ORIGINAL FILMSCRIPT, WRITER LOOKING FOR NEW AGENT

Tue, 23 Jan 2007 23:40:43 +0100

WHAT HAPPENS WHEN A KID IS SWEPT AWAY INTO THE UK YOUTH CORRECTIONAL SYSTEM, SUFFERS AT THE HANDS OF SADISTIC PRISON OFFICERS THEN ALMOST FORTY YEARS LATER REALISES HE'S CARING FOR ONE OF HIS OLD TORMENTORS?

SCUM EXPLODES INTO THE TRANQUILITY OF AN OLD PEOPLES HOME

EXT. BUS STOP NEXT TO A SIDEWALK CAR SALES PITCH CITY STREET 2005 -- EARLY MORNING

JOHN WATTS stands alone waiting for a bus on the otherwise deserted street, his attention goes to the centerpiece of the car pitch, a restored classic 1967 Jaguar, it causes a feeling of nostalgia.

CUT TO:

A SHOT OF THE JAGUAR FROM JOHN'S POV

as the windshield sales information melts away we

DISSOLVE TO:

EXT. JAGUAR MOVING THROUGH KIRKBY COUNCIL ESTATE STREETS 1967 -- DAY

CUT TO:

EXT. INSIDE THE JAGUAR -- CONTINUOUS

JOHN dressed in a smart school uniform, sitting in the passenger seat next to the driver, his equally well turned out father PATRICK. JOHN clutches a small suitcase on his knees and stares defiantly through the windscreen.

PARTICK WATTS

You could always change your mind.

JOHN doesn't reply.

PARTICK WATTS (CONT'D)

No trouble to buy another ticket.

JOHN still silent as the car pulls up outside a run down tower block. He gets out with his suitcase, opens the rear door, lifts a large holdall from the back seat and hoists it by the strap onto his shoulder. His father steps out and they stand facing each other over the highly polished roof.

PARTICK WATTS (CONT'D)

It'd probably be the greatest adventure of your life.

JOHN WATTS

Yeah

PARTICK WATTS

Compared to this? Take a look around. Do you really think you're going to enjoy living in a place like this?

JOHN stares straight though him.

PARTICK WATTS (CONT'D)

Give it a chance. Who knows? Eventually we might even become a -

JOHN WATTS

Family? Yeah well excuse me if the idea of moving half way across the world, just to play happy families with you and her doesn't exactly appeal but-

PARTICK WATTS

Annabelle. That's what this is all about isn't? Annabelle!

JOHN WATTS

She'll never be my mother! Because I've already got one.

PARTICK WATTS

There's one certainty here young man; walk away from this car and there'll be no coming back.

JOHN turns and walks into the entrance of the tower block without looking back. His father gets into the car, we catch a moment of regret before he drives off.

CUT TO:

INT. FOYER TOWER BLOCK -- MOMENTS LATER

JOHN walks past graffiti covered walls, stops in front of the lift, lowers his suitcase and extracts a slip of paper from his pocket to read the address before pressing the lift button.

CUT TO:

INT. DORIS WATT'S FLAT. -- MOMENTS LATER

Expensive silver photo frames standing on the mantelpiece of a wall mounted gas fire, contrast strongly with the cheaply furnished but tidy living room. CAMERA focuses on a black and white photo of the family group, the central figure is John, aged about five, his mother and father standing either side of him. His father's head has been neatly cut out and removed from the picture. DORIS' hand comes into shot, she lifts the photo and gazes at it. The doorbell rings, she's absolutely filled with joy as she replaces the photo.

CUT TO:

INT. THE TOWER BLOCK OUTSIDE DORIS' FRONT DOOR -- CONTINUOUS

JOHN waiting for the door to open, when it does, his mother flies out to embrace him, then she holds him at arms length. She's radiant and beautiful but obviously manic.

DORIS WATTS

Darling look at you! How handsome. Is that a tear in your eye?

She embraces him again.

DORIS WATTS (CONT'D)

You big softy, stop it.

She releases him, snatches up his suitcase and spins back through the doorway.

DORIS WATTS (CONT'D)

Come on then!

JOHN WATTS

Hold on I can carry that.

He follows her into the first bedroom trying not to look too unimpressed.

DORIS WATTS

This is yours, not all that spacious and the furniture's well-

JOHN WATTS

It's perfect mum, perfect.

He drops his holdall on the bedroom floor and follows her along the hall.

DORIS WATTS

That's mine.

From John's POV the bedroom door is open, her room is filled with shop style chrome clothes racks loaded with expensive garments, furs, bright dresses and evening gowns. Neat rows of shoes fill almost the whole floor.

DORIS WATTS (CONT'D)

Don't look in there it's an awful mess.

They arrive at the living room.

DORIS WATTS (CONT'D)

I know it's tiny but, well we'll just have to make do? Now take that blazer off before it gets creased and I'll make us some coffee.

JOHN moves over to the window and stands looking out, his mother disappears into the kitchen.

JOHN WATTS

Great view!

DORIS WATTS (O.S.)

You can see the Welsh hills on a clear day.

She returns from the kitchen, places two cups on the coffee table and sits down. He comes over and joins her.

DORIS WATTS (CONT'D)

Mightn't be what we're used to but at least it's ours.

JOHN WATTS

Don't worry mum, it's perfect.

He drinks some coffee.

JOHN WATTS (CONT'D)

You've still got the photos. Ha Look, you've decapitated him.

DORIS WATTS

I was ill John, don't even remember doing that.

JOHN WATTS

Still, your well now.

DORIS WATTS

Yes.

She takes a sip of the coffee.

DORIS WATTS (CONT'D)

Things aren't quite as hopeless as they might seem. I visited a solicitor friend of mine yesterday and he told me that your father had absolutely no legal right to sell our house while I was in hospital. We can make him sell the new one and give us half of the proceeds.

JOHN reaches out for his mother's hand.

JOHN WATTS

It's too late for that mum. It's already gone.

DORIS WATTS

Well that's even better, we won't have to wait as long. We'll just get him to pay up and -

JOHN WATTS

It's too late mum, he's leaving for Hong Kong tomorrow.

DORIS WATTS

With Annabelle?

JOHN WATTS

I'm afraid so.

DORIS WATTS

The bitch!

She throws her coffee at the photo, the cup smashes and the coffee running down onto the hot fire hisses.

CUT TO:

EXT. BUS STOP NEXT TO A SIDEWALK CAR SALES PITCH CITY STREET 2005 -- MORNING

JOHN is snatched back into 2005 by the pneumatics of the bus door hissing loudly. He boards, pays his fare and takes a seat, the bus pulls away.

CUT TO:

EXT. RETIREMENT HOME 2005 -- MORNING

A large Victorian house converted into a rest/stroke victim care home. JOHN walks up the front steps smiling, takes out a key and lets himself in, closing the door behind him.

CUT TO:

INT. RETIREMENT HOME STAFF CLOAKROOM -- MOMENTS LATER

JOHN dressed in a clean white uniform, hangs his coat next to several others, then spoons coffee into a mug and switches the kettle on. One of the room alarm/intercoms buzzes and lights up on a board. He smiles as he presses the button to reply.

JOHN WATTS

Morning Ted.

TED (intercom)

Good Morning John, I er, need to use The lavatory.

The kettle steams

JOHN WATTS

Alright Ted, I'm on my way.

JOHN switches the kettle off, goes quickly out of the cloakroom, he passes BARBARA WOOD in the hallway

JOHN WATTS (CONT'D)

Morning Barbara.

And continues up the stairs.

CUT TO:

INT. TED'S ROOM -- MOMENTS LATER

A small clean single room with a bed, bedside locker, an armchair, a wheelchair, a television and a commode. On the bedside locker is an ashtray filled with cigarette stumps. TED laying in bed watching the door, most of the blankets have fallen onto the floor. The sound of footsteps coming along the landing brings a smile to his face. The door opens and JOHN comes in.

JOHN WATTS

How have you been? You look nice and bright. God look at this. Be getting me shot you will.

JOHN empties the ashtray into a waste basket, takes the liner out and fits a new one. Then he picks the blankets up, lays them on the armchair and moves the wheelchair next to the bed.

JOHN WATTS (CONT'D)

Blankets all over the place as well. Haven't had that Ella in here have you?

JOHN gets his arms under TED's shoulders, carefully lifting and helping him into the wheelchair, TED delivers his lines as the move is underway.

