On OLLIE (24). A mind racing. Body, lean and dirty. Alone
in this tent, Ollie opens blood shot eyes. They literally
bounce to the beat of the music breaking through.
Ollie looks to the entrance of his tent, to the BARE FEET
SHUFFLING TO THE BEAT. His gaze rises to a shadow with
long hair. Swaying in rhythm.
The shadow moves position. Ollie flickers in the light,
the shadow returning him to darkness.
He flops sideways, his eyes passing over white. He uses a
hand to route under a sleeping bag. He finds the pack of
cigarettes. Lights one up.
OLLIE
(to himself)
How does she move like that?
Ollie finishes his cigarette after one drag. Flicks the
butt on a sleeping bag. It still smokes.
The tent opening, the shadow forming, crouching into the
entrance. MADS (24). A blonde beauty, with deep ocean
blue eyes.
MADS
Ollie, dance with me?
Ollie nods. He takes Mads’ hand, follows her outside.
The cigarette butt smokes... then the sleeping bag
catches fire. The small fire burns bright.
EXT. FIELD - CONTINUOUS
Ollie holds Mads tight. Their tent burns, a bright orange
fluorescent. The two lovers don’t notice.
Across the field-
(CONTINUED)
2.
CONTINUED:
Through a makeshift FESTIVAL. Caravan after caravan, more
tents, dodgems, a waltzer. Neon lights. The centrepiece,
a FERRIS WHEEL racing towards the stars.
HUNDREDS OF PEOPLE. Dirty, relentless colour, sweat.
We MOVE THROUGH THIS WORLD, a field, dense woodland
surrounding this green patch of the countryside. Caravans
with parties raging on inside.
Staggering bodies, the amusement rides whip and stutter
through. Fires burn high, crackling and spitting.
Some HORSES sit in a pen. GYPSY MEN operate the rides,
pushing buttons. Collecting money.
A gazebo is dark, strobe lighting revealing a DJ
delivering a set. Cannabis smoke seeps every which way
across the grass. Life piled on life.
CUT TO:
BASS PUMPING FROM THE BOOT OF A HATCHBACK - DAY
The speakers THUMP. Ollie takes the vibrations. Now we
get a good look at him. Stories living beneath harsh fake
blonde hair. His T-shirt jumps, bass brutalising him.
He’s a body among FIFTEEN YOUNG MEN watching the scene in
front of them. WIDER-
Genres:
["Drama","Romance","Mystery"]
Ratings
Scene
2 -
Overdose in the Field
EXT. FIELD - DAY
A GYPSY tinkers with the radio in the front of his beat-
to-shit-three-door. He turns the knob. Ollie takes the
shattering bass. Sweat freezes on his temples.
The revellers are standing to attention. Subjecting
themselves to this abuse of senses. More of the MEN IN
TRACKSUITS sit on the car bonnet, smoking weed. One of
the men watches Ollie through the open boot.
GYPSY MAN 1
(Irish)
Who’s da kid?
The Gypsy riding shotgun follows his buddies gaze.
GYPSY MAN 2
Don’t know yet.
The SECOND GYPSY MAN rounds the car. Closer to Ollie.
(CONTINUED)
3.
CONTINUED:
GYPSY MAN 2
Bet you never t’ought you could
see sound!?
The second Gypsy Man leans inside his car, turns the knob
on the radio. A small stream of blood escapes Ollie’s
ear. He wipes it, rubbing red between his thumb and
fingers.
INT. CARAVAN - DAY
Ollie, alone in this gutted caravan. A stained mattress
equips the brown slush of a room. His red eyes strain
focus on the PACKET on his lap.
Ollie takes out his library card, separating the COCAINE
into small lines.
He places his face over the lines. Hesitates. Then
inhales all of it... his system kicking back gram after
gram.
He flops his head over the tray, knocks it to the floor.
Collapses sideways. Ollie crawls to the wall, props
himself. His jeans tarred in thick brown mud.
Then he opens his eyes. Piercing white sunshine. He yanks
his hoodie over his head. Curls up into the fetal
position.
INT. SAME CARAVAN - LATER
The door to the caravan opens. But nobody is there, just
the cold outside air.
Ollie crawls on his hands and knees. He reaches the door
but misses the hinges, toppling halfway down the steps so
half his body is in and half out the caravan.
He labours onto his back, looking up at a beautiful blue
sky.
CUT TO:
NIGHT TIME
Ollie in the same position. His eyes flicker open as he
shivers awake. His mouth drools, frothing white.
(CONTINUED)
4.
CONTINUED:
Looking to the night sky, to the aligned stars forming a
new shape. They build a mosaic. The face of an ELDERLY
WOMAN appears.
Ollie smiles. Tears form in his eyes as he reaches out. A
struggle to hold the stars, so he focuses the attention
to the tree of life tattoo that appears on his forearm.
The leaves crawl up to his neck, suffocating.
Ollie VOMITS HARD. The vomit sprays to the sky, coming
back down to land on his face. He screams, his face
bloated and red.
He turns his head, his hair now resting in his acidic
vomit.
A TRAVELLER stands, watching. This is BENNY, 30. A member
of the traveller community, another gypsy. He waits in
the shadows.
BENNY
(Irish)
I seen somebody paint the whole
inside of their bedroom in dat
shit. That was really impressive.
Ollie takes a deep breath.
BENNY
I bet I could kill a horse with
dat.
Benny makes his way over to Ollie. He crouches over,
looking deeper into Ollie’s dilated pupils.
BENNY
I can see some of you left in
there.
Benny slaps Ollie on the cheek. Yanks Ollie’s head so he
can dribble vomit.
BENNY
Lets not die tonight.
Benny opens Ollie’s mouth, turns his body sideways. The
recovery position. Human, not just a voice in the dark.
Ollie gets a final look then passes out. His face buried
back in the dirt. The sweat pours profusely from his
body. He coughs dirty oxygen back out of his lungs.
5.
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
3 -
The Shopkeeper's Standoff
INT. OLLIE’S TENT - EARLY MORNING
The first light illuminating the air. Ollie rolls over,
shivers in the damp morning air, greasy hair glued to his
face. Empty space beside him.
EXT. FIELD - DAY
A moment of emptiness. Then the first of the CONVOY OF
CARS. It SMASHES THROUGH THE GATE, over the cattle grid.
Following behind are a consortium of caravans and
trailers. Beat-to-shit campers. Graffiti, hippie.
They race in, doughnut... smoke rising. Churning tyres.
Reckless and free, gypsy men hang from the windows. One
of them is Benny.
Then the lorries enter. Fairground amusement rides in-
tow. The convoy stops, engines idle. Benny leaves his
van, surveys the surroundings.
BENNY
This is it.
The engines turn off one by one.
EXT. VILLAGE - DAY
Quiet and quaint. Tiny houses with low ceilings and small
driveways to hold 4x4’s. And passing these buildings--
Ollie.
He approaches the VILLAGE STORE. Notes the horse and cart
waiting outside.
INT. VILLAGE STORE - CONTINUOUS
That RINGING BELL as the door opens. Ollie nods to the
SHOPKEEPER, a burly man. Then heads to the first aisle.
He ponders the options, looks to big multi-pack crisps
and cans of drink. He removes a couple of notes from his
pocket, fingering them in his palm.
The Shopkeeper watches from the cash register. He returns
to his word search. Circles the word THIEF.
Ollie carries a basket, fills it with some snacks and
fizzy drinks. He takes the last bottle from a shelf,
revealing Benny in the opposite aisle.
(CONTINUED)
6.
CONTINUED:
Ollie peers closer, watching Benny pocket some chocolate
bars and a small jar of baking soda.
Ollie looks to his own basket, considers. Then he looks
up... to Benny, his head wedged between the shelves,
looking straight back at him.
BENNY
I see you.
Hesitation.
OLLIE
I see you.
BENNY
Shh. I take what I want, unwritten
rule I got with the owner.
Ollie is still, unblinking.
Benny takes a moment. Takes his head from between the
gap.
BENNY
I seen you in the field. I saw you
at the back. I know what I’m
seein’.
Off-screen the RINGING BELL signals someone else enters.
Ollie looks to the end of his aisle... MADS (23) crossing
past his view.
OLLIE
I like the outdoors.
BENNY
You like de outdoors, you would
have packed proper. You’ve not got
any gear. I can’t help you with
the camping kind, but if you
needed de other... I could make
your life a real problem now that
I know you’re a person with
nowhere to be. How old are ya?
OLLIE
For what?
BENNY
Everythin’
(beat)
I seen your face before.
(CONTINUED)
7.
CONTINUED: (2)
Benny winks. Ollie ignores, looks down his aisle to the
cash register. The Shopkeeper has gone.
Benny returns to his shoplifting, filling inside pockets
of his jacket.
Then the Shopkeeper is watching Benny from the end of his
aisle. Benny pushes the baking soda deeper into his
pocket.
SHOPKEEPER
Put it back. All of it.
BENNY
Fair enough. Not the first time
I’ve been caught.
SHOPKEEPER
I gave you the benefit of the
doubt when I saw you and your
horse pull up. I don’t usually
serve your type.
BENNY
My type? Do you mean ma family?
Benny slowly removes a handgun from his jacket pocket. A
SMALL REVOLVER. Benny places the barrel on the
Shopkeeper’s chest. Then-
CUT TO:
OLLIE
Looking down his aisle at the cash register. The
Shopkeeper safe behind the till. Benny staring at him
through the stock.
BENNY
Daydreamer.
(beat)
Where did you say you were from?
Ollie takes more stock from the shelf, loads up his
basket. The RINGING BELL sounds off-screen as someone
leaves the store.
BENNY
I’ll see you on the outside.
The bell sounds once more as Benny exits. Ollie
approaches the Shopkeeper.
(CONTINUED)
8.
CONTINUED:
Rests his basket, unpacking slowly. The Shopkeeper scans
the items, his eyes on Ollie the entire time.
SHOPKEEPER
I know he’s your friend...
Ollie counts the shrapnel in his palm. The price on the
display rises.
SHOPKEEPER
What’s his name?
(beat)
I know you don't want to drop him
in it...
OLLIE
I don’t know him.
Ollie keeps his eyes on his money. He concentrates,
flicking his eyes to the rising price.
SHOPKEEPER
I’ll show the CCTV to the police.
Ollie pauses. Considers. Carries on counting his change.
OLLIE
I don’t know him.
SHOPKEEPER
They might want a statement.
The Shopkeeper scans the last packet of crisps.
SHOPKEEPER
7-80
Ollie stretches out his hand. Opens his palm. The
Shopkeeper takes the coins. Ollie snatches his items and
leaves. The RINGING BELL takes us to-
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
4 -
Crossroads of Freedom and Temptation
EXT. COUNTRY ROAD - DAY
A HEAVY BEAT. Benny, in his cart, weaving in and out,
whipping past MOVING TRAFFIC. A powerful THOROUGHBRED
sprints, the cart jumping from side to side.
Benny whips the reins. The horse picks up speed. The
wheels on the cart rattle. The world zips onwards, faster
and faster.
PUSHING IN on Benny’s smile. Carefree. The world slows
down. Hooves thunder. The mammal breathes heavy.
9.
EXT. FIELD - DAY
Ollie emerges from his tent. The sight of a FUNFAIR,
complete with concession stands and arcade games, greets
him. The gypsy travellers are setting up for the evening.
Ollie retrieves his backpack from inside the tent. He
looks to the edge of woodland at the far side of the
field.
INT. OLLIE’S TENT - SAME TIME
A body rolls naked through a sleeping bag. MADS. Dry lips
crack open.
EXT. FOREST - DUSK
A branch snaps under foot. Ollie smokes a cigarette as he
tropes across this pine forest. He peers through the
trees. An opening.
MADS (O.S.)
What’s out there?
Ollie turns to Mads. She has a rucksack over her
shoulder, walking boots. Adventure ready. Ollie smiles at
his girlfriend.
OLLIE
We’re too exposed out there. We
should bring the tent with us. I
wanna find somewhere for it.
MADS
Do you need me anymore?
OLLIE
Always.
Ollie flicks the butt of his cigarette away.
MADS
So I’ll get the tent?
OLLIE
Not yet. We can go back. We move
tonight.
MADS
Dark is easier to move through.
(beat)
Are you excited?
(CONTINUED)
10.
CONTINUED:
Ollie considers. He takes a small wrap of cocaine from
his pocket. Thumbs it between fingers.
OLLIE
Yeah. But not yet. I could call
ahead.
Ollie lingers a moment. Then he moves away. Through the
forest. Mads watches... that cocaine in his hand.
Once Mads is far enough away, Ollie unravels the cling
film around the ball of white powder.
Flat on his back, Ollie sprinkles the cocaine beneath his
nose. Neat and compact, the line of coke sits under both
nostrils.
Ollie locks his eyes on the sky. The forest ceiling is
still. The sun begins to set, casting the forest in a
contortion of orange.
Ollie swipes the cocaine from his nose. Finally exhales.
Genres:
["Drama","Thriller"]
Ratings
Scene
5 -
Carnival Lights
EXT. FIELD - NIGHT
A party in full swing. A world of neon signs, floodlights
and moist grass. Populated by youth and amusement rides.
Adolescents from the local area roam free and recklessly.
Laughter and screams of pure THRILL. Because, the
centrepiece of this funfair is a-
- FLORESCENT FERRIS WHEEL. Bodies populate every pod. We
move through this world, up over the entire scene
enveloping in this corner of nowhere.
The lights reflect skywards, as we move towards the
stars. Nothing in the immediate distance, just the
blackness.
RUSH DOWN, to the waltzer. To the haunted mansion. To the
carousel. And the rock-o-plane. A group of teenagers
smoke next to a rattling of LOOSE METAL and SCREWS.
Someone hooks a duck at a stall and wins a huge teddy.
Gypsy men take money. Then switch rides to ON. And a-
SELECTION OF SHOTS-
- On board the waltzer. Momentum drags the THREE YOUNG
GIRLS from one side to another. Music pumps from the
speakers. Exhilarating.
(CONTINUED)
11.
CONTINUED:
- Ollie stands in the middle of the field. He stares at
the summit of the Ferris wheel. Something catches his eye
in the light of the carousel. Some blonde hair.
- Following a group of BOYS through the haunted mansion.
Walls painted in red blood. The floor painted as volcanic
lava.
- Inside the cockpit of a rock-o-plane shuttle. The world
spins, the loose change shrapnel and mobile phone of a
TEENAGE GIRLS pocket hit the ceiling.
- Ollie stares at the moon. His eyes move to the forest
trees as they sway in a light breeze. Ollie unravels a
mobile phone from within a sock. Powers it on.
- Benny sits shotgun in a hatchback. Some boy racer type
thing... PULLING DOUGHNUTS at the back of the field.
Other gypsy men cheer. Mud and grass churn and splatter.
