GET CARTER
Screenplay by Mike Hodges
Based on the novel
Jack's Return Home by Ted Lewis
Revised Draft, 1971
Copyright (c) 1971
Turner Entertainment Co
All Rights Reserved.
Copyright (c) 1971
Mike Hodges
All Rights Reserved.
FADE IN:
EXT. PENTHOUSE APARTMENT - LONDON - NIGHT
Framed in the large picture window stands JACK CARTER,
alone, looking out at the night. He turns away as the heavy
satin curtains close, wiping him from view.
INT. FLETCHER'S APARTMENT - NIGHT
A blinding beam of light cuts across the room. One
pornographic slide after another hits the screen at the
opposite end of the room. They show a dowdy group in some
anonymous bedroom, frozen in various stages of a sexual
orgy.
GERALD FLETCHER is slumped on a sofa. His young wife, ANNA,
is curled up beside him.
SID FLETCHER, operating the projector's remote-control,
has the same flaccid appearance as his twin brother.
Jack Carter, drink in hand, watches from an armchair.
Clunk. Another slide hits the screen. Gerald is getting
turned on. He runs his hand along his wife's stockinged
leg. Anna shudders momentarily. She obviously finds his
touch repulsive. Carter watches Gerald's hand.
GERALD
(removing the cigar
from his mouth)
Bollock naked with his socks still
on?
SID
(thoughtfully)
They do that up North.
GERALD
What for? Protective purposes?
He laughs.
SID
Ask me?
GERALD
Ask Jack. It's his old stamping
ground.
Carter turns sharply away to the cocktail cabinet. Lights
and sweet music happen when he opens it.
Clunk. The slide changes.
SID
Must be a bloody contortionist
Still looking at the screen, Gerald continues.
GERALD
We don't want you to go up the
North, Jack.
Jack and Anna look at each other momentarily. There is
definitely something between them.
JACK
No.
Clunk. The slide changes.
GERALD
(groans)
Not suede boots!
SID
Knock it off, Gerald.
GERALD
What? And get the clap?
Clunk. The slide changes.
GERALD
You work for us, Jack. We have
connections in those parts. I'd
hate you to screw 'em up.
Clunk. The slide changes.
GERALD
What's that? A python.
Sid laughs raucously. Clunk. The slide changes.
GERALD
What are you going for?
JACK
To find out what happened.
Clunk. The slide changes.
GERALD
Some hard nuts operate up there,
Jack. They won't take kindly to
someone from London poking his
bugle in.
JACK
Too bad.
GERALD
I smell trouble, boy.
Clunk. The slide changes.
SID
The law was satisfied.
JACK
Since when was that good enough?
Clunk. The slide changes.
GERALD
Think again, Jack.
JACK
I will.
EXT. RAIL TRACK - DAY
Express train plunges into a tunnel Blackness.
BEGIN TITLES:
INT. TRAIN COMPARTMENT - DAY
The compartment is full. Jack Carter sits in one corner,
reading a Raymond Chandler paperback, Farewell My Lovely.
EXT. RAIL TRACK - DAY
The train speeds northwards. In the distance the stacks of
a lonely power station belch a continuous stream of brown
smoke.
INT. TRAIN CORRIDOR - DAY
Carter steadies himself as he comes along the corridor.
EXT. RAIL TRACK - DAY
A massive iron bridge crossing a river whips past. Its
mesh sides create an almost hypnotic effect.
INT. TRAIN TOILET - DAY
Carter tips his head back and dispenses drops into his
nose.
EXT. RAIL TRACK - EVENING
The train breaks from another tunnel. Evening light cuts
across the track as the train hurtles on.
INT. TRAIN RESTAURANT CAR - EVENING
Carter pours himself a glass of water and takes out a small
phial of brown pills. He swallows one.
EXT. RAIL TRACK - NIGHT
A chemical factory, brightly lit, passes by and the
outskirts of the city appear.
INT. TRAIN COMPARTMENT - NIGHT
The train moves slowly along the platform and stops. Carter
collects his coat and briefcase from the rack.
EXT. NEWCASTLE STATION - NIGHT
The street is fairly deserted.
Carter exits with other passengers from the train. He pauses
and looks about before crossing to the pub opposite.
INT. THE LONG BAR - NIGHT
A couple of youths are playing records on the juke box. An
old man sits in the corner reading a newspaper.
Carter enters through the swing door and a weedy BARMAN
comes to serve him.
CARTER
Pint of bitter.
The barman picks up a glass mug and begins to draw the
beer. Carter snaps his fingers at him.
CARTER
In a thin glass.
The barman sighs petulantly, transfers the beer into a
thin glass and puts it on the counter.
A telephone rings. The second barman answers it.
BARMAN
Is there a Mr Carter in the room?
CARTER
Yes.
Carter walks to the far end of the bar and picks up the
receiver.
