Faster Than A Melon Ball

FASTER THAN A MELON BALL by Andy Fitzsimmons

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FADE IN: EXT. ZOO - DAY Crowds of people file in. Happy couples, young parents coping with temperamental kids, unhappy couples, older parents coping with even more temperamental teenagers, laughing families happy in their world, arguing couples, nice pensioners, pensioners who are grumpy fuckers, people who are grumpy fuckers, happily single people, lonely people. Basically everybody. Everybody who goes to the Zoo. EXT. OUTSIDE THE MONKEY ENCLOSURE JOHNSON, one of the attendants is giving a talk to a group of visitors, mainly families with small children. Johnson has no presentation skills and speaks in a near monotone. He makes an attempt to emphasise certain words by speaking slightly louder. This just makes him sound more odd. JOHNSON Behind me you can see the rhesus monkeys. They all have names, this one is called Charley, that’s Lulu over there, here’s Ringo, this is Rizza. This one here is called Mr Monkey. Everyone smiles and nods. JOHNSON (cont’d) Rhesus monkeys are one of the closest blood relatives to humans. Like people they live in groups and have a rigid social structure. Like people they learn how to behave by observing others and, although the males are dominant in the troop, the females are the leaders. (beat) Like people. Johnson pauses and looks up expectantly. A ripple of polite laughter.

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JOHNSON (cont’d) In the wild they will rise, enmasse, against any threat to their troop. (beat) They will mob a tiger. Fixed smiles. JOHNSON (cont’d) They were the first primates in space. A couple of isolated chuckles. JOHNSON (cont’d) They develop very strong maternal bonds. Johnson takes a deep breath before tackling the next sentence. JOHNSON (cont’d) Studies have shown that if these bonds are broken during infancy rhesus monkeys can experience severe behavioural and emotional problems and long periods without physical contact can lead to an inability to respond emotionally in an appropriate way and, in extreme cases, death. The crowd stand in shocked silence. INT. RON’S LOFT APARTMENT - DAY Open plan. Glide towards the bed. The polished wooden floor create reflections on the walls, the furniture, the fancy stereo, on everything by the glow from the dimmed, recessed, white lighting in the ceiling. A man is standing next to the bed. A girl sits on the bed. Bare brick wall, “Heals” double bed, stripped pine door. Mid 90’s staples. RON is in his mid forties, long floppy hair, expensive, but shabbily worn, clothes. His pupils are large and dilated.

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The girl is petite, shown only in silhouette because of the blinding light from the window behind her, let in by the open blinds. A mid 80’s staple. DISSOLVE TO: SMALL WOODEN PILL BOX. Slow pan over it. A picture of a cat is carved into it. BACK TO: RON My love. GIRL OK. Ron reaches over and snaps shut the blinds. Ron's POV: the girl reclining on the bed. She looks barely 16, wearing white cotton panties and bra. RON You look beautiful. GIRL Thanks. INT. RICHARD’S BEDROOM - MORNING RICHARD, mid forties, sits on the bed. The room is decorated in a very conventional, but expensive way. One half of the bed has been slept in. The other half remains made and empty. Richard is wearing a conservative suit, ready to leave for work. He is holding some photographs, hanging from his limp hand. Puffy face, red eyes from recent tears, he looks empty. DISSOLVE TO: ANTIQUE VICTORIAN DRESSER. Slow pan over the dressers top. Ornaments and keepsakes are set out neatly. A few things look expensive, but others, a stuffed toy, a cinema ticket, a bill from a meal, are obviously kept for sentimental reasons.

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One of the drawers is pulled open, some photographs are placed in it, the drawer is slid shut. The sound of a door slamming. EXT. STREET - MORNING Ron walks fast down the street looking ill. RICHARD (VO) Immorality, drugs, increase in crime. It's a menace. EXT. PRIMARY SCHOOL - MORNING Richard pulls up outside the gates to drop off MEGAN, 8. She gets out of the car, slams the door, and runs for the entrance. Richard watches her for a while, smiling. She disappears from view. He watches a moment longer before driving off. RON (VO) I'm here for the money. RICHARD (VO) Think of the children. EXT. OUTSIDE BEDROOM WINDOW - NIGHT A 19 year old, JULIET, her choppy hair streaked with colour. She is dressed in trendy but shabby clothes. She forces open the window. A blonde woman, AMANDA, 35, lies asleep on the bed but wakes, becoming aware of Juliet. RON (VO) I really am... INT. TV STUDIO GREEN ROOM - NIGHT Ron and Richard sit, side by side. While Richard sits upright, composed, Ron leans backwards, arms behind his head, stretching.

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RON ...just here for the money. Silence. Richard leans forward, starting to speak. INT. TV STUDIO - NIGHT Ron and Richard sit either side of a REPORTER. They have exactly the same posture as in the previous scene. When they speak their names are displayed, "Richard Litton MP" and "Ronald Berryman, Professor of Psychology" RICHARD This is what we are going to stop. RON Self-serving nonsense. Media-led witch hunts. You stand a better chance of stopping time. INT. BEDROOM - NIGHT Amanda is sitting up, half asleep, terrified. AMANDA Who are you? Get out of my home. Juliet looks to the door, then back to Amanda in alarm. Her finger to her lips. JULIET Shhh. INT. UNIVERSITY - NIGHT A typical university. Crowds flow in, a mixture of older people and students. INT. FUNCTION ROOM A reunion ball is in progress. Ron walks through the crowd towards Richard who stands at the bar, a glass of champagne in his hand. They are both wearing dinner jackets.

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RICHARD Ron. Silence. RON Wanker. Silence, then... They both laugh, indulgently but slightly forced. Another man is standing, quietly, nearby. Someone who had been talking to Richard, but became strangely unobtrusive when Ron turned up. FORBES MUTCH is a slight man in his late thirties. RICHARD Ronald. You may remember him from university, a few years below us. This is... RON (shaking his hand) Forbes Mutch. (annoying grin) Mutchy! (then) You were in one of my classes. FORBES (annoyed) Ron. RON Professor Berryman to you. RICHARD We went to the same school. RON (to Forbes) Were you his Fag? Forbes laughs politely. RON (cont’d) New editor of The Daily Revelation. FORBES It's The Revelation now. New editor, new direction. Ron loses interest as he watches a woman's arse go by.

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Forbes looks sideways. FORBES (cont’d) Excuse me. Forbes leaves. Ron’s POV: He watches Forbes’s back. He turns to see Ice poured into a jug, followed by Pimms. Ron looks the opposite way. He indicates with his head. RON Pint? RICHARD Haven't been to the student bar since I left. RON Did you ever go there? RICHARD Is it still full of weird hippies? Ron makes a move towards the bar. RON Yes Richard, it is still full of weird hippies. INT. STUDENT BAR Ron and Richard are at the bar talking quietly and comfortably. Despite them both being dressed the same only Richard is looking out of place. Juliet is standing at the end of the bar with some people. She’s taking to a male STUDENT. JULIET So that's what I do. Or rather I don't. So my thing’s acting. Acting stuff. But I don't get paid. If you don't get paid you can't really be doing it. Can you? She notices Ron.

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JULIET (cont’d) Does a tree make a sound if it falls in the woods and nobody is there to hear it? STUDENT (confused) So what do you do for money? JULIET (absent-mindedly) Could you lasso a giraffe? Juliet walks along the bar towards Ron. STUDENT (now very confused) What? As Richard is talking. Ron glances around, slightly bored. Noticing Juliet as she arrives he turns away from Richard to talk to her, blocking Richard out. During this conversation Richard looks increasingly uncomfortable, finally wandering back to the ball by the end of the scene. JULIET Professor Berryman? RON Hi. Are you a student? He leans forward. RON (cont’d) Not one of mine are you? JULIET I don't do education. RON I'm not sure I do. JULIET Saw you on TV. RON Did you? Juliet shakes Ron’s hand before looking round the bar. JULIE I'm Juliet. You're a hero round here.

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RON Somebody's got to champion the right to be. Stupid. JULIET (smiling) Yes they do. RON Drink? JULIET Strong lager please. Want to join us? RON Maybe. JULIET We're not as well dressed as you. RON That's a matter of opinion. She looks down at him. JULIET Yea. RON I'm at a crappy reunion through there. It's. Crap. She leans forward seductively. JULIET Need anything else? RON Maybe. INT. FUNCTION ROOM Richard is talking to Forbes. FORBES Prostitution, child prostitution, paedophile rings. RICHARD It's a vote winner. Richard smiles broadly at Forbes for approval. Forbes glances sideways.

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FORBES Excuse me. Richard is left on his own. INT. STUDENT BAR Richard enters the bar. The students glance at him, whisper and snigger. He looks for Ron, gives up and leaves dialling a number on his mobile. INT. FUNCTION ROOM Richard is on the phone. RICHARD Where are you? EXT. UNIVERSITY Ron and Juliet are leaving together. Ron is hanging up his mobile phone. JULIET Wife? RON No, twat. JULIET Don't need to wash your car tomorrow? RON Nope. JULIET Not worried about the rain? RON Never. JULIET How old are you? RON How old are you? JULIET Clever.

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Ron sticks his hand up for a taxi. RON Not by a long shot. INT. JULIET’S ROOM - LATE MORNING Part of a shared house. The bare floorboards are colourfully painted. Lighting made from "found" objects, creates a warm glow on the white walls upon which are stuck film and stage play posters. A low bed, made from putting a mattress on a pile of forklift truck pallets, is against one wall. Below the window is the antique victorian dresser. An oasis of calm in an otherwise makeshift and cluttered room. Ron's POV: unfocused, a shadowy figure of a man. MIKE, 23, spiky hair, combat trousers, big boots, is opening the door and moving forward, stretching out his hand. Ron lets out a strangled scream. RON Jesus Fuck. Ron's POV: Mike snaps into focus. CUT TO: THE BED. Juliet is standing, turning away from the dresser, fag in hand, briefly shown in silhouette because of the blinding light from the window. MIKE Alright. Ron falls back to the bed. His arms stretching straight out as he hits the mattress. RON Jesus Fuck. Juliet exhales, smoke obscuring her face slightly before clearing. JULIET OK? Sitting up, wincing.

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RON Sure. MIKE Coffee? RON Cheers. JULIET This is Mike, he's my boyfriend. RON Hi. Mike sits down and starts to skin up. JULIET This is Ron, he's a professor. He's very articulate. MIKE Pleased to meet you. RON Sure. JULIET See. Sound of a door slamming. EXT. STREET Ron walks fast, looking ill. INT. JULIET'S ROOM Mike sits on the bed, smoking his spliff. Juliet stands at the dresser. Her back to him. MIKE Seemed nice. She turns round. JULIET Spent a lot of money. She takes the joint, takes a drag, exhales. JULIET (cont’d) Yes he was. Very.