TED

If I couldn't do better than that old dragon, I wouldn't bother. Here I've had a bloody awful night with my legs.

JOHN stoops in front of the wheelchair, carefully straightens TED'S legs onto the running board, his face on the same level as TED'S as he asks

JOHN WATTS

A number one?

TED

Number two I'm afraid son.

JOHN WATTS

We've all got to go Ted. At least you're regular.

JOHN gets behind the wheelchair and carefully guides it through the bathroom/toilet door.

TED

Just as well I am. The amount of food I eat, I'd end up going off like a bloody dam-buster.

The door closes behind them, we hear the dialogue and the grunting sounds of the struggle up onto the toilet, through the closed door.

JOHN WATTS O/S

That's got it. Do us a favour Ted.

TED O/S

What's that son?

JOHN WATTS O/S

Don't prime the fuse until you're safely positioned over the bomb doors.

We can hear TED laughing

TED O/S

I WILL have a bloody accident if you don't shut up.

JOHN WATTS O/S

Right then, that's it, I'll just retire to a safe distance. Give me a shout when you want me.

FADE OUT:

FADE IN:

INT. TED'S ROOM -- MOMENTS LATER

JOHN standing near the window, looking down onto the street

CUT TO:

JOHN'S P.O.V.

A teenage boy and girl both in school uniform, holding hands walking along the street. A smile comes to JOHN'S face as he drifts back, SHOT in such a way as to suggest the trip back to 1967

DISSOLVE TO:

EXT. GRAMMAR SCHOOL GATES -- AFTERNOON 1967

The end of the school day, numerous uniformed teenage school children spilling through the gates onto the street. All, except for JOHN WATTS are wearing black blazers, his is blue. Two boys of about the same age CLARKE and THOMPSON, run up behind him grinning. CLARKE slaps the back of JOHN'S head and quickly jumps back out of range. JOHN spins towards him only to feel THOMPSON'S slap landing on the back of his head. He swings his school case at THOMPSON but misses.

JOHN WATTS

Piss off will you!

JOHN'S tormentors one in front one behind, stay just out of range. Their bating continues. THOMPSON really enjoys it and begins mimicking him.

THOMPSON

Ooh Ooh "Piss orf will you" "Piss orf"

JOHN'S case almost connects but, CLARKE is just too nimble. JOHN'S fury only subsides when PAULINE TAYLOR steps from the crowd and attaches herself to his arm.

PAULINE TAYLOR

Take no notice, come on.

She begins walking him away. THOMPSON and CLARKE following at a safe distance.

THOMPSON

Ooh "take no notice love" Ooh "come on darling". Givin' her one isn't he. Must be the fuckin' blazer.

PAULINE stops, releases his arm. She marches up to THOMPSON but he doesn't retreat, they're in each other's face.

PAULINE TAYLOR (TO THOMPSON)

What did you say?

THOMPSON

You heard.

SHE punches him squarely on the nose. He lowers his face into his hands, there's blood all over them, he's unsteady on his feet. She goes back and reattaches herself to JOHN'S arm.

THOMPSON (CONT'D)

That's not funny.

CLARKE supports THOMPSON. They walk off in the opposite direction and begin arguing with each other. JOHN and PAULINE resume walking.

JOHN WATTS

Are you sure?

PAULINE TAYLOR

Morons, forget them. Have you made your mind up? Janice said you don't even need tickets, all do is turn up.

JOHN WATTS

"Turn up" The Isle of White's at the other end of the country, besides; where are we going to get the money?

PAULINE TAYLOR

We'll hitch-hike. Come on John. Bob Dylan!

JOHN WATTS

It's not just that, it's my mum, she'd never let me go.

They disappear through the entrance of John's tower block.

CUT TO:

INT. THE LIFT WAITING AREA -- CONTINUOUS

JOHN AND PAULINE standing close together, a MIDDLE AGED WOMAN stands near to them watching and listening to what they're saying.

PAULINE TAYLOR

Well why don't you let me talk to her? I'll ask her. It's not like you'll be going forever, it's only a fuckin' pop concert.

JOHN is embarrassed, the MIDDLE AGED WOMAN gives PAULINE a look of disapproval.

PAULINE TAYLOR (CONT'D)

Just let me try! Not ashamed of me are you?

(then to the middle aged woman)

Want a fuckin' photograph you nosey old cow?

MIDDLE AGED WOMAN (under her breath)

Well I -

JOHN WATTS

Look, I just can't go, alright?

The lift arrives,

PAULINE TAYLOR

So that's us finished then is it?

JOHN WATTS

If you like.

PAULINE storms off, JOHN gets into the lift with the MIDDLE AGED WOMAN

CUT TO:

INT. INSIDE THE LIFT -- CONTINUOUS

The MIDDLE AGED WOMAN deliberately avoiding JOHN'S eyes as the lift opens on the thirteenth floor. JOHN holds the door open and turns back to her

JOHN WATTS

Sorry about her, she can be quite loud.

The MIDDLE AGED WOMAN ignores him, the closing lift door cuts her out of the shot. WE style="mso-spacerun: yes" to door. He knocks.

JOHN WATTS (CONT'D)

Come on mum, it's only me.

He stands waiting, the letter box squeaks and opens, we hear a croaking terrified voice.

DORIS WATTS

Are you alone?

JOHN WATTS

Yes.

DORIS WATTS

No one with you?

JOHN WATTS

No one mum, no one.

CUT TO:

INT. JOHN'S FLAT -- CONTINUOUS

The unkempt and wasted dressing gown clad figure of DORIS WATTS on her knees near to the front door, she closes the letter box and begins opening a series of ten bolts. We see insane terror in her eyes, as with shaking hands, she gets up, fumbles the key into a mortice lock and partially opens the door.

CUT TO:

EXT. OUTSIDE JOHN'S FLAT -- CONTINUOUS

DORIS WATTS' face comes around the door.

DORIS WATTS

Were you followed?

JOHN shakes his head silently, the door opens fully, he steps through. DORIS shuts the door behind him

CUT TO:

INT. JOHN'S FLAT -- CONTINUOUS

DORIS urgently fastening the bolts and locking the mortice. JOHN stands watching her from a couple of meters back.

JOHN WATTS

Have you taken your pills?

DORIS WATTS stops bolting for a moment stares at him hatefully

DORIS WATTS

Think I should take my bloody medication do you?

She goes back to complete bolting the door. When she's finished she moves towards him smiling and strokes his face.

DORIS WATTS (CONT'D)

Ah what's wrong son? Aren't I quiet enough? Want me to be all calm and dopey do you? Sit in the corner saying nothing. That'd suit you wouldn't it?

JOHN WATTS

No mum. I just thought- Oh never mind.

He turns and walks down the hallway from the front door, she follows

DORIS WATTS

Been talking to that bloody doctor again haven't you!

JOHN WATTS

I haven't been anywhere near the doctors. I just know, that if you don't take your pills, you're going to be ill.

DORIS WATTS

What makes you think it's not the medication making me "ill"?

DORIS WATTS turns back to the front door and eyes every one of the bolts just to be certain she locked them.

CUT TO:

INT. KITCHEN -- MOMENTS LATER

JOHN opening empty cupboards, DORIS comes in and stands staring at him trying to contain her fury.(A SHOT OF DORIS' FACE)

JOHN WATTS

Anything to eat?

DORIS WATTS

Nothing. It's all gone.

JOHN glances at the full rubbish sack on the floor. A SHOT Of JOHN'S HAND digs out some loose cornflakes.

JOHN WATTS

What was wrong with these?

DORIS WATTS

There were things in them.

JOHN WATTS

Things? Oh yes, sorry.

DORIS WATTS

Get your hand out of there!

JOHN'S hand comes out with a sardine can, dusts it off, then washes it under the tap and attaches the key.

JOHN WATTS

These'll be alright though eh?

He begins opening the can. DORIS tries to snatch it from him but he turns his back on her and continues opening it. She pushes his back and slaps the back of his head, tries to get around him at the can as she screams.

DORIS WATTS

They swallow insects and worms. Cockroaches. They'll bloody kill you, they will.

DORIS gives up shouting and begins pleading

DORIS WATTS (CONT'D)

Don't eat them darling, please, please don't eat them.

JOHN tips the sardines onto a plate and gets a fork from the cutlery draw, showing her each fork full before he eats it.