CARTER
Hello?
(pause)
Margaret?
(pause)
Why the hell aren't you here?
(he lights a
cigarette.)
What time?
(pause)
Is Doreen at the house?
(pause)
Who's with him then?
(pause)
When can I see you? Will you be
there tomorrow?
(pause)
Now listen, Margaret...
The line goes dead. Carter hangs up.
INT. FRANK CARTER'S HOUSE - HALL - NIGHT
A key hanging inside the letter box starts to move upwards
and out through the flap. A moment later, the door opens.
Carter is standing at the bottom of a flight of stairs in
a worker's terraced house. He closes the door and climbs
the stairs.
INT. FRANK CARTER'S HOUSE - LANDING - NIGHT
Carter moves cautiously. His eyes scan the peeling
wallpaper, the mildew on the banisters. A roof leak hits
an unseen bucket with depressing regularity.
INT. FRANK CARTER'S HOUSE - BEDROOM - NIGHT
An unmade bed with pyjamas on it, a beaten-up wardrobe, a
dressing table and chair are about it. Carter hears a
vehicle stopping on the street below. He eases back the
ancient net curtain. Two men in a Land Rover are looking
up. They see him and quickly drive off.
Carter looks around the room. On top of the wardrobe there's
an old shotgun. He reaches up and brings it down. Memories
flood back. He reaches up again and finds a box of
cartridges. More memories, jack and Frank grew up here. He
leaves the gun on the bed and returns to the landing.
INT. FRANK CARTER'S HOUSE - LIVING ROOM - NIGHT
Pitch black.
An overhead light snaps on to the face of a dead man FRANK
CARTER. He is lying in a coffin. His eyes are closed, his
skin made-up, like porcelain.
Carter stands over the coffin. He gently touches his
brother's crossed hands and folds the shroud over his face.
He exits, turning out the light and closing the door.
Darkness returns.
INT. 'LAS VEGAS' BOARDING HOUSE - ENTRANCE HALL - NIGHT
The landlady, EDNA GARFOOT, is climbing the stairs. She's
well built, sexy, experienced. Carter follows with his
baggage. He watches her appreciatively from behind.
CARTER
I won't be using the room tonight.
EDNA
(stops and turns)
I see.
CARTER
I'm staying with a friend.
EDNA
(continuing up the
stairs)
Her husband docks tomorrow, does
he?
CARTER
(smiles)
It's not like that, luv.
EDNA
It never is.
INT. BOARDING HOUSE - BEDROOM - NIGHT
The door opens and the light goes on. It's a big room
overlooking the road, furnished cheaply but comfortably.
Edna and Carter enter, talking.
EDNA
Are you a traveller?
CARTER
(smiling)
Definitely.
EDNA
(surveying the room)
Will this do?
CARTER
(looking around)
Very nice. (He takes his wallet
out.) I'll pay you for tonight as
well.
EDNA
Don't be bloody silly. You're the
first since Monday.
CARTER
You sure?
Carter gives her the money.
EDNA
Ta.
CARTER
(feeling the mattress)
I'll bet this one's seen some
action.
Carter smiles and looks straight at her. Edna returns his
look, dead pan.
EDNA
I'll give you the key when you
come down.
She closes the door.
INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
Carter moves around the coffin as he shaves. His electric
razor is plugged into the lamp above his dead brother.
INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
The coffin lid is being screwed down.
Carter stirs a cup of instant coffee while watching the
undertakers at work.
CARTER
Was he in bad shape?
UNDERTAKER
They come worse.
INT. HEARSE - DAY
The hearse is parked outside the row of terraced houses. A
youthful UNDERTAKER is minding it. He turns and looks
through the back window as a young girl walks up the street.
DOREEN CARTER is sixteen and, like most girls of her age,
tries to look older. She wears all the right gear but it's
cheap and doesn't fit properly. Her long hair is lank.
There's something sad and embarrassing about her appearance.
The young undertaker watches as she enters Frank's house.
INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
The door opens slowly. Doreen stands there looking at the
coffin. Carter sees her.
CARTER
Doreen?
She seems mesmerized by what's going on.
CARTER
All right, are you?
Doreen doesn 't answer.
CARTER
Been staying with a friend?
Doreen nods. The undertaker coughs and thrusts another
screw into the coffin.
CARTER
Sorry about your father.
DOREEN
(pause)
Yeah.
CARTER
Tell me, Doreen, did the police
say anything?
DOREEN
(dazed)
They said he was drunk.
INT. HEARSE - DAY
The young undertaker is still in the hearse listening to
the radio. In the driving mirror he sees the Land Rover
moving slowly tip the road. It stops by the house. Two men
suss the scene and drive off.
INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
CARTER
How's school?
DOREEN
I left last year.
CARTER
Oh, what you doing now?
DOREEN
Working at Woolworths.
