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 
        P.funk...'

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/ 
        Running away...
 
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. 

                        WHITE MAN 
        Turn it down mate, draws attention. Don't 
        want an audience. 

The YOUNG BLACK MAN holds the cassette player away from the 
WHITE MAN. 

                        WHITE MAN 
        Like it down 'ere, do yer? Come down 'ere 
        regular?
 
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 
        stuff, right?
 
The YOUNG BLACK MAN rests the cassette player on the ground. 
He kneels, starts to rub at the WHITE MAN's crotch.
 
                        WHITE MAN 
        Cute, aren't yer? 

                        YOUNG BLACK MAN
        So ya wanna get to know me? 

                        WHITE MAN 
        Wot's yer name? 

                        YOUNG BLACK MAN
        Name? You a policeman or what? 

                        WHITE MAN 
        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.
 
                        CHRIS
        And finally from the Players Association: 
        'I Like It' - out now on the Vanguard 
        label. This is Chris...
 
                        CAZ 
        And this is Caz, coming to you live on...
 
                        CHRIS and CAZ 
        Soul Patrol. 

                        CAZ
        East London's most exclusive P. Funk 
        station... reminding you to boogie down 
        Club 7 tomorrow...
 
                        CHRIS and CAZ 
        Eight till late. 

                        CHRIS 
        See you there. 

                        CAZ 
        Bye...
 
                        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 
seat. 

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.
 
                        CAZ 
        You going to the concert? 

                        CHRIS
        Oh leave it out. The only music they're 
        into is the 'livin-in-a-Babylon-me-no-
        have-no-nice-time' music.
 
CAZ smiles at the exaggerated Jamaican accent. 

CHRIS relaxes, takes out a spliff.
 
                        CAZ 
        FUNK the Jubilee, now dat would be our 
        event! 

                        CHRIS
        That's right. This is for punks an' 
        hippies. So why are we stoppin?
 
                        CAZ
        I thought I might get a bit of air... 

                        CHRIS
        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 
the fence.
 

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
Plastic!
 
                        CHRIS
        Hey, me can show you how to do a duck's arse. 

                        BARBER
        Look man. I do the best duck's arse in Dalston!
 
The BOYS fall about laughing at the mention of 'duck's 
arse'.
 
CAZ calls across to the BARBER.
 
                        CAZ
        Mr Lloyd, can I turn up the juice?
 
                        BARBER
        Ah, go on, man.
 
As CAZ turns up the stereo, the BARBER holds a mirror to 
show CHRIS the cut at the back.
 
                        BARBER
        Have a look...
 
                        CHRIS
        Yeah, man, you're not bad at all...
 
                        BARBER
        Blessed cheek!
 
An OLDER BLACK MAN walks into the barbershop. He speaks 
quietly and soberly so that the BOYS don't hear.
 
                        OLDER MAN
        See dem kill a black bwoy in the Park las' 
        night?
 
                        MIDDLE-AGED MAN
        What d'you say? 

                        OLDER MAN
        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.
 
                        CAZ 
        I know it ain't right, but I keep 
        thinking it could've been me, ya know? 

                        CHRIS 
        How dyer know it was roun' that bit of 
        the park? 

                        CAZ 
        Why else would T.J. be in the park for 
        fuck's sake? 

                        CHRIS 
        I didn't mean it like that. Caz. Christ, 
        I knew 'im as well yer know. 

                        CAZ 
        T.J. Chris... T.J....
 
                        CHRIS 
        Yeah... T.J.... Fuck... 

                        CAZ 
        Ain't 'aving it Chris. It ain't real. Not 
        T.J. 

                        CHRIS
        The man says the filth 'ave been swarmin' 
        roun' the estate this morning' - askin' 
        questions. You didn't see 'im?
 
                        CAZ
        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.
 
                        CHRIS 
        So yer definitely not gonna come wiv us? 
        It doesn't 'ave to be today... 

                        CAZ 
        I ain't stoppin' ya. 

                        CHRIS 
        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?
 
CAZ nods.
 
                        CAZ 
        Just send me yer autograph when ya sign 
        up wiv Metro. 

                        CHRIS 
        Look Caz, I can't stop livin' my life coz 
        he's dead, can I? 

                        CAZ 
        Rest it, Chris. I'll see ya later. 

                        CHRIS 
        Where yer going?
 
CAZ makes some effort to pull himself round.
 
                        CAZ 
        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! 

                        CHRIS 
        Some 'ope. An' I thought I was the 
        dreamer. 

                        CAZ 
        Ow d'ya mean? 

                        CHRIS 
        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 
waving arm.
 
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.
 
                        CHRIS 
        Hi! 

                        JILL 
        Hello, can I help you? 

                        CHRIS 
        'ope so. I'm 'ere to see Jeff. Jeff Kane, 
        Soul Show. 

                        CHRIS 
        Is he expecting you? 

                        CHRIS 
        Yeah, he said to pass by. Me and 'im are 
        good mates.
 
JILL knows he's blagging. That view is confirmed when JEFF 
KANE passes through the foyer, acknowledging only herself.
 
                        JEFF KANE 
        Hello, Jill.
 
JEFF makes to leave. CHRIS looks at JILL... she nods... 
CHRIS pursues JEFF.
 
                        CHRIS 
        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.
 
                        JEFF KANE
        Thanks. Glad you like the show. It's good 
        to meet listeners.
 
JEFF KANE wanders away. CHRIS catches at him.
 
                        CHRIS
        I ain't just a listener... We're DJs... We 
        run a club, we'd like to get more into 
        radio, yer know?
 
                        JEFF KANE
        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.
 
                        CHRIS 
        But we're good. Anyway, you still play 
        clubs, don't ya? 

                        JEFF KANE 
        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.
 
                        CHRIS 
        But bout us being on the radio... 

                        JEFF KANE 
        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. 

                        CHRIS 
        I thought your show was doing well? 

                        JEFF KANE 
        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.
 
                        JEFF KANE 
        ... Do you play music for yourself - to 
        party - or for the listeners? 

                        CHRIS 
        I didn't say at first, but me and my mate 
        Caz, we don't just do a club... we run a 
        station ourselves.
 
CHRIS takes TRACY in.
 
                        JEFF KANE 
        Okay, okay. You're serious. 

                        TRACY
        Tony's screaming for you upstairs. 

                        JEFF KANE 
        I gotta run. Send in that tape and keep 
        complaining!
 
JEFF holds up a clenched fist.
 
                        JEFF KANE 
        Be down in twenty minutes if you want to 
        talk some more. 

                        CHRIS 
        Thanks... Yeah...
 
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 
carrier bag. 

The POLICE continue their work, they dismantle a cloth 
screen. 

Two MIDDLE-AGED BLACK WOMEN walk towards the scene of the 
murder. 

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.
 
                        TRACY
        I've seen you before... Maunkberry's. 

                        CHRIS
        No, Global Village. Lacy's? Gullivers 
        maybe? Or is it Saturday lunchtime down 
        the 100? I've seen you somewhere, I know 
        it.
 
TRACY nods.
 
                        TRACY
        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 
        considering...
 
CHRIS ducks back, as if fending off the blows.
 
                        CHRIS 
        Okay, cool... I'll split, yeah? Listen, 
        'ow did you get to work for him anyhow? 

                        TRACY
        I don't. I wouldn't mind. I'm on the 'In 
        Town Tonight' show - PA to the producer. 

