Lords Of Getting Nothing

LORDS OF GETTING NOTHING

Written by
Tiago Lopes

FADE IN:
With slow classical music, the CREDITS BEGIN.
EXT. COVEHURST BAY - BEACH - UNDERWATER - MORNING
A GUY’s face in pushed into the cold dark waters of the
English Channel. He screams and struggles to no use.
EXT. COVEHURST BAY - BEACH - CONTINUOUS
SUPER SLOW MOTION - TRUCK LEFT - The scenario is revealed:
A MAN in a CHIMPANZEE MASK is doing the drowning. Both him
and the guy are formally suited.
GRADLAD (V.O.)
My bruvver always told me life
works in two ways. Those are the
legal and the illegal way. They
complement each other.
Far behind them crashed by the cliffs is a GREEN SCHOOL BUS.
Past them, running towards the bus, is CHRISTOPHER "CHRIS"
BARKER. Strong guy, the right sleeve of his suit is torn and
his shirt soaked in blood by the shoulder.
GRADLAD (V.O.)
Most people like to be under the
cloth of what’s legal for its
predictability, it’s safe.
PAN UP to the edge of a cliff where a guy shabbily dressed in
bermuda shorts with a joint in his lips looks down on the
sand. His name is DUANE "JEFF" SHIELDS.
GRADLAD (V.O.)
Others spend their life on the
edge, pumped by the adrenaline of
what they know to be wrong.
PAN DOWN to where Jeff’s looking reveals an handsome but
worried guy, also suited, lying in the sand with a broken
leg. He is our narrator: HENRY "GRADLAD" SYKES.
GRADLAD (V.O.)
Me? I like to think I had an excuse
to choose breaking the law.
Classical music ends. END CREDITS.
FREEZE SHOT OF THE SCENARIO.
GRADLAD (V.O.)
It’s called boredom.

2.

TITLE APPEARS: THE LORDS OF GETTING NOTHING
INT. THE FUCKING OFFICE - GRADLAD’S CUBICLE - DAY
PC SCREEN - All work and no play makes Gradlad a dull boy
PC POV: Gradlad’s fingertips slowly hit the keyboard. His
expression is the definition of “boredom”.
GRADLAD (V.O.)
In my brother’s eyes I was lucky
for corporate Britain captured me
before any gangster could. They
would do that, take very smart,
very poor East Enders like me to
run the numbers of business.
On Gradlad’s desk there’s a huge pile of sheets.
GRADLAD (V.O.)
Now look at it, I did it, from the
best student in Economics at LSE -An ATTRACTIVE GIRL EMPLOYEE gives him a touch on the
shoulder, he stops typing.
ATTRACTIVE GIRL EMPLOYEE
Gradlad -She adds more sheets to the pile.
ATTRACTIVE GIRL EMPLOYEE (CONT’D)
-- Can you? Thanks.
And moves along. Gradlad stares at her behind.
GRADLAD (V.O.)
-- to, for a fact, the best
employee ever seen in this office.
And then to the sheets.
GRADLAD (V.O.)
But I guess it’s an Yin-yang thing.
INT. THE FUCKING OFFICE - CORRIDOR - CONTINUOUS
DOLLY-OUT through the corridor away from the cubicle.
Corporation EMPLOYEES walk left to right and vise-versa from
and into the offices in the corridor. All of them carry
paperwork, an ATTORNEY passes by talking at his cellphone and
an ASSOCIATE wheels a trolley behind him.

3.

GRADLAD (V.O.)
‘Cause if my potential is somewhere
this is not the place. Is like
around this wankers -Suddenly the pile of sheets blows to the air spreading all
over. Nor Gradlad or no one else reacts.
GRADLAD (V.O.)
-- I fucking have superpowers.
INT. THE FUCKING OFFICE - GRADLAD’S CUBICLE - CONTINUOUS
PC SCREEN - All play and no work makes Gradlad a mere toy
INT. THE FUCKING OFFICE - CORRIDOR - CONTINUOUS
Gradlad stands and walks through the corridor.
GRADLAD (V.O.)
So I see an opportunity I take it
and who wouldn’t?
INT. NIGHTCLUB - NIGHT
The floor is crowded with dancing bodies, the music is crazy
loud and the lights are on dangerous-for-epileptics mode. In
some raised blocks with cages professional dancers tease the
guys around them, the bartenders work non-stop.
GRADLAD (V.O.)
This is what illegal looks like.
Lots of fun, chit-chat, Sir drunk-alot-snort-a-lot everybody does it.
If it didn’t sound illegal most
clubs would be named “Illegal” for
all the activity happening inside.
INT. NIGHTCLUB - VIP - NIGHT
The 2nd level is all VIP booths that look out over the dance
floor. Private waitress walks around pouring drinks.
Every booth has a table in the middle and most of them are
full with glasses, ice, drug leftovers and several drinks
like champagne, vodka, cocktails and shots.
GRADLAD (V.O.)
That is what feeds the market. Not
only the alcohol, but the pills,
glue, sprays, tranquilizers, weed,
steroids, anabolics, you name it.

4.

In one of the booths, surrounded by TWO YOUNG GIRLS is STEVE
FASSBENDER, 32, a tall and elegant guy. They snort cocaine.
Gradlad is in front of them not impressed.
GRADLAD (V.O.)
And it’s because people like Steve
here that the market is evergrowing -Steve snorts more, his eyes are massively dilated.
STEVE FASSBENDER
God this shit’s good.
GRADLAD (V.O.)
-- And lads like Jeff are everselling.
EXT. NIGHTCLUB - NIGHT
We TRACK alongside Jeff as he walks by a long line of people.
This is no teenage club either, everybody is in their late
twenties or over. Jeff greets most of them.
GRADLAD (V.O.)
Jeff knows every drug and everyone.
Jeff grabs a small bag of weed rolls money around it and
stops by the BOUNCER who doesn’t look like letting him in.
JEFF
Yeah I saw yo from afar you’re new
here mate I know. Here, be safe.
He puts the weed and money inside the Bouncer’s pocket. The
Bouncer looks confused at a COLLEAGUE who nods positively.
GRADLAD (V.O.)
True the lad’s brain is toasted but
as long as his legs move one after
the other everything’s alright.
Jeff goes in.
INT. NIGHTCLUB - TOILET’S CUBICLE - NIGHT
A SUITED GUY on his knees, face down the toilet, vomits.
INT. NIGHTCLUB - TOILET - NIGHT
Gradlad is seated on the lavatory. Jeff comes in.
JEFF
What up bruv is he here?

5.

Gradlad points at the cubicle.
JEFF (CONT’D)
Are you alright bruv?
SUITED GUY (O.S.)
I don’t know where I am!
JEFF
He doesn’t sound alright.
GRADLAD
That’s ‘cause the fucking wanker
ain’t alright Jeff.
JEFF
Ok, ok I get you. So what now?
GRADLAD
Oi teacher are you good for a chat?
SUITED GUY (O.S.)
I’m about to shit my pants.
JEFF
Eheh! Bruv you got him constipated
I thought you wanted him high.
GRADLAD
I do but he’s a Rolling Stone like
bloke. Pablo Escobar couldn’t get
him to talk if he wanted to.
JEFF
I see, I see. So is this it?
GRADLAD
Well I’m not Pablo Escobar am I?
JEFF
Aww shit.
GRADLAD
Yeah I’m better.
JEFF
Oh ok good ‘cause bruv that’s the
only teacher I know...
GRADLAD
He’ll have to do the fucking
teacher.
No noise comes from inside the cubicle. Gradlad goes there.

6.

INT. NIGHTCLUB - TOILET’S CUBICLE - NIGHT - CONTINUOUS
Steve is seated on the toilet. He’s now too drunk, too stoned
and has been crying.
GRADLAD (V.O.)
Steve or Teacher Steve as people
often call him is Jeff’s dealer.
Gradlad appears and hands Steve a small whiskey bottle.
GRADLAD (V.O.)
Strange right?
INT. STEVE’S CLASSROOM - DAY
A normal and apparently empty classroom.
Steve is at his desk, face all sweaty, struggling.
STEVE FASSBENDER
Oh Patricia.
He’s receiving oral sex.
GRADLAD (V.O.)
He is the one teaching and
developing Britain’s young minds.
All the way in sweetheart, all the
way.
INT. NIGHTCLUB - TOILET - NIGHT
Gradlad gives what’s left of the whiskey to Jeff who puts it
inside a plastic cup and mixes it with a dose of cocaine.
GRADLAD (V.O.)
He, as many others like him will
eventually have to choose what life
they wanna live.
INT. NIGHTCLUB - TOILET’S CUBICLE - NIGHT
PLASTIC CUP POV: Steve has his drink in one go.
GRADLAD (V.O.)
The boring lifestyle Steve’s so
hard trying to avoid will hit him
hard. Poor chap.
Steve babbles something at Gradlad and Jeff and faints.
FROM ABOVE they look at Steve who’s snorting heavily --

7.

GRADLAD
Did you get anything?
JEFF
Yeah I think so. He said words and
numbers and London.
GRADLAD
It’s an address. He’ll be fine.
-- And leave.
INT. THE RACEWAY - TRACK - DAY
There is a race going on. TWO KARTS don’t let go of each
other through the curves, really competitive.
INT. THE RACEWAY - OFFICE - DAY
Gradlad watches it impressed.
Seated next to him is Chris. He’s not amused and looks at the
track like someone cooks breakfast, he’s used to it.
GRADLAD (V.O.)
As Jeff knows drugs Chris here has
a special thing for guns.
EXT. NEW YORK - PORT NEWARK - DAY - EIGHT YEARS EARLIER
(FLASHBACK)
It’s the 80’s. Chris and MARLON "THE ARCHITECT" SYKES, in
their mid-20’s, walk at a quick pace through the deserted
parking lot.
GRADLAD (V.O.)
He’s no cockney either, he’s a New
Yorker. He and my brother go way
back.
INT. THE RACEWAY - OFFICE - PRESENT DAY
Chris reacts to something on the track.
CHRIS
Those fucking terrorists.
Chris grabs a megaphone and moves towards the office’s door.
GRADLAD
Under the circumstances I predict
you’ll make way more poppy with me
and Jeff than in this classy
establishment Christopher.

8.

Chris grabs a broom by the door.
CUTAWAY: A KART SURPASSES THE OTHER MISSING IT BY AN INCH.
GRADLAD (CONT’D)
(reaction to the race)
That’s hum -- that’s bloody cool.
Chris leaves the office and makes his way to the track.
INT. THE RACEWAY - TRACK - CONTINUOUS
Chris is halfway through the track when both karts pass by
him to the finish line. KART DRIVER #1 jumps out celebrating,
his crew shouts insults at the KART DRIVER #2 crew.
GRADLAD (V.O.)
Chris states he went to war to feel
safe. I mean, it toughs a man.
Chris hits the megaphone’s switch and puts it to his mouth.
CHRIS
Please leave the track or you’ll be
forcefully removed by security.
CUTAWAY: Gradlad is having a blast.
The crews keep insulting each other.
CHRIS (CONT’D)
By security I mean me you little
shits get out of the track now.
The crews go back inside.
GRADLAD (V.O.)
Retired, Chris is eager to get back
into action.
Chris turns the megaphone in Gradlad direction.
CHRIS
We’ll need masks!
GRADLAD (V.O.)
Different brother, same old fun.
INT. HM PRISON WANDSWORTH - CELL #1 - MORNING
SERIES OF CLOSE SHOTS:
PRISON INMATE #1 takes off his prison gear.

9.

He puts on long socks. Pants. An ironed shirt, buttons it
from top to bottom. A tissue he puts in his pocket. A gun
belt. The very clean top of the suit.
INT. HM PRISON WANDSWORTH - CORRIDOR #1 - MORNING
The Prison Inmate #1 legs move across the corridor.
Impeccable style of walking.
GRADLAD (V.O.)
There’s a reason why my brother is
my brother and Chris prefers to get
shot by Iraqis than stay in London.
INT. HM PRISON WANDSWORTH - CHECK-OUT ROOM - MORNING
The Prison Inmate #1 is BRITISH MIKE, 40’s. He’s a stylish
guy with great voluminous hair and a nice shave.
GRADLAD (V.O.)
That reason is British Mike.
A GUARD puts a paper box in front of him and takes out a tie.
GUARD
Here it is Mike, your tie.
British Mike puts his tie on. The Guard grabs a wallet.
GUARD (CONT’D)
Your wallet. Empty.
A watch and a comb.
GUARD (CONT’D)
Your watch, not working. Comb -(analyzes it)
-- It works I’m sure.
And a whiskey pocket bottle. He shakes the bottle.
GUARD (CONT’D)
It still has some.
British Mike saves his belongings.
GUARD (CONT’D)
You’ve got yourself some good eight
year old whiskey here Mike.
BRITISH MIKE
Would you be interested in it?
GUARD
(excited)
Can I have it?

10.