CARTER
That must be interesting.
DOREEN
Yes.
Carter and Doreen look at each other awkwardly.
CARTER
What you going to do? Live with
Margaret?
Doreen looks at him nervously, shakes her head and fumbles
in her bag for a cigarette.
Carter continues, slightly indignant.
CARTER
Well, why won't you come with us
to South America? My fiancee won't
mind,
(pause)
Your dad would have wanted it.
The undertaker puts the final screw in.
UNDERTAKER
(to colleague)
Get Hughbert up, will you?
(to Carter)
We're ready now, sir.
EXT. FRANK CARTER'S HOUSE - DAY
The undertakers struggle with the coffin down the narrow
staircase into the street. Outside Carter and Doreen wait
with two men. EDDIE APPLEYARD, a middle-aged man, is wearing
a shabby tweed suit, cap and black tie. KEITH LACEY is a
young barman who worked with Frank.
EDDIE
We weren't sure where it was taking
place, like.
CARTER
Nice of you to come.
EDDIE
No. Frank was a good bloke.
KEITH
He was that.
EDDIE
One of the best.
INT. LIMOUSINE - DAY
Through the windscreen of the following limousine Carter
can see his brother's coffin in the hearse as it moves
slowly through the streets of the city. Sitting in front
on fold-out seats are Eddie and Keith.
KEITH
I couldn't believe it when I heard.
Carter is suddenly attentive.
CARTER
What?
KEITH
I mean, I was surprised when he
didn't turn up for work. He was
always on time.
CARTER
Did you work with him, Keith?
KEITH
At the Half Moon.
EDDIE
(not to be left out)
It's a bloody funny thing. You
know a bloke for six bloody years
and all the time he's as calm as
gentle Jesus...
(pause)
...then he goes and does a thing
like that.
(he shakes his head.)
It's a bloody funny thing.
CARTER
(quietly)
Yeah. A bloody funny thing!
EXT. CREMATORIUM GATES - DAY
As the cortege drives into the crematorium, it passes the
Land Rover parked outside. The same two men who passed
Frank's house are in it. A long and expensive-looking
funeral cortege passes out as they move up the driveway.
INT. CREMATORIUM - DAY
Carter, Doreen, Eddie and Keith are in the front pews facing
the catafalque on which Frank's coffin rests. The vicar is
already midway through the solemn words of the 'committal'
when a woman enters. The clunk of her high heels cuts
through the silence. Everybody looks round.
CARTER
(whispering to Doreen)
Is that Margaret?
Doreen nods. Frank's coffin sinks out of sight.
INT. CREMATORIUM COMMITTAL CHAMBER - DAY
Two men in long grey coats wait in silence. The coffin
appears. Expertly, they take it and swing it on to a
trolley. They push it up the wide corridor towards the
furnace. One of the men starts whistling cheerfully.
EXT. CREMATORIUM - DAY
MARGARET is thirtyish, blonde, attractive in a tarty kind
of way. Her heels are too high and she is wearing a cheap
pair of sunglasses. She walks quickly away, down the
cloisters, past the memorial tablets and urns.
Carter comes out of the chapel and sees her.
CARTER
Margaret.
Margaret stops and looks round. Carter joins her. I thought
you weren't coming.
MARGARET
Changed me mind.
They face each other in silence. Margaret looks past Carter
and sees Doreen watching them at the end of the cloisters.
She turns away and starts walking slowly. Carter moves
with her. Margaret continues nervously.
MARGARET
Everyhing go off all right?
CARTER
Fine...
(pause)
I want to talk to you.
MARGARET
What about?
CARTER
Doreen.
Margaret stops in her tracks and looks back at Doreen.
She's still watching them.
MARGARET
(adamantly)
She's nothing to do with me.
CARTER
(puzzled)
What do you mean? You've been
Frank's bird ever since her mother
cleared off. You're closer to her
than anyone.
MARGARET
(shaking her head)
No. No. It's not like that. I've
got a husband, you know.
Margaret starts walking again, fast.
Carter catches hold of her arm and stops her.
CARTER
Hold it! Hold it!
(looking her in the
eye)
Who killed Frank, Margaret?
MARGARET
(nervously)
Killed? I don't know anything
about it.
She moves off rapidly. Carter catches up with her.
CARTER
Really.
MARGARET
I must go. I'm in a hurry.
CARTER
I want to talk to you later.
MARGARET
I can't.
CARTER
Tomorrow morning, then?
Margaret dithers.
MARGARET
Well, all right then. Twelve o'clock
on the Iron Bridge.
Margaret walks off as calmly as she can, her high heels
clicking as she goes. Carter watches her disappear. Doreen
watches too.
INT. CREMATORIUM COMMITTAL CHAMBER - DAY
Frank's coffin is slid inside the furnace. Flames start to
lick it as the steel trap closes.
