Young Soul Rebels
1 EXT. CITY - NIGHT
City silhouette. Sunset.
Main title: Young Soul Rebels
Soul sounds and punk from 1977: Parliament: 'P. Funk Wants
To Get Funked Up' and X-Ray Spex: 'Identity'.
A DJ Voice-over. He welcomes the listeners to
'Station we funk... the Mother Ship
connection... dealers of funky music and
Credits over more of the DJ's upbeat patter:
'Soul Patrol on 107 FM... uncut funk
across London town...'
The DJ tells his listeners to
Come to the Crypt place/
and get some funk in your face...
before announcing a tune, The Blackbyrds: 'Rock Creek Park'.
Subtitle: London, June 1977 - the Queen's Silver Jubilee.
2 EXT. PARK - NIGHT
A blue-black summer sky. City road sounds in the distance.
The quiet is broken by a radio.
A YOUNG BLACK MAN climbs over the Park fence, moves into
the bushes. He changes station on his radio cassette
recorder, tunes into Soul Patrol.
The YOUNG BLACK MAN presses the 'Record' button. The
station DJ announces Roy Ayers: 'Running Away', a song with
an upbeat tempo yet a downbeat lyric:
We don't love each other/
like we used to do...
Running away... Running away...
You don't do the things you used to do/
The YOUNG BLACK MAN is not alone in the Park. MEN weave
slowly through the bushes. Leaves rustle, twigs crack.
Shadows and silhouettes. The YOUNG BLACK MAN rests against
a tree. Matches are struck. The flames come and go like
fireflies. The YOUNG BLACK MAN watches the movements.
Suddenly a white hand strokes the YOUNG BLACK MAN's arm.
The WHITE MAN's voice is unnaturally quiet, edgy. It could
be seductive, it could be violent. It has a disguised
quality. The WHITE MAN reaches for the cassette player. He
tries to turn down the volume.
YOUNG BLACK MAN
That's a firm hand. What ya want? Don't
mess with the sounds, man.
Turn it down mate, draws attention. Don't
want an audience.
The YOUNG BLACK MAN holds the cassette player away from the
Like it down 'ere, do yer? Come down 'ere
The WHITE MAN snatches again at the cassette player, turns
the radio down. The music stops but the 'Record' button is
still depressed. The WHITE MAN pulls the YOUNG BLACK MAN
towards him in a rough movement.
YOUNG BLACK MAN
Yeah, but I ain't seen you before. So
leggo ma han'... I ain't into no rough
The YOUNG BLACK MAN rests the cassette player on the ground.
He kneels, starts to rub at the WHITE MAN's crotch.
Cute, aren't yer?
YOUNG BLACK MAN
So ya wanna get to know me?
Wot's yer name?
YOUNG BLACK MAN
Name? You a policeman or what?
Just being friendly, tell us yer name.
YOUNG BLACK MAN
Man, you're one stubborn white bwoy. OK -
Terry. Friends call me T.J.
They kiss, but the WHITE MAN turns violent. He grips T.J.
by the neck. There's a brief and angry struggle.
The WHITE MAN's hand grabs at the cassette recorder. The
WHITE MAN runs through the Park.
On the ground - TWO MEN making love, the WHITE MAN stumbles
over them... He drops the cassette recorder.
3 INT. GARAGE - NIGHT
The pirate radio station, hidden round the back of a broken
down car. At the back of the garage.
CHRIS, a nineteen year old light-skinned youth and CAZ,
darker skinned and a bit older, are at the turntable.
CHRIS's face is reflected in a rotating record.
The minimal lighting reveals little of the room, but the
two DJs are clearly dressed soul-style.
The last bars of 'Running Away' play. CHRIS is at the
ready. He speaks into a microphone.
And finally from the Players Association:
'I Like It' - out now on the Vanguard
label. This is Chris...
And this is Caz, coming to you live on...
CHRIS and CAZ
East London's most exclusive P. Funk
station... reminding you to boogie down
Club 7 tomorrow...
CHRIS and CAZ
Eight till late.
See you there.
CHRIS and CAZ
And may the funk be with you!
CHRIS spins in his chair towards CAZ. They clap hands in
air, pleased the session went well.
4 EXT. CAR - NIGHT
CAZ drives to the Park. CHRIS is laid back in passenger
CAZ pulls up sharply.
The car headlamps light up a poster on the Park railings.
A punk-graphic style ad for a 'Fuck the Jubilee' concert.
You going to the concert?
Oh leave it out. The only music they're
into is the 'livin-in-a-Babylon-me-no-
CAZ smiles at the exaggerated Jamaican accent.
CHRIS relaxes, takes out a spliff.
FUNK the Jubilee, now dat would be our
That's right. This is for punks an'
hippies. So why are we stoppin?
I thought I might get a bit of air...
Likely story... I'll see myself home
then... You are ba... ad!
CHRIS draws on the spliff. Then hands it to CAZ.
5 EXT. PARK - NIGHT
MURDERER'S Point of View (POV)
CHRIS climbs out of the car, CAZ follows.
CHRIS heads off towards the estate.
CAZ walks into the Park. Like T.J. before him, he climbs over
6 INT. BARBERSHOP - DAY
A small and intimate barbershop, like someone's front room.
Images of famous black men on the wall - Muhammad Ali,
Martin Luther King - a hall of fame mixed in with the usual
barbershop postcards and framed certificates.
A MIDDLE-AGED BLACK MAN and TWO BOYS wait their turn.
The BARBER cuts CHRIS's hair.
CAZ is in the background. He flicks through a soul magazine.
The cover: Britain's Soul Scene: The Good, The Bad and the
Hey, me can show you how to do a duck's arse.
Look man. I do the best duck's arse in Dalston!
The BOYS fall about laughing at the mention of 'duck's
CAZ calls across to the BARBER.
Mr Lloyd, can I turn up the juice?
Ah, go on, man.
As CAZ turns up the stereo, the BARBER holds a mirror to
show CHRIS the cut at the back.
Have a look...
Yeah, man, you're not bad at all...
An OLDER BLACK MAN walks into the barbershop. He speaks
quietly and soberly so that the BOYS don't hear.
See dem kill a black bwoy in the Park las'
What d'you say?
They kill a bwoy in the Park las' night.
Man called James, Terry James.
CHRIS turns in the chair, shocked at the news.
CAZ walks out of the barbershop as another MAN enters.
7 EXT.STREET - DAY
CAZ walks to his car, he leans on the roof.
He climbs into the driving seat.
He rests his head on the steering wheel.
Rain pours down the windscreen.
CHRIS joins him in the car.
I know it ain't right, but I keep
thinking it could've been me, ya know?
How dyer know it was roun' that bit of
Why else would T.J. be in the park for
I didn't mean it like that. Caz. Christ,
I knew 'im as well yer know.
T.J. Chris... T.J....
Yeah... T.J.... Fuck...
Ain't 'aving it Chris. It ain't real. Not
The man says the filth 'ave been swarmin'
roun' the estate this morning' - askin'
questions. You didn't see 'im?
Not last night. There was 'ardly anyone
there. I thought it was quiet...
8 INT. UNDERGROUND CAR-PARK - DAY
CAZ drives into the car-park.
CHRIS climbs out the passenger door.
He walks round to the driver's side. The window is wound
down. CAZ stays in the car.
So yer definitely not gonna come wiv us?
It doesn't 'ave to be today...
I ain't stoppin' ya.
Caz, we've got to get some steady money
in, mate. An' I've got to get my Mum off
my back. D'yer know what I mean?
Just send me yer autograph when ya sign
up wiv Metro.
Look Caz, I can't stop livin' my life coz
he's dead, can I?
Rest it, Chris. I'll see ya later.
Where yer going?
CAZ makes some effort to pull himself round.
I'm gonna go down and see Roland 'bout
some crisp new tunes. You wait... I'll
make tonight so damn funky even the white
boys'll shake a leg!
Some 'ope. An' I thought I was the
Ow d'ya mean?
Comin' to Metro for employment!
Both smile. CHRIS rests his hand briefly on CAZ's shoulder.
He heads off. CAZ drives towards the Exit.
9 INT. METRO RADIO - DAY
An imposing foyer, tall walls, elegant.
CHRIS steels himself to go through.
Working against the elegance of the foyer there is an
extraordinary display of Jubilee tat. A vast crown with
lights and a fountain dominates the foyer.
And on the staircase that leads off the foyer there's a
cardboard cut-out of the Queen, complete with mechanical
CHRIS's colour and soul style stand out at Metro. There's a
compensatory cockiness to his step. He passes the SECURITY
GUARDS to speak to JILL, the young white receptionist.
Hello, can I help you?
'ope so. I'm 'ere to see Jeff. Jeff Kane,
Is he expecting you?
Yeah, he said to pass by. Me and 'im are
JILL knows he's blagging. That view is confirmed when JEFF
KANE passes through the foyer, acknowledging only herself.
JEFF makes to leave. CHRIS looks at JILL... she nods...
CHRIS pursues JEFF.
Jeff Kane? Hi, Jeff. My name's Chris,
Chris Morgan. I'm a big fan of your show,
man... I wanted to talk to you about the
station's plans...'cos me and my partner
Caz, we'd like...
JEFF pats CHRIS's shoulder.
Thanks. Glad you like the show. It's good
to meet listeners.
JEFF KANE wanders away. CHRIS catches at him.
I ain't just a listener... We're DJs... We
run a club, we'd like to get more into
radio, yer know?
Club DJs, radio DJs... not the same
thing. Do you know how many listeners
think they'd make DJs? Come on...
JEFF gestures for CHRIS to follow him.
But we're good. Anyway, you still play
clubs, don't ya?
Less now. A few weeks ago I was booked at
some goddam club in Essex. They start
giving me this ten-per-cent black-entry
crap, otherwise, they say, their regulars
are gonna cause some trouble. I told them
to sit on it.
JEFF gestures, CHRIS laughs.
But bout us being on the radio...
Send in a tape. Make it quality. Try Tony
Cortin first, then keep hammering on his
door. But I'll tell you something... an
hour of soul a week is an hour too much
for some. We got these patriotic
listeners out there, and they always ring.
I thought your show was doing well?
It's doing great. That's what they can't
handle. But let me ask you something...
As JEFF speaks, a young black woman (TRACY) comes down the
stairs towards them.
... Do you play music for yourself - to
party - or for the listeners?
I didn't say at first, but me and my mate
Caz, we don't just do a club... we run a
CHRIS takes TRACY in.
Okay, okay. You're serious.
Tony's screaming for you upstairs.
I gotta run. Send in that tape and keep
JEFF holds up a clenched fist.
Be down in twenty minutes if you want to
talk some more.
CHRIS and TRACY smile at each other. JEFF hurries up the
stairs. CHRIS watches as TRACY follows.
10 EXT. PARK - DAY
A FORENSICS MAN investigates the scene of the murder. He
hands a bag of potential evidence to a POLICEMAN. Police
radio sounds in the background.
The area around the scene of the murder has been cordoned
off with tape.
CAZ walks into the Park, carrying a Contempo Records
The POLICE continue their work, they dismantle a cloth
Two MIDDLE-AGED BLACK WOMEN walk towards the scene of the
A POLICEMAN lifts the tape to allow the WOMEN to duck under.
They lay wreaths by the tree where T.J. was killed.
The WOMEN cry.
A POLICEMAN eyes CAZ suspiciously. CAZ catches the glance.
11 INT. METRO RADIO - LATER IN THE DAY
TRACY walks down the stairs towards CHRIS.
I've seen you before... Maunkberry's.