BRITISH MIKE
You can’t.
British Mike keeps the bottle and leaves.
EXT. HM PRISON WANDSWORTH - MAIN GATE - MORNING
The huge wooden gates slowly close behind British Mike as he
looks around seeing London for the first time in 8 years.
His serene expression doesn’t change.
GRADLAD (V.O.)
Ten years ago this was the kind of
person to have around -As he buttons his jacket British Mike walks away. When he
does a 1992 Bentley Turbo slowly follows him by his side.
GRADLAD (V.O.)
-- Trustworthy, committed and most
of all a complete maniac.
BENTLEY GUY (O.S.)
Finally coming back home -British Mike stops and looks to the Bentley Guy. His name is
RON, late 30’s, chubby, ginger, looks more like a british
comedian than a hitman, which is what he is.
RON
-- This is the mean to your end
mate, Victor doesn’t want you to
walk home.
The car stops. Ron steps outside, British Mike starts walking
again.
RON (CONT’D)
C’mon Mike.
Ron runs towards British Mike’s side.
RON (CONT’D)
Mike! Mike you dirty bastard it’s
me Ron!
British Mike has no patience for this clown.
BRITISH MIKE
What do you want?
RON
You’re not walking to the East End.
Mike, Mike, Mike, Mike come on in.
(laughs)
(MORE)

11.
RON (CONT'D)
You look reinvented what have they
done to you inside plastic surgery?

BRITISH MIKE
This is a nice vehicle.
RON
I borrowed it from Julio.
Ron goes for a hand shake but British Mike just walks towards
the driver’s seat. Ron follows after.
RON (CONT’D)
Oh, oh, oh. New old rules Mike I do
the driving, you’re Miss Daisy
today. Please.
British Mike stops and stares at Ron’s stupid face.
RON (CONT’D)
I feel you think Victor doesn’t
like you anymore -- you’ve got a
kid’s imagination British Mike.
INT. JULIO’S CAR - MOMENTS LATER
The over-excited Ron drives, British Mike is very calm.
British Mike’s eyes glance through Ron’s gun strapped inside
his jacket.
RON
Did you receive all the stuff I
sent you? Those fucking poofs had
me paying five pounds for every
Goldie I got you. No extra for the
chocolate bars though -BRITISH MIKE
Do you wanna know what I’m
thinking?
RON
I want to know what you’re
thinking, I’m a curious person
c’mon.
BRITISH MIKE
Do you have a gun?
RON
That you want your gun, you’re
thinking that you want it? I don’t
have your gun I have a gun!
Ron gives his gun to British Mike. He checks it’s magazine.

12.

RON (CONT’D)
That must feel nice.
BRITISH MIKE
It does.
Mike cocks the gun.
INT. VICTOR’S MANSION - UPSTAIRS CORRIDOR - MORNING
DOLLY-IN through the corridor follows British Mike’s legs.
JOKER (O.S.)
Ma God. With all the anal sex, Nazi
tattooing and piss food habits...
British Mike stops. PED UP to his shoulders.
Next to him is FRANKY “THE JOKER”, a slightly curved, hair to
the shoulders, insane looking guy.
JOKER (CONT’D)
I’m honestly impressed.
BRITISH MIKE
I don’t recall you funny boy.
JOKER
I’m the new breed mate.
The office’s door is opened by a calm and firm crime boss in
his 60’s. He is VICTOR MORAN.
There’s one short moment of awkwardness -GRADLAD (V.O.)
The boss is the boss and harming
this one is quite the task I mean,
no one ever did it. Like a museum
you respect the work, look but
never touch.
-- but Victor is pleased to see British Mike.
VICTOR MORAN
Mike.
Victor gives British Mike a slight, warm touch.
BRITISH MIKE
It’s nice to see you Victor.
JOKER (O.S.)
Sweet.
Joker has a pervert’s smile on his face.

13.

VICTOR MORAN
Hey do I look like I need to be
entertained? No? So fuck off.
JOKER
Jeez thanks.
BRITISH MIKE
Are we having a drink?
VICTOR MORAN
Come on in.
JOKER
(whispers)
Cunts be cunts.
Victor and British Mike walk in the office.
INT. VICTOR’S MANSION - OFFICE - CONTINUOUS
Victor heads to his antique desk.
On the wall behind him there’s a huge diamond sided by two
antique shotguns. A lousy reference but nice decoration.
VICTOR MORAN
This new generation is all a lot of
talking and very little thinking.
Victor goes for the liquor cabinet.
VICTOR MORAN (CONT’D)
But replacements they’re not easy
to find is not like you go to an
auction and bid on the craziest
nutter. Now...
(beat)
I reckon you have a lot to talk
about that you want to explain
things...
BRITISH MIKE
Explaining myself and talking a lot
are two very different things.
Victor fills THREE WHISKEY GLASSES and gives one to British
Mike. He puts the other one on the corner of the desk.
VICTOR MORAN
Good. Both of us have work to do
don’t we? I’ll get to that later
now -- Julio that’s yours.
From a dark corner appears JULIO. He’s imposing, British
Mike’s age and, as all Victor hitmen do, wears a black suit.

14.

British Mike is caught off guard, the moment is tense until -VICTOR MORAN (CONT’D)
A fucking celebration this is.
Julio grabs his drink and cheers respectfully.
JULIO
London hasn’t been the same without
you Mike.
BRITISH MIKE
I know.
INT. CONSTRUCTION SITE - THIRD FLOOR HALL - DAY
A group of BUSINESSMEN walks along the hall lead by the tall
and eye-catching Architect. In an expensive grey suit, he
transpires success.
Besides him is NIAMH "GUM" BAL, 30, attractive, the smart and
independent type. She’s the one doing the talk and points to
the walls partially covered in film reel.
Behind the group goes MASTER PHIL, a stereotyped 50 year old
construction worker followed by SIX of his CREW.
GUM
We’re going to cover these and this
side as well straight to the end -(to the Architect)
-- Isn’t that right love?
ARCHITECT
Films gentlemen, no matter how many
times Richard the Third dies on the
Old Vic’s stage people still prefer
films. What can I do? Well this is
what, gorgeous stuff...
INT. VICTOR’S MANSION - OFFICE - DAY
Victor, British Mike and Julio drink the whiskey.
VICTOR MORAN
It’s the good stuff. A pickey gave
it to me after I shot his brotherin-law. Turns out they were actual
brothers, he wanted me to shoot his
sister afterwards. Guess I did
shoot her -- and him.
(beat)
A man is capable of things when’s a
lad but time end’s that. Don’t you
agree Mike?

15.

BRITISH MIKE
I don’t tend to be very interested
in philosophy Victor.
VICTOR MORAN
You see time... Now I got it.
The tone in Victor’s voice changes, more serious.
I flavour the meat during dinner
and I clean my arse thinking about
cleaning my arse. Nothing else
matters when I eat, drink or shit
besides eating, drinking and
shitting. Actually the only thing I
can’t do is take care of my own
child, I’m getting old, can’t do
that no more. But time brings you
peace, not a lot, but enough.
JULIO
(to British Mike)
And he means that for all of us.
BRITISH MIKE
Does this mean I should be in peace
while on the toilet as well?
VICTOR MORAN
Can you deal with peace Mike?
BRITISH MIKE
It doesn’t sound very hard.
INT. LUXURIOUS RESTAURANT - NIGHT
The Architect and Gum are guided to their table in the middle
of the huge salon.
The Architect gives a generous tip to the HOST. They seat.
ARCHITECT
Thanks.
(to Gum)
You know who built this?
GUM
I think Master Phil finds our
insistence in not finishing the
toilets a bit awkward.
ARCHITECT
I would do too. But I’m sure you
can come up with something.

16.

GUM
“The Architect says” is something.
ARCHITECT
It shall work.
They share a look of trust, they’re clearly in love.
ARCHITECT (CONT’D)
You look fantastic Gum. Maybe we
should -The WAITER appears.
WAITER
Good evening.
ARCHITECT
Hi.
WAITER
The Chef will come just in a second
meanwhile I’ll give you -The Waiter gives the whine list to the Architect.
ARCHITECT
Thanks. It’s been some time since I
last saw him.
WAITER
He’ll be right up.
ARCHITECT
Just give us a minute please.
The Waiter moves away smiling.
GUM
(with posh accent)
Da chef hum?
ARCHITECT
The Exeter project, his house.
Gum looks at him. She knows he’s not telling the whole story.
The Architect smiles.
Gardening. Roses, parsley, weed.
Condiments of a cook.
GUM
Condiments of a pothead.
ARCHITECT
He’s not a client, one thing led to
another I just knew some people.

17.

GUM
Either way be careful.
ARCHITECT
I always am love.
EXT. VICTOR’S MANSION - ENTRANCE - NIGHT
Victor and British Mike walk towards the gates with Julio
behind them.
VICTOR MORAN
We took care of your stuff is just
like you left it, neat.
From the street appears MATT MORAN, 18. He’s Victor’s son,
poshy and laid-back. Looks like the popular kid he is.
MATT
Well hello.
Strange thing is he has a black eye. British Mike notices it.
VICTOR MORAN
Where have you been?
MATT
Don’t know father -- actually I do.
I was assaulted by a bunch of
niggers, nasty ‘fellas no respect
for the rules.
VICTOR MORAN
(sights)
You remember Matt right?
MATT
(notorious false sympathy)
British Mike I was looking forward
for this moment although I must say
I was thinking about someone more
in the style of Mary Poppins. To be
honest I don’t really need someone
looking after me all day that is
just daddy’s overzealous
personality acting out. So don’t
worry about the eye it is a
complicated question, a racial one.
VICTOR MORAN
Ah c’mon.
BRITISH MIKE
My protection huh? Lovely. You
raised a little racist Victor.

18.

VICTOR MORAN
Well get used to him.
Diogo gives a devilish smile and goes home.
You see Mike the concept of peace -it means problems seize to exist.
BRITISH MIKE
I never appreciated problems.
VICTOR MORAN
That’s good. So you won’t do what
everyone, including me, thinks you
wanna do. That’s hunting Architects
Mike so I make myself clear.
British Mike reacts uncomfortably to these last words.
Your new job doesn’t allow you to
spend time on personal vendettas.
BRITISH MIKE
Did you at least get near him?
VICTOR MORAN
If you remember old warehouse by
the garbage place -BRITISH MIKE
I find incredible natural my need
to have an unfriendly conversation
with the Architect, Victor.
VICTOR MORAN
Do ya? Well that cunt ain’t making
my conversations longer than I want
them to be. Think of him like the
hopes and dreams you had as a child
Mike. They’re hopes. They’re
dreams. Welcome to fucking reality.
British Mike swallows a big one but doesn’t loses posture.
BRITISH MIKE
(to Julio)
That was your car am I right?
JULIO
You are.
BRITISH MIKE
I’ll drive myself to the warehouse
then.

19.

JULIO
Hey I’m back with Joker aye?
VICTOR MORAN
Yeah keep your cock inside your
pants will ya?
BRITISH MIKE
This is non important.
JULIO
Well excuse me but I’ve been with
Ron that fucking tosser for over a
month you now what that is? Is
fucking torture that’s what.
VICTOR MORAN
Mike just take the guy wiv’ you.
BRITISH MIKE
Ok. I left him in the car.
VICTOR MORAN
And Mike, no Architect.
EXT. ARCHITECT FIRM - DAY
A BMW parks in front of the big, modern building. The
Architect gets out, tips the CHAUFFEUR and goes inside.
GRADLAD (V.O.)
The Architect this, the Architect
that. The Architect is a legend, a
self-made, entrepreneurial genius.
INT. ARCHITECT FIRM - RECEPTION FLOOR - CONTINUOUS
The Architect walks through the reception floor waving to
several workers. The security is heavy but discreet.
GRADLAD (V.O.)
Don’t get me wrong I’m fucking
smart but this guy’s I.Q -- this is
Newton’s level.
INT. ARCHITECT FIRM - WHITE ROOM - DAY
The Architect and DOCTOR MCGANN both wearing masks and white
overalls analyze a graphic on a wall.
GRADLAD (V.O.)
A child prodigy. Graduation in
chemistry at nineteen with
specialization on hard drugs.

20.

EXT. NEW YORK - PORT NEWARK - DAY - EIGHT YEARS EARLIER
(FLASHBACK)
The continuation of the earlier scene. Chris and the
Architect stare at a huge red freighter.
GRADLAD (V.O.)
As British Mike went to jail the
Architect came back from the States
very rich with Chris alongside.
ARCHITECT
We’ll send it back to Malaysia in
one piece, do they have tigers in
Malaysia? I’m gonna buy a fucking
tiger once we’re done mate.
ARCHITECT’S POV: He does a square with his fingers and locks
on one of the cargo ships.
GRADLAD (V.O.)
That’s right. The man everyone
knows and respects, the Architect
is my blood bruv.
INT. ARCHITECT FIRM - ELEVATOR - DAY
The Architect talks at the cellphone.
ARCHITECT
(into cellphone)
He what?
GRADLAD (V.O.)
The Architect ran the gangsters’
numbers for long enough they were
almost dependent on him.
ARCHITECT
(into cellphone)
No Henry didn’t tell me nothing.
INT. ARCHITECT FIRM - 13TH FLOOR CORRIDOR - MOMENTS LATER
He exits the elevator and walks down the corridor.
GRADLAD (V.O.)
‘Cause he is that kind of lad, he
owns people. So when he turned his
skills to Britain’s legal
businesses that’s when he really
made a name for himself.
The Architect enters the office’s glass doors ahead.
CLOSE-UP on a golden sign that has written:

21.