JOHN WATTS

Look, there's absolutely nothing wrong with them, they taste wonderful. Do you want some?

DORIS WATTS (sobbing)

You're such a bloody idiot son. Such a bloody idiot.

She settles down to sit rocking on the kitchen floor

DORIS WATTS (sobbing) (CONT'D)

Jesus Christ you haven't got the sense you were born with.

JOHN finishes the sardines, puts the plate and fork in the sink, then gets down next to her, wraps his arm around her shoulders and strokes her sobbing head.

JOHN WATTS

Come on mum, I'll get you a glass of water and you can take your pills. It'll be alright then.

DORIS springs to her feet

DORIS WATTS

You have been talking to that doctor Haven't you? You bloody idiot!

She rushes out of the kitchen. JOHN gets to his feet and follows her.

CUT TO:

INT. MOTHER'S BEDROOM -- MOMENTS LATER

None of the expensive garments remain, neither do the shoes. The room is bare. SHOT from JOHN'S POV, DORIS laying face down on the bed sobbing hopelessly. He closes the door quietly and walks down the hall.

CUT TO:

INT. JOHN'S FLAT LIVING ROOM -- MOMENTS LATER

JOHN turns the television on and sits in an armchair, the television lights up with 1967 news "Bob Dylan's forthcoming Isle Of White concert" . There are no silver frames on the mantelpiece, just the photos they used to house. DORIS'S face comes around the door, her voice hissing urgently.

DORIS WATTS

Turn it off! Turn it off!

JOHN WATTS

I'm just watch --

DORIS flies into the room and snatches the plug out of it's wall socket.

DORIS WATTS

"Just watching it", well that's what you think. And who do you think's watching you?

JOHN WATTS

No one mum. It's just a telly. We watch IT, IT can't watch US.

DORIS WATTS

That's how they get in. They can see right inside. Right in fucking side. They can even X-ray you with that bloody thing.

JOHN WATTS

Yes alright mum.

DORIS rushes out into the kitchen and straight back, holding a large knife. A tense moment, then she grabs the television wire and cuts it, she holds the severed plug like a trophy.

DORIS WATTS

That'll keep the bastards out.

JOHN WATTS

You really will have to eat something mum. And take your pills.

DORIS goes back into the kitchen

CUT TO:

INT. KITCHEN -- CONTINUOUS

DORIS drops the plug into the bin sack, opens a cupboard door, gets a claw hammer and a handful of large nails

CUT TO:

INT. LIVING ROOM -- CONTINUOUS

She marches through the living room into the hallway. JOHN, extremely troubled, remains seated until he hears hammering. Then he gets up pulls the door aside, just enough to see her nailing the front door permanently shut. Quietly, he backs away and goes into the kitchen, then out onto the balcony.CUT TO:

EXT. BALCONY OUTSIDE KITCHEN -- CONTINUOUS

JOHN looks down over the balcony, a 13 floor drop. There's a wall separating their balcony from next door's. He climbs up onto the railing and gripping the dividing wall with flat palms, steps around it, to climb down into next door's area. He taps urgently on their kitchen window, then opens the unlocked door and goes in.

CUT TO:

INT. CARNEY'S FLAT -- CONTINUOUS

JOHN comes in MR CARNEY and MRS CARNEY, get up from their dining table, very surprised to see him in their flat. We can hear loud hammering coming from next door.

MR CARNEY

You haven't climbed over the balcony?

JOHN WATTS

Sorry.

MR CARNEY

What the bloody Hell's that?

JOHN WATTS

Nailing the front door up, she hasn't eaten for a week or two.

MR CARNEY

Jesus Christ.

CUT TO:

INT. DOCTORS SURGERY -- LATER

JOHN standing in front of DR KNOT'S desk, the doctor looks up from his paperwork.

DOCTOR KNOT

Take a seat young man.

JOHN sits facing him. DR KNOT refers to his notes before continuing

DOCTOR KNOT (CONT'D)

So young Mr Watts, what can I do for you?

JOHN WATTS

It's my mum, she's sick again. Needs to go away.

DR KNOT considers JOHN for a moment before replying.

DOCTOR KNOT

So what you're saying, is that you want me to have your mother taken off to a psychiatric hospital.

JOHN WATTS

Yes.

DOCTOR KNOT

You want to have your own mother taken away?

JOHN WATTS

If that's what you think. Just come and look at her will you? Before cuts her wrists again?

DOCTOR KNOT

I didn't mean it to sound quite that way John. What I meant was, she must be in a sorry state if you're here trying to get help for her. You live in a tower block don't you?

JOHN WATTS

Yes doctor.

DOCTOR KNOT

So the front door is the only way in.

JOHN WATTS

Yes.

DOCTOR KNOT (LIFTING THE PHONE)

Well we'll, just have to think of something then won't we. You did say "nailed up" didn't you? Big nails are they?

CUT TO:

INT. CARNEY'S FLAT 1976 KITCHEN -- EVENING

The lights are on, it's dark outside and we can hear the wind. MR CARNEY tying a rope around JOHN'S waist. He pulls hard on the knot to make certain that it's secure.

MR CARNEY

Ready?

JOHN WATTS

Yes.

MR CARNEY

Right then.

MR CARNEY opens the door onto the balcony and follows JOHN out into the wind.

CUT TO:

EXT. BALCONY OUTSIDE CARNEY'S KITCHEN -- CONTINUOUS

MR CARNEY

Be careful son.

CARNEY holds the coiled rope in one hand and helps JOHN up with the other. JOHN balances on the railings, the wind tearing at his clothes and his hair

MR CARNEY (CONT'D)

Steady now.

A SHOT from JOHN'S POV the thirteen floor drop

CUT TO:

EXT. BALCONY OUTSIDE JOHN'S KITCHEN -- CONTINUOUS

The kitchen door opens and DORIS WATTS comes out gripping a carving knife. Her knuckles white, her eyes insane, hair and nightie flying in the wind. She's ready to strike as she looks at JOHN'S foot coming around the wall to land on the railings, then up at his hand on their side of the dividing wall. She sees his face and lowers the knife.

DORIS WATTS

It's you.

She helps him down.

MR CARNEY (O.S.)

You alright Doris? Doris!

She holds her finger to her mouth, in an attempt to stop JOHN from speaking.

JOHN WATTS

She's alright thanks Mr Carney.

He follows his mother into their flat. They sit at the dining table facing each other.

DORIS WATTS

Have been to the doctor's haven't you?

JOHN WATTS

Yes, I wish I hadn't though.

DORIS WATTS

Why. Did he refuse to have me taken away? Must be awful when you can't even get your own mother carted off.

JOHN WATTS

Worse than that. It's me.

She reaches out, grips his hand and searches his eyes trying to make sense of it.

DORIS WATTS

You?

JOHN WATTS

He said, it's me that's ill, not you. Said that they'll be coming to take me in tomorrow. Nine o'clock.

DORIS WATTS

Bastards. Bloody bastards

She starts rocking and tapping her heel on the floor, accepting what he's said, thinking of how it might have happened and what she can do to help. She blames the television.

DORIS WATTS (CONT'D)

It's that bloody thing isn't it!

And hurls a cup at it. The cup misses and smashes on the wall

DORIS WATTS (CONT'D)

Probably still works without electricity.

She grabs another cup but JOHN catches her hand and prevents her from throwing it.

JOHN WATTS

Come on mum, no need for that. I've got to go in. But it isn't going to be forever, is it?

DORIS WATTS

Be Rainhill won't it? It's always Rainhill. The nurses are bad enough but it's the other patients you've got to watch out for. If you meet anyone you like, tell them you hate them and the ones you don't like, say that they're wonderful, tell them you love them.

JOHN WATTS

You mean like the way you dig your nails into my hand when we meet someone and say you hate me, when what you really mean is that you love me?

DORIS WATTS

Just like that. Exactly. Never let anyone know your feelings and you'll be safe.

JOHN WATTS

Will I?

She agrees

DORIS WATTS

Just watch out for Doctor bloody Richmond. Get the wrong side of that bastard and you'll be straight for the electric shocks. Believe me, you don't want that.

JOHN WATTS

So, how do I keep on the right side of him?

DORIS WATTS

Oh he's clever, very clever. Listen, do you know when you hear voices? Maybe you can see who's taking, maybe you can't. Maybe it's just another voice or one you know already but, definitely no one else can ever hear what you can, can they? Know what I mean don't you?

