REVOLVE HER

A screenplay.

A writer delves deep into his imagination to reconnect with his dead wife.

OPENING CREDITS

 

The Angels of Light - Untitled Love Song

INT. HOUSE (BEDROOM) - DAY

The MUSIC plays: Free from your past...
 

The room is seen from above.

 

A man (30s) sits on the edge of a bed. He does not move.

 

Free of your future too...

 

The CAMERA imperceptibly begins to fall... The CAMERA slowly drifts out in front of the man - always focussed on the figure... Gently the CAMERA comes to a halt, hovering right in front of BRADFORD’S face. His eyes are filled with tears. He stares blankly at the far wall.

 

The CAMERA pulls back...

 

The MUSIC carries over...

 

INT. HOUSE (LIVING ROOM) - NIGHT

The CAMERA pushes forward...
 

The dark room is illuminated by the flickering light of a TV.

 

BRADFORD lies on a sofa, staring vacantly at the screen.
 

The CAMERA gets nearer...

 

INT. HOUSE (LANDING) - DAY

BRADFORD’S profile; he looks rough, a night of no sleep. He stares at something.

 

The CAMERA retreats... Slowly revealing that BRADFORD is stood in front of the closed bathroom door. He does not move. He does not enter.

 

INT. HOUSE (LIVING ROOM) - NIGHT

BRADFORD is stood SCREAMING. The screams are just audible under the music. His face is utter despair.

 

The CAMERA closes in on BRADFORD’S pain...

 

The MUSIC still continues: There's nothing true and nothing's real...

 

INT/EXT. HOUSE (KITCHEN) - DAY

 

A window in the centre of frame.

 

Through the glass: BRADFORD standing in the back yard smoking; a disconsolate posture.

 

The CAMERA inches backwards... BRADFORD is seen discarding his cigarette - he moves out of shot.

 

The CAMERA creeps back further - revealing a vase of wilted tulips.

 

BRADFORD enters the kitchen. He grabs the vase. He dumps the flowers into a bin and pours the water down the sink.

 

INT. HOUSE (BEDROOM) - NIGHT

 

While I lay dying upon some bed...

 

BRADFORD on his side; foetal position.

 

The CAMERA rises high above...

 

INT. HOUSE (BACK BEDROOM) - MORNING

 

From wide the CAMERA moves in...

 

BRADFORD stands on a wooden chair in front of a tall cupboard; hair greasy, stubble jagged. He is holding an old typewriter, holding it reverentially.

 

Getting closer... Towards the typewriter.

 

BRADFORD suddenly blows the dust off of the keys. The CAMERA enters the motes of dust...

 

INT. HOUSE (KITCHEN) - NIGHT

 

BRADFORD sits at a small table. The CAMERA pulls back...

 

The typewriter waits.
 

The MUSIC continues: The only one I want to see is you...

 

BRADFORD stares at the machine. His hands move over the keys. Tentatively he taps.     Then taps again.     Then taptaps. Then tap tap taptaptap tap  taptaptap tap tap...

 

The MUSIC starts to fade, to blend and merge with the tapping, the tap tap tapping gets louder and LOUDER...

 

The words on the paper read: INT. KITCHEN - NIGHT

 

Then these words appear punched onto the paper: T   b u s t s  

i n t o   t h e   k i t c h e n . . .

 

BRADFORD is knuckling down...

 

Tap tap tap tapTapTAP TAP   TAP TAP... TING!

TULIP busts into the kitchen - a dazzling tornado in her 30s.

TULIP

Some fucker’s shat on our doorstep!

 

BRADFORD looks up from the typewriter.

BRADFORD

Are you sure?

TULIP

Am I sure?

 

She dumps the bags of groceries onto the counter.

TULIP (CONT’D)
I know shit when I see shit.

She winks at BRADFORD; then pushes herself up to sit on top of the counter.

 

BRADFORD
I started writing again.

 

TULIP

Did you?

 

BRADFORD

Yes. A script.

 

TULIP

Good stuff?

 

BRADFORD

Not for me to say.

 

TULIP

What’s it about?

 

BRADFORD
About some fucker who shits on his

own doorstep.

 

TULIP

That’s a coincidence.

 

BRADFORD

You’d think.

 

TULIP frowns.

TULIP
What does that mean?

 

BRADFORD

Think about it.

 

TULIP thinks about it.

 

TULIP
Are you saying that you actually

shat on your own doorstep?

 

BRADFORD

Yes.

 

TULIP
As research?

 

BRADFORD

Yup.

 

TULIP
But it’s an idiom.

BRADFORD

I know.

TULIP
Its meaning is elsewhere and not on

the surface of that sentence.

 

BRADFORD
I know what an idiom is.

 

TULIP
How’d you feel about that?

 

BRADFORD

I’m ok with it.

 

TULIP
Is it a practice you intend on

repeating?

 

BRADFORD

Possibly.

 

TULIP

Possibly not.

 

BRADFORD
Do you think it’s excessive?

 

TULIP

Damn right.

BRADFORD
I agree. Normally you can get by

without it.

TULIP

Without what?

BRADFORD

The research.

 

TULIP
So you just wanted to shit on your

own doorstep?

 

BRADFORD

Clever, ain’t it.

 

TULIP

That’s not a defence.

 

BRADFORD

It isn’t?

 

TULIP
No. In future use your third eye.

 

BRADFORD casually holds up a black revolver.

BRADFORD

Where’d this come from?

TULIP is unfazed.

 

TULIP
Where'd that come from?

 

BRADFORD

I just asked that.

 

TULIP

I’m asking you.

 

BRADFORD
I found it in your pants drawer.

 

TULIP
I thought it was a safe place.

 

BRADFORD

Safe from me?

 

TULIP

You’re not a danger.

 

BRADFORD
Are you certain of that?

TULIP
What were you looking for?

 

BRADFORD

Something else.

 

TULIP opens her legs; the skirt reveals pink pants.

 

TULIP

Looking for these?

 

BRADFORD
That’s throwing a dead cat into the

room.

 

TULIP
My pussy ain’t deceased.

 

BRADFORD is still holding up the revolver.

 

BRADFORD
Where does a girl from Blackburn

get a gun?

 

TULIP closes her legs.

 

TULIP

Don’t matter.

 

BRADFORD

I think it does.

 

TULIP
I was drawn to it.

 

BRADFORD

Who’d you draw it from?

 

TULIP
Why so insistent upon knowing that?

 

BRADFORD
Wherever that place is T it might

have a hold on you.

 

TULIP

It don’t.

 

BRADFORD

That right?

 

TULIP slides off the counter and moseys over to BRADFORD and sits in his lap wrapping her arms around his neck.

 

TULIP
But I got a hold on you babe.

BRADFORD

Don’t I know it.

 

TULIP
This ain’t such a bad thing.

TULIP kisses BRADFORD with feeling. He responds.

 

She pulls back and stands. TULIP gently takes the revolver from BRADFORD’S hand and slips it inside the back of the skirt’s waistband.

TULIP (CONT'D)
I believe you’ve got some shit to

clean up.

 

BRADFORD smiles.

BRADFORD

Don’t I know that too.

 

EXT. HOUSE - NIGHT

 

The front doorstep.
 

BRADFORD squats down, picking up his mess with a plastic bag.

 

TULIP stands behind BRADFORD, her face screwed up.

 

BRADFORD
I know what you’re thinking.

 

TULIP

I doubt you fuckin’ do.

 

EXT. CHURCH STREET - NIGHT

BRADFORD is walking down the street. Looking for a bin.

 

He finds one and throws in the bag of excrement.

 

From his pocket he pulls out six bullets. He studies them. Lying in the palm of his hand: six .38 calibre bullets.

 

He drops them into the bin too.

 

HOMELESS (O.S.)

Is that safe?

 

BRADFORD, startled, looks up.

Facing him is a man who looks ancient, akin to the Don McCullin Homeless Irishman portrait. The ten coats the man is wearing make him look huge. (The actor playing Bradford will also play Homeless.)

BRADFORD

Safe?

HOMELESS

Bullets are dangerous.

 

BRADFORD

Down the drain?

 

HOMELESS

Bullets are waterproof.

 

BRADFORD

Then where?

 

HOMELESS
Bury them. Eight foot deep.

 

CUT TO:


A drain at the kerb-side. The six bullets rain down clanking on the grill then plopping into the water below.

INT. HOUSE (BATHROOM) - NIGHT

TULIP has the revolver’s muzzle at her temple. She is crying.

 

Then pulls the trigger... click. She SCREAMS!


Click click click click click click click click click...!

INT. HOUSE (KITCHEN) - NIGHT

BRADFORD has his head in his hands.

 

He’s sat at the small table - the typewriter waiting.
 

TULIP is leaning against the doorway, her eyes are bloodshot.

 

TULIP
Hey, I’ve got painkillers that’ll

fix a hole in the head.

 

BRADFORD

Have you?

 

TULIP

Sorry. Have not.

 

BRADFORD
No worries. I’m not in pain.

 

TULIP

What’s it you’re in?

 

BRADFORD lifts his head to look at TULIP.

BRADFORD

Deep shit.

He smiles awkwardly.

 

BRADFORD (CONT'D)
Nah, bad shape.

TULIP

Where?

 

BRADFORD

My thoughts.

 

TULIP

Get a grip.

 

BRADFORD
I know. It’s pathetic.

 

TULIP

I’m hungry.

 

BRADFORD
I made you a sandwich.

TULIP spots it and moves over to the counter.

 

TULIP
No shit or bad shape is

insurmountable.

 

TULIP takes a bite out of the sandwich; sniffling she wipes her nose.

 

BRADFORD

That right?

 

TULIP
(mouth full of sandwich)

It’s a state of mind.

 

BRADFORD

That so?

TULIP

Yeh.

BRADFORD
I hate to say this honey but I’m

getting a hypocritical sensation

here.

 

TULIP takes another bite.

 

TULIP

Hypocrisy and contradiction are

lessons learnt. I have no issue

with either. To me they’re both

signs of progression.

 

BRADFORD

Finish the sandwich.

 

TULIP

(wiping her mouth)

Tell me your problem.

 

BRADFORD
You ain’t got an inkling?

TULIP
Clueless as fuckin’ usual.

 

BRADFORD
That you wanted to kill yourself.

 

TULIP

I see.

 

BRADFORD

You see?

 

TULIP
Perhaps if I was someone else.

 

BRADFORD

In what way?

 

TULIP

In all ways.

 

BRADFORD
But you’re perfect as you are.

 

TULIP puts down her sandwich. Then moves across the kitchen and sits down opposite BRADFORD.

 

TULIP
No babe I ain’t. I’m broken. Broken

from the beginning.

 

BRADFORD

Aren’t we all?

TULIP

No.

BRADFORD

How can I help?

 

TULIP
A new persona. For me.

 

BRADFORD
Ain’t it me that needs it?

TULIP

Maybe.

(smiling)
I’d be Angel Delight.

BRADFORD

You’re one of them now.

 

TULIP leans forward. Role playing:

 

TULIP

Excuse me sir. My name is Miss

Angel Deelight.

 

BRADFORD

The pleasure’s mine Angel.

 

TULIP

And who might you be?

 

BRADFORD

I might be someone you ought better

not know.

 

TULIP

I’m a big girl. What you hiding?

 

BRADFORD’S tone shifts.

 

BRADFORD
Me? I ain’t hiding anything. I’m

right up fucking front.

 

TULIP
Me too. I’m like a puppy; eyes as

big as saucers, ears pricked like

Saul’s feet and tail waving at the

whole fuckin’ seven billion.

 

BRADFORD nods.

 

BRADFORD
That’s nice. I’m gonna use that.

 

BRADFORD leans into the typewriter, he’s on it straight away:

 

Tap tap   tap tap tap taptap tap  tap tap... ting!

 

BRADFORD stops. He looks up at TULIP.

 

TULIP has turned in her seat. Sat side on to BRADFORD she stares at nothing, an out-of-focus stare. The bloodshot reappears, a lone tear escapes the duct.

 

BRADFORD’S face is flush. Back at the typewriter:

 

Taptap  Taptaptap tap tap taptap...

TULIP sniffs up some more... She then tips back her chair against the wall. She closes her eyes. Listening to the tapping.

Tap taptap tap taptaptap...

 

TULIP is relaxing. She’s going deeper. The tapping starts to

distort:

Tap taptap  tap taaaap tahp waaahp waaaah vwoaaah vwaarrgh...

 

Upon TULIP'S face and spread out across the wall behind her are images of landscape that whizz by: Fields, hedgerows, trees, clouds - whoosh! A breeze blows TULIP'S hair as she thunders through the countryside.

BRADFORD concentrates on the typing, the tapping sound subdued by the rushing wind.

TULIP’S expression is serene. Her mind has taken her to a happy place, she’s enjoying the ride...

Vwoooooosssssshhhhhhh...

Then the breeze starts to ease off. The images begin to fade. The moment quietens down...

TULIP slowly opens her eyes. The chair falls forward.

 

Taptap tap  tap tap...

BRADFORD (CONT’D)

(without looking up)

Go someplace nice?

 

Taptaptap tap   tap tap...

 

TULIP
Just out for a drive.

 

Tap tap taptap...   ting!

 

BRADFORD lifts his eyes from the words on the paper.

 

BRADFORD
Let me guess... Up north?

TULIP

Bingo!

BRADFORD smiles. Then stands.

 

BRADFORD
I’m going out for a smoke.

EXT. HOUSE (BACK YARD) - NIGHT

The back yard is still. Distant traffic noise resonates.

 

BRADFORD takes a toke on a cigarette.


He absently picks at some peeling paint on the back gate.

 

Scuffing at some weeds.

 

Blowing smoke rings...

 

NEIGHBOUR (O.S.)

Alright.

 

BRADFORD turns around.

 

The bald head of his NEIGHBOUR (50s) protrudes above the boundary wall.

 

BRADFORD looks. Then inhales coolly.

 

BRADFORD

Alright.

NEIGHBOUR
I didn’t mean to disturb you.

 

BRADFORD

You didn’t?

 

NEIGHBOUR

No.

 

BRADFORD

But you fucking did.

 

NEIGHBOUR

Did fuckin’ what?

 

BRADFORD
Did both - meant and disturbed.

 

NEIGHBOUR

I didn’t.

 

BRADFORD

Whatever.

 

NEIGHBOUR

But I get it.