MARLON SYKES
SENIOR PRINCIPAL
GRADLAD (V.O.)
That’s also the reason why it would
take an incredible set of events to
screw everything up and I mean an
incredible set of events.
INT. ARCHITECT FIRM - MARLON’S OFFICE - CONTINUOUS
The space is grayish dark, modern and simplistic furniture.
The big windows occupying the wall are closed.
There are two big tables by this wall. One is full with
styrofoam models of houses and two computers, the other has a
huge styrofoam model of a part of the East End.
The Architect puts his briefcase down.
INT. ARCHITECT FIRM - MARLON’S OFFICE - LATER THAT DAY
The Architect is laid back on his huge chair, feet on the
desk with a phone to his hear.
ARCHITECT
(into phone)
No I didn’t. I didn’t influence him
ma’, Jesus. I’m telling you he
isn’t coming to work for me either.
Well it’s his decision ma’.
(beat)
Oh okay. But that’s me influencing
him is it not? I’ll go there let’s
say next week. Tomorrow then, okay
ma’ just... Yes I’ll get you bread.
INT. PRODUCTION WAREHOUSE - LAB - DAY
20 MEN in monkey suits using surgical masks at work tables.
They mix, cut, weight and pack cocaine.
The surveillance is done by 3 HUGE GUYS. Julio watches over
the works, gives one last check and goes out.
EXT. PRODUCTION WAREHOUSE - PARKING LOT - MOMENTS LATER
The warehouse is surrounded by barbed-wired fence and guarded
by big gorilla sized SECURITY GUYS. Julio walks to the gates
and looks at the construction site besides the warehouse.
Julio can’t stand the unbearable noise but keeps his cool. He
glances the fancy car parked by the construction site.

22.

On the other side of the street by a coffeehouse called “Taxi
Driver” is Joker.
JOKER
There’s a new breakfast in town!
EXT. VICTOR’S MANSION - DAY
British Mike is inside Julio’s car. He holds Matt’s private
school jacket in the air and tries to synchronize the radio
with little success.
On the inside of the jacket’s collar is a little transmitter,
British Mike analyses it.
INT. JULIO’S CAR - CONTINUOUS
Matt appears. British Mike straightens the collar.
British Mike steps outside and puts the jacket on Matt.
MATT
Thank you.
They look at each other for a moment.
MATT (CONT’D)
(laughs)
Loyal like a dog.
He walks to the other side of the car.
MATT (CONT’D)
That explains the bitch behavior
right? Fucking hilarious mate.
And steps in. British Mike does too.
Matt can’t hide his pride on having his own little slave.
BRITISH MIKE
Be careful.
MATT
What?
BRITISH MIKE
Don’t crumble your jacket please.
Be careful.

23.

British Mike starts the car.
INT. TAXI DRIVER COFFEEHOUSE - DAY
A regular week day, lunch time, with just enough people
inside. WAITRESS MARLA walks by the tables pouring coffee.
Julio and Joker walk in.
Waitress Marla goes behind the counter.
JULIO
Hey what happened to that gal you
wanted to take to airport, to see
airplanes? How did that go?
JOKER
Bah she doesn’t like flying.
JULIO
(having a crack at it)
Oh is that so?
JOKER
It would have been bloody romantic
in the hood of the car with sky and
all. What’s wrong with that?
JULIO
Imma say -- it’s a strange idea of
romance, watching big pieces of
metal loud as fuck flying over you.
JOKER
There’s nothing wrong with a little
flying.
They reach the counter and seat.
JULIO
Yeah there’s nothing wrong with a
little wanking off either...
Joker flips Julio the middle finger and grabs the menu.
JULIO (CONT’D)
What’s new about the breakfast
then?
JOKER
It doesn’t say is just new.
(to Waitress Marla)
Hey girl!
Waitress Marla approaches them.
WAITRESS MARLA
Morning gentlemen. The usual?

24.

JOKER
No babe listen here.
JULIO
Excuse me. Yes I would like my milkshake please Marla.
Waitress Marla rushes to get it.
JULIO (CONT’D)
We come here every week.
JOKER
Fact.
JULIO
Be polite you wanker.
JOKER
She knows me fine.
JULIO
Thanks Marla.
Waitress Marla gives Julio the milk-shake.
JOKER
Marla, hear here Marla. I’m willing
to order this new breakfast, it
looks nutritious but also two
pounds more costly. But I’ll order
it. Now in this thing here I have
no fucking idea what’s in it do I?
WAITRESS MARLA
Yes there is...
JOKER
Now wait, wait. Your stupid boss is
right in not putting it here. I
would have to read it which would
make the receipt not as delicious.
I need delicious in order to ask
for it, in order to give two more
pounds for some chips and bacon. So
Marla give it to me, give it to me
in a delicious manner and I’ll buy
it and I -- alright Marla -- I’m
not Steve Buscemi, I’ll give you a
tip of a lifetime for this
breakfast turn on.
WAITRESS MARLA
I -- Excuse me?
JULIO
Just explain what’s on it.

25.

Julio gets up.
JULIO (CONT’D)
I need to use the stall.
Waitress Marla doesn’t know what to do.
JOKER
Go on, we’ll make a show out of
this Marla.
WAITRESS MARLA
So we have the sausages, smoked
bacon and eggs, three of each,
extra see?
JOKER
Yeah, yeah.
Julio walks by the counter but stops and looks back admired.
It’s Gum, looking at him. Julio smirks and seats besides her.
JULIO
Miss Gum this is unexpected.
GUM
I agree.
JULIO
Is the Architect around?
GUM
Sometimes.
JULIO
Ah pity, I thought we could enjoy a
meal just like the good old days.
CUT TO Joker and Waitress Marla.
WAITRESS MARLA
It has mushrooms, thinly sliced
and, and tomato and bread, three
rounds of it.
JOKER
Tasty!
CUT TO Gum and Julio.
JULIO
I reckon you’ve heard the news.
Gum stares at Joker and Marla.

26.

GUM
Will you control your pet over
there.
Joker looks like a kid watching porn which makes Waitress
Marla very uncomfortable.
WAITRESS MARLA
A full tin of baked beans, very
good. Three hash browns and loads
of salt and oil -Joker slams the counter.
JOKER
I fucking know it takes salt and
oil Marla give me something new!
JULIO
Why don’t you focus here for a
second, British Mike is free.
GUM
Really? And I should give a fuck
because...
Julio leans towards Gum.
JULIO
Sweetheart if you fancy your clean
forehead you’ll want to have a talk
with the Architect about this
matter.
GUM
You’ve learn to talk fancy Julio.
WAITRESS MARLA
We put brown sauce too and a secret
ingredient -- black pudding, little
bit of curry and butter.
JOKER
You sound delicious Marla I’m
salivating already.
GUM
-- That pervert is making my
breakfast very uncomfortable.

27.

JULIO
He’s not making a thing. I am.
Gum puts on her shades.
JULIO (CONT’D)
Alright where, in that sentence,
was I even near rude?
JOKER
Awful description. I’ll have it.
Waitress Marla hesitates.
JOKER (CONT’D)
Are you in love with me or
somethin’?
Waitress Marla goes to the kitchen. Joker turns and spots
Julio and Gum.
Gum gets up. Joker moves towards her.
JOKER (CONT’D)
Da bitch!
Gum grabs Joker’s testicles and discreetly holds him against
the counter.
GUM
You fucking disgust me Joker.
JOKER
(laughs)
Your boy’s going down Gummy girl.
Tell me where he is, it’s cleaner
if I get to him before Mike does.
Gum lets him go.
GUM
Look outside you naff your boss
sells shit drugs to desperate
junkies and filthy whores. I build
the projects where they live, cheap
just so they can afford it. You
should thank me.
JOKER
Hey I’m trying to help here.
Joker recomposes, Gum grabs her drink and despises him.
JOKER (CONT’D)
What a shame.

28.

JULIO
You believe the Architect can buy
oranges at the grocery and arrive
home safely to drink the juice.
That ain’t a reality and he will
suffer, ‘cause Victor doesn’t have
any control over Mike.
GUM
(laughs)
For all I know Victor hasn’t got
any control over anything, neither
do you two faggots.
(beat)
Tonight I’ll go home and I’ll make
my boy his juice and then I’ll shag
him and -- you know what Julio? -I’ll do it just to prove a fucking
point, such a lively person he is.
Then I light a cigarette, take a
drag and puff, who are you again? I
have no clue.
Joker is obviously loving the sex remarks.
JULIO
(fake laugh)
You should know darling once the
Architect stops being a myth, once
he becomes the normal geezer I know
he is, it’s going to be the most
disappointing for you.
Gum flips them the middle finger.
GUM
This will be fun while you make it
last lads.
Gum leaves the coffeehouse.
Waitress Marla puts the breakfast on the counter.
Julio grabs his milk-shake and goes to the window, he watches
Gum crossing the street.
Outside is the East End by the Thames, poor but developing,
new buildings rising everywhere will make it the new
industrial corner of London.
Gum walks to the construction site, says something inaudible
to Master Phil, gets in the car that leaves.
Julio watches it, Joker is by his side holding his breakfast,
shewing a bacon slice.
JOKER
What a foul mouth.

29.

Julio heads to the exit. Joker seats down getting ready to
continue his meal.
JULIO
And what are you doing?
JOKER
I’m -- hum -- I’m having my
breakfast champ Marla didn’t
impress but I’m starving.
JULIO
I think the enormous curiosity
about Gum being here should be
first place in our list of concerns
don’t you agree?
JOKER
What does that mean?
JULIO
It means your starvation just got
down the fucking ranking you tard.
JOKER
Nice.
Joker gets up and they leave.
INT. PRIVATE SCHOOL - HALLWAY - DAY
It’s lunch hour and the students fill the hallway on their
way to the cantina.
INT. STEVE’S CLASSROOM - DAY
Steve is at his desk, looks like he is glued to it, his face
is red and mouth salivating. Matt enters surprising him.
MATT
Hey teacher.
STEVE FASSBENDER
(whispers)
Fuck.
(to Matt)
Matt. Shouldn’t you be in the
cafeteria?
MATT
I should. I’m here instead. I went
to the place where you set our
meeting...
STEVE FASSBENDER
Yes?

30.

MATT
It’s an elders club.
STEVE FASSBENDER
I know, nice huh?
MATT
I’m eighteen years old.
Steve spreads random sheets on the desk.
STEVE FASSBENDER
Grow up then -(gets more nervous)
-- Don’t, don’t come with changes
and -- do not come to me with that.
MATT
Well I don’t agree with the fucking
place and that’s more than enough
reasons to change it.
STEVE FASSBENDER
No it isn’t.
MATT
We change the fucking place now.
STEVE FASSBENDER
Oi, the language.
Matt gets closer to the desk.
MATT
You sure look tense.
STEVE FASSBENDER
I look nothing!
MATT
Is if something -- or someone -- is
sucking your attention elsewhere.
STEVE FASSBENDER
There is no suction of any kind
happening I refuse to do any
arrangements before lunch.
MATT
(laughs)
What kind of a rule is that?
Steve can’t move properly, something’s happening beneath.
STEVE FASSBENDER
Just give me five minutes.

31.

MATT
That long?
STEVE FASSBENDER
Five fucking minutes Matt.
MATT
The hypocrisy is indeed high.
STEVE FASSBENDER
Hey I’m sorry -MATT
Bollocks. You ain’t a bit sorry
Teacher Steve.
STEVE FASSBENDER
Hey!
MATT
Alright you are sorry or -(beat)
-- oh my you’re not getting a
blowjob with the door unlocked are
you? Ups. Oh no I know. Put your
pants up we need to talk teacher.
Steve steps back and after a brief jumble beneath his desk a
GIRL STUDENT appears and runs towards the exit.
ORAL SEX GIRL
(to Matt)
Wanker.
MATT
(to Oral Sex Girl)
That’s just inappropriate.
(to Steve)
Awkward aye?
STEVE FASSBENDER
Jesus...
MATT
You’re not flunking that one that’s
for sure.
(beat)
Anyway I heard you chemistry geeks
have a school trip coming.
STEVE FASSBENDER
So?
MATT
You don’t get one in between the
lines do you? Get my name on that
bus, get your butt there too.

32.

STEVE FASSBENDER
Alright, alright fuck off now.
MATT
(laughs)
What’s up with the swear words?
INT. OLD WAREHOUSE - DAY
The huge warehouse door open. British Mike goes inside.
There are card boxes everywhere up one floor high but also
generators, scissor lifters, two telehandlers, industrial
ladders, dollies, etc. It’s been a long time for him.
EXT. OLD WAREHOUSE - CONTINUOUS
British Mike drives the car inside.
The Thames runs nearby the warehouse, the area is industrial,
loads of smoke in the air. Surrounded by a barbed wire fence,
with the exception of the check-in house at the gate is new.
INT. COSTUME SHOP - STORE ROOM - DAY
Gradlad Jeff and Chris enter the shop.
They stop, look around and start walking their way past the
maze of originally designed costumes.
GRADLAD
What people tend to look for lads -and we shall follow -- is something
based on the fictionalized portrait
of heists in film. What I mean is
we aren’t here for the momma’s
socks, we want cool. Not Michael
Caine cool, that guy is just too
much violence too little mask. No
lads. What’s enough cool, not too
cool, our cool. What do we want?
CHRIS
We don’t want to be recognized is
what we want.
GRADLAD
Coolness mate, is a side effect, it
comes in the disguise package.
They pass by a television, Chris stops and looks it as the
others continue.
They pass by the masks of some U.S.A. Presidents.

33.