JOHN WATTS

Yes.

DORIS WATTS

Never talk back if Richmond's anywhere near. If he ever asks, "did you hear that?" Always say "Hear what?". He pretends he's got the gift, If he finds out that you've got it, then you're off for the electric shocks. Believe me son you really don't want that.

JOHN doesn't seem to be taking it in.

DORIS WATTS (CONT'D)

You're so hard to convince. Take this seriously! Do you know, there's a ward of people in there, half human and half monkey? Ah you didn't know that did you? It's the Rainhill secret, the monkey ward. It's what happens when your father has sex with you.

JOHN WATTS

Stop it mum, you're giving me the creeps.

DORIS WATTS

Didn't ever touch you did he son? Patrick James Watts; I wouldn't put anything past that animal. Didn't, you know what I mean, interfere with you did he?

JOHN WATTS

That's disgusting, stop it.

DORIS WATTS

Right then. Good I'm glad about that. It's a busy day for you tomorrow. Off to bed with you, and sleep, don't worry. I'll be right here and I won't let anyone get anywhere near you.

CUT TO:

INT. JOHN'S BEDROOM -- LATER

The room is in darkness, DORIS huddled in a ball on the floor at the foot of JOHN'S bed, terrified, watching, listening. JOHN laying in bed with his eyes wide open.

JOHN WATTS

You know tomorrow mum. When I have to go?

DORIS WATTS

Yes.

JOHN WATTS

Well, I'm scared, would you come with me? You know like, in the ambulance.

DORIS WATTS

Yes.

JOHN WATTS

Thanks mum, you know what? I love you.

DORIS' hand reaches up from the floor and grabs JOHNS bare foot. Her nails dig in as she speaks.

DORIS WATTS

And I fucking hate you son. I really do.

JOHN WATTS

Yes right. Good-night mum.

DORIS WATTS

Good-night son.

Her hand releases his foot. She smiles.

CUT TO:

EXT. ENTRANCE TO JOHN'S HI RISE BLOCK -- MORNING

An ambulance and two police cars parked all with blue lights flashing.

INT. HALLWAY JOHN'S FLAT -- CONTINUOUS

DORIS WATTS cowering behind JOHN, a suitcase on the floor next to him. They are both watching the front door. JOHN advances

CUT TO:

INT. A SHOT OF THE FRONT DOOR -- CONTINUOUS

JOHN'S hand slides the ten bolts back. Then he inserts the key and opens the mortice lock. A CONSTABLE'S voice comes through the closed door.

POLICE CONSTABLE

Are they off?

JOHN WATTS

Yes.

POLICE CONSTABLE

Just the nails then?

JOHN WATTS

Yes.

POLICE CONSTABLE

Good, stand clear. Keep back!

We hear the sounds of smashing as a sledge hammer crashes down on the front door. After several blows, the framework splinters and the door flies open

DISSOLVE TO:

EXT. ENTRANCE TO JOHN'S HI RISE BLOCK -- MOMENTS LATER

An ambulance and two police cars parked all with blue lights flashing. A group of middle aged women are gathered near to the door and most of the visible balconies are filled with spectators. A POLICEMAN, 2 POLICEWOMEN, and DR KNOT come out of the block, followed by 2 AMBULANCE MEN and DORIS WATTS, closely followed by JOHN WATTS, who is carrying a large suitcase. Several comments issue from the balcony above, "There she is,lady muck the mad bitch and there's her lad, Ah bloody Hell.Fancy 'avin'a mother like that"An AMBULANCE MAN, a POLICEWOMAN and DR KNOTT get into the ambulance with DORIS and JOHN WATTS. The doors shut and the ambulance drives out of shot.

CUT TO:

EXT. HOSPITAL GROUNDS -- LATER

The ambulance moving through the grounds.

CUT TO:

INT. THE BACK OF THE AMBULANCE -- CONTINUOUS

DORIS WATTS, sits facing JOHN WATTS

DORIS WATTS

I warned you about the TV didn't I?

JOHN WATTS

Don't worry mum, it won't be for long.

DORIS WATTS

Now behave yourself in there. Should have everything you need in that suitcase? I'll visit you every day.

Her nails dig into his wrist,

DORIS WATTS (CONT'D)

Remember everything we talked about last night do you son?

JOHN WATTS

Yes mum.

The ambulance doors open to reveal a sign "FEMALE PSYCHIATRIC WARD". DORIS WATTS' fury erupts and she attacks JOHN.

DORIS WATTS

You treacherous bastard. Just like your bloody father!

She rains blows on JOHN. The AMBULANCE MAN and the POLICEWOMAN struggle to pull her off him. A NURSE comes running to the ambulance with a hypodermic and jabs it into DORIS WATTS' leg. A SHOT of her face as the tranquilizer takes effect, then a shot of JOHN wiping the blood from his lips as he holds back the tears.

DISSOLVE TO:

EXT. HOSPITAL GROUNDS -- LATER

JOHN WATTS carrying his suitcase, walking fast towards the main gate. A small car catches him up and keeps level. PETER PARLE opens the driver's window and looks up at JOHN as he speaks.

PETER PARLE

John! Get in I need a word with you.

JOHN ignores him, keeps walking fast

PETER PARLE (CONT'D)

John, come on stop. I'm a social worker. I can help. John!

JOHN WATTS

Just leave me alone will you! Leave me alone!

PETER PARLE

John!

JOHN runs out of steam, drops the suitcase and breaks down.

PARLE stops the car, gets out and comforts him.

CUT TO:

EXT. ESTABLISHING SHOT OF KIRKBY PROBATION OFFICE -- NIGHT

Some lights are still on.

DISSOLVE TO:

INT. PROBATION OFFICE -- CONTINUOUS

PETER PARLE hands JOHN WATTS a mug of tea. They're sitting at opposite sides of a desk.

PETER PARLE

So what are your plans?

JOHN WATTS

Stay at school until I get my A levels I suppose.

PETER PARLE

And how will you support yourself?

JOHN WATTS

Won't I get money from the Social Security?

PETER PARLE

A little but you'll have to cook, do your own washing, look after yourself.

JOHN WATTS

I'll manage.

PETER PARLE

It's a great pity that you're not on probation.

JOHN WATTS

I haven't done anything wrong have I?

PETER PARLE

No I'm saying you have, but if you had, then the weight of the probation service would be firmly behind you and a lot more doors would open.

JOHN WATTS

Doors?

PETER PARLE

I've got an old friend who runs a probation hostel in the Midlands.

JOHN isn't convinced,

PETER PARLE (CONT'D)

Oh it's a very modern place John, there's canoeing, rock climbing. You'd get your own room and it's close to the best school in Birmingham. So instead of struggling trying to survive here, you'd have three square meals a day, clean clothes. No worries. That would leave you completely free to continue your education. A far better arrangement I would've thought.

JOHN WATTS

Yes but like you said Mr Parle. I'm not on probation, am I?

PETER PARLE

Just a formality John, we could go to court and sort that one out. Then you'd be in.

PARLE gets up, goes over to the window and stands looking out.

PETER PARLE (CONT'D)

You could leave this place behind. Never belonged here anyway did you? A public schoolboy dumped in a place like this.

JOHN WATTS

You knew about that?

PETER PARLE

Your neighbor Mr Carney told me when he was asking me for help. I'm their son's probation officer. But I didn't need to be told, just listen to the way you speak John, blatantly obvious isn't it. A young man like you is never going to fit in around here. Anyway look, don't make your mind up straight away. Go home and think about it for the night. Come around and see me after school tomorrow, say about five pm. No food in the flat is there?

PARLE moves away from the window, back to JOHN and hands him a pound note

PETER PARLE (CONT'D)

Here, this will get you something to eat, keep you going, you can sign for it tomorrow.

JOHN gets up and shakes PARLE'S hand

JOHN WATTS

Thanks Mr Parle. Tomorrow then.

PETER PARLE

Yes tomorrow.

PARLE calls after him as he walks to the door. John stops to listen.

PETER PARLE (CONT'D)

John! Probation hostels are very similar to public schools but with far fewer rules and a great deal more freedom.

JOHN WATTS

Thanks, I'll give it some serious thought; I really will.

JOHN resumes walking and goes out.

CUT TO:

EXT. ENTRANCE TO JOHN'S HI RISE BLOCK -- LATER

JOHN walking into the block PAULINE TAYLOR rushes to catch up.

