Ironside catches it.

IRONSIDE.
What’s this?

Ironside opens the envelope he sees a big bundle of money.

WILSON.
My token of appreciation.
For job well-done last night and
for the other day. You did me a favour.
Ian fell head-first into my well-laid plan.

IRONSIDE.
Oh Tony, I can’t take this.

WILSON.
Yes you can. It’s
not everyday, your boss hands
over that kind of money.

Ironside is unsure.

WILSON.
(Continuing.)
What’s wrong? You seem kind of edgy about it.

IRONSIDE.
What if the police come and
ask questions about last night’s events.
I mean your associate died as a result.
And what about the day of the shooting,
somebody’s bound to have seen me.

WILSON.
If you’re getting sentimental on me Mitchell,
then I can’t afford to waste that kind
of money. Fuck Ian, I never liked the guy anyway.
I gave you what’s in that envelope in good faith,
and for doing me a favour. Don’t worry about what the
cops are going to say and do, we’ll just act as if nothing happened.

Ironside lightens his mood.

IRONSIDE.
True.

WILSON.
(Jokingly.)
Good. So take the money and fuck off. 
Before I have second thoughts.

The phone on the Wilson’s desk rings.

WILSON.
(Continuing.)
Do you hear me.

IRONSIDE.
Yeah.

Wilson picks up the phone.

WILSON.
Wilson Computing Industries, Tony speaking.

VOICE.
Hello Tony. Are ready to
stare death in the face?

WILSON.
(Shouting.)
Who the fuck is this?

Ironside stops and turns round.

VOICE.
All will be revealed, soon enough.

The line hangs up. Tony looks at the phone.

IRONSIDE.
Who was it?

WILSON.
It’s not over yet.

The sound of a blaring horn is heard in the distance. 

IRONSIDE.
What the hell is that?

WILSON.
Go check it out.

Ironside leaves the office.

CUT TO:
INT. WORK AREA 

The sound continues, the workers stop what they are doing. Ironside comes into the area. He looks at one of the supervisors

MITCHELL.
(Shouting.)
Neil, what’s going on?

SUPERVISOR.
I don’t know.

Unexpectedly the front of a truck comes crashing through the factory’s wall. It crashes into boxes containing computer towers. It hits the back of a forklift truck, sending it rotating round and round. Workers working in that section of the factory jump out of the way. Others scream at the impending death coming towards them, they run frantically for thier lives. The truck comes crashing up a alley way dividing between two work sections. Ironside looks down the alley at the on-coming carnage.

IRONSIDE.
Neil, get everybody out. Now!

Workers in the assembly area panic, and start to make a run for it. The truck with it’s W.C.I logo on the trailer continues to come forth, bending and twisting metal. The horn is blasted on and off again and again.

CUT TO:

INT. OFFICE

Wilson runs to the window and witnesses the carnage. He quickly goes to his desk drawer and opens it. The draw opens, he goes into it and finds a key. He takes it and turns round to the metal cupboard located behind him. He puts the key in and turns it, the cupboard door is unlocked. Automatic Wepaons are exposed. 

CUT TO:

INT. ASSEMBLY AREA

Ironside, the supervisors and the remaining ten men from the train run into the supervisor’s office.

CUT TO:

INT. SUPERVISOR’S OFFICE

Ironside goes into his overalls for a key, he runs up to a metal cabinet. He puts the key into the key hole and turns it. The door opens M16 machine guns and magazine cartridges are revealed. Ironside takes out the guns one by one, and hands them to the men. Each of them loaded the weapons.

CUT TO:

EXT. FACTORY - CARPARK. 

The last few workers are seen vacating the building. They are big crowds looking at the building.

CUT TO:

INT. FACTORY - WORK AREA

The men’s guns are loaded, they are ready for action. The truck eventually comes to a halt. The men surround the vehicle and begin shooting, bullets smash the window in the driver cab and impale the steel and radiator cage. Ironside realises, that there is nobody firing back and there’s no sign of life.

IRONSIDE.
(Shouting.)
Hold you fire.