                        CHRIS 
        The 'In Town Tonight' show?
 
CHRIS unfolds a piece of paper from his pocket.
 
                        CHRIS
        I'll tell you what's in town -- where 
        those in the know go - those who tune 
        into Radio Soul Patrol!

TRACY chuckles.
 
                        TRACY
        Soul Patrol? 

                        CHRIS 
        107 FM. It's badly funky! I'll leave your 
        name at the door. 

                        TRACY
        Oh...
 
CHRIS has performed the patter and chat-up line, now he 
makes to go. TRACY calls him back.
 
                        TRACY
        You'll leave a name at the door? 

                        CHRIS 
        Yeah, sure! 

                        TRACY
        Well, what is it? 

                        CHRIS 
        Shame! 

                        TRACY
        Tracy! Plus one... !
 
CHRIS smiles. He and TRACY part, CHRIS breezes past the 
SECURITY GUARDS.
 

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.
 
                        TRISH
        Watcha, baldie! 

                        CHRIS 
        Alright, Trish? What yer doin' round 'ere? 

                        TRISH
        Police wouldn't let us play over there. 
        Bloke got killed. 

                        CHRIS 
        Yeah. I know.
 
TRISH turns to her FRIENDS.
 
                        TRISH
        My bruwa's a soul boy, and I'm a soul 
        girl.
 
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.
 
                        TRISH
        Will yer show us the formation dance? I 
        wanna show my mates, but it's too 'ard. I 
        can't rememba it.
 
                        CHRIS
        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 
nearby bushes. 

                        TRISH
        Got something to show yer.
 
She picks up a battered radio cassette recorder, T.J.'s. 
Left in the murderer's panic.
 
                        CHRIS
        One... two. ..three...four...
 
TRISH holds the cassette player for CHRIS to see.
 
                        TRISH
        Shame this is broke.
 
CHRIS looks it over. Unimpressed.
 
                        CHRIS
        Where d' ya get that?
 
                        TRISH
        Found it... Can yer sell it for us? 

                        CHRIS 
        Dunno... it looks well broke. 

                        TRISH
        Please. 

                        CHRIS 
        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 
Together'.
 
                        CHRIS
        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 
BILLIBUDD.
 
                        BILLIBUDD 
        Yeah, nice gaff you got 'ere... You got 
        any wiz? 

                        DAVIS 
        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.
 
                        CHRIS 
        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. 

                        CHRIS 
        Look, it's Johnny Rotten...
 
BILLIBUDD leaves the garage.
 
                        CHRIS 
        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.
 
                        CARLTON
        Go easy on the draw ya know Chris, min' 
        it don' lick aff ye 'ead!
 
DAVIS takes out the packet of drugs.
 
                        DAVIS
        Hold on a minute, don' be in no haste.
 
DAVIS hands the weed to CHRIS and takes the money.
 
                        CHRIS
        Any sign of Caz?
 
                        CARLTON
        Only see dat brudda o' mine when 'e wants 
        something...

CHRIS tests the cassette recorder from the park. It seems 
to be broken. He flips out the tape and crosses to the 
garage tapedeck.
 
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 
Patrol station.
 
On the tape: Roy Ayers: 'Running Away'.
 
                        CHRIS 
        You hear that man! Soul Patrol! 

                        DAVIS 
        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?
 
                        CHRIS
        Bwoy, rest yerself. You're only into the 
        roots 'cos you can't dance!
 
Everyone laughs.
 
                        DAVIS
        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...
 
                        DAVIS
        Shuck!
 
The spin stops halfway...
 
TWO UNIFORMED POLICEMEN and a CID MAN walk in on them.
 
The CID MAN switches the cassette player off.
 
                        CARLTON 
        Hey! 

                        CHRIS 
        Oi, oi... leave the tunes .. 

                        CARLTON 
        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.
 
                        CID MAN
        Whose premises?
 
                        CARLTON
        Mine. So what ya sayin?
 
                        CID MAN 
        Terrence James. Friend of yours, wasn't 
        he? He's been murdered. 

                        CARLTON 
        We heard. So what ya gettin' at? 

                        CID MAN 
        Anywhere near the Park last night? 
        Dealing were you? 

                        CARLTON 
        What kind of fuckeries you talkin' about? 

                        CID MAN 
        Well since he was supposed to be your 
        mate, thought you might have some ideas 
        about it. 

                        DAVIS 
        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 
        first? 

                        CHRIS 
                (to DAVIS) 
        True. Since when Babylon cared inna black 
        man murder? 

                        CID MAN 
        You said it son. Let's go.
 
The CID Man and the POLICEMEN leave as abruptly as they 
arrived.
 
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. 

                        CHRIS 
        Last place I thought I'd find you! 

                        CAZ 
        Ya Mum let me in.
 
CHRIS sits down beside him, notices the half-empty bottle, 
but says nothing about it.
 
                        CHRIS
        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.
 
                        CHRIS
        Great, yer got them new tunes.
 
                        CAZ 
        Yeah... So what time you on Metro then? 
        Wiv you gone so long, took it they'd 
        given you a programme on the spot.
 
                        CHRIS
        Look, it was a waste of time, jus' like 
        you said. I spoke to Jeff Kane though...
        Great, you got the new Slave... 

                        CAZ 
        Mnnn... mnnn... 

                        CHRIS
        Look, I made myself look a right wally. 
        Does that satisfy yer?
 
                        CAZ 
        You actually met Jeff Kane? 

                        CHRIS
        Yeah, the man 'imself. Hey, is that the 
        new Benson?
 
                        CAZ 
        Yeah, yeah. What'd he say? 

                        CHRIS 
        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 
        Summer?! 

                        CAZ 
        The very latest. I 'ad to fight 'alf the 
        gay disco DJs to get that one. So who is 
        Tracy?
 
CHRIS selects a record to play. He looks at one of the new 
ones, it's in a blank, white sleeve.
 
                        CHRIS 
        Ow come there's nothin' on this label? 

                        CAZ 
        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 
        promote 'em. 

                        CHRIS 
        As if they try though.
 
CHRIS half-dances to the new record. He still has some of 
the others in his hand.
 
                        CHRIS 
        ... So what else 'ave we? Right, you got 
        the new Parliament, what about the Philly 
        stuff? 

                        CAZ 
        I can't keep shelling out, can I Chris? 
        We're gonna have to get some 
        advertisin'...

                        CHRIS 
        Tried that before. What we need is new 
        listeners, a bigger radius. 

                        CAZ 
        Yeah, betta aerial, it's the only way. 
        I'll 'ave a word wiv Ken. 

                        CHRIS 
        Oh yeah? An' 'ow we gonna pay for that?
 
CAZ rubs his hands together.
 
                        CAZ 
        'Ave to sell my body! 

                        CHRIS 
        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 
decoration.
 

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. 

                        CHRIS
        Is that where it is, in the box? 

                        CAZ 
        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
        'Lo Caz.

                        CAZ  
        Hello, Ann.
 
ANN looks to CHRIS.
 
                        ANN 
        So 'ow did yer get on? 

                        CHRIS 
        Forget it, Mum. 

                        ANN 
        Well yer went, didn't yer? What did he 
        apply for Caz? 

                        CHRIS 
        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.
 