No, Global Village. Lacy's? Gullivers
maybe? Or is it Saturday lunchtime down
the 100? I've seen you somewhere, I know
So what are you doing down here, apart
from harassing poor Jeff and making
Security nervous? Most DJs run a mile
when a fan turns up... Jeff's fighting to
keep the Soul Show running and along
comes you saying you want your own soul
show. I think he was pretty polite
CHRIS ducks back, as if fending off the blows.
Okay, cool... I'll split, yeah? Listen,
'ow did you get to work for him anyhow?
I don't. I wouldn't mind. I'm on the 'In
Town Tonight' show - PA to the producer.
The 'In Town Tonight' show?
CHRIS unfolds a piece of paper from his pocket.
I'll tell you what's in town -- where
those in the know go - those who tune
into Radio Soul Patrol!
107 FM. It's badly funky! I'll leave your
name at the door.
CHRIS has performed the patter and chat-up line, now he
makes to go. TRACY calls him back.
You'll leave a name at the door?
Well, what is it?
Tracy! Plus one... !
CHRIS smiles. He and TRACY part, CHRIS breezes past the
12 EXT. PARK - DAY
CHRIS walks across the Park. He keeps to the paths. There
is an unease about him. The Park, the scene of the murder,
now the site of everyday park pleasures. A JOGGER pounds
past CHRIS, startling him.
CHRIS passes a POLICEMAN.
CHRIS finds his nine year old sister, TRISH. She's with two
of her FRIENDS. They're some way from where the murder took
place. A quick hug for CHRIS from TRISH. She and her
friends seem pleased to be talking to a 'big boy'. TRISH
jumps to touch the new haircut.
Alright, Trish? What yer doin' round 'ere?
Police wouldn't let us play over there.
Bloke got killed.
Yeah. I know.
TRISH turns to her FRIENDS.
My bruwa's a soul boy, and I'm a soul
TRISH breaks into her soul girl routine. She has obviously
practised. She half-hums, half-sings as she dances. They
sing and dance to El Coco: 'Let's Get It Together'.
TRISH stops the dance and takes CHRIS to one side.
Will yer show us the formation dance? I
wanna show my mates, but it's too 'ard. I
can't rememba it.
One dance yeah? An' that's it. Mum'll
kill me, lettin' you 'ang about 'ere.
Ready? One...two...three... four...
The three girls fall into line as CHRIS turns, kicks and
steps. Neat, precise movements. The girls are good.
The actual song over the girls' legs as they do a formation
soul dance step. Finally TRISH breaks off, runs to the
Got something to show yer.
She picks up a battered radio cassette recorder, T.J.'s.
Left in the murderer's panic.
One... two. ..three...four...
TRISH holds the cassette player for CHRIS to see.
Shame this is broke.
CHRIS looks it over. Unimpressed.
Where d' ya get that?
Found it... Can yer sell it for us?
Dunno... it looks well broke.
Alright, I'll check it. Come on girls...
They move to leave the Park.
13 EXT. BACKSTREET - DAY
CHRIS, carrying the cassette player, is followed by TRISH
and the girls. They're still dancing to 'Let's Get It
Listen Trish, I'll see ya back at the yard.
Yer dinner'll be ready...
The GIRLS dance away. CHRIS walks on alone. He passes a
National Front slogan, painted on a railway arch wall.
CHRIS bangs his fist hard against the wall.
The MURDERER (seen only from the back) watches as CHRIS
ducks under the bridge... walks on...
14 INT. GARAGE - DAY
The garage, site of the night-time pirate radio, now seen
more fully in the daytime. A large room, a certain grandeur
to it. It's almost a shrine to reggae/roots/rasta. Red,
green, gold... in clothes, on album covers and posters.
There's a boxing punch-bag suspended from the ceiling and a
rough and ready shower area.
A battery of homemade speakers, loose wires, valves and a
throbbing sound - reggae.
CARLTON, Caz's brother, works on an engine in the middle of
the room, his overalls dirty with grease.
As CHRIS enters, DAVIS, a young black man, wraps a small
parcel. He pulls out a betting slip to do the job. His
customer is a young, white punk, later identified as
Yeah, nice gaff you got 'ere... You got
No suh! We don deal in chemicals.
BILLIBUDD watches as CHRIS crosses from CARLTON to DAVIS,
touching hands in greeting. CHRIS waits for BILLIBUDD to
leave before speaking.
You 'eard about the murder in the Park?
DAVIS kisses his teeth. He clearly doesn't want to talk
about it. CHRIS glances at BILLIBUDD.
Look, it's Johnny Rotten...
BILLIBUDD leaves the garage.
Gimme a three pound draw.
DAVIS pulls out a plastic bag full of weed from his jacket,
and another betting slip. He sprinkles a cluster of weed
onto the slip before folding it up and handing it to CHRIS.
CHRIS takes it in one hand, puts it to his nose and smells
it. With the other hand he pays over three pound notes.
Go easy on the draw ya know Chris, min'
it don' lick aff ye 'ead!
DAVIS takes out the packet of drugs.
Hold on a minute, don' be in no haste.
DAVIS hands the weed to CHRIS and takes the money.
Any sign of Caz?
Only see dat brudda o' mine when 'e wants
CHRIS tests the cassette recorder from the park. It seems
to be broken. He flips out the tape and crosses to the
He takes out the reggae tape, plays the tape from the park.
He's excited to find the tape is of his and Caz's Soul
On the tape: Roy Ayers: 'Running Away'.
You hear that man! Soul Patrol!
Tek aff dat pretty bwoy music, man. Unna
Soul bwoy! Ye wanna fling aff dem earring
an' tune into the roots man, ye no see?
Bwoy, rest yerself. You're only into the
roots 'cos you can't dance!
How you mean?!
The laughter increases as DAVIS turns up the cassette and
dances to the music. It's a fast and furious dance, a
satire on the Soul Boy style. DAVIS gets wilder in the
parody, he's ready to end with a spot spin...
The spin stops halfway...
TWO UNIFORMED POLICEMEN and a CID MAN walk in on them.
The CID MAN switches the cassette player off.
Oi, oi... leave the tunes ..
Who ask you for come in here?
They ignore the question. The UNIFORMED POLICEMEN rifle the
shelves in the garage, knock things about, upturn boxes,
twist aerials and topple spare parts for cars.
Mine. So what ya sayin?
Terrence James. Friend of yours, wasn't
he? He's been murdered.
We heard. So what ya gettin' at?
Anywhere near the Park last night?
Dealing were you?
What kind of fuckeries you talkin' about?
Well since he was supposed to be your
mate, thought you might have some ideas
Since when you interested in our ideas
eh? Eh? But as you say you is why don't
you go and check your skinhead friends
True. Since when Babylon cared inna black
You said it son. Let's go.
The CID Man and the POLICEMEN leave as abruptly as they
CARLTON punches the punch-bag in anger.
15 INT. CHRIS'S BEDROOM - DAY
CAZ is stretched out on Chris's bed. He looks intense,
absorbed. He swigs whisky from a bottle.
Jean Carn: 'Don't Let It Go To Your Head' on the stereo.
CHRIS comes in.
Last place I thought I'd find you!
Ya Mum let me in.
CHRIS sits down beside him, notices the half-empty bottle,
but says nothing about it.
Filth were round the garage. Makin'
enquiries an' generally kickin' the place
in. An' your bruwa wants us out. Come to
think about it, it's not safe now anyway.
CHRIS picks up the Contempo record bag. Tips it up, looks
through the records.
Great, yer got them new tunes.
Yeah... So what time you on Metro then?
Wiv you gone so long, took it they'd
given you a programme on the spot.
Look, it was a waste of time, jus' like
you said. I spoke to Jeff Kane though...
Great, you got the new Slave...
Look, I made myself look a right wally.
Does that satisfy yer?
You actually met Jeff Kane?
Yeah, the man 'imself. Hey, is that the
Yeah, yeah. What'd he say?
He said an hour a week of soul is an hour
too much for some - for a starter. Lots
of people go and see him, not so many
pirates though, Tracy was sayin'... Donna
The very latest. I 'ad to fight 'alf the
gay disco DJs to get that one. So who is
CHRIS selects a record to play. He looks at one of the new
ones, it's in a blank, white sleeve.
Ow come there's nothin' on this label?
That's a rejects, ain't it? All the big
labels are binning the records now -
well, they can't get the black bands on
tele, so they can't be bothered to
As if they try though.
CHRIS half-dances to the new record. He still has some of
the others in his hand.
... So what else 'ave we? Right, you got
the new Parliament, what about the Philly
I can't keep shelling out, can I Chris?
We're gonna have to get some
Tried that before. What we need is new
listeners, a bigger radius.
Yeah, betta aerial, it's the only way.
I'll 'ave a word wiv Ken.
Oh yeah? An' 'ow we gonna pay for that?
CAZ rubs his hands together.
'Ave to sell my body!
Yeah, I can see you down the Dilly, wiv
yer 'Sex' trousers!
16 EXT. ESTATE - DAY
A MAN and a WOMAN unfurl a large Union Jack.
They drape it over the railings of a second-floor outside
balcony. The beginnings or the estate courtyard's Jubilee
17 INT. CHRIS'S BEDROOM - LATER IN THE DAY
CHRIS searches for a cassette. CAZ is seated on the bed
absorbed in a 'Black Music' magazine.
Is that where it is, in the box?
Mnn... yup... yup...
ANN, Chris's mother, a white woman in her thirties, puts
her head round the door. She looks to be halfway through
getting ready for a night out.
ANN looks to CHRIS.
So 'ow did yer get on?
Forget it, Mum.
Well yer went, didn't yer? What did he
apply for Caz?
Look Mum, yer don't exactly apply. Like I
said, can you forget it please? It's a
joke tryin' there, ain't it Caz?
CAZ refuses to be drawn.
Oh yeah, an' it ain't a joke playing at
bloody pirates? Chris, when are you gonna
bring some respectable money into this
CHRIS silently mimics her, it's a speech he's heard before.
I'm absolutely sick of it... Anyway, get
off yer backside and take Trish round to
Caz's Mum's. I don't want her out on her
You out on the town again? Aren't yer
gettin a bit past it?
You cheeky bastard!
Can't argue wiv that, can I?
ANN grabs CHRIS by the ear.
You ain't too big for a clip round the
ear, you know Chris. You got one of them
funny cigarettes for me?
Mums don't smoke weed!
They smoke it if they pay for it.
ANN smacks the side of CHRIS's head.
An' if you touch my catalogue money
Alright Mum, alright! There yer go.
CHRIS passes her a spliff.
I'll run Trish over to Mum's for you.
ANN sits and leans towards CAZ.
Thanks Caz.... I didn't say anything
earlier. Well, what can yer say? I'm
sorry about Terry. Friend of yours,
Just knew him around. Not close. But
thanks anyway Ann. Is Trish ready?
Yeah. Don' say nuffin to her, will yer?
Bout the park. She knows somebody's dead,
but I think that's all she knows. Ow you
s'posed to explain it to a kid? Can't
even explain the bastards to meself.
It's only a week since Shuresh's sister
TRISH shouts from the hall.
Mum. I'm ready.
Yeah. Anyhow, gotta go home and get
changed. Gotta get sexy for tonight!
CAZ leaves. ANN slaps CHRIS's leg to demand attention. She
holds up the spliff for him to light.
18 EXT. REDBRICK ESTATE - EARLY EVENING
SPARKY, a white boy, heavily tattooed, wearing full skinhead
gear, hangs round the estate. Paint smears on his clothes
and a spray can jutting from his pocket.
To get to the car, CAZ and TRISH have to pass him.
