1 - SimplyScripts
HYPE
A
SCREENPLAY
BY
GEORGE WONG.
27.02.2002
GEORGE WONG
8 SOLWAY RD
WOODGREEN
LONDON
N22 5BX
TEL 0181 881 9834
FAX 0181 352 2887
1. INT: ESTATE AGENT. MORNING-PRESENT DAY
MIKE CHONG (of oriental descent) has a job selling properties for an estate agent. He is in his mid thirties, sporting a suit.
MIKE’s swigging whisky out back in the kitchen. His boss (who is not unlike Italian Mafia) enters.
BOSS
Ah Mike, good there you are.
I’ve been looking for you.
MIKE nearly chokes on his drink and quickly hides it from view.
BOSS (CONT.)
You alright. Good.
How’s the new sale coming along?
MIKE
Not much interest. I can’t find
anyone stupid enough to buy that
heap. It’s cramped, dilapidated
it’s-
BOSS (interrupts)
You see stop right there.
You need to be more creative
with your choice of description,
it’s easy. You don’t mean cramped,
you mean..
Boss leans suggestively forward
MIKE
Cosy?
BOSS
Right, and dilapidated roughly translated means bags of potential.
So you see cramped & dilapidated
- cosy with bags of potential.
Easy. “Capisch?”
MIKE
“Capisch?”
BOSS
Mike a word of advice; if you
wanna remain sane, don’t grow
a conscience, grow some balls &
not the small type either, I mean
the big sweaty type that hang, ay.
Boss slaps him on the bottom. He feels the flask in the back of Mike’s jeans. He pulls out the flask, tucks into his trousers and leaves.
2. INT.ESTATE AGENT-EARLY EVENING
MIKE grabs his coat, on his way out the door his mobile rings.
MIKE
Hello. Oh Al,
(African nigerian)
How are you my friend.
Good my friend good.
(Normal voice)
Listen (erm),
what are you doing later?
3. INT: MUSIC PROMOTERS OFFICE-EARLY EVENING
Al, Mike’s best friend works in PR music promotions. He’s sat at his desk in a trendy smart office.
We see Al’s lips only.
AL
I’m staying in tonight.
I’m not feeling to good.(croaky voice)
MIKE (O.S.)
What!?
AL
Yeah I think it’s flu.
MIKE(O.S.)
You’re joking. That’s a shame man
‘cause I’m taking out Jenny tonight and
she’s bringing a friend, but if you’re
busy I’ll just have to ask Andy instead.
AL
Well I suppose I could.. er you know?
MIKE(O.S.)
Gotcha you lying bastard. Never
try to do me again I’ll see you
later, there’s someone you need to
meet.
Al
Bastard.(under his breathe)
He puts the phone down, smiles then gets back to work.
We pull back & see Al for the first time. Al is quite unassuming laid back soul.
Al’s incredibly camp boss JAMES, enters the room.
JAMES
Alright handsome. How’s that proposal coming along for our darling new boy band.
AL
Ah you mean Take 2.
JAMES nods.
JAMES
Ah Ha.
Al
It’s coming along just fine.
JAMES
That’s funny ‘cause I just spoke
to Nigel and he says & I quote
“he ain’t done shit”.
AL
Hey that’s a good “Nigel”.
Listen it’s in the bag. Trust me.
I wouldn’t lie to you’re the only
one I like round here.
JAMES
Ok that’s enough arse kissing.
When you’ve got a mo I wanna see
what you got.
JANICE, from accounts walks in. JANICE is a down to earth unassuming soul. She has a pin striped suit on.
AL
I can’t work on this shit.
JANICE holds his head comforting him.
JANICE
Yes you can. It’s what you get
paid for. No shit no pay.
She pats his head.
There, there.
She picks up picture of band.
You know there not a bad
looking bunch.
AL
Of course they’re not bad looking,
they are a boy band. That’s the
main ingredient when creating the
ultimate iconic image. Get four or
five wannabes, one rugged, one pretty,
one ethnic, one gay, rehash a catchy pop tune, toss in a few cheesy dance moves and voila, bobs your uncle fannys your aunt.
You got a boy band.
I Thank you.
JANICE
We’re quiet the cynic today
aren’t we?
Al holds the Take 2 CD in his hand
Al
I remember when you had to play
an instrument to be in a band…
4. INT: THE ROCK GARDEN. NIGHT-1982 FLASHBACK
The place is a hive of activity. There are three different bands playing that night. We follow through from the bar where there is a curious mix of; new romantics, pale faced Goths & 80’s soul boys milling round; to the dance floor just in front of the main stage where there’s a mass of people pulsating to the rhythms of the band on stage, Sunstone.
Sunstone comprises of Al (guitarist) 18 & MIKE CHONG(Chinese bass player) 19, JAZ (the pretty lead singer)17, PHIL, (drummer) 20. They are an extremely good acid jazz band playing retro funk.
They are dressed in 70’s funk garments.
They are doing turns (16 bar solos) on the outro to their final number.
Jaz is centre stage making love to his microphone
and the audience. His energy outshines the rest of the band’s lack lustre performance.
JAZ(lead singer)
Thank you – goodnight.
The band are still playing as Jaz exits –
5. INT.ROCK GARDEN BACKSTAGE-NIGHT
Backstage. The Goth & New Romantic bands are packing up their gear. Sunstone is in the changing rooms, smoking & drinking. Jaz is in
the corner getting intimate with a couple of groupies taking every opportunity to check
himself in the mirror. There are some posters
on the walls of eighties icons covering up the flaky smoke stained paintwork.
Their manager Mr C. strolls in. Mr C is a slick fast talking manager. He has a very confident air about him, but is essentially a good for nothing low-down rat. He has a stockbroker look. He is dressed in a striped suit and braces.
Mr. C.
That was great guys.
Al grimaces at Mr. C.
Al
Did that guy from the
record company turn up?
Mr.C
I’m sorry guys.
I tried to get him down but he
couldn’t make it .
Al
Why do all your sentences start
out with “sorry guys”?
Mr.C
Listen..
Mr.C walks off to make a phone call.
Al
No you listen. Bands like that-
Al points to a large poster of cheesy new romantic
band (flock Of seagulls type) on the wall on which Mike is drawing an erect penis.
Mike looks up nonchalantly as Al shoots him a disapproving glance.
MIKE
What?
Mike takes a swig from a big whisky bottle.
Al
Bands like that are arse.
Phil takes his massive Afro wig off.
AL (CONT.)
It’s all image, look at them, bunch of ponses;It’s toss.
Paled-faced pretty boys.
They can’t sing, they can’t play
& yet, they get all the sodding
deals. It’s toss & I’m fucking sick of it.
Mr. C. talks on the phone. Al grabs the receiver and slams down the phone.
AL (cont.)
You aren’t doing your job man.
I mean not wanting to be brutal
about things but what the fuck
are you doing for us? We’ve
been with you two years now and
nish. All you can say is “sorry”
Mr.C (sarcastically)
That’s a very heroic speech.
(emphatically)
Are you done?
AL
(backs off)
Maybe?
Mr.C.
I’m clinching a deal for you
with ROB Smith, the Head of
A&R at W.A.C records tomorrow
morning.
The band are elated and slapping high fives, hugging each other.
The BAND
Yes!
Alright. You’re the man!
AL
Didn’t I tell you, he is the man?
Mr.C.
Thanks. That’s just the beginning,
by the time I’m through you won’t
have just one deal you’ll have five fucking deals to choose from.
Al
You are the livin’ Don..
They make their way out.
Jaz points to a picture of Madonna on the wall (early Madonna “like a virgin”).
JAZ
Phoor, nice.
Mr C.
Ah it’s just a fad,
she’ll never catch on.
Mr. C continues out of the room.
6. INT: MUSIC PROMOTERS OFFICE-EARLY EVENING (CONT.PRESENT DAY)
Al (cont)
…Now all you need is a pair of
baggy trousers and a trip to
local stage school.
We make the shit, promote the shit
and little girls all over the world hand over their pocket money to buy
the shit.
He shrugs his shoulders
JANICE
That’s a lot of shit.
Al
I wish I had the bottle to
leave, one day I’m gonna do
it.
God, please someone put some
Jimi on.
Cue Jimi Hendrix intro. To Voodoo Chile
7. EXT. POSH CITY STREETS-EVENING
Al pulls away from his workplace in his white Porsche 911 Turbo Jimi Hendrix’s Voodoo Chile
is blaring out the stereo. Al goes mental bopping his head whilst singing along. passers-by look on in amazement.
He pulls up at Mr C’s flat. Mr.C. lives in a fancy set of apartments in muswell hill.
8. INT. MR. C.’S APPARTMENT (MUSWELL HILL)-EVENING
Jimi Hendrix still playing. Mr.C turns the track off on his stereo we see his hand. He answers the door. We see Mr.C. for the first time he looks exactly the same only balder, fatter & sporting a “Village People” moustache.
Al
Mr.C. Here are the pics we’re
thinking of using.
Mr.C
Any comments?
Al
Yeah, Jaz is too central stealing the limelight as usual. They’re supposed to be a band.
Mr.C.
Don’t worry about it. It’s good to stir it up a little.
He hands the Take 2 pictures over and leaves.
Mr. C. hands it back. Al leaves
Mr C.
I’ll leave it up to you.
Al stops on the way back to his car & looks at the pictures he stops at one & smiles. Camera zooms in on picture--
9. INT.PHOTOGRAPHIC STUDIO-DAY-FLASHBACK
--Picture becomes live action. T-BONE, a member of Take 2 is on set in front of a white backdrop. He’s messing around pulling goofy faces, not really taking the photographer seriously. The photographer, an extremely, sexy, wacky female is giving directions. She pouts her lips as she approaches T-BONE.
PHOTOGRAPHER
Hi.
T-BONE
Hi.
She paces round T-BONE in slow circles.
PHOTOGRAPHER
I don’t think you’re taking things seriously do you?
She lets her hair down, unbuttons her top to reveal her cleavage.
PHOTOGRAPHER(CONT.)
You want it, You want me,
you wanna fuck me. Come on say
it big boy. Stick it up me hard
give it to me good.
T-BONE is getting worked up playing with his crotch. The photographer is clicking away
T-BONE
Yeah, I got it baby right here.
You want this. Is this want you want,
you want this?
He grabs his crotch.
PHOTOGRAPHER
(Shaking her head)
No
(Totally composed)
Ok next.
T-BONE
Bitch.
Al walks in clapping he pecks photographer on the lips. They flirt with each other with their eyes.
Al
You are the shit.