PAULINE TAYLOR

I thought it was you.

PAULINE grabs his arm and hangs onto him as they walk inside.

PAULINE TAYLOR (CONT'D)

Sorry to hear about your mum.

JOHN WATTS

Everyone knows then?

PAULINE TAYLOR

Can't help bein' sick can she?

JOHN WATTS

Finished aren't we?

They stop walking close by the lift and kiss

PAULINE TAYLOR

If that's what you really want.

CUT TO

CUT TO:

INT. JOHN'S FLAT -- CONTINUOUS

JOHN loads a few records, turns the player on a disc drops and as the Beatles record begins, he draws PAULINE close, she pulls back to speak.

PAULINE TAYLOR

She can't stop you going to the Isle Of White now.

JOHN WATTS

No.

PAULINE TAYLOR

So we're going then?

JOHN WATTS

Maybe.

PAULINE doesn't understand

JOHN WATTS (CONT'D)

I think I'll be moving to The Midlands, maybe we can go to the Isle Of White first.

PAULINE TAYLOR

The Midlands?

JOHN WATTS

Oh God I don't know. It's all so confusing and my poor bloody mother.

JOHN almost in tears, the enormity of the day's events finally hitting home, PAULINE comes closer.

DISSOLVE TO:

INT. CARNEY'S FLAT LIVING/DINING ROOM -- MORNING

JOHN dressed in his best clothes, sitting at the dining table finishing his breakfast. Also at the table MR and MRS CARNEY. JOHN eats his last mouthful, washes it down with some tea and straightens his hair.

JOHN WATTS

So. What do you think?

MR CARNEY

You look smart enough to go anywhere. But, if you really want the truth, I don't think you should do it.

JOHN WATTS

I've got to. I'd have to find money, cook, do washing. I'd have no time for school. Besides, there's canoeing and rock climbing in the hostel.

MR CARNEY

There's more to life than bloody canoeing and rock climbing. What if you don't like the place when you get there? Be too late then won't it. Why not stay on in the flat? Me and Olive'll see to you won't we love?

MRS CARNEY

Costs nothing to feed an extra mouth John.

JOHN gets up.

JOHN WATTS

Thanks for all your help, but this really isn't your problem.

CUT TO:

EXT. LIVERPOOL MAGISTRATES COURT -- MORNING

PETER PARLE and John Watts walking towards the building, JOHN slows, looks at the sign "Liverpool Magistrates" and hesitates. PARLE smiles reassuringly.

PETER PARLE

Don't worry, they're not going to bite. Just a formality this.

JOHN follows him inside.

CUT TO:

INT. LIVERPOOL MAGISTRATES COURT WAITING ROOM -- CONTINUOUS

The benches are occupied by several TEENAGE TO MID-TWENTIES ACCUSED, at the end of one of the benches is a free space, next to the space, sits a Liverpool Afro mixed race teenager EDDY GITTENS. Most of the ACCUSED are talking to each other in strong Liverpool accents. A UNIFORMED CONSTABLE walks past carrying two disposable cups

CUT TO:

A SHOT from EDDY GITTENS POV as PARLE approaches, followed by JOHN. PARLE recognises EDDY GITTENS

PETER PARLE

That seat taken?

EDDY GITTENS

Doesn't look like.

PETER PARLE (to JOHN)

Wait here a few minutes. Shouldn't be long, I'll see if I can get us on next.

PARLE addresses EDDY GITTENS

PETER PARLE (CONT'D)

Finished with probation hostel?

EDDY GITTENS

Just came up to go to court.

PETER PARLE

What is it this time?

EDDY GITTENS

Burglary.

PARLE disapproves and moves towards the court room door

EDDY GITTENS (CONT'D)

Eh Parle!

PARLE stops and looks back

EDDY GITTENS (CONT'D)

I'm not guilty this time though.

JOHN takes the seat next to EDDY GITTENS

EDDY GITTENS (CONT'D)

What are you nicked for?

JOHN WATTS

Nothing.

EDDY GITTENS (UNCONVINCED)

Yeah.

JOHN WATTS

No I just know him, that's all. How did you get to er, know him?

EDDY GITTENS amused, eyes JOHN up and down

EDDY GITTENS

He was my Prowie, the prick.

JOHN doesn't seem to understand

EDDY GITTENS (CONT'D)

Are you off the fuckin' moon?

JOHN WATTS

Oh yes, sorry, your probation officer.

EDDY GITTENS

Posh bastard aren't yer, talkin' a different language aren't we? Let's start from the beginin'. What did you get arrested for?

JOHN WATTS

Nothing I just -

The Courtroom door opens, PARLE steps out

PETER PARLE

Come on John, we're on!

JOHN gets up and moves towards PARLE. EDDY GITTENS can't figure it out.

EDDY GITTENS

Good luck anyway!

JOHN glances back at EDDY GITTENS then continues into the court room

CUT TO:

INT. LIVERPOOL MAGISTRATES COURT WAITING ROOM -- LATER

JOHN comes out of the court room followed by PARLE who hands him a few coins and pats him on the back.

PETER PARLE

Well done. Get yourself a cup of tea or a bottle of pop. I'll be out in a few minutes.

PARLE goes back into the court room. JOHN goes to the WVS drinks counter, EDDY GITTENS walks over to JOHN and stands next to him. JOHN is beaming with pride.

EDDY GITTENS

You were quick. What happened?

JOHN stirs the tea

JOHN WATTS

Got a two year probation order.

EDDY GITTENS

What for?

JOHN WATTS

Nothing. Well because my mother's sick. It's a voluntary one. A voluntary probation order.

EDDY GITTENS has never heard anything quite so incredibly stupid. It takes a moment for JOHN'S words to sink in, then-

EDDY GITTENS

You fuckin' dickhead!

DISSOLVE TO:

INT. TED'S ROOM -- MORNING 2005

JOHN standing near the window, looking down onto the street

TED O/S

Lucy! Lucy!

JOHN WATTS

She's not here Ted, don't worry, it'll be alright.

DISSOLVE TO:

INT. TED'S ROOM -- LATER

A SHOT of JOHN guiding TED in the wheelchair towards us through the bathroom/toilet doorway. JOHN stops the wheelchair next to the bed, straightens the bottom sheet, then lifts TED back up onto the bed.

JOHN WATTS

Up or down?

TED

Time to get up isn't it?

JOHN WATTS

Up it is then.

JOHN operates the remote, slowly sending the top of the bed into the upright position, then arranges the pillows beneath TED'S back and shoulders.

JOHN WATTS (CONT'D)

How's that?

TED

Perfect son. Perfect

JOHN WATTS

What's my name Ted?

TED

John. I'm alright now son. Just for a minute there, it all seemed you know; different.

JOHN WATTS

Never be scared to press that buzzer. We'll always come and see to you.

JOHN'S pager buzzes, he takes it from his pocket. TED aims his remote at the television, it comes to life showing a 1967 Vauxhall Viva driving along a road. We HOLD on the TV IMAGE as JOHN reads his pager and until the next cut.

JOHN WATTS (CONT'D)

Ella! Ooh that's a good old Vauxhall isn't it.

The pager buzzes again, then a couple of times more

JOHN WATTS (CONT'D)

Now Cissy and Mr Thompson, I haven't even had my coffee yet.

JOHN leaves the room we hear the door closing behind him.

CUT TO:

EXT. INSIDE THE VAUXHALL CAR 1967 -- AFTERNOON

PETER PARLE at the wheel, John Watts in the passenger seat staring out at the passing countryside.

PETER PARLE

So she was really upset?

JOHN WATTS

Had her heart set on that concert.

PETER PARLE

There'll be others.

JOHN WATTS

Maybe.

PETER PARLE

You made the best decision. No telling what trouble you might've ended up in.

CUT TO:

EXT. A580 MAIN A ROAD OUT OF LIVERPOOL -- MORNING

PAULINE TAYLOR standing on the grass verge thumbing a lift. A lorry pulls up next to her. The door opens, THE DRIVER looks down.

THE DRIVER

Where are you headed?

PAULINE TAYLOR

South.

THE DRIVER

Come on then.

PAULINE TAYLOR climbs up into the cab, the door shuts and the lorry drives off.