                        ANN 
        Oh yeah, an' it ain't a joke playing at 
        bloody pirates? Chris, when are you gonna 
        bring some respectable money into this 
        house?
 
CHRIS silently mimics her, it's a speech he's heard before.
 
                        ANN
        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 
        own.
 
                        CHRIS
        You out on the town again? Aren't yer 
        gettin a bit past it?

                        ANN
        You cheeky bastard!
 
                        CHRIS
        Can't argue wiv that, can I?
 
ANN grabs CHRIS by the ear. 

                        ANN
        You ain't too big for a clip round the 
        ear, you know Chris. You got one of them 
        funny cigarettes for me?
 
                        CHRIS
        Mums don't smoke weed!
 
                        ANN
        They smoke it if they pay for it.
 
ANN smacks the side of CHRIS's head. 
 
                        ANN 
        An' if you touch my catalogue money 
        again... 

                        CHRIS 
        Alright Mum, alright! There yer go.
 
CHRIS passes her a spliff.
 
                        CAZ 
        I'll  run Trish over to  Mum's for you.
 
ANN sits and leans towards CAZ.
 
                        ANN
        Thanks Caz.... I didn't say anything 
        earlier. Well, what can yer say? I'm 
        sorry about Terry. Friend of yours, 
        wasn't he?
 
                        CAZ
        Just knew him around. Not close. But 
        thanks anyway Ann. Is Trish ready?
 
                        ANN
        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.
 
                        CAZ
        I know.
 
                        ANN
        It's only a week since Shuresh's sister 
        got attacked.
 
TRISH shouts from the hall.
 
                        TRISH
        Mum. I'm ready.
 
                        CAZ
        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.
 
                        SPARKY 
        Oi, soulhead, where's yer boyfr... oops, 
        children present, where's yer friend 
        then? 

                        CAZ 
        Don't change, do ya Sparky? Always was a 
        little slimebag at school, now you're a 
        bigger one. 

                        SPARKY 
        My feelings is really hurt now Caz...
 
CAZ opens the car door for TRISH to get in. He turns 
directly to SPARKY.
 
                        CAZ 
        Yeah, well be thankful it's only yer 
        feelings.
 

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.
 
                        BIGGS
        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 
background.
 
                        CAZ 
        Secret list'ner Biggsy? You used to be 
        into it, didn't ya? 

                        BIGGS
        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 
gang.

                        CAZ 
        You got a minute Ken? Wanted a word... 
        That mixer ya got us. 

                        KEN 
        Yeah, what about it? 

                        CAZ
        It's duff...

                        KEN 
        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.
 
                        CAZ
        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.  
 
                        CAZ
        Nah... forget the mixer. I'm afta a betta 
        aerial, bigger radius. An A.H.?

                        KEN
        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 
dance.
 
CAZ enjoys the sight of CHRIS changing, the successive 
revealing and concealing of flesh as CHRIS tries to settle 
on a shirt.
 
                        CAZ 
        You're getting thinner... 

                        CHRIS 
        Yeah, it's all the 'ard work. 

                        CAZ 
        I've noticed...
 
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. 
They're off...
 

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.
 
                        CHRIS
        Hey, off the metallic...
 
BIGGSY slides off the bonnet, KELLY plays suggestively with 
the car aerial. 

                        KELLY 
        Wanna play wiv yer aerial!
 
CHRIS hits KELLY with the record case.
 
                        KELLY 
        Oi, watch the cloth, moth! 

                        CHRIS 
        Piss off!
 
SPARKY intervenes.
 
                        SPARKY
        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...
 
                        CHRIS
        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.
 
                        BIGGS
        Oh steady, rocky... 

CHRIS joins CAZ in the car. 

                        CHRIS 
        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'.
 
                        CHRIS
        You don't think they 'ad anything to do 
        wiv the murder?
 
                        CAZ 
        Leave it out, just the usual windin' us 
        up.
 
CHRIS isn't totally convinced.
 
                        CHRIS
        Yer neva can tell wiv Biggsy's lot.

                        CAZ
        No, but if'e has had anything to do wiv 
        it, I'll break his fucking neck. 

                        CHRIS
        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?'
 
                        CHRIS 
        This is Chris... 

                        CAZ 
        And this is Caz. 

                        CHRIS and CAZ 
        Soul Patrol. 

                        CHRIS 
        You like it, 'I Like It' ... 

                        CAZ 
        Players Association.
 
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 
close...
 
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 
style up...
 
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 
speaks.
 
                        CHRIS
        Did ya see that girl?
 
                        CAZ
        What girl?
 
                        CHRIS
        The one I was dancin' with. Tracy.
 
                        CAZ 
        Oh. 

                        CHRIS
        She's the one I was tellin' ya about... 
        works at Metro.
 
                        CAZ 
        She's well out of your league. What ya 
        ask her down 'ere for? 

                        CHRIS 
        Do I object to your friends comin' down 'ere? 

                        CAZ 
        Na. Nice to be liberated, ain't it? 

                        CHRIS 
        Look Caz, I didn't mean it like that. 
        Hey... What ya sayin'? 

                        CAZ 
        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.
 
                        CHRIS
        Shit. Ken! Watch it wiv the drink...
 
TRACY notices the drink incident.
 
                        KEN 
        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... 

                        CHRIS 
        No. No, Ken... No... 

                        KEN 
        What, yer busy ? 

                        CHRIS 
        Yeah... Yeah...
 
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. 

                        CHRIS 
        I'm getting 'em in. Tracy. Do you want a 
        drink?
 
TRACY holds up her full glass.
 
                        TRACY
        I've got one thanks... It's a bit mad in 
        here, nice though!
 
                        CHRIS 
        Yeah, listen Tracy, gimme a shout before 
        you leave, yeah? 

                        TRACY
        You're not going to join us? 

                        CHRIS 
        I'm gettin' one in for Caz. I'll see you 
        afta, yeah?
 
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 
dancefloor.

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.
 
                        JILL 
        Stop it...
 
She steers TRACY into a quiet corridor, away from the 
dancefloor.
 
                        TRACY
        What are you like?... So what do you 
        think of the Crypt then Jill?
 
                        JILL 
        It's good. I've never been to a 
        coloured... a black club before. Not to 
        mention one wiv blokes kissin' in it.
 
                        TRACY
        It's only fashion, Jill...
 
                        JILL 
        Nah?
 
                        TRACY
        I'm only kidding... !
 
JILL laughs. 

                        JILL
        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, 
        ain't we?
 
CHRIS, seeking TRACY out, interrupts.
 
                        CHRIS 
        Tracy, Tracy..... So what you hidin' from, 
        eh? 

                        JILL 
        A punk in red, white and blue underpants! 

                        CHRIS 
        My God, you 'ad his trousers off? 

                        JILL 
        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.
 
                        JILL 
        God, I can see when I'm not wanted.
 
A PUNK places his arm round JILL's neck.
 
                        PUNK
        Oi, get dancing!
 
They move into the dance.
 
Later: CHRIS and TRACY in mid-conversation.
 
                        TRACY
        ...  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. 

                        CHRIS 
        Yeah... so what you suggestin' then? 

                        TRACY
        I'm suggesting that you make up a tape, 
        and leave the introductions to me. 

                        CHRIS 
        Are you serious? 

                        TRACY
        I'm sick of being a PA I want to make 
        some changes Chris. Are you interested? 

                        CHRIS 
        Yeah, you bet!
 