PHOTOGRAPHER
Am I? Ah ain’t you a sweety?
JAZ walks in to break things up. He French kisses the photographer whilst looking at Al.
JAZ
Al, hi I see you’ve met our photographer.
Al
She’s you’re photographer?
He puts his hand to his temple in contemplation.
AL(CONT.)
Oh I’m sorry I thought she was you’re sister.
JAZ
(sarcastic tone)
Huh, Al you are so funny.
Photographer laughs in admiration.
Al & JAZ gaze at each other facing off.
PHOTOGRAPHER
Ok boys back to work.
JAZ
I’ll see you around, Al!
JAZ walks off.
PHOTOGRAPHER
Al there’s an after show party
tommorrow night why don’t you
join us?
AL
I don’t know, what about Jaz?
PHOTOGRAPHER
Why do you think I asked you?
We hear the camera click & freeze frame the picture. We zoom into the picture --
10. EXT. Mr C’c FLAT .DAY
12.
13. --Out of the picture above Al. Al walks off into
the distance.
11. INT. PINEAPPLE DANCE STUDIOS-NIGHT
SLOW MOTION SEQUENCE
Boy band, Take 2 are rehearsing, walking around like demigods. They each pose and we freeze frame for model type photo shot’s.
They’re names flash up on screen as we freeze frame.(JAZ, INDIGO, T-BONE, BEN-JAMIN).
The band are very trendy, good-looking lads with the classically chiselled profiles and washboard
stomachs. They are busy practising dance moves for there new single. It’s a very cheesy cover of an old Osmonds tune done boy band style.
Lead singer (JAZ) is in the centre dancing badly as a joke.
CHOREOGRAPHER
Jaz you’re doing a splendid job darling but I think maybe it would work better if you were to just.. well try not to be too animated.
They start again. JAZ drops the dance steps and remains still.
LEAD SINGER (JAZ)
And they call it puppy love…
They give longing looks to the camera.
BACKING SINGERS(BEN-JAMIN, INDIGO,.T-BONE)
(in discordant harmony).
Puppy love
Manager, Mr.C walks in after they finish.
Mr.C
That sounds great. You have no idea
how much I love you guys. You are
gonna have it all.
They all smile and nod in agreement.
Mr.C
Right you got it all ready for the shoot. I tell you the hype is phenomenal on this one. I haven’t felt this excited for ages.
It’s insane. Listen I got a surprise
for you. Well after your last single
went platinum Roland from Too Good called me they want you to open for
them at Wembley.
INDIGO
Aah (scream). No not Too Good. I just love Roland he’s so cute.
Mr.C.
Listen I told you Indigo you can’t
go around saying things like that.
You’re in a boy band. Girls are not
gonna support you if they think
you’re gay.
INDIGO
But I am gay.
Mr.C
I don’t give a shit. As long as
you’re with us you’re straight.
Look if you can’t handle it say so,
you’re free to go.
Indigo tugs at the straps of his leotard.
Look it’s not that bad. Give it a few
years & you can come out.
Infact I insist you come out.
Yeah it’s quiet trendy to come out
at the moment. Jaz maybe you could
come out too.
JAZ
Yeah whatever.
Mr.C
Ok forget that. Listen I’ll be honest
with you.
BEN-JAMIN
That makes a change.
Mr.C
I’m not God. I can’t promise
world peace & everlasting happiness.
but if you stick with it you’ll get
money, flash cars and untold shags.
They all cheer.
Mr.C (CONT’D)
Now lets go for it. Oh by the way
MTV are doing a series on boy
Bands. (pause)
Anyway they need an interview. I’ll
send the limo round for you in the AM.
Remember say anything you like
keep it light, funny & don’t slag anyone off.
Remember the golden rule on camera
“make no enemies lose no friends”
You love everyone and everything right?
BAND(UNETHUSIATICALLY)
Yeah, Right.
12. INT. DOMINATRIX CENTER
Al approaches the receptionist. She is scantily clad in a studded leather suit equipped with whips & chains.
RECEPTIONIST
Hi ya. He’s in three.
Al
Cheers.
Al navigates through the maze of corridors. We
can hear the groans of pleasure and pain.
He reaches number three and peaks round the corner. Mike is on all fours dressed in nothing
but a leather thong. The dominatrix leads MIKE round a Pearly King and Queen by dog collar and lead.
The Pearly couple, an elderly pair are singing
“The Lambeth walk”. The dominatrix is whipping
the couple demanding they sing and dance with
more vigour.
Mike looks up when the door opens.
MIKE
Al just give us a sec.
Al quickly shuts the door shakes his head puzzled.
13. EXT. STREETS OF ISLINGTON-NIGHT
Al and Mike are in the car driving towards
MIKE’S friend.
Al
How was it?
MIKE
It’s better with the guide dog.
Al
You need to get out more.
MIKE
You need to get in more.
You’re a prisoner ‘till you
break from convention.
One day you’ll see.
AL
So who’s this bird we’re gonna
see. What’s she like?
MIKE
She’s a friend and this is strictly business mate. If you’re clever you’ll keep it that way.
Al
Oh I see she’s a dog. You’re not
“boning” her are ya?
MIKE
(giggly)
No I’m not “boning” her.
AL
Yeah that’s what I thought
mingerrr.
MIKE
Jus behave alright.
AL
Ah you’re a bit protective.
(like a five year old)
Do you wove her?
MIKE
No, but I love your sister
and your mum ahh…man
AL
Alright alright you win.
you arse.
MIKE pick’s up mobile.
What pizza do you want?
AL
Thin crust Hawaiian cheers.(pause)
why?
14. INT. SHIRLEY’S FLAT-EVENING
SHIRLEY lives on a council estate in Hackney. She is a single mum mid thirties. She’s cute like Meg Ryan. SHIRLEY is “getting down” to a Jive Bunny medley. She’s doing all the proper dance steps. Suddenly there’s a knock at the door. She quickly turns the volume down to zero, scurrying around frantically tidies the place up; expecting MIKE & Al to be at the door. She opens the door it’s the pizza delivery guy.
SHIRLEY
Oh, sorry I didn’t order a-
MIKE & Al arrive. MIKE grabs the pizza.
Pizza. Hello Mike.
MIKE hands pizza to Al.
MIKE pecks SHIRLEY on the cheek then delves into his pockets for money but comes up empty.
MIKE(to pizza guy)
I have no money.(PAUSE) Is that a problem?
Pizza Guy
Sorry?(confused)
MIKE
AL you got some “moola”.
Al searches his empty pockets & shrugs his shoulders. SHIRLEY slips a “tenner” into his hand.
SHIRLEY
Men, What are you like?
She closes the door.
MIKE
Hi SHIRLEY, This is Al, the guy I talked to you about.
SHIRLEY looks up. Her eyes meet AL’s. They exchange flirtation glances.
Al picks up the Jive bunny CD cover.
AL
You have interesting taste..
Shirley lifts up the pizza box cover and looks
at the Hawaiian Pizza.
SHIRLEY
So do you. So I hear you’re on a moral
crusade to save the world from bad
music.
Al
Yeah. And what do you do?
SHIRLEY
Let’s just say that I may have something
to help you on your crusade.
SHIRLEY motions towards a door. MIKE nods at Al and then at the door. Al follows her into-
15. INT. SHIRLEY’S FLAT-WORKSHOP
She opens a door to her workshop. It’s a dimly lit room crammed with computers & equipment flashing away making whirring noises. It looks like the control room at NASA.
SHIRLEY (CONT.)
Welcome to C P Thirty(CP30).
Al
So what’s new?
SHIRLEY
Well have a seat.
She logs in to the program. An exciting colourful screen is displayed.
The word CP30 COMPRESSION SOFTWARE appears.
SHIRLEY is facing a stack of cd’s
SHIRLEY(CONT.)
Right choose one.
Al chooses a brightly painted rock CD. We hear some loud rock music, a blistering heavy metal intro.
We see a close up on Al’s face. He is instantly
blast back.
Al
(shouting)
Great. So what’s the big deal.
SHIRLEY taps him behind on the shoulder.
He turns round. Al is spooked.
Al
What the fuck?
He falls over & slowly climbs to his knees completely agog. He slowly looks up, his face is illuminated by
a bright light.
Al(CONT’D)
Son of a bitch.
16. INT. LIVING ROOM.
Al is on the couch shaking, drinking whisky.
MIKE
You played him the Metal?
(american accent)
Awesome dude.
Al
This is, this is seriously weird.
Al creeps towards the door of the computer
room & peaks in.
A bright light shines out Al quickly slams
the door.
SHIRLEY pulls him away & sits him down.
SHIRLEY
So what do you think?
pretty neat uh?
Al
It’s incredible.
Al catches his second wind.
Al(CONT’D)
How many people know of this?
SHIRLEY
Just us.
Al
How did you do this?
SHIRLEY
I was working on the project
with my ex. before he died.
We had a development complex
in Notting hill.
AL
So what happened?
SHIRLEY
There was an accident. My husband
was a casualty. It almost wiped
the project out, then I met Mike who got me the gear and helped me put it back together. It’s a beta version,
not perfect yet, but with a little
more work it’ll be ready for the NET.
MIKE
So Al just exactly how pissed do you think the majors will be?
Al
Mega pissed I think. This is beautiful.
Hold on. Exactly what do you need me for?
MIKE
I thought you guys might wanna
take this thing & bust the industry wide open.
So are you in?
Mike and Al exchange smiles as I FEEL GOOD by James Brown starts to play.
17. INT. BANK MANAGER’S OFFICE-(MONTAGE)
MIKE & Al meet with a bank manager to get some venture capital. He says no shaking his head.
18. EXT.USED CAR LOT
Al sells his beloved Porsche. He has a look of dismay on his face.
He looks at the Porsche then he looks at an atache case full of money.
He takes the money.
19. INT. DESIGN STUDIO
Al is selecting a logo for the new company. The designer flicks through the various choices as they come up on the computer screen.
Al shakes his head disapprovingly until they come across the one he likes. He gets involved and gets him to combine two ideas.
They print out the logo. They look at it smile & nod in agreement. It reads “URBAN SOUNDS-music for & by the people”.
20. INT. MIKES ESTATE AGENT
Al is flicking through pictures of disused
warehouses. He sees one he likes.
21. EXT.WAREHOUSE
MIKE, SHIRLEY and Al pull up at the warehouse.
22. INT.WAREHOUSE.NIGHT
The industrial warehouse is cavernous with a high roof and lots of glass panels letting natural daylight in. The equipment has been installed.
The whole set-up looks a lot more professional
& is on a much bigger scale.