GRADLAD (CONT’D)
Well is that obvious how hard it is
to maintain a dress code doing this
sort of job, the only thing missing
are the clowns. And I’m sure they
are around somewhere.
Jeff stops and looks up on a shelve, Gradlad does too.
JEFF
(laughs)
Bruv how insane is that one? I like
it for a fact!
They’re both looking up to something out of sight.
GRADLAD
That’s good Jeff, it’s actually a
bloody good choice mate.
JEFF
Is philosophical innit?
GRADLAD
It’s Arthur C. Clarke, it’s
Kubrick, the space odyssey of the
East End.
CHRIS (O.S.)
Hey Aristotle -Gradlad and Jeff turn to Chris still by the television.
CHRIS (CONT’D)
How about some pragmatism?
The song “Little Green Bag” comes from the television.
TELEVISION’S POV - GRADLAD, JEFF AND CHRIS LOOK AT THE
SCREEN.
JEFF
Uou nice bruv.
GRADLAD
Lovely piece of cinematography.
INT. PRIVATE SCHOOL - HALLWAY - AFTERNOON
Among the crowd Matt walks followed by his posh gang composed
by GABRIEL, ANNA, CYNTHIA and a big guy nicknamed NUN.
MATT
Truth is nowadays I’m loving
chemicals.

34.

He’s the leader, greeting several students along the way.
ANNA
Garbage is not a chemical is it
Cynthia? They’re punishing you for
somethin’ Matthew.
CYNTHIA
It’s what they do to boys of good
like you Matt taking you to filthy
places like that. Disgusting.
MATT
I’m a cultured lad in need for some
education ladies please.
Matt high-fives Nun and spots a student named KYLE looking in
his direction. He grabs something out of his pocket.
MATT (CONT’D)
Kyle ma boy.
In a fast gesture Matt hands Kyle a small bag of cocaine.
MATT (CONT’D)
Stay cool mate.
Matt walks a bit further until black-skin hand stops him.
It belongs to STEFAN, who’s followed by his GANG.
Tell me
a queer
hallway
believe

STEFAN
this Moran, if your dad was
would you suck dick in the
as well? I don’t fucking
you would, would ya?

GABRIEL
(to Anna and Cynthia)
Shit the coppers are here.
MATT
I assume you went rethorical there
right? Well I don’t Stefan and
that’s why when I told ya to fuck
off the last time I meant it in a
permanent basis mate.
STEFAN
Stop dealin' awer I’ll show yew how
funny I am.
In the hallway STUDENTS gather around them.
NUN
(to the crowd)
Alright listen.

35.

Nun gets between Matt and Stefan.
NUN (CONT’D)
(to Stefan)
I’ll kick yours, your mate’s and
your cunty girlfriend’s ass if you
don’t get the fuck out of the way.
EXT. PRIVATE SCHOOL - LUNCH COURT - MOMENTS LATER
Stefan throws Nun from inside the building to the ground.
Students gather outside, Matt follows behind Gabriel as they
step into the middle of the crowd.
GABRIEL
Let’s talk like civilized people
here Stefan. This’ a bit unfair.
STEFAN
Thee wan' ter talk? You stop
dealin' dis shit inside da school.
MATT
This is persecution you fucking
maniac it’s discrimination, racism
my friend.
STEFAN
Say whut?
ANNA
You all are so childish.
Stefan seems to have the same opinion.
STEFAN
Come and talk then. Come.
They walk to the other side of a wooden wall covered by vine.
STEFAN (CONT’D)
Your father can’t 'elp yew if I
call da cozzers on yew an' I’ll do
that. Thee listen?
MATT
Look. If we’re being serious and
all, I’m not gonna lie alright?
We’re honest here.
STEFAN
Yeah.
MATT
Okay. So -(long pause and then fast)
(MORE)

36.
MATT (CONT'D)
-- Three months ago I shagged
Felicia behind the gymnasium. I’m
sorry.

STEFAN
That’s my girl.
MATT
Hey it happens.
STEFAN
You mother -British Mike appears out of nowhere, grabs Stefan’s arm and
throws him against the wall. His arm breaks. Stefan screams.
MATT
What the -INT. CAR (PARKED) - MOMENTS LATER
British Mike and Matt get in.
MATT
All the animosity...
British Mike takes his gun from under the seat.
MATT (CONT’D)
You’re resourceful alright.
BRITISH MIKE
Have you been dealing narcotics?
MATT
Those are daddy’s issues I’m not
allowed to talk about them.
British Mike discreetly grabs the transmitter in the jacket.
MATT (CONT’D)
What you doing?
BRITISH MIKE
Your outfit needs to be washed more
often.
MATT
Oh thank-you-the-fucking-much.
INT. ARCHITECT PENTHOUSE - BEDROOM - NIGHT
The Architect is in bed with a pile of newspapers by his side
that he has been devouring for the last hour.

37.

Gum is in the bathroom, unseen. The bedroom, like his office,
is simplistic but full of modern art and a POSTER of Al
Pacino as Tony Montana in “Scarface”.
ARCHITECT
Come to bed babe.
GUM (O.S.)
Are you finished?
ARCHITECT
Yes I am darling.
He finishes reading. Gum enters, face covered in cream.
(laughs)
You’re missing the cucumber.
Cucumber, cucumber.
GUM
Have you heard of British Mike?
ARCHITECT
(surprised)
I do not expect he’ll send me any
letters you know.
Gum waits for an answer.
Talking about stuff like that drops
our level of happiness to the
common folks’ Gum please...
GUM
His sentence ended this week.
ARCHITECT
Aw I didn’t know that no just...
(reflects)
Don’t worry about it.
GUM
Yeah maybe a little bit.
ARCHITECT
Love as long as Victor has a leash
on him you don’t -- at all.
GUM
I don’t like your vibe it’s totally
reckless is not yours.
ARCHITECT
(East End like persona)
Reckless? What am I doin’ here huh?
(MORE)

38.
ARCHITECT (CONT'D)
For ten years I have 'ad da most
disgustin' bastards known in London
lookin' fer me to kindly deliver me
body to my funeral, a ceremony
beautifully organized by a cunt
who’s criminal organization I’m
about ter bring down. I am not
reckless of caahrse I’m ambitious
but I'll not allow my efforts to be
in vain because ov a rabies-filled
berk.

Gum is more than proud of her man. The Architect calms down.
I will talk with Christopher.
GUM
Good.
Gum goes to the bathroom. The Architect reveals his true
preoccupation once she leaves.
GUM (O.S.) (CONT’D)
What was all that “happiness” talk
about baby? We are top level.
EXT. GRADLAD’S MOM HOUSE - MORNING
Gradlad, Jeff and Chris hold chimpanzee masks but look fancy
in black suits. Chris struggles to put his mask on.
JEFF
The bloody seam bruv, shit.
GRADLAD
Just wait for it Jeff.
(to Chris)
Really you and my bruvver used to
take a cab to this kind of thing?
CHRIS
I don’t know.
GRADLAD
I do. You didn’t. Why? Escape is if
not a certainty a possibility.
TWO TAXIS park in front of them.
CHRIS
I guess times have changed.
A MAN exits the first taxi.

39.

GRADLAD
(surprised)
They did indeed.
It is the Architect, he carries flowers and bread.
ARCHITECT
You lads look fancy.
JEFF
Trust. Looking proper fit just like
you Architect.
ARCHITECT
That’s how we do it mate.
GRADLAD
Bruv come to visit ma’ did ya?
ARCHITECT
I came here to go rethorical on you
quitting your job little brother.
So -- what the fuck?
GRADLAD
Right about that -CHRIS
You two can do that later.
ARCHITECT
Oh we’re all in a hurry are we?
CHRIS
Yeah Architect we are.
ARCHITECT
Too bad I need to speak wiv’ you as
well Christopher so lets step
inside and have a nice cup of tea.
JEFF
(laughs)
The way you talk bruvver is just
hilarious soap opera-like innit?
In the back of the SECOND TAXI are TWO SECURITY GUARDS.
JEFF (CONT’D)
And this blokes I never noticed
them before are they new.
Gradlad goes to the first taxi.
ARCHITECT
Yes straight from the shop Jeff.
(to Gradlad)
(MORE)

40.
ARCHITECT (CONT'D)
Is there anything else I should
know about, Henry?

GRADLAD
Well Marlon one of the perks of
being you is that you already know
everything innit?
ARCHITECT
Hey -- that’s correct. Now you
three lads are going somewhere I’m
not liking it and I tend to respect
my opinion very highly so...
GRADLAD
That’s what Chris is for he
protects the family no?
ARCHITECT
(to Chris)
Oh yeah? And what fucking chemical
accident gave you that superpower?
CHRIS
I’ll take care of them.
Gradlad and Chris enter the taxi.
GRADLAD
Are you coming mate?
Jeff runs and enters the taxi.
JEFF
You need to chill wiv’ us more bruv
don’t you get tired of being the
Architect all the time?
The taxi drives away. From the door up the stairs comes a
traditional HOUSEWIFE, Gradlad and the Architect’s moter.
GRADLAD’S MOM
Marlon my baby come on in. Missed
you so much.
The Architect gives a last look to the taxi and walks up.
INT. OLD WAREHOUSE - MORNING
Lights everywhere turn on one by one.
CUT TO:
Up on a scissor lift British Mike makes an inventory of the
card boxes. He looks at a SECURITY CAMERA, it’s offline.
CUT TO:

41.

British Mike sticks a knife in one of the boxes and cocaine
pours out of it. The short distance between the entrance and
the drugs don’t seem to please him.
INT. OLD WAREHOUSE - OFFICE - MORNING
British Mike is on his knees connecting cables beneath the
table with the SECURITY-CAMERA SCREENS.
CUT TO:
British Mike pours whiskey into a half-filled cup of coffee
and turns on the SCREENS. He can see allover the warehouse,
from all angles.
CUT TO:
British Mike uses the paper shredder to get rid of documents.
EXT. PRIVATE SCHOOL - ENTRANCE - MORNING
A group of 40 STUDENTS is ready to enter a green, 50’s style
SCHOOL BUS. By the bus are Steve and another teacher, EILEEN.
EILEEN
Everyone’s here. Let’s start
getting them in.
(to the students)
Everybody please step inside the
bus. Let’s go c’mon.
The students start getting in an Steve pretends to count them
as they do. Soon Matt is next in line to go in.
MATT
I’m so excited teacher.
STEVE FASSBENDER
Try to be a nice social boy don’t
let their knowledge scary you.
There’s an awkward pause and stare.
STEVE FASSBENDER (CONT’D)
I mean have fun.
Matt steps inside.
EILEEN
(to Steve)
Are the numbers matching?
STEVE FASSBENDER
I -(has no idea)
-- They are, they are.

42.

EXT. LONDON STREETS - MORNING
VARIOUS SHOTS: BUS ON ITS WAY THROUGH THE STREETS OF LONDON.
British Mike reaches inside the Julio’s car. He turns on the
radio and synchronizes it until the sound of a crowd in a
moving vehicle is heard.
INT. THE GREEN BUS (MOVING) - MORNING
Steve is seated at the front besides Eileen who’s reading the
newspaper. He stands up and watches over the students.
Steve’s eyes meet Matt’s. He’s uncomfortable, Matt’s not.
Steve sits down, he can’t disguise his nerves.
Standing next to the car British Mike listens to the radio.
STUDENT VOICE #1 (O.S.)
(over radio)
... and he’s left-handed of all
things with the exams coming...
STUDENT VOICE #2 (O.S.)
(over radio)
Yop that and masturbating, it’s a
bummer.
The Student Voice #2 is clearly Matt’s.
INT. THE GREEN BUS (MOVING) - MORNING - CONTINUOUS
INSERT: The small MECHANICAL DEVICE in Matt’s collar.
Seated next to Matt is a nerdy boy called QUENTIN.
QUENTIN
A fella gotta pay attention, can’t
keep tripping and breaking arms
like that is just not right.
MATT
Gravity mate who knows? Newton did
but he’s not here anymore is he?
INT. CAR - MORNING
British Mike parks the car in the back of the warehouse.

43.

EXT. OLD WAREHOUSE - BACKYARD - CONTINUOUS
He gets out, turns off the radio, cocks the gun and goes
inside.
EXT. OLD WAREHOUSE - MOMENTS LATER
Steve gives instructions to the BUS DRIVER who’s reversing
the bus into the warehouse’s grounds. The students gather in
front of the Thames City Depot Factory.
STEVE FASSBENDER
Yes, come, come, come on. You’ve
got space.
BUS DRIVER
I think that’s private property.
STEVE FASSBENDER
It’s a homeless shelter, homeless
don’t have the concept of property.
Eileen appears.
EILEEN
Do you have your permit Steve?
STEVE FASSBENDER
(to the driver)
For God’s sake just leave it here.
(to Eileen)
I got it.
EILEEN
Excellent. We’re going in, count
them and -- you’re in charge.
The Bus Driver gets out of the bus.
STEVE FASSBENDER
No.
Steve takes a cigarette out.
Need to get used to the stink. I’ll
meet you inside Eileen.
EILEEN
Oh, okay.
Eileen walks away.
BUS DRIVER
Is it enough?
Steve grabs his briefcase and walks to the warehouse.

44.

STEVE FASSBENDER
Yeah it’s alright.
BUS DRIVER
The keys are inside, you’re in
charge, if there’s a ticket it’s
yours.
STEVE FASSBENDER
Don’t worry you cheap bastard.
EXT. OLD WAREHOUSE - LEFT SIDE - MOMENTS LATER
Steve is calmer but walks alert and then --- He jumps back as SOMEONE comes laughing out of the
warehouse’s corner. It’s Matt, he is urinating.
STEVE FASSBENDER
Do you wanna give me a heart attack
you twit?
MATT
That would be fun to explain
afterwards so no.
Matt walks to the door nearby.
MATT (CONT’D)
Alright!
INT. OLD WAREHOUSE - OFFICE HALL - DAY
Matt and Steve walk in. Matt’s backpack is on the floor
surrounded by 3 BIG COCAINE PACKAGES.
STEVE FASSBENDER
How long is that gonna last me?
MATT
That depends on how much of a
junkie you are.
Matt goes to the office and -MATT (CONT’D)
Bu’ you don’t look much like
anything so I guess you’re sa --- POW! Before he goes in SOMEONE hits him in the head with a
gun. Matt falls unconscious on the floor.
STEVE FASSBENDER
What the fuck?