CUT TO:

EXT. WEST MIDLANDS PROBATION HOSTEL -- AFTERNOON

A large Victorian red brick building surrounded by a high wall. PETER PARLE'S Vauxhall car drives in through the open gates and stops near to the front door.

CUT TO:

EXT. INSIDE THE VAUXHALL CAR -- EVENING

PETER PARLE sets the handbrake.

PETER PARLE

Here we are then.

He watches as JOHN regards the imposing double front doors

PETER PARLE (CONT'D)

Big place isn't it?

JOHN WATTS

Looks like Dracula's castle.

PETER PARLE (AMUSED)

Got an imagination you have, haven't you. Come on,

He opens the driver's door, steps out and walks around to open JOHN'S door

PETER PARLE (CONT'D)

It isn't as bad as it looks.

JOHNCUT TO:

INT. HALLWAY WEST MIDLANDS PROBATION HOSTEL -- CONTINUOUS

PARLE taps lightly on the house master's office door.

MR MURRAY (O.S.)

Come in.

PARLE turns to JOHN before going inside.

PETER PARLE

Hang on there for a moment please John.

CUT TO:

INT. HOUSEMASTER'S OFFICE PROBATION HOSTEL -- CONTINUOUS

A tea tray with two cups and a steaming tea pot on MURRAY'S desk. PARLE shakes his hand and drops JOHN'S file next to the tea tray.

MR MURRAY

Perfect timing, do you want one?

PETER PARLE

I wouldn't say no.

MURRAY pours

MR MURRAY

Help yourself to sugar and milk. Have a good drive?

PETER PARLE (STIRRING THE TEA)

Thanks. Not bad really, tiring though. Is Bob Southgate about?

MR MURRAY

Southgate? Bobby Southgate? Left us more than a year ago. Didn't you know?

PETER PARLE

No haven't seen him since the Leeds conference.

MR MURRAY

That'd explain it then wouldn't it. Forced to resign he was, place was a real shambles. Hopeless bloody liberal Bobby Southgate.

PETER PARLE

Sounds as though you've altered the regime.

MR MURRAY

Just a little, had to really you know, the place was almost completely out of control. We didn't exactly bring back the rack or build any dungeons you understand but we did have to re-establish some kind of order. Anyway shall we have him in and get you on your way?

MURRAY reads the name on JOHNS file and bellows.

MR MURRAY (CONT'D)

Come in Watts!

JOHN closes the door behind him and stands nervously in front of the MURRAY'S desk. PETER PARLE and MURRAY still drinking their tea look up at him.

MR MURRAY (CONT'D)

Well I must say, Mr Parle, he is a fine big specemin of a lad.

PARLE is beginning to look worried, MURRAY reads from JOHN'S folder.

MR MURRAY (CONT'D)

John Watts, 20th of March 1950, that makes you let's see, almost seventeen?

JOHN WATTS

Yes sir.

MR MURRAY

No need to call me "sir" John, Mr Murray'll do.

JOHN WATTS

Yes Mr Murray.

MR MURRAY

"Yes Mr Murray" well spoken too, don't come across that very often; good. So, what are your plans? Seventeen, it might be a good time to start looking for a job.

JOHN WATTS

I really did think I was going back to school for my A levels.

MR MURRAY isn't impressed and it shows.

MR MURRAY

Back to school? Your school was up in Liverpool.

PETER PARLE

Well I did promise him that -

MURRAY'S hand goes up cutting him short.

MR MURRAY

Give us a moment will you Watts. Close the door on your way out.

JOHN leaves the office, closes the door and takes a step backwards. Behind him, a boy mopping the hallway looks up. JOHN turns to face him and they instantly recognise each other. The other boy is EDDY GITTENS.

EDDY GITTENS (WHISPERING)

You're really in the shit now mate. Got any money on you?

JOHN WATTS (WHISPERING)

Yes, why?

EDDY GITTENS holds his hand out

EDDY GITTENS (WHISPERING)

Give us it quick. You'll lose it if you go back in there.

JOHN undecided over parting with his cash

EDDY GITTENS (WHISPERING) (CONT'D)

Come on, he'll take it off you!

The door opens. PARLE comes out embarrassed and guilty. EDDY GITTENS turns away and continues mopping. PARLE offers his hand to JOHN

PETER PARLE

Well this is it John.

They shake hands

PETER PARLE (CONT'D)

Tow the line now, you know, pull your weight and you'll get on fine. He seems to be a fair man Mr Murray, a fair man.

JOHN WATTS

But what about school?

PETER PARLE

Between you and Mr Murray now.

JOHN WATTS

But-

MURRAY'S voice bellows from behind the closed door.

MR MURRAY (O.S.)

Watts! Watts! Come on lad! I haven't got all day.

PARLE walks towards the front door. JOHN goes back into the house master's office.

MR MURRAY (CONT'D)

Shut the door behind you. Good. Right, stand there in front of the desk and empty your pockets!

JOHN doesn't move, just stands looking at him.

MR MURRAY (CONT'D)

Come on then, let's get a move on. Put your cash on the desk. Haven't got any weapons have you? Any Knives, knuckle dusters, studded belts?

JOHN shakes his head as he lays his cash on the desk. MURRAY picks it up, counts it and eyes JOHN with suspicion.

MR MURRAY (CONT'D)

Thirty one pounds ten shillings and sixpence. Quite a lot of cash for a lad of your age.

MURRAY drops the money into a steel cash box, relishes the locking of it and puts it in the desk drawer.

JOHN WATTS

Took me almost a year to save that. Went to the post office yesterday and drew it out.

MR MURRAY

Good. Right then, turn your pockets inside out.

JOHN doesn't move, just stands looking at MURRAY

MR MURRAY (CONT'D)

Don't make this any more difficult than it needs to be Watts. We really can't have contraband of any kind in here. Come on now, turn 'em out!

JOHN turns his pockets inside out and holds his hands out.

MR MURRAY (CONT'D)

Good. Now get behind that screen and strip down to your underpants.

JOHN WATTS

But-

MR MURRAY

Do it lad! Nurse Roberts! Nurse!

The office door opens and a dumpy uniformed middle aged Welsh nurse leans around the door.

NURSE

I'll be with you in a minute Mr Murray, just giving Evans his medication.

MR MURRAY

Alright Mrs Roberts, I'll er, make a start.

CUT TO:

INT. A SHOT OF JOHN BEHIND THE SCREEN

JOHN standing in his underpants waiting for the nurse to return. MURRAY comes into shot stepping behind the screen grinning. Eyeing JOHN up and down.

MR MURRAY

Right then. Drop your underpants!

JOHN complies MURRAY'S hand goes out

MR MURRAY (CONT'D)

Cough! Come on lad cough!

JOHN coughs

MR MURRAY (CONT'D)

Well I must say. You really are a big lad aren't you Watts.

The SHOT makes it obvious that MURRAY holds JOHN for too long. JOHN is un-nerved and embarrassed.

MR MURRAY (CONT'D)

Done it yet have you John?

JOHN doesn't reply MURRAY looks straight into his eyes and whispers

MR MURRAY (CONT'D)

Girls is it John? ---------------No I don't think it is, it's boys isn't it? Boys you like best. I think you're going to like it here.

JOHN pushes him away.

JOHN WATTS

Get off!

THE NURSE comes in.

CUT TO:

EXT. AN "A" ROAD CLOSE TO BIRMINGHAM -- EVENING

A lorry pulls in at a lay-by PAULINE TAYLOR climbs down onto the road, she looks tired. Hoists her sleeping bag onto her shoulder and waves as the lorry drives off. Then we cut to A SHOT from her POV a road sign, "Birmingham City Centre 22 Miles"

INT. DORMITORY MIDLANDS PROBATION HOSTEL -- AFTERNOON

John Watts and EDDY GITTENS both wearing bib and brace overalls, sitting on the edge of their beds, there's no one else in the dormitory.

JOHN WATTS

So it's just us in here then?

EDDY GITTENS

No. Rest of 'em are out at work apart from a couple of kids at school. They'll be in in a minute.

JOHN WATTS

He did steal my money.

EDDY GITTENS

Told you, you should'a give it to me. That's not all he did either, is it?

JOHN avoids EDDY GITTENS' eyes, shakes his head embarrassed. EDDY GITTENS gets up comes closer.

EDDY GITTENS (CONT'D)

He's a nonse John. At it with all the young one's. Tried it on with me and I've been moppin' floors ever since.