INT. THE HALF MOON PUB - DAY
It's a large room with a horseshoe bar in the centre, a
real boozer. A handful of hard drinkers are already in
position.
Carter, Doreen, Keith and Eddie are sitting alone. Their
table is already covered with glasses. Doreen appears to
be slightly drunk on Babycham, Eddie on whisky and Keith
on beer. Carter is stone-cold sober.
EDDIE
Absent friends.
(He raises his glass
and drinks, then
continues
thoughtfully.)
You don't think he might have done
it on purpose?
KEITH
What? You mean, like, kill himself?
Eddie and Keith look at each other.
Doreen watches them. She is getting very upset by the
conversation.
KEITH
Naw. Frank? Kill himself? You what?
Carter stares at Keith, who is getting uncomfortable.
KEITH
I mean, what for?
CARTER
That's what I was wondering.
KEITH
Come off it. Frank was... well...
straight. He had no worries I know.
Hell, we worked together every day
for a year. It would have showed.
CARTER
Why would it?
KEITH
It just would. He was always the
same.
CARTER
Since when did he drink whisky?
KEITH
Don't know.
CARTER
Nobody seems to know.
Doreen is now crying openly.
EDDIE
(finishing off his
drink)
Bloody good bloke. One of the best.
DOREEN
(blurts out)
How would you know?
(She suddenly jumps
up and empties her
glass in Eddie's
face.)
Or you? Or you? None of you knew.
I knew. He was me dad.
She runs off out of the door crying. Keith goes to follow.
Carter puts his hand out to restrain him.
CARTER
Let her go. She'll be OK.
(to Eddie)
Sorry about that.
EDDIE
(wiping his face
with a handkerchief)
Don't worry. She's bound to be
upset.
CARTER
(to Eddie)
Have another?
EDDIE
No. I'll be off now. I should be
at work.
Eddie stands up, cap in hand. Carter pulls out a wad of
money.
CARTER
Look, look.
(He peels off a
note.)
Get your suit cleaned.
EDDIE
No. It's all right.
CARTER
(standing, pushes
the note in his
top pocket)
Thanks for coming.
EDDIE
Frank was a good bloke. It's the
least I could have done.
Eddie leaves.
CARTER
You work here, Keith?
KEITH
Yes.
Carter thinks for a moment, then leans forward to Keith.
CARTER
Keith, if anybody comes in here
and asks for me, you let me know.
Right?
KEITH
Right.
CARTER
I'm at the Las Vegas. Behind the
dance hall.
(He casts an eye
around the bar.)
Do you know a man called Albert
Swift?
KEITH
Yeah. He comes in here a bit.
CARTER
Where would I find him?
KEITH
Today? At the races. He always
goes.
Carter takes out his phial of pills.
KEITH
How'd you know Albert?
CARTER
Went to school with him.
(smiles)
He was leader of our gang. He'll
know what's going on in this town.
EXT. RACE TRACK - DAY
The rain has just stopped. Bookies and punters lower their
umbrellas. Horses thunder towards the finishing post. Turf
flies in all directions as the jockeys whip their mounts
in a last desperate effort and the crowd roars.
EXT. TRACK ENCLOSURE - DAY
Albert Swift is standing by a bookmaker's marking bis race
card with a biro. A hot dog is sticking out of his mouth,
like a cigar. A man of about thirty-five, be appears much
older, probably from an excess of booze and women. He looks
up, and his mouth drops open, the hot dog falling to the
ground. He has seen Carter.
EXT. TRACK ENCLOSURE - DAY
Carter is pushing his way along the line of bookies, all
the time looking about him. The track loudspeaker announces
the winner of the last race.
EXT. TRACK ENCLOSURE - DAY
Albert pales. He holds his race card in front of his face
and disappears into the crowd. As he moves off, his foot
steps on the hot dog and tomato ketchup oozes out.
EXT. TRACK SADDLING ENCLOSURE - DAY
Carter stands alone, casting an eye over the punters. His
eyes rest on someone the other side of the saddling ring
ERIC PAICE. Dressed in a grey chauffeur's uniform, cap,
dark glasses and gloves, he is standing close to three
well-heeled-looking men with binoculars and shooting sticks.
Horses for the next race are being led around the enclosure.
Carter approaches from behind. He looks at Eric closely
before speaking.
CARTER
Grey suits you, Eric.
Eric swings round, startled.
ERIC
Good God!
Carter smiles.
CARTER
Is he?
ERIC
Jack Carter.
CARTER
(amused)
Eric. Eric Paice.
ERIC
What you doing around here then?
CARTER
Didn't you know this is my home
town?
ERIC
No, I didn't know that.
CARTER
Funny, that.
Carter takes out his cigarettes. Eric takes one.
ERIC
Thanks. So what're you doing? On
your holidays?
CARTER
No. I'm visiting relatives.