45.

EXT. OLD WAREHOUSE - DAY
Gradlad, Jeff and Chris, with the chimpanzee masks on, stare
at the warehouse.
CUT TO:
They pass by the OPEN green bus.
JEFF
Look at that bruv I never been
inside one before.
CHRIS
You need to go to school for that.
INT. OLD WAREHOUSE - MOMENTS LATER
They walk by the card boxes. Jeff stops. Chris takes a gun
out of his trousers.
CHRIS
(to Gradlad)
Let them see the gun before they
see you.
GRADLAD
I don’t need a pistol mate -(points to the head)
-- I got this.
CHRIS
That will end up spread all over if
things don’t go as planned.
GRADLAD
Pessimist points of view tend not
to be realistic Christopher.
CHRIS
You need to be safe.
GRADLAD
I’m not John Wayne mate, you are.
I’ll do it the Woody Allen way,
talking.
CHRIS
Ok fuck it.
GRADLAD
Sound. Keep guard Jeff.
JEFF
Alright bruv. What do I do if I see
a local?

46.

CHRIS
You -Chris looks at Gradlad, they have no clue.
GRADLAD
Just scream like a little girl that
will be recognizable.
CHRIS
Let’s roll.
Gradlad and Chris put their masks on and disappear in the
office’s direction.
Jeff walks and looks around. He gets immediately bored, makes
a joint but drops it on the floor by the card boxes.
Jeff picks up the joint, seats on the boxes and puts his mask
on. As he lights the joint the boxes crush a bit with his
weight and from inside, right through the middle of Jeff’s
legs, comes a nice flow of cocaine.
INT. OLD WAREHOUSE - OFFICE HALL - DAY
British Mike reveals himself from inside the office.
STEVE FASSBENDER
Jesus Christ who the fuck are you?
Do you know who that is? Have you
any idea what trouble are you -BRITISH MIKE
Be quiet.
British Mike points the gun at Steve and checks the cocaine.
BRITISH MIKE (CONT’D)
How much do you have here?
STEVE FASSBENDER
I -- a lot.
BRITISH MIKE
Well this is a robbery. I request
that you hand me all your
belongings. I’ll also keep the
drugs.
STEVE FASSBENDER
You can have my wallet.
BRITISH MIKE
If you don’t oblige I’ll shoot you.
A noise comes from inside the warehouse.

47.

BRITISH MIKE (CONT’D)
You’re not alone.
Steve’s almost crying.
STEVE FASSBENDER
I was -- I mean, I was with him.
British Mike guards the gun in his trousers, puts the cocaine
inside the backpack and grabs Steve’s briefcase.
BRITISH MIKE
Do you know who I am?
STEVE FASSBENDER
I don’t -- Should I?
BRITISH MIKE
No. Do not steal from the warehouse
they have cameras here. This harm
only comes from lack of caution on
your part. Don’t dwell on it.
British Mike prepares to leave.
CHRIS (O.S.)
Okay boys.
Chris shows up gun pointed at Steve. Gradlad follows.
GRADLAD
Let’s pass the mulla to this side
shall we?
British Mike looks at Steve.
STEVE FASSBENDER
No, no, no fuck no I’m not with the
monkeys, I don’t know any monkeys.
BRITISH MIKE
(to Gradlad and Chris)
Do you know who you’re stealing
from?
Chris recognizes British Mike and points the gun at him.
Gradlad gets in the middle of them.
GRADLAD
From the looks of it -- two
jackasses gone wrong.
He notices Matt’s body on the floor.
GRADLAD (CONT’D)
Well three. Now if you please...

48.

BRITISH MIKE
I don’t take shit from anyone
specially monkey dressed yuppies.
CHRIS
The cash and the drugs -- Now.
British Mike reluctantly gives Gradlad the backpack and the
suitcase but slowly moves to grab his gun.
GRADLAD
Indeed we’ll see ourselves around
lads you’ll just have no idea who
we are, that shall be fun. Peace
and love brothers.
Gradlad exits.
BRITISH MIKE
I’ll count on that.
CHRIS
You shut it.
In a fast movement British Mike pulls his gun and BUM! Chris’
shoulder is shot but he falls to the wall and shoots back.
CHRIS (CONT’D)
Fuck me.
INT. OLD WAREHOUSE - CONTINUOUS
Gradlad stoops trying not to get shot. He turns around and
Chris comes running out all bloodied.
INT. THE GREEN BUS (PARKED) - CONTINUOUS
The back seats are all occupied by drug-filled boxes. Jeff
brings another one inside unaware of the noise.
The shots however are too loud not to be heard. Jeff looks
curious to where the sound comes from.
EXT. OLD WAREHOUSE - CONTINUOUS
On the floor by the back of the bus are more boxes.
Gradlad and Chris come running from the warehouse.
JEFF
Hey bruv you won’t believe what I
found.
GRADLAD
Get inside the bus Jeff!

49.

Jeff picks up another box.
JEFF
It’s all fucking chang bruv,
fucking free chisel.
GRADLAD
What?
JEFF
It’s a proper miracle bruv. Sound.
Gradlad jumps inside through the back-door.
GRADLAD
We’re leaving here Jeff just drop
that there -Gradlad only now notices he’s on the bus. Chris shows up.
CHRIS
What is this?
GRADLAD
Have I a fucking clue!
JEFF
It’s a school bus innit?
CHRIS
We’re gonna get shot get your ass
inside.
JEFF
What about these mate?
Chris looks down at the remaining boxes. He realizes how deep
in trouble they are getting into but there’s no time.
CHRIS
Jesus fucking Christ. Get in, just
get in we’re outta here.
GRADLAD
Where are the fucking keys?
JEFF
I have the keys sir!
Jeff throws the box inside and gets in.
Chris takes his mask off and looks at the warehouse.
As the bus drives away British Mike comes outside. Chris
closes the bus back door.

50.

INT. THE GREEN BUS (MOVING) - CONTINUOUS
Chris looks at the boxes spread through the seats. He and
Gradlad look at Jeff who’s relaxed speeding away.
GRADLAD
So are we proper rich or are we
proper fucked?
INT. ROBERTO’S COFFEEHOUSE - RESTROOM - DAY
A police officer in late 30’s dressed washes his hands and
makes strange faces checking his teeth in the mirror.
He is Inspector KARL BRUCE.
INT. ROBERTO’S COFFEEHOUSE - CONTINUOUS
Karl walks to the counter where he meets a TALL GUY wearing a
gabardine.
KARL BRUCE
I’m ready to go.
The WAITER in front of the Tall Guy looks in shock.
KARL BRUCE (CONT’D)
We can go.
Karl steps forward and he too gets surprised.
INSERT: 3 small BAGS OF COCAINE lie on the counter.
Christ what are you doing Harry?
The tall guy is HARRY WESTROCK, 45, an American Inspector
from the Drug Enforcement Administration (DEA).
HARRY WESTROCK
It took you a while in there Karl.
KARL BRUCE
Please Inspector can you -- just -hide the cocaine out of the
public’s eyesight.
HARRY WESTROCK
(points to the left bag)
See here I have bunk.
(center bag)
Old good stuff.
(points to the right)
And the mysterious new crack.

51.

KARL BRUCE
It is a coffeehouse sir you should
have coffee, sugar and a croissant.
WAITER
Can I -- can I get you gentlemen
anything else?
KARL BRUCE
No excuse us.
Harry stands UP.
HARRY WESTROCK
I’m done touring through London.
KARL BRUCE
Not quite yet we still have some
stops to -HARRY WESTROCK
It’s time to give use to those
british cojones Inspector.
KARL BRUCE
Don’t -- don’t curse. I know el
espaniol mucho bieno John Cleese
made an awful job portraying us...
Harry is not only uninterested as he doesn’t understand Karl.
He grabs the “mysterious new crack” bag.
HARRY WESTROCK
I need the source of this Karl.
Harry keeps the other 2 bags. They walk to the exit.
HARRY WESTROCK (CONT’D)
If I want to see the Big Ben,
that’s what postcards are for. I
know this dama branca doesn’t come
from the Buckingham Palace so I
don’t want to see the Buckingham
Palace. Or does the Queen run a
cocaine distribution business?
EXT. ROBERTO’S COFFEEHOUSE - CONTINUOUS
KARL BRUCE
I -- what?
Harry stops.

52.

HARRY WESTROCK
When it comes to drugs you Brits
are trying so hard to compete with
Pakistan I’m surprised how you
still let your women get an educa -On an alley behind Karl there’s a MAN completely drunk
urinating against the wall.
You live in a strange place ‘fella.
KARL BRUCE
(unaware)
Don’t go on criticizing give it
time.
Harry takes his gun out. It’s a huge piece.
Get a bloody brake Harry. Jesus.
HARRY WESTROCK
I need a bad neighbourhood Karl.
KARL BRUCE
Put that away. Let me get the car
I’ll show you what you want to see.
HARRY WESTROCK
Sure.
Karl walks away.
INT. THE GREEN BUS (MOVING) - DAY
Chris is seated. Gradlad holds his wound.
GRADLAD
Iraq man this isn’t fucking Iraq.
Gradlad stands up, his hands all bloodied, he clearly doesn’t
know what to do.
GRADLAD (CONT’D)
This is bollocks.
CHRIS
I need to clean it off. Give me a
towel or somethin’.
GRADLAD
We’re on a bus mate there’s no...
CHRIS
Hey, hey! I’m shot here asshole.

53.

Gradlad looks in between the seats. There are card boxes
everywhere. He takes off his mask.
GRADLAD
This bus doesn’t look like having a
great room service Chris you’ll
have to hold it without a towel.
CHRIS
Just try and find something.
GRADLAD
Great, feels like I’m in a Dali
fucking painting.
Gradlad walks to the front and opens the glove compartment.
JEFF
I don’t know which way to turn.
GRADLAD
Guess what? No towel.
JEFF
See here.
Jeff leans right to the glove compartment taking the wheel in
the same direction. The bus goes right, Gradlad falls back as
do all the boxes.
Jeff takes a dirty towel out.
JEFF (CONT’D)
Yeah I got it.
Gradlad grabs the towel and turns but then stops, shocked.
Chris is covered in white powder (cocaine).
GRADLAD
For fuck’s sake Jeff.
JEFF
I’m lost bruv fo’ real.
Gradlad gives the towel to Chris who stands up.
GRADLAD
The next minute -- we should use it
to do some thinking.
CHRIS
Is this going to get me high? This
ain’t getting me high right?
(worried)
Yes I am, god damn it.

54.

GRADLAD
Hey Tony Montana relax your arse
we’ll use the minute before you go
flying to be rational.
JEFF
Hey guys!
CHRIS
Take the money, take the dope, burn
the bus, get the fuck out of
London. Now that you have my
expertise we need to stop and make
a call.
GRADLAD
Uou, uou, uou. Get out of London?
That’s what the masks are for, be a
monkey for an hour and a Lord for
the rest of your life.
The bus turns suddenly. Furious DRIVERS outside hunk.
GRADLAD (CONT’D)
Be careful bruv!
(to Chris)
I see you trying hard not to have a
“rest of your life” obviously
getting shot wasn’t expected I’m
still wondering how the fuck that
happened but that’s in the past, we
are moving beyond the wound Chris.
JEFF
Am I in the right path bruv?
GRADLAD
I’m positive you are.
(to Chris)
Ok I get you alright? The teacher
didn’t say a word about Hans Gruber
being there.
CHRIS
That was British Mike.
Gradlad recognizes the name.
CHRIS (CONT’D)
We need to stop the bus and call
your brother or tomorrow we’ll be
damn fertilizer and that’s
something neither you or I or even
that pot head ever aspired to be.
GRADLAD
Are we talking about the British
Mike?

55.

Chris looks outside the bus as it passes by a road signal.
INSERT: Road sign is for NO HEAVY VEHICLES TRANSIT.
GRADLAD (CONT’D)
Hey, are we?
JEFF
Fam the Architect told the craziest
tales about that noid bloke aye.
CHRIS
We can’t be here.
JEFF
-- Yeah it’s pret'y crowded.
CHRIS
We can’t be here. Shit.
GRADLAD
I’m sorry if Disneyland is not an
option at the moment Christopher.
Chris gets up and stumbles to the driver’s seat.
CHRIS
We need to go back. Move.
EXT. ALLEY - MORNING
The drunk Pissing Man doesn’t notice Harry approaching.
HARRY WESTROCK
You British are good at that aren’t
you?
He slowly turns his head to Harry.
PISSING MAN
What? Pissing?
HARRY WESTROCK
Yes.
PISSING MAN
I don’t know maybe yeah.
The Pissing Man looks at Harry’s gun and, still urinating,
walks away. He can barely do it out of his drunkenness.
HARRY WESTROCK
It is still a felony, doing it in
public.
PISSING MAN
It doesn’t last long officer.

56.