JOHN WATTS

What, every day?

EDDY GITTENS nods

JOHN WATTS (CONT'D)

Fucking Hell.

EDDY GITTENS

Soon as I get a chance, I'm gone from here.

JOHN looks around the empty dormitory.

JOHN WATTS

What about the rest of them?

EDDY GITTENS

Gobshites! Geordies, Cockneys, Brummies, Jocks. Takes them for weekends at his caravan in Scarbourgh if they give him a good enough wank. I know you talk funny but you are from Liverpool aren't you, so that makes you a scouse no matter what you sound like. I was on my own before, but now there's two of us.

JOHN WATTS

Just two?

EDDY GITTENS

Yeah but we're the only ones who had the arse to stand up to that bastard. So don't worry about trouble from any of the others, cowards the lot of them. What d'ya think Scousers should do when there's just two of them?

JOHN stands

JOHN WATTS

Stick together.

EDDY GITTENS

Exactly.

They shake on their pact.

They both turn to see MURRAY standing at the end of the dormitory listening and smiling sadistically.

MR MURRAY

How very touching! Get yourselves down to the cleaning stores and take a mop and bucket each. You can "stick together" as you clean this place up. Come on we haven't got all bloody day! "Stick together" indeed, how very very touching.

CUT TO:

INT. DORMITORY MIDLANDS PROBATION HOSTEL -- LATER

JOHN and EDDY mopping spaces between beds. DANNY, A boy of about twelve or thirteen comes in. He's dressed in a short trousers school uniform. He walks to his bed, drops his school satchel and sits down. Looks fed up

EDDY GITTENS (TO DANNY)

Alright Dan?

DANNY

Not bad. Who's he?

EDDY GITTENS

John, he's a mate of mine from Liverpool. Proper robber 'til he ended up in here weren't you Dan?

DANNY

Twenty four shopliftin's and three breaches of probation. Not that it's any of your business.

EDDY GITTENS

Murray took him to Scarbourgh last weekend. Didn't he Danny?

DANNY lays on his bed and turns away, we see his face, ashamed and sad. JOHN walks over to him.

JOHN WATTS

You should tell someone you know, if he's been doing things he shouldn't.

DANNY gets tearful, angry.

DANNY

Tell him will you Eddy! Tell him to mind his own fuckin' business.

EDDY GITTENS

He's right you know. Who'd believe him? At least this way, he gets an ice cream and a packet of ciggies.

JOHN WATTS

He can't get away with doing that to a kid.

EDDY GITTENS

I think you'll find you're wrong there John.

INT. HALLWAY WEST MIDLANDS PROBATION HOSTEL -- MORNING

A mop wrings in a bucket then hits the floor. JOHN and EDDY GITTENS at either side of the large hallway cleaning. MURRAY comes out of his office and advances towards JOHN. He stares disgustedly at JOHN'S mop bucket.

MR MURRAY

Filthy!

MURRAY kicks JOHN'S bucket over, flooding the hall.

MR MURRAY (CONT'D)

Now get that lot mopped up and from now on, change the water when it gets dirty!

MURRAY marches back into his office, slamming the door behind him. EDDY GITTENS comes across the hallway to assist JOHN'S mopping.

JOHN WATTS

Prick!

EDDY GITTENS

Normal that John, take no notice he's just trying to wind you up.

JOHN WATTS

You know what you said about as soon as you "get a chance"?

EDDY GITTENS nods

JOHN WATTS (CONT'D)

Well I'm with you. Definitely.

CUT TO:

EXT. WEST MIDLANDS PROBATION HOSTEL -- MOMENTS LATER

PAULINE TAYLOR coming up the driveway to the main entrance.

CUT TO:

INT. HALLWAY WEST MIDLANDS PROBATION HOSTEL -- CONTINUOUS

From JOHN'S POV PAULINE TAYLOR'S shape distorted through the opaque glass. JOHN'S face as he almost recognises her. He knows it couldn't possibly be her. She rings the doorbell.

MR MURRAY FROM BEHIND CLOSED OFFICE DOOR (O.S.)

Open the door Gittens!

JOHN suddenly realising that it is PAULINE, gets there before him and opens the door. She takes a step inside, there's a moment as they look at each other

PAULINE TAYLOR

This is a hard place to find.

JOHN kisses her and holds her at arms length looking at her. EDDY GITTENS is amused but worried.

MR MURRAY FROM BEHIND CLOSED OFFICE DOOR (O.S.)

Who is it?

EDDY GITTENS hesitates

MR MURRAY FROM BEHIND CLOSED OFFICE DOOR (O.S.) (CONT'D)

Come on lad, who is it?

EDDY GITTENS

No one sir, just someone lost looking for the-

The office door flies open, MURRAY strides out glaring and stops close to the couple. JOHN moves alongside PAULINE

JOHN WATTS

This is Pauline Mr Murray. She's my girlfriend.

MR MURRAY

Girlfriend is it now? This is a boys probation hostel. No females allowed without prior approval, written consent and never without a house-master present! Out!

PAULINE TAYLOR

Who does he think he is?

MR MURRAY

Out! I said, out!

MURRAY advances on PAULINE, as he does EDDY GITTENS sneaks into the office

CUT TO:

INT. HOUSEMASTER'S OFFICE. -- CONTINUOUS

EDDY GITTENS slides the desk drawer open and takes the cash box out.

CUT TO:

INT. HALLWAY WEST MIDLANDS PROBATION HOSTEL -- CONTINUOUS

MURRAY grabs PAULINE'S coat and tries dragging her towards the front door, her fingernails rake across his face, drawing blood. He cries out in pain, touches his wound and regards the blood on his fingertips. He slaps her hard across the face, sending her sprawling. JOHN hesitates a moment then he and MURRAY exchange blows. JOHN is getting the worst of it when EDDY GITTENS comes up behind MURRAY, crashing the cash box down hard on the back of his head. MURRAY falls to the floor unconscious. PAULINE is now back on her feet. JOHN and EDDY GITTENS are filled with dread. They move towards the door but PAULINE runs back and kicks MURRAY several times viciously. JOHN grabs hold of her, pulls her away.

JOHN WATTS

Let's get out of here.

The three run off, leaving the door open. MURRAY groans. NURSE ROBERTS comes running into the hallway, she looks down at MURRAY

NURSE

Mr Murray! Oh my God.

She kneels down to attend to him.

CUT TO:

EXT. A SUBURBAN GARDEN BACKING ONTO A PARK -- MOMENTS LATER

A woman rushing to get her washing in out of the rain CAMERA zooms past her to focus on a shelter in the park.

EXT. A PARK SHELTER -- CONTINUOUS

Heavy rain falling, JOHN WATTS and PAULINE TAYLOR are sitting on the bench, EDDY GITTENS is holding the cash box in one hand pacing up and down in front of them. He raises the box

EDDY GITTENS

Mind yourselves!

And dashes it down on the concrete floor. It fails to open. He picks it up

EDDY GITTENS (CONT'D)

Look out!

And smashes it down again. This time the lid flies off,

JOHN WATTS

That's it.

EDDY GITTENS picks the cash up, kicks the broken empty box beneath the bench and sits next to JOHN and PAULINE counting.

EDDY GITTENS

Forty nine, fifty fifty one.

He considers JOHN for a moment and counts again

EDDY GITTENS (CONT'D)

Five ten fifteen twenty twenty five. Here!

He hands the £25.00 to JOHN.

JOHN WATTS

Twenty five? Thirty one pounds of that's mine!

EDDY GITTENS

Not now it isn't. He nicked it off you. I nicked it off him. You're lucky I'm lettin' you have that.

JOHN almost argues but decides against it.

JOHN WATTS

I suppose you're right.

JOHN pockets the cash. EDDY GITTENS gets up and stands watching the rain falling.

PAULINE TAYLOR

What now?

EDDY GITTENS

Can't sleep out in this.

JOHN WATTS

No.

EDDY GITTENS

Have to get into a bed and breakfast.

JOHN sticks his thumbs in his bib and brace overalls and looks down at them.

JOHN WATTS

Dressed like The Beverly Hillbillies?

EDDY GITTENS looks at JOHN amused.

EDDY GITTENS

It's been raining for too long. There'll be no washing out. Have to be plan-B won't it! Come on!

JOHN and PAULINE get up and follow EDDY even though neither of them has the slightest clue of what EDDY is talking about.