CUT TO:
 
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.
 
                        CAZ 
        It's jus' the thought of T.J. lyin' 
        there... That boy could really dance... 

                        IRVINE 
        Don't think about it, girl, don't do no
        good!
 
CAZ laughs at the 'girl'. He looks over to a fairly quiet 
dancefloor, then up to CHRIS. CHRIS catches the look.
 
CUT TO: 

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 
tremble.
 
CAZ and IRVINE join the dance. They give the dance 
everything they've got... an undefeated, controlled yet 
wild dance.
 

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.
 
                        CHRIS
        Now that was... Soul Patrol... Soul 
        Patrol ...
 
                        CAZ
        That was a cool night.
 
                        CHRIS
        Yeah... Listen Caz. I wanna make a tape 
        up, somebody asked me.
 
                        CAZ 
        So what you up to now Chris? 

                        CHRIS
        Nothin'... Jus' need a few of the records. 
        Some of the imports. I'll get the last 
        lot...
 
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. 

                        MAN 1 
        Where'd yer get the motor, man? 

                        MAN 2 
        Look at that car, man!

CAZ jumps in the car and drives off. CHRIS is stranded with 
four boxes of records. 

                        CHRIS 
        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.
 
                        TRACY
        What's with your friend?... Need a lift? 

                        CHRIS 
        Caz has got the 'ump. Can I put the 
        records in the boot? 

                        TRACY
        Sure. 

                        CHRIS 
        Thanks... Nice car... 

                        TRACY
        Thanks.
 
TRACY gets out, opens the boot. CHRIS puts the records in.
 
                        CHRIS 
        So where's yer mate, Jill?
 
                        TRACY
        Doing it with that punk! 

                        CHRIS 
        Nah! 

                        TRACY
        Yeah!
 
They lean against the boot.
 
                        TRACY
        So where to? 

                        CHRIS 
        Tracy... Can I trust yer? 

                        TRACY
        What do you mean? 

                        CHRIS 
        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 
the Park.

CAZ drives to the edge of the Park, pulls up behind 
BILLIBUDD's car.
 

30 INT. GARAGE - NIGHT
 
TRACY and CHRIS stumble through the garage in the dark. 
They're laughing, a bit drunk.
 
                        TRACY
        Well, there's not much to it, is there? 
        Through here? 

                        CHRIS 
        Yeah, yeah... 

                        TRACY
        God, it reminds me... I used to listen to 
        Caroline a lot... I even remember Radio
        390, the R & B show. 

                        CHRIS 
        That dates you. 

                        TRACY
        Shut up!
 
TRACY knocks the punch-bag at CHRIS.
 
                        CHRIS 
        Missed!
 
CHRIS leads her through the broken down car, into the 
hidden pirate radio base.
 
                        TRACY
        Fancy having a radio station at the back 
        of a garage.
 
Once they're through to the base, CHRIS seems awkward.
 
                        CHRIS 
        Tracy, er... would you like to... are you 
        going to... you could stay you know 
        and... save me... 

                        TRACY
        What, here? No chance! You're joking...
 
They kiss. CHRIS is all for going further.
 
                        TRACY
        Hey, I've got work in the morning. And 
        you're gonna make me a tape, remember? 

                        CHRIS 
        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.
  
                        CAZ 
        You pick your places, don't ya? You heard 
        what happened?

                        BILLIBUDD 
        I heard. 

                        CAZ 
        Ya like living dangerously?

                        BILLIBUDD 
        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 
        trouble.
 
BILLIBUDD brings out a small anti-perspirant spray can. CAZ 
laughs.
 
                        CAZ
        Any good trouble and ya'll smell nice 
        afta!
 
BILLI laughs. He presses the spray, in play. BILLIBUDD 
moves to kiss CAZ. To get into his trousers. CAZ is still 
on edge. 

                        CAZ 
        Not now, not now. Not here... it feels a 
        bit weird. Give us yer number.

                        BILLIBUDD 
        Yeah, yeah... I've heard that before. 

                        CAZ 
        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....

                        BILLIBUDD 
        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. 

                        MAN
        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 
finished.
 
                        CHRIS
        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.
 
                        CHRIS
        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 
concerned.
 
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.
 
                        WHITE MAN
        Like it down 'ere, do yer? Come down 'ere 
        regular?
 
                        T.J.
        Yeah, but I ain't seen you before. So 
        leggo ma han'... I ain't into no rough 
        stuff, right?
 

34 EXT. ESTATE - Shed/Dustbin area - NIGHT
 
T.J.'s radio cassette player burning, melting on a pile of 
rubbish.
 

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.
 
                        DAVIS 
        Yo! 

                        CHRIS
        What.... Jes.... Davis....
 
                        DAVIS
        Yow! Check dis brudda boot nuh!
 
DAVIS has arrived for work, CARLTON follows him in. CARLTON 
stares at CHRIS'S footwear.
 
                        CARLTON
        What we 'ave here?.... Daggers? Hey bwoy, 
        min' you don' kick me wi yo daggers, ye 
        hear?
 
CHRIS is not in the mood, he looks at his watch.
 
                        CHRIS
        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 
BILLIBUDD.
 
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.
 
                        CHRIS
        So disco sucks, does it?
 
                        BILLIBUDD
        Mindless, capitalist crap!
         
                        CHRIS
        And punk's not?
 
                        BILLIBUDD
        Depends how you use it. Don't it?
 
He hands CHRIS a 'Fuck the Jubilee' concert flyer. A list 
of bands.
 
                        BILLIBUDD 
        Should be something there you could dance 
        to...
 
BILLIBUDD is provoking/flirting, looking CHRIS over.
 
                        CHRIS 
        Jumpin' up and down like my arse is on 
        fire.

                        BILLIBUDD 
        No, no, no... We've got reggae bands 
        billed. Look, Misty and Roots, you'd like 
        that, wouldn'd yer? 

                        CHRIS 
                (sarcastic) 
        Oh Wow! Look... I'm in a rush...
 
AN ASIAN PUNK GIRL interrupts.
 
                        ASIAN PUNK
        Ain't there more important things to talk 
        about fo' fuck's sake. Like this for 
        instance.
 
She starts to read from a leaflet, a list of recent racist 
attacks in the area.
 
                        ASIAN PUNK
        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 
few copies.
 
                        CHRIS
        Alright, alright. Look, I'll place a few 
        of these. Did you hear about that murder 
        in the Park?
 
                        ASIAN PUNK
        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.
 
                        ASIAN PUNK
        Cock on the brain you 'ave.
 

39 INT. METRO RADIO/RECEPTION - LATER IN THE DAY
 
CHRIS talks to JILL at reception.
 
                        CHRIS
        D'yer get his pants off then?
 
                        JILL 
        I can't remember...
 
CHRIS looks at his watch. He's restless, impatient.
 
He looks relieved when TRACY arrives.
 
                        TRACY
        Ready for the verdict? 

                        CHRIS 
        It's pretty obvious, ain't it? I mean the 
        tape wasn't exactly professional... 

                        TRACY
        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 
        that. 

                        CHRIS 
        So who's supposed to play our music then? 

                        TRACY
        You don't have to tell me. Come on, we'll 
        be late.
 
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.
 
                        TRACY
        Hi Dave, this is Chris Morgan.
 
As DAVE talks he walks around and leans on his desk.
 