 

BRADFORD
Get this; I’m finished.

 

BRADFORD drops the cigarette and grinds the butt with his boot.

NEIGHBOUR

I ain’t.

BRADFORD

Sorry about that.

 

NEIGHBOUR

Listen, I do get it.

 

BRADFORD

Do you?

NEIGHBOUR

I fuckin’ do.

 

BRADFORD
What is it that you get?

 

NEIGHBOUR
I’m just saying that when I put a

glass to the wall I can hear you

clear as fuckin’ day, I can hear

everything, especially that tappety-

tap-tapping on your fuckin’

typewriter.

 

BRADFORD

Tappety-tap-tapping?

 

NEIGHBOUR
Here’s an idea; use a fuckin’

computer.

 

BRADFORD
Another idea; don’t use a fucking

glass.

 

Suddenly there’s MUSIC coming from deep inside the house.

 

BRADFORD goes to enter...

 

NEIGHBOUR
Just be discreet with the fuckin’

noises chief.

 

BRADFORD

Will do.

 

BRADFORD disappears into the house.

 

NEIGHBOUR gesticulates that BRADFORD is a wanker.

 

INT. HOUSE (LIVING ROOM) - NIGHT

 

The MUSIC is LOUD. The Dominions play I Need Her.

TULIP’S avant-garde dance moves are limp and loose and in

sync. She twists and claps and hops and sways - a Goddess.

 

BRADFORD walks in. He stops. He watches.

 

TULIP spies him and beckons him. BRADFORD stays put, waiting.

 

The song is desperate, urgent and demanding...

 

Now BRADFORD jumps in, straight in on the howls of insistence.

 

Two rhythmical bodies. Both playing it cool. They dance till the end...

 

The needle lifts off the record and creaks back to its resting position.

 

TULIP slinks up to BRADFORD. The attitude of the song fills the space.

 

TULIP

Fuck me.

 

BRADFORD

Fuck you.

 

TULIP

That’s what I said.

 

BRADFORD
I said something different.

 

TULIP

Not that different.

 

BRADFORD

But different enough.

 

TULIP
Either way don’t I get what I want?

 

BRADFORD

I don’t think so.

 

TULIP

You’re unsure?

 

BRADFORD
I’m unsure about a hell of a lot.

 

TULIP
You remember the song?

BRADFORD

I do.

 

TULIP
You remember the night?

BRADFORD

Some of it.

TULIP is hot.

TULIP

Liar.


She grabs BRADFORD’S crotch; rubbing it.

 

TULIP (CONT'D)
I know that was the best fucking

night of your life.

 

BRADFORD

Six out of ten.

TULIP smiles.


BRADFORD pulls her in tight and they kiss, forcefully...

 

Then BRADFORD pushes TULIP away.

BRADFORD (CONT'D)

I hate you.

 

TULIP

I hurt you.

 

BRADFORD

This is fucked up.

 

TULIP

Talk about it.

 

BRADFORD

Fuck that.

 

TULIP drops into the sofa.

 

TULIP
C’mon. Let’s clear the air.

 

BRADFORD

I don’t want to.

 

TULIP gives him the middle finger.

 

BRADFORD sits down beside her.

 

BRADFORD (CONT'D)

I can’t just accept it.

 

TULIP

Then let me fuckin’ go.

BRADFORD

No.

 

TULIP
You’re resistant for what?

 

BRADFORD

For what?

 

TULIP

Yeh, for what?

 

BRADFORD

Not for nothing.

 

TULIP
If not for nothing then what?

 

BRADFORD shakes his head.

 

BRADFORD

This stinks.

 

TULIP leans to one side: Brrrap!

 

Instantly BRADFORD screws up his face.

BRADFORD

Jesus!

TULIP stands.

TULIP
I’m off to the toilet and then I’m

off out to find me a stray dog.

 

BRADFORD

Sit.

 

TULIP stares at BRADFORD. Stepping forward - Thwack! She slaps him hard.

 

BRADFORD (CONT'D)

(rubbing his cheek)

Motherfucker!

 

TULIP
I know that’s what you think.

 

BRADFORD

It’s not T. It was a joke. Albeit

one that didn’t go down too well.

 

TULIP - changing her mind - goes and switches on the TV and parks herself in the chair beside it. She channel hops.

 

BRADFORD waits.

BRADFORD (CONT’D)

Let’s watch something together.

 

TULIP settles on something... She then looks deadeye at BRADFORD; leaning to one side: Brrraaap!

 

Canned laughter fills the room.

 

TULIP

Yeh. Let’s do that.

 

BRADFORD smiles.

 

TULIP (CONT'D)
Why don’t you go get us some gin.

EXT. HOUSE/STREET - NIGHT

BRADFORD pulls the door shut. He walks down the street.

 

EXT. WHITEGATE DRIVE - NIGHT

 

BRADFORD strides along the pavement. Suddenly he breaks into a jog which rapidly becomes a sprint; he’s bombing it down the road.

 

INT. OFF-LICENCE - NIGHT

 

Ding-a-ling!

 

BRADFORD enters the shop.

 

Breathing heavily he heads up to the till.

 

BRADFORD

Gin...  and tonic.

 

Dunk dunk. The bottles are on the counter.

 

SHOPKEEPER

Fourteen fifty.

 

BRADFORD hands the toothless SHOPKEEPER (60s) a twenty.

 

SHOPKEEPER (CONT'D)

You need company?

 

BRADFORD

No.

 

The SHOPKEEPER gurns. She licks her lips.

 

BRADFORD (CONT'D)

I’ve got company.

SHOPKEEPER

Who?

 

BRADFORD
The most beautiful woman alive.

 

SHOPKEEPER

Ain’t you looking at her?

 

BRADFORD
Ordinarily I might be. But today I

ain’t.

 

BRADFORD grabs his change and the bottles and leaves.

 

SHOPKEEPER

(shouting after Bradford)

What’s this woman’s name?

 

BRADFORD exits the shop.

 

The SHOPKEEPER watches. The door closes.

 

Ding-a-ling!

 

The SHOPKEEPER picks up a mobile. She dials a number.

 

INT. POLICE STATION (DCI BALL’S OFFICE) - NIGHT

 

DCI BALL (50s) flips shut his mobile phone.

Spread out across his desk are images from a crime scene - the corpse is unrecognisable.

He lifts one of the photos up - a blood spattered tiled wall.

 

He studies it.


Then he lifts up another - a bedraggled Bradford mugshot.

 

EXT. WHITEGATE DRIVE - NIGHT

 

BRADFORD is running back up the road with the two bottles.

 

INT. HOUSE (HALLWAY) - NIGHT

 

BRADFORD enters the house.

TULIP (O.S.)

(from upstairs)

DID YOU GET TONIC?

 

BRADFORD

(relieved)

Yes!

BRADFORD moves into the kitchen...

 

INT. HOUSE (KITCHEN) - NIGHT

 

...and starts to prepare the G&Ts.

INT. HOUSE (BATHROOM) - NIGHT

 

TULIP flushes the toilet. Washes her hands. Dries them.

INT. HOUSE (KITCHEN) - NIGHT

TULIP bounds into the kitchen.

 

TULIP

Let’s go to the beach!

 

BRADFORD sups his drink.

 

BRADFORD

Now?

TULIP

Yes.

 

TULIP takes her glass and empties it, smacking her lips -

Pahhh!

TULIP (CONT'D)

It’ll be transcendent.

 

BRADFORD

Transcendent?

 

TULIP

Yes.

 

BRADFORD

You want another?

 

TULIP

Yes... But then the beach.

 

EXT. BEACH - NIGHT

 

BRADFORD and TULIP lie on the pebbles, both gazing upwards.

 

The world around them is pitch-black. The sounds of the sea as it rolls and collapses onto the shoreline. The clambering clattering of the pebbles as they chase after the retreating water. The distant squawks of gluttonous seagulls.

 

Above it all the night sky calm and vast.

TULIP
Funny that I feel claustrophobic.

 

BRADFORD
I suppose it is. Then again I

suppose it ain’t.

 

TULIP

‘Cos?

 

BRADFORD
Like having cling-film wrapped over

your face.

 

TULIP

I don’t see that.

 

BRADFORD
That there’s all this oxygen on the

other side but you’re not getting

it.

 

TULIP
You’re substituting oxygen for

space?

 

BRADFORD

Yes.

 

TULIP
Not sure that’s stacking up. I

ain’t going to die from a lack of

space. I just fear that I can’t

escape.

 

BRADFORD

But you did.

 

TULIP
Fuckin’ step that aside. I’m

talking about this.

 

BRADFORD

Sorry.

 

TULIP

Don’t be. I’m sorry.

 

BRADFORD

Now I’m lost.

 

TULIP
Those birds are lost too.

 

BRADFORD

I don’t think so.

TULIP
Those are cries of desperation.

 

BRADFORD
So not geographically lost?

 

TULIP

No.

 

BRADFORD

Desperate for what?

 

TULIP
Stability. The seagulls sense

things are shifting.

 

BRADFORD

Shifting plates?

 

TULIP

Amongst things.

 

BRADFORD

Planet things?

 

TULIP
Yeh. Who the fuck wants to live out

there?

 

BRADFORD

Werner Herzog.

 

TULIP
Fuck him. Whoever he is. We’re not

meant to be on some other fuckin’

planet. We’re meant to be on this

fuckin’ planet.

 

Both still gaze up at the stars.

TULIP (CONT'D)

Look at it.

 

BRADFORD

Not much to see.

 

TULIP
There’s probably plenty to see but

we’re not meant to see it. Why live

in outer space or on Mars? Save

planet Earth. Assholes.

 

BRADFORD

Scientists?

 

TULIP
Yeh. Ego-fuckin-maniacs!

BRADFORD sucks on his cigarette. Then exhales.

 

TULIP (CONT'D)
Can you lie out under the stars in

either of those God-forsaken shit-

holes?

 

BRADFORD

Nope. You can’t.

 

TULIP
Can you swim in a river or climb a

tree?

 

BRADFORD

Nope.

TULIP
Or watch a hedgehog waddle across

your midnight lawn?

 

BRADFORD

Nope.

TULIP
Even the despairing cry of the

seagulls is a sound to absorb and

embrace. Out there is dead.

 

BRADFORD

Dead down here too.

 

TULIP
Out there. Always out there. I

couldn’t give a toss. I want my

life to take place at my

fingertips.

 

 

BRADFORD

T —

 

TULIP
Not imagining what my life could be

like on another fuckin’ moon or in

another fuckin’ galaxy. My life is

feeling these pebbles and hearing

those waves and holding your hand -

this is special. This is enough.

 

BRADFORD
I agree with you babe. So what the

fuck happened?

 

TULIP

Good question.

 

TULIP jumps to her feet. Takes a deep breath and runs toward the black, toward the sound of the sea.

BRADFORD lifts himself up onto his elbows.

 

BRADFORD

T...


TULIP vanishes, completely consumed by the blackness.

 

BRADFORD hears the splashes and the slaps of someone running into the sea.

 

BRADFORD stands. Then moves to the shoreline, shouting:

 

BRADFORD (CONT'D)

T!


He steps into the water uncertain of his actions.

BRADFORD (CONT'D)

TEEE!...


To go in, to stay out... Standing still, listening.

 

BRADFORD (CONT'D)

TEEEEEE!

 

Listening again... Into the sea up to his waist.

 

BRADFORD (CONT'D)

TEEEEEEEEEE!

 

Back out again.

 

BRADFORD (CONT'D)

TEEEEEEEEEEEEEEE!

 

Nothing but the repetition of the tide too’ing and fro’ing.

 

Then. Something... A shape... Out of the ink comes TULIP stomping at the sea - grinning like a cat.

 

TULIP

It’s incredible!

BRADFORD is shaking - angry/relieved/angry/relieved...

 

TULIP sploshes her way up to BRADFORD. She clasps his face and plants a smacker on his lips.

 

TULIP (CONT'D)

It’s exhilarating! Let’s go!

TULIP runs back in.

BRADFORD stares. Then charges into the darkness...

BRADFORD

Oooooooo Eeeeeeeee!

EXT. BEACH ROAD - NIGHT

Splat! Splot! Splat! Splot! Splat! Splot! Splat! Splot!...

 

BRADFORD and TULIP, both sodden, traipse along the road.

 

Neither talks. They walk for a minute.

 

Splat! Splot! Splat! Splot! Splat! Splot!...

 

Then:

 

BRADFORD

Are you cold?

 

TULIP

I’m freezing.

 

BRADFORD

Tell me something.

 

TULIP

Tell you what?

 

BRADFORD
To take my mind elsewhere.

 

TULIP

Where’s that?

 

BRADFORD

Where’s what?

 

TULIP

Elsewhere?

 

BRADFORD
Elsewhere is any place but here.

 

TULIP

Where shall I begin?

 

BRADFORD
Angel Delight.

 

TULIP
Okay.

 

BRADFORD

So do so.

 

TULIP

Angel is a butterfly.

 

BRADFORD

A painted lady?

 

TULIP
A grizzled skipper.

 

BRADFORD
What about the ordinary?

 

TULIP
Nothing ordinary about Angel.

 

BRADFORD

How does she survive?

 

TULIP
She is a songwriter.

BRADFORD

Really?

 

TULIP

Yes.

 

BRADFORD 

Singing songs for the lost and the

lonely?

 

TULIP

Absolutely.

 

BRADFORD

Where is she living?

 

TULIP

She is nomadic.

 

BRADFORD

Of course.

 

TULIP
As I speak she is in Buenos Aires.

 

BRADFORD
Do better. Be realistic.

 

TULIP
I am. Buenos Aires.

 

BRADFORD
Why aren’t you in Buenos Aires?

 

TULIP

Circumstances.

 

BRADFORD
Didn’t Angel have circumstances?

 

TULIP
She did. But her circumstances let

her fly.

BRADFORD

Be specific.

 

TULIP

She got the breaks.

 

BRADFORD

Such as?

 

TULIP
Such as not meeting you.

 

BRADFORD

But you love me.

 

TULIP
I do Bradford. But it’s a shackle.

 

BRADFORD
We’re shackled to one another.

 

TULIP

That’s right.

 

BRADFORD

An even break.

 

TULIP
Angel hooked up with Diego

Maradona.

 

BRADFORD

Maradona?

 

TULIP
Diego is a freewheelin’

motherfucker.

 

BRADFORD
Diego got some kind of shit

together.