The guns stop firing. Ironside walks over to the truck cab. Holding his gun he reaches for the door and opens it quickly. Out of the blue he’s sees Cullen who is crouched down the on the floor. He is pointing a gun at Ironside. Ironside is startled, his eyes widened. The gun goes off, the single bullet hits Ironside in the forehead, he is stunned. He falls backwards and lands on the ground. The men see this and run to seek shelter behind metal tables, they start firing again. 

CUT TO:

INT. DRIVERS CAB

Cullen pulls the pin out of a grenade, he throws it out the window.

CUT TO:
INT. WORK AREA.

The grenade lands beside five of the men, who are crouched down behind the table like soldiers in a trench. The device explodes straight away, killing the men by throwing thier bodies up into the air. The other five men start shootig the truck again. A fire has started, the emergency sprinkler system is activated. And the fire alarm begins to make strident noise. Water comes showering down soaking up the area. Cullen comes out of the cab carrying a M16 machine thst has a rocket launcher attached to it. He jumps down onto his feet. Wilson’s voice is heard. Cullen looks up he sees Wilson standing at the office window. Wilson is shocked to discover his old adversary, Cullen smiles. 

WILSON.
(Manically.)
No. It can’t be.
It can’t be you.
You fucker, it can’t be you.

Wilson is holding a machine gun, with a rocket launcher attached to it. He points it Cullen and fires, the target jumps out of harms way. The rocket hits the driver cab of the truck and explodes. The cab disintergrates into a huge fireball, throwing glass and steel. The force of the blast causes Cullen to fall forward onto his stomach. Wilson laughs hysterically.

WILSON.
(Continuing.)
Did you like that Johnny,
just like old times, eh?

He begins shooting at Cullen, the bullets hit the stone floor making sparks. Cullen rolls over struggling to avoid certain death. He gets back up onto his feet and hides behind a aluminium wall. The five men shoot into Cullen’s direction, Cullen angrily points the launcher and fires, the missle hits the supervisor office and detonates. The office is destroyed, the men are thrown forward by the blast thier bodies fly over the steel tables.

CUT TO:

INT.OFFICE - WINDOW

Wilson is furious at the carnage within his factory. 

WILSON.
Johnny, you’re fucking up my business.

He shoots at the wall.

CUT TO:

INT. WORK AREA

As the truck and the factory burns, Cullen reloads the rocket launcher. He dives round the corner for the ground. Wilson’s eyes show fear, Cullen fires the launcher. 

CUT TO:

INT. OFFICE

Wilson dives for cover throwing himself onto the desk and sliding off the edge. He crawls along the floor. The rocket makes an unwelcome entrance, it hits the wall which is divided by two windows. The wall explodes.

CUT TO:

EXT. FACTORY

An explosion is seen from the point where the rocket hit. It has made a big gaping hole. The workers scream and run for cover.

CUT TO:

INT. OFFICE

Wilson’s suit and hair is covered in dust, bits of wall and mortar. He is coughing and choking. His office is completely devastated by the after shock of the explosion. Wilson crawls across the floor, Cullen’s hand unexpectedly grabs the back of his neck.

CULLEN.
Hello Tony, 
long time no see.

WILSON.
Johnny wait.

Cullen savagely kicks Wilson in the face.

CULLEN.
Not so tough now are we?

Wilson lip is burst open, he puts his hand on it and looks at the blood. Cullen walks round and round the man.

CULLEN.
Yes it’s blood.
Now you know how it feels.

WILSON.
Please Johnny, I’m sorry.

Cullen kicks Wilson in the ribs, he is thrown onto his side.

CULLEN.
Sorry is not good enough.

CUT TO:

EXT. FACTORY - CARPARK

The sound of sirens is heard, smoke is coming from the factory’s main entrance and from the damaged part of the building. Some of the workers are being cared for by thier co-workers after some of them have been showered with glass.

CUT TO:

INT. OFFICE

Wilson has had the air kicked out of him by Cullen’s steel toe capped boot. He struggles to reclaim normal breathing.

WILSON.
(Silently.)
Come on, let me make it up to you.