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Smoke obscures her face again. EXT. HOTEL - EVENING Move in towards it. Tight. Through the wall. INT. TOILET CUBICLE Juliet is counting a very large amount of money. Several months have passed since we last saw her, she has much longer hair, different style. She stuffs the money into her jeans before leaving. INT. BAR - CONTINUOUS Juliet walks towards Ron who is at the bar. She passes a board. There are more details but we can only read the heading which reads: “Best-selling author Professor Ron Berryman. Speaking tonight” Ron is signing a copy of his book for SOMEBODY who thanks him and leaves just before Juliet arrives. She puts her arms around him. JULIET Now we can get drunk. Mess about? EXT. BEDROOM WINDOW - NIGHT Juliet, looking slightly drunk, is looking into the house. Little clouds of mist escape her mouth as she breathes shallow and fast. Watching Amanda, lying in the bed. She is about to open the window when the shadowy figure of what appears to be a large man enters the room. Juliet, alarmed, draws closer to the glass. INT. BEDROOM WINDOW, LOOKING OUT As Juliet hears the strangled cry of Amanda, her panicked breath escapes sharply, more deeply, misting up the window, obscuring her from view.

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She moves backward, her unfocused figure slowly disappearing as the cries of Amanda become louder. INT. JULIET’S ROOM - EARLY MORNING Mike stands by the dresser looking out of the window. It is cold outside and the glass is misted up apart from a patch which is wiped clear so he can see out. He puts his cigarette out into an overflowing ashtray. Smoke hangs heavy in the air. Juliet enters. She notices him and stops. JULIET Hi. MIKE Hi. JULIET Hi. Mike offers her a fag. She takes it. He takes one as well, lighting them both. They inhale deeply, blow out smoke. They stand in silence. MIKE It's him, isn't it. JULIET Not now. CUT TO: MIKE’S FACE. The front door bangs as Juliet leaves the house. He turns his head to glimpse her blurred image walking past the window. The clear patch already misting over again. He shakes his head, takes another drag, blows smoke out, obscuring his face. INT. JULIET'S ROOM - DAY Ron is sitting on the bed.

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Mike is standing, smoking a spliff. RON She OK? Mike crosses to the dresser. MIKE Not really. RON Anything I can do? Mike turns around. MIKE Look. I know you and her have got close. RON But? MIKE It's her dad. RON Her dad? MIKE The bloke that married her mum. RON OK. MIKE He's a cunt. RON They don't get on? MIKE Never have. It's the way he treats her mother. She has. Problems. After an accident. Amnesia. RON What type? Mike takes a drag. MIKE Ant...Antara...Anteater? Ron takes the spliff.

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RON Anterograde. She remembers her life up to the point of the damage, but finds it hard to make new memories. Mike draws the curtains and starts to go through one of the dresser drawers. As he does the following scenes are projected on to the wall in grainy black and white. Mike and Ron are visible in the foreground, shown in silhouette. These are the same two scenes as before, starting slightly later: 1. Juliet is about to open the window when the shadowy figure of what appears to be a large man enters the room. Juliet, alarmed, draws closer to the glass. 2. Juliet's panicked breath escapes sharply, more deeply, misting up the window, obscuring her from view. She moves backward, her unfocused figure slowly disappearing. MIKE She remembers being happy with that bastard. She doesn't know anything different. He stopped poor Juliet from seeing her a long time ago. Soon after the accident. She still manages to sneak into the house occasionally. But. The projection turns off. The room looks normal again. Ron puts the spliff out, exhaling. RON Too infrequently for her visits to be remembered coherently by her mother. INT. BEDROOM - NIGHT A panicked Juliet stands over the bed. She glances to the door occasionally. JULIET Please Mum.

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Amanda’s face lights up as she recognises her daughter. AMANDA Juliet? JULIET (smiling through tears) It's me. She moves towards the bed to hug her mum. AMANDA You look older. Juliet sits on the bed holding her mother close. Crying now. JULIET Mum. Amanda cries with her. AMANDA Juliet. I'm so sorry, so sorry, so sorry. They sit on the bed holding each other in silence. INT. JULIET’S ROOM RON Fuck. Mike sits next to Ron. MIKE Yea. (then) You know about this sort of thing? RON Professor of psychology. Mike holds up a bag of pills that we couldn’t see before. MIKE Sometimes I forget. Ron hands over money and takes the bag. RON But surely she has rights? As her daughter... Mike counts the cash, dealer-style.

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MIKE She was an underage pregnancy. The father fucked off. The family stepped in. You know. RON Poor kid. Mike crosses to the window and opens the curtains. MIKE She needs friends Ron. She's falling apart. You're a top bloke. And a proper grown-up. RON (smiling) Proper grown-up. MIKE I just seem to make it worse. Pause as they sit. MIKE (cont’d) She respects your opinion. RON Maybe. He gets up to leave, making it to the door. RON (cont’d) I'll try. Mike bends down to reveal a huge bong made from a bin and half a four litre squash bottle. He takes a massive hit from it. MIKE And Ron. RON Yep? MIKE Cut down on the Roxy. It's not good for you. INT. TV STUDIO - NIGHT RON Proxycoterin has no known ill effects if used correctly.

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REPORTER It makes people feel child like? RON It makes people younger. For a night. REPORTER Do you speak from experience Professor? INT. RON’S LOFT APARTMENT - NIGHT A haggard-looking Ron is standing, breathing shallowly. A forty, ish, woman, LIZ, is lying on the bed. She is wearing a schoolgirl outfit. She lights a cigarette. A mirror is lying on the bedside table, a line of powder is chopped out. It has been made by crushing up some of the pills that also sit on the mirror. Ron bends down to snort it. Ron's POV: his own reflection, initially blurred but snapping sharply into focus. He snorts the powder, quickly and efficiently. As he does so his reflection changes to one of a teenager. He turns his head to the bed. Liz has become a sixteen year old, the smoke from her cigarette curling seductively from her mouth. LIZ Better now? RON Much better. Ron gets onto the bed. Liz leans over, has a snort herself before handcuffing him to the bed. INT. TV STUDIO - NIGHT RON Some controlled experiments. CUT TO:

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RICHARD Think of the nations youth. RON (incredulously) The nations youth? INT. MEGAN’S BEDROOM - NIGHT Richard carries Megan to the bed. He lays her down, kisses her forehead and leaves. We hear the sound of typing starting from another room. EXT. RICHARD’S HOUSE - MORNING Birds call over the idyllic suburban setting. Richard's neighbour is washing his car. MALCOLM is in his mid-fifties. It looks like his wife buys his clothes. A cab pulls up. Ron gets out. He looks worse than shit. He pulls wads of loose cash out of his pocket trying to count it and re-light a spliff, which is hanging from his mouth, at the same time. Malcolm's wife BETTY emerges from the house. She is also mid-fifties and dressed very neatly. Malcolm and Betty watch, slightly disturbed, as Ron shuffles slowly to the front door, smoke trailing behind him. Ron finally arrives at the door and rings the bell. There is no answer. He drops the end of the spliff as he lurches sideways, round the side of the house, falling over before composing himself. He disappears round the back. The sound of knocking on a window. RON (OC) Ricky boy. Malcolm and Betty exchange looks, slightly shocked but intrigued.

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RON (OC) (cont’d) (shouting) Ricky boy. (bellowing) Ricky boy! INT. RICHARD’S LOUNGE Richard and Ron sit opposite each other, in silence. The silence continues for an uncomfortable amount of time before Richard says something. RICHARD So. Been out then. RON Yea. RICHARD Anywhere nice? RON Club. RICHARD And did you?... RON Richard. RICHARD Yes mate? RON I'm not a fucking teenager. RICHARD Quite. RON So. How long has it been? RICHARD Ages. (pleased at the memory) Since the reunion. (then) I didn't know Professors got groupies. RON I’m a pop star professor. RICHARD You're in the public eye.

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RON You’re not a pop star MP. RICHARD Richard I’m only trying... RON You don’t have any alliteration. RICHARD You can't... RON I only wrote a book. RICHARD A best-selling book. RON Not my fault. RICHARD You hired a publicist. RON (smiles) For a laugh. RICHARD You can't just have a laugh Ron. RON Why not? RICHARD It's not how you play the game. RON Who makes the rules? RICHARD Not you. RON You? RICHARD Behaving like this is no way to ingratiate... RON (smirking) Ingratiate? RICHARD Yourself with the...

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RON ...Right people. RICHARD Yes. RON Fuck off. RICHARD Very mature. RON Juliet is a friend who... RICHARD You can't have. RON Fucking hell. Nothing happened. INT. JULIET’S ROOM - NIGHT Juliet and Ron sit, side by side, on her bed, drinking cans of lager. It is the night of the reunion ball and Ron is still in his dinner jacket, Juliet is wearing the same clothes. Their pupils are dilated. Juliet is very animated. Ron is taking part in the conversation but visibly flagging. JULIET You are talking shit. RON Bollocks. JULIET Bollocks to you. RON Wanker. laughter. JULIET What if we were put into stasis? RON What?

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JULIET Like in Planet Of The Apes. RON No. JULIET Go to sleep, don't get any older, time passes us by. And we wake up. What would have evolved to take over the world? If it wasn't monkeys? RON How about... JULIET Giraffes with massive heads and necks like a fucking accordion. Sticking the fuckers up. Shouting down the people who haven't got fucking massive heads and accordions for fucking necks. Going around being a fucking higher intelligence. (sudden realisation) Literally. (beat) Fuckers. RON Fuckers (pause) What about goats? JULIET Disappeared from the park the other day. They were... RON Up to something? JULIET Yea ram-raiding, they're a fucking menace. RON Fuckers. (pause) What would degrade quicker. CD's or Vinyl? JULIET CD's.

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RON Them big round paper lampshades. How long would they take? They're paper but the rest, the rest is metal. JULIET You can buy paper hats now but it's only thin metal, it'll probably rust and disappear quite quickly. RON And Paper plates. JULIET And paper furniture. RON Wicker or Pine? JULIET Wicker. Hacky Sacks? RON Or Boxing gloves. Melon Balls? JULIET Faster than balls of melon? Water or the other kind? Why would you make balls of melon? RON The other kind. What's that called? JULIET You or me? RON Nothing would go faster than a melon ball. Ron can't hold on any longer and drifts off to sleep. Juliet strokes the hair out of his eyes before staggering to her feet and pushing the bit of duvet she was sitting on over him. She kisses him on the forehead before leaving the room. INT. RICHARD’S LOUNGE RON Nothing.

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RICHARD Nothing happened? RON Richard. RICHARD Yes mate? RON I don’t want to be in your gang. The doorbell rings. We hear somebody opening the door. MEGAN (OC) Dad, can I go out to play? EXT. RICHARD’S HOUSE - MORNING Megan and her FRIEND play in her front guarden chasing each other, dancing, screeching, laughing hysterically. Malcolm and Betty work away in theirs, it’s what they do, treating it like a job. A job that no longer needs doing. Apart from voice-overs, there is no sound for this scene. REPORTER (VO) Gentlemen, a final word. RICHARD (VO) In the past young people have not been given enough guidance. Guidance to do what is right. This must change. RON (VO) Back when I was a student, I knew a girl who never used to smile because if she smiled, or laughed, too much it would cause wrinkles in later life. Sounds ridiculous. Doesn’t it. INT. TV STUDIO - NIGHT The reporter looks both ways, at her guests. REPORTER Thank you. Turns to camera.