Al, MIKE & SHIRLEY walk through the warehouse in slow motion. They stop
MIKE
Do you fancy a brew?
Mike fixes everyone a cup of tea.
They are standing around a breakfast bar in the kitchen area.
AL
Shall we?
SHIRLEY
Lets.
SHIRLEY sits at the control panel & powers up the system. We see URBAN SOUNDS come up on screen.
Al selects the same rock CD he places it into the drive.
We see a beam of light from the “holo-emmitter”
projector.
We trace the beam of light to the images. In the middle of the warehouse we see holographic
images of the rock band performing. The images
are translucent in appearance and flicker on
and off occassionally.
Al paces round them inspecting the figures.
He puts his hands through one.
SHIRLEY
(Shouts over the loud music)
I’m working on the backgrounds.
Al
Sorry I can’t hear you.
SHIRLEY
I said I’ll put in the background.
Al
I still can’t hear you.
MIKE switches the system off.
SHIRLEY
(shouting)
I said
(normal volume)
I’ll put in the background.
SHIRLEY
Ok. What would you like?
AL
What you got?
SHIRLEY
Anything you want.
I can have them perform on the M25
infront of a crowd of pigmie marmosets. Would you like to see that?
Al
No it’s ok.
MIKE
Well I would love to see it.
AL
Mike.
MIKE
What? I wanna see.
SHIRLEY
Ok stand back.
We see the parameters tapped in to the computer
the picture of M25 comes up on screen. We see them perform. The background is put in .It
is basically a fragment of the M25 cut into
the warehouse.
Al
Isn’t there something missing?
He looks behind him and down and there are the
Pigmies, hundreds of them. MIKE is ahead of the game already “getting down” with the pigmies.
We hear the whistle as the kettle boils.
23. EXT. WINEBAR/CLUB NIGHT.
The party is in full swing. People are drinking
chatting, dancing upstairs at the private party.
Take 2 are there. JAZ & JAN, his photographer girlfriend, are in the back smooching.
Al & MIKE enter.
JAZ
Mike.
MIKE
Jaz.
JAZ
Al.
AL
Jaz would you mind if
I had a word with
Jan.
Before JAZ has time to reply AL whisks JAN off & shuffles her downstairs to the lower bar. JAZ is agog.
JAN
Boy you get straight in there
don’t you?
Al is drunk
AL
I’m sorry I’m celebrating.
for once in my life things
are going my way.
Infact
Al burst quietly into song Frank Sinatra
“for once in my life”. He takes JAN in his arms and sings to her.
Al(CONT’D)
For once in my life I got someone
who needs me someone who understands……
JAN
(she giggles)
What are you on?
Al
I’m sorry.
Jan
No don’t be. This is the most
fun I’ve had all night.
So what you celebrating?
Al
You really wanna know? Well I
can’t really say It’s top secret,
but I can Say it will totally
redefine the pissing industry as
we know it. It’s a revolution.
He thrust his fist into the air like “Citizen Smith”
Al(CONT.)
Power to the people!
He grabs JAN and kisses her on the mouth.
Jaz has just come downstairs. He looks on.
24. INT.WAREHOUSE TOILETS – NIGHT (FLASHBACK)
JAN & JAZ are peering into the warehouse
perched on a lavatory seat. JAZ has a video recorder in his hand.
JAN
I can’t see.
JAZ
Shhh. They’ll hear us.
MIKE(O.S.)
Do you fancy a brew?
The system starts up, we hear the music
JAZ & SHIRLEY look at each other stunned. JAZ struggles to turn the recorder on.
25. INT. MR. C.’S FLAT – EARLY DAY
JAZ
I tell you it’s incredible
breakdancing pigmies on the M25, hundreds of them in a warehouse.
MR C.
Pigmies hundreds of pigmies.
I told you Jaz you gotta stop
shoving that shit up your nose.
JAZ
Don’t patronise me. I know what
I saw.
Mr C.
I believe you think you saw them.
Jaz hands him a video tape.
JAZ
Put this on and tell me what I
think I saw…
26. INT. ROB’S OFFICE W.A.C. RECORDS COMPANY - AFTERNOON
MR.C stands over ROB’S desk. Rob now has a very long, palatial office with fluted columns lined with gold/platinum discs & other rock n roll memorabilia.
Mr.C
..Pigmies. Hundreds of the little
Blighters. I’ve seen them.
ROB
Excuse me?
Mr.C.
Pigmies in the warehouse on the
M25.
ROB
Tom what the fuck are talking
about?
Mr.C
Just look.
He inserts a video into the recorder & plays
back. We hear the music.
ROB’s cigar falls out his mouth.
PA (ON INTERCOM)
John wants you in his office right
now.
ROB
I can’t see him right now.
PA (ON INTERCOM)
(frantically)
You want me to tell John to wait?
Rob hangs up the intercom without answering her.
Mr.C.
So what do you wanna do?
ROB
If they release this all
the control we have left
is gone.
What do you think I should
do Tom?
Mr.C
I don’t know. Maybe buy them
out?
ROB
Will they sell?
Mr.C.
Everyone has there price.
27. INT. SHIRLEY’S FLAT
SUSAN, SHIRLEY’s daughter is dancing around on her bed to a Take 2 track, Susan, 16 is sweet & innocent looking, she has two ponytails & a puffy floral dress on.
Her bedroom is a shrine to Take 2. The walls are covered in posters- T-Shirts; her bed has a Take 2 cover on it. She is their number one fan.
Her rocker friend DEE, 18 sits in the corner. Dee is a wild, out spoken, reckless, independent girl. She has wild coloured hair and wears an AC/DC t-shirt, leather studded jacket and ripped jeans. Dee turns the music off suddenly.
SUSAN
What are you doing?
DEE
Trying to salvage what little
dignity you have left.
SUSAN looks at the life-sized poster on the wall.
SUSAN
Look at Indigo. He’s so cute, he’s
my favourite. Isn’t he great?
DEE
He’s a ponse.
SUSAN
Well I think he’s cute. Maybe
one day he’ll see me at a gig and
and pick me out sit me down and
tell me how much he likes me,
We’d talk for hours.
DEE
Yeah while he’s popping you’re
bra strap.
SUSAN
He wouldn’t do that he’s the perfect
Gent.
DEE
That’s so not true. I heard he
has wild groupie sex after every gig. To get back stage all you have to
do is flash your tits at security.
SUSAN
Really?
SUSAN looks down at her breasts. She cups them.
SUSAN(CONT.)
Do you think they’re big enough?
SUSAN takes DEE’S hand and places it on her breast. Just then SHIRLEY walks in. They quickly turn round. DEE’s hand remains on Susan’s breast.
SHIRLEY.
Hello Dee.
DEE
Hi.
SHIRLEY
Susan your dinners ready. Maybe
Dee would like to join us.
SUSAN
OK! We’ll be through in a mo.
SHIRLEY walks out the room. They kiss full on the lips and fall back onto the bed smiling and giggling.
28. INT. W.A.C. RECORDS-AFTERNOON
We pick up from the end of Mr.C’s meeting. He exits the building while dialing out on his mobile.
MR C.
Hello, Al?
Al
Speaking.
Al
(sarcastically)
This is an unexpected pleasure.
Mr C
Likewise.
29. EXT. CITY STREETS
Mr. C. walks into a café across the road on the high street.
30. INT. CAFÉ
Mr. C.
So how’s tricks? What you
up to?
Al (on phone)
Same shit. Why?
Mr.C
Rumour has it you’re working
on something big.
Al (on phone)
What are you talking about?
Mr.C.
I’m talking about CDs that
that come to life.
Al (on phone)
(Under his breath)
Shit.
You shouldn’t believe all you hear.
Look if you got nothing else to say
I’ll be going.
Mr. C.
It’s too late Al I’ve seen the
warehouse.
Al (on phone)
Have you been spying on me?
Mr.C
So what’s the angle?
Beat.
Mr.C (CONT’D)
Come on Al.
Ok if you’re not prepared to listen maybe the press will.
Al (on phone)
No.OK. So what do you want? Tired of the talentless Take 2?
Mr.C gives his mobile the “finger.”
Al (on phone)
Ooh that’s not very nice.
Mr C.
What?
Mr.C looks behind him.
Al’s sitting in the same café a few tables down. He waves to him.
Mr. C approaches Al.
Mr C. pulls up a chair. Lights up a cigarette.
Mr. C.
I never knew you were a computer
boffin.
Al
Well there’s a lot you don’t know
about me.
Mr.C.
Well you know me Al. I’ve always
been for the cause.
Al
Yeah, money.
Mr. C.
Well Al my friend If this is the
way forward I want in.
He raises his glass.
Mr.C(CONT.)
I can help you in a big way.
Bring some class and prestige
to the thing.
Al
(snappy)
Sorry. Anyway must dash.
Al gets up to leave, Mr.C. grabs his arm.
Mr.C.
What you want me to beg?
A mischievous smirk develops on Al’s face
Al
Yeah I do.
Al points with his head to the floor. Mr C. reluctantly gets on his knees. Other customers look round.
Al
Now say you’re sorry for
being such a obnoxious twat.
Mr.C looks extremely unimpressed with his suggestion.
Mr.C
Sorry for being such an obnoxious
twat.
Al
Admit on the weekends you like
to dress up in womens’ clothing.
Mr.C
What! Ok, ok..
(mumbles)
I admit on the weekends I like
to dress up in womens’ clothing.
Al
I didn’t quiet hear that.
Mr.C
I admit, I Love to dress up
in women’s clothing.
Other customers look round
Al
Finally beg like a dog &
make it good.
Mr C.
You bastard.
Al
Uh now now.
Mr.C raises his hands and hangs them like paws.
Mr.C
Woof, woof,
(panting with tongue out)
hahahaha
Appalled customer looks at him.
(at the customer)
Mr.C (CONT’D)
Rhow
The customer jumps
Al
Ok. I’m sorry Mr C. we’re only
offering the service to decent
bands.
Mr. C
Very funny Al. Can I get up now. Don’t cross me Al. You’d be making
A big mistake.
Now I can spearhead the thing
for you for say a forty percent stake.
Al
You must think I’m a fucking
idiot. You think I’ll trust you
again after you shafted us.
Is it a hobby of yours?
Mr.C
What?
AL
Wrecking my life.
Mr.C
Wrecking you’re life? Come on Al.
Al
That band was all I had, but you
split it up. We had something new
something special..
Mr.C
I thought we were ok about this.
Al
Why don’t you go &…
A train shoots by drowning out Al’s string of obscenities
Mr.C
So you’re not interested then?