                        DAVE
        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...

                        CHRIS 
        English? 

                        DAVE
        Yes... well... I wouldn't put it quite 
        like that... but... er...
 
CHRIS performs a DJ act, imaginary microphone in hand.
 
                        CHRIS
        '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?

                        DAVE
        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...
 
DAVE leaves.
 
                        TRACY 
        You stupid arrogant fuck! I went out of 
        my way to get you in here. Bang goes my
        idea. 

                        CHRIS 
        Shame, innit? The man missed his chance 
        of signin' up a mega-star. 

                        TRACY 
        I just can't believe this punk, 
        'no-future' attitude. 

                        CHRIS 
        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... 
        Pee-funk-a-del-ic wanna-get-people-all-
        funked-up-DJ.
 
                        TRACY 
        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.
 
                        TRACY
        Jeff Kane, one of the best. Right?... 
        See this?
 
TRACY looks into the cardboard box.
 
                        TRACY
        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 
        months.
 
TRACY looks round the cramped room.
 
                        TRACY 
        This is where they'd like to keep him, 
        keep all of us for that matter.
 
                        CHRIS 
        Why'd yer stay if they insult you all the 
        time? 

                        TRACY
        They're not gonna run me out that easy.
 
CUT TO:
 

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 
over...
 
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 
POLICEMEN. 

                        CID MAN 
        Alright, son?
 
The CID MAN addresses one of the POLICEMEN. 

                        CID MAN
        Okay...
 
The POLICEMEN converge on CHRIS, pull him to his feet. 

                        CHRIS 
        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 
station.
 
                        POLICEMAN 
        Come on...
 
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 
feet.
 
                        CID MAN 
        What sort of socks are those? 

                        CHRIS 
        What? 

                        CID MAN 
        I said... What sort of socks are those? 

                        CHRIS 
        What's that got to do with anything? 

                        PARK POLICEMAN 
        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.
 
                        CID MAN 
        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. 

                        CHRIS 
        So what yer tellin' me? 

                        CID MAN 
        We know all about yer, that's what. We've 
        been watching you.
 
CHRIS is increasingly uneasy.
 
                        CID MAN 
        Oh and you might be interested to know 
        we've heard of your tinpot little radio 
        station...
 
This knowledge seems to worry CHRIS more than 
anything so far.
 
                        CHRIS 
        I'm not sayin' anything. I'm entitled to 
        a phone call, right? 

                        CID MAN 
        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.
 
INTERCUT WITH:
 

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 
to CAZ.
 
                        CARLTON 
        Yo! Sweetbwoy! Come over 'ere and 'elp me 
        wiv dis dam engine. I'm tired an' the man 
        comin for it tonight.
 
                        CAZ 
        Ye mad? I ain't going near dat engine. 
        You mus' want me to nasty up ma garments. 

                        DAVIS 
        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 
        say princess? 

                        CAZ 
        Piss off, Davis.
 
KEN runs his hand on the bonnet of the car.
 
                        KEN 
        Can I take her out for a spin, then talk 
        prices? 

                        DAVIS 
        Yeah, Ken. No problem.
 
KEN approaches CAZ.
 
                        KEN
        What dyer reckon then? Is it worth it? 

                        CAZ
        Well, there's nuffin' wrong wiv it.
 
                        KEN
        You 'ave a word wiv Davis 'bout the price 
        an' I'll 'elp you out with that gimmick 
        you're after.

                        CAZ
        Betta be worth my while, Ken.
 
KEN climbs into the car. Drives off...
 
                        DAVIS
        Easy now, Ken. She fast.
 
DAVIS boasts to CAZ.
 
                        DAVIS
        Take notice soulhead... Number One 
        salesman roun' dese parts!
 
CARLTON catches the conversation.
 
                        CARLTON
        Why, ye sell it?
 
                        DAVIS
        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.
 
                        CID MAN 
        Are you gonna tell us? Where were you the 
        night before last? 

                        CHRIS 
        Easy... . I was wiv me mate, makin' up 
        tapes. Look, I want my phone call...
 
                        CID MAN
        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, 
        right?
 
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.
 
                        CHRIS
        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.
 
                        CID MAN
        Seen it before?
 
CHRIS is now totally unnerved, he has handled the recorder, 
but if he says he has...
 
                        CHRIS 
        No.

                        CID MAN
        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 
        you?
 
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.
 
                        CHRIS 
        You bastards. Bastards! What ya doin' 
        gettin' at a nine year old kid? 

                        CID MAN 
        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 
        mongrel...
 
CHRIS can't take it. He screams out.
 
                        CHRIS 
        I want my phone call, my phone call, my 
        phone call!
 
CHRIS thumps on the table... repeats his demand over and 
over... his movements restrained by a POLICEMAN.
 
                        CID MAN
        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 
        call...
 
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 
number.
 
                        CHRIS
        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.
 
                        KEN
        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 
and DAVIS. 

                        KEN
        Did you 'ave a word? I got you that 
        present. Should do yer nicely. 

                        CAZ
        Believe it when I see it, alright Ken? 

                        KEN
        Trustin', aren't yer?
 
CAZ continues polishing the car. KEN leaves.
 
DAVIS calls across to CARLTON.
 
                        DAVIS 
        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.
 
                        CARLTON 
        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 
        black bwoy. 

                        DAVIS 
        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' 
        see it. 

                        CARLTON 
        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 
        caste.
 
KEN is back, listening in.
 
                        KEN
        Nah, I reckon it's an NF job myself... 
        See yer later.
 
KEN leaves.
 
                        CAZ 
        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 
        'half-caste' crap? 

                        CARLTON 
        Caz, the trouble with you, right can't 
        always tell what side you're on. 

                        CAZ 
        Now what ya sayin'? What, 'cos Chris is
        my mate? Or 'cos I mix with white peop... 

                        DAVIS 
        MAN! White MAN!... Nastiness! 

                        CAZ 
        So dat's wot it's about, yeah? I mix with 
        white man... I fuck with white men! 

                        DAVIS 
        Jesus!
 
CAZ & DAVIS are near to blows. CARLTON intervenes, steering 
CAZ away.
 
                        CARLTON 
        Long as you doin' it to them... innit Caz? 

                        DAVIS 
        Min' the rod a correction no fuck up dem...
 
CAZ turns on DAVIS.
 
                        CAZ 
        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 
for one.
 

49 EXT. STREET - AFTERNOON 

TRACY'S POV from cab.
 
CHRIS and a SOLICITOR leave the station.
 
                        CHRIS
        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.
 
                        TRACY
        You've been nothin' but trouble Chris. 
        You screw up at Metro and then you have 
        the nerve to drag me down here. 

                        CHRIS 
        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... 

                        TRACY
        Chris, are you listening to me? 

                        CHRIS 
        Tracy, I'm sorry. Thanks for gettin' the 
        solicitor for us. Listen, I've got this 
        tape, right? It was in the beat box. 

                        TRACY
        You've got to give it in, Chris. 

                        CHRIS 
        What? Go back in there? You're jokin'. 

                        TRACY
        Look, I'm no friend of the police, but if 
        it's evidence you're dealing with, you 
        don't mess with it. 

                        CHRIS 
        So I just let 'em drag my sister in for 
        friendly questionin'? 

                        TRACY
        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.
 
                        TRACY
        You look pathetic... Come on... I'll drop 
        you off. 