 

TULIP

You think?

 

BRADFORD

I think.

 

TULIP

You know Diego?

 

BRADFORD

I know his angle.

 

TULIP
He’s obtuse, right? He’s troubled.

BRADFORD
You know that for sure?

 

TULIP

Angel tells me so.

 

BRADFORD
How come Diego tells me nothing?

 

TULIP
Why would he tell you anything?

 

BRADFORD
Kept fighting the good fight though

didn’t he?

 

TULIP

What?

 

BRADFORD

Diego’s dead.

 

TULIP

Maradona?

 

BRADFORD
Yeh. — Maybe I’m not Diego. Maybe

I’m Carlos Valderrama and you’ve

not reached Columbia yet.

 

TULIP

Bradford?

 

BRADFORD

Yeh.

 

TULIP

It ain’t on you.

 

BRADFORD

It ain’t?

 

TULIP

No. It’s on me.

 

BRADFORD
It doesn’t feel like that. You’re

just telling me what I want to

hear. Like fucking fairy tales.

 

TULIP
Maybe Bradders, maybe. But united

we march.

 

Chin up. Chest out. Arms swinging.

Splat! Splot! Splat! Splot! Splat! Splot! Splat! Splot!...

INT. HOUSE (KITCHEN) - MORNING

 

BRADFORD’S fingers working frantically:

 

Taptap tap tap tap   tap taptaptap tap taptap...

 

BRADFORD stops. His eyes half shut. He peers at his typed words. Then looks at the clock on the wall: 6.26

 

He pulls out the sheet and gathers up the night’s work - twenty pages or so.

 

Pushing back his chair, he gets up, and leaves the kitchen...

INT. HOUSE (LIVING ROOM) - MORNING

 

BRADFORD walks into the room and falls into the sofa. He places the writings on the coffee table.

 

Ding dong!   Ding dong!

 

BRADFORD is puzzled.

 

He stands and moves over to the window. Carefully he peeks through the blinds.

 

BRADFORD

(under his breath)

Bollocks.

 

BRADFORD walks back out of the room...

INT. HOUSE (KITCHEN) - MORNING

 

...and back into the kitchen. BRADFORD sits back down at the typewriter. He inserts a new sheet and dives straight in -

 

Taptap tap taptaptap tap taptap...

 

Ding dong ding dong!

INT. HOUSE (BEDROOM) - MORNING

 

TULIP rolls out of the bed. At the window she peers down through the blinds.

 

Below she sees DCI BALL looking up and down the street.

 

TULIP

(under her breath)

Bollocks.

TULIP pulls back from the window and heads over to the wardrobe. Opening the doors she climbs inside then pulls the doors shut.

INSIDE she holds her breath. On high alert.

EXT. HOUSE - MORNING

 

BRADFORD opens the front door.

 

DCI BALL puts his dirty finger to his cracked lips, a silent 

Shhhhh!

DCI BALL

Good morning Mr. Keens.

 

BRADFORD says nothing.

 

DCI BALL looks and smells like he’s had a night of Guinness and whisky chasers.

DCI BALL (CONT'D)

What?

 

BRADFORD

Is this happening?

DCI BALL smiles.

 

DCI BALL

Why not?

 

BRADFORD disappears into the house leaving the door open.

 

BRADFORD (O.S.)

I’m in the kitchen.

 

DCI BALL enters.

INT. HOUSE (KITCHEN) - MORNING

 

Both sit at the kitchen table, the typewriter between them; both look wrecked for different reasons.

 

DCI BALL

How’ve you been?

 

BRADFORD

I’ve been better.

 

DCI BALL
How long did that last?

 

BRADFORD

The better time?

 

DCI BALL

Yeh. The better time.

BRADFORD

Two years.

 

DCI BALL

That’s not bad.

 

BRADFORD
Could be better. That it?

 

DCI BALL
Could be. Just thought I’d check

in. I’m thoughtful.

(nodding at the

typewriter)

What’s with that?

 

BRADFORD

I write on it.

 

DCI BALL

No shit.

 

BRADFORD
Is there another answer?

 

DCI BALL
I don’t suppose there is. But you,

actually writing on that -

(nodding again at the

typewriter)
gives me answers. It tells me

plenty.

 

BRADFORD

Like what?

 

DCI BALL
Like you’ve figured the shit out.

 

BRADFORD

Does it?

 

DCI BALL
To write on that thing it’s a

commitment.

BRADFORD

Is it?

 

DCI BALL

You know it is.

 

BRADFORD

It saves time later.

 

DCI BALL

Saves backtracking.

BRADFORD
You can still head north when you

intended heading south.

 

DCI BALL

Then what?

 

BRADFORD
Then you burn it. No tears. No

hesitation.

DCI BALL

Impressive.

 

BRADFORD
So what does it tell you?

 

DCI BALL

Premeditation.

 

BRADFORD

Meaning?

 

DCI BALL

Meaning you ain’t stupid.

 

BRADFORD

That right?

 

DCI BALL

I’d say it is.

 

BRADFORD
I see. Certain words are synonymous

with certain actions.

DCI BALL

Which ones?

 

BRADFORD

Words or actions?

 

DCI BALL grins.

 

DCI BALL

That ain’t my doing.

 

BRADFORD shakes his head. Then stands.

 

BRADFORD

Coffee?

DCI BALL

Please.

 

BRADFORD switches on the kettle.

 

DCI BALL (CONT'D)

Mind if I take a peek at what

you’ve written?

 

BRADFORD

No.

 

DCI BALL

You don’t mind?

 

BRADFORD

No. I do mind.

 

DCI BALL
Just interested in the writing

process. Just interested in how

those letters grasp on to that thin

piece of paper.

 

BRADFORD
You must dabble with a lot of make-

believe.

 

DCI BALL
I do Bradford, I really do. I love

it. Splash of the old sparkle dust

here and there.

 

BRADFORD
Then you know how those letters

find themselves where they do.

 

DCI BALL
But making them stick, you know,

that ain’t so easy.

 

BRADFORD backs down.

 

BRADFORD

Be my guest.

 

DCI BALL hides his surprise. They look at each other.

 

DCI BALL moves into BRADFORD’S chair. He leans in and reads the writings.

 

DCI BALL looks up at BRADFORD.

 

DCI BALL

That it?

 

BRADFORD

A slow night.

 

DCI BALL

You’re writing about her.

BRADFORD

And?

 

DCI BALL

Fact or fiction?

 

BRADFORD

Who knows.

DCI BALL

You don’t?

 

BRADFORD

They merge.

 

DCI BALL
Can I use your toilet? I’m

bursting.

BRADFORD

No.

 

DCI BALL
No?

BRADFORD
I don’t.

DCI BALL

You don’t?

BRADFORD

I’ve not been in since.

 

DCI BALL
Then where are you shitting?

 

BRADFORD smiles.

DCI BALL stands...

 

DCI BALL (CONT'D)

I’ll be respectful.

He leaves the room.

INT. HOUSE (HALLWAY) - MORNING

 

DCI BALL climbs the stairs...

 

INT. HOUSE (BACK BEDROOM) - MORNING

DCI BALL pops his head into the empty back room - nothing.

INT. HOUSE (LANDING) - MORNING

He walks straight past the closed bathroom door...

 

INT. HOUSE (BEDROOM) - MORNING

 

...and into the bedroom. DCI BALL takes in the room.

 

He moves over to the wardrobe, he stops. He puts a cigarette between his lips. Sparks the lighter. Touches the flame to the tip and sucks. Exhaling through his nostrils.

DCI BALL takes hold of both handles and pulls open the doors... The wardrobe is empty apart from some neglected clothes: a few dresses, a few coats.

 

DCI BALL closes the doors.

 

He then sits on the edge of the bed. The room is void of personality. No pictures. No stuff.

 

DCI BALL drops his cigarette to the carpet.

 

He stands up. Unzips his fly, helps out his dick and begins to extinguish the cigarette with good aim. The urine splatters the carpet and the butt... Tsssss!

 

INT. HOUSE (KITCHEN) - MORNING

BRADFORD has sat down with his coffee.

 

He listens to the footfalls of DCI BALL coming down the stairs and approaching the room...

 

DCI BALL appears.

 

DCI BALL

I’m going.

 

BRADFORD

Is that so?

 

DCI BALL

Yeah.

 

BRADFORD
So six thirty in the morning to

have a piss in someone’s house.

 

DCI BALL grabs his cup of coffee...

 

DCI BALL

And to say hello.

...and downs the coffee.

BRADFORD

Hello?

DCI BALL

You were up.

BRADFORD

But still...

DCI BALL
Never still. Always moving. Thanks

for the coffee.

 

Plonking the cup on the table.

DCI BALL (CONT'D)
Just one thing... You knew she had

a gun right?

 

BRADFORD

Did I fuck.

 

DCI BALL

You didn’t?

BRADFORD

No.

DCI BALL

Really?

BRADFORD

Really.

 

DCI BALL looks uncertain.

 

DCI BALL
How’d she keep that from you?

 

BRADFORD
She was quite good at that kind of

thing.

 

DCI BALL
You had any visitors lately?

 

BRADFORD

Like who?

 

DCI BALL shrugs his shoulders.

 

DCI BALL
I don’t know, concerned folk,

shoulders to cry on —

 

BRADFORD

Nobody.

DCI BALL
Ok then. See you tomorrow.

DCI BALL salutes - one finger to the forehead salute.

BRADFORD

See yourself out.

EXT. HOUSE - MORNING

DCI BALL closes the front door behind him and heads towards his parked car, it’s half on half off the pavement at an odd angle. Opening the door he gets inside.

 

From inside he looks up at the bedroom window... Nothing.

 

DCI BALL yawns... DANG! DUNK! KLANG...! The detective is flummoxed. Someone has leapt up onto his car, is stomping over the roof, then jumps down onto the bonnet... DWANG..!

 

NEIGHBOUR drops down onto the ground. He turns...

 

NEIGHBOUR

Park on the fuckin’ road!

 

DCI BALL grins.

 

NEIGHBOUR gesticulates that DCI BALL is also a wanker and carries on his way to work.

 

DCI BALL laughs in disbelief.

 

INT. HOUSE (KITCHEN) - MORNING

 

BRADFORD finishes his coffee.

 

He stares at the typewriter.

 

Ding dong! Ding dong!

 

BRADFORD

(under his breath)

Fuck!

 

INT. HOUSE (HALLWAY) - DAY

 

BRADFORD opens the front door.

 

A woman, Tulip’s mother, dressed all in black, wearing shades.

 

BRADFORD

Oh.

 

MARIE-ODILE (60s) looks at BRADFORD’S dishevelled appearance.

 

MARIE-ODILE
You need to respect the dead.

 

BRADFORD
Do I? I think the dead could’ve

respected me.

 

MARIE-ODILE
Maybe it’s ‘cos of that attitude

that the dead are dead.

 

MARIE-ODILE pushes past BRADFORD and steps inside the house...

 

INT. HOUSE (LIVING ROOM) - DAY

 

...and enters the living room.

 

MARIE-ODILE waits in the centre of the room.

 

BRADFORD joins her. MARIE-ODILE just stares.

 

BRADFORD

What?

 

MARIE-ODILE

Where’d it happen?

 

BRADFORD doesn’t reply.

 

MARIE-ODILE (CONT'D)

Where did it happen?

 

BRADFORD

Upstairs. The bathroom.

 

MARIE-ODILE

Show me.

 

BRADFORD

No chance.

 

MARIE-ODILE
That’s insensitive.

 

BRADFORD

For me too.

 

MARIE-ODILE

Did you kill her?

 

BRADFORD

What?

 

MARIE-ODILE
DC Eyeball has his suspicions.

 

BRADFORD

Why would he say that?

 

MARIE-ODILE

Evidence.

 

BRADFORD

I was fucking working!

 

MARIE-ODILE

Take me upstairs.

 

BRADFORD

(yelling)

NO!

 

INT. HOUSE (LANDING) - DAY

 

Both BRADFORD and MARIE-ODILE stand outside the bathroom.

 

BRADFORD

I ain’t going in.

 

MARIE-ODILE

(screwing up her nose,

nodding at the bedroom)

You been pissing in there?

 

BRADFORD
I can’t go in. I’ll leave you to

it.

 

BRADFORD walks past MARIE-ODILE and back down the stairs.

 

MARIE-ODILE gathers herself. She turns the door handle and gently pushes the door open...

 

INT. HOUSE (BATHROOM) - DAY

 

The bathroom is stark and clean.

MARIE-ODILE moves into the room; her face is bloodless. She’s trying to feel Tulip's presence... The room is cold.

 

MARIE-ODILE sits on the edge of the bath. Quietly her emotions simmer then boil: tears first then sobs and now constrained cries. The pain is evident. She gasps for oxygen. Her chest convulses. Distraught guttural sounds escape her throat. Snot oozes down from her nostrils. Grabbing some toilet paper she blows her nose - Brrrrrrrrr!

 

Big deep breaths. Her lungs contract and expand. The breathing finally begins to regulate.

 

A mirror is positioned above the handbasin opposite. MARIE- ODILE lifts up her shades.

 

She squints through her watery eyes. She moves closer to the reflection. Then twists her head to look up into a corner of the ceiling - what’s that?

 

Carefully she stands on the edge of the bath and reaches high into the corner. Stuck to the ceiling is something - long strands of hair?

 

Gently MARIE-ODILE peels it from its position... Stepping down she looks closer. Holding it in her hands: it is a five pence sized piece of scalp with 20cm long hairs attached.

 

Delicately MARIE-ODILE curls up the hair and slips it into an inside pocket.

INT. HOUSE (KITCHEN) - DAY

 

MARIE-ODILE enters the kitchen.

 

BRADFORD is sat back in his chair. The wall clock in his hand; he’s fiddling with the batteries.

 

BRADFORD

Did it help?

 

MARIE-ODILE

With what?

 

BRADFORD

With anything.

 

MARIE-ODILE

Nothing.

 

BRADFORD

What time did you get here?

 

MARIE-ODILE

Midday.

 

BRADFORD frowns and re-sets the time.

 

MARIE-ODILE (CONT'D)

Rose is coming back.

 

BRADFORD

From Argentina?

 

MARIE-ODILE
Yes. Who cleaned up the mess?

 

BRADFORD

Police people.

 

MARIE-ODILE

Is that a profession?

BRADFORD

Probably.