Al
You catch on quick.
Mr.C.
Why is everything so personal
with you. You’re missing the bigger
picture. You need backing, clout.
I can get you all you need.
Al
(gloating)
You’re really trying.
Mr.C.
Ok I can get you fifty thousand
upfront against UK. rights,
recoupable over five years in
fazed increments of course starting
next year...
Al
Will you listen, It’s not for sale.
Al makes a hasty exit.
31. INT. WAREHOUSE TOILET - NIGHT
JOHN ALLCOCK, ROB, meet Mr C. outside The Warehouse. John is an elderly distinguished looking gent. It’s raining heavily.
ROB
Tom I want you to meet
John Allcock. He owns
B.F.T. who owns majority stakes
in W.A.C.
JOHN
I hope this is worthwhile.
I haven’t got time to waste
on hearsay.
ROB
Oh it’s not hearsay. It’s reality.
Isn’t that right Tom?
TOM
Yeah.
ROB
It’s huge. No not huge,
What’s that word when somethings
bigger than huge.
Mr.C
Really huge
ROB
Yeah that’s it. It’s really huge.
JOHN
Well let’s not stand around jaw jacking.
ROB
Right.
They enter the Gents Lavatory & perch themselves onto the loo sit to get a view.
32. INT.WAREHOUSE – NIGHT
MIKE walks in with Al.
MIKE is dressed in camouflaged army assault kit.
Mike is eating fruit.
MIKE
Yeah it’s a bananocumber across
between a banana and a cucumber.
MIKE lets Al take a bite.
Al
Mmm good.
MIKE
The guys from the
(Points to his badge spelling out)
Liberation for Genetically Modified food
are crazy for it.
You should taste the chocachoc.
Mike hands one over to Al.
MIKE(CONT’D)
Made from reconstituted fish bits.
Al spits it out.
MIKE(CONT’D)
I tell you it’s the future of food.
Shirley calls out.
SHIRLEY
Guys over here. I’ve been making
modifications. If I tweek the
image demodulator I can switch
performers. All I need is a
CP30 jpeg and you could be Elvis
doing “My Way” at Las Vegas.
AL
(contemplating)
Elvis Mmm.
I’m sure we can do be better
than that.
He looks over at the wall. There’s a poster
of Pinky & Perky hanging.
SHIRLEY brings the program up. We are on stage in Las Vegas. Pinky is performing “My Way” with Elvis Presley’s voice and mannerisms and clothing. It then changes to Sadam Hussein; then wonder woman.
33. INT.WAREHOUSE.TOILET
ROB, Mr.C & JOHN are still watching. They can hear a sound as if someone’s taking a leak.
They look behind them & there’s a tramp
urinating in the bowl below them.
34. EXT.WAREHOUSE
Mr.C & ROB, JOHN sit in John’s car, they spy on Al & Shirley as they exit the warehouse. Al and Shirley say goodbye to MIKE.
35. INT. JOHN’S CAR
JOHN
Who’s the girl?
ROB
Tom?
Mr.C
The way in.
We see SHIRLEY from the car.
Mr.C(CONT.)
Mmmm very nice.
John’s car pulls off and drives past them unnoticed.
36. EXT. STREET INFRONT OF WAREHOUSE
AL and SHIRLEY walk down the street.
AL
How is it you’re still single?
SHIRLEY
Not many guys are interested in
A single mum.
AL
You have a daughter!?
SHIRLEY
See what I mean?
AL
No I didn’t mean it like that.
I meant you look too young to
have a daughter.
SHIRLEY
Good recovery.
Al
How old is she?
SHIRLEY
She’s sixteen, the age where
she doesn’t know what she wants,
grown ups (and that includes me)
are the enemy.
Al
Still that’s a good age.
SHIRLEY
You’d think so wouldn’t you?
She’s ok! But she’s obsessed with
these infernal, boy bands. Before
Take 2, it was BoyRus and before
that Too Much, then there was
Too Good. I mean it’s ok most
of the time, but when these bands
split up it breaks my heart to
see her so upset.
AL
Yeah, that must be a real pisser.
SHIRLEY
Her hormones are jumping all over the place, I don’t know she’s out of control. She thinks more of that damn Take 2 than me. Have you heard of them?
AL
You could say that.
SHIRLEY
I can’t abide anyone who promotes
such drivel. They warp little girls minds feed off their insecurities & all for money, greed. It’s just plain evil you know?
Al looks guilty & hastily changes subject.
Al
Ok, You need an “Al special.”
SHIRLEY
An Al special, what’s that?
AL
Come on I’ll show you.
Al grabs SHIRLEY’S hand. They start to run.
37. EXT. FINSBURY PARK - NIGHT
Al stops at a break in the park fence.
SHIRLEY
What are you doing? It’ closed.
Al manoeveurs through the hole in the fence into the park. He reaches his hand through the railings & grabs SHIRLEY from the other side. It’s pitch black apart from the amber park lights.
He leads her by the hand & runs towards a romantic hideaway, (possibly a bandstand). They sit there gazing up at the stars. Al puts his arms round her.
AL
Don’t worry It’s just a faze.
SHIRLEY is dazed.
SHIRLEY
What?
Al
Your daughter, it’s just a faze.
They gaze up at the stars.
AL(CONT.)
Oh I nearly forgot.
He produces a bottle of wine and two glasses from his rucksack. He pours for two.
SHIRLEY
(sarcastically)
Would you like some wine?
She takes a sip then puts her glass down. She takes his glass and puts it down. She grabs him slowly behind the neck and kisses him passionately passing the wine from her mouth to his.
38. INT. SHIRLEY’S BEDROOM - MORNING
SUSAN (SHIRLEY’s daughter) bursts into her mum’s bedroom SHIRLEY & Al are in bed together. They both look incredibly embarrassed.
Al
You must be Susan.
‘morning.
39. INT. SHIRLEY’S KITCHEN - NIGHT
They’re sitting at a dining table having cereal. There’s an embarrassing silence.
Al
So Susan I hear you like
Take 2.
SUSAN
Yeah they’re the best.
More embarrassing silence.
Al
I can get you their autograph
if you want?
SUSAN
Are you gonna marry my mum or
are you just bonking?
SHIRLEY
Susan don’t be so rude.
Al
I should be going.
SUSAN
That’s what I thought. Bonk.
bonk, bonk, bonk.
AL quickly grabs his coat and walks towards the door.
Al
I’ll call you.
40. INT.HOTEL BEDROOM - NIGHT
The guys from the band are they’re preening themselves in the mirror for the MTV interview.
INDIGO
Check my ears. How are they?
are they sticking out, my ears stick out don’t they?
BEN-JAMIN
With a nose like that I’d say you’re
ears are the least of you’re problems.
INDIGO
You’re such a bitch.
BEN-JAMIN
Calm down man. I didn’t mean anything by it.
INDIGO
Just stay away from me man before I
lay one on you.
BEN-JAMIN
(mimicking Indigo)
Just stay away from me man before I
lay one on you.
Yeah, big ears.
INDIGO
That’s it.
INDIGO lunges for BEN-JAMIN. A fight ensues, they wrestle each other to the ground. The Interviewer walks in.
T-BONE steps in to break it up.
T-BONE
Guys, guys it’s time.
Boys get up they are dishevelled, hair unkempt a complete mess. Interviewer walks in they both look up.
41. INT. HOTEL LIVING ROOM – LATER THAT NIGHT
The boys are sitting on the couch, now glamourous. RICHARD BLACKWOOD, an MTV Presenter sits opposite them with his camera crew. Mr.C. stands in the far corner of the room.
RICHARD
Shall we start? Welcome to
“The Zone” Take2. Jaz,
Indigo, T-bone & Benjamin.
BENJAMIN
That’s Ben - Jamin’.
RICHARD
Oh sorry. Word on the street is
that you are the new Duran Duran.
How does that grab you?
JAZ.
Well we love Duran Duran. It’s one
of my favourite bands. So we are
very flattered by that comparison.
Mr C smiles & gives them the thumbs up. T-Bone makes a modest interjector giving a short burst of Hungry Like A Wolf.
T-BONE
(giggling)
Hungry like a wolf.
Ben-Jamin joins in.
RICHARD
You’ve had some pretty bad press
lately. Teen Pop magazine say
you’re a glorified covers band, your last track was reminiscent of a group of whaling alley cats slamming against
sheet metal. What do you think off that?
JAZ
Well we love Teen Pop they’ve been
good to us. We know those guys are just kidding. So no offence taken.
RICHARD
Rival boy band Too Much say, “You’re a
bunch of talentless cocksuckers and should make way for some real talent.”
Mr.C clocks Jaz & wags his finger to prevent Jaz from blowing a fuse.
INDIGO
Eat shit arshole.
RICHARD
Sorry I didn’t quite catch that.
INDIGO
You heard me.
RICHARD
That’s not very PC now is it?
Mr.C. puts his hand over the camera.
Mr.C.
Stop filming. Interview over.
RICHARD
I’m only kidding, I made that last
bit up, sorry. Don’t worry we’ll cut that bit out.
Mr.C. takes his hand away and shoots Richard a stern look.
RICHARD
Cool, It was just a joke.
They don’t look amused.
RICHARD
Alright, can we just get the end.
(To the director)
We can come back and finish up later?
great.
Take2 nodds and sighs.
RICHARD (CONT.)
OK roll camera again.
Ok that’s it guys but before you go
maybe you can sing us out.
The guys sing accapella a very wobbly harmonious rendition of “Let It Be” by the Beatles.
T-BONE
Come on Jaz lets do it.
BAND
Let it be, let it be, let it be,
Let it be, there will be an answer
Let it be.
JAZ finishes with a long winding soul run. They all look at him agog ‘cause he can really sing.
MR. C. (TO RICHARD)
You’re gonna cut the rest out right?
42. EXT.HOTEL
There are masses of screaming teenagers outside waiting for the fab four.
Susan & Dee are there at the back.
SUSAN
This is crazy.
DEE
(in American teen accent)
Correction, this is way cool.
You want to meet them don’t you ? If you’re not prepared to get you’re tits out backstage you’ll have to follow me. Now put the gear on.
They put waitress hats & aprons on.
DEE
Excuse me.
They push & shove their way through the crowd, there’s a lot of resistance.
GIRL IN CROWD
Get lost.
DEE
Fuck off bitch!
She knocks her to the floor with a right hook. They approach the barrier.
SUSAN
(TO SECURITY)(timidly)
Can we get through please?
We work here.
BLACK SECURITY GUARD
Nice try girls.