HARRY WESTROCK
I’m sure it doesn’t.
A wallet falls from the man’s pocket. BEAT. Another wallet
falls. Harry smiles at the Pissing Man, it’s bad luck.
I bet you’re wondering how you got
yourself in this situation. Drunk,
holding your precious and having a
night’s work being pissed on by not
only yourself but also me, a cop.
PISSING MAN
I’m sorry. I can’t stop.
Harry grabs his handcuffs.
HARRY WESTROCK
I understand.
EXT. KARL’S POLICE CAR - DAY
Karl opens the car but is distracted by the confusion at the
end of the street. It’s a tight and busy street.
Karl looks at where an old, green bus comes causing havoc.
KARL BRUCE
Now look at that.
Karl walks to the other side of the street.
INT. THE GREEN BUS (MOVING) - DAY
Gradlad and Jeff are next to Chris who drives the bus.
GRADLAD
You’re doing alright Christopher.
CHRIS
That’s easy to say.
GRADLAD
Give me the fucking wheel then.
CHRIS
Do you know what happens if a cop
stops us? What are you gonna say
that we’re bakers? We don’t look
like fucking bakers Gradlad and
that ain’t flour.
GRADLAD
Well I’m trying to be the
motivational force here.

57.

JEFF
Look there’s a bloke on the street.
GRADLAD
Ah shit, that’s a bloody cozzer.
CHRIS
God damn it.
GRADLAD
Just stay cool.
Karl waves his arms. The bus slows down in front of him.
EXT. STREET #1 - CONTINUOUS
The bus stops ahead of a MEAT DELIVERY VAN.
The doors open and Karl is greeted by 3 guys in black suits
wearing chimpanzee masks. He gives no importance to that.
KARL BRUCE
Morning gentlemen.
GRADLAD
Morning.
KARL BRUCE
May you step down so we can have a
word -- face to face -- sir.
Gradlad steps down to the street.
You realize it is not permitted to
drive vehicles over a certain
tonnage in this particular street.
GRADLAD
I don’t. We are not from around so.
KARL BRUCE
You sound like you are.
(to Chris)
Excuse me. Can you see properly
with the mask on?
GRADLAD
Ma mate can see fine.
KARL BRUCE
You didn’t spot though the sign
back there.
GRADLAD
We didn’t no, a momentary
distraction.

58.

KARL BRUCE
Distracted by your monkey business.
Karl laughs, Gradlad starts laughing too and so does Jeff. A
laud, fake laugh that is suddenly stopped by -KARL BRUCE (CONT’D)
I’ll have to pass you a ticket
anyway.
Karl grabs his ticket pad.
License and registration please.
JEFF
I don’t have mine wiv’ me.
KARL BRUCE
Not yours.
(points to Chris)
His.
JEFF
We came by taxi.
KARL BRUCE
Excuse me?
GRADLAD
What my friend’s trying to say is -(turns to Chris)
You don’t have your license there
do you?
Chris shakes his head negatively.
GRADLAD (CONT’D)
We are driving the vehicle
somewhere, to someone -KARL BRUCE
So is not yours.
GRADLAD
Well it is for the moment.
KARL BRUCE
Is not legally yours.
Jeff appears in front of Gradlad.
JEFF
It’s a carnival thing bruv.
Gradlad can’t believe what Jeff said. Karl’s not convinced.

59.

KARL BRUCE
Lets open the boot please.
JEFF
Don’t you ‘no what carnival is man?
Like Rio de Janeiro groove.
KARL BRUCE
I admit I enjoy a little samba
myself son.
GRADLAD
(knows he’s screwed)
That’s not the point officer, think
of the little children.
TWO DELIVERY GUYS take the meat from the van to the butchery.
GRADLAD (CONT’D)
Officer the door is kinda stuck.
KARL BRUCE
I have just the trick.
Karl puts his shoulder against the door and starts pulling it
out. Gradlad looks at Jeff. They are done.
There we go.
Karl finally opens the door revealing Chris standing inside.
CHRIS
Hi.
Chris jumps out and punches Karl in the nose.
CHRIS (CONT’D)
Grab him.
GRADLAD
I don’t fucking want to!

KARL BRUCE
Hey, you are under --

Chris grabs Karl’s handcuffs and Jeff’s mask. Karl has a
glimpse of Jeff’s face before Chris puts the mask over him.
Chris handcuffs Karl to the inside of the meat delivery truck
door.
KARL BRUCE
This is not happening!
JEFF
The fed’s stating facts bruv!
CHRIS
Let’s go.

60.

GRADLAD
This ain’t fucking Goodfellas
Chris. Shit.
Chris gives a long, serious look at Gradlad and closes the
van door with Karl inside.
KARL BRUCE (O.S.)
Hey! Wait.
INT. THE GREEN BUS (MOVING) - MOMENTS LATER
Gradlad’s driving, Chris besides him, Jeff’s making a joint.
GRADLAD
What do we do now?
CHRIS
(stoned)
Just follow the thing -mean the road. Shit.

Shit I

Joker is inside Julio’s car. Julio comes from the mansion.
Julio goes for the driver’s seat.
JOKER
This is fucking bollocks I never
get to go into the office.
JULIO
Yeah I’m surprised how he lets you
use loo.
JOKER
And -JULIO
We are meeting Mike there and.
(smells something)
Did you just backfire?
JOKER
Why the fuck would I do that?
EXT. JULIO’S CAR - CONTINUOUS
Julio starts the car --

61.

JULIO
It stinks in here I don’t want you
passing fucking gas on my fucking
car is that fucking clear?
-- And drives away.
JOKER (O.S.)
I didn’t fart you just don’t wash
it as often as you should.
EXT. OLD WAREHOUSE - POLICE VAN - DAY
There’s a big fuss around the place. Steve is seated in the
back of a police van surrounded by POLICE OFFICERS.
The STUDENTS gather where the bus was previously. They are
all pretty calm but Eileen is freaking out.
Harry arrives and stares at Steve.
HARRY WESTROCK
Let me get this straight you went
to urinate by the warehouse...
(to the Police Officers)
‘Cause you brits don’t seem to ever
have heard of toilets.
(back to Steve)
And there you found the student
Matt Moran doing what?
STEVE FASSBENDER
He was -- huh -- he was peeing.
HARRY WESTROCK
Right. Then you were attacked by
two individuals in monkey costumes.
STEVE FASSBENDER
Yes, masks, monkey masks but -that’s correct.
HARRY WESTROCK
Urinating victims and monkey mask
wearing bad guy’s. Just another
typical day I guess.
(to the Police Officers)
Do we have the warrant yet?
FEMALE POLICE OFFICER
We’re still trying to figure out
who owns the building sir.
HARRY WESTROCK
Okay.
MALE POLICE OFFICER #1 shows up.

62.

MALE POLICE OFFICER #1
Inspector Westrock we found him.
A police car arrives with Karl in the back seat.
HARRY WESTROCK
Thanks for the ride bud.
KARL BRUCE
I was assaulted by a carnival
troupe.
HARRY WESTROCK
Great were they wearing monkey
masks too?
KARL BRUCE
Yeah, how do you know?
CUT TO:
Alongside Karl, Harry shows Steve the chimpanzee mask.
HARRY WESTROCK
Do you recognize this?
STEVE FASSBENDER
It’s a chimpanzee mask.
KARL BRUCE
Do you know a man called Duane
Shields?
STEVE FASSBENDER
Duane? You mean Jeff.
KARL BRUCE
The drug dealer.
STEVE FASSBENDER
(busted and nervous)
I know him kind of in a way -hello, goodbye thing.
KARL BRUCE
(to Harry)
There, Jeff lives in a bad
neighbourhood.
Harry looks finally pleased.
INT. GAS STATION - PHONE BOOTH - DAY
Chris is high out of his mind, the green bus is nowhere to be
seen. Gradlad stands outside.

63.

CHRIS
(into phone)
Fucking British Mike fuck.
INT. ARCHITECT FIRM - MARLON’S OFFICE - DAY
The Architect is incredulous at the phone with Chris.
ARCHITECT
(into phone)
Fantastic the guy hasn’t been out
for a month he’s already after us.
Did he see my brother?
INTERCUT WITH THE PHONE BOOTH.
CHRIS
(into phone)
No man he didn’t, he didn’t know it
was us either. Shot me by chance.
ARCHITECT
(into phone)
What the fuck is wrong with your
voice?
CHRIS
(into phone)
They -- I’m covered in blow, no
it’s flair a whole box it.
ARCHITECT
(into phone)
What? Listen to me Christopher if
somethin’ happens to my brother
I’ll have your ass expatriated.
CHRIS
(into phone)
Hey the cop saw Jeff’s mug he’s
going to jail! So you -- you -- you
go ahhhhh.
ARCHITECT
(into phone)
My brother got a Ph.D in economics
to get away from this shit -robbing people dressed as a monkey!
CHRIS
(into phone)
Jeff’s screwed I need you to clean
his place. I’m listening to pink
and -- you can’t hear a color -but I am. Like a kite!

64.

ARCHITECT
(into phone)
You better start believing in some
sort of God Chris. Wait for my
call.
The Architect hangs up the phone.
EXT. HIGHWAY - DAY
Gradlad and Chris walk to the bus in the distance.
INT. JULIO’S CAR - DAY
Julio, Joker and British Mike in the back seat observe Steve
walking away from the warehouse.
EXT. OLD WAREHOUSE STREET - MOMENTS LATER
As Steve walks Julio appears in front of him and from the
behind Joker puts a bag on Steve’s head.
INT. GARAGE - DAY
STEVE’S POV: the bag is taken from his head.
It reveals Julio and Joker. Steve takes a good look at them.
STEVE FASSBENDER
Oh dear God...
Joker takes out a knife.
JULIO
What are you doing?
JOKER
Old school mate.
JULIO
That won’t be needed.
(to Steve)
Steve my boss is very unhappy and
his son isn’t happy either.
STEVE FASSBENDER
Do I look happy to you?
JULIO
No one’s happy then.
JOKER
What hand do you write wiv´?

65.

Steve frees his hands from the poorly tied rope and flips the
bird to Joker.
STEVE FASSBENDER
This one.
JOKER
(to Julio)
Isn’t he mad as hell, not able to
take it anymore aye?
(to Steve)
Alright that one goes first.
Joker grabs Steve’s left hand.
JULIO
Calm down.
(to Steve)
Just tell us who took the drugs.
Steve starts crying. Joker lets go and smiles sadistically at
Julio. British Mike is revealed to be behind Steve.
JULIO (CONT’D)
Hey I have as much patient as I
have stolen drugs do you hear?
STEVE FASSBENDER
(sobbing)
Shit I don’t know. First came this
guy and then these other guys.
JULIO
Do I look like a want a description
of a fudge packer’s orgy?
STEVE FASSBENDER
They just started shooting at each
other!
Julio looks at British Mike. They aren’t getting anywhere.
Then the police came they are after
my only fucking connection I mean
I’m a teacher for God’s sake do you
know how much I make a month?
JULIO
Be so kind and give us a name
please.
JOKER
Slice, slice mothafucka’!
STEVE FASSBENDER
You know him, you know, is Jeff.

66.

JULIO
I fucking don’t.
British Mike puts the bag over his head -STEVE FASSBENDER
Please! I’m telling the
truth!

JOKER
Should I stab him?

-- and knocks him out.
BRITISH MIKE
No.
JOKER
Just a little bit.
BRITISH MIKE
We know that name.
JULIO
He’s not on my books.
(to Joker)
Jeff doesn’t ring a bell does it?
BRITISH MIKE
Well it should.
JOKER
Oh shit I know. He’s mates with -oh shit, shit, Henry fucking Sykes.
Julio stares at British Mike has he realizes that -JULIO
The Architect’s kid brother? That
doesn’t make a fucking bit of
sense.
BRITISH MIKE
Blood line what do you know?
JULIO
I know I don’t believe in big fat
coincidences that’s what I know.
BRITISH MIKE
It’s fine I’ll pay him a visit.
JULIO
(laughs)
Do you think the Architect will
allow you to touch his family? Mike
buddy if you were a rash he would
not use lotion to get rid of you he
would cut his fucking arm off to
guarantee you’d never come back.

67.

BRITISH MIKE
Is good to know he has a place for
me in his heart.
JULIO
Joker is going with you.
JOKER
I don’t want to go with him!
JULIO
I’ll get Ron. We meet here later.
British Mike and Joker walk out.
JOKER
Fairness mate, fairness and the
lack of it.
INT. TAXI (MOVING) - DAY
The Architect is on the back seat.
INT. POLICE CAR (MOVING) - DAY
Karl drives, Harry is on the passenger's seat.
INT. JOKER’S CAR (MOVING) - DAY
Joker drives, British Mike is on the passenger's seat.
EXT. LONDON STREETS - DAY
SEVERAL SHOTS OF THE 3 VEHICLES IN THE STREETS OF LONDON.
EXT. JEFF’S APARTMENT BUILDING - DAY
The Architect exits the taxi and walks into an old, yellowish
apartment building.
INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR CORRIDOR - DAY
The Architect stops at the door numbered “8”. He knocks,
waits, looks around and grabs a key from the water meter.
INT. JEFF’S APARTMENT BUILDING - POLICE CAR - DAY
Karl shuts down the engine.
HARRY WESTROCK
Are you going in?

68.