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REPORTER (cont’d) And what do you think? CUT TO BLACK. FADE IN: INT. RICHARD’S LOUNGE - LATER Ron is alone, asleep in his chair. The sound of typing can be heard from another room. The slam of a door. Ron wakes with a start to see Megan as she enters the room. RON Hello little lady. MEGAN Hello funny man. RON How’s yourself? MEGAN I’ve been dancing. Ron sits up straight, rubbing his lower back. RON So have I. (wincing) Unfortunately. MEGAN I like dancing. I’ve been in to space. RON Have you. Megan claps and jumps around the room. MEGAN Yea. RON Yeaaa. MEGAN (louder) Yeaaaaaaaaaaaaaaaa!

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RON Does your dad like dancing? MEGAN No he likes working and...stuff. (distracted) He’s too old for dancing. MEGAN (cont’d) I like dancing. She jumps as high as she can. Ron laughs. MEGAN (cont’d) How high can you jump? Megan lands with a thud. The sound of typing stops. Megan looks up to where the sound was. Ron follows her gaze. A brief moment of silence before the typing continues. MEGAN (cont’d) I hate working. RON (smiling) Good for you. Ron looks out of the window at Malcolm and Betty who are still in their front garden. MEGAN I wish we could all play all of the time. RON Me too darling. Me too. EXT. RICHARD’S HOUSE Betty is now pulling imaginary weeds from the flower beds on the front lawn. Malcolm is mowing, hardly making an impact on the already near-perfect grass. Ron emerges from the house.

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He has had a shower and looks immensely better then earlier. He walks up the path before stopping abruptly and turning back. He walks back to the end of the spliff he dropped earlier, picking it up and chucking it in the bin, then crossing to the neighbours. RON (beaming) Hello. Malcolm and Betty isn’t it? MALCOLM Yes that’s right. RON I’m Professor Berryman. Richard’s friend. I wanted to apologise for disturbing you earlier. BETTY Oh that’s... RON It’s just that I’d had a heavy night, inventing things and, you know. BETTY It can't be helped. MALCOLM Especially if you were up all night inventing things. RON No. BETTY I must say. You look a lot better than earlier. We were quite worried. RON Vitamin supplements. MALCOLM Vitamin supplements? RON They work wonders. BETTY Do they?

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RON Take years off you. MALCOLM Really? RON Yea. Really. BETTY Would you like a cup of tea? EXT. MALCOLM AND BETTY’S BACK GUARDEN They are sitting in deck chairs on the lawn, sipping tea. BETTY We both took early retirement. After Peter finished collage. RON Plenty of time for messing about. BETTY Well, I go ballroom dancing with my gay friend Eric and Malcolm gives animal talks at the zoo. MALCOLM I'm a local Magistrate. BETTY He does like putting people in prison. MALCOLM And Betty still works as a counsellor two days a week. BETTY I get to make people cry. Malcolm pats Betty’s leg, affectionately. MALCOLM We have a nice life. Ron laughs before a peaceful pause. RON Do you see much of Richard? MALCOLM Not since the funeral.

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BETTY No. MALCOLM People keep themselves to themselves round here. BETTY Until something upsets them. MALCOLM We tried to paint the garage door one year. BETTY Blue with pink spots. MALCOLM They stopped us. RON They tend to do a lot of telling don’t they. MALCOLM Well they can stick it up their arse. Ron laughs again. BETTY Ron? RON Yep? BETTY Were you smoking pot before? RON Want some? BETTY What's it like? RON You've never smoked dope? You grew up in the sixtys. BETTY We had kids in the sixtys. MALCOLM It sort of, just, passed us by. RON Shit.

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BETTY I would have loved to stick a daisy in a gun. Ron pulls out his gear. RON Hang on. EXT. MALCOLM AND BETTY’S BACK GUARDEN - LATER Ron, Betty and Malcolm are now sitting on the lawn. Smoking a joint, drinking tea. They are all in high spirits. Malcolm is contemplating something, something important. MALCOLM This is the best fucking cup of tea I have ever tasted. Betty and Ron piss themselves laughing. Richard can be seen standing in his back doorway, looking out. CUT TO: RICHARD’S FACE. A mask of disgust at the behaviour of his neighbours and friend. EXT. MALCOLM AND BETTY’S HOUSE - LATER Ron is leaving. Malcolm and Betty are seeing him off. All are smiles. Malcolm is shaking his hand. MALCOLM All the best Ron. BETTY Do come again. RON (smiling) I will. BETTY When you’ve changed things. RON (smiling) Yea, when I’ve changed things. (MORE)

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RON(cont'd) And... (beat) Thanks. BETTY For what? RON Just thanks. Ron starts to walk away before turning back. He takes the small wooden pill box from his pocket. Rons’ POV: The same box, a carved wooden cat on the front. He looks at it briefly before tossing it back to them. They both look at him questioningly. RON (cont’d) Don’t dance too hard. Ron turns away again, as he does he pulls out his phone, dialling a number. The sound of his voice fades as he leaves. RON (cont’d) Juliet, hi, yea. I was wondering if you wanted to... We see Richard again, peering out of his lounge window. MALCOLM Betty. Get the paint. EXT. STREET - DAY These are a series of vox pops, to camera, by members of the public who have been stopped in the street. MIDDLE-AGED WOMAN So me and my husband could take it before a shag? MIDDLE-AGED WOMAN 2 Does it remove cellulite? Cool. THIRTY-SOMETHING WOMAN But I like ruggedly handsome older men. CITY WORKER 2 Obviously if studies have shown this drug can have a benefit It should be available on the NHS.

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MAN It sounds like beer goggles times ten. MIDDLE-AGED MAN It does? Wow. CITY WORKER 1 I can't see how making this drug available will have any benefit. TEENAGE BOY 1 What's the point. I go for older women anyway. TEENAGE BOY 2 What? Like twenty? You wish. FIFTY-SOMETHING MANAGER It's brilliant. I work in retail management. Have I tried it? No comment. TEENAGE GIRL You mean I might fancy my parents friends? Ergh. MIDDLE-AGED MAN Where can I buy it? INT. FORBES OFFICE - MORNING Forbes walks in. Richard and Megan are waiting for him. They have been there for a while. Megan has drawn a picture. Richard stands as Forbes enters. RICHARD Forbes. Thanks for seeing me. FORBES My pleasure Richard. RICHARD This is Megan, she's on her way to school. Forbes kneels down to her. FORBES Hello. She hands him the picture.

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MEGAN I drew you a picture. Forbes glances at it, briefly. Getting some of the coloured pen ink on his hand. FORBES Quite good, but you've gone over the lines and people’s faces aren't that colour. Megan looks startled, but not upset. Forbes stands and, absent-mindedly, pins the picture to his notice board. FORBES (cont’d) So, Richard. Tell me. EXT. POSH HOTEL. DAY Several ANIMAL RIGHTS DEMONSTRATORS are picketing the hotel. The hotel manager, MR LEE, is looking on in disgust. One of the demonstrators holds a placard which reads "Save The Monkey". A cab arrives. Ron gets out and makes his way to the door of the hotel, carrying a small kit bag. He takes a leaflet from the demonstrators on the way. INT. RECEPTION The reception is big and swish, expensive in an unsubtle, hotel way. A board welcomes delegates for a conference hosted by The Sampson Trust. Ron is standing at the desk, his bag dumped next to him, talking to the receptionist LOUISE, a bubbly 21 year old Chinese girl. Second generation immigrant. RON Hi, Ron Berryman. She finds his details as she speaks. LOUISE OK. Professor Ronald Berryman.

36.

She looks up to see Ron has wandered off to look at the board. LOUISE (cont’d) Professor Berryman? He turns round. RON Ron, please. LOUISE OK. Ron. I need your personal details here. Ron fills in his details while talking to Louise. RON I'm at the conference. Has anybody else arrived? LOUISE Only Dr Crawford and Dr Gambino so far. Shall I let them know you are here? He finishes writing. RON No, they're both tossers. He turns his details round so it is easier for Louise to see. LOUISE (smiling) OK. Here is your key. Breakfast is at... RON Cheers. He glances at her name tag. RON (cont’d) Louise. Now my expenses are being picked up by the trust? LOUISE That's correct. And it's Lou. RON I'll drink at least a monkey by the end of the week. LOUISE 500 Quid?

37.

Ron walks away, leaving his bag at the desk, assuming it will be taken care of. RON No the cost of a monkey. Give em one less to kill. (calling back) Cheers Lou. LOUISE Cheers Ron. INT. RECEPTION - EVENING Mr Lee walks past Louise on reception. He bangs down a credit card till roll on the counter, barely pausing. Juliet passes him, coming the other way. Mr Lee leaves the hotel giving her a curious sideways glance as she passes. CUT TO: JULIET Professor Berryman? LOUISE Ron, fine. Please take a seat. JULIET Thanks. Juliet sits on one of the reception sofas as Louise dials a number on the phone before hanging up when there is no answer. LOUISE There is no answer. Would you like to wait in the bar or?... JULIET I was supposed to meet him in reception so... LOUISE We can serve you here if you like. JULIET If it's not too much trouble. I have money.

38.

LOUISE No trouble at all. I'll get somebody right away. JULIET Thanks. She pulls a copy of The Revelation, Forbes's Newspaper, out of her bag and starts to read it. We see the front page: "Stop the rot. Litton's War on Immorality". INT. RECEPTION - LATER Louise is behind the desk. Mr Lee marches up to her. MR LEE Where's the soap? LOUISE (smiling) Doesn't it. MR LEE I'll tell you where the soap is Louise. All over the fucking store room floor. LOUISE (pissed off) Sorry. MR LEE Ms Clark. You let the little things slip and what happens to the big things? LOUISE Well it is soap. Mr Lee glares at her. Louise indicates with her fingers. LOUISE (cont’d) And it is little. MR LEE (not listening) You let the little things slip and what happens to the big things. LOUISE Bigger bars of soap?

39.

Ignoring her he glances over to Juliet. MR LEE You have to sort out the little things. He walks towards Juliet who is just finishing her drink. The Newspaper sits on the table in front of her. MR LEE (cont’d) Excuse me Madam. Have you finished with the paper? May I put it back in the rack? JULIET It never came from the rack. MR LEE Yes but. It belongs in the rack. JULIET Why? MR LEE That's where it goes. JULIET But. MR LEE May I take it? JULIET This is my paper. MR LEE It should be in the rack. JULIET I got it in the newsagents. MR LEE I thought... JULIET Can I have another drink? MR LEE Yes Madam. I Will arrange it JULIET Strong lager please. MR LEE I will arrange it.

40.

He leans over and, before picking up the finished glass, arranges the table, placing the ashtray dead centre and lining up the paper with the edge. As he walks away Juliet makes a face and, deliberately, moves the paper so it is crooked again. INT. RECEPTION - LATER Juliet is finishing her second drink. Mr Lee is berating Louise about something at the desk, but keeping an eye on Juliet. As soon as Juliet places her empty glass down Mr Lee marches across to her. JULIET Hi. MR LEE I'm afraid I'm going to have ask you to leave. JULIET You're afraid to? Are you are asking me to leave or you are scared of me? MR LEE I am asking you to leave. JULIET Why? MR LEE I can't have someone like you sitting, here. Other people come in and they... He flaps his hands around. MR LEE (cont’d) ...See you. Juliet looks to Louise for support. Their eyes meet in mutual sympathy before Juliet turns back to Mr Lee. MR LEE (cont’d) Could you just leave. JULIET (pissed off) Why?

41.

