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SCENE 29: BLACKLANDS TERRACE (INTERNAL)



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SCRIPT

The restaurant is full of people eating, drinking and chatting animatedly.

THOMAS comes in, and goes straight to a table by the window where RON is waiting for him.

He sits down.

RON is a writer in his mid-thirties; he has a beard.

THOMAS gives him the pictures.

RON starts leafing through them. 

RON

You want to use the lot? 

THOMAS take a gulp from RON’s drink while RON goes on looking at the photographs.

Close-up of the photographs held over the table by RON’s hand: one of the men in the Reception Centre dressing; a man waiting behind a cracked window; a man sitting beside a bed in a dormitory; a naked man picking up some clothes.

This picture is straightened by RON’s hands.

We hear RON and THOMAS discussing them, over. 

THOMAS off

Don’t you like them? 

RON off

They’re great. 

Resume on RON and THOMAS at the table. 

THOMAS

We’ll use three or four. 

RON

Spread through the book? 

THOMAS sits back, revealing RON looking at one of the photographs. 

THOMAS

No, all together. 

RON

Yes. 

A WAITER is carrying some plates across to another table.

Camera pans past RON as THOMAS stops the WAITER, and looks at what is on one of the plates.

He points it out to the WAITER, gesturing that he would like some himself.

THOMAS sits down with RON again. 

THOMAS to the WAITER

And a pint. 

WAITER

Yes sir. 

RON has picked up the dummy of the book of photographs he has with him. 

RON

Which one last? 

Close-up of THOMAS. He leans forward. 

THOMAS

None of this lot. I’ve got something fab for the end. In the park. I only took them this morning. You’ll get them later on today. It’s very – peaceful. Very still… Well, the rest of the book’ll be pretty violent so… 

RON goes on leafing through the dummy full of photographs.

Poverty-stricken creatures, layabouts, alcoholics, the bizarre and the absurd.

We see the photographs in close-up as the writer and the photographer discuss the book off-screen. 

THOMAS off

I think it’s best to end it like that. Hm? 

RON off

Yeah. That’s best. It rings truer. 

Close-up of THOMAS glancing out of the window, parting the slats of the venetian blind with his hand.

Camera moves back slightly.

Camera moves in again on the two of them, THOMAS still staring out of the window. 

THOMAS

I’m going off London this week. 

RON

Why? 

He gazes outside as well. 

THOMAS

It doesn’t do anything for me. 

RON sees what THOMAS is looking at – a girl on the other side of the street. 

RON laughing

Ye-es! 

They return to the photographs. 

RON

I’ve knocked up a few captions. 

THOMAS

Yeah? 

He is distracted by a beautiful blonde coming through the restaurant.

She is wearing slacks and moves like a model.

Camera follows her, watched by the two men.

THOMAS turns back to RON. 

THOMAS jerking his head in her direction

I’m fed up with those bloody bitches. 

Resume on THOMAS and RON. 

THOMAS

I wish I had tons of money. The I’d be free. 

RON

Free to do what? Free like him? 

Close-up of a photograph of an old man on a plot of derelict land – dirty, witless, a human wreck.

Resume on RON and THOMAS.

Their attention is drawn to someone outside the window. 

RON: Someone we know? 

Through the venetian blinds beside their table, RON and THOMAS watch a MAN turn and walk hurriedly away across the street.

He is a tall, fair-haired young man, dressed in black.

He seems annoyed at being caught spying on them.

A wider view of the restaurant, with RON and THOMAS looking out of the window.

THOMAS jumps up, and camera follows him as he hurries across to the door, opening it.



SCENE 28        SCENE 30