 

MARIE-ODILE

Fuckers should get sacked.

 

BRADFORD

Why?

 

MARIE-ODILE
No reason.

 

BRADFORD
Can you give me a lift?

INT. POLICE STATION (FRONT DESK) - DAY

 

BRADFORD is hunched over the desk filling out a form.

 

The DESK SERGEANT stares at him. Subtly he shakes his head; jaws clenched.

 

BRADFORD finishes with a flamboyant signature and pushes the form toward the DESK SERGEANT.

 

DESK SERGEANT
You know we keep our records for

eternity.

 

BRADFORD
I’m fucking pleased to hear that.

 

DESK SERGEANT

It never backfires.

 

BRADFORD ponders this, then leaves.

 

The DESK SERGEANT follows BRADFORD with his eyes whilst he takes out a mobile from his pocket; he dials a number and puts the phone to his ear.

 

INT. STORE ROOM - DAY

 

DCI BALL finishes the call flipping shut his mobile.

 

He is sat behind a cheap table, boxes of booze stacked all around him. DCI BALL presses a button on the desk - from elsewhere a faint buzzzzz...

 

INT. OFF-LICENCE - DAY

 

...BUZZZZZZ.

 

A young BOY (12) stands in front of the counter, he takes his two bottles of cider.

SHOPKEEPER winks and gurns at the BOY.

 

SHOPKEEPER
Don’t drink that all at once.

 

The BOY leaves quickly.

 

The SHOPKEEPER steps out from behind the counter and goes through to the back...

 

INT. STORE ROOM - DAY

 

SHOPKEEPER enters the room...

 

DCI BALL hurls a ten inch knife that FWACKS! into the wall beside SHOPKEEPER... It bounces off the wall and clatters to the floor.

 

SHOPKEEPER

(shouting)

You bastard!

 

DCI BALL is nonplussed.

 

SHOPKEEPER picks up the weapon. The knife is huge.

 

DCI BALL
The amnesty’s closed. I have

buckets of ‘em to flog. But make

sure to no fucker with suicidal

tendencies.

 

SHOPKEEPER
She said the gun was for fun.

 

DCI BALL
Never believe anything anyone ever

says.

 

DCI BALL stands.

 

DCI BALL (CONT'D)

Here. This is for you.

 

He holds out a handbag.

 

SHOPKEEPER

For me?

 

She takes it, sheepishly - it says Gucci.

 

DCI BALL
Because you’re beautiful, inside

and out.

INT. HOUSE (BEDROOM) - NIGHT

 

BRADFORD pulls open the wardrobe doors.

 

TULIP is slumped into a corner. She looks unhappy.

 

TULIP
You forgot about me.

 

BRADFORD drops to his knees.

 

BRADFORD
I don’t think that’s possible.

 

He takes hold of her hands.

 

TULIP
Well it is because you did.

 

BRADFORD

I’m sorry.

 

BRADFORD helps TULIP out of the wardrobe.

 

TULIP

Make me smile.

BRADFORD

Your mother was here.

 

TULIP
That’s not going to do it.

 

TULIP leaves the bedroom. BRADFORD follows...

 

INT. HOUSE (LANDING) - NIGHT

 

Along the landing...

 

TULIP
That’s not how you make somebody

smile.

 

BRADFORD
Smiling doesn’t feel right.

 

TULIP
We should smile morning, noon and

night.

 

Heading down the stairs...

 

BRADFORD
That ain’t fucking practical.

 

TULIP

Works for me.

BRADFORD
You don’t and you didn’t.

 

Along the hallway...

 

TULIP

Didn’t what?

 

BRADFORD

Smile.

 

TULIP stops and smiles. The smile quickly disappears.

 

TULIP
I’m glad I missed her.

 

BRADFORD

Glad?

 

TULIP
Yeh. Glad. It is a weird word.

 

BRADFORD
It’s a weird world that you would

be glad.

 

TULIP

Jesus fuck Bradford.

 

She turns and heads to the kitchen. BRADFORD follows...

 

BRADFORD
Sorry. - Two cannibals eating a

clown. One says to the other: ‘Does

this taste funny?’

 

INT. HOUSE (KITCHEN) - NIGHT

 

Into the kitchen.

 

TULIP
That’s better. What else?

 

BRADFORD

That’s all I’ve got.

 

TULIP

Got no more?

 

BRADFORD

Nope.

 

TULIP sits at the table.

 

TULIP
Write me a love letter.

 

BRADFORD
Why’s this shit always one way?

 

TULIP

Just do it.

 

BRADFORD sits at the typewriter.

 

BRADFORD

It’s not easy.

 

TULIP
No. It ain’t. I struggled too. But

know this —

 

BRADFORD
No nothing. Just kiss me Tulip.

 

TULIP
I can do that babe. And I will.

 

BRADFORD

But first?

 

TULIP

That’s right.

 

BRADFORD
That’s wrong. I ain’t bothering.

 

TULIP
How are we going to get from here

up to there?

 

BRADFORD

To where?

 

TULIP

You know.

 

BRADFORD

We walk and climb.

 

TULIP

After you.

 

BRADFORD

After this.

 

TULIP

After what?

 

BRADFORD leans to one side: Brrraaap!

 

TULIP’S face lights up as bright as the illuminations.

 

TULIP (CONT'D)

You did it!

TULIP dives onto BRADFORD. They kiss - passionately. TULIP pulls back.

 

TULIP (CONT'D)

Waltzer.

 

BRADFORD

Waltzer?

 

TULIP
Yeh. That’ll fuckin’ do it too!

EXT. FAIR GROUND - NIGHT

 

BRADFORD and TULIP are squashed together inside the spinning cab. Both are screaming with joy and exhilaration. The waltzer whips and slows and accelerates and whips again.

 

The light switches and slashes and blinds and is colourful and pulsating.

 

The music throbs and drills: Unph! Unph! Unph! Unph! Unph! Unph...!

 

BRADFORD is turning pale. TULIP throws her arms in the air.

 

TULIP

Woooooooohooooooo!

 

INT. HOUSE (BEDROOM) - NIGHT

 

BRADFORD and TULIP are in bed; the sheets are a mess, their bodies damp with sweat.

 

A bedside lamp casts a warm glow over the couple lying on their sides facing each other.

 

BRADFORD

Where did the day go?

 

TULIP

It went no place.

 

BRADFORD
It must have gone someplace.

 

TULIP
That place for me was inside a

wardrobe. That wardrobe...

(indicating with a tilt of

her head)
I was in that place a good twelve

motherfuckin’ hours.

 

BRADFORD
But where was my place?

 

TULIP
Fuck knows. Wherever it was it

wasn’t as bad.

 

BRADFORD
I fear it was just as dark and just

as lonely.

 

TULIP
So where did the night go?

 

BRADFORD
I know where the night went.

 

TULIP
That’s all that matters. The day

can kiss my ass.

 

BRADFORD

How so?

 

TULIP

‘Cos I say so.

 

BRADFORD
Kissing your ass is kissing the

gates of heaven.

 

TULIP

Is it?

 

BRADFORD

You bet.

 

TULIP
Well the day can stick its finger

up my ass.

 

BRADFORD
Anything to do with your ass ain’t

any kind of retribution.

 

TULIP

It ain’t?

 

BRADFORD

No ma’am.

 

TULIP
Whatever. But I’ll say it again,

the day ain’t where shit happens.

 

BRADFORD

Who says?

 

TULIP
I just says. Life happens at night.

 

BRADFORD
Are you reassuring me that I missed

nothing?

 

TULIP
You take me to be more thoughtful

than I really am.

 

BRADFORD

Significant shit happens in

daylight too.

 

TULIP sits up.

 

TULIP

No it don’t.

 

BRADFORD
A great deal of argument could

argue against that T.

 

TULIP

Could it? Let it.

 

BRADFORD

Fine.

 

TULIP
Significant memories always happen

at night.

 

BRADFORD sits up.

 

BRADFORD

Such as?

 

TULIP
Such as this. It’s why you don’t

know where the day went.

 

BRADFORD
I can’t dispute that.

 

TULIP
Didn’t think you could.

 

BRADFORD
But it was daylight when you put a

bullet through your fucking head.

 

TULIP
Afraid not Bradders. The sun had

already set.

 

BRADFORD

Is that true?

 

TULIP

On my life.

 

BRADFORD

On your death.

 

TULIP smiles and places a kiss on his nose.

 

BRADFORD (CONT'D)

I need some water. Want some?

 

TULIP shakes her head.

INT. HOUSE (KITCHEN) - NIGHT/MORNING

 

BRADFORD, completely naked, fills a glass under the tap. (It’s NIGHT-TIME)

 

Then drinks the water.

 

Then places the glass down on the counter.

 

Then fixes his eyes on the typewriter, sat still sturdy and silent. The piece of paper arching backwards, dozing, subconsciously acknowledging that sooner or later it will be pulled through, feet first, to have someone else’s thoughts hammered onto its skin.

 

BRADFORD sits down at the table. Just staring.

 

Staring vacantly at the keys. Not moving.

 

BRADFORD

(to himself)

What next?

 

TULIP (O.S.)

Who knows.

 

BRADFORD is startled.

TULIP is stood in the doorway. (It’s DAYTIME)

 

BRADFORD

Why are you dressed?

 

TULIP
Why are you bollock naked?

 

BRADFORD looks at himself then looks at the clock on the wall: 10.49

 

Sunlight fills the room.

 

BRADFORD

How’s it ten to eleven?

 

TULIP

How’s it not?

 

BRADFORD

Eh?

 

TULIP

I fell asleep.

 

BRADFORD

Maybe I did too.

 

TULIP

Written anything?

 

BRADFORD looks at the sheet.

 

BRADFORD

Something. Nothing.

 

TULIP

No ideas?

 

BRADFORD

Good ones? No.

 

TULIP
Did the detective turn up?

BRADFORD

No.

Ding dong!   Ding dong!

TULIP

You’re joking! I’m playing it safe;

I’ll be in the bathroom.

TULIP darts out of the room.

 

EXT. HOUSE - MORNING

 

DCI BALL presses the bell again: Ding dong! Ding dong!

 

INT. HOUSE (KITCHEN) - MORNING

 

BRADFORD attacks the typewriter:

 

Tap tap taptap tap  taptaptap tap tap tap taptap tap...

 

EXT. HOUSE - MORNING

 

Ding dong ding dong ding donnng...!

 

DCI BALL tries peering through the window blinds.

 

UP AT A WINDOW: Bradford’s NEIGHBOUR’S head.

 

NEIGHBOUR

Oi! Are you a pig?

 

DCI BALL looks up, he fixes on the NEIGHBOUR, recognising him.

 

DCI BALL

Say that again.

 

NEIGHBOUR

Are you a poh-lease-man?

 

DCI BALL

I’m none of your fuckin’ concern.

 

NEIGHBOUR

If you’re not a pig then I’m

calling the pigs.

 

DCI BALL

I wouldn’t expect a response.

 

NEIGHBOUR

‘Cos I think that poor sap in there

is losing his fuckin’ marbles!

 

DCI BALL

What’s that got to do with the

cops?

 

NEIGHBOUR

One thing leads to another. If you

fuckers did your job properly!

 

The front door opens - BRADFORD appears, bollock naked.

 

DCI BALL looks him up and down.

 

DCI BALL
Who’s the twat up at the window?

INT. HOUSE (LIVING ROOM) - MORNING

 

BRADFORD and DCI BALL sit down facing each other. BRADFORD’s legs are spread asunder.

 

BRADFORD

Coffee?

 

DCI BALL

You’ve just sat down.

 

BRADFORD stands, his bits and pieces dangling.

BRADFORD
Just as easy to stand up again.

 

DCI BALL smiles.

 

DCI BALL
Why don’t you put some pants on?

 

BRADFORD sits back down.

 

BRADFORD

Barry Swift.

 

DCI BALL

Him next door?

 

BRADFORD nods.

 

DCI BALL (CONT'D)

He’s fucked.

 

BRADFORD pulls a ho-hum expression.

 

DCI BALL (CONT'D)

Ho-hum indeed.

(beat)
The coroner gave their verdict.

 

BRADFORD waits a second.

 

BRADFORD

Did they?

 

DCI BALL

Suicide.

 

No reaction from BRADFORD.

 

DCI BALL (CONT'D)

How’d you feel about that?

 

Still no response from BRADFORD.

 

DCI BALL (CONT'D)

‘Cos you know and I know that

they’ve made a fuckin’ mistake.

 

BRADFORD blinks.

 

BRADFORD

A mistake?

 

DCI BALL

You did it.

 

BRADFORD erupts:

 

BRADFORD (shouting)

I was fucking working!

DCI BALL ignores BRADFORD’S outburst.

 

DCI BALL

I’m certain so.

 

BRADFORD

Certain of what?

 

DCI BALL
That you pulled the trigger.

 

BRADFORD

From the fucking factory?

 

DCI BALL

Indirectly.

 

BRADFORD

Based on what?

 

DCI BALL

Based on my gut.

 

BRADFORD pauses - a deep breath, exacerbated.

 

BRADFORD
How the fuck did you make your

rank?

 

DCI BALL
Intuition. They can’t teach that.

 

BRADFORD
So where did she get the gun?

 

DCI BALL
You got the gun. My intuition says

so.

 

BRADFORD
Your intuition ain’t worth a flying

fuck.

 

DCI BALL

A what?

BRADFORD

I ain’t in that world. Where would

I get a gun?

DCI BALL

Was she?

BRADFORD

No.

DCI BALL

But she got a gun?

 

BRADFORD has no reply.

 

DCI BALL (CONT'D)

Then it’s not too much of a stretch

to assume the same for you.

 

BRADFORD

Find the fucker who gave her the

gun!

 

DCI BALL
Do you have the answer to that?

 

BRADFORD

What!?

 

DCI BALL
To where she got the gun?

 

BRADFORD stands again.

 

BRADFORD
I’m having a coffee. I can’t take

this shit seriously.

 

BRADFORD walks out of the room.

 

DCI BALL

All that coffee; don’t it give you

the squits and jitters?

DCI BALL sits for awhile. Then gets up from his chair.

INT. HOUSE (KITCHEN) - MORNING

 

BRADFORD spoons the coffee into a cup.

 

DCI BALL enters the kitchen.

 

DCI BALL

Is that us finished?

 

BRADFORD

You’re asking me?

 

DCI BALL

I am.