MR LEE Your dress is hardly appropriate. JULIET (upset) Appropriate for what. Sitting on a settee? MR LEE I'm asking you to leave. JULIET I am meeting someone. MR LEE And who is that? JULIET Ron. MR LEE Maybe you can meet this, Ron person outside. JULIET (very upset) Fuck you. MR LEE There is no need for that kind of language. He gestures to security. MR LEE (cont’d) Could you escort this young lady off the premises. Ron appears to the left of Mr Lee. RON Hello. MR LEE Sir. I will be with you in a second. As the following happens Ron stretches his hand out. This is ignored by Mr Lee who, after realising who Ron is makes a belated attempt to shake it. Ron removes his hand just before.

42.

RON Hi. Professor Berryman, I'm a guest in this hotel, this is my associate Ms. Price. (to Juliet) Sorry I'm late. JULIET No problem Ron. MR LEE You are Ron? RON Professor Berryman to you. MR LEE Yes Sir. RON And what is the problem? JULIET He said he couldn't have someone like me sitting in reception. RON Some kind of what person Mr?... MR LEE Lee. RON Mr Lee. And what kind of person is that? MR LEE I... RON A pretty young girl. Sitting in reception. Shit, she's even buying over priced drinks from you. What the fuck is wrong with that? Mr Lee. Juliet sticks her head into a more prominent view. JULIET He also said my dress wasn't suitable and told me off for swearing. RON (now very threatening) Did you?

43.

MR LEE Yes, I did but... RON Right, firstly, how she is dressed. I've seen a lot of worse dressed people than her coming through this reception. Most Americans for starters. MR LEE These people are guests. RON Ms. Price is my guest. MR LEE Sir. RON (shouting to Louise) Lou. Did Juliet say she was waiting for me? LOUISE Yes she did Ron. Mr Lee looks savagely across to her. MR LEE Well... RON You thought she had no fucking money so she could do fuck all for you. MR LEE Look. Let me apologise on behalf of the hotel and... RON And, secondly, the swearing. I've been swearing constantly, nobody has. Told me off. I don't see any signs here saying no swearing if under 20 and no dressing like an American when British. Sticking her head into view again. JULIET Ron, I don't dress like an American. RON Sorry.

44.

JULIET You're doing very well. MR LEE Look. Ron. RON It's Professor Berryman. MR LEE Sorry Professor. RON You will now be scurrying away. MR LEE Well... RON Go. MR LEE Yes Sir. RON Lou. LOUISE Yes Ron? RON I'll take my calls in the bar. I've got a monkey to save. INT. BAR AREA - NIGHT Ron and Juliet are sitting at the bar. RON I didn't step on your toes there did I? JULIET If it was a shitty bar, yes. But here? No. RON Look. I'm going to the conference dinner tonight. I can cancel if you want but... JULIET Me with a load of PHDs? RON They're just people.

45.

JULIET I'm not dressed right. RON You haven't met many academics have you. INT. BAR AREA - LATER Ron and Juliet are completely hammered. JULIET I just didn't think I'd have anything to say. RON But having met them... JULIET I was really surprised. I liked most of them. That Italian bloke was a bit... RON Gambino? He's an arse. JULIET I thought it was a language thing. RON No. Take it from me. He's an arse. People are just people. They're either nice people. Or wankers. Nice people who... JULIET Oh you're off on one now. RON ...think of others, how their actions are going to affect other people and, not nice people, people who think what's in it for me. What will I get out of this? People who go home after the pub and think, brilliant it never got to my round. Everyone bought my drinks. Next to people who think, shit I never ended up buying so and so a pint, I must remember next time. They are the nice people. JULIET Finished Ron?

46.

RON Nice people don't always win. Pause. RON (cont’d) Finished. Come on you've got to keep drinking. For the monkey’s sake. JULIET I'm trying I really am. I know it's for a good cause. Juliet tries to drink more before falling off her stool. RON Conclusion. Monkey dead. Juliet appears again at the bar. JULIET Just slipped. RON You OK? JULIET Sure. Ron. Thanks for everything. RON You feel better? She reaches out to hold his hand. JULIET Much better. Her head falls on to the bar, she starts to snore. INT. POSH HOTEL. MORNING Silhouettes of the demonstrators can be seen. The low sun behind them. INT. RECEPTION Mr Lee looks around the reception, making sure everything is in its place. His eyes finally rest on the paper rack, the papers perfectly folded and straight. Mr Lee's POV: The Revelation, headline: "Complacency equals Crime".

47.

The paper is pulled from the rack by a passing guest. A flicker of annoyance plays briefly over Mr Lee's face before his expression changes to disgust as he looks out to see the demonstrators, which now include Ron, picketing outside. Ron is holding the "Save The Monkey" placard. Mr Lee turns his head to the bar area. INT BAR AREA - NIGHT Ron, watched with tight-lipped fury by Mr Lee, is distributing drinks to all and sundry. Everybody is in good spirits and cheering. Mr Lee turns his head back to the hotel entrance. INT. RECEPTION - DAY Juliet enters and, watched by Mr Lee, crosses reception, pulling today's copy of The Revelation from the rack as she walks past it. Louise appears from behind the desk. She's wearing her own clothes, jeans and a baggy sweater, it's the end of her shift. Juliet chucks the paper on the floor. We see the headline: "Roxy: The Creeping Menace". Louise smiles. LOUISE Hi. You after Ron? JULIET Yea. LOUISE He's in the conference but he left you... She leans over the desk, rummages around and comes back with a message. LOUISE (cont’d) This. She hands the paper to Juliet who scans it quickly.

48.

JULIET Thanks. (then) Nice arse. LOUISE Thanks. JULIET Finished for today? LOUISE For now. JULIET Fancy going to the Zoo? LOUISE Only if we can see the Penguins. EXT. ZOO. DAY The crowd flows in, as before. EXT. ENTRANCE Juliet and Louise are making their way through. As they talk we pull back, revealing more and more of the crowd, all heading the same way. The crowd gets less dense as people split off and scatter to different areas of the Zoo. By the time the scene ends Juliet and Louise can barely be distinguished from everyone else. Louise is now speaking in her "off duty" voice. JULIET So why penguins? LOUISE Li’le diddy things. Runin’ around and swimmin’. With all their mates. They’re brilliant. Pile on. JULIET Don’t a lot of them get eaten by whales? LOUISE That’s the thing. Whales only eat what they need. (MORE)

49.

LOUISE(cont'd) They don’t go killin’ em for no reason. Granted they take a few to practice on but they always put ‘em back when they’re finished. So Percy’s got at least another day of skiddin’ up and down, and he gets to practice getting away from whales. JULIET Which has got to be a skill worth Having. LOUISE A key skill. JULIET But the whales could be inadvertently training up a super penguin who will rise up to lead the other penguins in some sort of penguin rebellion. LOUISE Involving fish and pointy bits of ice. EXT. OUTSIDE THE PENGUIN ENCLOSURE Johnson is talking about the penguins behind him. Juliet and Louise are watching. Louise is wearing an "I Love Penguins" badge. Juliet is wearing an “I Love Monkeys” badge. Johnson’s presentation style is just as appalling as before although now he sounds like he is barely tolerating the crowd. JOHNSON These are the King Penguins. Other animals in the zoo have names. This is not the case with the penguins because they all look the same. Louise boos. Johnson gives her a stern look. JOHNSON (cont’d) Because visitors invariably ask the same questions about the penguins I will now answer the most common queries, in the interest of efficiency. About the penguins.

50.

Juliet, Louise and a few others snigger. JOHNSON (cont’d) (louder to drown out the laughter) How do penguins survive on just salt water? (then) Because they have an organ above their eyes that changes salt water into fresh water. (louder) How do they stay warm? (then) Penguins feathers are shaped to hold a layer of warm air against the penguins skin. He locks his eyes on Louise for a moment. JOHNSON (cont’d) This provides a home for lice, mites and ticks which would otherwise freeze to death in the sub-zero temperatures. (louder) Do polar bears eat penguins? (then) No. Penguins inhabit Antarctic islands all around the southern ocean, polar bears only live in the Arctic. The crowd nod. JOHNSON (cont’d) Last year some vandals broke into the zoo and fed, some of the penguins to the polar bears. This did prove that if penguins were, introduced to the Arctic, or polar bears were introduced to the Antarctic. Polar bears would be quite prepared to eat the penguins. The crowd, once again, stand on shocked silence. JOHNSON (cont’d) The polar bears are called Smalls and Badger. Malcolm arrives next to Johnson who quickly strides off. MALCOLM Thank you Johnson.

51.

Louise and Juliet clap and cheer. JULIET Malcolm. That was the most interesting talk on penguins I have ever heard. MALCOLM He’s quite popular actually. He watches the, quickly disappearing, Johnson. MALCOLM (cont’d) People request him. He doesn’t skirt around anything. Johnson skirts around a large tour group. MALCOLM (cont’d) Mutch. (beat) They like his honesty. (then) Anyway what can I... JULIET I’m Juliet and this my associate Ms. Clark. Malcolm looks Juliet up and down, surprised. MALCOLM Oh. JULIET Don't look too shocked. MALCOLM I'm not, sorry. I just... JULIET Didn’t expect a 19 year old girl with a penchant for monkeys? MALCOLM Well, yes. EXT. COFFEE SHOP TABLE NEXT TO THE PENGUINS Louise and Malcolm are sitting at a table drinking coffee. Louise is wearing little round sunglasses. MALCOLM So, what, do, you?...

52.

LOUISE Juliet's protection. MALCOLM Right. LOUISE Can't be too careful. She glances around, her head darting from side to side, as a family walk past eating candyfloss. LOUISE (cont’d) Know what I mean. Malcolm nods, seriously. Louise leans closer. LOUISE (cont’d) (whispering) Malcolm. MALCOLM Yea? She motions for him to lean closer still, which he does. She pulls down her sunglasses slightly so he can see her eyes. LOUISE I’m a hotel receptionist. Malcolm sits back and starts to smile as Juliet arrives back, dropping a little Zoo gift bag in front of Malcolm. JULIET There you go. She drops a few notes and coins next to it. JULIET (cont’d) And there's your change. MALCOLM Don't you want to?... JULIET Meet in reptile house in half an hour next to the giant turtles? Can if you like. MALCOLM Aren’t these?...

53.

JULIET Pharmaceuticals on trial. No worse than if I sold you some of my contraceptive pills. Malcolm smiles warily. Juliet laughs. JULIET (cont’d) Sorry. We’re shattering all your illusions. Betty arrives. BETTY Hello, hello. You must be Juliet, we've heard all about you. (to Louise) And?... LOUISE Lou. BETTY Lovely. (to Juliet) So did you get our special pills? JULIET Yea but I think Malcolm's a bit disappointed. We're not exactly from the hood. BETTY Are the girls not scary enough for you honey? MALCOLM No. Neither of them has a gun, they've been very polite, and they insisted on buying coffee. BETTY You bitches. Malcolm sits up straight, rubbing his lower back. As they talk we move slowly round, finishing on Juliet and Louise sitting opposite. A warm glow appears to envelop them. BETTY (cont’d) You all right love? I’ll give you a massage when we get home. (to the girls) We got each other massage stuff for Christmas.

54.