ERIC
Oh, that's nice.
CARTER
It would be. If they were still
living.
ERIC
Meaning what?
CARTER
A bereavement. A death in the
family.
ERIC
Oh, I'm sorry to hear that.
CARTER
That's all right, Eric.
Carter flicks bis lighter and gives Eric a, light.
ERIC
Well, well. Small world, isn't it?
CARTER
Very...
(pause)
So, who you working for these days
Eric?
ERIC
Oh, I'm straight.
(indicating uniform)
Respectable.
CARTER
(smiling)
What are you doing? Advertising
Martini?
ERIC
Oh, you've been watching television.
CARTER
Yeah,
(pause)
Come off it, Eric. Who is it?
Eric smiles back.
CARTER
Brumby?
Eric shakes his head.
CARTER
Kinnear?
Eric shakes his head
ERIC
What's it to you anyway?
CARTER
I've always ad your welfare at
heart, Eric. Besides which, I'm
nosy.
ERIC
That's not always a healthy way to
be...
CARTER
And you should know, if I remember
rightly.
A track announcement interrupts them.
CARTER
So you're doing all right then,
Eric. You're making good.
ERIC
Making a living.
CARTER
Good prospects for advancement, is
there? A pension?
(He can't resist it
any longer. He
lifts the sunglasses
off Eric's nose
and looks into his
eyes.)
Do you know, I'd almost forgotten
what your eyes looked like.
Eric stares back.
CARTER
They're still the same. Piss holes
in the snow.
ERIC
Still got a sense of humour?
CARTER
Yes, I retained that, Eric.
(He moves towards
the saddling ring
and turns to Eric.)
Do you know a man called Albert
Swift, Eric?
ERIC
Can't say I do.
Carter looks across at the track.
CARTER
Don't miss the start on my account.
EXT. RACE TRACK - DAY
Starting gates slam open and the horses leap out.
INT. HIRE CAR - AFTERNOON
Carter is driving along a country road. Ahead, two cars
are between him and a Cadillac with dark-tinted windows.
The Cadillac turns on to a minor road. Carter follows.
INT. CADILLAC - LATE AFTERNOON
Eric Paice is driving. In the back sit the three men seen
with him at the race track. The drinks compartment is open
and they are helping themselves to champagne. Racing results
come over the car radio.
INT. HIRE CAR - LATE AFTERNOON
Carter follows the Cadillac at a safe distance. It turns
into a driveway. Carter slows down and reads a sign by the
entrance: The Heights.
He drives on and parks.
EXT. THE HEIGHTS - LATE AFTERNOON
Carter comes through a wooded area. He pauses by a lake,
now overgrown with weeds. A big man stands tossing stones
into the water. Carter silently picks up a dead branch
then runs at the man. Carter whacks him on the head and he
collapses unconscious into the lake. Carter moves on towards
the house. MARTY and RAY the two men previously seen in
the Land Rover, are playing with an Alsatian on the spacious
lawn fronting the house. It's a Victorian building
surrounded by acres of woodland.
Carter breaks from the trees and darts for the side door.
One of the men notices and shouts after him.
INT. THE HEIGHTS - LATE AFTERNOON
Carter runs into the house and slips into a small service
room. Ray and then Marty charge inside but miss seeing
Carter.
INT. THE HEIGHTS - SITTING ROOM - LATE AFTERNOON
A game of poker is in progress. Seated around the table
are the three men with Eric at the race track. With them
is an elegant man, CYRIL KINNEAR. On the sofa are GLENDA,
a sexy-looking young woman, and Eric Paice.
Ray bursts in.
RAY
Carter's here.
Eric jumps up.
ERIC
Where?
RAY
I don't know.
ERIC
You stupid shit!
Carter walks past Ray, blowing him a kiss.
Kinnear watches with some amusement.
KINNEAR
You see what it's like these days,
Jack. You can't get the material.
Carter looks at Eric.
CARTER
Yes, I can see your problem, Mr
Kinnear.
KINNEAR
Sit down, Jack,
(pause)
I could weep. I really could.
Sometimes I think I'll retire.
Just piss off to the Bahamas and
let somebody else employ them,
(to girl)
Glenda, get Jack a drink. What is
it, Jack?
CARTER
(to Glenda)
Scotch, please.
KINNEAR
(to bouncer)
Piss off, Ray.
Ray closes the door behind him.
Glenda brings Carter his Scotch. He looks at her as she
sits beside him.
KINNEAR
Eric told me of your bereavement.
CARTER
Yep.
KINNEAR
Do you know, I never knew he worked
in one of my places!
CARTER
No? Funny that. Neither did I.
KINNEAR
If I'd known, I'd have fixed him
up with something better.
CARTER
Yeah.
KINNEAR
Nasty way to go.
CARTER
Yes.