 

BRADFORD
Then yes, we’re finished.

 

DCI BALL

I’ll decide that.

 

BRADFORD turns to look at DCI BALL. He looks at him a long time.

 

BRADFORD

What is this?

 

DCI BALL

What’s what?

 

BRADFORD
Is this because I put in the

complaint?

 

DCI BALL
I did think we were on the same

team.

 

BRADFORD

What team’s that?

 

DCI BALL

Team Tulip.

 

BRADFORD
You telling her mother that I was a

suspect don’t seem to me like

you’re a team player.

 

DCI BALL
No it don’t. But that was me just

probing.

 

BRADFORD

Probing what?

 

DCI BALL
It’s what a detective does.

Searches for the truth.

 

BRADFORD explodes:

 

BRADFORD

The truth is that T blew her brains

out up in that bathroom with a gun

she obtained from some cunt! Go

find that fucking cunt!

 

DCI BALL
I could be looking at him.

 

BRADFORD

Your intuition is shot to fuck!

Find the fucker or I’ll create

fucking havoc!

 

DCI BALL nods at the typewriter.

 

DCI BALL

Writing going well?

 

The typewriter is empty.

 

BRADFORD is breathing like a furious bull.

 

DCI BALL (CONT'D)

Mind if I smoke?

 

BRADFORD

Only if you piss where you’re meant

to piss.

 

DCI BALL shifts uncomfortably.

 

DCI BALL
Not sure how the two connect but —

 

BRADFORD
I smoke in the backyard. Join me if

you want.

 

BRADFORD goes to leave the kitchen.

 

DCI BALL
You keep walking away from me.

 

The back door closes.

 

DCI BALL looks at the typewriter, pointless without paper.

 

Then he looks at the pedal bin.

 

DCI BALL walks over to it and steps on the pedal of the bin.

 

The lid opens: a scrunched-up piece of paper sits atop the trash.

 

DCI BALL reaches in and pulls it out. He unfurls the paper and quickly scans the typed words.

 

He looks up, he studies BRADFORD through the window.

 

DCI BALL scrunches up the paper and drops it back into the bin.

 

INT. HOUSE (STAIRS/LANDING) - MORNING

 

DCI BALL creeps up the stairs...

 

Onto the landing...

 

Standing in front of the bathroom door he gently pushes it open...

 

INT. HOUSE (BATHROOM) - MORNING

 

...DCI BALL quietly enters into the bathroom whipping back the shower curtain - nobody there. He shakes his head to himself. He exits the bathroom...

 

INT. HOUSE (LANDING) - MORNING

 

DCI BALL leans over the landing railing - looking and listening. He then slinks into the bedroom...

 

INT. HOUSE (BEDROOM) - MORNING

 

...heading straight for the chest of drawers. He pulls open the top drawer: t-shirts and stuff - and pushes it closed.

 

He pulls open the second drawer: pants and blouses - DCI BALL takes out a revolver from his inside pocket and wipes it clean with his pulled out shirt and then plants the gun amongst Tulip’s lingerie.

 

DCI BALL pushes the drawer shut.

EXT. HOUSE (BACK YARD) - MORNING

 

DCI BALL steps out of the back door joining BRADFORD for a smoke. He pops a cigarette between his teeth...

 

DCI BALL
The body’s been released.

 

...then lights up the fag.

 

BRADFORD sucks on his cigarette, looking solemn.

 

DCI BALL (CONT'D)

To the mother.

 

BRADFORD’S shoulders sag a little.

 

BRADFORD
To be expected I s’pose.

 

DCI BALL

Why s’pose?

 

BRADFORD
I don’t know. I don’t know

anything. I don’t know what day it

is never mind what the right

reasons are.

 

BRADFORD’S eyes are starting to fill up.

 

BRADFORD (CONT'D)

I’d have died for her.

 

DCI BALL
She didn’t want you dead. She

wanted dead.

 

BRADFORD

This is killing me.

 

BRADFORD lets go, the tears roll down his cheeks.

 

BRADFORD (CONT'D)

I’m exhausted and empty but my head

won’t stop, it won’t grind to a

halt. I’ve got a fucking tornado of

thoughts spinning incessantly. They

don’t cease...

 

His voice is shaking. His naked body looks pathetic.

 

BRADFORD (CONT'D)

They don’t disappear...

 

His nose is dribbling.

 

BRADFORD (CONT'D)

They don’t ever die down...

 

He catches his breath; his rib cage heaves and stutters.

 

BRADFORD (CONT'D)

I just need some peace and some

sleep and some help. Can you

fucking help me?

 

DCI BALL is thrown. This is uncomfortable.

 

DCI BALL

I dunno.

 

BRADFORD

Please!

 

DCI BALL

I need the toilet.

 

DCI BALL drops his cigarette and turns and enters the house.

 

BRADFORD wipes his nose.

 

INT. HOUSE (HALLWAY) - MORNING

 

DCI BALL rushes up the stairs...

INT. HOUSE (LANDING) - MORNING

 

...along the landing...

INT. HOUSE (BEDROOM) - MORNING

 

...and into the bedroom. He heads straight for the chest of drawers, pulling open the second drawer. Rummaging he finds the revolver and puts it back into his inside pocket and pushes the drawer shut.

 

EXT. HOUSE (BACK YARD) - MORNING

 

DCI BALL steps back out into the yard.

 

DCI BALL

Your kettle’s boiled.

 

He picks up his cigarette.

 

DCI BALL (CONT'D)
I think we’re done so I’m gonna go.

 

BRADFORD

(eyes bloodshot)

We’ve been talking.

 

DCI BALL stops instantly.

 

DCI BALL

Who’s we?

 

NEIGHBOUR (O.S.)

Me. You prick.

 

Up at the window is NEIGHBOUR.

 

NEIGHBOUR (CONT'D)

Listen to him.

 

DCI BALL looks at BRADFORD.

 

DCI BALL

Barry Swift?

 

BRADFORD

He’s got info.

 

DCI BALL

Info?

 

NEIGHBOUR

The fuckin’ off-licence!

 

BRADFORD

The off-licence.

 

DCI BALL

What about it?

 

NEIGHBOUR

It’s a fuckin’ fence.

 

BRADFORD

Do you get it?

 

DCI BALL

Get what?

 

NEIGHBOUR

Tell him it’s a fuckin’ fence.

 

BRADFORD

It’s a fence.

 

DCI BALL

It’s a what?

 

NEIGHBOUR

He fuckin’ gets it alright.

 

BRADFORD

(getting excited)

I say go raid that fucker

detective.

 

DCI BALL looks up at NEIGHBOUR.

 

DCI BALL

How’d you know?

 

NEIGHBOUR

I know all kinds of shit.

 

BRADFORD

What you waiting on?

 

DCI BALL
I thought you wanted peace?

 

NEIGHBOUR

He wants justice!

 

BRADFORD

Finding the motherfucker who sold

her the gun will give me peace. I’m

like a dog with a fucking bone...

 

BRADFORD snarls and shakes his head vigorously - as though he’s shaking the life out of a rabbit clenched between his teeth.

 

NEIGHBOUR

(grinning insanely)

Told you the fucker was crazy!

 

DCI BALL

One second.

DCI BALL rushes into the house...

INT. HOUSE (HALLWAY) - DAY

 

He charges up the stairs...

 

INT. HOUSE (LANDING) - DAY

 

...along the landing...

 

INT. HOUSE (BEDROOM) - DAY

 

...and into the bedroom.

 

DCI BALL pulls open the second drawer.

 

Again he takes out the revolver from his inside pocket and again he cleans it thoroughly with his pulled out shirt.

 

He places the gun back snugly amongst Tulip's pants.

 

EXT. HOUSE (BACK YARD) - DAY

 

DCI BALL steps back out into the yard.

 

DCI BALL
Sorry about that. Got caught short.

 

NEIGHBOUR

Still full of shit I bet.

 

BRADFORD smiles.

 

BRADFORD

Well?

 

DCI BALL

Well what?

 

BRADFORD

Call your fucking crew and go bust

that place wide open.

 

DCI BALL

Shut it down?

 

BRADFORD

YES!

 

DCI BALL

An off-licence?

NEIGHBOUR

How many fuckin’ times? YES! The

off licence!

 

BRADFORD quickly moves toward the kitchen...

 

BRADFORD

Let's go!

 

INT. HOUSE (KITCHEN) - MORNING

 

...BRADFORD walks through the kitchen...

 

INT/EXT. HOUSE (HALLWAY) - MORNING

 

...and into the hallway.

 

BRADFORD opens the front door and waits for DCI BALL.

 

Still waiting. Nothing but quietness.

 

BRADFORD wonders. Then:

 

DCI BALL (O.S.)

OOH AH AH! OO-OO-OO-OO AH! AH...!

 

The high-pitched cry of a chimpanzee resonates from within the kitchen. Heavy panting follows the shrill cries.

 

DCI BALL pops his head round the corner of the door, he sniffs the air; his facial expressions have transmogrified. Cautiously he steps inside the hallway; his back is bent, his chin juts forward, his arms hang limply mimicking the posture of a chimp. DCI BALL rocks and rolls his shoulders as he moves into the space...

 

DCI BALL (CONT'D)

OO-OO-OO-OO-OO AH! AH! OOH AH...

AH...!

 

DCI BALL keeps sniffing BRADFORD’S scent. His lips peeling back, snarling, revealing his brown teeth. He starts making staccato huffing sounds...

 

BRADFORD hides his bemusement.

 

DCI BALL moves closer to BRADFORD, confidence is replacing hesitancy. Slowly DCI BALL starts to straighten his back, his ape-like features morph into the stern and serious and threatening look of a pissed-off bent copper. His back fully straightened, his chest puffed out, his face right in BRADFORD’S - they just stare at each other.

 

DCI BALL (CONT'D)

I ain’t nobody's fuckin’ monkey.

BRADFORD calmly holds the front door open.

 

DCI BALL (CONT'D)

The only fuckin’ bidding I do is

mine. Get it?

 

BRADFORD does not react.

 

DCI BALL moves closer still, his words become even more intense and intimidating.

 

DCI BALL (CONT'D)

Let it be said. What you’ve got for

sure, in me, is a tip-fuckin’-top

crimefighter. Not only am I a

heavyweight World Champion I’m also

the fuckin’ greatest shadow-boxer

who’s walked this pointless

earth... Do you dig what I’m

saying?

 

BRADFORD
That you’ll crack this case?

 

DCI BALL relaxes a little.

 

DCI BALL

One way or another I fuckin’ will.

 

DCI BALL gently slaps BRADFORD’S face a couple of times and then steps out of the house.

 

BRADFORD watches as DCI BALL crosses the road towards his car.

 

BRADFORD shuts the front door. Then heads back into the kitchen...

INT. HOUSE (KITCHEN) - MORNING

 

BRADFORD pours the hot water from the kettle into the cup.

 

Stirs it.

 

Then leaves the room with his brew...

 

INT. HOUSE (LIVING ROOM) - MORNING

 

BRADFORD sits down in the chair facing the front window.

 

Through the window DCI BALL is seen striding back up past the house.

 

BRADFORD sips his drink.

 

Hanging above the mantelpiece is a framed jigsaw of two tigers cuddling each other. The CAMERA slowly PUSHES IN.

 

Through that wall can be heard this: BAM! BAM! BAM! BAM! BAM! BAM! Muffled shouts. BAM! BAM! BAM! BAM! BAM! BAM! Muffled shouts. Stomping down the stairs... Then: SLAM! BAM! KER-ASH! A sudden rush of smashing cracking banging tumbling screaming suffocating succumbing...                  A door slams shut.

 

Outside the window DCI BALL heads back down the street.

 

BRADFORD slurps his coffee.

 

Ding dong! Ding dong!

 

EXT. HOUSE - NIGHT

 

ROSE (30s) presses the doorbell again: Ding dong!

 

ROSE is the twin sister of Tulip. (The actor playing Tulip

will also play Rose.)

 

ROSE has a different style to Tulip. On her back is a backpack.

 

The door opens. BRADFORD is surprised; he looks deranged.

 

BRADFORD

Rose.

 

ROSE

Bradford.

 

Neither are sure what to say next.

 

BRADFORD
I was just finishing my coffee - I

think.

 

ROSE
That’s good. Are you good?

 

BRADFORD

No. What about you?

 

ROSE
Me neither. Can I stay?

 

BRADFORD

Here?

 

ROSE

Is it safe?

 

BRADFORD

Safe as houses.

 

ROSE
Maybe put some clothes on?

 

INT/EXT. CAR - NIGHT

 

From a distance, through a windscreen, ROSE can be seen entering Bradford’s house.

 

DCI BALL takes a drag on his cigarette, the tip’s burnt embers briefly brighten his face... DCI BALL blows the smoke out of the gap in the side window.

 

His eyes stay watching the house. The street and the house remain quiet.

 

DCI BALL pulls on the cigarette again. Then blows the smoke out the...

DCI BALL

(startled)

Holy Fuck!

 

NEIGHBOUR’S busted swollen distorted face is pressed up against the side window - it’s hideous.

 

DCI BALL (CONT'D)

You motherfucker!

 

DCI BALL shoves open the car door sending NEIGHBOUR jumping backwards like a kangaroo, laughing and grimacing - his left leg is cast in plaster, his head is bruised and scabby, his crutches are just about keeping him upright.

 

DCI BALL jumps out...

 

NEIGHBOUR

Easy pig!

DCI BALL grabs NEIGHBOUR...

 

DCI BALL

I’ll be sure to take it easy while

I’m fuckin’ your ass!

 

DCI BALL slams NEIGHBOUR into the car and bends him over the bonnet, slamming his face into the metal.

 

NEIGHBOUR
(through a squashed face)

Keep it up motherfucker! You’re my

ticket to being filthy fuckin’

rich!

 

DCI BALL closes the handcuffs around NEIGHBOUR’S wrists.

 

DCI BALL

Let’s take a walk!

 

DCI BALL pulls NEIGHBOUR upright and begins to frogmarch him down the street.

 

NEIGHBOUR

I’ll be sipping sangrias in

Torremolinos while you’re getting

ransacked in Wakefield.

 

DCI BALL

That so?

 

NEIGHBOUR

Fuck yeh!

INT. HOUSE (BACK BEDROOM) - NIGHT

 

BRADFORD shows ROSE the back bedroom - a single mattress on the floor.