MALCOLM We didn’t plan it BETTY No we just ended up with the same thing didn’t we. MALCOLM (smiling at her) Yea. Betty pats Malcolm’s hand, smiling back. BETTY Yea. MALCOLM Like that time I bought you a set of Sabatier knives and you bought me a book about the battlefields of the Somme. BETTY Yes darling, a bit like that. MALCOLM Come on then shall we set off if you’re going to start banging on about your back. BETTY Yes dear. What shall we have for tea? MALCOLM Noodle soup. BETTY Do you want noodle soup or do you just like saying the word? MALCOLM Noodle soup. BETTY Right, well it’s been lovely to meet you both and you must come round sometime. Malcolm does this wonderful... EXT. ENTRANCE Juliet and Louise, the glow still surrounding them, hug before going opposite ways.

55.

BETTY (VO) ...thing with pineapple and chilli, you see one offsets the other and... The sound fades. EXT. STREET - DAY Juliet walks slowly down the street looking happy. The glow is fading. INT. JULIET’S HOUSE – DAY INT. HALLWAY As Juliet opens the door to her room, smoke pours out of it. Her face falls. INT. JULIET’S ROOM Mike is Lying on the bed. A half-finished chow mein, still in its carton, is by his side. A burnt out spliff is in one hand, a pair of chopsticks hang loosely from the other. Juliet enters. JULIET (pissed off) Is Cheech in here somewhere coz I can only see fucking Chong. INT. POSH HOTEL - MORNING LOUISE’S FACE A half smile. Pull back to see she is standing just in front of the desk, other staff milling behind her. Pulling back further we see Mr Lee, his back to us, watching. We follow him as he strides towards Louise.

56.

MR LEE Is this your new position Louise? LOUISE I just fancied... MR LEE Louise, I employ other staff to be this side of the desk. LOUISE There are no guests in reception, what does it?... MR LEE Return to your post Louise. Louise, without saying another word, moves behind the desk, scowling. EXT. CITY - DAY Ron's shabby hair and clothes stand out against the smart, conservative, city boys on their lunch break. They bash into him as he angrily makes his way through the crowd. INT. CITY BAR WAIST DOWN Ron enters the bar. In one hand is a copy of The Daily Revelation. The main headline is visible: "Prof Supports Drugs Crackdown". He approaches the bar, slamming the paper down between Richard and Forbes. As he does this we move up to see all three men. RON This is shit. RICHARD Ronald, you remember Forbes, he... Ron fixes his gaze on Forbes.

57.

Oh.

RON I marked his thesis down from a 2:1 RICHARD What?

FORBES

RON (cont’d) Bollocks. RICHARD What? RON You've taken my research completely out of context. FORBES You are published as saying... Ron savagely turns to Forbes. RON I want a retraction with the same prominence you have given the nonsense you have printed in my name. FORBES (smugly) You know that is not possible. RON Fuck you. FORBES Are you threatening me Ron? RON It's Professor Berryman. RICHARD Calm down Ron. It's just... RON What? RICHARD (thin smile) Part of the game. Richard turns away from Ron to talk to Forbes, speaking in a low voice, physically blocking him out. Ron walks away and stands in the foreground. Slightly out of focus, smoke from a cigar blowing in front of him.

58.

He suddenly snaps back into focus. RON Look. Richard and Forbes turn round, expectant but patronising. RON (cont’d) How about... INT. POSH HOTEL – DAY Mr Lee, as always, stands in reception, watching. INT. BAR AREA Ron sits at the table, 6 of the animal rights demonstrators sit on his right. Juliet and Mike sit on his left with Richard and Forbes inbetween them. 2 other demonstrators sit on Ron's far left. "The Last Supper". Richard and Forbes are drinking bitter. The rest are drinking champagne. Mike is hammered, Ron is getting there. Forbes is speaking. The dialogue should be fast and overlapping. This becomes more pronounced as the scene continues. FORBES Just The Revelation now. New editor... Mike chucks his lighter to Juliet. FORBES (cont’d) For Gods sake. RON (smiling) Forbes? Juliet lights her cigarette and deliberately blows smoke across Forbes. FORBES I hardly think...

59.

RON What? RICHARD Don't. RON (to Richard) What? DEMONSTRATOR 1 I have a question. RON Please. Juliet, innocently, holds the tip of her fag against the arm of Richard's suit. DEMONSTRATOR 1 Mr Mutch. How do you reconcile the contradictions of your editorial policy with regards to animal rights. Richard's jacket starts to smoke. Before Forbes can speak Richard jumps up. JULIET (innocently) I'm dreadfully sorry Mr Litton. What am I doing. DEMONSTRATOR 3 You saved a llama from Peru last month. FORBES That's a very good example of... DEMONSTRATOR 3 A slow news week? DEMONSTRATOR 1 Yet you carry advertisments in your newspaper for nonpharmaceutical products which are known to be tested on animals. FORBES It’s... DEMONSTRATOR 2 ...a democracy, freedom to choose, freedom of speech, in the public interest?

60.

FORBES Sir, please don't put words into my mouth. DEMONSTRATOR 2 Then please do not try to manipulate mine. Ron sticks his head into view. RON And you were going to say that. DEMONSTRATOR 2 Yet you repeatedly fail to print unfavourable stories about your publisher. A man of questionable moral standing and, surely, an ideal target for your "War on Immorality" FORBES Miles Dobson is... Ron is finishing off the Champagne, looking drunk. RON An arse. DEMONSTRATOR 2 ...while demonising other areas of society for your own political or personal ends. FORBES Miles Dobson is... RON (sniggering and drunk) Nothing his right hand can't do for him. RICHARD (shouting) Ron. RON Sorry, is he left handed? Forbes stares straight ahead. RON (cont’d) (to Forbes and Richard) More real ale lads. Keep in with the proles. (to everyone else) Everyone else, Champagne?

61.

Forbes glances sideways, towards reception, before getting up to leave. FORBES Excuse me. We stick with Forbes for the rest of the scene following him around as the rest of the action happens around him or in the background. Forbes walks towards a PHOTOGRAPHER who has just arrived. Ron arrives back with drinks. He sits down, Juliet drunkenly puts her arm around him as he pours her another glass of champagne. FORBES (cont’d) Get a clear shot of him and the girl. We can crop the others out. Mike falls, backwards, off his chair but manages to keep his drink upright. Forbes walks over to Mr Lee. FORBES (cont’d) Or maybe they'll crop themselves out. He reaches out his hand which is vigorously shook by Mr. Lee. FORBES (cont’d) Hi. Forbes Mutch. I edit the... MR LEE The Daily Revelation? Pleased to meet you sir. FORBES It's The Revelation now, new editor, new direction. Mr Lee nods and smiles. MR LEE Really? Forbes talks, very quietly, to Mr Lee. Juliet and Mike are having an argument in the bar. Mike storms out. Juliet rejoins Ron at the table. Forbes greets Mike.

62.

MIKE Waaa? Forbes continues to talk to Mike as the table is shown again. Exactly as before. Richard is sitting in disgusted silence as the others sing a song. Forbes returns to the table whispering something to Richard who nods, sitting in stony silence. He glances to Juliet briefly before whispering something to Forbes who nods also. INT. BAR AREA - NIGHT Ron and Juliet are sitting at the bar. We are facing them. As they talk, a succession of drinks arrive in front of them which they rapidly consume. Pints, shorts, shots, cocktails, ludicrous cocktails with fruit and sparklers sticking out of the top, one made in a pineapple. The most ridiculous drinks arrive towards the end of the conversation when it gets a bit silly, the most sensible in the serious bits. JULIET So why do you do the drugs? RON Doesn't everyone. All the cool kids anyway. JULIET I mean, so much. RON Are you and Mike OK? JULIET He's a fuckwit that’s all, and don't change the subject. It's... She trails off. Long pause. RON It's. Just the way I am. I've never really known the... Draws it on the bar with his finger and beer spillage.

63.

RON (cont’d) line. JULIET Even though you're harming yourself? RON Maybe because I'm harming myself. JULIET 24 hour party person. RON At my age it's a 24 hour party then a week in bed sweating into the sheets. When I saw Mike the other day he said I was a proper grown-up. Even some people your age will happily talk all night about savings and pension plans and mortgages and their collections of fucking wooden cats. Fuck that. You might as well be dead. Hence the Roxy. You're young again. For a night. JULIET You spoke to Mike? RON He's worried about you. She lights a fag. JULIET He's one to fucking talk. RON He cares. JULIET He made the bath into a bong. Ron laughs. JULIET (cont’d) I was looking for sympathy. RON So. JULIET What? RON Are you OK?

64.

Juliet exhales with a big sigh. JULIET I'm fine. Long heaving pause before... JULIET (cont’d) Do you think I'm fine? I've got a brain-damaged mother living with her abusive husband. I can't help because my family are keeping up a-fucking-ppearances. She's not officially my mum, I've got prior. My hands are tied. If I had more money it would be different, I'd be in a position to take her in. To care for her. But, I'm an actress with a few bit parts to my name. I'm not. I'm not able to care for her. RON Is that why you sell the drugs? JULIET Of course it's why I sell the drugs. Look at me. I'm not exactly fucking hard but... RON But? JULIET But I'm an actress. It's not like I push em on school kids. I just sell them to people who are old enough and should know better. RON Like me. JULIET Yea like you. She strokes his arm. JULIET (cont’d) Fool. RON Do you think doing this, seriously, is the only way to get out of this?

65.

JULIET No. But. It's the only way I can think of. I don't even know if my visits are doing any good. RON They are. JULIET (quite upset) And you're the expert. Ron drops a shot into his pint. RON Professor of psychology. She glances at what he is doing. JULIET Sometimes I forget. RON How much of your childhood do you remember? JULIET Quite a lot. RON Not everything. JULIET No not everything. RON But you remember being happy. JULIET (smiling) Yes, very. My Mum was my best friend, but that's. (under her breath) Before. RON Emotional memory. Which she still has. He takes her hand. RON (cont’d) Juliet you are helping. Juliet smiles at him as they sit for a second.

66.

RON (cont’d) How about confronting your stepfather. JULIET (fucked off) No RON Why? JULIET Just no. RON Does he ever leave the house? JULIET Hardly ever. He lives off my mothers benefits. RON Do you want me to talk to him? JULIET (wanting him to shut up) No. No. No. RON Why? JULIET I can't. Not after. Juliet smokes furiously in a long, emotion heavy, pause. RON Not after, what? Juliet gets up to leave. JULIET Not now. He stands with her. RON Hey. Hey. JULIET Leave me alone RON Juliet. Juliet punches a nearby wall, grazing her knuckles, making them bleed.

67.

JULIET Fuck you. RON Stop running away. She turns back savagely. JULIET You can fucking talk. RON No I can't. I can't. But... Ron reaches out to hold her bloody hand, getting some blood on his in the process. RON (cont’d) I'll try if you do. Long pause as Juliet softens. RON (cont’d) Deal. They stand, in mutual understanding. JULIET Deal. Thanks. RON No. He smoothes back the hair from her face, smiling. RON (cont’d) Thank you. They both sit down again and sip their drinks for a while. JULIET So. What's better, owl or cat? RON Cat. JULIET Why not owl? RON Cats are cute. JULIET An owl can turn it's head through 360 degrees. This conversation continues over the following scenes.

68.