Oi, soulhead, where's yer boyfr... oops,
children present, where's yer friend
Don't change, do ya Sparky? Always was a
little slimebag at school, now you're a
My feelings is really hurt now Caz...
CAZ opens the car door for TRISH to get in. He turns
directly to SPARKY.
Yeah, well be thankful it's only yer
19 INT. CHRIS's FLAT - EVENING
Eddie Henderson:'Say You Will' on the stereo.
CHRIS is stretched out, trying to push himself into a pair
of tight, black leather trousers. He tugs the zip. They're
at least two sizes too small.
Later: CHRIS has changed his mind... he zips up red leather
trousers. He's happier with the effect.
He pulls on tight cowboy boots, but decides against...
20 EXT. ESTATE COURTYARD - EVENING
CAZ, in a fresh outfit, returns from dropping TRISH off.
SPARKY has been joined by two mates, BIGGS and KELLY. KELLY
is a mixed-race skinhead.
As CAZ's car pulls into the courtyard the gang hover round,
half-blocking CAZ's way.
Wot you up to these days, Caz? We 'eard
something bout some poncy little radio
for all yer little soulboys.
As BIGGSY speaks, KEN, a handsome if slightly going-to-seed
man, aged about thirty, appears in the shed area, in the
Secret list'ner Biggsy? You used to be
into it, didn't ya?
Oi, you wanna watch yerself, soulie.
Uwerwise yer might find yerself arrested
for one fing or the other..
CAZ notices KEN and moves to speak to him. Away from the
You got a minute Ken? Wanted a word...
That mixer ya got us.
Yeah, what about it?
Oh, yer jokin? Look, tell yer what. I'll
come and 'ave a look at it. If I can't
fix it I'll find yer something else.
Something better this time.
Cheap! I ain't linin' yer pockets again,
Ken. Specially if ya spending it on
shirts like that!... Sad.
CAZ touches KEN's shirt with a gesture of distaste.
Nah... forget the mixer. I'm afta a betta
aerial, bigger radius. An A.H.?
I'll see what I can do for yer...
21 INT. CHRIS's FLAT - NIGHT
On the stereo the end of Eddie Henderson: 'Say You Will'.
CHRIS dances to the music, he's still getting ready.
CAZ appears at the doorway. Unnoticed he watches CHRIS
CAZ enjoys the sight of CHRIS changing, the successive
revealing and concealing of flesh as CHRIS tries to settle
on a shirt.
You're getting thinner...
Yeah, it's all the 'ard work.
CAZ nods approval at the final selection of shirt. CHRIS
checks out his overall look in the mirror. He's satisfied.
22 EXT. ESTATE BALCONY (overlooking courtyard) - NIGHT
CAZ and CHRIS haul records out onto the balcony. They stop
to briefly hug. Part of the building up for the night.
23 EXT. ESTATE COURTYARD - NIGHT
But as CAZ and CHRIS head for the car, the gang is again in
evidence. BIGGSY is perched on Caz's car bonnet.
CHRIS hits BIGGSY with a record case.
Hey, off the metallic...
BIGGSY slides off the bonnet, KELLY plays suggestively with
the car aerial.
Wanna play wiv yer aerial!
CHRIS hits KELLY with the record case.
Oi, watch the cloth, moth!
Bit wound up, aren't we? Wot you need is
a party, Chris. Comin' to our little
Jubilee get togewer? You could wear your
white suit, an' I'll wear mine...
CHRIS speaks in mock East End white...
Thought that was your style Sparky, my
son. A big hood to hide yer ugly face, an'
slits for yer nasty little eyes.
CHRIS has to push his way to the car, knocking BIGGSY aside.
Oh steady, rocky...
CHRIS joins CAZ in the car.
Give us a lug of that... nice...
CAZ hands a spliff to CHRIS.
24 INT. CAR - NIGHT
As CAZ pulls out of the estate, the gang make various
obscene, trouser-drop style gestures.
CAZ reverses sharply to make them jump out of the way. CAZ
remains cool throughout. CAZ puts a tape on the car
cassette. The Blackbyrds: 'Time Is Moving On'.
You don't think they 'ad anything to do
wiv the murder?
Leave it out, just the usual windin' us
CHRIS isn't totally convinced.
Yer neva can tell wiv Biggsy's lot.
No, but if'e has had anything to do wiv
it, I'll break his fucking neck.
I didn't tell ya, did I? I had a word wiv
Ken about the A.H. He's on the case.
They slap hands, back to the mood of anticipation...
25 INT. THE CRYPT - NIGHT
A club in the crypt of a church. The odd tomb and engraved
stone plaque remains, and the arches allow for small,
disparate groups to appear in, then disappear from view.
It's a young, mixed crowd, 50% black, 50% white. Mixed gay
and straight, male and female, punk and soul. Most of the
white crowd are punks. The punks stand round the edges like
clumps of decaying flowers.
CAZ and CHRIS move towards a raised altar-like platform.
Two female PUNK DJs are behind the decks, playing X-Ray
Spex: 'Oh Bondage Up Yours', a strong punk dance number:
Punks pogo furiously on the dance-floor.
There is a bit of banter between CHRIS, CAZ and the punk
DJs as CAZ sets up a second table, ready to fadeout the
X-Ray Spex. CHRIS digs through his record collection. He
selects The Players Association: 'I Like It?'
This is Chris...
And this is Caz.
CHRIS and CAZ
You like it, 'I Like It' ...
The Players Association: 'I Like It' draws the soul crowd
from behind the stone pillars to the dance-floor. Some of
the punks move away, others shift into the soul-dancing,
an altogether more engaged and stylish dance.
As the record continues, the floor fills. The dancing is
close. The unique and extraordinary mix of the seventies'
soul clubs emerges - girls dance with girls, boys with
boys, girls with boys, punk with soul, black with white...
A long, held view of the dance.
CHRIS and CAZ touch hands as they see the crowd get down.
They're at their closest in creating the club atmosphere.
People join in and add to the music - with whistles,
tambourines and shouted 'whoop/whoop' sounds.
TRACY and JILL from Metro Radio arrive, unseen by Chris.
They stand at the edge of the dancefloor. TRACY looks a
little out of place here, her South Molton Street style
too upmarket for this crowd. She is a bit older, a bit
classier, less street.
JILL might be the right class, but her clothes are markedly
high-street. She openly stares at the clubgoers, it's clear
she hasn't been to a club like it. JILL and TRACY knock
back their fist drinks. JILL, in for a penny attitude,
pulls TRACY to the dancefloor.
CHRIS sees the two women making their way through the
dancers, finding a space. TRACY edges their dance towards
the DJ rostrum. Towards CHRIS. CHRIS goes down to meet
them, without saying a word to CAZ.
He dances alone at first, he's a good, vain, self-absorbed
dancer. He dances alone till he knows TRACY'S attention is
firmly on him. He then breaks the pose and steers himself
CAZ watches as the trio of CHRIS, JILL and TRACY forms.
CHRIS looks across to CAZ at the deck, breaks from the
dance. TRACY continues to dance with JILL, but watches as
CHRIS rejoins CAZ at the deck. CAZ and TRACY exchange looks.
JILL is distracted by styles and colours, ears pierced with
multiple ear-rings, 'granny shoes', tight jeans, baggy
trousers tightened at the ankles, plastic sandals, cowboy
boots, pointed shoes, collarless shirts, ripped fish-net
stockings, jackets made out of plastic bags, maxi-skirts,
mini-skirts... and that's just the soul crowd! A PUNK then
catches her attention, he wears a pair of Union Jack briefs
tacked to his jacket. He notices as she laughs.
TRACY tries to smile at CHRIS, but CAZ is in the way, and
when he's with CAZ, CHRIS seems to be avoiding her.
A BLACK BOY, his hair dyed blond, wearing a very thick,
purple mohair jumper, dances up to TRACY. She accepts the
unspoken invitation to dance. Though the dance involves
holding hands, there is a distance between them. JILL jumps
around with THE UNDERPANT PUNK, sending him and his dance
The pattern on the dancefloor changes. People form two
circles. In the first - two black boys and a white boy. In
the second - a black boy and black girl. We lose sight of
JILL and TRACY. CHRIS and CAZ sort through their records,
CHRIS keeps an eye open for TRACY. It's a while before he
Did ya see that girl?
The one I was dancin' with. Tracy.
She's the one I was tellin' ya about...
works at Metro.
She's well out of your league. What ya
ask her down 'ere for?
Do I object to your friends comin' down 'ere?
Na. Nice to be liberated, ain't it?
Look Caz, I didn't mean it like that.
Hey... What ya sayin'?
Rum and coke, large!
CAZ fades out The Players Association, fades in: Funkadelic:
'One Nation Under A Groove'.
CHRIS leaves CAZ at the turntable. CHRIS pushes through the
dancers, disappointed not to see TRACY. Quite close to the
DJ platform there's a small group of PUNKS. BILLIBUDD, the
punk who tried to score at the garage, is one of them.
BILLI has his eyes fixed on CAZ. CAZ notices the cruisy
stare and smiles.
CHRIS sees JILL and the PUNK, he laughs as she interrogates
the soft-spoken, middle-class, art-school boy. JILL knocks
back the drink. She nods at CHRIS but her attention is on
the two men behind him - the men are kissing.
CHRIS finds TRACY. She's talking to the PUNK DJs. He
hovers, waiting for a chance to speak to her alone. KEN,
the equipment dealer, bumps into CHRIS. KEN looks out of
place in the club, he's more an East End pub disco type. He
manages to slop beer onto CHRIS's shirt in the crush near
the makeshift bar.
Shit. Ken! Watch it wiv the drink...
TRACY notices the drink incident.
Sorry... Sorry... Thought I'd come and
check the club... spoke to Caz 'bout the
aerial today... I'm working on it. Look,
let me get you a drink...
No. No, Ken... No...
What, yer busy ?
CHRIS is clearly annoyed about the shirt, and he wants to
be on his own with TRACY. KEN gets the message and leaves.
CHRIS turns to face TRACY.
I'm getting 'em in. Tracy. Do you want a
TRACY holds up her full glass.
I've got one thanks... It's a bit mad in
here, nice though!
Yeah, listen Tracy, gimme a shout before
you leave, yeah?
You're not going to join us?
I'm gettin' one in for Caz. I'll see you
CHRIS smiles and leaves, pushing through to the bar.
Everybody knows him. He turns down the gestured 'Let's
dance' from two guys doing the bump at the edge of the
DISSOLVE: To much later in the evening.
JILL and TRACY are well plastered. JILL tries to avoid the
now rather pressing attentions of the PUNK.
She steers TRACY into a quiet corridor, away from the
What are you like?... So what do you
think of the Crypt then Jill?
It's good. I've never been to a
coloured... a black club before. Not to
mention one wiv blokes kissin' in it.
It's only fashion, Jill...
I'm only kidding... !
You know what Trace, when you first
started at Metro I thought you was a bit
of a snob... but we've 'ad a good laugh,
CHRIS, seeking TRACY out, interrupts.
Tracy, Tracy..... So what you hidin' from,
A punk in red, white and blue underpants!
My God, you 'ad his trousers off?
No! They was on the back of his jacket!
They move back towards the dancefloor, laughing. But CHRIS
clearly wants to talk to TRACY, JILL is a bit in the way.
She registers the fact.
God, I can see when I'm not wanted.
A PUNK places his arm round JILL's neck.
Oi, get dancing!
They move into the dance.
Later: CHRIS and TRACY in mid-conversation.
... I don't know... I want to extend
it to clubs. What's really happening.
They've got no idea at Metro. The
programme is dead.
Yeah... so what you suggestin' then?