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
A Moment of Escape
EXT. FERRIS WHEEL - NIGHT
Ollie follows the wheel up and around, his eyes drawn to
one pod. Some blonde Rapunzel hair floating out in the
wind.
Ollie drifts towards the wheel as the pod comes down
level, but it passes him by EMPTY. The ride stops a few
pods later-
Mads is inside the pod. The metal cranks to a stop, Mads
sucking on a lollipop.
MADS
I want to go again.
Ollie pushes a coin at the ATTENDANT and climbs in the
pod.
INT. FERRIS WHEEL POD - CONTINUOUS
The ride starts. The stars sparkle as they reach the
summit. Ollie keeps his eyes on the bright sky, closing
in on him. Heaven opening up.
Mads keeps her eyes on Ollie.
MADS
It’s very beautiful.
Over the tree tops some FLASHING BLUE LIGHTS in the
distance. Then they descend again.
(CONTINUED)
12.
CONTINUED:
OLLIE
Is this where I tell you I love
you?
MADS
No. It’s too public. That’s just
for us. We got a plan now?
OLLIE
We do?
MADS
Yes. Remember?
The wheel rises again, closing in on the BRIGHT
WHITENESS. Ollie pulls his eyes from this to the tree
tops ahead. Those blue flashing lights are closer-
MADS
They’re getting close.
OLLIE
Yeah.
MADS
I’m sorry.
OLLIE
It’s okay. We got time.
The wheel rotates to descend.
MADS
Just promise me we’ll be free.
OLLIE
I can’t. But we will.
MADS
I can’t be alone again.
OLLIE
I’m in charge now. You’re stuck
with me forever now.
Ollie leans in and pecks Mads. A gentle kiss.
Mads looks to the sky with Ollie. The PURE WHITE closes
up slightly. Then shuts back to darkness.
OLLIE
Do you believe me?
(CONTINUED)
13.
CONTINUED: (2)
MADS
What?
OLLIE
I’m innocent.
Ollie looks Mads square on.
MADS
They’re coming for us.
OLLIE
For me.
Mads flicks her lollipop at Ollie. It sticks to his tee.
Ollie swipes the lollipop away, then with the other-
SWIPES MADS BY THE TSHIRT. HOLDING HER ABOVE HIM as the
wheel reahes the peak of its journey. Ollie holds Mads
high above him with one hand.
The dark sky OPENS UP. The PURE WHITE flickers. Fails and
returns to black.
But Ollie SNAPS OUT OF IT-
His imagination again. Mads sucks the lollipop as the
ride comes to a halt.
ATTENDANT
Party’s over. Police are here.
Ollie exits first, turning back to Mads:
OLLIE
You don’t know anyone. I’ll see
you in the morning.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
7 -
The Joker's Gamble
EXT. BENNY’S CARAVAN - NIGHT
The horse stands in a paddock pen. Benny shuts the gate,
locks it.
INT. BENNY’S CARAVAN - CONTINUOUS
Benny strides in, shuts the door without acknowledging
the GROUP OF MEN PLAYING CARDS at the table. All middle-
aged, haggard.
Benny routes through the cupboards... finds a mug. Pours
himself a juice.
(CONTINUED)
14.
CONTINUED:
IRISH VOICE
Is this yours?
Benny turns to the table under lights. The FOUR MEN are
looking at him. Still as statues, cards resting in their
fingers.
The man at the back is BARTLEY, 50. Tattoos on forearms
that lead to hands covered in gold rings. It is his voice
we heard. He holds that tin of baking soda.
BENNY
Dat’s mine.
BARTLEY
Dis could kill somebody, son.
BENNY
It’s smart. They buy it. You mix
it with-
BARTLEY
Stop. Your tinkin’ is from your
mudder’s side. She’s not here. I
am. That’s no minor offence, you
could fucking kill someone.
BENNY
It’ll make us money. More money.
Bartley rotates one of his many rings around his finger.
BARTLEY
Dey’re here. Outside. ‘Dey won’t
do notin’ today, but they will be
back, like dey are every year. We
get ‘tree days here a year, and
you want to ‘trow it all away
for...
(beat)
On the news, there’s a boy. That
boy comes from dis area. He heads
out wit’ his friends wit’ his
pocket money. He wants to prove to
his friends, they’ll include
girls, dat he’s not a loser. He
comes to you for dat good time,
dat buzz he wants. Dat impression
on somebody else. He takes dat
buzz, that small pot of life
scratched down to a molecule of
white powder made in somebody’s
fuckin kitchen.
(beat)
(MORE)
(CONTINUED)
15.
CONTINUED: (2)
BARTLEY (CONT'D)
But he reacts badly to his
experiment, and suddenly we’re de
ones on TV. Nobody cares about
gypsies being moved on, but an
overdose...
(beat)
And it all leads back to your
baking soda. Back to our front
door. Everybody blamed, your
family and friends. And you ‘tink
that it’s the answer. All dis
around you, it disappears. You
with it. Dis is who you are. No
matter how many brains you think
you have, lawyers convince others
that you don’t have any. I know.
Bartley tosses the tin. Benny catches it.
BENNY
I make my own money.
Bartley sighs. He stands and rounds the table, stalking
closer to Benny. Benny holds his ground. A moment. Then-
Bartley DELIVERS A SLAP. Quick, efficient, savage. Benny
takes it, squares back up to Bartley. The smallest drip
of blood escapes his nostrils.
BARTLEY
I wouldn’t want to hurt you. I
didn’t, did I?
Benny stutters slightly.
BARTLEY
Did I?
The other men at the table just sit. No reaction, they
shuffle their cards.
BARTLEY
Davie won’t.
BENNY
Davie won’t what?
BARTLEY
He won’t stop. He’ll keep going
for sure. I know his father. As
mad as Davie is, probably worse,
he knows these plains, these
fields. He won’t stop.
(MORE)
(CONTINUED)
16.
CONTINUED: (3)
BARTLEY (CONT'D)
I’ve heard about you two, about
your war of words over a little
girl.
The blood seeps further down Benny’s chin. Bartley wraps
some kitchen roll from a nearby cabinet, holds it in
front of Benny’s face. The blood thickens, drips to the
floor.
More splats hit the ground. Then Benny takes the roll of
tissue. He corks his nose. The blood has now smeared
across most of his face, seeping deep into the tissue.
BARTLEY
You want to join us?
Benny flicks his eyes to the table. To the men. One
smiles.
Benny nods, following Bartley to the table. We follow
Benny, blood dripping to the floor in his wake. Benny
takes the spare seat. Bartley dishes him some cards.
BENNY
What are we playing?
Benny adjusts the tissue wedged in his nose.
BARTLEY
Joker.
BENNY
Never heard of it.
BARTLEY
That’s because I just created it.
BENNY
Rules?
BARTLEY
Whoever has the joker, they lose.
Then everybody else can play the
second round. Whoever has the
Joker has to bluff dat they don’t.
BENNY
Why don’t we want the Joker?
BARTLEY
You’re better off without him. He
has no value.
(CONTINUED)
17.
CONTINUED: (4)
Bartley distributes the cards. He looks at Benny. Benny
stares back, replacing fresh tissue. He leaves his
bloodied rag on the table.
Bartley finishes the deal. Benny looks at his cards. A
seven, five, three of hearts. Joker. Benny considers.
Then-
He looks to his hand holding the cards. Smudges of blood
populate his palm and fingers. So Benny takes a finger
and smudges his blood all over the Joker card until the
picture can no longer be seen.
BARTLEY
Who has him?
A shake of heads in unison. Bartley’s eyes fall on Benny.
BENNY
No.
BARTLEY
Are ya sure?
BENNY
Yes.
Bartley’s hand SNATCHES THE CARD AWAY. He analyses the
red card.
BARTLEY
He doesn’t have it.
GYPSY MAN 1
Bart!
BARTLEY
He doesn’t have it.
Bartley removes a thick ring from his hand, staring back
at his friend, offensive ready. Gypsy Man 1 picks up on
this.
Benny smiles, nostrils spreading large. More seeping
blood.
A KNOCK AT THE DOOR. Benny leaves the table, opening the
door. Ollie is waiting.
BENNY
Who da fuck are you?
18.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
8 -
Pressure and Denial
INT. BENNY’S CARAVAN - MOMENTS LATER
Ollie pockets his miniscule sachet of “cocaine”.
OLLIE
Cheers.
BENNY
Where do you get the money for
this?
OLLIE
I got my own money.
Benny shares a look with Bartley. The game of Joker is in
full swing. Ollie nods his respect, reaches for the door
handle-
BARTLEY
You take dat in here.
Ollie halts. Pauses for thought.
BARTLEY
Take dat shit in here.
Ollie looks to Benny, then back to Bartley.
OLLIE
Why?
BARTLEY
Because if you die at least it’s
only in front of us. Then I can
wrap you up and bury you without
anybody knowing.
Ollie smiles, amused. No fear.
OLLIE
Are you family?
BARTLEY
Yeah.
OLLIE
That’s nice.
Ollie clears down the kitchen side, pushing dirty plates
and clothing to one side. With a quick setup, Ollie
INHALES A SMALL LINE. His eyes dilute.
BARTLEY
How you feel?
(CONTINUED)
19.
CONTINUED:
OLLIE
Fine.
BARTLEY
Then why take it?
OLLIE
Get closer to you.
Quiet beat.
OLLIE
I’m just trying to be funny.
BARTLEY
Can you feel your heart beating?
OLLIE
Yeah.
BARTLEY
Has it ever beat dat fast before?
OLLIE
Yeah.
BARTLEY
You should be fine.
Ollie smiles back. He opens the door-
BARTLEY
You need friends right now.
OLLIE
So you watch TV?
Ollie steps out-
Genres:
["Drama","Thriller"]
Ratings
Scene
9 -
Tender Moments Amidst Chaos
EXT. FIELD - NIGHT
Ollie watches the waltzer throw teenagers from one side
of the car to the other. His attention draws to the
queue, to a COUPLE. An ADOLESCENT BOY holds his
GIRLFRIEND by the waist, slips his hand into hers.
Ollie mimics. His fingers flicker, envisaging his own
girlfriend. Tender, sweet. The boy takes his girls blonde
hair.
Ollie tugs at imaginary hair. A mirror image.
(CONTINUED)
20.
CONTINUED:
The boy and his girlfriend are released onto the ride.
Together they select a pod.
Ollie watches. His attention changes once more to-
Two GYPSY BOYS hassle another BOY to the ground. The same
age as Ollie. The boy is forced to the floor, held down.
The boy taps out, his face reddening as the Gypsy Boys
grip around his neck tightens. GASPING FOR AIR-
Seconds pass. The boys eyes roll over white.
Ollie is unable to move, watching on. The gypsy boys
laugh, slap the other boy on the cheek. Unresponsive. An
unprovoked attack. Some girls come to aid their friend.
Ollie moves his eyes back to the waltzer. The ride spins,
the couple thrown with the momentum of the ride. One
rotation brings them within inches of Ollie’s face.
MADS (O.S.)
I knew I would find you.
Ollie takes his time to find the voice. The world falls
quiet, background noise drowning out. Ollie finds the
voice. His eyes falling on Mads. Bodies part around her.
OLLIE
I recognise this face.
MADS
Is he here?
Ollie takes the hand of the stunning blonde. He runs his
hand through her hair, his other hand to her waist.
OLLIE
I know where to look.
MADS
I knew we would do it.
OLLIE
You know me.
MADS
I do.
Ollie takes Mads’ hand high up. She performs an elegant
spin.
OLLIE
You believe me?
(CONTINUED)
21.
CONTINUED: (2)
MADS
Of course.
Mads twirls again.
OLLIE
What do you want to do now?
MADS
I want the world with you.
OLLIE
I love Mads.
MADS
That’s not even my name. You came
up with that.
(beat)
The first time you saw me I caught
you staring.
Ollie holds Mads tighter. He rests his face on the top of
her head, squeezing her tight.
OLLIE
I still stare.
MADS
Always.
OLLIE
Why didn’t you speak to me in the
shop?
MADS
I didn’t know you were there.
OLLIE
I saw you.
MADS
Did I see you?
Mads tightens her grip of Ollie’s hand. He rubs her index
finger, copying the motion of the adolescent couple. They
sway to the music being blasted from the speakers nearby.
Genres:
["Drama","Romance"]
Ratings
Scene
10 -
Dancing on the Edge
EXT. OLLIE’S TENT - NIGHT
Ollie leads Mads towards his tent. Ollie climbs in first.
MADS
And you suppose I’m easy?
(CONTINUED)
22.
CONTINUED:
Ollie hesitates. He attempts to read the situation.
OLLIE
No.
MADS
That’s very forward of you.
Ollie looks between Mads and the tent.
OLLIE
I don’t know what to do now.
MADS
Let go of my hand.
(beat)
Invite me in.
Ollie releases. He enters the tent, sits and waits for
her.
OLLIE
I want you to stay with me.
MADS
You’re meant to be my hero, aren’t
you?
(beat)
I think you’re the type of boy
that would let another guy take
me.
OLLIE
That would be up to you.
MADS
You’re too nice.
A rave has started in the distance. The SICKENING BASS
thunders through the darkness.
MADS
Can we finish this dance?
Ollie smiles. Mads begins to dance on her own, swaying
her hips.
Ollie watches Mads bare feet shuffle to the beat.
He flops sideways, his eyes passing over white. He uses a
hand to route under a sleeping back. He finds the pack of
cigarettes. Lights one up.
(CONTINUED)
23.
CONTINUED: (2)
OLLIE
(to himself)
How does she move like that?
Genres:
["Drama","Romance"]
Ratings
Scene
11 -
Dance of Shadows
INT. OLLIE’S TENT - MOMENTS LATER
And like that... we are back to our OPENING SCENE.
The tent opening, the shadow forming, crouching into the
entrance. Mads pops her head inside.
MADS
Ollie, dance with me?
Ollie nods. He takes Mads’ hand, follows her outside.
We stay in the tent. It CATCHES FIRE and begins to burn
gently.
EXT. OLLIE’S TENT/FIELD - CONTINUOUS
Mads dances with elegance. Ollie takes her in, undressing
her with his eyes. Erotic, yet innocent.
His eyes falling on Benny in the distance. A body in the
funfair. Ollie fiddling with the small ball of white
powder in his fingers.
CUT TO:
EXT. BENNY’S CARAVAN - NIGHT
Ollie. His eyes flicker open. His mouth drools, frothing
white. Eyes to the night sky, to the aligned stars.
And like the opening scene, BENNY IS CROUCHED OVER HIM.
Ollie smiles. Tears form in his eyes as he reaches out. A
struggle to hold the stars.
He vomits hard. He screams, his face bloated and red.
Benny stands up, watching. He waits in the shadows.
Ollie passes out. His face buried back in the dirt.
BENNY
Get da fuck away from my home.
Benny drags Ollie through the grass. Further from his
caravan into the middle of nowhere.