One of the three men sitting around the table with Kinnear
gets impatient. PETER, LES AND HARRY are well-heeled, middle-
aged, northern businessmen.
HARRY
Are we here to play cards or talk
about the old days?
KINNEAR
Harry! Jack, I don't want to be
rude, but these men have brought a
lot of money with them. Glenda,
you don't offer a man like Jack a
drink in those piddling little
glasses. Give him the bloody
bottle.
(He picks up his
cards.)
Now, where are we?
Harry keeps a cold, wary eye on him.
KINNEAR
Oh... I think I'll stay as I am.
HARRY
(shaken)
You're bluffing, you bastard!
KINNEAR
That's what you pay to find out.
Right, Jack?
CARTER
Right. If you can afford it.
HARRY
(to Carter)
Thought you were going soon.
CARTER
Soon. When you've lost your money.
Won't take long.
HARRY
Clever sod, aren't you?
CARTER
Only comparatively.
KINNEAR
Harry, I don't like to push, but
could you let us know how much
your hand's worth?
Harry looks at his cards. Glenda tucks her legs up, making
sure that Carter gets an eyeful.
GLENDA
You know Sid Fletcher?
CARTER
What?
GLENDA
You know Sid Fletcher?
CARTER
I work for him.
GLENDA
Do you?
CARTER
(amused)
Yes, I do.
Carter looks back at the table. Kinnear pushes in some
money.
HARRY
What's that? A hundred?
KINNEAR
That's right, Harry.
HARRY
Your hundred, and another hundred.
Kinnear lays more cash on the table.
HARRY
What's that?
KINNEAR
That, Harry? That's another hundred -
twenty-five pounds notes of the
realm.
HARRY
Three hundred altogether?
KINNEAR
Three hundred altogether, Harry.
Glenda attracts Carter's attention again.
GLENDA
I know him too.
CARTER
Who?
GLENDA
Sid Fletcher.
CARTER
(sending her up)
Oh, do you?
GLENDA
(dumb)
Yes.
CARTER
No, do you really?
Carter turns to the table yet again.
Harry nervously puts another hundred on the table. Kinnear
purses his lips.
KINNEAR
I'll follow that and go two hundred.
Harry looks sick.
KINNEAR
You can always see me, Harry.
Harry sweats and then smiles nervously.
HARRY
All right. Two hundred.
KINNEAR
(raises an eyebrow)
Ha.
Kinnear takes a wad of notes out of his pocket. Glenda,
shifts herself on the sofa.
GLENDA
Yes. I met him last year.
CARTER
Go on.
GLENDA
Oh yes. When he came up on business.
CARTER
Really?
GLENDA
He came to see Mr Kinnear.
CARTER
No.
Carter, getting bored, looks back at the game.
HARRY
(panicking)
What's that?
KINNEAR
That's six hundred pounds, Harry.
Two hundred to follow you, and
I've raised it four hundred.
Harry sweats some more.
HARRY
Four hundred?
KINNEAR
That's right.
HARRY
You're not seeing me?
KINNEAR
No.
Harry smiles nervously. He counts some money out.
HARRY
I'll see you, then.
KINNEAR
Calling my bluff, are you, Harry?
Harry nods.
Glenda speaks, but this time Carter keeps his eyes on the
table. Kinnear lays out his hand — a hearts flush, queen
high.
GLENDA
We went about together.
CARTER
Really?
GLENDA
Yes, while he was here.
CARTER
While he was here. You went about
together?
GLENDA
He was here for four days.
CARTER
Was he?
GLENDA
Could you do me a favour?
CARTER
Yeah, I'll do you a favour.
GLENDA
Could you please put my glass on
the table?
Carter smiles and does just that.
KINNEAR
Oh, come on, Harry. I haven't won,
have I? Go on, you're pulling my
leg.
Kinnear leans across to pick up Harry's cards. Harry grabs
them and puts them in the pack. Kinnear turns to Carter.
KINNEAR
How about that, Jack? Old Harry
thought I was having him on.
HARRY
Shut up.
Carter gets up from the sofa.
KINNEAR
Not going, Jack?
CARTER
I have to. Things to see to.
KINNEAR
Of course, of course. Well, any
time, just drop by.
CARTER
Yeah, I'll do that.
(He points at Harry.)
Told you it wouldn't take long,
didn't I?
Eric opens the door and follows him out.
INT. THE HEIGHTS - HALLWAY - EVENING
Carter moves towards the front door.
ERIC
Jack! I didn't like that.
CARTER
You should have told me who you
were working for.
ERIC
Cyril didn't like it, either.
CARTER
Oh, Cyril, eh? So it's all girls
together, is it?
ERIC
He's thinking Sid and Gerald won't
like it much when they hear you've
been sticking your nose in.
Carter carries on walking to the front door. He opens it.
CARTER
He's right. Tell him to save the
cost of the phone call.