DEE
OK. You could move out the way or I could tell them their little birthday surprise has been cancelled.
Dee opens her coat, she has a extremely saucy waitress uniform on.
BLACK SECURITY GUARD
Damn! you better go through.
DEE
(daintily)
Thank you.
43. INT.HOTEL LOBBY
DEE and SUSAN scramble through to the lobby. Susan grabs Dee’s arm and pulls her towards the lift.
SUSAN
You think I’m obsessive don’t you?
DEE
It’s your god given right to
express your teen angst in whatever
way you feel necessary. As long as you’re doing this, you’re not fucking married men or shoving coke up your nose.
SUSAN
Right. So I’m normal?
DEE
Yeah you’re normal.
Lift bell rings. Dee pulls Susan’s hand, which she has been chomping at, away from her mouth.
DEE (CON’T.)
You’re ready.
DEE pulls SUSAN into the lift.
44. INT. HOTEL LIVING ROOM - SLOW MOTION SEQUENCE
The boys are leaving the interview heading towards the lift. The girls are going up in the lift. Finally the lift bell rings, they reach
their floor , the door opens and standing there directly in front of the girls is Take 2.
SUSAN faints.
45. INT. LIMOSINE
INDIGO and BEN-JAMIN’ are snorting lines of cocaine in full view of the girls. JAZ and T-BONE are getting friendly with a couple of female groupies, Dee looks over.
T-BONE
(to Dee)
You wanna line?
DEE
Yeah, cheers.
DEE snorts it up her nose.
SUSAN regains consciousness she wakes up next to DEE snorting.
SUSAN
Oh – my- god. I don’t believe it.
This is incredible.
Mr.C
Hello Sally.
DEE
It’s Susan.
Mr C.
Whatever. You Ok? Good.
We’re just gonna drop you home
now. Remember this was all a dream
& you haven’t seen anything
right girls?
They drop them off at SUSAN’s house, Susan’s still slightly dazed DEE can’t stop smiling. SHIRLEY answers the door. Mr.C steps out the car & escorts the girls to their door when he sees that SHIRLEY has answered the door.
SHIRLEY
What’s going on here?
DEE
She met Take 2 & fainted.
Their manager gave us a lift
Home.
SHIRLEY
A likely story, & who’s he?
MR. C. steps infront of DEE and kisses SHIRLEY’s hand.
Mr.C.
Hi, Take 2’s manager.
MR.C. steps aside to reveal Take 2 standing on the pavement next to the limo.
SHIRLEY
Take2’s mana….. ahh.
SHIRLEY faints. Manager turns to the band.
MR C
You guys go on. I’ll catch up
with you later. I got some business
to take care of. Dee can I have
a word?
MR. C. puts his arms around DEE’s shoulder.
He turns his head round & smiles mischievously.
46. INT. HOTEL RESTAURANT – LATE NIGHT
It’s the evening sitting. Shirley has taken a job as a waitress to make ends meet. It’s
very busy People are shouting orders through the serving hatch. She tries to serve up a spoonful of trifle to a diner but drops the bowl into the diner’s lap.
DINER
You stupid woman!
She tries to clean the diner up.
DINER
Just go.
She runs out crying. She bumps into Al.
Al
Shirley? Are you ok?
SHIRLEY
Yeah, It’s nothing.
What are you doing here?
Al
I got an MTV presenter
to meet,& you?
SHIRLEY
I work here.
Al
Oh right. Then where are
you going?
SHIRLEY
Oh,
She wipes her tears.
I dropped a bowl of trifle
into that guy’s lap.
AL starts laughing and SHIRLEY looks hurt. AL laughs harder and SHIRLEY begins to laugh with him.
Al
Listen I better dash. Hang
in there, the way things
are going pretty soon you’ll
own this hotel.
Al grabs a waiter’s towel & drapes it over his arm like a wine waiter. He walks over to the angry diner who is returning from the toilets. The diner goes to sit down.
Al
Let me get that for you.
Al pulls the chair away & the angry diner falls
On his arse.
DINER
I’ll have your job.
Al
Sorry.
AL ditches the towel.
AL(CON’T.)
I don’t work here.
SHIRLEY sees it all & smiles fondly at her “Knight in shining armour”.
47. INT. HOTEL LIVING ROOM – MOMENTS LATER
JAZ is talking to RICHARD. He looks up abruptly when AL enters the room.
JAZ
Al hi.
How’s it going?
Al
Jaz this is a pleasant surprise.
What are you doing here?
JAZ
This & that. RICHARD Can you give us a minute?
RICHARD
No problem, I’ll just wait in the bedroom.
RICHARD leaves.
JAZ
How are you?
Al
Not too bad.
JAZ
What brings you here?
Al
Your press release.
JAZ
So you gonna put us on?
Mr.C told me about your venture
Why don’t you let us launch
the thing for you?
Al
Oh he sent you round to soft
Soap me. Well like I said to him
-No way!
JAZ
Al come on. Let me help you.
Beat.
They start to argue shouting at eachother.
Are you still pissed at me?
Al
You left us to crash & burn man.
I gave you a chance, took you in
‘cause I thought you were one of
us. Boy was I ever wrong.
JAZ
I think you’re being unfair.
It wasn’t my idea to go solo…
48. INT. POSH RECEPTION W.A.C. RECORDS-DAY 1982 FLASHBACK
We track Mr.C as he glides through reception. He greets the glamorous dumb receptionist.
Clicks his tongue & winks at her.
49. INT. ROB’S OFFICE W.A.C. RECORDS -DAY
Plate on the door says “Head of Everything.”
ROB, A&R GUY AT W.A.C.RECORD, a fat grubby Scotsman with ginger hair. He sits behind his desk in a modest office smoking a fat cigar. The room is cluttered with books & boxes of discarded demo tapes. The bookcase is full of 12” vinyls.
Two dumb brassy blonds are sitting there popping gum. They’re pitching for a deal. ROB is purveying their material.
BLOND1
So what do you think?
ROB
You want the honest truth?
BLOND 1 and 2
Ah huh.
ROB
I think you suck, but If
you’re prepared to get naked
and do the nasty I’m sure I could
offer you something big.
Intercom buzzes.
P.A(On intercom)
Mr.C is here to see you.
ROB ushers the girls to the door.
ROB
So I’ll see you two
later.
They seem more than interested. Mr.C enters as the girls walk out.
ROB
Ah Mr. C welcome. Have a seat.
So what you got for me you scheming
bastard?
Mr. C
Retro-funk band,Sunstone.
Mr.C hands Rob a band photo.
ROB
Retro-funk ay?
Mr. C
Yeah it’s crazy shit like jazz on acid.
ROB
Acid jazz ay.
Who’s the pretty boy?
Rob studies Jaz’s portrait & smiles schemingly at Mr.C. He places Jaz’s portrait on his desk.
Mr.C
Oh, that’ll be Jaz. He’s great,
fantastic voice.
So do you wanna hear the tape?.
Mr. C hands over the tape Rob drops the tape in the bin.
ROB
That won’t be necessary.
50. INT. HOTEL LIVING ROOM PRESENT DAY(continued)
Al
…Yeah yeah, change the record. Unfair, that’s rich. Three years together man. We were tight like brothers. We’d talk about what we’d do when we made it.
JAZ
Talk, that’s all it was. How many
people who talk about it actually
make it Al? You tell me that.
Al.
We could have made it together.
What happened to you? We use to
talk about how we’d make a
difference, shake things up,
You use to have soul man. Now
you sing that Euro pop shit.
JAZ
Listen I had my chance to be
something.
Al
Yeah you’re somethin’ alright
JAZ
Listen can’t we bury the past
I’m sorry how it turned out.
I’m a cunt alright. I know it,
but so many guys like us fail.
They fail all the time. Nobody’s interested in the music anymore.
All they want is the dream, the
image, the glam.
Al
You’re wrong man & I’m gonna
prove it too you. Given the choice
I know the people will choose us.
JAZ
Listen I’m on your side. Put us
on your system & we’ll make it
work for you.
Al
What and clutter up the highways
with pretentious shit?
JAZ
You won’t let it go will you?
AL walks towards the window and puts his back towards JAZ.
JAZ begins to leave. He stops at the door.
JAZ
Do you still write?
AL nods his head without turning around.
Good I always liked your stuff.
JAZ leaves.
RICHARD
You ready Al?
Al
Yeah sorry about that.
51. KINGS ROAD - DAY
BREATHE AND STOP by QTIP is playing. There are beautiful girls strutting their stuff. MIKE is walking a guide dog. He is dressed as a women
with a wig and hat, high healed shoes, a skin tight black dress, dark glasses and a white stick. He is accompanied by the Dominatrix.
52. CEMETARY -DAY
They arrive at a funeral for MIKE’S Pearly King. They stand next to Al and MIKE’S Pearly Queen. There’s a mass of Pearly King & Queens come to see him off.
REVERENT
Let us join hands
and in doing so remember
what a clean and decent
man Alf was.
He nods to the pianist. The crowd sing a chorus of Lambeth Walk. The dominatrix starts to cry. MIKE consoles her. Al and MIKE walk off for a chat and a smoke.
MIKE
So how’s it going with Shirley?
Al
Yeah it’s coming along.
We should be on-line anyday now.
Al seems miles a way.
MIKE
You Ok?
Al
Yeah I went round to Shirley’s
last night & she seemed distant.
MIKE
Well why should that bother you?
Hold on we’re not mixing business
with pleasure are we?
Al smiles.
MIKE
You dirty git. Did you… ?
(raises eyebrows to suggest he had sex)
Al
Well err.
MIKE
I don’t believe it. Is it serious?
Al
Yes, very. She’s so cute, she’s
gorgeous, but soon as I get close
she backs off.
MIKE
Have you said you love her yet?
Al
What & kill it.
MIKE
Well there you have it
(pause)
Do you love her?
Al
Yeah.
MIKE
What like John & Yoko?
Al
More like Sonny and Cher.
MIKE
You should tell her. That’s why
she’s so aloof. She needs the reassurance. She hasn’t let anyone
get close since her husband died.
To be honest with you I’m surprised
you got this far. One thing man.
I know you’re my mate but so is she,
so please don’t fuck her about.
Al
Ok.
53. PUBLIC HOUSE INT. – LATER (FUNERAL WAKE)
Al and MIKE are in the back playing a game
of pool. The dominatrix is in the corner
handcuffed to the radiator.
Al
Guess who I met last night?
MIKE
Give up.
Al
Jaz.
MIKE
Again?
Al
Yeah, When he heard about
the business he came running.
It was nice to see him crawl.