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: 

                        WHITE MAN 
        Cute, aren't yer? 

                        YOUNG BLACK MAN
        So ya wanna get to know me? 

                        WHITE MAN 
        Wot's yer name?
 
KEN arrives at the garage. 

                        YOUNG BLACK MAN
        Name? You a policeman or what?
 
                        WHITE MAN
        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 
                (on tape) 
        Man, you're one stubborn white boy.
 
CHRIS is startled by KEN.
 
                        KEN 
        Chris... Brought you something... it's 
        out the front... Give us a hand, it's a 
        bit 'eavy...

                        YOUNG BLACK MAN 
                (on tape) 
        Terry, friends call me T.J.

CHRIS turns off the tape, ejects and pockets it.
 
                        CHRIS 
        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.
 
                        CAZ
        Twice as many soul patrollers! Neva 
        enough for you though, is it? Won't rest 
        till you're on Radio One!
 
                        CHRIS 
                (In BBC accent)
        This is the BBC Soul Service. Are you 
        sitting comfortably?
 
They set to work, laughing at the thought. But CHRIS is 
still distracted, tense after the police questioning. 
Thinking back.
 
                        CHRIS
        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?
 
                        CAZ 
        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.
 
                        CAZ
        I'll keep dog.
 
                        CHRIS
        Kelly was in there. I mean, what is it? 
        'Let's Get The Half-Caste Week' or 
        something?
  
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 
below.
 
CHRIS clings to the aerial, CAZ grabs him, carefully pulls 
him back to safety.
 
                        CAZ 
        You were nearly a gonna, man! Right, no 
        more time up 'ere, let's just do the ting 
        and get down. 

                        CHRIS 
        Thanks, man.
 
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.
 
                        CHRIS 
        Oh... yeah... Tracy fixed up a meeting 
        with this producer down Metro. It was her 
        that got me out of the nick. 

                        CAZ 
        Are you serious? You been crawlin' round 
        Metro again? 

                        CHRIS 
        Caz, I've got to get some steady.... 

                        CAZ 
                (mimics Chris) 
        '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... 

                        CHRIS 
        Metro weren't interested, so just forget 
        it, right? 

                        CAZ 
        Chris, I'm just sayin'. We are gettin 
        through  there's an audience buildin'. 
        We'll get the advertisin' and we'll 'ave 
        the money... 

                        CHRIS 
        Look, you was tryin' your way, I was 
        tryin' mine. It's the same thing. 

                        CAZ 
        I wanted a partner, not your fuckin' 
        vanity!
 
CHRIS suddenly puts his arm round CAZ.
 
                        CHRIS 
        Caz, I am your partner, Caz. We gonna hit 
        the airwaves, yeah? Funk the Jubilee 
        special! 

                        CAZ 
        I can't tomorrow. Said I'd play the 
        concert tomorrow wiv that punk I met - 
        Billibudd. 

                        CHRIS 
        Don't joke about it, Caz. 

                        CAZ 
        I promised.
 
CHRIS jumps back up to the aerial.
 
                        CHRIS 
        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 
        in that?
 
                        CAZ 
        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? 

                        CHRIS 
        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... 

                        CAZ 
        Cry on Tracy's shoulder... 

                        CHRIS 
        I'm gonna smash that thing...
 
CHRIS turns to the aerial...
 
                        CAZ 
        Smash it, you might as well.
 
CAZ leaves the roof. CHRIS calls after him.
 
                        CHRIS
        Caz. I ain't begun to tell yer 'bout what 
        happened down the nick.
 
                        CAZ
        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 
pocket...
 
                        CHRIS
        Caz... See this tape, Caz? It's T.J.'s 
        tape...
 

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 
evening dress.

                        BILLIBUDD 
        Bomb the rich! Bomb the rich!
 
BAY CITY ROLLERS fans in full fan regalia roll by.
 
                        BILLIBUDD
        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 
gay porn. 

Posters for Divine and Nureyev, both on in town. 

A MAN BROWSING.

BILLIBUDD grabs a book, collars the man.

                        BILLIBUDD 
        Jean Genet, ever read that, 'ave yer? Eh? 
        Eh?
 
BILLI disturbs the book rack, flicks at postcards on 
revolving stands. The MAN mutters politely, embarrassed, a 
bit afraid.
 
                        MAN
        Thank you... yes .. yes... I have.
 
A MAN with a DOG passes by.
 
                        BILLIBUDD
        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.
 
                        BILLIBUDD
        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 
and chants: 

        'Scotland, Scotland'...

BILLIBUDD raises his arm, clenches his fist. Shows 
solidarity with the Scottish cause.

                        BILLIBUDD 
        Devloution now!
 
The shirtless SUPPORTER steps up to BILLIBUDD.
 
                        SUPPORTER
        Fuck off, ye Southern poofter!
 
BILLIBUDD lowers his arm...
 
TWO WOMEN pass the shirtless SUPPORTER. 

                        SUPPORTER
        Gie us a kiss, darlin'. 
 
                        WOMAN
        Fuck off!
 
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 
get in.
 
                        BOUNCER 1 
        Look boys. It's gay tonight. Official 
        policy. No straights. Fuck off. 

                        1st BLACK SOUL BOY 
        Leave it out. What you talkin' bout man? 
        We're gay. 

                        BOUNCER 1 
        No membership card. No entry. Simple. 'Op 
        it.
 
TWO WHITE BOYS pass straight through, no membership cards 
shown.
 
                        2nd BLACK SOUL BOY 
        You let them in... 

                        BOUNCER 2
        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.
 
                        BILLIBUDD 
        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.
 
                        BOUNCER 1
        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.
 
                        SCOTLAND SUPPORTER 
        'Ere boys, a club!
 
He looks up at the bulky BOUNCER.
 
                        SCOTLAND SUPPORTER 
        Any chance of a dance, big fella? 

                        BOUNCER 1 
        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. 

                        CAZ 
        What would we do without ya, Blondie? 
        Golden tongue, golden hair, golden boy!
 
BILLI looks baffled. CAZ ruffles his hair, mock-
affectionate.
 
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 
FRIEND notices... 

                        FRIEND 
        Mary, you are such a dinge queen...
 
BILLIBUDD catches the comment and grabs the FRIEND's arm.
 
                        BILLIBUDD
        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.
 
                        TRACY
        Makes me feel like a criminal, sneaking 
        in here at night! 

                        CHRIS 
        We ain't doing no harm.
 
                        TRACY
        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.
 
                        BILLIBUDD
        You annoyed?
 
                        CAZ
        Should've given him a good slap!
 
BILLI laughs.
 
                        CAZ 
        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 
        sympathetic.

                        BILLIBUDD 
        Caz, you talk about him a lot. I mean... 
        what... You two do it, then? 

                        CAZ 
        Why? What's it to you?

                        BILLIBUDD 
        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.
 
                        CAZ 
        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.
 
                        BILLIBUDD
        So he is gay then? I thought he was.

                        CAZ
        Well.... we were about ten at the time! 
        He turned out straight. Sad story really!
 
CAZ and BILLI both laugh.
 
                        BILLIBUDD
        Caz, are you seeing anyone?
 
                        CAZ
        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 
and Fight'.
 
                        BILLIBUDD
        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 
love.

TRACY is half touched by his words, half laughing. For a 
moment she breaks the rhythm. 