Cullen grabs the back of Wilson’s suit and forcibly picks him up, he runs with the man forward. Ramming his head full-force into a metal filing cabinet. Cullen then kneecaps him in the face and lets him go, Wilson is close to passing out.

CULLEN.
How?

Wilson doesn’t answer. Cullen gets down and grabs his victims hair, he shakes the man’s head as he speaks.

CULLEN.
(Raised voice.)
I said how. Don’t you
dare fall asleep on me.

Wilson’s face is battered, bruised and covered in dust. His nose is broken and his mouth is covered in blood. He tardily points to the steel cupboard.

WILSON.
You see that cupboard?

CULLEN.
What about it?

WILSON.
There’s a key that opens the 
safe, at the moment there’s five-
hundred grand sitting inside it.
It’s yours, take it.

CULLEN.
Oh aye Tony. Feeling charitable
all of a sudden, are we?

WILSON.
Call it an apology for
what I put you through?

CULLEN.
That’s very nice of you,
I always did fancy a bit of compensation.
Unfortunately in my situation, nobody believed me.

Cullen deliberately stands on Wilson’s chest as he steps over, to go to the cupboard. He sees that there is another key hanging down. He takes the main key out of the lock and kneels down to the safe next to it. He puts the key in and turns. He opens the door, a Nike sports bag is sitting on the floor of the safe. Cullen picks it up, he unzips it and looks inside. Wads of cash is discovered.

 CULLEN.
(Continuing.)
Fucking hell Tony,
you weren’t lying were you?

The two men hear the sirens getting closer. Cullen looks around wondering what to.

WILSON.
Do you hear that Johnny,
if you don’t get out of here.
Your windfall won’t mean anything
to you. So go while you’ve 
still got the chance.

Cullen zips up the bag and picks it up. 

CULLEN.
Thanks. I’ll just do that. Welll I guess this is
farewell Tony, by the time they arrive and justice has been
prevailed. I’ll be long gone. Who knows, maybe we’ll meet 
again someday. In about, oh say twenty-years time? 
Hopefully by then, a prison cell will of made
you into a better person. 

Wilson’s eyes blinks as he listen’s to Cullen. Cullen walks past and goes towards the door. Wilson secretly tries to get up, he puts his hand onto to the tipped over desk. Cullen stops and turns round, he sees Wilson trying to get up. Cullen goes over and stamps on Wilson’s wrist snapping the bone in two. Wilson shouts out loud, he falls back on to the floor landing on his back.

CULLEN.
(Continuing.)
Oh no you don’t, you stay the fuck
there. Where you belong. And I almost forgot.

Cullen produces a handgun and points it to Wilson’s kneecap, he shoots. Wilson shouts with the imposed pain.

CULLEN.
(Continuing.)
That’s for my friends.
For that, I should put a bullet in your
head, but no. You’re worth it, I’d rather see 
you rot. And finally this

Cullen stamps onto Wilson private parts.

CULLEN.
(Continuing.)
Is for decieving Thompson.
I confided in him, just before he lost 
the head. See you in the next life Tony.

Cullen walks out the office. Tears come to Wilson’s eyes as he clambers with his injuries. He shouts out loud.

WILSON.
(Shouting.)
CULLEN!

CUT TO:

INT. CORRIDOR

Wilson’s voice echo’s, Cullen walks casually with the sports bag.

CUT TO:

EXT. FACTORY - CARPARK

A fleet of police cars and vans with blue flashing lights finally arrive at the front of the building. Fire engines accompany them. Armed police come out of the vehicle and enter the factory.  The workers remain in large quanties as they watch the events.

CUT TO:

INT. ASSEMBLY AREA

The armed policemen come into the work area of the factory. They discover the dead bodies. 

CUT TO:

INT. OFFICE

O’Hara and ten other policemen come into the room and see Wilson lying on the floor. They point thier guns at Wilson, he looks up!

WILSON.
Help me!

O’Hara looks at his fellow officers. And then back at Wilson, he smiles.

O’HARA.
Arrest this asshole.

One of the officers takes out a set of handcuffs.

OFFICER.
With pleasure.