MIKE
I think you’re too hard on him.
Al
Whose side you on?
MIKE
Here me out. I know you were
close to Jaz but you wrote the
music, you could have carried
on.
(Pause)
He takes his hat and wig off.
You know I’ve never told you this
but Phil & me were more upset
with you than him. He done
it to you, but Al, you did it to us.
AL
What do you mean?
MIKE
We never cared much for the deal,
the dream you were chasing. We were happy just to play. You wrote some incredible stuff. You were doing it
for us. When you ditched us because
of him it hurt. You always talked
about the music how it was bigger
than us and then you totally rubbish
the whole thing.
AL
I’m sorry I didn’t realise. I was
So wrapped up in my own grief I
didn’t think.
I did believe in you. I’m sorry man,
really. I suppose I thought I was making some sort of noble gesture.
I realise I was wrong and I apologise to you both but I’ll be damned if I’ll forgive that sell out bastard.
Al composes himself
Now I got some chocolates
& flowers to buy. Catch you later.
54. EXT.ISLINGTON STREETS - NIGHT
MIKE is strolling along streets with his band of freedom fighters chewing “chocachoc” fly posting “Freedom for G.M. Foods”. Across the street he spots Mr.C & SHIRLEY sitting at a restaurant. Mr C. reaches across to grab SHIRLEY’s hand.
55. INT. RESTAURANT.
MR. C.
So what do you think?
SHIRLEY looks pensive.
Mr C.
Look let me put things into perspective
for you. You’re thirty-eight, you’ve been struggling most of your life. You had a kid when you were too young, but you fought back, you have no support.
You struggle to make ends meet & it’s
all for your daughter ,” she’s not gonna make the mistakes you made, she’s not gonna struggle the way you did”.
Listen the struggle is over you’ve made it. Don’t you deserve to win.
You can stop hurting.
SHIRLEY starts to cry.
Let it out, it’s ok.
You deserve better don’t you?
SHIRLEY
Yes, yes. I deserve it.
Mr.C
Come on. How many people get
this chance. You’re not gonna
make it with Al. He’s a dreamer.
I’m the one who can make it happen.
SHIRLEY
You leave Al out of this.
Mr.C.
Ok sorry. Did he tell you I use to manage him? The guy hasn’t got a
clue. I know how to play the game.
SHIRLEY(SNIVELLING)
Really?
Mr.C.
So many guys like him think they’re
in control, but I’m the one in control.
People like us control the game. We hold all the cards. I played him like a fiddle.
SHIRLEY
Are you playing me?
Mr.C
You may think I’m a complete bastard but I’m offering you hard cash. Two hundred thousand pounds to be exact.
She chokes on her water.
Think about it. No more struggling
dreaming of that big day.
So what do you say?
56. EXT ISLINGTON STREETS - NIGHT
MIKE is still watching. He sees them get up & leave. He picks up his mobile.
MIKE
Al,
Beat.
Yeah.
I think I know why Shirley’s so
distant. Al you gotta get over to Shirley’s.
57. EXT. AL’S HOUSE – NIGHT
AL gets into his spluttering Cortina Mk1.
58. EXT. RESTAURANT – NIGHT
Slimy Mr.C gets into his car with SHIRLEY. He strokes SHIRLEY’s shoulder as he starts the car.
59. INT. AL’S CAR – NIGHT (MONTAGE)
AL speeds through the streets. Black smoke spewing out the exhaust.
60. INT. MR. C.’S CAR
MR. C. and SHIRLEY cruise through the same streets. MR.C. massages SHIRLEY’S shoulder now.
61. INT. AL’S CAR
AL speeds up to SHIRLEY’s house. He races out of his car tripping over his seatbelt.
62. INT. MR. C.’S CAR
MR. C. now has his hand on SHIRLEY’s knee. They pull into MR.C. driveway.
63. EXT. SHIRLEY’S HOUSE
Al rushes up the stairs, tripping up on the way. He knocks on the door. SUSAN comes to the door.
SUSAN
Hello Al.
AL
Hi, is you’re mum here?
SUSAN
No she said she was at Mr C’s.
Al runs off.
SUSAN (CONT.)
(shouting after him)
And she’ll be back later.
64. INT. Mr.C’s FLAT
Mr.C answers the door.
Mr.C
Ah, Al we we’re just
Al barges Mr.C to one side.
Al
Yeah I know what you’re
doing?
AL grabs SHIRLEY’s arm and pulls her off the sofa.
Al
Come on we’re going.
Mr C.
Al you’re so assertive when you’re
angry.
SHIRLEY pulls free of AL.
Al
Shirley(raised voice) What’s going on?
SHIRLEY shies away sheepishly.
Mr.C
I think what she’s trying to say
is you’re history mate. Now do
us all a favour & go home.
AL
Is that what you want?
SHIRLEY eyes tilt to the floor feeling guilty.
Al
Ok, fuck you all.
Al slams the door.
65. EXT. BACK ALLEY
AL enters a strip bar.
66. INT. STRIP BAR
Al is at the bar we see him knock back whisky shots, several in quick succession. We get
glimpses of the stage show, girls stripping
to the heavy pulsating rhythm. Al gets up &
starts to jeer at the girls. One of the girls comes a cross collecting money for her act. Al puts his arm around her & tries to kiss her. The bouncer intervenes pushes the girl aside.
Al
(to bouncer)
I’m sorry is she you’re mother?
67. EXT. BAR - NIGHT
Al is ejected from the bar. He stumbles into the nearest chemist and buys his own bottle of whiskey. He wanders the streets aimlessly toward the embankment. He comes to rest in cardboard city under the arches.
68. EXT. ARCHES EMBANKMENT - NIGHT
It’s cold & wet Al is very drunk. He’s still clutching his whisky bottle. He sits on a cardboard box across from a man.
Al
Why does everything I touch turn
to shit. As soon as I get a chance
to make good, someone comes along
and shits on it.
He stares seemingly at someone sitting across from him.
You think I hate Jaz don’t you?
(pause)
Well I don’t.
I’m jealous of him.
(pause)
huh, me jealous?
There I said it. I said it; Hallelujah
praise the lord, I have seen the light. Let truth reign supreme.
We see the wino he’s been talking to, smiling
back. AL takes a swig from his bottle.
AL (CONT.)
Here my good friend.
He passes bottle to the WINO. WINO grabs the bottle Al passes out. Other WINOS close in.
One of them vomits on him, the others steal his clothes & money. Al passes out…
69. INT. OTR REHERSALS STUDIOS (HACKNEY)1982 FLASHBACK
(SLOW MOTION SEQUENCE)
Mr. C makes his way down the lift. Along the corridors we can hear various bands rehearsing. Mr C pauses takes a deep breath & walks into the bands rehearsal room.
He approaches Al as the band rehearses behind him. “LOVE DON’T LIVE HERE ANYMORE” by ROLLS ROYCE drowns out their voices. Mr. C gestures apologetically at the band. The band stops playing. Al smashes his guitar against the wall and knocks Mr.C to the floor with one punch. Jaz stands holding his microphone smiling.
Blackout.
70. INT.ESTATE AGENT – MORNING
Al walks into MIKE’s estate agents straight from the embankment. He’s pretty beat up; no shoes, clothes are ripped and torn. MIKE is at his desk
with a couple of clients.
MIKE
…It’s a cosy semi with bags of potential!
He looks up gobsmacked to sees Al at death’s door.
MIKE(CONT’D)
What the fuck happened to you?
Al shrugs his shoulders. He trips over a box on the floor & falls over.
MIKE
(to customers)
I’ll be back in two ticks.
He takes Al into the back. MIKE wets his
Handkerchief with some antiseptic and dabs it on AL’S facial wounds.
MIKE
Who did this to you man?
Al
No one. I did it to myself.
MIKE
Well you gave yourself a good whipping.
Al
Listen have you got some change.
I seem to be a bit short.
MIKE
Where are you going?
AL
I got to sort my life out.
MIKE looks on in despair.
MIKE
You are crazy man.
AL
Shhh….Money…
Al holds his hand out, MIKE hands over the money.
71. INT.AL’S OFFICE – EARLY DAY
We hear military “going to war” drums. Al marches into his office. He starts cleaning out his desk. JANICE walks in.
JANICE
Where have you been?
James is on the warpath.
I think you should go in
and apologise.
Al
I think you’re right Janice.
Thank you.
He kisses JANICE full on the lips & marches into—
72. INT. BOARDROOM – EARLY DAY
There is a meeting in full swing. JAMES sits in the middle of one side of the table addressing the rest of the suits.
JAMES
We’ve got a marvellous idea
For Take 2’s new promo.
Al bursts in still looking mucky from this morning. He’s still very hung over.
JAMES sees AL and looks around at the other suits. He stands up and smiles at them. He stammers over his words.
JAMES (CONT.)
Ah Al maybe you could
shed some light on the
new promo.
Al
Yeah the new promo. I got it.
Here’s the idea. Picture this,
the boys are on a sunkist beach
in the Maldives.
JAMES lets out a sigh and sits back down.
We have a couple of bars intro
and then we drop a giant turd
on them to symbolically represent
the putrescent stench that is
Take 2.
JAMES gets up and moves towards Al and begins to usher him out.
JAMES
(laughing)
Always kidding around
I’m sorry about this ..
Al
James, James it’s ok.
JAMES
He’s not feeling
too well, he’s had toxic flu
poor thing, effects the
nervous system you know.
Al
Thanks James but it’s not
necessary I’m not ill, infact
I’ve never felt better. I’m
thinking clearer than ever
before.
(pause)
I just wanna say one thing
I don’t believe in pushing
stuff I don’t believe in it &
if you take the time to think
why you got involved, what
made you so excited about this
business; I know you feel
exactly the same way I do.
So why don’t you take your
head out your arses ; you might
actually do something you’re
proud of.
They look astonished at his kurt & brash words.
Al (CONT.)
Thank you for your time.
Al makes his exit and slams the door behind him.
73. INT.JAZ’S FLAT - DAY
Al still dressed in his ripped clothing
approaches the apartment door. He rings the bell. JAZ opens the door.
JAZ
What the fuck happened to you?
Al
Nothing.
JAZ
Come in. Do you wanna drink?
Al
Yeah, water please.
Jaz prepares the drink.
JAZ
So what’s up.
Al procrastinates.
Al
Well I just wanted to see
how the interview went?
JAZ
Your office rang earlier,
everything’s fine.
Al
Good, good.
Al looks down at his shoes.
JAZ
Listen why have you really come round
is it bad news, has Indigo been
` outted? I knew he’d get found out..