KARL BRUCE
(nervous)
Me? I thought you were.
HARRY WESTROCK
Don’t let no one steal the car.
Harry gets out and walks into the building.
INT. JEFF’S APARTMENT - DAY
The Architect walks around the tiny studio apartment through
the sheets, pillows and plates on the floor. He gets to the
kitchen corner and opens the drawers until his attention goes
to the entrance, left open, from where Harry comes.
The Architect and Harry look at each other. They’re strangers
but have more in common than meets the eye and they know it.
HARRY WESTROCK
Duane Shields?
The Architect smiles, Harry is a foreigner, an ignorant.
ARCHITECT
No I’m not Duane.
HARRY WESTROCK
My name is Harry Westrock I’m with
the United States Drug Enforcement
Administration...
The Architect is cool. Harry shows his I.D.
Is Duane around?
ARCHITECT
You’re a long way from home mate
but Duane is not here.
Harry inspects the apartment only using his eyes.
HARRY WESTROCK
Do you know if he’s coming home
anytime soon?
ARCHITECT
I know he isn’t.
HARRY WESTROCK
Listen I need a warrant to search
this place, since none of us lives
here I’ll just walk around, let’s
make it like I wanna buy it.
(beat)
Is that alright with you pal?

69.

ARQUITECT
It is your house as much as it is
mine Inspector.
HARRY WESTROCK
Good.
Harry starts slowly walking around the studio.
British Mike and Joker walk along the pavement and enter the
building. On the other side of the street Karl is distracted
checking his teeth in the rear-view mirror.
The Architect makes coffee.
ARQUITECT
Funny thing about America you give
yahr 'and fer a shake and receive a
good deal attached to a bad case of
diabetes. I worked there for a
while myself and the only thing I
really loved were the films. I
could see 'em 'ere but there it
feels right. See a western where a
western is from, it’s only natural.
Do you fancy cinema Inspector?
INT. JEFF’S APARTMENT - BEDROOM - DAY
There’s only a bed and a nighstand inside. The floor is
filled with dirty clothes, empty weed bags and old papers.
HARRY WESTROCK
Not much.
ARQUITECT (O.S.)
No? I guess you 'aven’t heard what
happened this morning then, someone
transformed Victor Moran’s place
down sowf in'er O.K Corral.
HARRY WESTROCK
(to himself)
News spread fast around here.
Harry inspects the nighstand. First drawer is locked. The
second is filled with socks and underwear. The last one has a
considerable amount of little bags with various drugs.

70.

(not pleased)
Ah shit...
INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR HALL - DAY
British Mike stops Joker from moving further.
BRITISH MIKE
Go on the rooftop and wait there.
JOKER
And what’s the point in that?
Joker grabs his gun.
JOKER (CONT’D)
This job has not been the most
exciting since Victor found he was
Gandhi’s fucking lost brother.
BRITISH MIKE
Exciting?
INT. CREEPY HALLWAY - NIGHT - FLASHBACK
Joker holds his gun on his chest, his forehead is bleeding
and his suit is all dusty.
JOKER
I’m looking forward to make
examples out of people lads!
SOME GUY (O.S.)
Fuck you!
Joker knocks on the door. It’s the last door on the hallway.
He looks to the gap between the door and the floor. Someone’s
right by it. Joker puts the gun on the peephole and -BAM!
On the other side a body slams on the floor.
Joker steps back and looks at the door. Out of nothing he
jumps sideways as a dozens of machine gun bullets pierce
through the door in his direction.
INT. JEFF’S APARTMENT BUILDING - FIRST FLOOR HALL - PRESENT
DAY
BRITISH MIKE
What does that mean?

71.

JOKER
Fun mate, you should have some.
BRITISH MIKE
Just get upstairs.
Joker does so. British Mike makes sure he’s gone and looks
down the hall.
INT. JEFF’S APARTMENT - BEDROOM - DAY
Harry grabs one of the bags, rips it open and tastes what’s
in it. He throws the bag away, that’s not what he wants.
HARRY WESTROCK
Shit.
He turns around to leave but stops, goes back and tries to
open the first drawer again. Key or no key, it doesn’t open.
The Architect stares contemplative at the coffee pot steaming
and simmering. He pays no attention to Harry audibly breaking
into the nighstand. He grabs the coffee pot and brings it to
the table. No cups.
The stomping stops, Harry shows up.
The Architect holds the pot as Harry approaches the table.
HARRY WESTROCK
A guy can get curious seeing a
´fella like you in a place like
this.
Harry throws a cocaine bag on the table.
You don’t look like someone who
belongs.
ARQUITECT
Well done you just found out what
dear Jeff does for a livin’.
HARRY WESTROCK
What you told me that you’re the
travelling type. See these folks,
like Duane, they aren’t.
ARQUITECT
Do you mind if -- can I tell you a
little story of mine?
(MORE)

72.
ARQUITECT (CONT'D)
I once rented a VHS about football,
well -- soccer to you -- some of
soccer’s greatest goals. So I
started watching it and the truth
is inside I found some
quintessential pornography
collection, that seventies stuff
people can even learn from. You
know I guess I too judged by the
cover won’t you agree?

HARRY WESTROCK
You can’t be from around pal.
ARCHITECT
(calm but offended)
Stereotyping. Is that an habit of
yours? A rather unhealthy one.
Harry throws on the table the 3 COCAINE BAGS from earlier and
seats. The Architect tries not to pay attention to them.
HARRY WESTROCK
Are you drinking that?
(beat)
Or are you just here to have a
seat?
The Architect takes his time and smiles.
EXT. JEFF’S APARTMENT BUILDING ROOFTOP - DAY
It may not be the tallest building around but the view over
the maze of East End’s housing projects is beautiful.
Joker is at the edge of the rooftop looking at the view.
British Mike steps out, Joker notices him.
BRITISH MIKE
He’s not downstairs.
JOKER
What?
BRITISH MIKE
The dealer is not downstairs.
JOKER
Well it was a nice try.
BRITISH MIKE
We have to wait.
JOKER
For fucking what?

73.

BRITISH MIKE
For me to react, wait a few moments
please.
JOKER
Ah fantastic I’m eager to see a
fucking reaction.
British Mike grabs his pocket bottle and drinks.
JOKER (CONT’D)
Or maybe we could just look for
that bitch of a girlfriend the
Architect has and get us some
leverage over that untouchable
fucking cunt.
BRITISH MIKE
Gum?
JOKER
No I don’t want no gum let’s get
out of here.
BRITISH MIKE
You’re intriguing, you show short
glimpses of cleverness and that
however is not what you seem to be.
Joker looks at British Mike confused. British Mike is in
great peace.
Far away an airplane takes off from the London City Airport.
JOKER
Ah bollocks. I’d rather be watching
those beauties fly, I’d rather be
doing that.
The Architect has everything under control.
ARQUITECT
Have you ever heard of Mensa
International Inspector?
HARRY WESTROCK
No.
ARQUITECT
Mensa is an organization to which
only a very particular kind of
person can belong to. You can’t
train to get in, it’s something
that is born wiv’ you, a gift.
(MORE)

74.
ARQUITECT (CONT'D)
To belong one needs to be within
the two percent most intelligent
people on the planet. Do you know
anyone worthy of that honor?

HARRY WESTROCK
Not that I’m familiar with no.
ARQUITECT
Well now you do ‘cause I am.
HARRY WESTROCK
(unimpressed)
Congratulations -ARQUITECT
Inspector Harry the only problem
with having an high I.Q is dealing
with daily basis ignorance. I hate
ignorance, I grew up surrounded by
ignorance and I deal with it every
single day. I don’t find yew an
ignoran' Inspector and it offends
me that you play the ignorance game
like you were one.
HARRY WESTROCK
No fuss you’ll get over it.
ARQUITECT
No listen the fn' is yew are no
fucking genius either. That doesn’t
worry me, i’ should worry you. It
should worry you because all the
other cozzers that think you’re a
big shot are obviously less clever
van yew are. And you are hunting
very intelligent people Inspector
Harry, you’re huntin' 'em with an
army of Charlie Babbitt wannabes.
You look at a well dressed guy in a
bad shaped flat in a poor London
area and you’re thinking a bunch of
heroic fngs, all ov 'em which'll
end up in a nice tea with good
champagne to celebrate.
HARRY WESTROCK
You think I do it for show huh?
That is interesting now said that,
who the fuck are you?
ARQUITECT
I could be the Queen of England for
all you know, awer I can be Victor
Moran and you just made me very mad
I had that warehouse in great
esteem. Wan’ some coffee?

75.

HARRY WESTROCK
I’d prefer to have your name.
ARQUITECT
No, no, no Inspector. What you want
is to know how come us British are
ge'in' drugs into your big,
McDonald’s lovin’ country. You want
the truth? Obesity, racism, bad
education, corporate tax loopholes
and Michael Jackson’s friends ages.
Sickness of the body and sickness
of the mind Jesus a fat person
alone costs a thousand and five
hundred dollars more than a junkie
on the streets. Movies see? Like
that George Romero one where sick
people, if not exterminated, would
fuck up all the healthy, regular
people. That’s already happening in
your country. Drugs, thee 'ave so
much more to worry about than
drugs. But congratulations, you’re
quite the skinny lad, you proudly
do not represent the American
stereotype.
HARRY WESTROCK
Boy you sound as ignorant as
everyone else.
ARQUITECT
Drug traffic does some four hundred
billion dollars every year, five
billion pounds in the UK alone.
Ignorance is not getting in the
business is getting caught in it.
HARRY WESTROCK
And you know about the business.
ARQUITECT
I know about everything. I know who
you are, I know that mensa means
table in Latin, I know Queens is
named after the same Portuguese
Queen who introduced tea in England
and most importantly I know what
you’re looking for was really
popular in Queens during the
eighties.
HARRY WESTROCK
How the hell do you know that?

76.

ARQUITECT
That’s irrelevant. What matters is
that you know that I know you’re
trying your hardest to get
something out of me so you can get
me in prison but you still have to
know who I am. The issue you’re
really facing is you know every
time you open your mouth my very
complex brain processes your every
word into something new I know
about you. But if you don’t keep
talking, you might as well leave.
So what do we do here? Should I
give you some coffee or are we
done?
EXT. JEFF’S APARTMENT BUILDING ROOFTOP - DAY
Joker looks at the airplanes taking flight.
BRITISH MIKE
I almost forgot.
British Mike gets closer.
JOKER
What?
BRITISH MIKE
I believe the Architect is
downstairs.
JOKER
What?
BRITISH MIKE
How much do you enjoy flying?
JOKER
I don’t know what they did to you
inside but fuck me if you’re
British Mike you sound a lot like a
fucking Turkish salad you retarded.
Call Julio now!
British Mike is right behind Joker.
Harry reaches discreetly to his apparently empty belt.
HARRY WESTROCK
Have you ever been arrested?

77.

ARQUITECT
I don’t believe in getting
arrested.
HARRY WESTROCK
You’re afraid of it.
The Architect doesn’t let go of the coffee pot.
ARQUITECT
Is that a sign of weakness?
HARRY WESTROCK
There’s nothing a criminal fears
more than getting canned.
SUDDENLY a BLACK SHAPE passes outside by the window and CRASH
-- Straight onto a car’s roof. In that instant Harry grabs
the Architect’s arm, pulls it into a chair and moves his
other hand towards it just like he’s handcuffing him. But -His hand’s empty. No handcuff. Harry realizes this too late.
Fuck.
The Architect smashes the boiling coffee pot in Harry’s head.
As Harry falls to the floor British Mike shows at the door
and fires at the Architect who jumps through the window.
EXT. JEFF’S APARTMENT BUILDING - BACK ALLEY - CONTINUOUS
The Architect falls onto the smashed car. In pain and slips
to the floor where Joker’s dead body lies.
The Architect lumps out of the alley and tries to maintain
his composure as walks into the street.
Harry gets up in pain. British Mike sees him and hides inside
the bedroom. Harry leaves the apartment.
EXT. JEFF’S APARTMENT BUILDING - SIDE STREET - MOMENTS LATER
Karl stands and looks around suspicious but unaware.
KARL BRUCE
(into walkie-talkie)
Inspector are you there? Over.
(beat)
Inspector Harry I think I heard
somethin’ is everything --

78.

Harry suddenly appears. His face and clothes are a mix of
blood, coffee and burns. Karl can’t believe what he sees.
The Architect enters the taxi who brought him there.
EXT. JEFF’S APARTMENT BUILDING - SIDE STREET - DAY
Karl lowers the walkie-talkie.
KARL BRUCE
Harry what...
HARRY WESTROCK
Contact the station tell them the
Architect’s in on this.
Harry enters the car -KARL BRUCE
Where are you going?
HARRY WESTROCK
Wait for my call.
-- And drives away.
British Mike goes to the window and looks to Joker’s body. In
the street he sees Harry driving away.
British Mike runs out of the apartment.
EXT. TAXI DRIVER COFFEEHOUSE - NIGHT
Julio parks outside. Steve’s in the passenger seat.
Julio opens the door.
JULIO
Come on.
STEVE FASSBENDER
I’m in a very fragile place now.
JULIO
Get your arse out.

79.

INT. TAXI DRIVER COFFEEHOUSE - MOMENTS LATER
Julio and Steve get in. It’s closing time. Waitress Marla is
cleaning the counter.
JULIO
Hey Marla.
WAITRESS MARLA
Oh hi. I’m sorry we’re just
closing.
JULIO
I know I’m here for Ron.
STEVE FASSBENDER
Aww that’s a weight off my back.
JULIO
It’s a coffeehouse what you think
would happen?
STEVE FASSBENDER
I don’t know man I’m too nervous.
WAITRESS MARLA
What about Ron?
JULIO
Have you seen him?
WAITRESS MARLA
No I haven’t seen him in a while.
JULIO
Me neither.
(to Steve)
I think that cock-up ran away the
motherfucker.
INT. CONSTRUCTION SITE - THIRD FLOOR HALL - MORNING
Gum is besides a pile of film reel talking at the cellphone.
GUM
(into cellphone)
I don’t know if they’re ready
Marlon I don’t know. Why don’t you
come and see for yourself? Why -(beat)
This is very upsetting baby.
EXT. FAIRLIGHT COVE - BATTERY HILL - MORNING
The Architect exits the taxi and looks around kind of lost.