Carter leaves. Eric signals Ray to follow him.
EXT. SCRAPYARD - DAY
Huge metal claw catches hold of an old car and lifts it
like it was a toy. The yard is beside the River Tyne. In
the distance a train crosses the Iron Bridge.
Carter is examining a beaten-up Hillman when the yard owner,
BILLY LAWS, approaches.
BILLY
(suspicious)
What do you want?
CARTER
What happened to this car?
BILLY
What's it got to do with you?
CARTER
This is my brother's car.
BILLY
Oh ay?
CARTER
Yeah.
BILLY
Well, he drove it into the river.
CARTER
Was the steering faulty?
Billy shakes his head.
CARTER
What about the brakes?
BILLY
Fine. Nowt wrong with them.
CARTER
How'd it happen, then?
BILLY
He was drunk. Drunk as a lord.
CARTER
Was he?
INT. THE HALF MOON - NIGHT
A big, busty pub singer is performing on the small stage.
A trio on her right plays a good, grinding, up-tempo number.
Carter comes through the door. He pushes his way through
the packed drunken crowd to the bar. Keith serves him.
KEITH
What you having, Jack?
CARTER
Large Scotch.
Carter watches the singer. The customers cheer and whistle.
Keith returns with the Scotch. He looks nervously around
and speaks to Carter quietly.
KEITH
Heard of a man called Thorpe?
CARTER
Old Thorpey? Haven't seen him in a
long time.
KEITH
(picking up Carter's
money)
That's what he was saying about
you.
Keith takes the money to the till. The music grinds away.
Keith returns.
KEITH
Said he'd heard you were up in
town. Wondered if I knew where you
was staying. Wanted to look you
up. Old time's sake.
CARTER
That's nice. What'd you tell him?
KEITH
Nowt.
CARTER
Good lad.
Carter watches the singer, then finishes his drink.
CARTER
See you later.
KEITH
Where you off to?
CARTER
(smiling)
Las Vegas.
Carter makes for the door. The singer is now moving through
the tables. She pauses to give some man a kiss. Everybody
cheers.
The woman sitting with the man snaps. She picks up his
glass of beer and throws it over the singer; then grabs
her hair and pulls her to the ground.
Carter stops to watch. The two women roll on the floor,
punching and scratching.
Carter smiles and leaves.
EXT. ALLEY IN TOWN CENTRE - NIGHT
On the corner is a neon-lit snack bar. Doreen and another
young girl are sitting inside sucking milk shakes. Somewhere
a drunk is singing. His voice echoes up the alley.
Carter draws alongside and notices Doreen. He stops and
watches her. She hasn't seen him so he goes to the window
and knocks on it. She looks up and he beckons her outside.
Reluctantly, she comes.
CARTER
(gently)
You all right now?
DOREEN
Yeah.
CARTER
You coming to South America?
DOREEN
No.
Carter's hurt and slightly irritated by this rejection.
CARTER
Where you going to live, then?
DOREEN
At me friend's house.
CARTER
Where's that?
DOREEN
Wilton Estate.
CARTER
Nice family, are they? Church-goers
and all that?
Doreen nods.
CARTER
Good. I'm off tomorrow, so I don't
suppose I'll see you again.
(He pulls out a wad
of money, and peels
off some notes.)
There. Go and get your hair done.
DOREEN
(Can't believe it)
Thanks.
He lifts her chin with his finger and looks at her.
CARTER
Be good. And don't trust boys.
Doreen blushes and turns away. She rushes back to the snack
bar with the money to show her friend.
INT. BOARDING HOUSE - HALL/SITTING ROOM - NIGHT
The front door opens and Carter enters.
Standing on the hall table is a small wooden casket with
an envelope taped to it. Carter pockets the envelope and
picks up the casket.
EDNA (O.S.)
That was left for you this evening.
Carter walks past her into the sitting room.
EDNA
What is it?
CARTER
My brother, Frank.
EDNA
Is he staying the night?
CARTER
Funny.
(He puts the casket
on a side table.)
Can I phone London?
EDNA
It'll cost you.
INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
Anna is undressing. She's alone. Pulling the short black-
silk underslip over her head, she stands in front of a
long mirror, clad only in black panties, bra and tights.
She looks at herself appreciatively. The phone rings. She
flops on the bed and picks up the receiver.
ANNA
Hello.
A voice speaks on the end of the line.
ANNA
How I miss you.
(She stretches
herself out sexily
and smiles.)
Stop it, darling.
INT. BOARDING HOUSE - SITTING ROOM - NIGHT
It's a cosy room. Carter is on the telephone. EDNA sits in
a rocking chair.
CARTER
(looking at Edna)
I fancy you. I wish I was touching
you right now...
Edna turns towards him. Carter fixes her with his eyes.
Edna rocks herself gently. Carter continues softly.