24.
EXT. FAIRGROUND/ FIELD - NIGHT
Vast crowds of STUDENTS, revellers and PARTY-GOERS. Anti-
social, young, alive. The cogs of the rides work
overtime.
Ollie staggers through the fun. The world a cohesion of
warped figures.
EXT. FIELD ENTRANCE/ROAD - SAME TIME
A parked car. ANOTHER GYPSY sits on the bonnet, smoking.
Lookout. A few more young girls are waved in to join the
party. They take hits from a balloon.
EXT. FAIRGROUND/ FIELD - SAME TIME
Dingy. Loose cups and litter. Pyrotechnic smoke seeps and
music PULSATES the atmosphere.
All life is here. Worlds apart from the quiet streets set
on the periphery.
EXT. OLLIE’S TENT - SAME TIME
The music of the night BLASTS through Mads and Ollie.
Their bodies as one.
On Ollie, sweat gushing over his face. Pouring.
Ollie’s tent BURNS IN THE NIGHT. The flames get bigger.
He can’t dance, only move to the rhythm of Mads. The
frame distorts briefly, Ollie’s eyes bloodshot. As the
two bodies dance, the sky opens up and it begins to rain.
Torrential at once.
Ollie and Mads are silhouettes against the orange glow of
the burning tent. The rain is constant. CLOSING IN on
Mads. Her lips meet Ollie’s. The tent RAGES ON FIRE.
The rain intensifies. Then it pours. We PULL OUT, Mads
and Ollie locked to each other, the rain ONLY POURING
OVER THEM and--
SMASH CUT TO BLACK.
HEAVY BREATHING. Steadying, subduing. The sound of
BUILDING MELANCHOLY. A steady beat. Building-
25.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
12 -
The Burnt Tent
INT. OLLIE’S TENT - MORNING
On Mads. Half her face is drawn to the sleeping chest of
Ollie. She monitors her lovers breathing, keeping one ear
to his heart.
MADS
I should be cold.
OLLIE
Pull the sleeping bag closer.
The entire tent around her is charred black. Burnt to the
ground. Mads looks to the sky, pure blue. Back to Mads,
the colour reflecting in her perfect eyes.
A SMALL BIRD floats by dancing in the blue.
Mads raises her hands to the sky. Uses both hands to
mimic a bird flying. BIRDSONG.
Mads uses her index finger to trace a heart around
Ollie’s chest.
MADS
This is me.
Ollie stirs. Mads rests her head once more.
OLLIE
I need to tell you something.
Mads rubs her hands over some sweat glazing Ollie’s
forehead.
MADS
Tell me.
OLLIE
There is no family.
Birdsong. The first cloud drifts to fill the blue sky.
MADS
Nobody?
OLLIE
Nobody.
Mads lets go of Ollie’s face. Separates herself from him.
OLLIE
They don’t love me anymore.
(CONTINUED)
26.
CONTINUED:
MADS
You told me your family would be
waiting for us.
OLLIE
I know.
MADS
You painted a picture in my mind.
OLLIE
I needed you with me.
MADS
You lied.
OLLIE
I know.
(beat)
I don’t know my real parents, I
was adopted at birth. I’ve never
had anybody. And they don’t want
anything to do with me.
MADS
Why would you do that? Tell me
about your parents, abo-
OLLIE
My parents aren’t together
anymore. That’s all you need to
know.
MADS
Do you know where they are?
OLLIE
Yes.
MADS
I want to meet them.
OLLIE
That’s not going to happen.
MADS
We need somewhere to stay.
OLLIE
They won’t help.
MADS
I can talk to them.
(CONTINUED)
27.
CONTINUED: (2)
OLLIE
They want nothing to do with me.
MADS
I’ll be there.
OLLIE
Then that’s all I need.
MADS
Always.
Mads kisses Ollie on the head. Cuddles him in to her
chest.
MADS
People make mistakes. Then they
change. I’ve fixed you.
OLLIE
I know.
MADS
But this is your plan.
Ollie rests his face closer to Mads. She leans in, nose
to nose. Heart to heart.
Quiet. Ollie reveals the mobile phone from his hoodie
sleeve.
OLLIE
Mum called.
MADS
When?
OLLIE
The other day. We can’t go to her,
but I asked her to call me about
Nan. She’s not got much longer.
You knew that, I told you.
MADS
Yeah. You did.
OLLIE
What did you think about going to
Nan?
MADS
It’s your choice.
(CONTINUED)
28.
CONTINUED: (3)
OLLIE
Our choice.
(beat)
Mum and dad won’t have us. But Nan
is.... She’ll really like you.
MADS
What’s she like?
OLLIE
Oh, she’s great. She’s my
favourite. She bought me up
mainly. And I think she can save
us.
MADS
But you said she’s not got long
left.
OLLIE
I need to say goodbye to her.
Ollie holds the mobile by the tips of his fingers.
MADS
Give it to me.
OLLIE
I can’t do that.
MADS
They’re looking for us and you’ve
just given them a way to find you.
Ollie curls himself up, resting his head on his knees. He
rubs his eyes on his sleeve. He drops his mobile in Mads’
hand.
Genres:
["Drama"]
Ratings
Scene
13 -
A Fractured Bond
EXT. OLLIE'S TENT - MOMENTS LATER
Mads observes the rest of the field. Quiet morning air.
The fairground is dead. A few men smoke outside their
respective motorhomes.
In the distance someone starts a speaker system. A SOFT
BEAT starts. The party re-ignited.
INT. OLLIE'S TENT - CONTINUOUS
Mads climbs back in.
(CONTINUED)
29.
CONTINUED:
Ollie’s face drops. Mads rubs her face on his, her hair
tickling his chin.
OLLIE
Shall we go?
MADS
I want to be in your heart.
OLLIE
You are.
MADS
You told me I would be yours, that
we would turn grey together.
OLLIE
We will.
Mads wipes her eyes.
OLLIE
We can start again.
MADS
You can.
Ollie crunches the dirty sheets in his face.
OLLIE
Don’t leave.
MADS
They’ll find us now. You did that.
OLLIE
You’re all I have.
MADS
We should split up.
OLLIE
Where will you go?
MADS
You’ll find a way back to me if
this is worth fighting for.
OLLIE
What?
MADS
Only for a while.
(CONTINUED)
30.
CONTINUED: (2)
OLLIE
Mads!
MADS
Goodbye, Ollie.
OLLIE
Don’t leave. Mads, don’t leave!
Mads!
And with that, Mads unzips the tent and steps out. She
never even looks back. Ollie waits, those tears forming
in his eyes.
Then he SCREAMS. A shriek of total loneliness.
Genres:
["Drama"]
Ratings
Scene
14 -
Unwelcome Guests
EXT. OLLIE’S TENT - CONTINUOUS
Mads emerges from the tent, makes her way towards the end
of the field. Towards the forest. She passes the
stationary amusement rides, a few caravans.
As Mads passes one caravan, the door opens. Benny skips
out, Bartley emerges behind with a mug of tea. He watches
Benny approach Mads.
BENNY
Hey, hey. Can I ask you somefin,
darling?
Mads keeps walking, not even breaking stride.
BENNY
I’m not going to grab ya, if
that’s what you’re thinking. Would
you stop for me?
Mads keeps her eyes ahead. Benny rounds in front of her.
BENNY
Are you with dat boy? The quiet
one that won’t speak to anyone?
Mads stops. She gazes straight through Benny.
MADS
Why do you care?
BENNY
I want to know who your friend is.
I be recognising him from de tele
box. He’s already made himself at
home with me.
(MORE)
(CONTINUED)
31.
CONTINUED:
BENNY (CONT'D)
Suppose it’s only polite to say
hello to your neighbours. I’ve not
seen you on any of the rides. I’ve
not seen you pay your way to be
here.
MADS
We’re not here for fun.
BENNY
I reckon a girl like you enjoys
fun.
Mads turns back to the tent.
MADS
Leave him alone.
BENNY
I know why you’re here.
MADS
You have no idea.
BENNY
You might not think much of our
lot.
(beat)
We won’t report ya.
The words ring inside Mads head.
BENNY
You’re a long way from safety, so
I suggest you give us some
respect.
Mads holds for a beat.
MADS
Are you threatening me?
BENNY
I wouldn’t threaten a beautiful
woman like yourself. But you let
your boy know I can be very nasty.
Mads looks to the caravan door, to Bartley sipping his
cup.
MADS
I’m sure you could be.
CUT TO:
32.
Genres:
["Drama","Thriller"]
Ratings
Scene
15 -
Rage and Memory
INT. OLLIE’S TENT - SAME TIME
On Ollie. Listening to the last faint words Mads spoke.
He simmers, his breathing becoming irregular.
EXT. OLLIE’S TENT - CONTINUOUS
Ollie CHARGING from his burnt out tent, pacing with
intent across the grass. As he-
Reaches Benny, delivering a LOADED PUNCH. Benny takes it,
smiles. Then Ollie delivers ONE MORE. Benny hits the
deck.
Unconscious, Ollie mounts Benny. He delivers more
punches. Benny covered in his own blood. His nose gushes.
His teeth crumble under every punch. His jaw dislocates.
Punch after punch. Benny’s face caves in. Ollie is
relentless and savage, until-
CUT TO:
OLLIE
Watching Mads disappear into the forest. And Benny,
standing in front of him, waiting for an answer. Ollie
looks across to Bartley. To his cup of tea still
steaming.
BENNY
I know about you. I know your
story.
OLLIE
We don’t have one.
BENNY
Everybody has a story. Out in the
middle of nowhere, your burnt
tent, no possessions, a backpack.
You’ve got a story for sure.
(beat)
I bet it’s a good one.
OLLIE
You know police, I’m sure of it.
BENNY
I’ll forget you were ever here.
33.
INT. BUNGALOW LIVING ROOM - DAY (FLASHBACK)
Dated wallpaper decorated with flowers. Black and white
photos are placed sporadically around the room. A wedding
in the 1940s, a happy couple. A soldier.
A Grandfather clock TICKING IN THE CORNER.
A FRAGILE WOMAN, 88, deep eyes and cropped hair. She sits
in a large chair in the middle of the room. She stares
into the TV, glazed over.
A repeat of a daytime drama plays out.
Ollie shuffles into the room, broader and clean shaven.
He sees the back of her head. He moves around the chair,
taking up position beside his GRANDMOTHER on the arm.
NAN
Sorry, young man. M-- My hearing
fails me sometimes.
(turning back to the
TV)
Isn’t she stunning?
OLLIE
Beautiful.
On TV, the murderer is revealed. No response from Nan.
OLLIE
Did you guess right?
NAN
(blank)
Sorry?
Ollie dies inside.
OLLIE
Come on, you need to change.
NAN
What?
OLLIE
You need to change. Get out of
your pyjamas.
(CONTINUED)
34.
CONTINUED:
NAN
I’m ready. I’ve not got long
before I leave.
OLLIE
Leave?
NAN
For work.
OLLIE
Come on. You’re home now. You can
change.
NAN
Okay.
Ollie takes Nan’s arm and hoists her up. She is no weight
at all.
His eyes fall on Nan’s chair. To the wet patch that
occupies where his guardian just sat. Ollie leads Nan
from the room.
Genres:
["Drama","Thriller"]
Ratings
Scene
16 -
A Gentle Touch
EXT. FIELD - DAY (PRESENT)
Mads. She stands round the back of several mobile homes.
She waits a moment, watching something off-screen.
Gently, she moves towards the paddock fence. Rests her
chin on the top rail, looping her arms through the bars.
Mads watches a GYPSY HORSE graze. The animal lifts a
head, watching Mads in silence.
The horse moves towards the back of the paddock. Mads
rounds the edge of the circle, moving behind the animal.
She reaches out.
MADS
I promise my hands are warm.
On contact the animal shivers, then relaxes. Turns to
Mads. Sniffs her hair. Mads holds her face further away,
her hair just out of reach of the animal.
A moment as the horse pushes its muzzle closer to Mads. A
beat before Mads leans closer, allowing the horse to
smell her hair.
MADS
There. That’s not so bad. I think
we’ll be fine.
(CONTINUED)
35.
CONTINUED:
Mads reaches across the animals poll. She runs her hands
down the crest, running her fingers through the white
hair.
As Mads cuddles the horse in closer, the larger SHIRE
HORSE emerges from an open trailer. A magnificent beast.
Mads releases her grip on the smaller horse. We-
CUT TO:
The back of BENNY’S HEAD. Following him towards another
caravan. The inside is dark black, smoke curdling in the
atmosphere.
We follow Benny through the door, into darkness.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
17 -
Hallucinations and Consequences
INT. CARAVAN - CONTINUOUS
A room of blackness. A strobe light activates, savaging
the occupants. At least THIRTY PEOPLE stuffed in the
space. Benny sways, the hotboxed interior thick.
Benny’s vision blurs. He slumps in a corner of the gutted
caravan. The strobe is slower, like flashbulbs from a
camera. A WET SUCTION-
Then-
An extreme CLOSE UP on the wall of the caravan. To a
DRAGONFLY METAMORPHOSIS. The creature slips from it’s
hold. The strobe catches on different frames. Complete,
the Dragonfly slips out and flies into the particles of
the thick green air.
Then-
Back to Benny. A TEENAGE GIRL now in his lap. She sucks
on his face. His neck. Benny rests his face on her lips,
then looks into her eyes. Her eye lids blink at his
vertically. We push into the reflection of Benny in this
Girls eyes. He morphs into the body of a Dragonfly.
Then-
A SELECTION OF SHOTS
- Benny stands in a SUPERMARKET aisle as the Dragonfly.
- Benny stands with a drink at a HOUSE PARTY as the
Dragonfly.
- Benny texts on his mobile at a BUS STOP as the
Dragonfly.
(CONTINUED)
36.
CONTINUED:
- Benny plays football on a Sunday morning at a LOCAL
PARK as the Dragonfly.
- Benny is arrested in the dead of night as the
Dragonfly. Blue flashing lights as he is lowered into a
police vehicle.
- Benny sits on a bed in a PRISON CELL as the Dragonfly.
Then we-
CUT TO:
INT. CARAVAN - DAY
We follow this Dragonfly as it flies through the
particles of sweat, alcohol spray and VISUAL MUSIC BEATS.
The audio waves vibrate as the Dragonfly floats,
stationary. Another Dragonfly, a mirror image. Together
they dance in total synchronisation.
Then-
Back to Benny. And the Girl, her tongue protruding from
her mouth. That of a SNAKE. Long, splitting in two at the
end. We can see the tongue moving down Benny’s throat,
down his oesophagus, towards his heart. The tongue
retracts. Benny watches her eyes roll over white.
Then-
ANOTHER SHOT
A snake moving through grass in a field. Benny, still as
a Dragonfly, stamps down on the animal. He lifts it to
his mouth and BITES ITS HEAD OFF.