INT. RECEPTION Juliet and Ron walk through reception together. Mr Lee watches them pass before picking up a phone and dialling a number off a card. Louise looks on suspiciously. INT. FORBES OFFICE Forbes is working late in his office. He picks up the phone. He listens carefully, making some notes. INT. RECEPTION Juliet and Ron make their way up to his room. Juliet turns off her mobile phone. INT. FORBES OFFICE Forbes hangs up his phone and speed-dials another number. INT. RICHARD’S HOME OFFICE Richard picks up his phone, listens and smiles. He hangs up with his finger before placing the receiver next to the phone, leaving it off the hook. He switches off his computer. INT. FORBES OFFICE Forbes is talking on the phone again before hanging up and turning his computer off. INT. HOTEL CORRIDOR Ron and Juliet get to Ron's room. He opens the door. They both enter and it closes behind them. RON (VO) A cat could have an owl.

69.

JULIET (VO) Bollocks could it. RON (VO) It fucking could. A cat could bring down a small antelope. JULIET (VO) An owl could fight off a set of flying badgers. RON (VO) So the owl and the pussy cat went to sea in a beautiful pea green boat. The Cat looked cute, then brought down an antelope while the owl fought off a set of flying badgers, spun its head through 360 degrees before ripping the cat to death with its talons, and eating the antelope. JULIET (VO) Win for the owl. RON (VO) No. JULIET (VO) No? RON (VO) An owl might win in a fight and be able to see... He belches. RON (VO) (cont’d) More of the world. But, a cat gets to spend its whole life doing what it wants. What does an owl do? Sleeps in a fucking tree. JULIET (VO) They both like mice. RON (VO) But only cats purr. INT. HOTEL CORRIDOR - MORNING. Louise knocks on Ron’s door. Juliet answers. LOUISE Hi.

70.

JULIET Hi Lou. LOUISE Look, I don't know... JULIET But. LOUISE I just wanted to warn you. Juliet smiles warmly at her. INT. RECEPTION Juliet and Ron walk through reception, towards the exit. It's the end of the week, he has checked out. He's carrying his kit bag. Several PHOTOGRAPHERS are waiting outside. Mr Lee looks on smugly. As they exit Juliet turns back and gives Louise the finger. JULIET (VO) Fuck ‘em. Behind her, in the rack, we can see the latest Revelation headline: "The War Continues". Smiling, Louise gives the finger back. Mr Lee looks pissed off. But he doesn't know why. CUT TO BLACK. FADE IN: INT. JULIET’S ROOM - DAY Mike is fussing around. A small spliff is hanging from his mouth. He’s emptying ashtrays, chucking empty cans, some of which still have beer in them, into one of those blue bags from a local shop. Juliet sits on the bed, smoking a cigarette and reading a magazine.

71.

She is very irritated. Mike holds up the bag as it drips stale beer over the floor MIKE For fucks sake man. Juliet glances up briefly. JULIET S' my room. If you don't like it, fuck off. She exhales obscuring her face. Mike exhales smoke, his spliff still hanging out of his mouth MIKE No you fuck off. JULIET (incredulously) It's my room Mike. MIKE Yea but it's my fucking, my fucking. Mike holds up a piece of card. A corner is torn off. It is initially blurred but then focused on the torn bit with Mike's bleary red eye visible behind MIKE (cont’d) Juliet. JULIET (more annoyed) Yes? MIKE Don't use the bin man's schedule for fucking roaches. It's got to last a fucking year. JULIET Jesus fucking Christ. He smooths the card out against the wall. MIKE This has got the bank holidays on it and everything.

72.

JULIET I'm living with a stoned version of my stepfather. Mike makes a half-hearted effort to stick the card to the wall. MIKE No. I'm living with a stoned version of my stepfather. JULIET Mike. That doesn't make any sense at all. He lets go of the card. It sticks to the wall for a beat before falling to the floor unnoticed by Mike. MIKE You don't make any fucking sense. JULIET Mike. MIKE At all. JULIET Mike. MIKE Yea? JULIET Have you ever wanted to see somebody crucified? Mike looks back to the wall where the card was stuck. Looking around, ineffectually, for it even though it is lying at his feet. MIKE What? Pause as Juliet watches him fumbling around. JULIET Just to, you know, see. MIKE (confused) No.

73.

JULIET (quietly) A lot of people would. Juliet watches Mike for a moment before leaving. Mike carries on looking for the card, not noticing she has left. EXT. JULIET’S HOUSE We can see the back of a REVELATION REPORTER. Juliet exits the front door and walks down the street. As she does the reporter starts to walk towards the house. Mike appears carrying dripping bags of rubbish he drops them at the door and looks around for Juliet. Mike turns his head in vain before finally noticing the reporter who is standing directly in front of him. Mike, alarmed, staggers backwards into the rubbish before shakily standing again. REPORTER Mike O’Leary? MIKE Yea? REPORTER I’m with The Revelation. He spreads his arms, staggering around. MIKE Well I'm the fucking resurrection. INT. TV STUDIO - EVENING The PRESENTER is sitting behind a desk, a series of recent Revelation headlines flash up behind. This is a stylised version of a news program with, sometimes half, sometimes the whole wall filled with the image. The images are projected over the presenter, the light playing over her face. A stylised ticker-tape runs along the bottom of the screen, running statistics relevant to what is being talked about.

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This should be big and loud, the world intruding into a very internal problem. We finish on the picture of Ron and Juliet, sitting together, drinking champagne. PRESENTER Allegations have been made in today's edition of The Revelation regarding prominent media figure Ron Berryman. The Samson Trust, which count the government as one of their major sponsors, have said they will investigate allegations that Professor Berryman spent thousands of pounds on food and alcohol, including extravagant cocktails and 200 pound bottles of champagne. We show Mr Lee for a second before showing what is labelled "Amateur Footage". It is a shot of Ron staggering around the bar area, late at night, distributing drinks to all and sundry. Everybody is in good spirits and cheering. This footage is shot from the reception area. MR LEE It was not at all in keeping with the tone of this establishment. CUT TO: RICHARD I can only condemn his actions. CUT TO: PRESENTER Professor Berryman has yet to comment. INT. JULIET’S LOUNGE - MORNING Juliet is standing holding a copy of The Revelation. We can't see the headline. Mike is standing opposite. Juliet is angry and shouting. Mike is defensive.

75.

JULIET What the fuck? MIKE I don't remember. JULIET You're quoted here. Page fucking two. MIKE Why aren't I on page fucking one? INT. TV STUDIO - NIGHT PRESENTER ...fresh allegations have surfaced regarding the troubled Professor, his excessive drug use and his relationships with several, what can only be described as “shady”, characters with links to organised crime. The famous ligger, Dubbed the Pop Star Professor, he... INT. JULIET’S LOUNGE JULIET ...is our friend Mike. Everything else could have been explained. But not this... EXT. RON’S LOFT APARTMENT - MORNING REPORTERS bang on Ron’s door. INT. RON’S LOFT APARTMENT - MORNING Ron sits on the floor. Hiding. As the banging gets louder he gets into the foetal position. INT. JULIET’S LOUNGE JULIET Our friend. Our friend and you've fucked it up. (shouting louder) Fuck off!

76.

INT. JULIET’S ROOM - DAY Juliet has brought the phone in from the hall. She is sitting on the floor next to it. She dials a number. JULIET Hi, it's me. Look I'm really sorry about the newspaper, I saw the TV. I know you must be upset, but. I'm here. If you want me. So give me a call. OK love, OK bye. She hangs up, walking away from the phone which stays in the foreground. We can see Juliet pacing behind it, slightly out of focus. Juliet walks towards and picks up the receiver, bringing her suddenly into sharp relief. She has a panicked, but resolved, look in her eye. She dials another number. The phone call seems to go on for an excruciating amount of time as Juliet struggles not to crack up. JULIET (cont’d) Hi. Terry...It's Juliet. Yea, I'm fine...No, no not yet...No...No...No, I haven't...I know we've had difficulties and I'm not going to pretend we've always got on. I'm not even going to be hypocritical enough to claim I even like you, or your relationship with my mother. Pause while she listens. JULIET (cont’d) Thank you I respect you too. What I wanted, if it is OK with you, is to see my mother this Saturday. There is an agonising pause as she waits for the reply. JULIET (cont’d) It would? That's great. 2 o'clock? Fine. Thank you very much Terry...And thank you for being so candid with me. OK. (MORE)

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JULIET(cont'd) Great. Fine, and thanks again. OK Bye. She tries to hang up the phone. Her hands are shaking too much. She finally manages it with the help of her other hand, breathing fast and shallow. INT. NIGHT CLUB - NIGHT A subjectively trendy night club. The DJ is creating a sound that is like a montage spanning the last thirty years. Liz makes her way through the crowd towards Ron who is sitting in the corner. As she walks the music goes back further in time. EXT. STREET - DAY Another set of vox pops to camera. The swear words are bleeped out. FIFTY-SOMETHING MANAGER It started fucking with my mind, I didn't like that. MIDDLE-AGED WOMAN It's top, I'm all for it. CITY WORKER 1 I hear people talking about it at parties and, it sickens me. CITY WORKER 2 Roxy? No I don't think so. THIRTY-SOMETHING WOMAN I've never tried it. Why would I? Do I know people who have? A couple but, only once. I think. MIDDLE-AGED MAN I took it for a while but I grew out of it. MAN I prefer to know what a woman is going to look like the next day.

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TEENAGE GIRL It's so boring I can't be bothered to talk about it. CITY WORKER 1 I can't see how making this drug available legally will have any benefit. TEENAGE BOY 1 Old people should stay at home and watch the telly. TEENAGE BOY 2 Yea. MIDDLE-AGED WOMAN You feel a bit shit the next day but no worse than a hangover. MIDDLE-AGED MAN It's alright. It seems a shame that the government seems so reticent to take a position on this. I mean we're all adults, aren't we? RICHARD One word, pathetic. It's up to the real adults to take charge. INT. JULIET’S MOTHERS HOUSE - DAY INT. HALLWAY WAIST HEIGHT We can see the door to her bedroom. It opens and a man, TERRY, appears. He is buttoning up his jeans. INT. BATHROOM THE SINK Terry washes his hands thoroughly before tucking his top into his jeans, then beginning to wash his hands again. INT. HALLWAY WAIST HEIGHT

79.

A small table, next to the door, below a window with net curtains. On the table is a notepad, pencil, telephone, a Bible, a vase of flowers which rests on a lace coaster. Everything is very clean and laid out perpendicular to everything else. Terry is on the phone. TERRY Everything is yours. I will arrange it...I will arrange it. Terry hangs up then fusses around, minutely arranging things to his satisfaction. There is a noise outside. We see the curtains being moved slightly as he looks out. TERRY (cont’d) Amanda my love? EXT. HOUSE Juliet walks up the path and rings the bell. INT. HALLWAY WAIST HEIGHT Terry hugs Amanda, close. TERRY You know I love you. Nobody will ever hurt you again. The bell rings again. TERRY (cont’d) Lets get this sorted out. Once and for all. JUMP CUT TO: The same scene, shown several times, each slightly different, each overlapping the last. Reinforcing what Amanda has to do.

80.