I'm suggesting that you make up a tape,
and leave the introductions to me.
Are you serious?
I'm sick of being a PA I want to make
some changes Chris. Are you interested?
Yeah, you bet!
LATER IN THE EVENING. CHRIS at the decks. JILL and TRACY
dancing together, JILL getting a bit out of order,
enjoying herself hugely.
CAZ is by the bar. He talks to IRVINE, a young black man.
IRVINE is dressed in red, skin-tight jeans with see-through
plastic pockets and a bright green top. In spite of being
very much dressed for the club, he's visibly low.
As they talk KEN passes by. CAZ ignores him.
It's jus' the thought of T.J. lyin'
there... That boy could really dance...
Don't think about it, girl, don't do no
CAZ laughs at the 'girl'. He looks over to a fairly quiet
dancefloor, then up to CHRIS. CHRIS catches the look.
CHRIS changing the record to the fast and funky sound of
War: 'Me and My Baby Brother'.
A line of dancers, predominantly black, forms. They bump
with shoulders, hands, hips, groins - the speakers
CAZ and IRVINE join the dance. They give the dance
everything they've got... an undefeated, controlled yet
26 EXT. GRAVEYARD/STREET BY CLUB - NIGHT
CAZ and CHRIS carry record cases through the churchyard to
the nearby sidestreet. They pass TWO PUNK WOMEN kissing.
Jill's UNDERPANT PUNK sits looking startling and miserable
on a tombstone. Most of the club crowd have gone. They're
still half dancing as they pack up for the night.
Now that was... Soul Patrol... Soul
That was a cool night.
Yeah... Listen Caz. I wanna make a tape
up, somebody asked me.
So what you up to now Chris?
Nothin'... Jus' need a few of the records.
Some of the imports. I'll get the last
CHRIS goes back to fetch the rest of the records. CAZ knows
he's up to something, and he's annoyed about it.
A COUPLE of MEN stagger up to the car.
Where'd yer get the motor, man?
Look at that car, man!
CAZ jumps in the car and drives off. CHRIS is stranded with
four boxes of records.
Caz! Where are you? Shit!
TRACY is parked across the road, she laughs at his burst of
temper. CHRIS steps to the car, leans in at the open window.
What's with your friend?... Need a lift?
Caz has got the 'ump. Can I put the
records in the boot?
Thanks... Nice car...
TRACY gets out, opens the boot. CHRIS puts the records in.
So where's yer mate, Jill?
Doing it with that punk!
They lean against the boot.
So where to?
Tracy... Can I trust yer?
What do you mean?
Tell you in the car...
CHRIS gets in the passenger seat. TRACY drives...
27 INT. GARAGE - NIGHT
Torchlight. Searching the cluttered shelves. The light
rests on T.J.'s cassette player where CHRIS left it.
The gloved hand of the intruder grabs the cassette player.
28 EXT. STREETS - NIGHT
CAZ drives. On the car cassette: Dr Buzzard: 'I'll Play the
Fool'. A crossover song, a mix of soul and disco, with
elements of the big band dance sound.
meet a guy/ain't it funny.../
keep on dancing... keep on dancing...
He halts at a set of traffic lights. In the car alongside,
BILLIBUDD - the punk from the garage and the club. CAZ and
BILLIBUDD exchange glances.
The lights change. BILLI changes lane, pulls ahead...
CAZ's car eventually following BILLIBUDD's.
29 EXT. EDGE of PARK - NIGHT
BILLIBUDD locks the door on his car, he looks round to see
if he has been followed. He climbs the fence, moves into
CAZ drives to the edge of the Park, pulls up behind
30 INT. GARAGE - NIGHT
TRACY and CHRIS stumble through the garage in the dark.
They're laughing, a bit drunk.
Well, there's not much to it, is there?
God, it reminds me... I used to listen to
Caroline a lot... I even remember Radio
390, the R & B show.
That dates you.
TRACY knocks the punch-bag at CHRIS.
CHRIS leads her through the broken down car, into the
hidden pirate radio base.
Fancy having a radio station at the back
of a garage.
Once they're through to the base, CHRIS seems awkward.
Tracy, er... would you like to... are you
going to... you could stay you know
and... save me...
What, here? No chance! You're joking...
They kiss. CHRIS is all for going further.
Hey, I've got work in the morning. And
you're gonna make me a tape, remember?
Yeah... Right... Yeah...
31 EXT. EDGE OF PARK - NIGHT
CAZ listens, there is a man following him.
CAZ is near the murder spot. There is little light. The
footsteps are unnerving. Something of the tension of the
opening scene... But it is BILLIBUDD who follows him. They
turn to face each other. BILLIBUDD untucks CAZ's top.
You pick your places, don't ya? You heard
Ya like living dangerously?
I just wanna show the bastards - I ain't
stoppin' comin' 'ere. Brought this with
me. Get them in the eyes if there's any
BILLIBUDD brings out a small anti-perspirant spray can. CAZ
Any good trouble and ya'll smell nice
BILLI laughs. He presses the spray, in play. BILLIBUDD
moves to kiss CAZ. To get into his trousers. CAZ is still
Not now, not now. Not here... it feels a
bit weird. Give us yer number.
Yeah, yeah... I've heard that before.
Nah, it feels a bit weird... Give us your
number... I mean it.... I mean it...
BILLI takes out a felt tip, he lifts up his t-shirt....
Your number. Write it here!
CAZ writes his number across Billi's bare chest....
32 EXT. STREET - NIGHT
The back of a MAN in a telephone booth. The MAN disguises
his voice, muffles it.
Listen... I was there... he mugged him.
His name's Chris Morgan. I think he lives
on the Ladywell... No - I can't give
my... no names... right?... No... no.
The MAN slams the phone down.
At the MAN's feet - T.J.'s radio/cassette recorder. He
picks it up, leaves the booth.
33 INT. GARAGE - NIGHT
CHRIS runs the tap of a makeshift shower. He sticks his
head under it. He notices the big beer stain on his shirt.
He takes the shirt off, tries to get the stain out with
soap. It won't go.
He curses and returns to the deck. He works fast, by
lamplight, to compile a tape. He links the songs with a
DJ's patter. He listens to part of the tape, already
Uncut funk at he bop... coming to you
directly from the Mother Ship... on top
of the chocolate Milky Way... five
hundred thousand kilowatts of P Funk.
He speaks into the microphone.
This one's dedicated to all you East
London funketeers out there,
Parliament... P. Funk... we funk, you've
got the funk...
Parliament: 'P. Funk Wants To Get Funked Up' plays.
CUT TO: CHRIS reaches for a fag, but he's out. He seems
stuck for an idea. Finally he remembers the tape his sister
gave him. He looks across to where he left the cassette
recorder. He notices it has been moved, he's not unduly
He took the tape out, he has it. He plays the park tape,
lets it run beyond the song: 'Running Away'.
Suddenly the WHITE MAN (MURDERER's VOICE) can be heard,
albeit a bit muffled and crackly.
Like it down 'ere, do yer? Come down 'ere
Yeah, but I ain't seen you before. So
leggo ma han'... I ain't into no rough
34 EXT. ESTATE - Shed/Dustbin area - NIGHT
T.J.'s radio cassette player burning, melting on a pile of
35 INT. GARAGE - NIGHT
CHRIS, exhausted, lies back on a car seat.
He runs his hands over his chest, over the crotch of his
jeans. There's someone watching, unnoticed. We see CHRIS
touching himself from an unidentified POV
36 EXT. GARAGE FORECOURT - EARLY MORNING
A milk lorry passes the garage.
37 INT. GARAGE - EARLY MORNING
A MAN'S gloved hand. A tense, stealthy movement of the MAN
through the garage.... CHRIS's feet protrude from the
backseat of the winched up car. He's fast asleep. The MAN's
head is covered with a metal mask.
The gloved hand grabs at Chris's feet, making him jump...
But the hand is DAVIS's the gloves, work gloves. The mask -
for car repair/welding.
What.... Jes.... Davis....
Yow! Check dis brudda boot nuh!
DAVIS has arrived for work, CARLTON follows him in. CARLTON
stares at CHRIS'S footwear.
What we 'ave here?.... Daggers? Hey bwoy,
min' you don' kick me wi yo daggers, ye
CHRIS is not in the mood, he looks at his watch.
Oh no... Sh...it!
He runs out past the bemused CARLTON and DAVIS.
38 EXT. TUBE STATION - MORNING
At the tube CHRIS has to push past FIVE POLITICOS. A youth
has his back to CHRIS, his leather jacket bears a painted
'Anarchy in the UK' slogan.
The youth turns round, his front lapel is covered in
badges... like a noticeboard for the left of 1977. It's
CHRIS half-recognises him from the garage. He catches hold
of BILLIBUDD'S lapel, peers at the badges: various
distorted images of the Royal Family, Mary Whitehouse with
'Gay News Fights On' across her features, Punk badges,
Grunwick support, Stuff the Jubilee... But CHRIS takes
issue with one badge in particular.
So disco sucks, does it?
Mindless, capitalist crap!
And punk's not?
Depends how you use it. Don't it?
He hands CHRIS a 'Fuck the Jubilee' concert flyer. A list
Should be something there you could dance
BILLIBUDD is provoking/flirting, looking CHRIS over.
Jumpin' up and down like my arse is on
No, no, no... We've got reggae bands
billed. Look, Misty and Roots, you'd like
that, wouldn'd yer?
Oh Wow! Look... I'm in a rush...
AN ASIAN PUNK GIRL interrupts.
Ain't there more important things to talk
about fo' fuck's sake. Like this for
She starts to read from a leaflet, a list of recent racist
attacks in the area.
Like two Somalis burnt to death, arson.
Like flats doors kicked in, windows
broke. Like Bengali schoolkids getting
their faces kicked in. Join a picket
'bout police indifference?
She hands CHRIS the roneod leaflet. CHRIS looks it over, it
is a long and horrific catalogue of attacks. CHRIS takes a
Alright, alright. Look, I'll place a few
of these. Did you hear about that murder
in the Park?
Yeah, same night I was running these off.
CHRIS heads down the tube steps, BILLI is still watching
him. The ASIAN PUNK GIRL turns to BILLI.
Cock on the brain you 'ave.
39 INT. METRO RADIO/RECEPTION - LATER IN THE DAY
CHRIS talks to JILL at reception.
D'yer get his pants off then?
I can't remember...
CHRIS looks at his watch. He's restless, impatient.
He looks relieved when TRACY arrives.
Ready for the verdict?
It's pretty obvious, ain't it? I mean the
tape wasn't exactly professional...
Stop worrying Chris. I told him you made
the tape up last night. It's only an
impression he's after. I think I'm
getting somewhere with this club idea...
And, er... can you keep quiet about your
pirate credentials? He's dead set against
So who's supposed to play our music then?
You don't have to tell me. Come on, we'll
They leave Reception.
40 INT. CITY RADIO STUDIO - DAY
CHRIS and TRACY walk into a studio to find DAVE, a white,
middle-aged, middle-class producer, listening to Chris's
voice on tape.
Hi Dave, this is Chris Morgan.
As DAVE talks he walks around and leans on his desk.
Take a pew Chris. Yes, well, nice choice
of music, if a bit obscure. But you come
over well. It's just that it's a bit, um
- how shall I say, er - casual. I mean
not everybody will understand what you're
trying to convey. I like it, but the
powers that be... Listen, Chris - to be
honest with you - if we were to take you
on as a presenter - out and about in the
clubs... if we were - and that's a big if
- we'd be looking for a more recognisable
style, something a bit more... um...
Yes... well... I wouldn't put it quite
like that... but... er...