Then-
INT. CARAVAN - DAY
Benny stands in the middle of the room. The smoke engulfs
him as bodies sweat and gush around him. Dancing in SLOW-
MOTION.
Then-
Nan appearing. Through the smoke. Brief, but she’s there,
in her night dress. A flash and she’s gone. Benny waits,
his eyes a deep red bloodshot. He takes a drag from a
spliff.
(CONTINUED)
37.
CONTINUED:
Then-
The Girl grinding on Benny. Somebody throws a beer
through the room. The can bounces... EXPLODES FROTH. The
sticky substance soaks through Benny’s hair.
Then-
Benny. Wedged between bodies. The room begins to move as
one. Bodies move in one direction, then the other. More
people crowd into the caravan until movement is near
impossible.
But she is in front of him. Mads taking a drag on a
spliff.
Then Mads passes the spliff to Benny. He takes a drag. He
passes it on to the Girl. She takes a drag and passes it
to another YOUTH.
The Youth takes a long drag. Exhales quickly. Then almost
instantly begins shaking. He GASPS FOR AIR, his face
going red. Nobody in the room notices. Only Benny
watches, the rest of the world moving on with the party.
The Youth collapses to the floor. Benny watches the young
man FROTH AT THE MOUTH. He convulses, the white liquid
passing from his mouth. His eyes roll over white as he
chokes on his own vomit. The liquid covers the floor,
wrapping around Benny’s feet.
Pushed against windows, walls and each other. Through the
smoke, Benny finds the door. He pushes it open-
Genres:
["Drama","Thriller","Psychological"]
Ratings
Scene
18 -
Fairground Fury
EXT. CARAVAN - CONTINUOUS
The caravan spits Benny out. He hits the grass face
first, the high delaying his central nervous system. His
arms flay, then his face looks up. The smoke from the
caravan spreads across the grass.
Somebody shuts the caravan door from inside. Benny
steadies himself.
MADS (O.S.)
You okay?
Benny takes the sight of over SEVEN HUNDRED REVELLERS
partying to a makeshift DJ booth across the other side of
the fairground. Somebody close shuffles to RENEGADE
MASTER.
(CONTINUED)
38.
CONTINUED:
His vision distorts, a blur of colours passing through
his sight. This colour is the horse paddock in the
distance.
Benny steadies himself, taking in the sight of the two
horses ENGULFED IN FLAMES. They stand still, alive,
breathing as their bodies are BURNING ORANGE.
A silhouette of another man CLOSING IN ON HIM-
EXT. FIELD - CONTINUOUS
Ollie in the mesh of people. They begin to dance. And
then, once again, it rains. Pours.
Ollie spots the horses through the bodies. They canter,
circling their paddock ON FIRE. The flames reflect in
Ollie’s black eyes.
EXT. CARAVAN - NIGHT
Ollie closes in on the caravan. He looks to see Benny,
surrounded by more gypsy men, fighting with another man.
This must be DAVIE.
The two men. They lay punch after punch on one another.
Aggressive and crunchy. Round after round, slog after
slog. Davie, then Benny, then Davie.
Benny takes a breather, Davie respecting this stage of
the fight. His lip bleeds and Benny wipes this.
He gets back to his feet. Davie throws some more warm-up
punches into blank air. Then he races back to Benny.
Benny dodges, offers a blow to Davie.
The blood and spit catapult from Davie’s mouth in SLOW-
MOTION. Benny takes his chance, tackling Davie to the
moist grass.
GYPSY MEN watch on, drinking beer. Another fight, two
young men moving through the motion of this cultural
ritual.
Benny pummels Davie, Davie scrapping to defend his face.
Then gripping to Benny’s wrists.
With a simple shift of weight, Davie reverses the roles.
Benny is on his back and Davie punches over and over. The
punches increase, the power prevailing.
Benny can’t find any defence-
(CONTINUED)
39.
CONTINUED:
The world slows down. The force of a punch turns Benny’s
face sideways. The world at ninety degrees, Benny’s POV
highlighting Ollie, standing at the paddock, laughing.
Davie is pulled up from figures off-screen.
Benny finds Ollie in the crowd and they keep that eye
contact, Bartley moving into focus behind Ollie. Witness
to his boys failure.
Benny spits blood across the grass. More crimson blood
pours from Benny’s ear, then across his face, earthwards.
He takes his defeat as Davie bounces up and away to
celebrate victory.
Benny pulls himself across the grass. A painful, slow
procedure. He reaches out without looking, his hand
clasping around a metal fence. The edge of the paddock.
Benny pulls himself up, looping each arm round the metal
straits of the fencing. As he reaches standing, he comes
face to face with the Shire horse.
The beast stares down at his owner, then swivels slowly,
revealing the ORIGAMI HORSE perched on the animals hind.
Benny is gentle, stroking the animals fur.
OLLIE
Beautiful animals.
BENNY
What would you know about them?
OLLIE
They’re too big for that
enclosure.
Benny slumps next to the paddock.
BENNY
And where would you suggest
puttin’ em?
OLLIE
If he was mine, the big one, I’d
set him free here. I suppose
someone could steal him.
Benny scans Ollie from head to toe.
BENNY
Who are you?
(CONTINUED)
40.
CONTINUED: (2)
OLLIE
You can have this.
Ollie reaches in his pocket. Presents the small ball of
“cocaine” to Benny. Benny ignores him, so Ollie tosses it
beside him to the wet grass.
OLLIE
It still fucks me up, but it’s at
least half baking powder. Remember
you told me your plan?
Benny peers up Ollie. But Ollie is already stalking away
to the funfair.
Genres:
["Drama","Thriller"]
Ratings
Scene
19 -
Ascension
EXT. FIELD - CONTINUOUS
Ollie positions himself in the middle of the fair. He
surveys, looking for someone. But he doesn’t look too
long. Mads is approaching him.
MADS
I’m mad staying with you. I’ll be
grey by this time next week.
Ollie takes Mads’ hand.
OLLIE
I thought you’d be by the horses.
MADS
I was. I went to look for you.
OLLIE
Found me.
MADS
I found you.
OLLIE
You ready to go?
Ollie looks to the sky. His eyes widen, bursting open to
look at the galaxy of stars that populate the night sky.
A beautiful display of shining light getting closer.
The far stretches of the atmosphere are LITERALLY CLOSING
IN. And Ollie is RISING UP. He has left the ground,
floating skywards.
A couple of feet, above the party raging in the caravan.
Mads lets him go, watching him float away.
(CONTINUED)
41.
CONTINUED:
He passes the height of the Ferris wheel spinning
teenagers in each others arms.
Then Ollie stops. And floats. Looking at the stars. His
body rotates, and now Ollie is looking down at the
fairground. The Ferris wheel. The tents. The crowds.
The BLUE FLASHING LIGHTS on the periphery.
Then to the surrounding darkness. A birds-eye view of the
nothingness beyond the field. Ollie looks back to the
party that rolls on over this small patch of land.
For the first time, a smile passes over Ollie’s face. And
he shuts his eyes.
CUT TO BLACK:
GENTLE BREATHING...
Genres:
["Drama","Romance","Fantasy"]
Ratings
Scene
20 -
The Missing Connection
INT. SOMEWHERE - SOMETIME (FLASHBACK)
A closed eye. An old wrinkled socket. Beneath this,
movement. Fluid, fighting off a dream. The battle races
on-
Then, the eyes open.
On Nan. Alert and terrified. PULLING OUT-
NAN’S BEDROOM
Nan moves her eyes from one target to the next.
A small television, flower wallpaper, and a large vanity
mirror all equip a dressing table. Volumes upon volumes
of makeup litter the table top.
Nan takes this in. Then she feels it, a hand CREEPING
OVER HER SHOULDER. She is safe. She rolls over.
The OLD MAN has a bright smile. Bittersweet.
OLD MAN
Morning.
NAN
Morning.
Face to face, the Old Man shuts his eyes and rolls back
into light sleep.
(CONTINUED)
42.
CONTINUED:
Nan rolls back to her side of the bed. Finally at peace,
she shuts her eyes-
But they dart back open. She spots the photo on her
bedside cabinet.
Black and white, a young woman smiling in her wedding
dress. A church in the background, confetti floating
down. Her HUSBAND, slicked back hair, holding her tight.
Nan reaches back for her husbands hands, but they have
vanished. Vacated from her shoulder, Nan turns to her
man.
The bed is empty.
A KNOCK AT THE DOOR. Ollie peeks his head round.
OLLIE
Morning. Sleep well?
Nan peers through her duvet. Terrified of this stranger.
INT. OLLIE’S LIVING ROOM - MORNING
The TV is old, terrestrial. Ollie flicks channel to
channel, paying no attention to whatever is on.
A photo on a cabinet: Ollie and Nan. A young eight year
old innocent boy.
A photo on a table: Ollie and Nan in a group photo. Some
balloons and banners in the background with the number
70.
Ollie looks to somebody off-screen. Then back. His eyes
glazed a soft moisture.
Then he leans towards someone, takes a hand. He rubs his
fingers over the palm.
OLLIE
Okay?
Nan sits across from Ollie. Intent, listening for Ollie
to start speaking.
NAN
You have lovely eyes.
OLLIE
You too.
(CONTINUED)
43.
CONTINUED:
NAN
My eyes are blurry now.
Ollie smiles at his grandmother. Gives her a wink.
NAN
Rien de rien.
OLLIE
What?
NAN
Piaf, Edith Piaf. Wonderful voice.
Amazing voice. The French woman
from the city of love.
Ollie moves across to a speaker station. The new
technology out of place within the dated wallpaper. The
song starts.
Nan talks the lyrics under her breath.
NAN
Il ne se passe jamais rien!...
Rien de rien...
Ollie adjusts the volume.
OLLIE
Do you want something to eat?
VOICE
Enough!
HANNAH is standing dominant in the frame of the door.
HANNAH
Lets get you ready, mum.
Ollie turns to his MOTHER. He watches her hardened face.
Nan talks to herself as Ollie keeps his eyes on his
mother.
NAN
She was abandoned at birth. She
lived with her grandmother for a
short time. The war came and, in
1916, her father took her away to
Normandy. Her mother lived there,
owned a brothel. She was there
from aged seven. By fourteen she
was a street performer. The
streets of Paris in 1929, can you
imagine?
(CONTINUED)
44.
CONTINUED: (2)
OLLIE
Bet she saw some sights.
NAN
She lost her baby to meningitis.
Nobody should have to see their
own child die.
Ollie crouches to Nan’s side. He takes her hand. Keeps
his eyes on Hannah.
OLLIE
Lets get you ready.
Genres:
["Drama","Family"]
Ratings
Scene
21 -
Benny's Dominance
EXT. FIELD - MORNING (PRESENT)
On Ollie, eyes darting open. The sweat and misery and mud
are smudged across his face. Another morning surrounded
by nothingness, only the moist grass and smoke from the
various extinguished fires across the camp.
Ollie takes a moment to get his breath back.
A white sky. Then Benny walking into frame, looming over
him.
BENNY
Mornin’.
Benny heaves Ollie to his feet. And within a second,
PUNCHES as hard as his body allows him. Ollie hits the
deck once more.
BENNY
Soft. The news made you sound
dangerous.
Ollie retaliates. Swings empty punches. Catches Benny
lightly, Benny defaulting back to a southpaw stance.
Ollie notices, feels out of depth.
Exchanges are sporadic, muted by Benny’s superior boxing
ability. Benny catches Ollie once more.
Ollie crumbles on one leg. Two figures in the morning
mist. Silent fighting.
Bartley watching from a caravan window.
BENNY
Keep going. Keep tryin’.
(CONTINUED)
45.
CONTINUED:
Benny delivers a jab. And Ollie stumbles over his own
feet, back to his home on the wet grass. Ollie lays
silent, gasping for air.
OLLIE
You have nothing you can hurt me
with.
BENNY
You’ve got nothing.
Ollie sniffs the blood back through his nose. Coughs it
into his hands.
BENNY
That’ll do for today.
Benny cranes over Ollie. Holds his foot inches from
Ollie’s face. Ollie blinks away dirt that falls from
Benny’s sole.
BENNY
I saw you smiling at me last
night, watching me slip up. Little
Davie knows I’ll be back.
Benny raises his foot in defence. Winding up, to stomp
down. But he lingers. Decides against it.
Ollie bleeds heavily from his mouth. He spits.
Genres:
["Drama","Thriller"]
Ratings
Scene
22 -
Into the Rhythm
EXT. TENTS/CAMP FIRE - DAY
Ollie uses some tissue to dab his wounds. Mads winces as
she watches.
OLLIE
Lets get going. Move with the
bodies. Avoid open space and
cameras. Saw a few at the shop and
some in the village.
Mads doesn’t listen. She watches the blood.
OLLIE
Babe, it’s fine.
MADS
Doesn’t look it.
OLLIE
Don’t worry about him, we’re
leaving.
(CONTINUED)
46.
CONTINUED:
MADS
Will he report us?
OLLIE
No. He’s a gypsy.
MADS
They never stop looking.
Ollie thinks about this.
ACROSS THE FIELD, the first of a dozen makeshift gazebo’s
starts playing music. Some DEEP HOUSE-
INT. MARQUEE - DAY
Ollie moves through the marquee with the revellers. Head
down, on the periphery as the DJ spins his closing mix.
All around Ollie are bodies on the grass, sleeping. Party
people who have collapsed asleep where they once stood,
the walking bodies glide over them with ease.
Then a figure in the middle of all of this, Mads. Her
body rises and falls as she breathes heavy.
Ollie watches Mads body breathe in unison with other
bodies. The whole mass of bodies BREATHING AS ONE. The DJ
begins to turn buttons on his decks. The bodies BREATH AS
ONE.
Mads rises to her feet, locking eyes with Ollie. Then
Ollie is over to her, pushing through the bodies.
The bodies around them rise, moving in one routine. Ollie
reaches Mads with a tight embrace.
He holds Mads gaze. The only body unable to move to the
rhythm. Mads sways back into the crowd, then disappears
behind bodies. Literally, as if through thin air.
Ollie moves his eyes to the floor, to the PYTHON
contorting in the shadows, beneath the stampede of feet.
The snake hisses as the FUR OF THE GERBIL is revealed.
The dead mammal is consumed as the python swallows the
animal whole.
Ollie returns his attention to the smiling faces. The DJ
starts a small smoke machine.
Then Nan. She is one of these bodies. Ollie’s nose
continues to flow red. But he doesn’t care, as he holds
Nan. They sway in each others arms.
47.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
23 -
Into the Shadows
INT. NAN’S BEDROOM - DAY (FLASHBACK)
On Nan in her usual position, perched in front of her
vanity mirror. Staring at herself, deep into her own
eyes. Her makeup is perfect.
Ollie approaches her from behind, looping his arms around
her neck. Nan slides her hands into his.
OLLIE
What are you looking at?