EXT. HOUSE Amanda answers the door as the shadowy figure of Terry disappears from view. Juliet excitedly goes to hug her. JULIET Mum. Amanda pulls back. AMANDA Juliet. JULIET (confused) Mum? AMANDA You think I don't remember? JULIET That was years ago. Before the accident. AMANDA Before the accident? Terry told me... JULIET Terry lies to you. AMANDA Terry looks after me. JULIET Terry uses you. AMANDA He's kind and sweet and... JULIET Are you sure mum? AMANDA (troubled) Yes. TERRY (OC) Amanda love. AMANDA (confused and crying) Juliet?

81.

Juliet takes her hand. JULIET Come with me Mum. Come with me. Please. TERRY (OC) Amanda? AMANDA I can't. Amanda's hand is pulled from Juliet's. CUT TO: JULIET’S FACE As Terry talks we see flashes of a giant axe chopping into antique pine, pieces flying, hitting the floor, splinters everywhere. TERRY (OC) You really should have put it in a savings account. But that's what you get when you don't think of your future. INT. JULIET’S ROOM - DAY Juliet throws open the door. The place has been burgled and vandalised. The floorboard is ripped up. Whatever was under it is gone. The pictures are ripped down, all her clothes are shredded. The word "Nothing" is spray painted on to one of the walls. The dresser is smashed to pieces along with all of Juliet's possessions and mementoes, leaving scorch marks on the painted floor. Seeing what is left of the dresser Juliet sinks to her knees and starts to sob over the broken pieces of wood and ashes of her past. TERRY (VO) Or remember the past. She starts in fear as the house phone starts to ring, then, a moment later, her mobile. She sits shaking as the ringing appears to get louder.

82.

INT. RON’S LOFT APARTMENT - NIGHT The sound of a quick sniff. Ron appears from the bottom of the screen, red eyes, inflamed nostrils, blinking rapidly. Snorting off the floor. Liz lies on the bed, legs apart. Ron's POV: Liz flashes between a forty-something-year-old and a teenage version of herself. This is like a strobe light getting faster as his head rises, finishing on the teenage version. Liz POV: We can see her legs as the teenage Ron rises up and moves closer. Back to the womb. LIZ Welcome home. CUT TO BLACK. FADE IN: INT. JULIET’S ROOM - DAY The curtains are drawn, the room in semi-darkness. It is after the burglary. Juliet is sitting on the floor in the corner smoking. The word "Nothing" is painted across the wall she is sitting against. Her hands shake as she brings the fag to her mouth. Just before she can take a drag of the, already ash heavy, cigarette the door buzzer goes. Juliet jumps, sending the ash flying, pressing her back closer to the wall, her eyes darting back and forth in panic. The buzzer goes a second time, then a third. Juliet is almost hypervetilating. JULIET Jesus fuck. A figure moves across the window. The shadows playing over Juliet's panicked face.

83.

There is a knock at the window. She jumps. RICHARD (OC) Juliet. It's Richard. Richard Litton. We met at the hotel. CUT TO: JULIET'S FACE RICHARD(OC) (cont’d) I called you a cow. Juliet looks calmer as she realises who it is. RICHARD(OC) (cont’d) You called me a twat. Juliet smiles. INT. JULIET’S ROOM - LATER Richard and Juliet sit, side by side, on her bed, in silence. Juliet is calming down, her eyes unfocused, looking into the middle distance. Richard looks around the room with interest, occasionally glancing at Juliet. This caries on for a while before he reaches for Juliet's leg. Juliet's POV: Richard's hand on her leg. Her view becomes extremely unfocused. INT. AUDITION - DAY Juliet is obviously talking to other people. We only see, and hear, her. JULIET Open audition?...No...No...I haven't...No I haven't just give me the lines. Give me the fucking lines...Thank you. CUT TO: Juliet standing in the room.

84.

She is holding her lines, reading them through to herself. JULIET (cont’d) No I haven't prepared...No. Juliet Price...An abused drug dealer?...I'll give it a fucking go...Shut up, I'm preparing now. Juliet turns her back, her shoulders move as she works herself up. She lights a fag, starts to shake dropping ash on the floor. She turns round, tears now streaming. EXT. STREET - DAY Juliet walks down the street looking determined. INT/EXT. RON’S LOFT APARTMENT - DAY Juliet opens the door to reveal Ron lying on the floor, naked, in the foetal position. Closing the door behind her she bends down and runs her finger over the mirror lying next to him and examining it. EXT. STREET Juliet walks down the street, looking determined, but eating an ice cream. It is dripping down her hand. INT. RON’S LOFT APARTMENT Ron's hand reaches up to hers. She attempts to pull him upright but the ice cream makes his hand slip. She manages the second time. EXT. STREET Juliet walks down the street looking determined. Finishing the ice cream. INT. RON’S LOFT APARTMENT THE BED Ron's face as his head hits the pillow.

85.

His face in a grimace. CUT TO: Ron is on the bed, in boxer shorts and a T-shirt. He is half-conscious. Juliet is sitting in a chair opposite. There is a long pause as she contemplates his state. JULIET We had a deal and you didn't buy the round. RON Sorry. JULIET You never thought. (pause) I love you and you never thought about me. Wanker. Ron starts to speak but is interrupted by Juliet. JULIET (cont’d) No excuses. Ron's POV: Juliet changes into a much older woman for a second. RON Sorry. He suddenly starts to shake, curling up as sweat creates a fine sheen on his face. His clothes already soaking. He lies on his back, spreading his arms wide, we can see huge sweat patches under his arms as he convulses. He recovers and sits up. She strokes his head, sweat drips falling, creating more patches on an already manky bed. JULIET OK? RON There are no known ill affects to Roxy. His eyes roll to the top of his head before focusing again.

86.

RON (cont’d) If used correctly. She looks at a half crushed pill on the mirror. JULIET Correctly? Silence. RON Yes. He leans over the bed grabs a half-full bottle of wine and takes a swig. Ron's POV: He catches sight of both him and Juliet in a mirror on the wall. They both look the same age. He offers the bottle to Juliet. She takes it and drinks some. RON (cont’d) So. How have you been? CUT TO: Ron is standing now. Shakily pacing. Juliet is sitting calmly. RON (cont’d) Jesus fucking Christ. JULIET And then I got the lead in a major film. RON Wouldn't surprise me. JULIET I have a capable, yet vulnerable, quality. RON Fuck. Money? JULIET Enough to replace what I lost. About 10 times over. RON Fuck.

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Ron falls to his knees. Juliet doesn’t notice. JULIET I know. RON Fuck. Ron looks towards Juliet for help. Ron's POV: Juliet changing appearance rapidly, her skin abnormally smooth, then shadow heavy wrinkles as the light changes. He recovers. She notices him in alarm but steps over him, reaching for the edge of the bed. Picking up a small, see-through, plastic bag, with a couple of Roxys in it. JULIET Expressing yourself through the medium of dance? She examines the pills before tasting some powder residue from the bag. JULIET (cont’d) What is in these to fuck you so much? Ron starts to dry retch. Juliet crosses holding him tight. The retching subsides as he recovers. Ron gets up, shakily crosses to the kitchen and opens the fridge, nearly falling over in the process. JULIET (cont’d) How many have you been taking? RON (coughing) A lot. JULIET Well the summer of love is over for you. Gipper. RON Well. He holds up a bottle of champagne.

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RON (cont’d) Celebration? He falls sideways, disappearing from view, as if the weight of the bottle has tipped him over. JULIET Yea. Celebration. INT. RON’S LOFT APARTMENT - LATER The drink is finished and another bottle open as they sit opposite one another, cross legged on the floor. Juliet is drunk, Ron is fucked. His hair falling in sweaty strands, a joint hanging out of his mouth. RON So, you can finally help your mother. JULIET Yes. RON Why haven't you? JULIET Haven't got paid yet. I won't do for a while. Then there's... RON It's not about the money is it. JULIET What? RON So. JULIET (defensive) What? RON It's him. JULIET He doesn't scare me. RON Yes he does. JULIET She's got nowhere to go.

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RON Bring her here. JULIET Here? RON I'll move out for a while, till she's settled. JULIET You would do that for me? RON Of course. You're family. My only family. She hugs him. JULIET You are so lovely. Drunk and sweating several pints an hour but. (smiling) But still lovely. (then) I can't. I haven't got any clothes, no immediate cash, no custody. He could call the police, he could... RON Juliet. Have you ever seen Dumbo? JULIET Yea. RON He never needed the feather to fly. He lies back as another spasm hits him. JULIET Looks like you've had more than a feather for comfort. She pulls the spliff from his mouth and takes a drag on it. JULIET (cont’d) But. She watches him thoughtfully for a while.

90.

EXT. STREET - DAY WAIST HEIGHT She walks down the street wearing a short skirt. We move down to see her right hand as she bends down to pick up some dog shit from the street. She rubs it between her fingers as we get to her mother’s house. EXT. JULIET’S MUMS HOUSE - DAY She traces her shitty finger down the door before reaching the door bell. She rings it, keeping her finger pressed, constantly, on the button. The door opens, inward, to reveal Terry. He is a slight, mean looking, man, in his forties wearing white towelling socks, no shoes, polo shirt tucked into his Levi's 501's. He has a neat moustache and short, clippered, receding hair. TERRY (surprised) Juliet. Terry's POV: He looks down to Juliet's legs. He sees she is holding a stanley hammer in her left hand. The head tapping lightly on her leg. He moves to her right hand to see the shit before looking to his own hand which has some on it from the door. Then back to her face. JULIET (mock charming) Terry. TERRY Get off my property. She pushes him away, leaving her shitty hand print on his chest. JULIET Get out of my way. Terry recoils in disgust.

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Juliet walks past him, into the house. INT. HALLWAY She walks towards the lounge, dragging the claw part of the hammer down the wall, mashing the wallpaper. Terry follows her. TERRY What the fuck are you doing? Your mother will not be happy. I certainly don't think... She turns, completely in control. JULIET I'm Sorry. Terry is brought up sharply as the hammer smashes into the wall just in front of his face. JULIET (cont’d) Did I not take my shoes off? TERRY I'll call the police. Juliet takes the phone off the hook, leaving excrement on the receiver. She offers it to Terry. JULIET OK. He keeps his hands by his side, trying not to back away in horror. TERRY Jesus Fuck. Juliet drops the receiver. The engaged tone is audible for the rest of the scene. She picks up the vase of flowers, which are on the table next to the phone, and pours the water over her hand. JULIET No. The water trickles out followed by the flowers which fall to the floor, droplets of water flying from the stems, soaking the carpet.

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JULIET (cont’d) Me. She wipes her hands on the net curtains, leaving watery brown stains as she drops the vase. JULIET (cont’d) Fuck you. And. She knocks everything off the table. JULIET (cont’d) Fuck you. CUT TO BLACK. FADE IN: INT. POSH HOTEL - DAY Mr Lee is standing at reception looking at something behind the desk. Louise approaches carrying a clipboard. Mr Lee, wrapped up with whatever is annoying him, ignores her. LOUISE Mr Lee could you sign for the delivery. The bloke’s parked illegally because your car's blocking the entrance and... MR LEE What the fuck is that Louise? LOUISE Dunno. MR LEE Louise, I leave the desk for... LOUISE Yea whatever, could you just... MR LEE Louise I am talking and I want to know exactly why that is here. When it should be over there with the others. Louise stares at him in cold silence. MR LEE (cont’d) Things are not where they belong.