CUT TO:

EXT. FACTORY

The blue continues to flash. Water hoses from the fire engines are inside the building, firemen are running out and in attending to thier duties. Four ambulances enter the ground through the perimeter gate.

FADE OUT:

CUT TO:

EXT. BURNSFIELD CROSS - COURTHOUSE - DAY

A female reporter is standing and holding a microphone in one hand and a notepad in the other, she is talking into a camera. Crowds of people are standing holding up banners which has different insults on them from ‘MURDERING SCUM’ to ‘TONY WILSON, BURN IN HELL.’ The reporter begins her report.

REPORTER.
Burnsfield. Quiet town or hell on earth? That’s the question that is on everyone’s lips. In a series of crimes, which have occured within a 
space of a month. Here I’m standing reporting live from outside 
Burnsfield Sheriff Court. Waiting exclusively for the outcome to which 
to date has become biggest the trial of the year and has gripped the nation by throat. Being indicted is local businessman Antonio Wilson who was revealed as local people are calling it. ‘The butcher of Murphy’s Bar.’ Incriminating evidence showing Mr. Wilson commit this cold and calculatting act was caught on a CCTV camera for was addressed to the man in charge of the investigation. Detective Inspector Brandon O’Hara. At this time we have reason to believe, that person who sent the tape 
is as yet still to be unmasked. 

The courthouse’s front doors open, Wilson’s left arm is in plaster, his right hand is holding a walking stick. The bridge of his nose is patched over by an elastic plaster. He is accompanied by his lawyer and male police officer. There are flashes from cameras and rival reporters trying to 
get a few words from Wilson. The police officer, pushes them out the way. 

REPORTER. 
(Continuing.)
As Mr.Wilson comes out of the courthouse, we have just been informed that the jury have found him guilty on all counts. From conspiring to pervert the court of justice to committing genocide. The judge then imposed a sentence of life imprisonment on Mr Wilson without limited parole. 

The reporter holds up a notepad and reads from it.

REPORTER.
(Continuing.)
After the sentencing, the judge told Mr. Wilson and I quote. 
‘If this was in  America. As a judge I wouldn’t think twice about imposing 
the death sentence on you. What you did, was both malicious 
and barbaric. I only hope that God has mercy on 
your soul, when your time comes.’ 

She then looks back into the camera.

RERPORTER.
(Continuing.)
As everyone here, including the victims 
families praise the verdict. Let’s find out what the man 
has to say for himself.

The cameraman follows the reporter as she squeezes through the other reporters. Wilson is limping with his walking stick. The reporter successfully manages to get close too him.

REPORTER.
Mr. Wilson, Mr. Wilson. Now that this case 
against you has been adjourned. 
What are you thoughts at this moment in time?

WILSON.
My thoughts, my thoughts you ask?
Let’s put it this way, I’m not
the only man who is guilty.

REPORTER.
What do you mean by
that Mr. Wilson?

WILSON.
I may have been convicted of a crime. 
But I wasn’t the only one, who worked above the law. 
You see there’s still one man out there, and who at this 
moment is still at large. His name is ‘John Cullen.’
 He’s the one who should’ve of been tried and 
convicted along with me today. So as I begin my lengthly
sentence behind bars. Cullen continues to live 
his life as a fugitive on the run. 

CUT TO:

INT. AIRPORT - DEPARTURE LOUNGE.

Cullen is sitting down watching the television, some other people are watching it aswell. While others are reading newspaers and paperback books. Wilson’s face is seen on the camera.

WILSON.
(Continuing.)
The only problem is Johnny 
and I hope you are watching
this. You won’t be able to play 
hide and seek forever. Just remember that. 
That’s all I’ve got to say.

REPORTER.
Tell me Mr. Wilson. What about the families 
of the victims, who’s lives you took in the 
bombing of Murphy’s Bar? What are you thoughts 
or feelings for them?

WILSON.
I have no comment 
on that matter.

REPORTER.
Although you may be unaware, we do live in 
a world shrouded by terrorism. To me it seems you 
have no remorse or sorrow for these acts who
perpetrated against humanity. Would I be right in saying that?