NAN
My eyes need some perking up.
INT. MARQUEE - DAY (PRESENT)
Nan and Ollie cradle one another. The sway has stopped.
They stand still.
INT. NAN’S BEDROOM - NIGHT (FLASHBACK)
Nan and her Husband, the old man, cradle one another.
They sway to the music.
Nan’s Husband runs his fingers through her hair.
EXT. BEACH - DAY (PRESENT)
On an opening in the trees, to a vast stretch of land.
The sound of MOANING WAVES.
Ollie and Mads break through an opening. Ollie surveys
the stretch of sand. Quiet in a wistful wind.
OLLIE
Lets break here.
MADS
Don’t you want to stay with the
group?
OLLIE
We need to change.
MADS
Now?
OLLIE
Now.
48.
EXT. BEACH - DUSK
Ollie curls his bare feet into the sand, knees to his
chest, topless with loose fitting bottoms on. Tranquil
waves trickle over his feet.
On the horizon is a light from a cargo ship. Ollie raises
his arms and silently waves. The ship stays on course,
passing across the edge of the world.
Mads’ naked silhouette by the waterside. She dries off
with a towel. She makes her way back up towards the
beach.
MADS
You going in?
OLLIE
Yeah. But I’m wondering what the
point of getting out is.
MADS
I think we’re close. I can feel
it.
OLLIE
Don’t let it get in. Once it’s in,
it’ll destory you.
MADS
What?
OLLIE
Hope.
Ollie looks to Mads. Then reverts his eyes back to the
horizon. Out of sight, Ollie places a large stone in one
of his pockets.
OLLIE
I want to see her one last time.
See her in the flesh so she knows
I was there. She’s all I’ve got.
(beat)
I don’t mean anything to anybody
now.
MADS
That’s not true.
Mads moves up the beach to the pairs backpacks.
Ollie is quiet. He slides another rock into his other
pocket. Then he stands. A brisk walk to the waters edge.
(CONTINUED)
49.
CONTINUED:
OLLIE
I always wonder what’s at the
bottom. You know, just under your
toes?
MADS
If we knew we’d never get in the
water.
OLLIE
What do you think’s down there?
MADS
Everything that used to be at the
top.
Ollie takes a few more steps. The sea up to his ankles.
He takes several confident strides into the water. Up to
his waist, still striding forward. He pushes against the
tide.
Then he is up to his neck. Mads stands on the shoreline-
watching her accomplice DISAPPEAR BENEATH THE WATER. And-
UNDERWATER
Ollie lets his body float just under the surface. Then he
moves with the tide, back and forth. He sinks further.
Particles of pollution, plastic and moss surround him. On
his face, his eyes flickering underneath. And back to the-
BEACH
Mads watching. Waiting. CURLING WAVES.
A floating mass, Ollie WASHING BACK UP TO THE SHORE.
Stillness. Ollie takes his time, spluttering and
coughing, his face covered in sand.
HEAVY BREATHING... hands wrapping round. Mads picking him
up.
Behind the forest a FIREWORK EXPLODES IN THE NIGHT SKY.
The multicoloured sky highlights the two lovers on this
small stretch of land.
Mads and Ollie turn to watch the colours in the sky.
MADS
What are you doing?
(CONTINUED)
50.
CONTINUED: (2)
OLLIE
Coldest water in the world.
Mads and Ollie make their way back towards the forest
edge. Then they disappear into the shadows.
Fireworks become more frequent in the night sky,
exploding above the small dot that is the Ferris wheel.
SMASH CUT TO BLACK.
A music beat. An ALTERNATIVE ELECTRONIC BEAT.
Genres:
["Drama","Romance"]
Ratings
Scene
24 -
Fireworks and Shadows
EXT. FIELD - NIGHT
On Ollie. He watches a sky of stars, fireworks EXPLODING
IN HIS EYES. The reflections shimmer beauty. Mads stands
beside Ollie, his clothes soaked through.
INSERT: Mads’ hand drops that MOBILE PHONE into Ollie’s
pocket.
Ollie routes through a pocket, taking out a mobile phone.
Thumbs the device. It lights up.
Around them the revellers continue to leave the site. But
some stay put. An afterparty is burning on, the funfair
breaking curfew for supply and demand.
Ollie taps the power button on his mobile. Nothing. He
turns to panic. He moves off. Then to-
THE SKY OF STARS
FIREWORKS. Beautiful. They sprinkle, then there are some
large ones. A sea of primary colours.
Back to the FIELD. Mads at Ollie’s side, wrapping her
hands around his waist. His eyes remain on the display in
the stratosphere.
MADS
There’s a path the other way
towards the village.
OLLIE
We can’t be with people.
MADS
They won’t look for you in the
open. They think you’re hiding.
(CONTINUED)
51.
CONTINUED:
A large firework EXPLODES overhead. The entire crowd
CHEER.
MADS
Lets start to move against the
waves.
We move over the top of the crowd. Eyes to the sky, more
people crowded onto this patch of land. Faces, smiles,
bright eyes.
Mads kisses the arch in his back.
Ollie takes hold of his girlfriends hand, stretching one
of her arms out in front. He strokes her hand, all the
way down to the tips of her fingers.
INSIDE A TENT
Ollie routes through his possessions. Finds his mobile
charger.
ACROSS THE FIELD
A small banger car spins in doughnuts. The GYPSY MEN fire
more fireworks from the boot of the car.
Reckless and dangerous. The display rockets in every
direction, spraying explosions of colour. Sparks fly,
onlookers run back, dodging the flares.
The car spins, violent. A spiral of a Katherine Wheel
escapes above the forest.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
25 -
Suspicious Encounters at the Funfair
EXT. FIELD - NIGHT
Tucked away in a quiet corner, the paddock.
The TWO HORSES, the Shire and the Gypsy, stand in the
shadows at the back of the makeshift arena. Mads
approaches.
The large Shire moves over to her. He pokes his nuzzle
through the grating. Mads strokes the animals ears.
BENNY
Beautiful, no?
Mads spins, finding the voice. Benny is over at the steps
of a caravan. The Shire moves off.
MADS
Yes.
(CONTINUED)
52.
CONTINUED:
BENNY
Eddie and Willow.
MADS
Sorry?
BENNY
Eddie is the Gypsy, Willow is the
Shire. Guess which is which?
MADS
I know my horses. I used to breed
them.
BENNY
Of course you do.
MADS
I had Arabian horses. Very elegant
animals. Three of them. Charlie-
BENNY
I don’t need to know names. I can
picture them just fine.
MADS
Okay.
(beat)
How long have you had yours?
BENNY
They’re not mine, they’re ours.
Everybody. We all use dem for
different ‘tings. Mainly with de
carts.
MADS
They look like they’ve been looked
after.
BENNY
Of course. Only things we own.
Benny joins Mads’ side. He swings his arms over the
railing.
MADS
They are special animals. Very
spiritual.
BENNY
How?
(CONTINUED)
53.
CONTINUED: (2)
MADS
Both powerful and gentle. They
could kill us very easily. You
show me a human like that.
Benny mulls this over.
BENNY
Can I ask you sometin’, lady?
MADS
Sure.
BENNY
What are you doing here?
MADS
I like horses.
BENNY
Dat’s not what I mean.
Mads takes a moment. Tells the story in her head.
MADS
I’m here-
BENNY
I know who he is, I see the TV.
(beat)
But I don’t know who you are. I’ve
not seen you on TV.
MADS
He’s my boyfriend.
BENNY
No, you’re not his girlfriend.
You’re an accessory. You’re his
enabler.
MADS
We love each other.
BENNY
I’m not gonna say anything.
MADS
We have plans. It was his idea to
come here.
Mads turns to Benny. His eyes static on her.
(CONTINUED)
54.
CONTINUED: (3)
MADS
He’ll hurt you.
BENNY
No he won’t. He’ll hurt you.
MADS
I’ve warned you.
BENNY
You could be at home, with your
horses, in your stables. In your
home.
Mads panics. She shuffles away into the darkness.
MADS
Leave us alone. Please.
BENNY
You’re scared. And it’s not of me.
MADS
No I’m not.
BENNY
Keep runnin’. Don’t stop.
Mads has vanished back into the funfair.
As she does Benny watches the bodies begin to scarper
quicker as an ARMY OF POLICE CARS SWARM THE FIELD. Police
Officers disperse, moving revellers away.
Benny backs away towards his caravan, his eyes on his
horses in their holding pen. Benny slides over to the
pen, stroking the Gypsy horses mane.
BENNY
Fun’s over.
ACROSS THE FIELD
Ollie waits on the periphery. He watches the scene
unfold. Blue lights and sirens. Officers move as a chain
through the fair, pushing partygoers to the exit. Some
Gypsy men are arrested on a patrol car bonnet.
Mads making a line for Ollie.
OLLIE
And?
(CONTINUED)
55.
CONTINUED: (4)
MADS
It’s a no go. They’re too close to
the caravans. The paddock is
locked. And he knows.
OLLIE
Who?
MADS
Benny. He knows too much.
OLLIE
Good.
Ollie and Mads retreat into the woods, consumed by
darkness.
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
The Rabbit's Shadow
EXT. THE RABBIT PUB CAR PARK - NIGHT
Silence in this small village. Ollie making his way
between vehicles. He tries the handle on several cars,
peers inside each one.
A couple leave the pub, an ageing man with his plastic
wife climb into an even younger model.
Ollie watches from between two vans. He surveys his
immediate surroundings. Then wraps the end of his sleeve
around his fist.
He considers, moves towards one last car. A shit heap.
Ollie tries the handle, the door opens.
INT. CAR - CONTINUOUS
Ollie removes his mobile. He unravels a charging cord,
looking for a spot to plug. Then a realisation.
EXT. THE RABBIT PUB CAR PARK - NIGHT
Another BARELY LEGAL BOY leaving the pub. He approaches
his shitheap, thumbs his keys. The car PINGS, already
open.
But before the Boy can climb in Ollie has ATTACKED FROM
BEHIND. One punch and the Boy is out cold on the floor.
Ollie props his victim against the rear wheel. Then he
climbs in with the keys, starts the IGNITION.
56.
INT. CAR - CONTINUOUS
The engine rattles. Ollie has his mobile plugged into a
USB port. Moments passing, Ollie watching his
surroundings. The screen lights up.
His eyes moist over. Then rest on the TWO DRUNK FIGURES
leaving the pub. They bypass the unconscious Boy without
a second glance.
Ollie takes his phone, he has one message. He opens the
text:
‘Hope i get the right number. I’m only sending this cos
you wanted me to. I know you won’t get this message but
she passed away this morning. Peaceful end with family
around her don’t take it too hard. mum’
Ollie looks closer. The message is a a few days old.
Ollie LAUNCHES THE PHONE, rattling the interior of the
car.
His world crumbles and his head explodes into HYSTERICAL
EMOTIONAL RAGE. Ollie batters the steering wheel. A caged
animal.
Ollie’s eyes de-mist to the form of Benny standing in
front of the car. He stares straight back at Ollie.
BENNY
What a shame. You look mighty
intimidating to me. Like you could
do some damage.
Ollie sniffs air back to his red face.
OLLIE
You Irish fuck.
BENNY
You never learn.
OLLIE
You Irish fuck.
BENNY
You crying for home? For your
mammy?
OLLIE
Shut the fuck up.
BENNY
That’s more like it.
(CONTINUED)
57.
CONTINUED:
OLLIE
Stop talking.
Benny moves to the side of the car. He motions for Ollie
to roll down the window. Ollie complies.
BENNY
What’s the matter?
OLLIE
I was waiting for you.
BENNY
Well here I am.
Benny looks to the unconscious Boy. He takes his pulse.
OLLIE
Still just the one victim.
Benny turns his attention to the APPROACHING FOOTSTEPS
behind him. Bartley finishes his cigarette.
BARTLEY
You coming back inside?
BENNY
Look who it is.
Bartley flicks his cigarette away. Peers inside the car.
BARTLEY
Your one and only.
OLLIE
I saw your boy get his one for
talking shit.
BARTLEY
He’s not my boy. My brother’s boy.
BENNY
Dis one thinks he knows our kind.
BARTLEY
(to Benny)
Our kind? Your kind is definitely
different to mine. Don’t you
forget that. I saw that fight too.
(back to Ollie)
And you are the boy who watches.
You two think you’re men, offering
jabs at one another like kids.
(MORE)
(CONTINUED)
58.
CONTINUED: (2)
BARTLEY (CONT'D)
You don’t know each other from
Adam, but you’re going to prove
who’s bigger one day to what
result? Benny, you got everything
to lose to this pathetic excuse of
a man. He on the other hand, he
has nothing to start with.
Bartley leans closer to Ollie. Close enough to whisper.
BARTLEY
If I were you, I would abandon
luck. It’s abandoned you.
Ollie looks ahead.
BARTLEY
You’re like a rabbit, runnin’ at
the first spark of light. And you
never know which way they’re going
to run. Sometimes they’re clever,
dart back into their holes.
Sometimes you kill them. Out on
these country roads they scarper.
You see in Dublin, there’s this
roundabout, Rabbit Roundabout, an
island filled with de little
fuckers. But they don’t run. ‘Dey
see those lights all the time,
‘dey just let ‘dem pass. And just
like that they become equal.
Standing up to da possibility of
death, no care in the world. What
rabbit are you?
OLLIE
I’m not.
BARTLEY
Then you best keep runnin’. If I
see you and Benny ever talkin’
again, it means nobody’s won. You
see me and I’ll cave the back of
your throat round my fist.
(to Benny)
Come on.
Bartley turns back to the pub. Benny lingers longer,
laughs, then follows. Ollie closes the window, simmering,
watching the two gypsies walk in under the pub sign: THE
RABBIT.
Ollie climbs out, starts loading his victim into the back
seat.
59.
Genres:
["Drama","Thriller"]
Ratings
Scene
27 -
Ollie's Arrival at the Rabbit Pub
EXT. FERRIS WHEEL - NIGHT
Positioned in an empty pod. The wheel rotates slowly.
Police continue to move people on, pushing the crowds
away from the funfair. The first of the police vehicles
LEAVES THE SCENE.
INT. OLLIE’S TENT - NIGHT
Abandoned. POLICE LIGHTS CLOSING IN OUTSIDE. An OFFICER
opens the zip. Takes a look inside the burnt out
structure.
POLICE OFFICER
Clear.
He moves on.
INT. THE RABBIT PUB - NIGHT
A small space. Low ceilings, some stools at the bar.
Crammed into every corner is every member of the local
community of GYPSY TRAVELLERS.
Ollie leans over the bar, watches a wannabe BAR WIZARD
spin some bottles. The performance finishes.
OLLIE
Impressive.
WANNABE BAR WIZARD
What can I get you?
OLLIE
I don’t have any money.
WANNABE BAR WIZARD
Then why are you here?
The Bar Wizard takes out a menu from under the bar and
slaps it on top.