 

BRADFORD

This is all I’ve got.

 

ROSE

It’ll do me.

 

BRADFORD heads back down the stairs.

 

ROSE looks about the room.

 

She flops the backpack onto the mattress. She pulls at the drawstring; from inside she discards jumpers and trousers and then pulls out a small loudhailer - she flicks a switch - and lifts it to her mouth, her breathing is amplified:

 

ROSE (CONT'D)

Oi! Sister!

 

ROSE shouts at the heavens.

 

ROSE (CONT'D)

I don’t know where you are but I

need you back. He needs you back.

We need you here right this second.

Not in hours or minutes but now...

ROSE waits and listens. Nothing.

 

ROSE (CONT'D)

Tulip get the fuck here!

ROSE stomps out of the room...

INT. HOUSE (LANDING) - NIGHT

 

...along the landing.

INT. HOUSE (BATHROOM) - NIGHT

 

..and into the bathroom. ROSE lifts the loudhailer to her mouth again:

 

ROSE

Can you hear me now? Don’t be

playing stupid fucking games with

me. I can shout this shit out all

night if I have to. But be warned

it might be the final push to drive

your man doolally ‘cos he’s pretty

fuckin’ close to the edge...

 

ROSE waits and listens. Nothing.

ROSE (CONT'D)

C’mon babe! I need some sisterly

advice. I know I said that Diego

and I weren’t serious but I’m

vibing some disconcerting feelings

I ain’t felt before. So you need to

tell me what to do. You need to

tell me should I marry the

fucker!...

Silence.

 

ROSE (CONT'D)

This is bullshit!

 

INT. HOUSE (LANDING) - NIGHT

 

ROSE stomps out of the bathroom and descends the stairs.

 

At the bottom of the stairs she heads for the kitchen...

 

INT. HOUSE (KITCHEN) - NIGHT

 

...ROSE enters the kitchen.

 

BRADFORD, his back to ROSE, is stirring his cup of tea.

 

ROSE lifts the loudhailer once more to her lips:

 

ROSE

Where the fuck is she Bradford?

 

BRADFORD turns around. ROSE steps into BRADFORD’S face, loudhailer right in there:

 

ROSE (CONT'D)

Why ain’t she listening? Why ain’t

she thinking she made a

catastrophic booboo and step right

back into this kitchen and scream

at me to stop making this godawful

racket? Why isn’t she doing that

Bradford? I mean what the -

 

BRADFORD gently eases the loudhailer out of ROSE’S hand.

 

ROSE (CONT'D)

...fuck is that all about?

ROSE’S bottom lip starts to quiver, her eyes are full of tears, a couple escape and roll down her cheeks.

 

BRADFORD lifts the loudhailer to his mouth:

 

BRADFORD

Do you have sugar in your tea?

 

INT. HOUSE (KITCHEN) - LATER

 

BRADFORD and ROSE sit either side of the kitchen table drinking tea.

 

ROSE watches BRADFORD.

 

ROSE

Did you find her?

 

BRADFORD stares at his drink.

 

BRADFORD

Yes.

 

ROSE
It’s nobody’s fault.

 

BRADFORD silently seems to disagree.

 

ROSE (CONT'D)
The dots didn’t connect for her.

Never did. Even as a kid.

 

INT. CHILDHOOD HOUSE (GARDEN) - DAY (FLASHBACK)

 

A GROUP of children run around laughing and playing tig.

 

Stood back from the GROUP is an eight-year-old TULIP. She wears a t-shirt with an embroidered tulip upon it. TULIP looks blank.

 

From out of the group ROSE comes running up toward TULIP, a huge smile across her face; she wears a t-shirt embroidered with a rose upon it.

 

ROSE

Come play.

 

TULIP

No.

 

ROSE

Why not?

 

TULIP

I don’t know how.

 

ROSE

It’s easy.

 

TULIP

It’s not.

 

ROSE

Yes it is.

 

TULIP
Give me your t-shirt.

 

ROSE

No.

 

TULIP

I want to be you.

 

ROSE

We’re identical.

 

TULIP

No we’re not.

 

ROSE takes off her t-shirt. TULIP takes off hers. They swap.

 

TULIP looks at ROSE. ROSE runs off and carries on playing the game.

 

TULIP looks blank. Her eyes fill up. Silently she begins to cry.

INT. CLINIC (PRIVATE ROOM) - DAY (FLASHBACK)

 

The room is austere. Young TULIP sits on a chair. Two metres in front of her sits a male PSYCHIATRIST.

 

PSYCHIATRIST

How do you feel?

 

TULIP

With my hands.

 

TULIP holds out her hands and wiggles her fingers.

 

The PSYCHIATRIST smiles.

 

PSYCHIATRIST

Stupid question.

 

TULIP

How do you feel?

 

The PSYCHIATRIST holds out his hands and wiggles his fingers.

 

TULIP looks blank.

 

PSYCHIATRIST

Do you get scared?

TULIP

Yes.

PSYCHIATRIST

What do you do when you get scared?

 

TULIP

I...

 

EXT. SCHOOL PLAYGROUND - DAY (FLASHBACK)

 

TULIP is surrounded by what looks like a hundred SCHOOL CHILDREN.

 

All of them are pulling faces, chanting and taunting TULIP telling her that she’s stupid.

 

ROSE is shoving back as many of the SCHOOL CHILDREN as possible, trying to protect her sister, but there are way too many, wave upon wave of wicked CHILDREN.

 

TULIP is looking extremely anxious. The pressure is building.

 

Grotesque face-pulling and incessant name-calling envelop    TULIP.

 

ROSE is panicking, yelling at them to please STOP!

 

TULIP suddenly detonates. She charges straight at the CHILDREN in front of her knocking them aside, they go reeling backwards...

 

TULIP busts out of the circle running furiously, running straight at anybody in her way, colliding into and bumping CHILDREN left and right, running and running and running around the school yard, never stopping, on and on and on.

Her expression is stern, her vision is blinkered, just running forward powerfully...

 

The whole school has stopped playing, all the CHILDREN stare at TULIP. Occasionally someone has to step aside as TULIP runs past...

 

INT. CLASSROOM - DAY (FLASHBACK)

 

The CLASS are all gathered at the windows. Looking down on an empty playground except for a lone girl who is running and running...

 

The only child sat at their desk is ROSE.

 

INT. HOUSE (KITCHEN) - NIGHT

 

ROSE takes a sip of her tea.

 

ROSE
Where did she get the gun?

 

BRADFORD shrugs his shoulders.

 

ROSE (CONT'D)

You knew she had a gun?

 

BRADFORD shakes his head.

 

ROSE (CONT'D)
So you didn’t go shooting the shit

out of some busted cars like Bonnie

and fuckin’ Clyde blasting fuck out

of windscreens and tyres and

bonnets hootin’ and a hollerin’

like motherfuckin’ rednecks from

Mississippi?

 

BRADFORD

No.

 

ROSE
Pity. She always wanted to do that.

(beat)
Do the police know where she got

the gun?

 

BRADFORD looks up at ROSE.

 

BRADFORD
The fuckwit leading the case hasn’t

a fucking clue.

 

INT. NEIGHBOUR'S HOUSE (KITCHEN) - NIGHT

 

DCI BALL has his ear to a glass up against the wall.

 

His lips have tightened.

 

NEIGHBOUR (O.S.)

Oi!

 

DCI BALL pulls himself away from the wall, glass in hand and leaves the kitchen...

 

INT. NEIGHBOUR'S HOUSE (HALLWAY) - NIGHT

 

...into the hallway and then enters the living room.

 

INT. NEIGHBOUR'S HOUSE (LIVING ROOM) - NIGHT

 

NEIGHBOUR is handcuffed slumped in a chair.

 

NEIGHBOUR

That pitiful prick next door is

totally fuckin’ oblivious which is

what has caused all this fuckin’

mayhem...

 

DCI BALL strides over to NEIGHBOUR and punches him in the stomach - OOOOFT! NEIGHBOUR doubles-up.

 

DCI BALL leaves the room...

 

INT. HOUSE (KITCHEN) - NIGHT

 

BRADFORD continues:

 

BRADFORD
I thought she was ok.

 

ROSE

She’s never been ok.

 

BRADFORD

Never?

 

ROSE

Never.

 

INT. CHILDHOOD HOME (TULIP’S BEDROOM) - DAY (FLASHBACK)

 

A teenage ROSE is terrified.

 

ROSE

(screaming)

MUUUUUMMMM!

 

She’s grasping the blood soaked wrists of TULIP; both are knelt in an expanding pool of red.

 

ROSE (CONT'D)

MUUUUUMMMMM!

 

TULIP stares blankly at ROSE.

 

INT. HOUSE (KITCHEN) - NIGHT

 

ROSE has taken hold of BRADFORD’S hands.

 

ROSE

But you knew that.

 

BRADFORD

Kind of.

 

ROSE
Your version of Tulip is different

to mine, to Mother’s, to

everybody’s.

 

BRADFORD’S eyes are filling up again.

 

ROSE (CONT'D)
Your version of Tulip is only in

your head.

 

BRADFORD shakes his head.

 

ROSE (CONT'D)

It’s true.

 

Still shaking his head...

 

BRADFORD

Whoever sold her the gun needs to be

fucking hanged!

 

ROSE pushes back her chair and stands.

 

Looking down on BRADFORD.

 

ROSE
You do know, that at some point or

another she was going to succeed.

 

ROSE leaves the kitchen.

BRADFORD

(shouting after Rose)

Hanged and fucking quartered!

INT. NEIGHBOUR'S HOUSE (KITCHEN) - NIGHT

 

DCI BALL pulls his ear away from the wall, his head nods slightly and through gritted teeth and to no-one in particular:

 

DCI BALL

Motherfucker.

 

DCI BALL slams the glass into the floor shattering it into a thousand shards.

 

INT. NEIGHBOUR'S HOUSE (LIVING ROOM) - NIGHT

 

DCI BALL enters the room.

 

NEIGHBOUR

She confided in me.

 

DCI BALL

Shut it.

 

NEIGHBOUR

Told me what she was planning.

 

DCI BALL steps up to NEIGHBOUR.

 

DCI BALL

Did she now?

 

NEIGHBOUR

She did.

 

DCI BALL bends down, growling:

 

DCI BALL

And why do you think she’d confide

in you?

 

NEIGHBOUR shifts uncomfortably in his chair.

 

NEIGHBOUR

‘Cos I’m a good listener... and I

think she fancied me.

 

DCI BALL relaxes a little and smiles.

 

MUSIC suddenly erupts from the other side of the wall.

 

NEIGHBOUR nods at one of the crutches:

 

NEIGHBOUR (CONT'D)

Here, use that.

INT. HOUSE (LIVING ROOM) - NIGHT

 

The same song as before: The Dominions - I Need Her.

 

The chorus kicks in LOUD.

 

ROSE suddenly breaks down, dropping to her knees, in floods of tears.

 

Thud! Thud! Thud! Thud!...

 

INT. NEIGHBOUR'S HOUSE (LIVING ROOM) - NIGHT

 

The MUSIC seeps through the wall.

 

DCI BALL yanks up NEIGHBOUR by his lapels; unlocks the handcuffs and pushes him towards the hallway...

 

NEIGHBOUR

We going to the station?

INT. NEIGHBOUR'S HOUSE (HALLWAY) - NIGHT

 

DCI BALL manhandles NEIGHBOUR forcing him toward the stairs then pushes past him and climbs the stairs.

 

DCI BALL

Up here.

 

NEIGHBOUR

I can barely fuckin’ walk!

 

DCI BALL disappears over the top of the landing.

 

One slow step at a time NEIGHBOUR climbs the stairs.

 

EXT. HOUSE (BACK YARD) - NIGHT

 

BRADFORD enters the back yard, the MUSIC follows him.

 

He leans against the boundary wall and lights a cigarette.

 

The night is calm, smoke from the tip travels heavenward.

 

INT. NEIGHBOUR'S HOUSE (BACK BEDROOM) - NIGHT

 

DCI BALL is hidden deep inside the dark room. He watches BRADFORD, watches and waits.

 

DCI BALL turns to look back at the landing - NEIGHBOUR has just about reached the summit.

 

NEIGHBOUR

This better be fuckin’ worth it.

 

DCI BALL rushes toward NEIGHBOUR and shoves him in the chest sending NEIGHBOUR tumbling down the stairs.

 

EXT. HOUSE (BACK YARD) - NIGHT

 

BRADFORD finishes, flicking his butt - as it slams into the other wall tiny embers explode, a miniature firework.

 

BRADFORD enters the kitchen... The MUSIC stops.

 

INT. HOUSE (KITCHEN) - NIGHT

 

...and sits down at the typewriter.

 

ROSE
Is the writing going well?

 

ROSE is at the door; her eyes red and swollen.

 

BRADFORD shrugs his shoulders.

 

ROSE (CONT'D)

You must know.

 

BRADFORD
You’d think. But no. I don’t.

 

ROSE
You visualise what you write?

 

BRADFORD is unsure what to say.

 

BRADFORD

Of course.

 

ROSE
That’s why you write about her?

 

BRADFORD shrugs his shoulders, again.

 

ROSE yawns.

 

BRADFORD

Off to bed?

 

ROSE

Off to mattress.

 

ROSE smiles and leaves.

 

BRADFORD waits and listens as he hears ROSE climb the stairs.

 

Then, looking down at the writing machine, he starts:

 

Tap  Taptap tap tap tap tap taptap    tap tap tap... ting!

 

 

EXT. NEIGHBOUR'S HOUSE (BACK YARD) - NIGHT

 

The back door silently opens.

 

A skulking shadow creeps out, closing the door behind it.

 

Rat-like, DCI BALL scurries along the wall.

 

The shadow eases the back gate open. It quietly closes the gate behind it and then disappears down the long dark alley...

 

INT. HOUSE (BACK BEDROOM) - NIGHT

 

ROSE is at the window frowning. She follows the SHADOW as it disappears down the long dark alley...

 

ROSE draws the curtains.

 

INT. HOUSE (KITCHEN) - NIGHT

 

BRADFORD is still typing: Taptap tap tap tap tap...

 

He’s getting quicker: Taptaptaptap tap taptaptap tap...

 

Getting lost: Taptaptaptaptapaptaptaptaptap...

 

TULIP (O.S.)

You’re on fire babe!

 

BRADFORD stops abruptly. Apprehensively he lifts his head.