CHRIS performs a DJ act, imaginary microphone in hand.
'Ow 'bout this...... 'bout nah, bringin
the man cal' Jah Fatman singin: Ye can'
keep we down cause we all aroun'... Step
forward yout', come let me tell de
trut'... That do yer?
There's clearly no point in our
continuing. I was merely offering
professional advice, but it's obvious
you're not interested. Tracy, I've got a
programme to do. I'll speak to you later...
You stupid arrogant fuck! I went out of
my way to get you in here. Bang goes my
Shame, innit? The man missed his chance
of signin' up a mega-star.
I just can't believe this punk,
I ain't no punk. What are yer suggestin'
exactly? Was I supposed to play Elvis
Presley records and sound like Tony
Blackburn? They've gotta realise that I
am your original, your wicked...
You've got no idea.... come on...
TRACY catches CHRIS by the arm and leads him to the door...
41 INT. METRO RADIO/OFFICE - DAY
TRACY leads CHRIS into a cramped office, picks up a
cardboard box and places it on the desk.
Jeff Kane, one of the best. Right?...
TRACY looks into the cardboard box.
His office! This is what he gets for his
five years and the sacks full of fan
mail. He's the only black D.J. in the
whole place, and still he's offered a
contract he has to renew every three
TRACY looks round the cramped room.
This is where they'd like to keep him,
keep all of us for that matter.
Why'd yer stay if they insult you all the
They're not gonna run me out that easy.
42 INT. CITY RADIO RECEPTION AREA - DAY
The cut-out QUEEN waves.
CHRIS walks quickly down the steps that lead into
Reception. He gives the Queen's waving arm a sharp chop.
He lunges into the Jubilee crown/fountain.
Panics the SECURITY GUARDS. But he's out the door before
they can catch him.
The cut-out Queen still waves, but more limply now.
43 EXT. PARK - DAY
CHRIS, hot and restless, wanders the park. Finally he
settles by the pond. Near a YOUNG FAMILY.
Radio sounds over: A DJ tells the story of the Sex Pistols'
recording of 'God Save the Queen', the initial pressing of
a thousand copies. A & M's disassociating themselves from
the group and the record.
A WOMAN re-tunes her radio.
CHRIS lays back on the grass, to rest and think things
Later: CHRIS still stretched out on the grass. TWO
SUNBATHING WOMEN to the side of him.
A man stands menacingly over CHRIS. He looks down on
CHRIS's vulnerable, sleeping form. CHRIS's eyes open,
startled. He looks first at the man, now recognisable as
the plainclothed CID MAN, then at the back-up: TWO
The CID MAN addresses one of the POLICEMEN.
The POLICEMEN converge on CHRIS, pull him to his feet.
What yer doing....?
They're dragging him off.
44 EXT. POLICE STATION/ENTRANCE - DAY
KELLY, the mixed-race skinhead from the estate is let out
of the station as CHRIS is led in. KELLY smirks at CHRIS.
CHRIS is confused. A POLICEMAN hurries CHRIS into the
The CID Man follows them into the station.
45 INT. POLICE STATION/INTERVIEW ROOM - DAY
Close on CHRIS's socks.
Part-way into an interrogation. CHRIS is facing the CID MAN
over a table. Both are seated. The PAR)( POLICEMAN takes
notes. The CID MAN ducks his head down to look at Chris's
What sort of socks are those?
I said... What sort of socks are those?
What's that got to do with anything?
The man wants to know about your socks.
CHRIS bends down, undoes his shoes, pulls off a loud
fluorescent sock and drops it slowly onto the table.
Listen smartarse, no monkey business. You
don't seem to realise, do you? You're not
in here for showing disrespect to Her
Majesty at Metropolitan Radio. No, nor
for running your jungle bunny club on
hallowed grounds, neither.
So what yer tellin' me?
We know all about yer, that's what. We've
been watching you.
CHRIS is increasingly uneasy.
Oh and you might be interested to know
we've heard of your tinpot little radio
This knowledge seems to worry CHRIS more than
anything so far.
I'm not sayin' anything. I'm entitled to
a phone call, right?
You can tell Mum all the news later. But
it's not the radio. And you're not here
for snatchin' some poor dear's handbag.
You're in here for murder.
CHRIS is shocked almost to the point of nervous laughter.
46 EXT. GARAGE FORECOURT - DAY
CARLTON works on the car he worked on before.
DAVIS does business with KEN. KEN is considering a car, a
price sticker is splashed across its windscreen.
CAZ polishes the car that interests Ken. CARLTON shouts out
Yo! Sweetbwoy! Come over 'ere and 'elp me
wiv dis dam engine. I'm tired an' the man
comin for it tonight.
Ye mad? I ain't going near dat engine.
You mus' want me to nasty up ma garments.
Dam pretty bwoy no wanna help nobody. If
he can drive the motors he should be
prepared to dirty up him clothes too. Man
going like a African prince - or should I
Piss off, Davis.
KEN runs his hand on the bonnet of the car.
Can I take her out for a spin, then talk
Yeah, Ken. No problem.
KEN approaches CAZ.
What dyer reckon then? Is it worth it?
Well, there's nuffin' wrong wiv it.
You 'ave a word wiv Davis 'bout the price
an' I'll 'elp you out with that gimmick
Betta be worth my while, Ken.
KEN climbs into the car. Drives off...
Easy now, Ken. She fast.
DAVIS boasts to CAZ.
Take notice soulhead... Number One
salesman roun' dese parts!
CARLTON catches the conversation.
Why, ye sell it?
Good as done. Ye no see me 'av the deadly
patter? Deadly! Yeah bwoy...
47 INT. POLICE INTERVIEW ROOM - DAY
CHRIS has lost much of his earlier spark. The questioning
is wearing him down.
Are you gonna tell us? Where were you the
night before last?
Easy... . I was wiv me mate, makin' up
tapes. Look, I want my phone call...
Not impressed. 'Wiv me mate'. And do you
think that'll hold? Suppose I tell you
that you were seen, you and your mate, by
the Park that night? Drives a Triumph,
This catches CHRIS off-guard. If he tells them he and CAZ
were broadcasting, then it gives the pirate away. Now he
has to lie.
So what? It's the truth I'm telling ya.
I want my phone call. You ain't got
nothing on me.
The CID MAN opens a cupboard. He takes the badly burnt
cassette recorder out of a plastic bag. He holds it (in
gloved hands) to CHRIS's face.
Seen it before?
CHRIS is now totally unnerved, he has handled the recorder,
but if he says he has...
No? Your kid sister has. She was seen
with it in the Park, before you burnt it,
that is. Panicked did you? Tried to burn
your dirty black paw marks off it, did
CHRIS looks across to the PARK POLICEMAN, furious at what
appears to be a set-up, and furious that Trish has been
involved. He shouts out.
You bastards. Bastards! What ya doin'
gettin' at a nine year old kid?
You're calling me a bastard. You'd kill
to get your filthy muggin' hands on a bit
of plastic. Kill one of your own. I say
one of your own, not that you'd see it
that way you being a half-breed, a
CHRIS can't take it. He screams out.
I want my phone call, my phone call, my
CHRIS thumps on the table... repeats his demand over and
over... his movements restrained by a POLICEMAN.
Went back to find it, didn't you?
Whatever your little sister says. She
stuck up for you, so just who is
involving kids in this? Give the coon his
The CID MAN lights a cigarette, and casually leaves. A
POLICEMAN places the phone in front of CHRIS and leaves.
CHRIS is left on his own.
He picks up the phone, tries a number, mutters 'Caz, Caz'
into the receiver. Panic in his voice. There is no reply.
He slams down the receiver. Picks it up again and dials.
He half-sings a Metro Radio jingle, to jog his memory. The
jingle incorporates the station's number. He dials the
Hello... can I speak to Tracy... no...
no... no I don't know her surname... she
works on the 'In Town Tonight' show. Look,
look, it's urgent, please... Just
use the fuckin' tannoy!
There is a pause as he waits.
48 INT. GARAGE - DAY
CARLTON is in the garage's rough and ready shower.
Scrubbing off the oil and grease. Slow movements, he's
proud of/enjoys his body.
KEN is back from the test drive. Watching CARLTON, but
talking business with DAVIS.
Yeah, Davis. Like the motor. Just a
question of the right price.
CAZ throws the car's keys to DAVIS.
KEN puts his arm round CAZ and walks him away from CARLTON
Did you 'ave a word? I got you that
present. Should do yer nicely.
Believe it when I see it, alright Ken?
Trustin', aren't yer?
CAZ continues polishing the car. KEN leaves.
DAVIS calls across to CARLTON.
Hey Carlton, dem say they're lookin' for
a half-caste bwoy now for that murder...
KEN's POV: CARLTON emerges from the shower, drying himself.
Kissing his teeth.
Can't trust dem 'alf caste bwoy ye no. Ye
don't know which side them on. I could
well believe it was one a dem kill that
No, man. Dat's what they wan' you to
think. So when the people dem say 'What
you gonna do bout the murdersa?' Babylon
can say, 'Is black a kill black'. I don'
Well, as far as I and I concern, musa be
a white bwoy, an' if it wasn't a white
bwoy. I'll lay on money it was a 'alf
KEN is back, listening in.
Nah, I reckon it's an NF job myself...
See yer later.
Are you serious? Ya tryin to wind me up
again?... Yeah, it's true it most
probably was a white bwoy kill T.J. But
it could have been a black man. So what
ya sayin? It can't happen? What exactly
you gettin' at Carlton, with all this
Caz, the trouble with you, right can't
always tell what side you're on.
Now what ya sayin'? What, 'cos Chris is
my mate? Or 'cos I mix with white peop...
MAN! White MAN!... Nastiness!
So dat's wot it's about, yeah? I mix with
white man... I fuck with white men!
CAZ & DAVIS are near to blows. CARLTON intervenes, steering
Long as you doin' it to them... innit Caz?
Min' the rod a correction no fuck up dem...
CAZ turns on DAVIS.
You're fulla shit Davis! The bruwa dat
got killed on the park - he was what you
call an anti-man, a bwatty bwoy. Dat make
it alright now? You concerned 'bout who
did it now?
DAVIS hesitates, he has no quick answer.
CAZ throws down his cloth, leaves the garage, not waiting
49 EXT. STREET - AFTERNOON
TRACY'S POV from cab.
CHRIS and a SOLICITOR leave the station.
Thanks a lot, mate.
They shake hands.
TRACY looks across to CHRIS.
CHRIS still looks shaken, surprised at the sudden release.
He holds his stomach, he has been roughed up.
You've been nothin' but trouble Chris.
You screw up at Metro and then you have
the nerve to drag me down here.
Bastards!... What was I supposed to tell
'em?... Oh, I was pirate broadcasting at
the time, and my best mate hangs about in
parks after dark...
Chris, are you listening to me?
Tracy, I'm sorry. Thanks for gettin' the
solicitor for us. Listen, I've got this
tape, right? It was in the beat box.
You've got to give it in, Chris.
What? Go back in there? You're jokin'.
Look, I'm no friend of the police, but if
it's evidence you're dealing with, you
don't mess with it.
So I just let 'em drag my sister in for
Yeah, yeah. Alright. Forget it. It's none
of my business. Just keep me out of it...
I've got to get back to work.
CHRIS looks disconsolate and confused.
You look pathetic... Come on... I'll drop
CHRIS climbs into the cab, TRACY pulls the door shut.
50 INT. GARAGE - LATE AFTERNOON
CHRIS plays the Park tape.
The crackly but just audible opening exchange:
VOICES ON TAPE:
Cute, aren't yer?