                        TRACY
        Less of the patter, DJ...
 
Slow love-making, cries of pleasure. Their shirts ripple in 
the wind. 

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 
optimum sound.
 
VOICES ON TAPE:
 
                        YOUNG BLACK MAN
        So ya wanna get to know me? 

                        WHITE MAN 
        Wot's yer name? 

                        YOUNG BLACK MAN
        Name? You a policeman or what? 

                        WHITE MAN 
        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. 

                        CHRIS 
        Is that it?
 
                        TRACY
        That's enough.
 
                        CHRIS 
        No... There's more... There's more... 

                        TRACY
        Game's over, Chris. It is weird, I don't 
        like it. 

                        CHRIS 
        Jus' lemme listen again. 

                        TRACY
        Look, if that's what that tape sounds 
        like, you've got to hand it over. 

                        CHRIS 
        Look... I just want to copy it... 

                        TRACY
        Okay...

They work fast to copy the tape.
 
VOICES FROM TAPE:
 
                        WHITE MAN 
        Like it down 'ere, do yer? Come down 'ere 
        regular? 

                        YOUNG BLACK MAN
        Yeah...

Later: Close up: CHRIS packages a copy of the tape.
 
The address on the package: 
TERRY JAMES CASE 
DALSTON POLICE STATION
LONDON E8
 
CHRIS seals the flap.

TRACY watches. They kiss. CHRIS picks up his jacket.
 
They leave.
 

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.
 
                        CAZ
        So why are we stoppin'?
 
                        BILLIBUDD
        Thought we'd drop in on the party.
 
BILLI reaches into his canvas bag full of leaflets and 
newspapers.
 
                        CAZ 
        Oh yeah, thinkin' of doin' a bit of 
        canvassin' are we? Forget it...
 
                        BILLIBUDD 
        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?
 
                        CAZ
        Spare me, Billi...
 
                        BILLIBUDD
        Don't worry 'bout it, I'll be a good boy. 
        I won't be an embarrassment.
 
                        CAZ
        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 
the estate. 

INTERCUT WITH:
 

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 
totally unnerved.

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. 

                        CHRIS 
        '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... 
        nuff luv...
 
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...
 
CHRIS cries.
 
INTERCUT WITH:
 

62 EXT. ESTATE JUBILEE PARTY - DAY
 
CAZ and BILLIBUDD at the street party, enclosed in the 
estate courtyard.
 
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.
 
                        BILLIBUDD 
        This is nice. How much is this? Just the 
        right thing for my 'friend'. 

                        STALLKEEPER 
        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 
goldfish.
 
The GOLDFISH STALL MAN struggles to keep control as BILLI 
pokes at the fish prizes in their polythene bags.
 
                        BILLIBUDD 
        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, 
        you are.

BILLI turns his attention to a MIDDLE-AGED COUPLE, he 
proffers a copy of Socialist Worker.
 
                        BILLIBUDD
        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.
 
                        MAN 
        Just piss off...

A GIRL notices the row...
 
                        GIRL 
        Wot was that all about, then?
 
She stares at BILLI.
 

INTERCUT WITH:
 

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.

                        KEN 
        Hi... blimey... what 'appened? 

                        CHRIS 
        Not now Ken, I'm in the middle of a show, 
        mate. 

                        KEN 
        D'yer call the police? 

CHRIS shakes his head,'No'. 

                        CHRIS 
        Nah, it's no use... no use... 

KEN calmly closes in on CHRIS.

Suddenly KEN smashes out, pushing CHRIS over the desk... 

                        CHRIS 
        What yer doin'... ?

KEN knocks the tape deck to the floor. 

                        KEN 
        You know wot I want. You fuck me about 
        and I'll kill yer.
 
KEN has CHRIS by the throat, he tightens his grip. 

                        KEN 
        Always thought you were so smart, didn't 
        yer? Well I set you up... I set you up 
        nicely...

CHRIS struggles... KEN's speech is disjointed, a struggle 
to force the words out... 

                        KEN 
        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.
 
                        KEN 
        You pretty boy... You had to stick yer 
        nose in. Gimme the tape, Chris ...give me 
        the fucking tape! 

                        CHRIS 
        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... 

INTERCUT WITH:
 

64 EXT. ESTATE JUBILEE PARTY - DAY (continued)
 
ANN, CHRIS's mother, walks through the estate. She's 
cornered by an elderly BLUERINSED WHITE WOMAN.
 
                        BLUE RINSE
        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...
 
                        ANN
        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.
 
                        WOMAN
        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. 

                        FRIEND 
        Trish, there's your Mum... 

                        TRISH
                Mum!
 
TRISH runs up to ANN. ANN kisses her on the forehead.
 
                        ANN 
        Alright, babes? You enjoyin' yerself?
 
                        TRISH
        Yeah...
 
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.
 
                        ANN
        Here, come on, yer don't need that.
 
She hands the flag-free radio back.
 
                        ANN
        Let's go over the park, eh? And get some 
        clean air.
 
CAZ approaches.
 
                        CAZ 
        'Lo Ann. You ain't seen some punk walkin' 
        about, 'ave ya? 

                        ANN
        Not noticed. Wot are you doin 'ere 
        anyways? 

                        CAZ
        Passin' through fast. You goin' over the 
        Park?
 
                        ANN
        Yeah, thought we might go for an hour. 
        Then I thought I might drop round your 
        Mum's.
 
TRISH tugs at CAZ's waistcoat.
 
                        TRISH
        Did you 'ear Chris on the radio? 

                        CAZ 
        What? Been on air, 'as he? 

                        TRISH
        Said about the Park, said you'd be on, 
        Mr. 'Main Man'. 

                        CAZ 
        He talked about the park? 

                        ANN 
        Why ain't yer workin' wiv 'im today, Caz? 
        You alright, you and Chris?
 
TRISH interrupts.
 
                        TRISH
        Soul Patrol went dead!
 
                        CAZ
        That bloody equipment...!
 
CAZ continues to look for BILLI. 

                        ANN
        Catch yer later, babes.
 
                        CAZ
        Right...
 
                        TRISH
        Bye...
 
CUT TO: BILLIBUDD at a stall run by a PEARLY KING and QUEEN.
 
                        BILLIBUDD
        So what's all this then?
 
                        PEARLY KING
        It's a raffle, and you 'ave to 'ave a 
        ticket.
 
                        BILLIBUDD
        A raffle. Alright, give us a ticket, then.
 
The PEARLY QUEEN opens a book of tickets. BILLI mauls the 
prizes.
 
                        BILLIBUDD
        After Eights, huh?
 
BILLI puts down the chocolates and snatches the whole book 
of tickets.
 
                        BILLIBUDD
        'S alright, darling, don't worry, I'll 
        take the lot.
 
                        PEARLY KING 
        Oi, oi - where's yer money?

                        BILLIBUDD 
        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.
 
                        BILLIBUDD
        Have one of these. Socialist Worker ... 
        Only paper for the working class... look 
        - free membership on the back... don't 
        worry about it ..
 
                        PEARLY KING 
        Oi you, fuck off out of it and take that 
        shit wiv yer!

                        BILLIBUDD 
        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.
 
                        BILLIBUDD 
        Why don't you read this sometime? It 
        might educate yer. 

                        PEARLY KING 
        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 
on BILLI.
 
CAZ arrives. 