80.

ARQUITECT
(into cellphone)
Love the walls are done the lines
are set just get Phil out of there.
INTERCUT WITH THE THIRD FLOOR HALL
GUM
(into cellphone)
The site needs to be solid before
it goes down sweety or they’ll rat
us to the inspectors.
ARQUITECT
(into cellphone)
They won’t no one will care about
that place once it happens. Gum
stop, breathe and do what I’m
telling you love.
GUM
(into cellphone)
I’m doing that you are the one
going on picnics.
ARQUITECT
(into cellphone)
Are the walls thin enough?
INT. CONSTRUCTION SITE - THIRD FLOOR HALL - MORNING
Gum walks to the end of the hall. She passes by WORKERS
gluing film reels on the wall and knocks on it.
GUM
(to the cellphone)
They’re good to fry.
EXT. COVEHURST BAY - CLIFFS - DAY
The green bus is at the edge of the cliffs. Chris is sleeping
inside, his legs coming out through the back door.
At a distance is a small, abandoned and wooden made
fisherman's bar.
Jeff is besides the bus. Gradlad shows with his mask off.
JEFF
I fing this is that situation
innit? Like you go ter 'ave pizza
and everyone asks fer pineapple and
you’re like I ain’t 'avin'
pineapple in ma pizza it’s a
fuckin' pizza. So you don’t ‘no do
ya? What to do fam? I don’t ‘no.

81.

GRADLAD
Well do yew believe in fishes
getting high?
JEFF
(laughs)
That just sounds wrong.
GRADLAD
Yeah who knows what’s wrong.
JEFF
You know bruv -Jeff starts undressing the suit. This reveals his usual
clothes beneath.
JEFF (CONT’D)
-- Is not wrong ter do what yew fnk
ain't wrong.
GRADLAD
Is right.
JEFF
Whut?
GRADLAD
You mean is not wrong to do what I
believe to be right.
JEFF
Yeah yew know it. Is right ‘cause
we know i' an' is right because
ain't cool ter let da blow
abandoned, like a puppy.
Jeff makes a joint.
JEFF (CONT’D)
We care for it -GRADLAD
Although we plan to sell it to
complete strangers.
JEFF
We care for it because we know is
right for us. Is never wrong if is
right fer us.
GRADLAD
You sound like the Architect
talking.
JEFF
(laughs)
Yeah he told me this. Take here.

82.

Jeff passes the joint to Gradlad.
GRADLAD
Thing is... I can see his shade
from here for fuck’s sake you know
what I mean? I can’t see mine but
his... is like he’s behind me all
the time. It’s shit.
Gradlad and Jeff seem to share a deep though until -ARQUITECT (O.S.)
Hey you wankers!
The Architect walks towards them.
JEFF
Architect’s in the house.
GRADLAD
Alright bruv...
The Architect punches Gradlad in the stomach. Gradlad drops
the joint to the floor.
JEFF
Hey be careful wiv that it’s
homemade cookin' mate.
Jeff picks the joint up.
ARQUITECT
Get up you tosser.
GRADLAD
Shiat Marlon.
ARQUITECT
Where’s Chris?
GRADLAD
He’s sleeping.
ARQUITECT
I’ll fucking wake him up.
GRADLAD
No man he almost overdosed on coke.
ARQUITECT
How?
GRADLAD
You don’t want to know.

83.

INT. THE GREEN BUS - MORNING
The Architect looks at the cocaine filled scenario. Chris
sleeps at his feet.
ARQUITECT
(to Jeff)
So this was your idea?
JEFF
Have yew seen that much ammoun' ov
stach fer free in yo life befawer?
ARQUITECT
I did yes Jeff. This is crank.
GRADLAD
What?
ARQUITECT
That’s synonymous for shit.
GRADLAD
Aww c’mon this is Victor’s you
dealt it you’re only saying that
because we have it.
ARQUITECT
Do you remember when?
GRADLAD
When what?
ARCHITECT
When I sold this, do you remember?
Let me answer that question for you
-- you don’t. Do you get it Henry?
Gradlad looks like a child who knows he learned a lesson.
JEFF
Yeah, yeah huh I’m a bit lost fam.
GRADLAD
(re: the Architect)
It’s his formula innit? Britain’s
best export.
JEFF
Yeah, yeah. Wait no, that’s what
the ppz use aw bruv that’s the
stuff that sells here.
ARQUITECT
Not anymore. It will cease from the
market.
Chris starts to wake up. The Architect pulls him inside.

84.

JEFF
Is it? Is Victor retiring?
GRADLAD
That’s impossible there’s no
retiring in Victor’s business.
JEFF
Yeah he’s retiring mate.
GRADLAD
He is not retiring if somethin’
he’ll come after us and that,
there’s no fucking way mate.
ARQUITECT
I’ll make him retire.
GRADLAD
Don’t tell mum I said this but -come again?
The Architect softly slaps Chris.
ARQUITECT
Wake up.
(to Gradlad)
I said I’m retiring Victor.
Chris awakes.
CHRIS
What’s -- what’s happening?
ARQUITECT
You stole cargo from Victor Moran,
British Mike is on to kill us and I
have the police after me.
CHRIS
What?
ARQUITECT
Yeah it’s quite complicated.
EXT. COVEHURST BAY - OLD BAR - DAY
A car is hidden by the bushes. Besides it, Harry watches the
guys talking. He goes to the trunk of the car, grabs some
bullets and loads his gun. The rest he puts in his pocket.
INT. CONSTRUCTION SITE - MAIN ENTRANCE - EVENING
By a wall Gum handles electric cables switching some cutting
others. Master Phil, followed by his CREW, appears.

85.

MASTER PHIL
Miss Bal we’re done for today.
GUM
Thank you so much Phil.
MASTER PHIL
I guess huh we’ll be done for a
while now.
GUM
Yes. But I guarantee you our next
project is yours.
MASTER PHIL
Ah no, no problem just -- do you
want a hand with that?
GUM
I got it.
MASTER PHIL
Have a nice day then.
GUM
Goodbye.
Master Phil and his guys leave. Gum looks around to the empty
building, it’s all dusty, but beautiful.
INT. ARCHITECT FIRM - WHITE ROOM - DRESSING ROOM - NIGHT
Gum dresses a white overall and puts a lab mask on.
INT. ARCHITECT FIRM - WHITE ROOM - CONTINUOUS
Gum enters. The wall on her left is covered in graphics. She
walks by a white office table and reaches a big window.
On the other side is a wide laboratory. There Doctor McGann
and his TEAM analyze and pack cocaine into boxes.
INT. ARCHITECT FIRM - WHITE ROOM - LAB - CONTINUOUS
Gum approaches Doctor McGann on the lab table.
GUM
Doctor.
DOCTOR MCGANN
Hello Niamh how are you?
GUM
I’m fine thank you. Do we have any
numbers out yet?

86.

DOCTOR MCGANN
It may be too early to say.
GUM
Hum they don’t junkies like they
used to that’s for sure. See me the
results as soon as you can please.
DOCTOR MCGANN
I sure will.
INT. OLD WAREHOUSE - NIGHT
There are POLICE OFFICERS everywhere. As are the cocaine
boxes, opened, checked and spread all over.
Karl comes inside. CAPTAIN MCCARTHY, 58, approaches him.
CAPTAIN MCCARTHY
Any word of the American?
KARL BRUCE
Nothing yet.
CAPTAIN MCCARTHY
I spoke with one of his guys, he
called him unorthodox.
KARL BRUCE
Yes I -- I agree.
(looks around)
Loooks like someone got a couple
million quid poorer.
CAPTAIN MCCARTHY
Those are the good news.
Captain McCarthy gives Karl a sheet.
KARL BRUCE
What’s this?
CAPTAIN MCCARTHY
That’s the owner’s name.
An identification sheet with a name written on it:
Name: Wong Pla
Surname: Se Fuk Ofe
KARL BRUCE
Mister Wong? He’s Indonesian?
CAPTAIN MCCARTHY
It’s “wrong place fuck off” one of
Victor Moran’s many aliases.
(MORE)

87.
CAPTAIN MCCARTHY (CONT'D)
We’ll search Chinatown tomorrow for
more funny names. This place is as
good as empty.
(beat)
We’ll take the cocaine as a
souvenir though.

EXT. COVEHURST BAY - HIGHER CLIFFS - NIGHT
Gradlad, Chris and the Architect look at the beach.
CHRIS
No. No. No, no, no, no, no. No more
karts I’m done with that shit.
ARQUITECT
You must at least have an emotional
connection to it Christopher.
CHRIS
None.
ARQUITECT
Well you keeping it anyway.
(pause)
Actually you’re buying it.
CHRIS
You fucking with me?
ARQUITECT
With your new substantial salary
provided by our future activities I
don’t see where you can fit a bad
connotation here Christopher.
CHRIS
I don’t want to stay there.
GRADLAD
You need to wash your filthy lucre
mate my brother is correct.
ARQUITECT
I know I am thanks.
GRADLAD
So I suppose I can buy the club...
ARQUITECT
You’re getting fuck all.
GRADLAD
What? Please care to fucking
explain that.

88.

EXT. COVEHURST BAY - CLIFFS - NIGHT
Jeff is sleeping leaned on one of the bus’ tires.
GRADLAD (O.S.)
I’m your brother Jeff’s a street
dealer even he’s getting some.
EXT. COVEHURST BAY - HIGHER CLIFFS - CONTINUOUS
Gradlad is obviously pissed off.
ARQUITECT
He’s the street dealer. You on the
other hand are nothing but a major
conoseur in the art of the fuck up.
GRADLAD
(not fine)
Fine.
ARQUITECT
Maybe Chris can have the club
instead of the karts.
CHRIS
No fucking way.
Gradlad smiles.
ARQUITECT
What? Are you allergic to that too?
GRADLAD
Chris doesn’t club don’t you know
that?
INT. NIGHTCLUB - NIGHT - FLASHBACK
Gradlad, Chris and Jeff drink by the bar. They’ve taken an
interest on THREE WOMEN not far. The Woman notice them.
INT. NIGHTCLUB - VIP - LATER
The guys and the woman
ATTRACTIVE REDHEAD and
DRUNK BLONDE. They all
and a BLONDE MILF make

hit it off. Gradlad flirts with an
next to him Jeff talks clumsily with a
turn to the sofas ahead where Chris
out passionately.

INT. WOMEN’S FLAT - ATTRACTIVE REDHEAD ROOM - LATER
Gradlad stands against the wall while the Attractive Redhead
kisses him. Jeff is pulled by the Drunk Blonde to the bed.

89.

DRUNK BLONDE
Come here, come here fat baby.
Catching Gradlad by surprise the Attractive Redhead gets on
her knees, Gradlad is really happy until an outside moan
stops her. The Attractive Readhead stands up and they all
look to the sounds source outside.
INT. WOMEN’S FLAT - KITCHEN - LATER
Against the kitchen counter Chris is banging hard the Blonde
Milf, in doggy style, and she’s loving it.
BLONDE MILF
Fuck, fuck, fuck, fuck. Yes fuck
me, fuck me big boy. Oh yes, fuck
me like you know it all.
She grabs his chin and pulls him towards her. Chris can’t
believe how fierce the sex is.
BLONDE MILF (CONT’D)
Right there, right there, make me
come, right there. No. Fuck! Not
there.
CHRIS
I’m fucking, I’m fucking you.
BLONDE MILF
Fuck me in the ass, fuck me in the
ass, fuck my ass, my arsehole hard!
Chris tries to keep it up but he’s getting uncomfortable.
CHRIS
What?
BLONDE MILF
Fuck me in the ass big boy.
INT. WOMEN’S FLAT - ATTRACTIVE REDHEAD ROOM - CONTINUOUS
The situation is awkward and the mood is gone. Gradlad grabs
a pack of cigarettes and takes one.
GRADLAD
(to the Attractive
Redhead)
Care for a fag?
ATTRACTIVE REDHEAD
(rejecting it)
Yeah right.

90.

INT. WOMEN’S FLAT - KITCHEN - CONTINUOUS
The Blonde Milf grabs Chris collar and pushes him against her
back. He stops thrusting.
OLDER BLONDE
Get you cock in my arse!
Chris gets back repulsed and stumbles with his pants down.
CHRIS
Fuck no!
EXT. COVEHURST BAY - CLIFFS - NIGHT - PRESENT DAY
Jeff is deep asleep. The back of the bus is opened. Someone
is inside. Jeff almost wakes up, just almost.
EXT. COVEHURST BAY - HIGHER CLIFFS - NIGHT
Gradlad and the Architect laugh.
CHRIS
Nympho-whatever-it-is-maniac.
ARQUITECT
How come I don’t know about this
stuff? It’s hilarious...
CHRIS
You were too busy having lunch with
politics jerk off.
GRADLAD
Yeah what about my compensation for
you being an away brother huh? I’m
scarred on the inside.
ARQUITECT
And I’m not a psychiatrist am I?
GRADLAD
Tell that to ma’.
ARQUITECT
Mum is a Queen and she lives like
one you know what really messes her
up? Not achieving, giving up you
know? Quitting.
EXT. COVEHURST BAY - CLIFFS - NIGHT
Still noise inside the bus, still Jeff sleeps. Slowly the bus
goes forward.

Lords Of Getting Nothing

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