YOUNG BLACK MAN
So ya wanna get to know me?
Wot's yer name?
KEN arrives at the garage.
YOUNG BLACK MAN
Name? You a policeman or what?
Just being friendly, tell us yer name.
KEN crawls through the broken down car that blocks the back
of the garage, the pirate base, to where CHRIS is listening
to the tape.
YOUNG BLACK MAN
Man, you're one stubborn white boy.
CHRIS is startled by KEN.
Chris... Brought you something... it's
out the front... Give us a hand, it's a
YOUNG BLACK MAN
Terry, friends call me T.J.
CHRIS turns off the tape, ejects and pockets it.
Be right wiv yer, Mr Stylee!
51 EXT. TOWERBLOCK/ROOFTOP - DUSK
CHRIS and CAZ carry a new aerial onto the roof, CHRIS at
the front, CAZ at the back. They negotiate an awkward hatch
that leads up on to the roof. They're sweating. On the
roof - they clap hands in air. They rest on a ledge.
Twice as many soul patrollers! Neva
enough for you though, is it? Won't rest
till you're on Radio One!
(In BBC accent)
This is the BBC Soul Service. Are you
They set to work, laughing at the thought. But CHRIS is
still distracted, tense after the police questioning.
What really fucks me in all this is they
were questionin' ma sista! A nine-year
old girl! Is like they're goin' wild. Ye
know wot I mean?
Pure slackness, man!
CHRIS steps towards a pole, holds the new aerial against
the pole. It's right at the edge of the rooftop. CAZ stands
by with a roll of heavy-duty sticking tape.
I'll keep dog.
Kelly was in there. I mean, what is it?
'Let's Get The Half-Caste Week' or
CHRIS is still shaky from the interrogation. Dangerously
close to the edge. Suddenly CHRIS slips, hangs over the
side of the tower block. He screams out.
Tilt down: the dizzying height of the block, the ground far
CHRIS clings to the aerial, CAZ grabs him, carefully pulls
him back to safety.
You were nearly a gonna, man! Right, no
more time up 'ere, let's just do the ting
and get down.
They move back from the edge. Finally satisfied with their
handiwork, and relieved it's done, they embrace. They cross
the roof to go back down.
Oh... yeah... Tracy fixed up a meeting
with this producer down Metro. It was her
that got me out of the nick.
Are you serious? You been crawlin' round
Caz, I've got to get some steady....
'Some steady money in'. I got us the
fuckin' aerial, right? You think I like
doing Ken favours? Draggin' me bruwer
into it? Carlton's gonna let a car go
cheap for me and you, ya know...
Metro weren't interested, so just forget
Chris, I'm just sayin'. We are gettin
through there's an audience buildin'.
We'll get the advertisin' and we'll 'ave
Look, you was tryin' your way, I was
tryin' mine. It's the same thing.
I wanted a partner, not your fuckin'
CHRIS suddenly puts his arm round CAZ.
Caz, I am your partner, Caz. We gonna hit
the airwaves, yeah? Funk the Jubilee
I can't tomorrow. Said I'd play the
concert tomorrow wiv that punk I met -
Don't joke about it, Caz.
CHRIS jumps back up to the aerial.
Might as well smash it down then,
mightn't I? Cos Caz can't be bowered.
He'd sooner go off wiv some BILLEE-BUDD
to play for a bunch of middle class punks
an' hippies - wankers, Caz. Where's your
loyalty man? Where's the fuckin' loyalty
Where's the loyalty in you going behin'
ma back, struttin' roun' Metro, prattlin'
bout what we're doin? Ain't you got no
sense? A quick word wiv the Home Office
and they can 'ave a station like ours
wiped out before breakfast... I thought
I was supposed to be your main man?
What are you talkin' about? You are ma
main man. I've had a day of it, right? An'
a bit of sympathy might be in order...
Cry on Tracy's shoulder...
I'm gonna smash that thing...
CHRIS turns to the aerial...
Smash it, you might as well.
CAZ leaves the roof. CHRIS calls after him.
Caz. I ain't begun to tell yer 'bout what
happened down the nick.
I ain't got the time, I'm gonna and go
an' see Billi.
CAZ leaves the roof, furious. He doesn't hear Chris's
words, or see the Park tape that CHRIS takes out from his
Caz... See this tape, Caz? It's T.J.'s
52 EXT. WEST-END STREETS - NIGHT
CAZ and BILLIBUDD are out for the night. BILLIBUDD's
daytime politico wear is replaced by a sexier, night-time
punk style. He's also wearing black eye make-up.
CAZ and BILLI steer a course through a pedestrianised part
of central London. There are book and ballet shops,
jewellers and smart hairdressers. Attempts at upmarket
Jubilee displays in many of the windows.
CAZ and BILLI drink from cans of imported lager. They're
laughing, exhilarated. BILLIBUDD has something to say to
half the passers-by, his first victim is a WOMAN in
Bomb the rich! Bomb the rich!
BAY CITY ROLLERS fans in full fan regalia roll by.
Bay City Rollers, why don't yer listen to
some decent music, eh?
CAZ remains a bit detached, part enjoying BILLI's outgoing
cheek, part unsure.
There's a bookshop with racks of books on sale outside.
'Gay News' on sale inside. Mary Whitehouse and Anita Bryant
making the headlines. The shop stocks a mix of respectable
gay novels - Gide, Cocteau, Genet - and old muscle
magazines, like 'Adonis' and 'Body Beautiful'. Collector
Posters for Divine and Nureyev, both on in town.
A MAN BROWSING.
BILLIBUDD grabs a book, collars the man.
Jean Genet, ever read that, 'ave yer? Eh?
BILLI disturbs the book rack, flicks at postcards on
revolving stands. The MAN mutters politely, embarrassed, a
Thank you... yes .. yes... I have.
A MAN with a DOG passes by.
Look after your bloody dog....
BILLI picks up a book and throws it for CAZ to catch. A
WINDOW-DRESSER stares out from a tasteful array of ballet
frocks. He stares at BILLI, BILLI stares back.
What you looking at? Piss off...
BILLI and CAZ watch the WINDOW-DRESSER complete the
display. He looks distinctly nervous.
It's not only BILLI and CAZ who are watching. THREE
SCOTLAND SUPPORTERS reel in. They're in town for the
England/Scotland match. One of them is shirtless and
kilted. A flag draped over his shoulders.
BILLI watches the shirtless man. The shirtless Scot sings
BILLIBUDD raises his arm, clenches his fist. Shows
solidarity with the Scottish cause.
The shirtless SUPPORTER steps up to BILLIBUDD.
Fuck off, ye Southern poofter!
BILLIBUDD lowers his arm...
TWO WOMEN pass the shirtless SUPPORTER.
Gie us a kiss, darlin'.
The other two SUPPORTERS sing and chant anti-English songs,
laugh at the posh shop displays.
A mad, chaotic clash of people and styles, everyone out on
the town, enjoying the hot, summer night.
53 EXT. GAY CLUB ENTRANCE - NIGHT
BILLIBUDD and CAZ arrive at the entrance to a gay club. It
is guarded by BOUNCERS.
CAZ and BILLI wait to be let in.
A BOUNCER blocks THREE BLACK SOUL BOYS who are trying to
Look boys. It's gay tonight. Official
policy. No straights. Fuck off.
1st BLACK SOUL BOY
Leave it out. What you talkin' bout man?
No membership card. No entry. Simple. 'Op
TWO WHITE BOYS pass straight through, no membership cards
2nd BLACK SOUL BOY
You let them in...
I recognised their faces.
2nd BLACK SOUL BOY
Yeah. And we all look the same, right?
BILLIBUDD waves his card at the BLACK SOUL BOYS and the BOUNCERS.
It's alright, alright. I've got a card,
right... I'm allowed guests, huh?
1st BLACK SOUL BOY
This club's got some crisp music, man.
All we wanna do is check out the groove.
The BOUNCER decides in their favour, but glares at BILLI.
Right. They're in. But if there's any
trouble I'll personally ram that card
down yer throat...
The BLACK SOULBOYS head into the disco.
The shirtless SCOTLAND SUPPORTER staggers down the road,
sees the club. Calls his mates.
'Ere boys, a club!
He looks up at the bulky BOUNCER.
Any chance of a dance, big fella?
Get out of it...
54 INT. CLUB CORRIDOR - NIGHT
Disco music reverberates in the corridor. Sylvester: 'You
Make Me Feel (Mighty Real)' CAZ and BILLIBUDD walk a little
way into the club.
What would we do without ya, Blondie?
Golden tongue, golden hair, golden boy!
BILLI looks baffled. CAZ ruffles his hair, mock-
A parade of clubgoers squeeze past them in the corridor.
The mix of '77 gay style: Brixton radical drag and
neo-hippie, US moustache macho, suburban 'wedge queen'
(geometrically styled haircuts), rent boy and punk.
But for all the mix it is almost entirely male and almost
entirely white. A GAY GUY eyes Caz up, as he walks past he
strokes CAZ's arm, brushes against him. The gay guy's
Mary, you are such a dinge queen...
BILLIBUDD catches the comment and grabs the FRIEND's arm.
Oi you, fuck off....
CAZ takes BILLI's hand off the man. CAZ turns to leave the
club. BILLIBUDD follows.
55 EXT. CLUB - NIGHT
BILLI takes chewing gum from his mouth. Leaned against the
club wall, CAZ and BILLI kiss.
A passing STRAIGHT COUPLE look startled by the sight. The
MAN mutters, 'disgusting'.
56 EXT. METRO RADIO/ROOFTOP - NIGHT
A warm night. The roof lit by safety lamps and the moon.
TRACY breathes in the air.
Makes me feel like a criminal, sneaking
in here at night!
We ain't doing no harm.
We'll wait till the cleaners have gone
from the studio.
CHRIS lays his jacket down on a skylight. He sits on his
jacket. TRACY joins him. They looks over the city.
57 EXT. CAR - NIGHT
CAZ and BILLI in the car. CAZ looks moody.
Should've given him a good slap!
I've been thinkin'... about Soul
Patrol... me and Chris, it ain't workin'.
Told you about him getting nicked today,
didn't I? Well I wasn't exactly
Caz, you talk about him a lot. I mean...
what... You two do it, then?
Why? What's it to you?
Nothing Caz, no. I just want to know,
that's all. You do realise I fancy you,
don't you?... Fancy you a lot.
CAZ quietly smiles.
Yeah, well, I did sleep with Chris for a
coupla months. His Mum was in hospital at
the time, having Trish, his little
sister. Chris stayed over at my house...
BILLIBUDD looks a bit dejected.
So he is gay then? I thought he was.
Well.... we were about ten at the time!
He turned out straight. Sad story really!
CAZ and BILLI both laugh.
Caz, are you seeing anyone?
I'm seeing you, ain't I?
The car passes underneath the bridge seen earlier. The NF
sign has been spray-canned over with 'Black and White Unite
Black and white unite and fuck!
BILLI laughs at his own joke. CAZ is only half amused. He
raises his eyebrows, as if to ask, what is this man like?
58 EXT. METRO RADIO - NIGHT
TRACY and CHRIS kiss. TRACY unbuttons Chris's shirt.
She strokes his chest, pushes the shirt off his shoulders.
She runs her fingers across his crotch. Slowly she moves
astride him, pulling back her long skirt. CHRIS quickly
undoes his flies. CHRIS moans and mutters as they make
TRACY is half touched by his words, half laughing. For a
moment she breaks the rhythm.
Less of the patter, DJ...
Slow love-making, cries of pleasure. Their shirts ripple in
DISSOLVE TO: later that night
59 INT. METRO RADIO STUDIO - NIGHT
Myriad yellow, red and green lights. Almost darkness.