                        SPARKY 
        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.
 
                        CAZ
        You stupid fuckin' wanker. You can't 
        listen to no-one, can ya?
 
                        BILLIBUDD
        I was only doing my paper round, Caz!
 
                        CAZ
        You're well out of order, Blondie. You're 
        always shoutin' 'bout imperialism... jus' 
        look at yaself...
 
BILLIBUDD looks bemused. 

                        CAZ
        You think if it's there, yer can take it, 
        don't ya? Ya think you can go where the 
        fuck ya like.
 
                        BILLIBUDD
        But I'm wiv you Caz.
 
                        CAZ
        Yeah, well that depends... dunnit?
 
                        BILLIBUDD
        We're still playing the park, aren't we?
 
                        CAZ
        Plenty of time for that. Let's get your 
        face fixed, Blondie.
 
CAZ wipes blood from BILLI's face.
 
                        BILLIBUDD
        Why'd you keep calling me Blondie? I'm 
        not even blond.
 
                        CAZ
        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. 

                        BILLI 
        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.
 
                        CAZ
        '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's mouth.
 
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 
broadcast. 

                        QUEEN
                (VOICE-OVER) 
        At the Silver Jubilee of 1935... and at 
        my Coronation...
 
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. 

                        QUEEN 
                (VOICE-OVER CNTD.) 
        ... the Empire and the Commonwealth came 
        to London...
 
CHRIS collides with an abandoned pram... it rolls across 
the courtyard. KEN's voice still in his head.
 
                        KEN 
                (VOICE-OVER) 
        Give me the tape Chris. Give me the 
        fucking tape.
 
                        QUEEN 
                (VOICE-OVER) 
        ... 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 
out.
 

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.
 
                        TRACY
        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? 

                        CAZ 
        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... 

                        TRACY
        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....
 
                        CAZ 
        Chris was on the air this afternoon. It 
        seems he got cut off. Metro had any 
        pirates taken off the air lately, has it? 

                        TRACY
        Come on!

                        BILLIBUDD 
        Capitalist crap. Metro Radio. 

                        CAZ 
        Shut up, Billi. 

                        TRACY
        Spending twenty pounds on T-shirts from 
        Vivienne Westwood has got nothing to do 
        with capitalism, hmmm?

                        BILLIBUDD 
        It has to do with homoerotica. Nicked 
        homoerotica, actually. Like it? 

                        TRACY
        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.
 
TRACY leaves.
 
                        TRACY
        Come on, Jill... 

                        JILL 
        Coming...
 
CAZ taps BILLI in the stomach, time to move on...
 
CUT TO:
 

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. 

                        VOICE
        Oi, soulboy!
 
CHRIS looks up to see SPARKY, KELLY and BIGGS.
 
Closing in on him.

CHRIS walks straight up to KELLY.
 
                        CHRIS 
        Wot was they askin' yer down the nick? 

                        KELLY 
        Wanted an 'alf caste. Told 'em they musta 
        got the wrong one. 

                        SPARKY 
        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.
 
                        CHRIS
        You look pretty white to me.
 
The gang laugh.
 
                        SPARKY
        Shut up! Don't know why you're laughin', 
        Kelly.
 
KELLY stops laughing.
 
                        CHRIS
        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'.
 
                        KELLY
        Wot's it to you?
 
                        CHRIS 
        Ain't nothing to me, it's only yerself 
        yer connin'.

SPARKY smiles, enjoys CHRIS and KELLY arguing it out 
amongst themselves. CHRIS knows SPARKY would relish a 
fight.
 
Instead CHRIS walks up to KELLY, he grabs him, pulls him 
close. CHRIS is too angry to be worried by any of them.
 
                        CHRIS
        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?
 
                        KELLY
        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.
  
                        CHRIS
        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. 

                        CHRIS 
        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 
placards.
 
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.
 
                        TRACY
        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 
everybody. 

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.
 
                        TRACY
        Chris!
 
CHRIS grabs hold of her arms. A panic in him.
 
                        CHRIS 
        Ken did it... it was Ken... Listen... 
        something's gonna happen. I've gotta find 
        Caz... 

                        TRACY
        Ssshhh... Slow down, Chris. Slow down. 
        What are you talking about, who's Ken? 

                        CHRIS 
        Just help me find him... 

                        TRACY
        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 
        of it... 

                        CHRIS 
        Tracy... please...
 
CHRIS grabs TRACY, she sees all the fear in him and 
follows. They head for the stage... 

CUT TO:

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.
 
CUT TO:
 
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.

CUT TO:
 
CHRIS and TRACY in the crowd. SKINS steam into the 
crowd... kicking people to the ground... CHRIS gets 
pushed... he loses TRACY.
 
                        CHRIS 
        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 
stewards' assistance.

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 
darkening sky. 

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 
the mud. 

Roll over the ground. 

                        CAZ 
        Shit... Billi... the records ...

They have to make a run for it. The stage banner is in 
flames. Floodlights crash down on the crowd ... 

CUT TO:
 
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. 

                        ANN 
        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... 

CUT TO:

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 
targets. 

CUT TO:

CHRIS nears the stage. KEN in pursuit.

Smoke billows up, CHRIS can't see whether CAZ is still 
there. 

SPARKY and BIGGS fall about laughing at the destruction. 

CUT TO:

CHRIS reaches the stage, only to find CAZ gone. He climbs 
through flame.
 
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. 

                        CHRIS 
        I know you're here. Hear it!
 
VOICES ON TAPE: 

                        T.J. 
        So leggo ma han'... I ain't into no rough 
        stuff, right?

                        KEN
        Cute, aren't yer?
 
CAZ and BILLIBUDD hear the tape... CAZ suddenly recognises 
the first voice. 

                        CAZ 
        It's T.J.
 
VOICES ON TAPE (cntd): 

                        KEN
        So ya wanna get to know me? What's yer 
        name?

                        T.J.
        Name? You a policeman or what?

CAZ recognises the other voice.
 
                        CAZ 
        Ken!

KEN reaches the stage. Pushes and crawls through burning 
speakers to get to the tape deck. To stop the tape. 

VOICES ON TAPE (cntd): 

                        KEN 
        Just being friendly, tell us yer name.
 
                        T.J.
        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....

CUT TO:
 
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 
destruction. 

CHRIS finds them... 

                        CHRIS 
        Tracy...
 
Not far away from CHRIS and TRACY, CAZ has covered his 
ears in horror. BILLIBUDD touches CAZ's face. BILLI tries 
to comfort him.
 
                        BILLIBUDD 
        It's alright...

CAZ and CHRIS finally see each other... 

                        CAZ 
        Chris... Chris...
 
CHRIS leaves TRACY. 

                        CHRIS 
        Don't go. I'll be back.

CHRIS and CAZ step towards each other.
 
                        CHRIS 
        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 

Towards dawn.
 
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. 

                        CHRIS 
        I wasn't runnin' from yer, Caz. We're 
        okay now, yeah? Soul Patrol again... 

                        CAZ 
        Yeah, let's start over...
 
They shake hands, then hold each other in a warm embrace.
 
                        CAZ
        Come on...
 
The records continue to pass from hand to hand... JILL 
steps out of the line to dance... TRACY joins JILL in the 
dance.

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:


 
                                END
 




Screenplay by 
Paul Hallam
Derrick Saldaan McClintock 
and Isaac Julien 


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