WANNABE BAR WIZARD
You want a combo that ain’t
listed, then just add the two
prices together for the singles.
Ollie passes a glance over the bar, to the cabinets
behind. And his own reflection in the mirrored surface
between bottles.
(CONTINUED)
60.
CONTINUED:
OLLIE
Your cheapest beer.
WANNABE BAR WIZARD
I usually charge double for
outsiders, people that don’t live
round here. Double the price for
everything, all your standard
mixers.
OLLIE
How do you know I don’t live round
here?
WANNABE BAR WIZARD
You’re with the fair?
OLLIE
No.
WANNABE BAR WIZARD
You must be lost.
The wannabe pours Ollie a beer. Across the room, Benny
leave the toilets. He returns to a group of men. Ollie
watches on as the men laugh with one another.
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
The Rabbit Pub Brawl
INT. THE RABBIT PUB - LATER
The Bar Wizard moves from person to person. Taking
orders, pouring drinks.
He pulls a girl over the top of the bar, grabbing the
head of a tap and pumping booze down her throat. Screams
of delight. He is God.
He slices a lemon in two, puts one slice into a Vodka
Coke. He slides this to Ollie situated on the same stool.
Ollie hands back a tenner. The Bar Wizard takes the cash,
pockets it.
Ollie takes his drink and pushes away through the crowds.
Bumping and grinding. Nobody moves. Ollie is greeted by a
BOUNCER between two rooms. A wall puncher covered in
tribal tattoos up to his neck
BOUNCER
No further admission in here. Too
busy. We need to keep everyone
spread out.
Ollie listens. He remains mute as he perches at a table
nearby.
(CONTINUED)
61.
CONTINUED:
OLLIE
Are you always here?
BOUNCER
You been swimming?
Ollie touches the seams of his T-shirt. A few drips
escape to the floor.
OLLIE
Something like that.
BOUNCER
Don’t need any crazy today.
OLLIE
You’re here for them?
Ollie nods to the group of GYPSY MEN in one corner.
BOUNCER
You with them?
OLLIE
You don’t watch TV, do you?
The Bouncer shrugs. He watches Ollie disappear among the
bodies. A snake in the grass.
AT THE BAR - LATER
Ollie slouches against the rail for support, drunk legs
tiring beneath him. The Bar Wizard emerges from the
floor, reconnects a pump and barrel.
WANNABE BAR WIZARD
Another one?
OLLIE
Am I made of money?
Ollie fingers some change in his hand. He drops a coin.
We follow it as it rolls among shoes, across the floor,
pirouetting and-
The Bouncer stops the coin with his foot. He follows the
path back to Ollie.
The Bouncer makes his way over. He reaches Ollie, a clasp
to the shoulder turns Ollie back.
BOUNCER
Time to go?
(CONTINUED)
62.
CONTINUED: (2)
Ollie looks across the room. Benny with his gypsy mates,
drinks flowing. Laughter.
The Bouncer looks to the empty pint glasses on the
counter. Then to the Bar Wizard.
BOUNCER
Couldn’t have prevented this?
(to Ollie)
Okay, lets go.
The Bar Wizard moves to another customer. The Bouncer
takes Ollie’s arms.
OLLIE
Let go of me.
The Bouncer holds tighter.
BOUNCER
Make it easier for yourself.
Ollie considers. Stands and moves off, his eyes never
leaving Benny.
The Bouncer stalks Ollie out of the bar. Ollie pauses,
turns to the Bouncer-
OLLIE
Have you ever really hurt anyone?
BOUNCER
Out!
AMONG BODIES - CONTINUOUS
Ollie pushes through. Comes face to face with Benny.
BENNY
Hello there.
OLLIE
Look at that.
Ollie delivers a clean UPPERCUT. Benny is calm. The rage
returns to Ollie as he shakes off the wannabe, moving
after Benny. The Bouncer bounds after them.
OLLIE
Fuck you!
Benny is halfway out of the door when Ollie catches him
once more, unprovoked and unprepared for this attack.
(CONTINUED)
63.
CONTINUED: (3)
All at once, Benny SLAMS SHUT THE DOOR just as Ollie and
the Bouncer reaches it. The impact is BONE-CRUNCHING.
Ollie meets the door on the in-swing and tries to bust
through it. The WINDOW SHATTERS out of it’s frame, all
over him. Ollie HITS THE DECK, knocked unconscious.
A blur, the music DISTORTING. Ollie regains
consciousness. PUSH IN on him. Dazed, MORE GYPSIES over
him. Trying to pick him up. Ollie shakes them off.
Now we see. NAN IS PICKING OLLIE UP. Ollie attempts to
read her lips, his vision a vignette.
OLLIE
What the fuck are you doing? The
fuck. I- I- get off!
Ollie shrugs Nan off. He pulls the door open and wanders
out to the car park. The entire world follows. The PUB
LANDLORD ushers people around the glass. Gypsies push the
Bouncer back in the pub. Threats if he intervene.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Blood in the Car Park
EXT. THE RABBIT PUB CAR PARK - CONTINUOUS
Ollie stumbles. The stars move into formation in the
night sky. A face appears.
Looking down at his slashed hand. Every inch covered in
blood. Benny is over, delivering punch after punch.
Ollie fights back, he blocks a punch. Moves away, pushes
back into the fight. Ollie wraps his hands around Benny,
smothering their bodies closer. They hold each other.
Ollie attempts a knee to the ribs. Loses his balance and
the boys fall and writhe around on the floor. Benny now
has Ollie by the neck.
Ollie turns Benny over. SLAMS A PUNCH in his chest. Short
and sharp, Benny pushes Ollie to the floor. He looks to
his own hands, covered in Ollie’s blood.
BENNY
Nice.
Ollie giggles a drunk laugh. Excessive and exaggerated.
He RIPS HIS TEE from his frame. Benny backs off. The
crowd leer closer, circling the boys. They cheer louder.
BENNY
You want what I got?
(CONTINUED)
64.
CONTINUED:
Bartley waits in the shadows.
Ollie charges Benny, tackling him to the floor. A spray
of blood on Benny’s face. And in that moment he is
scared.
Ollie hammers another blow, one final one to BLOW BENNY’S
NOSE OPEN. Split into blood and gore.
Ollie slouches back, exhausted. Benny crawls across the
cold concrete, his nose gushing.
BENNY
Fuck you.
Ollie turns away, looks back to the stars. This gives
Bartley time to approach and deliver a KNOCKOUT PUNCH.
Ollie stars sideways. Bartley mounts him, punching the
drunk Ollie in the head. Then straight in the mouth.
Ollie’s teeth shatter and dislodge. Then Bartley moves
on, leaving Ollie exhausted on the concrete.
Bucolic night air. Some muttering. The crowd move back
into the pub to continue their night.
We see a CONCERNED BYSTANDER on her mobile phone.
Ollie shuts his mouth, loose teeth falling around his
lips. He spits the teeth to the ground, revealing white
daggers.
Ollie slips his crimson T-shirt back on. He floats
unsteady, his head flopping from side to side. Benny is
gone.
Genres:
["Drama","Thriller"]
Ratings
Scene
30 -
Blind Rage
EXT. ROAD - CONTINUOUS
Ollie positions himself in the middle of the road.
Nothing. A voice behind him:
NAN’S VOICE
You okay, O?
Ollie raises his thumbs. The blood is now seeping.
OLLIE
Nan?
O/S HUMMING. Ollie waits. His vision comes back to focus.
The far distance. Something is approaching. A MOTORCYCLE.
A MOPED.
(CONTINUED)
65.
CONTINUED:
Acting on impulse, Ollie has retrieved a nearby bicycle.
He walks towards the approaching moped, speeding towards
him. He wheels the bicycle then picks it up. Like a
modern match of jousting. The bright lights are blinding.
The moped races past. As it does:
Ollie tosses the bicycle at the moped. Moped and rider
part, dispensing across the road with a GOD AWFUL THUD.
The moped CRASHES into a lampost. The rider is thrown
under a parked car.
The world stands still. And watches.
The rider is still. Ollie is still.
The rider moves ever so slightly. He makes a start to get
up.
Ollie starts towards the rider. He pulls up short. The
rider pushes himself out from under the car. Exhausting.
The rider looks for injuries, only bruises.
He takes off his helmet. Benny. The two gladiators meet
each others gaze. Pathetic and tragic at the same time.
A moment. Benny turns, picks up his moped and limps off
down the street.
Ollie considers following. Decides against it.
So he walks the bicycle back towards the pub. Wheel bent,
chain loose. In the distance we hear the approaching
SIRENS.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Chasing Shadows
INT. STOLEN CAR - NIGHT
Ollie at the wheel. He accelerates through the dark
country roads. In his rear view are those familiar
FLASHING BLUE LIGHTS. They reflect deep in hie eyes.
Ollie wipes the blood from his face as it drips down his
chin. Then he SCREAMS. The car accelerates blindly.
MADS (O.S.)
What the fuck happened in there?
Ollie?!
(CONTINUED)
66.
CONTINUED:
Mads blurs in and out of Ollie’s periphery in the
passenger seat. His vision blurs, his eyes close. His
world darkens.
CUT TO BLACK:
INT. CHAPEL - DAY (DREAM SEQUENCE)
A modern building with circle windows. Ollie steps into
frame, in front of an altar.
He takes a few clean breaths, loosens his tie. Steadies
himself at the platform. He stands before us in an
oversized suit. Now we can see the visible cuts on his
forehead. The bruising plotted around his face, deep
swelling.
OLLIE
I have a few words that I would
like to say. I’ve got them written
down here. My nan was a very
beautiful person and she deserves
a proper send off. And-
(beat)
I never thought it would ever hurt
this bad. And now I don’t know
what to do. And the person I would
ask, well, she’s not here.
Ollie coughs, clearing his throat.
OLLIE
I suppose it’s sad that we never
get to tell the people we love
just how much we adore them until
they can’t hear us. Maybe they
can, if you believe in that sort
of thing.
(beat)
She was amazing, but now she’s an
ache and pain. This hurts so much.
Her face would frown down on me
now, her boy with all these tears
in his eyes.
(beat)
I’m proud to have shared my time
with this lady, a woman I loved
very much. A mother.
(beat)
Rest softly, Nan.
(another beat)
(MORE)
(CONTINUED)
67.
CONTINUED:
OLLIE (CONT'D)
I’ve got more to say, but I can’t
remember. There’s too many words
in this world.
Ollie floats his eyes over his audience. Only now we see
a SMALL CONGREGATION OF FAMILY AND FRIENDS. And Ollie’s
gaze falling on HANNAH in the front row. She stares
straight through her SON.
Ollie takes a final breath. He considers his next words,
moves away from the lectern, then back into place.
OLLIE
I read some stuff in the library
once. There was one poem that was
quite beautiful, and it must have
made some impact on me because I
remember it.
The audience remain still. Some CHILDREN shuffle on their
hands.
OLLIE
If I should go tomorrow
It would never be goodbye,
For I have left my heart with you,
So don’t you ever cry.
The love that’s deep within me,
Shall reach you from the stars,
You’ll feel it from the heavens,
And it will heal the scars.
Ollie catches his breath. Then he vacates the lectern in
silence.
CUT TO:
Genres:
["Drama","Mystery"]
Ratings
Scene
32 -
Night Ride
INT/EXT. STOLEN CAR, MOVING/COUNTRY ROAD - NIGHT
Mads’ hand hangs out the window, fluttering in the black
air. Ollie drives in auto pilot through the country
lanes, his eyes wavering. Blinks becoming longer.
Mads looks to him as he crosses to the middle of the
road, then corrects his course.
MADS
Shall I drive?
OLLIE
No.
(CONTINUED)
68.
CONTINUED:
Mads rolls her eyes. She lowers her window further. Then
places her head out. Then she pulls herself further out
of the window.
Ollie takes his eyes from the road, watching his
girlfriend hang from the window. Her entire torso is out
of the window, her hair in the wind. Mads smiles. Ollie
watches as she SCREAMS FREEDOM to the wind.
She stretches out, clipping leaves from trees. Ollie
looks to his speedometer, increasing. Then Ollie smiles,
reaches for Mads’ ankle on the seat. He holds her down,
tight.
MADS
I’m not even cold.
OLLIE
I got you.
MADS
Wooh!
Mads smiles as her hair whips around her face, her eyes
shut to the blackness. A small country road, the car
moving too fast for these small lanes.
Ollie watches Mads, his foot pressing hard on the
acceleration. Ollie’s eyes undress Mads, the world in
SLOW MOTION. Ollie smiles at her form, her natural
beauty.
Ollie starts the radio. He recognises the song that
starts almost instantly. Ed Sheeran: WAKE ME UP. As the
song moves on, Ollie talks the lyrics under his breath,
shaking the terror from his brain.
OLLIE
(along with the
lyrics)
I should ink my skin
With your name
And take my passport out again
And just replace it.
Mads’ smiling face.
OLLIE
See I could do without a tan
On my left hand, where my fourth
finger meets my knuckle
And I should run you a hot bath
And fill it up with bubbles.
(CONTINUED)
69.
CONTINUED: (2)
Ollie’s eyes focus back to the road. Except the road has
gone, replaced by an INFINITY OF STARS.
OLLIE
'Cause maybe you're lovable
And maybe you're my snowflake
And your eyes turn from green to
gray and in the winter I'll
Hold you in a cold place
And you should never cut your hair
'Cause I love the way you flick it
off your shoulder.
The stars sparkle in Mads’ eyes. Mesmerizing.
OLLIE
I think you hate the smell of
smoke
You always tryna get me to stop
But you drink as much as me
And I get drunk a lot.
Genres:
["Drama","Romance"]
Ratings
Scene
33 -
Death's Embrace
EXT. COUNTRY ROAD/SKY FULL OF STARS - NIGHT
The car rises from the road, racing vertically towards
the night sky. A spaceship taking off. Climbing and
climbing.
INT. STOLEN CAR - CONTINUOUS
Mads ducks back inside. Her and Ollie watch the beautiful
scene envelop in front of them. The MILKY WAY.
MADS
Beautiful.
OLLIE
So I'll take you to the beach
And walk along the sand And I'll
Make you a heart pendant
With a pebble held in my hand.
Mads’ face turns to fear. She spins to Ollie, her world
ending.
MADS
Ollie!
(CONTINUED)
70.
CONTINUED:
OLLIE
And I'll carve it like a necklace
So the heart falls where your
chest is
And now a piece of me is a piece
of the beach and it falls just
where it needs to be
And rests peacefully
So you just need to breathe
To feel my heart against yours now
Against yours now.
Ollie turns to Mads, then back to the stars. But now they
are the dark country road.
And Mads’ eyes OPEN.
Positioned between Mads and Ollie, looking out through
the windscreen. In a cacophony of action:
CRASH... THE WHOLE CAR SPINS... FLIPS HEAD OVER HEELS...