Al
No, it’s nothing like that really.
Al whispers reluctantly
I’ve come round to say I’m sorry.
JAZ
For what?
Al
What I said the other day.
I was jealous. All that stuff
I said, I didn’t mean a word
of it.
JAZ
Oh I see.
Al
This doesn’t change the situation
with the thing.
JAZ
(smiling)
No of course.
Al
I just thought you should know.
JAZ
I’m the one who should be
apologising. You we’re right.
I sold out at the first
opportunity. I’m not
happy doing this, I know it’s
garbage, you we’re right
and now you got something
to fight back with.
Al
Not anymore.
JAZ
What?
Al
My partner got a better offer.
JAZ
Well maybe you should put in
an even better offer.
Stop being such a wimp man.
If some one deals you a blow
don’t give up. Fight.
Al
It’s no use.
JAZ
You know Al I never forget our
first gig. I was awful. I swear I wanted to die right there & then.
I sounded crap didn’t I?
Al
Well..
JAZ Come on admit it I did didn’t I?
Al
You were nervous.
JAZ
Exactly you realised that and encouraged me to go on. You gave me a second chance.
Now maybe she will too.
Al
Listen I can’t compete with Mr.C.
He’s got backing, money, resources.
JAZ
Listen you got more than he could
ever have. You got heart my dear friend.
Al
Thanks.
JAZ
It just doesn’t add up.
AL
How do you mean?
JAZ
I got a confession to make.
Al
Oh yeah.
JAZ
There’s something you should
know.
74. INT.WAREHOUSE-DAY
MIKE is on the system dressed up like 70’s Pimp
from the Blaxploitation era. He thinks he’s George Clinton from Funkadelic. Al walks in.
MIKE
Hey bad boy. How is my
Main man?
Al
Not to good. It’s all gone a bit
“Milli Vanilli”.
MIKE
(George Clinton)
So that’s the way it go down ay bro.
Don’t sweat it. Just Chill the fuck out.
Al
You don’t understand it’s over.
MIKE
Jus chill baby chill. It ain’t over till I say, “It over.” Now we need to
free up that white boney ass of yours.
We gonna need something special. Yeah.
MIKE is running through a selection.
MIKE
(muttering to himself)
No rock, too country.
MIKE finds something.
Hold on bitch. Shit nigger, it’s jus’ too damn funky.
Al
You’re wasting you’re time.
MIKE
Chill the fuck out, bitch.
Oh you are gonna love this.
Al
Ok who is it?
MIKE
Can’t tell you, but I say this they
are a freaky bunch of baddass muthers
who’ve had more costume changes than Wonder Woman, far out.
75. EXT.WAREHOUSE
Al is walking along the warehouse corridors.
We hear the track start. He looks on
from a distance.
76. INT. WAREHOUSE
Al is dancing along side a famous diva. They are playing a Funkadelic track.
The track plays softly at first.
MIKE
That’s it free your mind,
jive ass turkey.
More, more.
MIKE selects a button on screen. It says
“Mood Enhancement.” MIKE becomes holographic
his clothes become funky 70’s garments.
Al closes his eyes and gets in touch with
his inner-self. He moves closer to the diva. He starts grinding his pelvis against hers. He
becomes totally enveloped by the experience.
MIKE
Getting freaky on your ass.
Yeah man bitching.
If there’s a remedy I don’t want
It. Alright.
Jaz starts to groove to the rhythms outside.
Bootsy Collins is on Bass. He approaches
BOOTSY COLLINS
Baddass muther fucker.
Bootsy gets in front of the diva and
Sandwiches her between Al.
MIKE
(James Brown take off)
Get back with your bad self.
Then the rest of the funksters join in. The track is now in full swing.
Everyone’s running round in a frenzy like Earth Wind and Fire. The music is fast furious and deliciously funky.
77. INT. RECORDING STUDIO – LATER THAT DAY
We cut straight to Indigo’s bland out of tune vocal take.
INGIGO
Baby give me one more
Chance, Baby baby.
The PRODUCER & ENGINEER are in the control room recording backing vocals to their latest track.
PRODUCER
Ok lets take it from the 4th bar
of the chorus.
INDIGO
In english please.
PRODUCER
Ok when I do this.
He raises his hands and drops it.
INDIGO repeats the previous line
completely out of tune.
PRODUCER looks at ENGINEER in disbelief.
INDIGO
How was that?
PRODUCER leans towards talkback microphone & presses button on mixing desk to switch it on.
PRODUCER
Yeah that was great. Perfect.
PRODUCER looks at ENGINEER and covers talkback microphone.
PRODUCER (CONT.)
Can we time-stretch & pitch shift
ENGINEER
Na
PRODUCER
(leaning back into microphone)
Can we just go one more time?
INDIGO
I thought you said it was perfect.
PRODUCER
Yeah it’s totally my fault. I have
to “re eq” you. The settings were all
wrong, sorry. So once again thank you.
78. INT. HALLWAY OUTSIDE RECORDING STUDIO-AFTERNOON
BEN-JAMIN and T-BONE sit waiting in the corridor. T-BONE’s rolling a joint.
BEN-JAMIN
Don’t you ever get sick of it?
T-BONE
No it’s good shit?
BEN-JAMIN
No, don’t you get sick of the whole
scam?
T-BONE
What?
BEN-JAMIN
You know, the scam. We’re just con artists. deceiving innocent gullible souls. Ripping off artists pretending to give a fuck.
T-BONE
Ah, I’m zoning like a fucker? I’m gonna be a rasta man, yes sa,
(Singing Bob Marley's one love)
One love, One heart.
BEN-JAMIN shakes his head & pushes him over as
he walks past. He walks down the corridor and stops at a door when he hears someone singing behind it.
79. INT. RECORDING STUDIO LOUNGE
JAZ is playing acoustic guitar. He is playing an old Sunstone track. He sings a beautifully melodic original song that takes him back to the old days.
BEN-JAMIN walks in.
BEN-JAMIN
I heard you down the corridor. That’s pretty good.
JAZ
Yeah it’s an old tune.
BEN-JAMIN
We’re gonna have a laugh
watching Indigo sing. You comin’?
JAZ
No I think I’ll stay here.
JAZ reflects on the old days. Playing another
track. He calls BEN-JAMIN back.
JAZ
I’m leaving the band.
BEN-JAMIN
What?
JAZ
I’ve had enough.
BEN-JAMIN
You enough? That’ll be the
day. You love it.
JAZ
Not anymore it’s time
I got real.
BEN-JAMIN
Nice one man. I can never
tell when you’re kidding.
JAZ holds BEN-JAMIN’S head & gives him a brotherly kiss on the lips.
JAZ Slings the guitar over the shoulder and smiles.
JAZ
You’re beautiful man.
I love you, take care.
He walks out through a swinging door.
80. INT. WAREHOUSE - NIGHT
AL, JAZ, are celebrating their
new found friendship, getting drunk on beer.
JAZ
So if you tell her what he
said you’re back in.
MIKE walks in his face is masked with a arabian headwear.
JAZ
Oh look it’s Laurence of Arabia
MIKE
Very funny.
MIKE pulls away the mask to reveal his blotchy
Skin.
MIKE
No more bananocumbers for me.
Al
Ok It’s time we got
down to business.
MIKE
There’s plenty of time
for that.
AL
Mike we ain’t…
MIKE shoots him a glance and starts to yawn.
AL(CONT)
Ok, Ok.
MIKE
Don’t worry we’re all set
for later.
MIKE starts messing around with the system.
MIKE
Ok. Lets have some fun.
Name someone, someone typically
British. A british icon.
AL
Billy Bragg.
MIKE
No stupid, Billy Sir..lag.
We hear the first few chords of a classic tune. JAZ is on piano. MIKE switches off the system. Al and MIKE walk across pickup real instruments and join in. They play a classic track (Jealous Guy) to the end.
MIKE(O.S)
Anyone wanna see the Beatles reform?
81. INT.W.A.C.OFFICES.BOARDROOM - DAY
We see executives from all the Major labels pull up in their limos. The receptionist greets them.
EXEC 1
Tell John Mr. Lamond from
Time records is here.
RECEPTIONIST
Certainly sir. If you’d
like to take a seat.
EXEC 2
Tell John Mr. Stitch from Stitch
Records is here.
The two executives meet in the lobby. There then follows a procession of reps from all the top majors. The receptionist can’t cope &
gets buried under coats which she has tried to
put away—
82. W.A.C RECORDS INT BOARDROOM
The boardroom is long & narrow. It has a long
Boardroom table in the middle.
The table is lined with executives from all the major record companies including ROB. JOHN ALLCOCK,(Mr. Big) at W.A.C is at the head of the table.
JOHN
Gentlemen you’re probably wondering why
I called you here. I’m sure you all recognise each other so I’ll dispense with
the introductions. This is quite an historic meeting, we have all the top names in the industry here. Ordinarily we are at each other’s throats but today we have to unite against a common enemy. Yes my friends we have a problem looming on the horizon.
Now I’m gonna hand over to Rob, the person responsible for bring this to our attention.
ROB
Well it’s nothing really. It’s just that
some girl has developed software to
broadcast Music & 3d images down the net
for free.
The executives gasp anxiously and backchat
amongst themselves. We hear the word “free”
bounced around a lot.
ROB(CONT’D)
If successful it spells certain disaster
and immediate cessation of the industry
as we know it.
JOHN
But.
(whispers to Rob)
There is a but right?
ROB
But (pause) of course I happen to have someone on the inside who even as I speak
is acquiring the rights to this
potential threat.
JOHN
Good. Very good. Now it’s in all
our interests to bury this technology,
agreed?
They all agree.
JOHN(CONT’D)
Good. We’ve done our sums as you can see from the handout.
ROB’s secretary passes out the leaflets.
JOHN(CONT’D)
My friends in three years we will be
as extinct as the dinosaur.
All conventional means of distribution
will disappear. Essentially this technology cuts us out, the middlemen; consumers choose & get what they want instantly. They won’t need us to slip the nose bag on anymore.
(pause)
So what you gotta ask is how much is
It worth to you.
Any questions?
EXECUTIVE
Ok how much?
JOHN
Well let’s not get into figures
right away.
EXECUTIVE
Anyway what’s to stop this
girl from selling to someone else. I mean
what guarantees have we got.
She could modify & sell on a different product.
ROB
There’s only one way to be sure.
EXECUTIVE
Snub her out right.
ROB gives him a befuddled stare.
ROB
No we win her confidence. Ensure that
we will develop & promote her product.
once she signed the contract transferring
all rights to us. We pay her off kick her out & prevent anyone from using it. Then it’s business as usual.