CUT TO:

INT. A LAUNDERETTE -- LATER

Clothes tumbling in a row of large dryers. EDDY GITTENS is sitting next to JOHN. One of the dryers stops. A MIDDLE AGED WOMAN opens the door, touches several damp items then closes it again. She rummages around in her purse but fails to find what she needs. She turns to EDDY and JOHN

MIDDLE AGED WOMAN

Got any spare shillings?

EDDY GITTENS

No sorry missus. He's got none either have you?

JOHN shakes his head. THE MIDDLE AGED WOMAN walks out of the launderette. JOHN and EDDY exchange a glance then pounce on the dryer, selecting several items of clothing. They're gone before the woman returns.

CUT TO:

EXT. A CITY RAILWAY STATION -- EVENING

JOHN, EDDY and PAULINE laughing, running through the rain into the entrance. JOHN and EDDY are now dressed in jeans and tee shirts.

CUT TO:

INT. A CITY RAILWAY STATION BOOKING HALL -- CONTINUOUS

Only one ticket window is open, THE TICKET INSPECTOR doesn't like the look of the three intoxicated teenagers standing in front of his ticket window, their voices echoing in the otherwise empty hall. EDDY raises a bottle of wine to his lips and takes a swig. JOHN is so impressed by EDDY'S savvy, he wants to be like him, even down to attempting to talk like a true Scouse.

JOHN WATTS

When's the next train to the Isle Of White mate?

The TICKET INSPECTOR studies the timetable too slowly, glances up at PAULINE.

PAULINE TAYLOR (TO TICKET INSPECTOR)

We're on our way to see Bob Dylan.

(to JOHN)

Here give me a drink of that.

JOHN hands her his bottle.

TICKET INSPECTOR

Eight forty five. No drinking on the train. You'll have to get rid of that. Can't take bottles of wine onto a train.

The three teenagers begin laughing loudly, amused by the ticket inspector's dull attitude.

JOHN WATTS

Don't worry mate, we'll get rid of them. How much?

TICKET INSPECTOR

Second Class tickets?

JOHN WATTS

Yeah.

TICKET INSPECTOR

Four pounds ten and six each. That'll be thirteen pounds eleven and six.

JOHN and EDDY get the cash together, EDDY hands his share to JOHN, who pushes it through the ticket widow. The TICKET INSPECTOR counts their cash and pushes the tickets towards JOHN.

TICKET INSPECTOR (CONT'D)

Here. And one more thing, I'm not your "mate" mate!

EDDY steps forward and snatches the tickets.

EDDY GITTENS

He's pleased about that. Doesn't have miserable bastards for mates. Do you John?

The three teenagers walk off laughing. The TICKET INSPECTOR lifts the phone and dials.

CUT TO:

EXT. A POLICE CAR PARKED IN A STREET.

Two uniformed constables inside. We hear the radio crackle into life. "Charlie tango two Charlie tango two control" The PC in the passenger seat lifts the handset from its mounting.

POLICE CONSTABLE

Charlie Tango Two come in control.

POLICE RADIO (V.O.)

Yes C.T. 2, we've just received a report of three teenagers two male and one female, causing a disturbance in James Street Station. Sounds like the two absconders and that ABH over.

The police vehicle starts, the headlights come on.

POLICE CONSTABLE

Roger control.

The police car pulls away into the traffic.

CUT TO:

EXT. A CITY RAILWAY STATION -- LATER

A police car next to a police van parked on the street outside. JOHN, PAULINE and EDDY all in handcuffs, each being led out of the station by a constable. One after the other they're loaded into the police van. The van starts up.

CUT TO:

INT. POLICE STATION CUSTODY SUITE -- NIGHT

A row of three closed cell doors, CAMERA moves from door to door as we hear the three prisoners talking to each other. The voices echo.

PAULINE TAYLOR (O.S.)

John! John!

JOHN WATTS (O.S.)

They've locked you up too! I never thought you were going to end up in here.

PAULINE TAYLOR (O.S.)

It's not your fault. Are you alright?

JOHN WATTS (O.S.)

Yeah, what about you?

PAULINE TAYLOR (O.S.)

Don't worry about me. I'm gettin' out soon. Said they're just keeping me here until the Liverpool police've been around to see my mum. I just hate being alone is all and do you know what? It fuckin' stinks in here.--- Eddy in there with you is he?

EDDY GITTENS (O.S.)

No I'm in next door.

JOHN WATTS (O.S.)

What do you think'll happen Ed?

EDDY GITTENS (O.S.)

Had it haven't we? There's breach of probation. Then there's nickin' that cash. And don't forget the big one, jumpin' all over Murray's fuckin' head.

JOHN WATTS O/S

Think we're going to get locked up?

EDDY GITTENS (O.S.)

Fuckin' Hell John! We're already locked up. The question is, do I think we're ever gonna get out?

JOHN WATTS

Well do you?

EDDY GITTENS

You and me've got no chance have we? Calamity bleedin' Kate might. Think he was already out cold when she did her little bit of tap dancin'. Listen Pauline!

PAULINE TAYLOR

What?

EDDY GITTENS

Don't trust them. Anyone asks you what you did, say nothing. You did nothing right?

PAULINE TAYLOR (O.S.)

I didn't do much anyway did I?

EDDY GITTENS (O.S.)

You didn't do nothing. And you didn't see nothing. Right?

PAULINE TAYLOR (O.S.)

Yeah right.

DISSOLVE TO:

INT. JOHN'S CELL -- CONTINUOUS

JOHN sitting on the edge of the bed, head down rocking.

DISSOLVE TO:

INT. MAGISTRATES COURT -- MORNING

JOHN WATTS and EDDY GITTENS standing in the dock PAULINE TAYLOR watching from the public gallery. Three magistrates sitting, all are over fifty, two women and one man. The CLERK OF THE COURT addresses the accused.

CLERK OF THE COURT

Edward Gittens. It is to your credit that you have pleaded guilty to the charge of breach of probation. Also to the more serious charges of, assault causing actual bodily harm on Mr Murray and the theft of a cash box containing one hundred and fifty pounds. Do you have anything to say before the magistrates pass sentence on you?

EDDY lowers his head as he replies.

EDDY GITTENS

No.

CLERK OF THE COURT

Watts, John Watts. You have pleaded guilty to breach of probation, assault causing actual bodily harm to Mr J Murray and theft in the matter of stealing a cash box containing one hundred and fifty pounds. Do you have anything to say before the magistrates pass sentence on you?

JOHN is very nervous delayed but manages to reply

JOHN WATTS

Yes sir.

CLERK OF THE COURT

Come on then get on with it!

JOHN WATTS

I was only on voluntary probation. Murray hit me first. I was only trying to defend myself. And, he took thirty one pounds off me, I was only taking my own money back. There was never a hundred and fifty in that box, there wasn't even a hundred.

CLERK OF THE COURT

Dear me Watts. It's an odd state of affairs, pleading guilty to something then later attempting to deny it. As for the details of your probation order. Probation is probation, simple as that. It doesn't matter why the order was issued. Breach of probation is breach of probation. Now have you anything more sensible to offer the court? Like perhaps your remorse having committed such a serious catalogue of crimes?

JOHN WATTS

No sir.

THE CLERK OF THE COURT turns to face the MAGISTRATES.

CLERK OF THE COURT

Are your honors ready to proceed.

CUT TO:

INT. POLICE STATION CUSTODY SUITE -- AFTERNOON

PAULINE visiting JOHN. They're talking to each other through the bars at the end of the cell block.

JOHN WATTS

Won't be seeing Bob Dylan after all then.

PAULINE TAYLOR

No point without you. How long will you do?

JOHN WATTS

Eddy says about two thirds of it.

PAULINE TAYLOR

I'll visit you, it'll soon pass.

JOHN WATTS

They say it's a long way. Somewhere near Nottingham.

PAULINE TAYLOR

I'll get there.

A POLICE CONSTABLE comes into shot on JOHN'S side of the bars.

POLICE CONSTABLE

That's it. Come on times up.

They quickly kiss through the bars then as PAULINE turns to walk away, we see the tears forming in her eyes.

CUT TO:

EXT. A POLICE VAN -- AFTERNOON

Two CONSTABLES in the front, JOHN and EDDY cuffed together in the back. The CONSTABLE in the passenger seat, takes a cigarette out, lights it then turns and offers

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