THE CAR CRUMPLES AND CONTORTS AS THE IMPACT RACES THROUGH
THE METAL...
OLLIE IS THROWN INTO THE REAR OF THE CAR...
GRINDING... SHATTERING GLASS... THE OCCUPANTS LIKE RAG
DOLLS IN A WASHING MACHINE... SCREAMING AND HOWLING...
A TREE BRANCH ENTERS THE WINDSCREEN... FLYING PAST US...
THEN TORN OUT... UPSIDE DOWN, SPARKS FLY AND CRACKLE ON
THE TARMAC. SLIDING ACROSS THE FLOOR... HITTING A
ROADSIDE BARRIER.... SLIDING TO A STOP.
Stillness. A drip of fuel begins to leak and puddle on
the roof.
Then Ollie moves. He touches his face. A bloody gash is
leaking onto his brow and is dripping in front of his
eyes. His WHIMPERING fills the night air.
Genres:
["Drama","Thriller"]
Ratings
Scene
34 -
The Phantom Horse
EXT. ROAD - CONTINUOUS
The car broken and inverted, wedged just off the road in
some bushes against a roadside barrier. A wheel still
spins lazy.
Ollie pulls himself across the roof of the vehicle and
out through a shattered window. The glass sprays across
the tarmac.
(CONTINUED)
71.
CONTINUED:
Ollie darts around to Mads’ side of the car. He hits the
floor, prone.
INT. STOLEN CAR - CONTINUOUS
Ollie pulls himself in. Blood is pouring from Mads’
temple all over her face, her body still inverted in her
passenger seat. Ollie struggles with her seat belt, Mads’
weight preventing him from loosening her.
The glass crackles as Ollie moves his arm in front of
Mads’ face and his hand to her neck. Ollie sighs with
relief as he finds a pulse.
The car shifts. Ollie freezes.
OLLIE
Can you hear me? Babe, please
answer.
EXT. ROAD - CONTINUOUS
The last window on the car pops out, spraying more glass.
A shard pierces the roadside barrier.
INT. STOLEN CAR - CONTINUOUS
Ollie cradles Mads’ head. He sniffs, smells that petrol.
Sniffs once more. Confirms the scent. Ollie is now inches
from Mads’ face.
OLLIE
I know. I can smell it.
Ollie considers. He reaches for Mads’ seat belt release.
Thinks better of it. Retracts his hand, spotting the
mobile phone resting on the back shelf.
Ollie pulls himself through the wrecked interior of the
car. He reaches for his discarded mobile, the screen
turns to a bright lock screen.
Ollie swipes the ‘Emergency calls only’. He hesitates
EXT. ROAD - MOMENTS LATER
Silence in the night. The drip of fuel.
(CONTINUED)
72.
CONTINUED:
Ollie wanders to the middle of the road, to the silence
of midnight. Then he spots it from the distance, the
orange flames reflecting in his eyes.
The SHIRE HORSE GALLOPS DOWN THE STREET, entirely
ENGULFED IN FLAMES. A phantom horse, moving in SLOW
MOTION through the black.
The animal trots towards Ollie. The flames kick out from
the beasts eyes. Then the horse passes by without
breaking stride, CHARGING INTO THE DARKNESS.
Ollie is left in the dark. Slowly but surely the SOUND OF
SIRENS can be heard approaching. This brings Ollie back
to planet earth.
The blue flashing lights reflect off of Ollie’s dark
eyes, his pupils shrinking. Glazed over and shell
shocked.
And--
SMASH CUT TO BLACK.
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Festival Aftermath
EXT. FIELD/ ABANDONED CARAVAN - DAWN
Early morning sunshine peering through the trees.
DRIFTING across the site. The end of the festival weekend
for the young souls. A hot summer morning creeping in.
The field sits in ruins. Gypsies pack up their last
trailers.
EXT. CARAVAN/FIELD - CONTINUOUS
Several BURNING TENTS. A biblical image. Several gypsy
men SET ALIGHT A CARAVAN, then a final gazebo. The world
is on fire, shrouded in smoke.
Benny, his face bruised and lip cut, helps Bartley
manoeuvre the Ferris wheel onto a trailer. Then he
wanders over to-
THREE GYPSY MEN watching the derelict structure as it
collapses and burns to the ground, ENGLULFED IN FLAMES.
Jeeps pulling caravans away. A GYPSY rounds up ONE HORSE.
In the distance some music is still PUMPING.
73.
EXT. COUNTRY ROAD - SAME TIME
The Gypsy convoy rattle across the countryside. The
vehicles pass a POLIC CAR.
TWO POLICE OFFICERS have climbed out, their eyes FIXED ON
SOMETHING JUST OFF THE SIDE OF THE ROAD, taking in the
sight of a CRASHED CAR.
Crumpled in a heap among some trees. Derelict and ruined,
the car that OLLIE WAS DRIVING has one collapsed wheel
and the front bonnet smashed through.
The road ahead forks in two directions.
POLICE OFFICER
Almost.
EXT. BENNY’S CARAVAN/FIELD - DAY
Benny backs up a 4x4 with a horse box attached to the
rear. The car moves into position, then Benny emerges
with horses reins.
He approaches the paddock, slowing as he closes in. Benny
stops, drops the reins. The paddock holds only one horse.
The shire horse has gone.
BENNY
Motherfucker!
EXT. VILLAGE - DAY
Ollie and Mads RIDE THE SHIRE HORSE through this tiny
country village. Roads with no markings on, between
cottages with thatched roofs. They wander aimless,
searching for something.
Then they pass it. Ollie dismounts the horse. He picks up
a knackered moped from a ditch beside the road.
Genres:
["Drama","Thriller"]
Ratings
Scene
36 -
The Caravan Confrontation
EXT. RAIL STATION PLATFORM - DAY
Two platforms. One platform empty, the other RAMMED WITH
BODIES. At the front, Ollie and Mads.
MADS
Are you sure we’re going that way?
OLLIE
I’m sure.
(CONTINUED)
74.
CONTINUED:
Ollie gives Mads a look, taking in her perfect beauty.
She stares straight ahead.
Heads turn as a TRAIN ROLLS TO A STOP. The doors slide
open. The entire platform shuffle onboard.
The platform is left empty. Through the mesh fence we can
see the car park. The SHIRE HORSE is there, wandering
free amongst the parked cars.
INT. TRAIN - DAY
A packed carriage, the train passing through green
countryside.
Ollie and Mads standing in each others arms in the middle
of this mess of bodies. Somebody fires off some confetti
and the entire carriage cheer and WHOOP!
Then the train passes through a tunnel, the world falling
into blackness. When we pass out the other side, the
confetti still floats.
OLLIE
We need to go back.
MADS
What?
OLLIE
This isn’t done.
MADS
I’m not enough.
OLLIE
Not yet.
The bodies around them take no notice, somebody’s boombox
kicks in to life. Arms are raised, smiles are produced,
the party is still alive.
EXT. FIELD - DAY
Burnt out fire pits. Gutted caravans. Litter and
abandoned tents. The beautiful countryside in ruins. And
Ollie. He wanders between the mess.
Beside him stands the Shire horse. The animal waits for
instructions from his master.
(CONTINUED)
75.
CONTINUED:
Then he takes a moment, looks to the blue sky. Ollie
takes a breath. He takes his mobile phone from his
pocket, launching it towards the sky. We never even hear
it land.
Then Ollie opens the door to a charcoal black caravan.
The door swings open, then falls from the hinges.
Ollie drops the horses reins, removing the beasts head
gear so the animal is standing free.
INT. GUTTED CARAVAN - LATER
Ollie rotates a flip knife through his knuckles. Balances
it on the back of his hand, shaking, then resting at
ease.
What is left of the door swings open gently, and in steps
Benny. He smiles around the black space. Looks straight
to his target.
BENNY
There you are. And with my horse.
OLLIE
Here I am. You knew that.
BENNY
I found you.
OLLIE
Kept my word. Set him free here.
BENNY
And ‘dis is where it will end for
you.
OLLIE
Yeah.
BENNY
You want it as much a me?
Ollie flips the knife once more.
OLLIE
I’m all yours. Do with me as you
wish.
(beat)
Remember, you only get this once.
Make use of it.
Benny manouevers. Hesitates.
(CONTINUED)
76.
CONTINUED:
OLLIE
Go on.
Benny eyes the knife.
OLLIE
I met a man like you before.
(beat)
A bully. And I almost killed him.
(beat)
It was me, remember? I was the boy
you told.
BENNY
What?
OLLIE
Inside. You were telling a story
about that woman you robbed. I was
one of the boys listening.
INSERT: A PRISON CANTEEN. Benny holds an audience as he
brags about a robbery. Opposite him, a few stools down,
tucked away, OLLIE.
BENNY
You’ve not done time.
OLLIE
I beat my adopted father to a pulp
because he was in the wrong place.
But it was meant for you.
BENNY
I know your face.
INSERT: PRSION CANTEEN. And for a fleeting moment,
Benny’s eyes cross Ollie. Ollie listens with rage boiling
behind the eyes.
OLLIE
Yeah.
BENNY
You’re like me.
OLLIE
A bad guy. A bad guy you made.
BENNY
You promise you won’t cry?
(moving his eyes to
the knife)
That’s not fair.
(CONTINUED)
77.
CONTINUED: (2)
OLLIE
None of this was fair.
BENNY
I won’t take long.
Benny rolls up his sleeves.
OLLIE
You want me to sit here?
Ollie slides up the wall, to his feet. Benny moves into a
boxing southpaw.
BENNY
Get rid of the knife.
OLLIE
You know why I have this knife?
BENNY
Get rid of it.
OLLIE
I’m not all there, that’s what
they said. As soon as I let my
eyes fall on you.
BENNY
Get rid of the knife.
OLLIE
You know why you’re so special?
BENNY
I couldn’t give a fuck.
For the first time there’s fear in Benny’s eyes.
OLLIE
You thought you knew me, but in
reality you don’t know anything.
You’re here because I want you
here, in front of me. I’m not like
anyone you’ve ever met. I’m
different. To be scared of
violence, of people like you, you
need to have something to lose.
That’s all we are ever scared of,
not what you’ll hurt us with, but
what you’ll scar me with. I’ve
already got plenty of those, why
not add a few more? You have
nothing you can threaten me with.
(CONTINUED)
78.
CONTINUED: (3)
BENNY
You’re loose up there.
OLLIE
I thought you knew people like me?
Benny steps closer.
BENNY
Put the knife down.
OLLIE
No.
BENNY
I’m not touching you until you
drop it.
OLLIE
So you give up?
Benny jockeys closer.
OLLIE
Do you even remember her?
The knife rotates in Ollie’s hand.
Benny reaches out a fist, respect, touching gloves to
initiate the fight. Except Ollie takes Benny’s hand,
wraps it around his closed fist.
And with the other hand Ollie STABS BENNY IN THE FACE,
ripping through his mouth. Benny freezes, stuck on the
spot. His cheek flaps open. Blood spews everywhere.
Benny sinks to his knees as Ollie delivers a STAB TO THE
NECK. Benny flops sideways, more blood PROJECTILE
SQUIRTING from his wound.
Ollie takes a moment. Blood spray on his face. Slips his
knife back into his pocket.
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
Ollie's Rage
INT. BUNGALOW LIVING ROOM - DAY (FLASHBACK)
Nan and her Husband cradle one another. The swaying has
stopped. They stand completely still.
Nan’s Husband runs his fingers through her hair. On the
pair, Nan’s Husband is replaced by Ollie. Then--
CUT TO:
OLLIE SLASHES AND STABS AT BENNY. BLOOD SPRAY.
79.
INT. BUNGALOW BATHROOM - DAY (FLASHBACK)
Ollie standing in front of the mirror. He takes the towel
from the rack, wrapping it around his fist.
He instantly PUNCHES the mirror. Once. Twice. Three
times. Relentless. The mirror fractures, cracks,
crumbles. Intense, an animal breaking free from a cage.
OLLIE
Why won’t you fucking listen?!
Listen to me! Listen!
CUT TO:
OLLIE PUMMELS BENNY. FLESH TEARING.
OLLIE (O.S.)
Fucking listen! Listen to me!
Listen!
INT. BUNGALOW BEDROOM - SAME TIME
Nan sits on the edge of her bed, fear crippling her body.
OLLIE (O.S.)
Just listen to me!
Silence.
INT. BUNGALOW BATHROOM - CONTINUOUS
Ollie slumps, breathing heavy. Nothing left to destroy.
His fist is mashed, blood seeping through the towel.
Ollie moves his eyes to the door, dazed. Hannah looks
down from the doorway.
HANNAH
You’re paying for that. Okay? I’m
telling you, not asking.
Ollie gets his breath back.
HANNAH
I’ll help her.
OLLIE
No, you won’t. You won’t touch
her.
(beat)
I’m telling you, not asking you.
(CONTINUED)
80.
CONTINUED:
HANNAH
Fine.
Ollie sits, his body almost lifeless. Drained and
exhausted.
He pulls himself up and over the bathroom sink. Then he
turns the tap on. The cold water gushes over the towel as
Ollie opens it up to inspect the damage.
Genres:
["Drama","Thriller"]
Ratings
Scene
38 -
Bloodstained Visit
INT. GUTTED CARAVAN - DAY (PRESENT)
Ollie gains his breath back. He rolls off of the top of
Benny. The ball of flesh slumps, splayed in blood,
dripping.
A beat for the blood to pool.
EXT. SUBURBAN - DAY
Ollie and Mads, hand in hand, approaching a line of
middle income terrace houses. They share the blood
covering Ollie’s hand. They stop once they find the
number they are looking for.
OLLIE
Wait here.
Mads lets go of Ollie so he can push through the front
gate. He knocks.
A moment. Then movement behind the pane. Then somebody
answers. HANNAH, older now with enough highlights to
shade grey roots. She simply stares back at her SON.
Mads provides a meek wave.
INT. HANNAH’S LIVING ROOM - DAY
A small space in a small house. A spoon circles in a
steaming hot coffee. Ollie picks the coffee up and sips
it. Then puts it back down--
Revealing Hannah across the room. She’s climbing the
walls she’s so far away.
OLLIE
Was the send off good? I had some
words.
(CONTINUED)
81.
CONTINUED:
HANNAH
No doubt you’re going to tell me
what flowers she should have had.
OLLIE
I would have chosen good flowers.
HANNAH
You need to leave. Especially with
your face like that. Now you’ve
shown your face, what do you think
is going to happen? How long do
you think you have?
Ollie dabs his scarred face. He massages his jaw, jagged
teeth showing.
OLLIE
I’ll dig her up.
HANNAH
You’d like that. She suffered
because of you. Never put in a
home, ne-
OLLIE
I wasn’t here.
HANNAH
No. No, you weren’t. You be
careful how you speak to me. You
be careful what you say. I let you
turn up and clean yourself up for
today. Today only. Then I’ll make
the call.