JOHN
How far away is she from signing?
ROB
Any day now. Once we have your support and money, she’s as good as signed.
JOHN
I’m sure you appreciate gentlemen this is in all our best interests. Any questions?
There follows a barrage of question, Rob slips
out in the hiatus.
83. INT.ROB’S OFFICE W.A.C.
ROB reaches for the phone & starts dialling.
84. INT. MR. C’S FLAT
Mr.C. is listening to take2’s current single
He smiles, humming along in his head, desperately trying to like it then shudders realising that he hates it and takes the track off.
85. INT.ROB’S OFFICE W.A.C.
ROB
Has she signed?
86. INT. MR. C’S FLAT
MR C
No. Not yet.--
ROB (through reciever)
What do you mean not yet. Now
listen don’t fuck me around.
I got a big problem with this.
My arse is on the line. It’s getting
fucked. Now I haven’t got the type of arse that likes to be fucked. Do you understand?
Mr.C
Yeah,
ROB
Now tell her we’re behind
her & the moneys all set.
Be a good boy and
(SHOUTING)
Get that contract signed.
Mr C. calls up SHIRLEY on his mobile
MR.C.
Shirley Hi. It’s John. The money’s
All set, I got the papers ready
(pause)
Can you come round to sign?
(pause)
At mine. Perfect.
See you then, bye.
87. EXT STREETS ISLINGTON-MUSWELL HILL
SHIRLEY leaves her house & gets in her car.
88. INT. SHIRLEY’S STREET IN ISLINGTON
SUSAN and DEE are walking towards DEE’S flat.
DEE
So your mum’s really into this Al guy?
SUSAN smiles.
SUSAN
Yeah. He’s pretty cool.
DEE
You fancy him don’t you?
SUSAN
Don’t be stupid. Still he is kinda cute.
89. EXT.HIGH RISE BLOCK OF FLATS-DAY
SUSAN & DEE arrive at DEE’S HOME. They say
goodbye to each other.
Al pulls up next to SUSAN.
Al
Susan!
She looks over.
Susan. Hi where’s your mum?
SUSAN
Oh hi Al. I think she’s gone
to see Mr.C she said something
about a contract.
Al speeds away from the girls.
90. EXT.ISLINGTON STREETS
SHIRLEY again drives along at a leisurely pace down Holloway rd on her way to Mr C.’s.
91. EXT. ISLINGTON STREETS
Al’S CAR races along in his new burnt out jalopy. Smoke is pouring out. He is completely thrashing the engine.
92. INT.Mr C’s FLAT
Mr.C waits anxiously, pacing up & down.
He pours a drink.
93. EXT.ISLINGTON STREET
SHIRLEY’S car is stuck in traffic.
Al is stuck in traffic behind SHIRLEY. He sees her and pulls out of the traffic & turns off to try and cut her off.
94. EXT.Mr C’S FLAT.
SHIRLEY pulls up at Mr.C’s she steps out the car & into Mr.C’s flat.
95. EXT. NARROW STREET
We see Al pull up into a narrow street. There is a dump truck blocking his way.
He looks behind & there’s a line of cars.
He blows his horn & slams his fist on the
steering wheel in frustration. He gets out of the car and starts running.
Al
Shit!
96. INT. Mr C’s FLAT
SHIRLEY sits down. Mr.C. brings the contract
over & shows her the money.
She’s just about to sign the contract.
97. EXT.Mr C’s FLAT
Al runs up the street infront of MR.C.’s flat sweat pouring down his face.
SLOW MOTION
Al sees SHIRLEY through the window. SHIRLEY’S pen is poised; it draws closer to the page. AL starts to run faster but he’s not gonna make it. Just as she’s about to sign AL hurls a rock through the window.
SHIRLEY & Mr.C turn around startled.
98. INT. Mr.C’s FLAT
Mr C.
What the fuck’s that!
The front door swings open.
Al is standing there like Clint Eastwood.
Al
You know you really ought to
lock your door. It’s very
dangerous out there.
Mr C.
You really are beginning
to irritate me.
Al
Don’t worry the feeling’s mutual.
Mr.C
You’re wasting your time.
Shirley has already made
her mind up. What have you
got. You’re nothing.
You’re a born loser.
I’m surprised you even showed up. I mean what can you offer her ay?
Al
The truth. You see I’ve
been having a little
word with my friend Jaz.
Mr C looks surprised.
Al
Yeah that’s right Mr.C
We’re mates again, just
like we we’re before you
split us up.
(To Shirley)
Do you know what he’s planning
to do with your work?
Mr.C
Now hold on.
Al
Buy it & shelve it indefinitely.
Once he has the patent he’ll prevent
its use. ‘cause we like the way things
are don’t we Mr.C?
Shirley
Is that true?
Mr.C
Of course not. He’s lying.
Al you are really desperate.
Al
Go one why don’t you tell
Her who your backer is.
Mr.C.
Well that’s not important.
Al
The same guy that shafted us.
Don’t you see Shirley. He’s
not behind us. He just
wants to bury the whole thing.
All you worked for, all your
husband worked for dosen’t
mean anything to them,
but it means a lot to me, you
mean a lot to me.
Shirley gets up she and approaches Mr.C
SHIRLEY
I’m sorry Al.
She puts his arm around Mr.C’s shoulder & smiles. Mr.C smiles back. She knees Mr.C
In the groin.
SHIRLEY(CONT’D)
Sorry that I ever listened
to this prick in the first place.
Come on lets go.
Al grins at Mr.C
SHIRLEY(CONT’D)
And you can stop grinning.
Al stops grinning. Al and SHIRLEY exit.
Mr C still reeling from pain picks up his mobile.
Mr C.
Hi Dee.
He groans.
Mr C.(CONT’D)
You wanna earn ½ million big ones.
Good I need you to lift that CD we talked about.
99. INT. STAIRWELL BLOCK OF FLATS.
DEE is being mauled whilst speaking on her mobile.
Dee
No problem. I’ll – ( to guy)get off.
No not you Mr.C. I’ll drop it off
tonight.
She continues kissing her male friend.
100. INT. SHIRLEY’S FLAT. NIGHT
SHIRLEY
I bet you’re really pleased
with yourself.
Al
Well.
He puts his arm around her.
I just love happy endings.
The doorbell rings.
SHIRLEY releases his arm from her.
SHIRLEY
Well I hope you got a plan.
You owe me two hundred thousand
pounds.
She gets the door.
SHIRLEY
OH Hi Dee. Go through she’s
in her room.
SHIRLEY waves her CD-ROM in the air.
DEE
I don’t know all this
fuss over this. It hardly seems
worth it.
SHIRLEY puts the CD on the table. Dee looks at
CD before she enters SARAH’S room.
SHIRLEY
So Al what’s the plan.
Al
I’ll show you come on.
101. INT SUBTERRANIA NIGHT CLUB. NIGHT
SHIRLEY walks through the door to the main stage. She is totally in awe. There’s a banner over the stage – Urban Music- “Music by the People for the people”. There are cameras
around shooting her as she enters. The paparazzi
are snapping away. We hear Jaz’s voice in the distance. JAZ is the M.C. on stage.
JAZ
For too long your voice has been silenced.
Shout Yo if you have have a million pound to develop you’re image.
No one. Ok shout Yo if you had airplay
on a national radio station. Ok no one.
Ok shout yo If you are tired of this
oppressive bullshit system that’s holding you back.
The crowd shouts YO. They cheer & go crazy.
AL
It’s all for you.
JAZ
Here’s the guy responsible.
Al is pulled up on stage.
Al
May I present the future
Of Music distribution.
The curtains part behind him to reveal
A fragment of the Woodstock stage. Classic rock Icon (maybe Jimi hendrix) is beamed down.
Al
Playing a live from Woodstock (Jimi Hendrix).
(Jimi) plays the American national anthem.
102.INT SHIRLEYS’S FLAT
DEE grabs the program CD on her way out.
DEE
See ya tomorrow.
SUSAN
Ok see ya.
103. INT. BLOCK OF FLATS
DEE hands over the CD to Mr. C
Mr.C hands over the money.
104. INT SUBTERRANIA NIGHT CLUB - NIGHT
Things are in full swing. Musicians approach
SHIRLEY.
Al
We got all the big names. They have all pledged their support. I got radio Ad’s going out nation-wide. We got TV interviews. Then there’-
SHIRLEY.
It’s ok slow down. I’m back to stay.
They kiss. A group of hippy musicians encircle her.
Hippy Musician #1
I really think what you’re
Doing is great man.
Hippy Musician #2
You’re giving us a real chance.
Hippy Musician #3
Yeah power to the people man.
They all cheer, raise her onto their shoulders & carry her off. She waves to
Al before getting lost in the crowd.
105. INT. SHIRLEY’S KITCHEN. MORNING.
We see the sun set & rise.
Al & SHIRLEY are chatting. The phone rings.
She puts it on loud speaker.
106. INT . WAC RECEPTION
Mr C is outside on the mobile. He has the program in his hand.
Mr.C
Morning guys. I just thought
you should know that I have
patented your software, and
sold the rights to the corporation.
Now what should I spend the
Money on, let me see maybe,
I know I’ve seen a lovely white
Porsche down the road..
(sarcasticallY
I do hope I haven’t spoilt your
breakfast.
Mr.C lets out a wicked laugh .
107. INT. W.A.C. BOARDROOM.
The same AR reps from the previous meeting are
present. There is a screen at the head of the table hooked up to the computer.
There’s a lot of background chit-chat
JOHN
Excuse me gentlemen if I could
have your attention for a moment.
We have delivered the prize as
promised.
We have of course arranged a little demonstration for you. Gerry if you please.
GERRY takes the CD out and places into the drive bay.The words CP30 “Real time Audio/Image compression software comes up on the main screen
JOHN & ROB & Mr.C smile.
Then a bug comes up on screen.
COMPUTER VOICE
You have performed a program
violation error
Warning all data will be
lost.
GERRY is busily trying to counteract the warning.
ROB, Mr. C & JOHN smiles turn to frowns.
Al, MIKE & SHIRLEY take their trousers down
and do a “moony” on screen.
Rob pushes Mr.C Mr.C pushes him back, a fight ensues involving everyone.
108. INT.SHIRLEY’S FLAT.
STEAL MY SUNSHINE BY LEN plays.
Al, SHIRLEY, SARAH, JAZ, MIKE & DEE sit around the table laughing SHIRLEY is waving the real disk in her hand, DEE is holding the case containing the ½ million pay off.
THE END
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