TRACY at the control desk. The Park cassette is in a
machine. CHRIS and TRACY listen, TRACY adjusts controls for
VOICES ON TAPE:
YOUNG BLACK MAN
So ya wanna get to know me?
Wot's yer name?
YOUNG BLACK MAN
Name? You a policeman or what?
Just being friendly, tell us yer name.
YOUNG BLACK MAN
Man. you're one stubborn white bwoy. OK -
Terry. Friends call me T.J.
Sounds of struggle...
Close on the glowing red studio clock.
TRACY switches the machine off.
Is that it?
No... There's more... There's more...
Game's over, Chris. It is weird, I don't
Jus' lemme listen again.
Look, if that's what that tape sounds
like, you've got to hand it over.
Look... I just want to copy it...
They work fast to copy the tape.
VOICES FROM TAPE:
Like it down 'ere, do yer? Come down 'ere
YOUNG BLACK MAN
Later: Close up: CHRIS packages a copy of the tape.
The address on the package:
TERRY JAMES CASE
DALSTON POLICE STATION
CHRIS seals the flap.
TRACY watches. They kiss. CHRIS picks up his jacket.
60 EXT. STREETS NEAR ESTATE - DAY
CAZ and BILLIBUDD walk near the estate. BILLIBUDD stops as
they near area the drive-way into the estate.
So why are we stoppin'?
Thought we'd drop in on the party.
BILLI reaches into his canvas bag full of leaflets and
Oh yeah, thinkin' of doin' a bit of
canvassin' are we? Forget it...
Course not. Caz. Course not. Just thought
I'd tell a few more people about the
concert, you know? Funk the Jubilee! Caz
at the controls - right?
Spare me, Billi...
Don't worry 'bout it, I'll be a good boy.
I won't be an embarrassment.
Embarrass yaself as much as you like.
Just leave me out of it.
A MAN in DRAG from the estate JUBILEE party glares at them.
At evident gayness, at punk versions of the Queen (on
BILLI's shirt), at black and white boy together. He forgets
the incongruity of his own get-up. CAZ follows BILLI into
61 INT. GARAGE/RADIO - DAY
CHRIS moves towards the radio base at the back of the
garage. He calls for CAZ. There is no reply.
With a shock he sees a mesh of brown tape curled up round
his feet. There is brown tape everywhere. Their every
cassette has been unwound and ruined. Roughly spelt out in
cut-up tape - an NF sign.
Shards of broken cassette boxes crack under CHRIS's feet.
Yet the records and the equipment are left intact. CHRIS is
Nevertheless he climbs through the wrecked car entry to the
pirate base. He switches the turntable. He carefully
selects a record, steadying himself. Puts on headphones.
He picks up the mike, begins to play Funkadelic: 'One
Nation Under A Groove'. His voice is fragmented, shocked.
'One Nation Under A Groove'... and most
of all right now... we're going out to my
main man, Caz... Funk the Jubilee... Hold
tight... The groove's travellin' on the
park tonight... Main man Caz is gonna
be... funkin' the Jubilee...An' if you
ain't gonna be there... you ain't gonna
be nowhere... I'll see you later Caz...
The song goes on:
... this is a chance/this is a chance/
to dance your way/
out of your constrictions/...
With the groove/our only guide/
we shall all be moved...
One nation under a groove/
gettin' down just for the funk of it/
One nation and we're on the move/
Nothin' can stop us now...
62 EXT. ESTATE JUBILEE PARTY - DAY
CAZ and BILLIBUDD at the street party, enclosed in the
The estate has been transformed into a riot of red, white
and blue. Flags everywhere. Tables decked out for a meal,
stalls selling all manner of Jubilee junk.
Children take turns to sit inside a huge gold-sprayed
carriage made of cardboard and crates. They sit in serious
mimicry of royals.
A YOUNG BLACK BOY cuts through the crowd on his chopper
bike, riding directly at the carriage. Handlebars fill the
screen. He looks set to crash but skids and steers sharply
to avoid it. On the back of the bike - a Union Jack,
blowing in the wind.
Many of the party-goers are in fancy dress, from BEEFEATERS
to ELVIS PRESLEY. BILLI relishes the sight, can't wait to
send it up. He heads for a stall and grabs a Jubilee fan.
This is nice. How much is this? Just the
right thing for my 'friend'.
Get yer bleedin' 'ands off...
BILLIBUDD heads down past a row of stalls, finally pausing
at a goldfish stall. Ball in the bowl and you win a
The GOLDFISH STALL MAN struggles to keep control as BILLI
pokes at the fish prizes in their polythene bags.
This is cruelty to animals. How'd you
like to be stuffed up in a plastic bag?
This your idea of fun, is it? You're sick,
BILLI turns his attention to a MIDDLE-AGED COUPLE, he
proffers a copy of Socialist Worker.
Oi... Socialist Worker, right? Stuff the
Jubilee ... the only paper for the
working class... look, we're having a
party down the park, why don't yer come
down, have a look?
The MAN pushes BILLI away.
Just piss off...
A GIRL notices the row...
Wot was that all about, then?
She stares at BILLI.
63 INT. GARAGE/RADIO - DAY (continued)
CHRIS on his own.
End of 'Running Away' on the tape...
KEN appears in the background, remarks on the mess.
Hi... blimey... what 'appened?
Not now Ken, I'm in the middle of a show,
D'yer call the police?
CHRIS shakes his head,'No'.
Nah, it's no use... no use...
KEN calmly closes in on CHRIS.
Suddenly KEN smashes out, pushing CHRIS over the desk...
What yer doin'... ?
KEN knocks the tape deck to the floor.
You know wot I want. You fuck me about
and I'll kill yer.
KEN has CHRIS by the throat, he tightens his grip.
Always thought you were so smart, didn't
yer? Well I set you up... I set you up
CHRIS struggles... KEN's speech is disjointed, a struggle
to force the words out...
Since when've you fuckin' cared? You
don't understand... you're not like
Caz... Thought I'd kill two birds with
one stone.... But pretty boy...
KEN pulls CHRIS round to face him. He grips CHRIS's face.
You pretty boy... You had to stick yer
nose in. Gimme the tape, Chris ...give me
the fucking tape!
I haven't got it...
CHRIS summons all his force to push KEN off. They fall to
the ground fighting.
CHRIS kicks out. Kicks KEN in the face...
CHRIS dives through the car at the back of the garage...
runs towards the street...
KEN has lost him.
KEN wipes his bloodied face...
64 EXT. ESTATE JUBILEE PARTY - DAY (continued)
ANN, CHRIS's mother, walks through the estate. She's
cornered by an elderly BLUERINSED WHITE WOMAN.
Lovely atmosphere, innit Ann? Remember
what it used to be like round 'ere? When
you could leave your door open an' not
worry 'bout bleeding muggers - or worse...
Yeah. I reckon I know what you mean Lil,
reckon I know.
A YOUNGER WOMAN passes by. She greets BLUE RINSE. She
carries a copy of a National Front newspaper.
National Front News...
ANN grabs the paper from the startled YOUNGER WOMAN. She
glances across the headlines: 'Hundreds of Thousands Turn
Out to Vote National Front!' ANN slowly tears the newspaper
apart, scatters it on the ground. The YOUNG WOMAN backs
off, angry but a bit afraid of ANN.
TRISH and her FRIENDS are nearby.
Trish, there's your Mum...
TRISH runs up to ANN. ANN kisses her on the forehead.
Alright, babes? You enjoyin' yerself?
TRISH is clutching a small radio. There's a small Union
Jack sticking out of the machine. ANN takes the radio and
snaps off the flag.
Here, come on, yer don't need that.
She hands the flag-free radio back.
Let's go over the park, eh? And get some
'Lo Ann. You ain't seen some punk walkin'
about, 'ave ya?
Not noticed. Wot are you doin 'ere
Passin' through fast. You goin' over the
Yeah, thought we might go for an hour.
Then I thought I might drop round your
TRISH tugs at CAZ's waistcoat.
Did you 'ear Chris on the radio?
What? Been on air, 'as he?
Said about the Park, said you'd be on,
Mr. 'Main Man'.
He talked about the park?
Why ain't yer workin' wiv 'im today, Caz?
You alright, you and Chris?
Soul Patrol went dead!
That bloody equipment...!
CAZ continues to look for BILLI.
Catch yer later, babes.
CUT TO: BILLIBUDD at a stall run by a PEARLY KING and QUEEN.
So what's all this then?
It's a raffle, and you 'ave to 'ave a
A raffle. Alright, give us a ticket, then.
The PEARLY QUEEN opens a book of tickets. BILLI mauls the
After Eights, huh?
BILLI puts down the chocolates and snatches the whole book
'S alright, darling, don't worry, I'll
take the lot.
Oi, oi - where's yer money?
Whoa.. whoa... alright, hold on...
The PEARLY QUEEN grabs the book of tickets back.
BILLIBUDD reaches into his bag and pulls out a newspaper.
Starts his sales patter again.
Have one of these. Socialist Worker ...
Only paper for the working class... look
- free membership on the back... don't
worry about it ..
Oi you, fuck off out of it and take that
shit wiv yer!
Wait, wait, wait... So what's your
problem, eh? What's your problem?
Looking across at BILLIBUDD: perched on the rubbish sheds:
the skins, KELLY, BIGGSY, SPARKY...
BILLI continues to aggravate the PEARLY KING.
Why don't you read this sometime? It
might educate yer.
Go on .. on your way...
Suddenly a beercan is hurled from the sheds, it catches
BILLIBUDD across the face. It cuts him just above the eye.
As BILLI holds his face a conga of Jubilee revellers curls
past him. The beercan carrying SKINS jump down to close in
Better get yer noo boyfriend 'art of 'ere
Caz, or else 'e might need carryin'...
BILLI is panicked. CAZ more casual about it. He can usually
handle SPARKY and Co. He pushes SPARKY and BIGGSY aside,
leads BILLI through the skins. CAZ ignores the taunts, the
crushing of cans, the gestures...
Safely away, CAZ rounds on BILLI. But at the same time as
he shouts he wipes the blood from BILLI'S face, tends him.
Some of the blood has dripped down onto the t-shirt image
of the Queen.
You stupid fuckin' wanker. You can't
listen to no-one, can ya?
I was only doing my paper round, Caz!
You're well out of order, Blondie. You're
always shoutin' 'bout imperialism... jus'
look at yaself...
BILLIBUDD looks bemused.
You think if it's there, yer can take it,
don't ya? Ya think you can go where the
fuck ya like.
But I'm wiv you Caz.
Yeah, well that depends... dunnit?
We're still playing the park, aren't we?
Plenty of time for that. Let's get your
face fixed, Blondie.
CAZ wipes blood from BILLI's face.
Why'd you keep calling me Blondie? I'm
not even blond.
Don't worry about it. You're near enough.
They embrace, head away from the estate.
65 INT. BILLIBUDD'S FLAT - DAY
More flags on a wall, but these are inside, they're ripped
and defaced or plastered in punk imagery...
Billi's room is as much a shrine to Punk as the garage is
to Reggae - skip furnished, vinyl chairs and dead branches
of a tree forming a bed board of sorts.
BILLI comes into the room, an icepack over the cut on his
face, a beer bottle at his mouth. CAZ takes a cigarette.
BILLI puts on X-Ray Spex: 'Identity'. Climbs on the bed,
takes off his studded belt. CAZ laughs at the choice of
music, turns the record off.
Not the best idea... Agreed!