OLLIE
That’s fine.
INSERT: BARTLEY in the field. He peers into the gutted
caravan.
OLLIE
What if that was you?
Hannah approaches Ollie. She takes his injured hand.
Surveys the damage.
HANNAH
You have no opinions now.
OLLIE
You’re lucky you’re not dependent
on me.
(CONTINUED)
82.
CONTINUED: (2)
HANNAH
She should have been in a home a
long time before she died, I
accept that. Proper care. I didn’t
have time to care for her.
OLLIE
You make time. She’s not here now
because of you.
(beat)
I’ve come home. I’m here like I
promised her.
Hannah takes a cleansing wipe and soothes Ollie’s hand.
OLLIE
She could have gone to a private
home.
HANNAH
With what money?! She was only
ever going to go to a shithole we
could afford. The type of place
you see those specials about where
the nurses abuse the patients.
OLLIE
I could have found us money.
HANNAH
And look how everything went.
OLLIE
At least I tried.
HANNAH
She was my mother an--
OLLIE
And mine.
(beat)
You were gone. Two years you were
gone. She is mine as much as she
is yours. More than you are.
Without her, who knows where we
would of ended up.
HANNAH
Like mother, like son.
OLLIE
Now I’m here proving you wrong.
Ollie taking a sip of coffee. And a breath.
(CONTINUED)
83.
CONTINUED: (3)
OLLIE
You didn’t love her like I did.
HANNAH
Do you know how hard it is to help
somebody you don’t even recognise?
Who doesn’t recognise you back?
What if that really was me? How
would you feel if the one person
who was there for you your entire
life, helping you through tough
times, and there was a lot of
them, what if they just left?
OLLIE
I’ll never know because you ain’t
it. You never will be--
HANNAH
It destroyed you, too. The only
difference was you went and got
stupid and paid a price you were
never ready for.
(beat)
The person I turned to is not
there, and they certainly won’t be
coming back.
(beat)
And it’s just me now.
Ollie attempts to flex his injured hand. A large scabbed
over gash.
OLLIE
Life is cruel.
HANNAH
You’re cruel.
OLLIE
And whose fault is that?
We see Mads waiting nervously to one side.
MADS
She seems nice.
OLLIE
She’s the best of a bad bunch.
MADS
Well, that’s something.
(CONTINUED)
84.
CONTINUED: (4)
HANNAH
Who are you talking to?
Then we see the room is only populated with Ollie and
Hannah. Mads is nowhere to be seen. Vanished from thin
air.
OLLIE
What?
HANNAH
Even after all this time...
Ollie darts his eyes to the pictures of Ollie and Hannah.
Smiles, laughing, happy places.
Ollie catches a glimpse of one of these photographs and
shuts his eyes, sickening.
HANNAH
They already came. They knew you
wouldn’t be here, but...
(beat)
Here you are. They’ll be back.
Ollie takes Hannah in, long and hard. His MOTHER. Ollie
sits on the sofa arm opposite. He slides down onto the
sofa and pulls himself along, further from Hannah.
HANNAH
I’m glad I saw you again.
OLLIE
I need you to tell me where dad
lives. I’m going to find him and
let him know I’m sorry. It’s the
right thing to do.
HANNAH
I can’t do that.
OLLIE
Where is he?
HANNAH
I can’t tell you.
OLLIE
Or won’t?
HANNAH
You almost killed him.
(CONTINUED)
85.
CONTINUED: (5)
OLLIE
You know it wasn’t meant for him.
We’ve been through this an-
Hannah shuffles over and pecks Ollie’s temple. A quiet
moment as Ollie keeps his eyes off his mother.
HANNAH
They’ll be here soon. They’ll come
and look again. You can’t just
walk around here.
OLLIE
Please.
HANNAH
I can’t help you.
OLLIE
Yes you can.
HANNAH
I don’t have that information-
OLLIE
I just want to say sorry.
HANNAH
You’ll never be able to do that.
They could say I aided you if they
find you here.
OLLIE
I’m asking for a goodbye.
Hannah’s face pales, consumed with emotion. Her eyes have
fallen on Ollie’s hands. Covered in DRY BLOOD.
OLLIE
I know you're lying, you know
where he is. Where’s my fa-
Hannah rises with purpose.
HANNAH
I can’t save you anymore. I can’t
hide you here. Even if you did
find him, then what?
(beat)
I knew nothing would break my
heart as hard as you.
Ollie turns his head, initiating eye contact.
(CONTINUED)
86.
CONTINUED: (6)
HANNAH
I can’t tell you.
Ollie deteriorates in front of us. The rage hits, his
face turning a deep red as he--
EXPLODES!
Ollie races to the fireplace, grabbing a photo and
LAUNCHING IT ACROSS THE ROOM, SHATTERING more
photographs.
OLLIE
Fuck you!
HANNAH
Stop! What are you doing? Stop!
Ollie’s not listening, moving to every photo frame. He
swings his fist through decorations, a lamp, books on a
shelf.
OLLIE
Fuck everybody!
HANNAH
Please, please, please, please.
He moves towards the last photo, picks it up and turns
towards Hannah. A picture of the two of them at Ollie’s
8th birthday party.
Ollie pauses, a death grip of a stare. Hatred.
Ollie STRIKES the coffee off of the side table, SMASHING
against the cupboards.
OLLIE
Fuck everything.
HANNAH
I’m sorry. I’m so sorry. Please,
I’m sorry. I’m so sor--
Hannah peers up, dreading more abuse, but Ollie has gone.
The door to upstairs swings open.
Hannah surveys her surroundings as we PULL AWAY to reveal
the devastation. The memories that are shattered on the
floor.
Hannah curls up on the sofa, head in her lap. She starts
to rock herself.
(CONTINUED)
87.
CONTINUED: (7)
THEN:
Ollie is in front of her again. Crying. The kindness is
back, the humanity.
He starts to clean up, picking up every frame and shard
of glass.
CUT TO:
OLLIE
Hannah is holding his gaze, still standing in the middle
of the room. Tears have balled in his eyes. His eyes dart
around the room. Neat and tidy, the room untouched.
OLLIE
What’s going on?
Hannah takes a moment to look at her son. A lost soul.
HANNAH
Where are you?
Ollie moves his gaze to the various photo frames. They
still hold memories. His phase is over, the home safe.
HANNAH
I love you. I want you to know
that.
OLLIE
I love you too.
HANNAH
Hand yourself in, I’ll be waiting.
Ollie raises his gaze back to Hannah. The tears begin to
form.
OLLIE
Not this time.
HANNAH
It’ll only be a few more years.
OLLIE
Remember I told you about the guy
that robbed Nan?
HANNAH
Yeah. He was in prison with you?
(CONTINUED)
88.
CONTINUED:
OLLIE
I killed him a few hours ago.
Hannah descends into her sofa. Her son a stranger.
OLLIE
An address.
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
Haunted Threshold
EXT. DETACHED HOUSE - DAY
A different street with large detached houses. Front
gardens with depth, leading to a dream.
Then-- Ollie waiting at the end of the driveway. Alone.
He takes a moment to monitor the front of this building.
INT. HANNAH’S LIVING ROOM - SAME TIME
Hannah dials three numbers on her mobile.
HANNAH (INTO MOBILE)
Hello.
(beat)
I would like to report some
information regarding a case. I
have a reference number.
EXT. DETACHED HOUSE - MOMENTS LATER
Ollie approaches the front door. He raises his hand to
knock, hesitates.
THEN:
His fist lands. A few SHARP KNOCKS. The door opens almost
instantly. And before us is OLLIE’S FATHER, STEVEN, 50. A
moment of father staring at son.
Steven catches his breath. Looks at this stranger in
fear. In terror, his eyes wide. The space between them is
eternal, widening as Steven waits for his own flesh and
blood to make the first move.
Steven takes a few more SHALLOW BREATHS, a grown man
quivering.
INSERT: Steven is BEATEN TO A PULP, bruised. His nose and
eyes covered in blood, driping thick down his front.
LOOKING UP AT THE NIGHT SKY. Ollie leering over him.
(CONTINUED)
89.
CONTINUED:
A hand reaches out to Ollie as he is dragged away from
the assault. MADS. She takes Ollie’s hand and leads him
away from danger.
THEN:
We are back to OLLIE’S FIST. Hesitating to knock, Ollie
waits some more. Until his eyes are taken back from the
door to the front window, where a SMALL BOY, 3, looks
back at Ollie. Watching him through the pane.
Ollie watches the young boy. The boy from the new family
his father has. Ollie waves. The boy just watches, then
runs further back inside.
MADS’ VOICE
We should go.
Ollie turns to Mads. She waits a few steps behind him,
then she approaches and wraps her arms around his waist,
takes his hand. She fills in the blanks between his
fingers with hers.
Genres:
["Drama","Thriller"]
Ratings
Scene
40 -
Sunset Justice
EXT. PARK - DAY
A small stretch of green in the middle of a council
estate. TWO 10YR OLD BOYS cycle up to the park swings,
dismount their bikes, and begin to play.
Behind the boys, across the park and up to the brow of
the hill we find Ollie perched on a lonely bench. He
clicks his bloodied knuckles. Then stretches his arms
over the back of the bench, resting up.
Ollie BREATHING IN CLEAR AIR.
And Mads entering frame, taking her place next to Ollie.
Ollie hands Mads a refreshing bottle of beer. They sit in
silence, sipping the alcohol, overlooking the sunset.
MADS
Did it feel good to find him?
OLLIE
No.
Mads takes another sip.
MADS
What now?
OLLIE
We wait.
(CONTINUED)
90.
CONTINUED:
MADS
For?
OLLIE
Everybody.
Mads and Ollie watch the sun set over this non-descript
town.
MADS
What you gonna tell them?
OLLIE
The truth.
MADS
That’s a good idea.
Quiet in the sunset.
MADS
Why him?
OLLIE
Irish?
(beat, Ollie shrugs)
Fate.
MADS
Really?
Ollie takes a swig.
OLLIE
It wasn’t chance we ended up in
that field. I knew they would be
there, I knew the fair would be
there. It’s an annual thing, same
time every year.
(beat, Ollie sips his
beer)
Last time they came to town one of
the places they went was my nana’s
place, robbed her of twenty quid.
That was all they took. She didn’t
answer the door because we used to
tell her not to, but they broke
in. Ransacked everything while an
old lady watched her life being
torn apart in her own home. She
had Alzheimer's, so she forgot
what they looked like when the
police asked for a statement.
(CONTINUED)
91.
CONTINUED: (2)
MADS
How do you know it was him then?
OLLIE
When you’re angry you do stupid
things. I was annoyed I didn’t
look after her, that I allowed it
to happen. So I went out and beat
the first guy who got in my way or
looked at me funny. You know this
part. The first guy that caught my
eye was Steve. That’s what I went
away for. And when I’m inside I
overhear a young kid in the
canteen. He’s blowing his own
trumpet telling guys how tough he
is, how his dad’s ‘gypsy king’ and
that he’s only doing a few months
for drug offences. Then he tells
them a story about an old woman he
robbed, and how this woman pissed
herself she was so scared.
(beat)
He was released before I could do
anything, but I would never have
been able to kill him in there
anyway.
(beat)
I found out who he ran with when
he was released. Found out who he
was on the outside. Found him and
his carnival.
MADS
What did it feel like?
OLLIE
Awful.
MADS
I would love to have the courage
to kill someone.
OLLIE
No you wouldn’t.
(beat)
What are we going to do back
inside?
MADS
Whatever.
(CONTINUED)
92.
CONTINUED: (3)
OLLIE
Dream a little longer. My oragami
is getting better.
MADS
What will you dream of?
OLLIE
Everything.
MADS
Me too.
OLLIE
You told me about a dream you had
once, about a horse. This horse
was on fire, but it wasn’t dead?
MADS
It was running, and it wouldn’t
stop. But it was on fire. Like a
ghost. No matter what I did, the
horse ran. I could never catch it.
(beat)
I wanted to be like the horse.
Even if I was on fire, I would
make it out.
Ollie and Mads clink their beers together.
OLLIE
Beautiful.
Below Ollie and Mads, the swings are empty. The bicycles
sit nearby, abandoned.
MADS
Everybody has their thing.
OLLIE
What’s my thing?
Time for Mads to think.
MADS
Heart. You’re not a bad person.
You just pretend to be.
Ollie and Mads sit in silent melancholy as, from every
angle, the world moves in SLOW MOTION. POLICE appear,
guns raised. Several UNITS roll up the hill, BACKUP
OFFICERS. DOG UNITS.
(CONTINUED)
93.
CONTINUED: (4)
The ARMED OFFICERS in the INCIDENT RESPONSE UNIT close
in, close to THIRTY of them.
Ollie and Mads focus past the approaching men in their
black outfits, instead watching the sunset disappear
beyond the horizon.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
41 -
Back in the Cage
INT. PRISON - DAY
Ollie is marched down a corridor, dressed in prison
uniform, cuffed at the wrists. He has a patrol of TWO
ARMED OFFICERS and a PRISON OFFICER monitoring his every
move, shadowing his steps.
NEWS ANCHOR (V.O.)
We start with some breaking news
this evening. A convicted violent
criminal, who was considered
dangerous to approach, has been
recaptured and returned to prison.
Ollie is halted outside thick steel doors. The Prison
Officer takes his keys and unlocks the doors. Ollie
enters his cell.
NEWS ANCHOR (V.O.)
Oliver Howard has been re-arrested
and safely processed. The extent
of the prison escape is as yet
unknown, police remaining tight
lipped about details as the
investigation is ongoing as to
just how this violent criminal
managed to escape a high security
prison.
Ollie takes a seat in his cell. The Prison Officer goes
to close the door:
OLLIE
You need to look into a guy by the
name of Benny. Gypsy, served time.
He’s dead now. His dad, Bartley,
will probably have reported his
death.
The Prison Officer lingers. Shuts the doors. Opens the
hatch.
PRISON OFFICER
Why are you telling me this?
(CONTINUED)
94.
CONTINUED:
OLLIE
Makes it easier for you.
PRISON OFFICER
Did you kill him?
OLLIE
See if you can prove it.
The hatch is slid shut. Ollie sits alone.
NEWS ANCHOR (V.O.)
The Home Secretary has promised a
full inquiry into the matter. More
to follow on this extraordinary
story.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
Reunion and Warning
INT. OLLIE’S CELL - LATER
Ollie is in darkness, then some lights flick on. Ollie
takes a moment, then slouches on his bed.
The smile on his face spreads wide.
MADS approaches the bed from the corner of the cell. He
cuddles Mads in. He holds her in his arms, placing his
fingers through her hair. She smiles back.
MADS
Hey.
EXT. PRISON CORRIDOR - CONTINUOUS
MOVING ALONG the cell doors. The middle door service
hatch opens.
A hand places a small origami horse on the platform.