 

TULIP is sat in the other chair, smiling.

 

TULIP (CONT'D)

Bonsoir Bradders.

 

BRADFORD

Hello T.

 

TULIP
You rubbed the lamp.

 

BRADFORD
I did. Tell me where you got the

gun.

 

TULIP

That old chestnut.

 

BRADFORD

Enough pissing about.

 

TULIP
But pissing is our pastime.

 

BRADFORD
It wasn’t. I wished it was.

 

TULIP

Don’t dwell on it.

 

BRADFORD

Dwelling helps.

 

TULIP
Dwell on the good times.

 

BRADFORD

That hurts.

 

BRADFORD looks elsewhere.

 

TULIP gets up, she moves over and straddles BRADFORD. Her hands cup his face. She kisses his tears.

 

TULIP

Let’s go.

 

BRADFORD

Go where?

EXT. DERELICT FARM - NIGHT

 

TULIP leads the way. She is up and over the fence like a ninja.

 

BRADFORD follows.

 

They slink through and under the stacked piles of wood. Glass

crunches under foot. Into a clearing...

 

TULIP

Over there!

BRADFORD

(whispering)

Why aren’t you whispering?

 

TULIP

No need.

 

BRADFORD

Ain’t there a motherfucker of a dog

on site.

 

TULIP

Is there?

BRADFORD

There should be.

 

TULIP

Why’s that?

 

BRADFORD

To guard this place.

 

TULIP pulls out the gun. Points it skyward: BANG!...

 

BRADFORD clasps his ears.

 

BANG! BANG! BANG! BANG! BANG!... The bangs reverberate for ages.

 

Finally silence.

 

TULIP

No dog.

 

BRADFORD

Fuck me!

 

TULIP
I intend to cupcake.

 

BRADFORD sees the collapsed carcass of a Rover 3500, the oxidised shell of a Ford Transit and the burnt husk of a Toyota Camry.

 

TULIP pulls out some shells from her pocket and re-loads the revolver.

 

She holds out the gun for BRADFORD.

 

TULIP (CONT'D)

(smiling)

Do it!

BRADFORD holds the gun out front in front of his eye.

 

He pulls the trigger: BANG!... Boiiing!

 

His face relaxes. BANG!... Phut! Ping!

 

TULIP (O.S.) (CONT’D)

HoooooWeeeee!

BANG!... Pssssssss!

TULIP (O.S.) (CONT’D)

Yeehaw!

 

BANG!... Phud.     Weeeeeeee... KER-ASH!

 

TULIP (O.S.) (CONT’D)

Hot damn!

BANG!... Whiiizzzzzzz!

 

BRADFORD’S eyes are electric.

 

BANG!... BOOM!

 

INT. DERELICT FARM BARN - NIGHT

 

A campfire burns, it cracks and snaps and smokes.

 

TULIP and BRADFORD look at each other through the flames.

 

BRADFORD
What’s it like where you’re at?

 

TULIP
I’ve been to worse places.

 

BRADFORD

Where exactly are you?

 

TULIP
(shrugging her shoulders)

God knows.

 

BRADFORD

God ain’t told you?

 

TULIP
Fuckin’ silent as normal.

 

BRADFORD

How come?

 

TULIP
Ask her. I’d be stunned if she

replied.

 

BRADFORD

But your place exists?

 

TULIP

I presume.

 

BRADFORD
But you can’t pinpoint it?

 

TULIP
Nope. No coordinates. No map. No

name.

 

BRADFORD
You’re just someplace.

 

TULIP

Must be.

 

BRADFORD

Purgatory?

 

TULIP

Don’t think so.

 

BRADFORD

Why’s that?

 

TULIP

I’m not alone.

 

BRADFORD

Should you be alone?

 

TULIP
I’m not certain about that.

 

BRADFORD
So it could be purgatory?

 

TULIP

I s’pose.

 

BRADFORD

Anybody famous?

 

TULIP

Just vague faces.

 

BRADFORD

No arms or legs?

 

TULIP
It confuses me. I walk and stuff.

 

BRADFORD

Walk on what?

 

TULIP
I don’t know that neither.

 

BRADFORD

You walked over me.

 

TULIP
I walked with you. Like I walk with

you now.

 

BRADFORD

You walked away from me.

 

TULIP

Whatever.

 

BRADFORD

Are you in hell?

 

The flames flip and flap and occasionally spit.

TULIP

Should I be?

 

BRADFORD

Some say you should.

 

TULIP
I don’t give a shit what some say.

Just what you say.

 

BRADFORD
I say that you fucked me good and

proper.

 

TULIP
Out there and in here.

(tapping her head)

BRADFORD

Come on home T.

 

TULIP stares into the flames.

TULIP
I’m stuck. My decision can’t be

rewritten.

 

BRADFORD

What’s this?

 

BRADFORD gestures to TULIP and himself.

 

TULIP
This is you coming to me. You got

to make the ground.

 

BRADFORD
Are you better with or without me?

 

TULIP
Better with you than without you

wherever I am babe. But better

here.

 

BRADFORD

Better pack my bags.

INT. HOUSE (BACK BEDROOM) - MORNING

 

Early morning sunshine cuts through a gap in the curtains.

 

ROSE is laid on her mattress, staring at the ceiling, wearing t-shirt and pants. Her other clothes, the backpack and the loudhailer are discarded about her.

 

Still sleepy she rises up from the mattress.

 

ROSE leaves the bedroom...

INT. HOUSE (LANDING) - MORNING

 

...and shuffles along the landing.

 

Bradford’s bedroom door is open, the bed is empty.

 

ROSE gingerly enters...

 

INT. HOUSE (BEDROOM) - MORNING

 

...pinching her nose.

 

Plucking up the courage she unclamps her nostrils.

 

Slowly she looks about the austere room.

She walks over to the wardrobe and opens the doors. Still hanging up are clothes belonging to Tulip. ROSE selects a pair of distinctive trousers - she pulls them on.

 

Then moves over to the chest of drawers. She opens the top drawer. Rose removes her t-shirt and selects one of Tulip's t-shirts and slips it on over her head.

 

ROSE closes the top drawer and opens the second: women’s pants and blouses etc..

 

INT. HOUSE (KITCHEN) - MORNING

 

BRADFORD is collapsed, unconscious, across the small table. One arm dangles down and the other is draped over the typewriter. His face twitches and his mouth dribbles.

 

ROSE watches him.

 

Then she leaves the room...

 

INT. HOUSE (HALLWAY) - MORNING

 

ROSE opens the front door...

 

EXT. HOUSE - MORNING

 

ROSE shuts the front door gently.

 

An ambulance is parked outside Neighbour’s house.

 

ROSE heads out of the front yard, swings left, and heads down the street.

 

Two PARAMEDICS exit Neighbour’s house carrying a body bag.

INT. HAIR SALON - DAY

 

ROSE is sat in the stylist’s chair. She holds up a photograph of Tulip.

 

The STYLIST nods.

 

INT. HOUSE (HALLWAY) - DAY

 

ROSE enters the house - her hair now cut and styled exactly as Tulip had hers. Dressed in Tulip's clothes she is Tulip in every way.

 

ROSE closes the door behind her.

 

INT. HOUSE (KITCHEN) - DAY

 

ROSE walks into the kitchen.

 

ROSE

Rise ‘n’ shine!

 

No response from BRADFORD.

 

ROSE (CONT’D)

Bradford.

 

Still sleeping. ROSE softly shakes his slumped body.

 

BRADFORD slowly stirs. He sucks up his drool. Sleepily he sits up in his chair.

 

ROSE sits down in the other chair.

 

ROSE (CONT’D)

Afternoon.

 

BRADFORD wipes his mouth.

 

BRADFORD

Is it?

 

ROSE

Yeh.

BRADFORD

Time with you is tough to navigate.

 

ROSE

Thanks.

 

BRADFORD

Last time —

 

ROSE
What about last time?

 

BRADFORD
Please, tell me about the gun.

 

ROSE pauses. BRADFORD waits.

 

ROSE

It’s upstairs.

 

BRADFORD doesn’t react.

 

BRADFORD

It’s upstairs?

 

ROSE studies him.

 

ROSE
Always has been. Hasn’t it?

 

BRADFORD
I don’t know. Has it?

 

ROSE
In the pants drawer.

 

BRADFORD, confused, gets to his feet. He leaves the kitchen...

INT. HOUSE (HALLWAY) - DAY

 

He turns and climbs up the stairs slowly...

 

INT. HOUSE (LANDING) - DAY

 

Then along the landing...

 

INT. HOUSE (BEDROOM) - DAY

 

BRADFORD heads straight to the chest of drawers. He hesitates, then pulls open the second drawer. Rummaging - finding something... He lifts out the revolver.

 

BRADFORD is flummoxed. Wide-eyed he stares at the gun. He stares at it a long time.

 

ROSE (O.S.)

Find it?

 

BRADFORD turns. He holds up the revolver.

 

BRADFORD

I don’t get it.

 

ROSE moves over toward BRADFORD, he looks uneasy.

 

ROSE

Don’t get what?

 

BRADFORD

Don’t get this.

 

ROSE

Ain’t that the gun?

 

BRADFORD

I don’t know. Is it?

 

ROSE strokes BRADFORD’S cheek. The act sends a shudder through him. His eyes close.

 

ROSE cups his face.

 

ROSE

(whispering)

I’m not Tulip.

 

BRADFORD

(eyes still shut, he

whispers too)

It is. You are. Your touch.

 

ROSE tidies his fringe.

 

ROSE

I’m Rose.

BRADFORD

Why say that?

 

ROSE embraces him, cheek to cheek. Her eyes fill up.

 

ROSE

I miss her too.

 

BRADFORD

I feel your heartbeat.

 

ROSE

One heartbeat is like any other’s.

 

BRADFORD

The rhythm is T.

 

ROSE

The rhythm is Rose.

 

BRADFORD

Your skin; you smell of T.

 

ROSE

We don’t smell the same.

 

BRADFORD

The skin is the SAME.

 

ROSE

The smell is different.

 

BRADFORD

It isn’t —

 

Brrrap!

 

BRADFORD sniffs, his eyes slide open. He pushes ROSE away.

 

BRADFORD (CONT’D)

Christ Almighty!

 

ROSE

What?

 

BRADFORD

ROSE!

ROSE

Yeah!

BRADFORD

Holy fuck!

INT. HOUSE (LIVING ROOM) - DAY

 

BRADFORD and ROSE sit in separate chairs.

 

Both stare at the revolver on the coffee table.

 

ROSE picks it up and puts the gun to her temple.

 

ROSE

Any bullets?

 

BRADFORD
I dumped them down a drain.

 

ROSE

You definite?

 

BRADFORD

One hundred percent.

 

The trigger is pulled - KA-BANG!

 

BRADFORD jumps; specks of blood splatter upon his face.

 

NOISE is sucked out of the air.

 

BRADFORD doesn’t move, can’t move. Eyes bulging. STUNNED. Blood trickles down his face like tears.

A piercing sound feeds into the void.

 

BRADFORD blinks. Slowly he stands. Vomit cascades out of his

mouth. BRADFORD stumbles towards the door...

INT. HOUSE (HALLWAY) - DAY

 

BRADFORD trips over his own feet, his face smashes into the under stair wall, he collapses to his knees; blood flows like a waterfall down his face.

 

He gets to his feet again. Into the kitchen...

INT. HOUSE (KITCHEN) - DAY

 

The room is spinning; BRADFORD’S inner ear is fucked. He braces himself against the nearest wall, willing the room to quit rolling on the high seas.

 

The high-pitched sharp frequency continues.

 

Finally BRADFORD steps forward and swoosh...   crack! He slips on his own puddle of blood. He slides and crawls his way to the other side of the table. He pulls himself up the chair.

 

He fumbles for a piece of paper, shoving it into the machine, crinkled and smeared with blood, he turns the dial, the paper rolls under and up the other side. He starts typing frantically, haphazardly, then his eyes roll upwards his neck goes limp and... thwack! he headbutts the typewriter.

 

BRADFORD is out cold.

 

Ding dong! Ding dong!

 

EXT. HOUSE - DAY

 

MARIE-ODILE is stood on the doorstep.

 

She rings the bell again: Ding dong! Ding dong!

 

Impatiently she steps over to the window and peers through the blinds...

 

INT. HOUSE (LIVING ROOM) - DAY

 

The CAMERA slowly pushes into the blinds, into MARIE-ODILE’S startled bulging eyes. MARIE-ODILE erupts... The ear- splitting frequency sound masks MARIE-ODILE’S agonised cry...

 

The CAMERA pushes forward into the image of two tigers cuddling; red spots pepper the picture.

 

The shrill sound morphs into the thumping beat...

 

EXT. FAIR GROUND (ABSTRACTION) - NIGHT

 

Unph! Unph! Unph! Unph! Unph! Unph...!

 

BRADFORD, his expression is dead, sat motionless inside the waltzer as it spins viciously.

 

The world outside the car is a kaleidoscope of blurred colour. Screams of the funfair merge with the sounds of an ambulance siren that merge with the pummelling techno beat.

 

All the voices shout, shouting to be heard.

 

PARAMEDIC 1 (V.O.)

DOA. Bullet to the head.

 

Unph! Unph! Unph! Unph! Unph! Unph...!

 

PARAMEDIC 2 (V.O.)

We got one for the psyche ward!

 

Sirens shrieking. Unph! Unph! Unph...!

 

DCI BALL (V.O.)

Lock this killer up!

 

Clanging cell doors slamming shut. Unph! Unph! Unph...!

 

CORONER (V.O.)

The science says suicide.

 

DCI BALL (V.O.)

Again?

 

CORONER (V.O.)

Again!

 

BRADFORD’S eyes locked on nothing.


Whoosh! Whoosh! Whoosh! Whoosh!... Half muffled church bells

ring out...

REVEREND (V.O.)

We commit their bodies to the 

ground.

 

The wailings of the mourners. Unph! Unph! Unph! Unph...!

MARIE-ODILE (V.O.)

MURDERER!

 

Unph! Unph! Unph! Unph...!
 

MARIE-ODILE (V.O.)

(screeching)

My beautiful babies!

 

A gavel slamming down repeatedly...

 

JUDGE (V.O.)

Innocent. Innocent. Innocent...!

 

MARIE-ODILE (V.O.)

NOOOOOOOOOOO...!