Wilson gets annoyed! 
WILSON.
(Angry.)
Fuck you!

CUT TO:

EXT. COURTHOUSE

The reporter takes the insult in her stride. Wilson walks away. She looks into the camera.

REPORTER.
Well there you have it.
As a selfish and heartless
man is lead away to begin
his sentence. I’d just like to say
that this Julie Anderton reporting
from outside Burnsfield Courthouse. Thank you!

The news camera stops rolling. As Wilson is lead through towards a police van. PAUL MURPHY appears from out the crowd, Wilson is shocked as he sees him.

MURPHY.
Hello Tony. Do you
remember me?

Murphy smiles he produces a handgun and fires four shots, the bullets hit Wilson in the chest. He falls backwards and lands on the ground pulling O’Hara down with him. Murphy fires a single round into Wilson’s head The reporter hears the shots. 

REPORTER.
(Shouting.)
Fuck, he’s been shot
Get the camera rolling.

The crowds of people scream and run away. He then puts the gun down and gives himself up putting his hands up into the air. Uniformed policemen detain him. 

CUT TO:

INT. AIRPORT - DEPARTURE LOUNGE

The television is showing adverts, Cullen is drinking a cup of coffee. A navy blue back pack, is sitting at his feet.  He looks up at the television too see what adverts are being shown. Suddenly a news flash comes onto the television. 

VOICE.
We interrupted these adverts,
to bring you this special news bulletin.

Cullen and some of the passengers watch the bulletin.

NEWSCASTER.
Good afternoon. It has been reported that Newshire businessman 
Antonio Wilson, has just been shot dead outside court.
Where he had just been convicted and condemned 
to life in prison. It has also been reported,
that the assassin in question has been identified as thirty-two year 
old publican ‘Paul Murphy.’ Police have confirmed that this was 
an act of revenge, brought on by the bombing of 
Murphy’s establishment one week earlier.
Which was mastermind and committed by Mr. Wilson.
Thank you and good afternoon.

Cullen looks away and smiles, he breathes out a sign of relief. He lets out a small laugh. The woman who is sitting beside him speaks her mind.

WOMAN.
I hope he rots in hell. 

An annoucement comes over the tannoy.

TANNOY.
British Airways flight 168
to Sydney is now boarding at gate 5.
Please have your tickets ready for boarding.

The passengers stand up and start to walk towards the boarding gate. Cullen stands and follows. 

CUT TO:

INT. PLANE - MAIN CABIN

Passengers are making themselves comfortable in thier designated seats. Some are putting hand luggage into the storage cabinets. Cullen goes past people as he walks up the aisle, he finds a empty row of four vacant seats. He goes in and sits down on the seat next to the window, he makes himself comfortable. He then puts his seatbelt on. Feeling relaxed, relived and liberated he rests his head on the wall looking out the window. A female voice is heard.

VOICE.
Sir, is this seat taken?

Cullen turns his head round, he sees Norton smiling at him. She is smarty-dressed in a summer suit.

CULLEN.
Mel. What are you doing here?

NORTON.
Going to Australia with you?
I forgot to tell you, I had another ticket.

CULLEN.
What about you job, your career?

NORTON.
Being with you is more important.

CULLEN.
(Shaking his head.)
I don’t know what to say.

The female cabin crew member’s voice comes on the tannoy system.

VOICE.
Ladies and Gentlemen
if you could now be seated.
We can proceed with takeoff.

CUT TO:

EXT. RUNWAY

The plane is going at high speed, the front of it rises up. And heads for the blue sky. The back wheels eventually rise from the ground. 

CUT TO:

INT. PLANE - MAIN CABIN

Norton has her head rested on Cullen’s shoulder, Cullen looks out the window. From high up in the sky, he sees Burnsfield in mininature form. Norton opens her eyes and lifts her head, she puts the palm of her hand onto Cullen’s right cheek. Cullen turns round his head moves forward his lips and Norton’s lips meet. They continue to kiss.

The SCREEN FADES TO BLACK. The END CREDIT sequence begins.