BILLI climbs off the bed. Kisses CAZ then sorts through his
mostly punk records, finally he finds a reggae song. Junior
Murvin: 'Police and Thieves'.
Another kiss. CAZ laughs at the attempt to seduce with
black music, the record goes the same way as the first.
'Ow about quiet?
They walk towards the bed. CAZ takes off BILLI's shirt,
kisses the plaster on his face. Places his cigarette into
BILLI takes off CAZ's shirt. They move to the bed. BILLI
kisses CAZ's chest... and moves down his body.
Gulps of beer, drags at the cigarette, undressing... Then
the slow thump of serious pleasure.
66 EXT. ESTATE - LATE AFTERNOON
The debris of the Jubilee party. A messy, bleak, near
deserted courtyard. A voice-over from a the Queen's
At the Silver Jubilee of 1935... and at
Flags flutter in the wind. The wind's dry metallic sound.
CHRIS runs into the estate.
Just a few JUBILEE STRAGGLERS are left, a couple heading
drunkenly home, a couple clearing the mess from their
doorsteps. CHRIS kicks a can along the ground.
... the Empire and the Commonwealth came
CHRIS collides with an abandoned pram... it rolls across
the courtyard. KEN's voice still in his head.
Give me the tape Chris. Give me the
... the travelling is in both
directions... and I think we can claim
to be doing our fair share...
CHRIS looks round the estate, searching. Finally he runs
67 EXT. PARK - LATE AFTERNOON
Distant sounds of music in the Park.
TRACY and JILL from arrive for the concert, JILL is now
dressed soul-girl style, a total convert. They run into
CAZ and BILLIBUDD.
Caz... You're Caz, aren't you? Chris's
other half, er, DJ spa, right? We never
did get properly introduced at the Club.
Where is he? Have you seen him?
Yeah, he's my other half. An' you're
Tracy from Metro... I hear they're
letting us in now, one at a time. That's
really metropolitan of 'em...
What are you talking about? I don't 'ave
to justify what I do to you.
TRACY takes in BILLI's 'clean' t-shirt. It features two
cowboys, naked from the waist down....
Chris was on the air this afternoon. It
seems he got cut off. Metro had any
pirates taken off the air lately, has it?
Capitalist crap. Metro Radio.
Shut up, Billi.
Spending twenty pounds on T-shirts from
Vivienne Westwood has got nothing to do
with capitalism, hmmm?
It has to do with homoerotica. Nicked
homoerotica, actually. Like it?
Luv it. It's like Anarchy courtesy of
EMI... so rebellious... so St Martin's
School of Art... excuse me.
CAZ has to smile at the send-up of BILLI.
Come on, Jill...
CAZ taps BILLI in the stomach, time to move on...
68 EXT. ESTATE - EARLY EVENING
CHRIS returns to the estate, still searching. Bunting
dropped from a balcony falls across his path.
A voice calls out to him.
CHRIS looks up to see SPARKY, KELLY and BIGGS.
Closing in on him.
CHRIS walks straight up to KELLY.
Wot was they askin' yer down the nick?
Wanted an 'alf caste. Told 'em they musta
got the wrong one.
Oh dear, I forgot to wear me white suit.
CHRIS looks him up and down: the shaved head, Union Jack
t-shirt, the patriotic skinstyle.
You look pretty white to me.
The gang laugh.
Shut up! Don't know why you're laughin',
KELLY stops laughing.
Kelly laughs at anythin','cos he knows
nothin'. And as long as he knows nothin',
he can make out he's whi...
KELLY shouts to drown the word 'white'.
Wot's it to you?
Ain't nothing to me, it's only yerself
SPARKY smiles, enjoys CHRIS and KELLY arguing it out
amongst themselves. CHRIS knows SPARKY would relish a
Instead CHRIS walks up to KELLY, he grabs him, pulls him
close. CHRIS is too angry to be worried by any of them.
Why're you lying and hidin' all the time,
Kelly? They were pissing about wiv us
down at the station. Ken killed T.J. and
tried to pin it on us. You listenin'?
Have you seen Ken?
I ain't seen him, Chris. Honest.
CHRIS lets go of KELLY, KELLY stumbles backwards.
SPARKY crashes a milk bottle to the ground, it smashes
close to CHRIS.
CHRIS starts to scream out.
Caz. Where are you Caz?... Where are you?
... Where are you?
The SKINS are confused and angered by Chris's behaviour,
there's none of the usual banter. Neighbours come out of
their doors, look down from their balconies. So many eyes
on them, the gang can't risk a fight. CHRIS keeps calling
for Caz. Even SPARKY is unnerved.
69 EXT. PARK - NIGHT
CHRIS runs into the Park.
He pushes through punks and hippy-types. Still shouting.
Where are you?
There are heaps of banners and placards round the edge of
the Park. Emblems of the Socialist Workers' Party, labour
groups and trades' councils, mixed with the punkier
graphics of the Anti-Nazi League. A sharp contrast to the
Estate Jubilee decorations. CHRIS stumbles through the
In the distance, a stage. A 'Fuck The Jubilee' banner
emblazoned across it. A short way from the main crowd,
CHRIS spots TRACY and JILL. JILL is dancing with TWO BLACK
WOMEN. Live music from an Asian band fills the Park.
TRACY catches sight of CHRIS.
There's Chris... Chris!...
CHRIS calls out to TRACY, TRACY leaves the WOMEN to reach
him. A blur of extraordinary images, seen selectively, in
fragments, through Chris's anxious eyes. The 'Fuck the
Jubilee' is as much a pageant as the Jubilee itself. People
are decked out in masks, in parodies of Jubilee costumes.
CHRIS pushes past the ASIAN GIRL PUNK, seen earlier with
Billibudd leafleting the tube. She is dressed as Britannia,
with spear and shield - an outfit to offend just about
The ASIAN PUNK GIRL's friends wear satiric and grotesque
masks - of Callaghan, Steel...
Others wear clothes featuring distorted images of the Royal
Family. A small group wear cardboard corgi masks. Finally
TRACY reaches CHRIS.
CHRIS grabs hold of her arms. A panic in him.
Ken did it... it was Ken... Listen...
something's gonna happen. I've gotta find
Ssshhh... Slow down, Chris. Slow down.
What are you talking about, who's Ken?
Just help me find him...
No Chris. No more. We're going. Have you
seen all the police? Vans loads of 'em,
all round the park. I don't like the look
CHRIS grabs TRACY, she sees all the fear in him and
follows. They head for the stage...
The stage. An Asian band pack away their instruments,
unaware of the growing chaos round the edges of the park.
They move to leave the stage for CAZ and BILLIBUDD to keep
the disco going between acts. The stage is stacked with
large, heavy speakers. Drum kits and electrical equipment.
CAZ steps up to the turntable, puts on a record.
SPARKY and BIGGSY converge round the edge of the Park.
They mix with a group of older men - many of them seen
earlier in fancy-dress on the estate. A BEEFEATER, A
POLICEMAN amongst them. Whether the policeman is real or
not it's impossible to tell. The costumes make convenient
masks. The men hand round bulging plastic bags.
CHRIS and TRACY in the crowd. SKINS steam into the
crowd... kicking people to the ground... CHRIS gets
pushed... he loses TRACY.
Get off!... Tracy!... Tracy!
The surrounding fights get more vicious.
People, especially people with young children, are
beginning to panic...
Gangs of NF thugs pick out the armbands of the Anti-Nazi
League stewards, and move in to attack any who are on their
own. Some of the Anti-Jubilee revellers run to the
The CID MAN from the police station is in the crowd,
watching, not moving to anyone's assistance.
A man wearing a BEEFEATER costume lights a petrol bomb.
CAZ and BILLIBUDD survey the growing chaos from the stage.
A petrol bomb, seen close, pulled from a carrier bag... it
hurtles through the air... a streak of light against a
The bomb hits the stage... starting a fire.
BILLI jumps down, CAZ tries to save the records, but in the
middle of increasing chaos, some of the records spill onto
Roll over the ground.
Shit... Billi... the records ...
They have to make a run for it. The stage banner is in
flames. Floodlights crash down on the crowd ...
KEN runs into the Park. Pushes through the crowd. People
are running to get out.
ANN tries to reach the Park gates with TRISH.
KEN bangs into ANN and TRISH, he knocks TRISH to the ground.
ANN yells after him as she picks TRISH up.
Watch out... Are you all right?
She kisses TRISH, protects her as they move to get out.
They're surrounded by PUNKS and TEDS, PUNKS in anti-Nazi
t-shirts, others in confusing swastikas...
YEOMEN of the GUARD, BEEFEATERS, HENRY VIII, SIR WALTER
RALEIGH, a group of heavily disguised men who work their
way systematically towards the stage.
Screams and chaos.
Some of the Anti-Jubilee crowd tear at the flags and
costumes of the Jubilee revellers. Carnival attacks
Carnival. The police wade into selective Anti-Jubilee
CHRIS nears the stage. KEN in pursuit.
Smoke billows up, CHRIS can't see whether CAZ is still
SPARKY and BIGGS fall about laughing at the destruction.
CHRIS reaches the stage, only to find CAZ gone. He climbs
Takes the Park cassette out of his back pocket. Screams
into the microphone. The chill sound of KEN and T.J. in the
opening scene, now broadcast across the Park.
I know you're here. Hear it!
VOICES ON TAPE:
So leggo ma han'... I ain't into no rough
Cute, aren't yer?
CAZ and BILLIBUDD hear the tape... CAZ suddenly recognises
the first voice.
VOICES ON TAPE (cntd):
So ya wanna get to know me? What's yer
Name? You a policeman or what?
CAZ recognises the other voice.
KEN reaches the stage. Pushes and crawls through burning
speakers to get to the tape deck. To stop the tape.
VOICES ON TAPE (cntd):
Just being friendly, tell us yer name.
Man, you're one stubborn white bwoy.
CHRIS raises his arms to shield his face from the flames.
He sees KEN coming towards him.
KEN tries to protect himself with his jacket hood.
Suddenly part of the stage gives way under him. He
disappears in flame.
CHRIS manages to jump off the stage just before the whole
structure goes up in flame.
Screams from the crowd....
Away from the stage area, the Park is emptying, quietening.
JILL cries. TRACY holds her, steadies her.
But there's also rage on TRACY'S face. Rage at the
CHRIS finds them...
Not far away from CHRIS and TRACY, CAZ has covered his
ears in horror. BILLIBUDD touches CAZ's face. BILLI tries
to comfort him.
CAZ and CHRIS finally see each other...
CHRIS leaves TRACY.
Don't go. I'll be back.
CHRIS and CAZ step towards each other.
Caz, thank Christ...
BILLIBUDD watches the meeting of CAZ and CHRIS.
70 EXT. CITY - NIGHT
Across rooftops. Night sky. The garage.
71 INT. GARAGE - SAME NIGHT
JILL and BILLIBUDD gently clean the mud off records rescued
from the Park.
They've set up a kind of record repair production line.
TRACY takes the polished records, passes them onto CHRIS
and CAZ at the turntable. CAZ and CHRIS test the records
for playability, for scratches.
CHRIS turns to CAZ.
I wasn't runnin' from yer, Caz. We're
okay now, yeah? Soul Patrol again...
Yeah, let's start over...
They shake hands, then hold each other in a warm embrace.
The records continue to pass from hand to hand... JILL
steps out of the line to dance... TRACY joins JILL in the
BILLIBUDD leaves the records to dance with TRACY and JILL.
CAZ moves from the turntable to join the dance...
CHRIS joins them...
Charles Earland: 'Let The Music Play'.
The laughter and the dance continue over:
Derrick Saldaan McClintock
and Isaac Julien