MARIE-ODILE’S strangled cry dissipates.

 

The spinning starts to wind down; getting slower and slower.

The volume of the MUSIC decreases, getting lower and lower.

 

BRADFORD is still set in stone.

 

The flashing lights are now focussed.

 

The waltzer eases to a stop.

 

No music.

Just the sounds of a worker shutting up shop.

 

The lights switch off in a staggered manner.

 

BRADFORD isn’t moving.

 

WORKER (O.S.)
Time to go buddy. I’m gagging for a

pint.

EXT. HOUSE - DAY

 

The street is deserted. The house is quiet.

 

INT. HOUSE (BEDROOM) - DAY

 

From high the CAMERA lowers, incredibly slowly.

 

BRADFORD lies on the bed, foetal position; rougher than before, he’s not washed or shaved or changed his clothes, a bedraggled mess.

 

TULIP is spooning him.

 

INT. HOUSE (BACK BEDROOM) - NIGHT

 

Bursting in LOUD music by The Monks playing Monk Chant.

 

From close in on BRADFORD’S face the CAMERA tracks back. He is wearing bulky headphones, his moves are out of sync and out of rhythm with the beat. His body expresses the pain within, it buckles and expands and punches and kicks... BRADFORD is wasted; his face contorts.

 

The CAMERA cuts. The music is tinny and quiet. TULIP is stood in a corner, the CAMERA pushes in. She is smoking a cigarette, a look of concern on her face.

 

INT. HOUSE (BEDROOM) - DAY

 

BRADFORD lies spreadeagled and comatose on top of the bed.

 

TULIP has the loudhailer inches from BRADFORD’S head.

 

TULIP

Time to wake up motherfucker! Time

to get your shit together. I heard

that this thing can bring back the

dead...

 

BRADFORD does not move.

 

TULIP (CONT'D)

I take it you didn’t hear that.

 

INT. HOUSE (KITCHEN) - NIGHT

 

The window in the centre of frame. The CAMERA retreats.

 

Through the glass: BRADFORD is standing in the back yard having a piss. He finishes and moves out of shot.

 

The CAMERA continues to pull back - it reveals a vase of wilted roses.

 

BRADFORD enters the kitchen. He grabs the vase. He dumps the flowers into the bin and pours the water down the sink.

 

TULIP (O.S.)
Time to start writing again babe.

 

BRADFORD pauses. He turns to TULIP and groggily asks:

 

BRADFORD

Am I writing now?

 

TULIP

No.

 

BRADFORD

How’s that?

 

TULIP

Fuck knows.

 

BRADFORD

Why write then?

 

TULIP
‘Cos we want to find Rose.

 

BRADFORD
I doubt she’ll want to find me.

 

TULIP

She’ll be cool.

 

BRADFORD
Cool with her head blown off?

 

TULIP
Look at me - I’m cool.

 

BRADFORD
That you are. Are you saying that I

was responsible for your head being

blown off?

 

TULIP
No babe I ain’t. It didn’t come out

right. That was all me. I’ll have a

word with Rose.

 

BRADFORD

Keep me company.

 

TULIP

I’m a distraction.

 

BRADFORD
A beautiful distraction.

 

TULIP gives BRADFORD a kiss.

 

TULIP
Thanks babe. Get cracking.

 

TULIP leaves the room.

 

BRADFORD looks at the typewriter.

 

He bites his lips.

 

Then heads over to the writing machine.

 

Sitting down.

 

Hands hovering over the keys.

 

He relaxes.

 

Then blows a raspberry —

 

BRADFORD

Fucking focus.

 

His fingers start tapping slowly and methodically. He stops.

 

BRADFORD stares at the words. He starts typing again, quicker this time... He stops again.

 

Staring at the machine. A minute goes by.

 

Sat still. Frozen. Staring at the silent writing mechanism.

 

Another minute goes by.

 

He’s locked in. Slack-jawed. Blinking now and again.

 

Just staring...
 

Ding dong!   Ding dong!

 

BRADFORD jumps up.

 

INT/EXT. HOUSE (HALLWAY) - DAY

 

BRADFORD opens the door; daylight streams into the hallway.

 

DCI BALL

Hello. Hello. Hello.

 

BRADFORD

(eyes squinting)

What?

 

DCI BALL

Let me in.

 

INT. HOUSE (KITCHEN) - DAY

 

BRADFORD switches on the kettle. Turning round...

 

DCI BALL is reading the sheet in the typewriter.

 

DCI BALL

Writer’s block?

 

BRADFORD

No.

 

DCI BALL
A few sentences per day is a

blockage.

 

BRADFORD

The day ain’t over.

 

DCI BALL
What day do you think it is?

 

BRADFORD ignores the question.

 

DCI BALL steps up to BRADFORD.

 

DCI BALL (CONT’D)

How’s it shaping up in there?

 

He taps BRADFORD’S temple.

 

DCI BALL (CONT’D)
Is it shipshape or shape shifting?

 

BRADFORD looks certifiable.

 

DCI BALL (CONT’D)
Is your shit disintegrating? Is

there a black hole forming inside?

Is it sucking you in?

 

BRADFORD
Fit as a fucking fiddle.

 

Behind DCI BALL, TULIP appears around the side of the door.

 

BRADFORD doesn’t bat an eye.

 

DCI BALL

Fit as a fiddle?

 

BRADFORD straightens his back.

 

DCI BALL (CONT’D)

That ain’t true.

 

BRADFORD’S left eye twitches.

 

DCI BALL (CONT’D)

No guilt?

TULIP disappears.

 

BRADFORD

Guilt for what?

 

DCI BALL

Facilitating two deaths.

 

BRADFORD

How did I do that?

 

Two eyes twitching.

 

DCI BALL

Hand on heart, no idea.

 

 

TULIP’S smiling head reappears; atop it she wears a tall cone-shaped dunce’s hat - a large red capital D on a white background.

 

BRADFORD

But I’m guilty?

DCI BALL
I know that. You know that.

 

BRADFORD

Back off.

 

DCI BALL

That I’ll never do.

 

BRADFORD pushes DCI BALL.

 

BRADFORD

It’s your breath.

 

DCI BALL smiles.

 

BRADFORD (CONT’D)

It’s gassy.

 

DCI BALL reaches into his inside pocket.

 

DCI BALL

I’ve got some things.

 

He pulls out two separate somethings, both are wrapped in handkerchiefs. He offers both to BRADFORD.

 

DCI BALL (CONT’D)

You have a choice.

 

Proffering the left hand:

 

DCI BALL (CONT’D)

Would you like Tulip?

 

Proffering the right hand:

 

DCI BALL (CONT’D)

Or would you like Rose?

 

BRADFORD just keeps his eyes on DCI BALL.

 

DCI BALL (CONT’D)

I think you want this one.

DCI BALL pushes forward the left gift.

 

BRADFORD looks at it. Then takes it.

 

DCI BALL watches, leering.

 

BRADFORD unwraps a black revolver.

 

BRADFORD’S whole body seems to twitch.

 

The gun lays flat on the handkerchief in the palm of his hand. BRADFORD stares at it.

 

DCI BALL (CONT’D)

Seems fair you should do the done

thing.

 

BRADFORD lifts his head. In the corner of his vision he sees TULIP.

 

TULIP winks at BRADFORD.

 

DCI BALL (CONT’D)

Join ‘em.

 

BRADFORD

Me?

 

DCI BALL

Why not?

 

BRADFORD looks from DCI BALL to the gun then back to DCI BALL.

 

BRADFORD

Why?

 

DCI BALL

Right a wrong.

 

BRADFORD

If I could.

 

DCI BALL

You can.

 

TULIP raises an outstretched arm, her hand in the shape of a gun. She points it at the back of DCI BALL’S head.

 

DCI BALL (CONT’D)

Do it!

TULIP repeatedly pulls the trigger, silent bang bang bang

bangs...

BRADFORD raises the gun and points it straight into DCI BALL’S face.

 

DCI BALL is calm.

 

BRADFORD

What about the off-licence?

 

DCI BALL

What about it?

The muzzle is inches from DCI BALL’S nose. Calmly he says:

 

DCI BALL (CONT’D)

Best put that thing in your own

fuckin’ mouth.

 

BRADFORD’S face is clammy too.

 

DCI BALL (CONT’D)

Kill the one responsible.

 

BRADFORD is looking nervous. His gun holding hand is unsure and fidgety.

 

BRADFORD

Me?

DCI BALL

Who else?

 

BRADFORD glances quickly at TULIP.

 

TULIP has relaxed her arm but her eyes are insistent.

 

DCI BALL (CONT’D)

If you don’t want to blow that

muzzle then just pop it under your

chin and launch that bullet to your

brain.

 

BRADFORD’S hand is shaking.

 

DCI BALL (CONT’D)

(screams)

COME ON!

 

BRADFORD suddenly gasps and draws in a huge breath - he’s not been breathing. He drops his arm.

 

DCI BALL grins.

 

DCI BALL (CONT’D)

Give it two or three weeks and -

BOOM! We’ll be cleaning up your

smithereens.

 

DCI BALL grins.

BRADFORD shakily cleans the gun free of prints with the handkerchief.

 

BRADFORD

Here.

He shoves the wrapped gun into DCI BALL’S hand.

 

DCI BALL

Are you sure?

BRADFORD

Go! I’ve got someplace to be.

 

DCI BALL

(smirking)

Where, the fuckin’ living room?

EXT/INT. HOUSE - DAY

 

BRADFORD opens the front door.

 

DCI BALL steps outside.

 

A breeze is picking up. DCI BALL turns up the collar of his coat.

 

DCI BALL

Adios amigo.

 

BRADFORD shuts the front door...

 

INT. HOUSE (HALLWAY) - DAY

 

...and quickly looks through the letterbox: DCI BALL is seen trudging down the yard path and out onto the street.

 

BRADFORD stands and heads back to the kitchen. TULIP jumps out of the living room, a big smile on her face:

 

TULIP

(excited)

In here. Now! Close your eyes.

 

INT. HOUSE (LIVING ROOM) - DAY

 

BRADFORD is sat in the middle of the sofa. Both eyes shut.

 

The SCREEN goes black.

 

Then:

 

TULIP (O.S.)

Oh my, oh my!

 

ROSE (O.S.)

You like what you see?

 

TULIP (O.S.)

You’re rockin’ that look babe!

 

ROSE (O.S.)

Damn don’t I know it!

 

TULIP (O.S.)

You always had the thing!

 

ROSE (O.S.)

My thing is your thing.

 

TULIP (O.S.)

Fuck yeah! I am HOT!

 

ROSE (O.S.)

The hottest babe I ever did see!

 

BRADFORD opens one eye, the right eye.

 

TULIP is sat in the armchair cross-legged.

 

TULIP

(pointing at Rose)

YOU are the hottest babe I ever did

see!

 

ROSE (O.S.)

SHIT! You could be right.

 

TULIP

Tell me if I’ve ever been wrong!

 

BRADFORD closes the right eye and opens the left.

 

ROSE, sat in the opposite armchair, identical in every way, is mirroring TULIP’S performance.

 

ROSE

I hold my hands up.

 

She does just that.

 

ROSE (CONT’D)

To the best of my knowledge you’ve

never been wrong.

 

TULIP (O.S.)

Wait a sec!

 

ROSE

I’m waiting.

 

BRADFORD opens both eyes.

 

TULIP

Maybe I was wrong in choosing this

dipshit asswipe!

 

ROSE
(jabbing her head in

Bradford’s direction)

You mean this particular dipshit

asswipe sitting here?

 

TULIP

Amen sister!

 

ROSE

He ain’t perfect but —

 

TULIP

No ma’am he ain’t.

 

ROSE

He did say I had an empty gun.

 

TULIP

That he did sister.

 

ROSE

But if he didn’t —

 

TULIP turns to BRADFORD.

 

TULIP
Why did you do that?

 

BRADFORD’S eyes switch back and forth between TULIP and ROSE.

 

They finally settle on TULIP (he hopes):

 

BRADFORD

Tulip.

 

TULIP
Yeh.

 

BRADFORD
Am I insane?

 

TULIP
Kinda depends on what you’re

judging sanity by.


BRADFORD holds out his palms and indicates the two women.

 

BRADFORD

Is this shit real?

 

TULIP turns to ROSE.

TULIP

Is he bonkers?

 

ROSE

Who-the-fuck isn’t?

BRADFORD is not laughing.

 

TULIP
Babe. We ain’t going anywhere.

 

TULIP stands.

 

BRADFORD
But you wanted me to let go.

 

TULIP holds out her hands.

 

TULIP

That was a mistake.

 

From some other place, a distant space, a beat begins to drift up into the room: Lil Louis’ Blackout (Phase2).

 

TULIP (CONT’D)

Let’s dance.

 

Louder and louder...

Suddenly the music SLAMS into the next scene...

INT. BOITE DE NUIT - NIGHT

 

On the deserted dance floor are TULIP and BRADFORD sweaty and sexy. Their moves appear like slow motion. Their arms and legs like tentacles entwined within each other’s.

 

The BEAT kicks in.

 

The two become excited serpents slithering in and around each other as their bodies pulsate to the MUSIC. Two harmonious spirits expressing pleasure and lust. An expression of bliss exudes from the two lovers’ faces.

 

The BEAT picks up...

 

LIL’ LOUIS

Blackout! At the flick of God’s

switch...

 

The MUSIC carries over...

 

INT. HOUSE (KITCHEN) - DAY

 

CLOSE UP on BRADFORD’S face, concentrating. His eyes looking downwards, then upwards, catching a thought, an idea, inspiration... His head constantly moving in time to the MUSIC.

 

The CAMERA slowly tracks back revealing BRADFORD typing with gusto...

 

Tracking back further we see the typewriter, we see the table and then we see specks and splats of blood decorating the walls...

 

The further the CAMERA tracks back the bloodier the kitchen becomes... It reveals a horrific scene - a homicide or a suicide?

 

Suddenly the CAMERA reveals the body of DCI BALL dead from a hole in his head, blown back onto Tulip's chair...

 

Abruptly the MUSIC stops. All that is heard is the tappety- tap-tapping of the typewriter’s keys as BRADFORD - head still nodding to the beat of the silent groove - writes frenetically.

 

The CAMERA continues to retreat. BRADFORD continues to type...

 

CUT TO:

BLACK SCREEN.

 

The MUSIC is LOUD.

 

END CREDITS