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INT. RON’S LOFT APARTMENT - DAY Ron has just arrived, he is looking better than before but still shaky. He shuts the door quietly behind him. Juliet is sitting on the edge of the sofa, wearing pyjamas with little giraffes all over them. Her mother, Amanda, is asleep on the sofa, wearing a Tshirt with a picture of a monkey on it. Ron and Juliet are speaking in hushed voices. JULIET Hi. RON OK? JULIET (whispering even quieter) I'm a psycho. He looks her up and down, at how she is dressed. RON Yea. (beat) Don't worry. JULIET What if he comes? RON Don't worry. JULIET (smiling) OK. Ron looks sideways, smiling. As he does so he absent-mindedly glances down at Amanda. He looks curious for a second then composes himself. RON It's Amanda isn't it? She looks down and smiles. JULIET Yes. Did I say?

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RON Must have. JULIET Thanks again Ron. RON You know this is going to be tough. JULIET I know. RON I'm proud of you. She looks down, embarrassed. JULIET Thanks. Ron gives her a hug. RON Really proud of you. They hug more, staying like this for the rest of the scene. JULIET Ron. RON Yea? JULIET Keep giving me reasons to be proud of you. Ron looks at Amanda over Juliet’s shoulder. RON You have my word. He looks back to Juliet. She smoothes his hair from his face. JULIET A proper Deal. Ron smiles. INT. RICHARD’S HOME STUDY - DAY Richard is typing on his computer.

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He stops abruptly, staring at the screen in silence, troubled. He turns off the computer. INT. JULIET’S ROOM - DAY Most of the debris from the burglary has been cleared into bin liners, a couple of the bags are still in the room. Ron is on his own, painting over the word "Nothing" with a large paint roller. A small bag of his stuff sits on the bed. He is dressed in old, paint splattered, clothes. An uplifting tune is blasting out of a ghetto blaster which sits on the floor. Ron is looking much healthier than when we last saw him. He pauses occasionally to take swigs from a can of lager sitting at his feet the remaining beers are in a carrier bag in the corner. He finishes painting, puts down the roller and has a little dance to himself before picking up the rubbish bags and heading for the door. He opens it as Richard is about to knock. RON Someone let you in? RICHARD Yea. RON Come to see me? RICHARD Yes. Silence. RON OK. He turns and walks back to the bag of lager. RON (cont’d) Fancy a beer?

96.

RICHARD (pleased) Yea. Ron chucks one to him. Richard pops it open. They sit on the bed and drink in silence for a while. RON So is this a social call? RICHARD I wanted to... Silence. RICHARD (cont’d) Apologise for what Forbes did to you in The Revelation, I had... RON No idea. Richard looks Ron in the eye. RICHARD No Ron. And I'm dreadfully... RON Sorry. (beat) OK. More silence. Richard looks uncomfortable. RICHARD This is great isn't it Ronald. Like old times. RON Yea. RICHARD I used to come to visit you in halls. We'd have a bit of a chat then go and watch Captain Pugwash in the TV Room. It's a myth isn't it. RON What? RICHARD All that nonsense about Master Bates and Seaman Stains.

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RON Is it? RICHARD Yes. They were never in Captain Pugwash. RON And then I went out and had a good time. RICHARD (looking very hurt) I used to enjoy that Ron, I didn't get on well at Uni, not like you. I mean I didn't... RON Richard. RICHARD Yes mate? RON Why are you visiting Juliet? INT. HALLWAY The door is open, Richard has just left and is walking away. Ron watches him, lost in thought for a second and is about to shut the door when Mike falls, from above to land in front of him, on the welcome mat. RON Mike. MIKE Ron. INT. RON'S LOFT APARTMENT - DAY Juliet is opening the front door to Louise, one of her hands is covered in dried blood. LOUISE Can I?... JULIET Come in.

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INT. KITCHEN Juliet is making tea. Amanda walks in. JULIET Lou this is my mum. LOUISE Lovely to meet... Amanda takes Louise’s hand. AMANDA You are hurt. LOUISE Yes. Amanda pushes Louise's hand under the tap, washing off the blood. AMANDA Don't worry. LOUISE (smiling) OK. INT. JULIET’S LOUNGE - NIGHT Ron and Mike sit playing a video game, a fighting game, against one another. MIKE That the fella from the hotel? RON Remember that do you? MIKE Some of it. I read about the rest. Sorry. RON 's alright. Pause while they play. MIKE You know. RON What?

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MIKE You're quite good at these games. RON I like these games. MIKE Better than you let on. RON I know. They play for a while. Getting more into it. The glow from the screen appears to increase, bathing them in the light from the images on the screen, projecting onto the back wall. While they play their lines are delivered to the rhythm of the game. RON (cont’d) When did you start caring? MIKE When did you stop? RON I've never given a shit. MIKE Yes you have. RON And you are the expert. MIKE Professor of dossing. RON Sometimes I forget. MIKE I'm young and stupid, you're old and stupid. There is a difference. RON They don't care. MIKE They need a kick up the arse. The game ends, they both drop their controllers. They continue to watch the screen as the image of Louise punching Mr Lee hard in the face is projected over them.

100.

The light from the screen is cut off suddenly. RON Maybe. INT. POSH HOTEL - DAY Louise, still holding the clipboard, stands opposite Mr Lee as he stands in shock, hands to his mangled nose. Louise studies what she has done with interest as free flowing blood runs onto the floor. She suddenly punches him in the face again making him recoil in pain. The following scenes are sound tracked by Mike's voice over. EXT. MALCOLM AND BETTY’S - EVENING Although the garden is hardly overgrown it is not as neat as when we last saw it. Their garage door is now painted blue with pink spots. Malcolm and Betty leave the house and jump into a waiting cab. INT. POSH HOTEL Taking a pen from the clipboard she holds it up to him with her, now bloody, hand. Mr Lee grabs it and signs, smearing the paper with blood. INT. BACK OF A CAB - EVENING Betty bites off half of a pill, washing it down with a swig from a bottle of water. He hands the other half to Malcolm. INT. POSH HOTEL - DAY Louise turns and walks briskly away leaving Mr Lee rooted to the spot. The rest of the staff mill around, glancing at him occasionally. None of them offer sympathy or help.

101.

MIKE (VO) Perceived order, perceived cleanliness. Most people think their point of view is right. They never question, always disapprove, never put themselves in anyone else's shoes. They blame problems on immigrants, paedophiles, drugs. They only look at the little things. More burglaries, build more prisons, too many cats, shoot some cats. INT. JULIET’S LOUNGE RON Whoever you are. Just let me know that the real Mike is safe. EXT. JULIET’S HOUSE – EVENING Ron is leaving. Mike, standing in the doorway arms outstretched, leaning on the frame, watches him leave, smiling. INT. FORBES OFFICE - NIGHT Forbes is sitting at his desk. In front of him are the galleys of the next days front page. The headline reads "Crazed Prof In Drug Hell". He is on the phone. He hangs up as Ron storms in. FORBES Hello Ronald. RON Hello wanker. Forbes chuckles, patronising. He barely looks up. FORBES What do you want? RON Bizarrely, to help you.

102.

Forbes is still not looking up. FORBES Oh yes? RON And to stop you ruining me, obviously. He sighs, finally making eye contact. They watch each other in mutual understanding. FORBES Obviously. So, tell me. RON If I sell you this story, mine is buried and I want a full retraction of the last article. FORBES I can't give you that kind of guarantee. Ron pulls out a file. RON I think you can. EXT. END OF A STREET - MORNING Ron stands, motionless. He turns his head sideways as he delivers the following line. RON (muttered, barely audible) Just cut off his hair. INT. POSH HOTEL - DAY Two other HOTEL WORKERS gossip nearby, ignoring Mr Lee who stands alone, looking straight ahead. His mashed nose bruised, sore and swollen. EXT. END OF A STREET Ron’s head snaps forward. He stands, motionless. Determined.

103.

INT. JULIET’S MOTHERS HOUSE - DAY Terry is sitting alone, on the floor, looking at the door. There is a small pile of unopened bills and, official looking, letters lying on the floor. More join the pile as they are pushed through the letter box. Terry jumps at the noise. The outside world intruding more and more. DISSOLVE TO: INT. RON'S LOFT APARTMENT - DAY Amanda and Louise are sitting on the sofa, leaning in, talking excitedly but softly. EXT. END OF A STREET Ron starts to walk. EXT. RICHARD’S HOUSE - EVENING Ron is ringing the doorbell. No answer. He goes round the side of the house. EXT. STREET - MORNING Ron walks fast but calm. INT. FORBES OFFICE - NIGHT Forbes, alone in his office, looks sharply to his notice board. He pulls off other papers to get to Megan's picture. We can't see it properly. Forbes walks back to his desk. We can see the whole of the city below as he opens the file sitting on the top. It is headed: "Richard". We see the first page of the contents. "Samson Trust Investigation".

104.

In the text some words are highlighted. "Accounting irregularities", "Board Members" and "Richard Litton MP". INT. WINDOW - EVENING We can see Ron through the glass. He watches what is going on, drawing closer, clearly alarmed. EXT. STREET Ron walks fast but calm. INT. RICHARD’S HOUSE - MORNING INT. HOME OFFICE Richard is packing his briefcase, packing a printout of the newspaper galleys he was sent the night before. The headline reads "Crazed Prof In Drug Hell". He follows this with his mobile phone which he turns on before closing the lid. Reaching over, he replaces his land-line phone receiver which is off the hook. INT. HALL He picks up the delivered copy of The Revelation. CUT TO: RICHARD’S FACE. His expression changes to horror as he reads the front page headline. His mobile phone starts ringing, muffled through the briefcase. His house phone starts to ring, louder, making him jump. The ringing appears to get louder still. EXT. RICHARD’S HOUSE Ron arrives. We can see his back as he stands, watching. A Van appears, then another, then some cars. REPORTERS, PHOTOGRAPHERS and TV NEWS CREWS pour out.

105.

They are closely followed by other OFFICIALS, backed up by the POLICE who clear a path to Richard's door and ring the bell. A taxi pulls up opposite Malcolm and Betty’s. Malcolm and Betty practically fall out of the cab. They stagger towards their house before stopping to watch, arms round each other. Betty is holding a daisy. INT. FORBES OFFICE Forbes has just finished leafing through the file. He puts it down placing, Megan's picture next to it. We see it for the first time, it shows a child and a man sitting in bed together. CUT TO: FORBES FACE. He turns to look out on the city again, picking up the phone. EXT. RICHARD’S HOUSE RON’S BACK FACING THE HOUSE. Megan, carrying a stuffed toy monkey, is now being led out of the house by a SOCIAL WORKER. Juliet appears to Ron's left. We can see her back as she turns to watch. As Ron turns his head to face Juliet we see Richard being led out by the police to a barrage of questions from the waiting reporters. A member of the police follows carrying Richard's computer. We move round to see Ron and Juliet face on. The shouting fades to silence. RON Come to see me? She looks over at Ron, taking his hand. JULIET I came to see my dad.

106.

As they watch we move to show their backs again. We briefly, almost unnoticed, catch a glimpse of Mike, sober and healthy, standing between Malcolm and Betty, hugging them. Betty still has the daisy. The background noise is turned up. Ron and Juliet are still holding hands. They start to turn, to walk away. FADE TO BLACK.