CARTER
...making love to you. I want to
stroke you and kiss you all over.
Where are you?
INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
Anna is lying full-length on the bed.
ANNA
In the bedroom.
Carter speaks on the other end.
ANNA
My black underwear.
INT. BOARDING HOUSE - SITTING ROOM - NIGHT
Edna rocks backwards and forwards.
CARTER
(quietly)
The sexy, silk ones?
Anna replies. He continues softly.
CARTER
Take your bra off.
(pause)
No, go on.
INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
Anna unhooks her bra. There's a flash of breasts.
INT. BOARDING HOUSE - SITTING ROOM - NIGHT
The scene as before.
CARTER
Now hold them. Gently.
INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
Anna's hands cover her breasts. Her head moves slowly from
side to side, eyes closed.
INT. BOARDING HOUSE - SITTING ROOM - NIGHT
Scene as before.
CARTER
Slowly. Imagine it's me.
INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
Anna's hand caresses the inside of her leg. Her head rolls
from side to side slowly. She's breathing heavily.
CROSS-CUT between Edna's head rocking backwards and forwards
and Anna's head moving from side to side.
CARTER (V.O.)
When we're in South America, we'll
make love in the sun. Roll over...
and make love again... and again...
For me... I fancy you...
THE SPEED OF THE CUTTING BUILDS.
INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
Suddenly the door opens and Gerald comes in. He sees Anna
groaning on the bed.
GERALD
What's the matter? You got gut
trouble or something?
Anna sits up abruptly and puts her hand over the receiver.
ANNA
No, darling. Just doing some
exercises,
(into telephone)
Listen, Janet, Gerald's just got
in, so I must ring off.
(pause)
Yes. Yes. I'll come tomorrow.
INT. BOARDING HOUSE - SITTING ROOM - NIGHT
Scene as before.
CARTER
Save it till Sunday. I'll be back
then.
Carter replaces the receiver. He still holds Edna's eyes.
She rocks to and fro. The rocker creaks.
The front door bell breaks the mood.
CARTER
That'll be for me.
INT. BOARDING HOUSE - HALL - NIGHT
Carter opens the door. Keith is outside. He's sweating.
His tie is somewhere round the back of his neck and his
suit is covered with dirt.
KEITH
Thorpey. They were waiting for us
in the car park.
CARTER
How many?
KEITH
Four of them.
Carter pulls Keith inside and turns out the light.
A Ford Zodiac comes along the road. It stops. Four faces
peer into the darkness where they're standing. Nobody gets
out. The back window winds down. Thorpe's nervous voice
floats out.
THORPE
Jack?
CARTER
Good evening.
THORPE
I'd like a word with you, Jack.
CARTER
That's nice.
THORPE
Confidential, like.
CARTER
You stay in the car. I'll come and
listen. (
(He leaves the
darkness and walks
to the car.)
What you want to tell me, Thorpey?
Thorpe holds out his hand.
THORPE
I've been asked to give you this.
He hands Carter a railway ticket. Carter smiles.
THORPE
Train goes at four minutes past
twelve. You've just got time.
CARTER
That's very kind of somebody. Who
do I have to thank? (pause) What
happens if I miss the train?
THORPE
I've been asked to make sure you
don't.
CARTER
Oh, really. You're getting very
optimistic in your old age, aren't
you, Thorpey?
One of the men inside mutters.
MAN
Let's stop pissing about.
THORPE
Are you coming, Jack? It'd be best.
Carter tears the ticket in half and drops it in the gutter.
THORPE
Right lads.
The front passenger door starts to open. Carter grabs it
and pulls it wide open. With all his force, he slams it
against the man as he gets out. The window shatters over
his head. Blood spurts everywhere. The driver panics. He
accelerates away as the man in the back is getting out.
His foot is trapped in a safety belt. He's upended and
dragged along the tarmac, his head dangerously close to
the back wheel. His yells make the driver brake. In the
confusion Thorpe escapes from the car and makes off. Carter
spots him and begins to run.
CARTER
(roars)
Thorpe!
Thorpe turns into the main road. He makes for the dance
hall and disappears inside. Carter follows.
INT. DANCE HALL - NIGHT
The dance floor is full, mainly with miniskirted girls,
their handbags at their feet. A rock band play mechanical
music to match the dancing.
Thorpe vanishes into the crowd circling the floor. Carter
arrives. He scans the place, then sees Thorpe as he
disappears down into the gents' lavatory.
INT. DANCE HALL - GENTS' LAVATORY - NIGHT
Carter enters. There's no sign of Thorpe. He checks the
cubicles until he finds the one that's occupied, then goes
into the next one. He climbs on the seat and looks over
the partition. Thorpe is sitting down looking at the door.
Carter quietly leans across and pulls the chain. Thorpe
jumps up, terrified.
CARTER
Time's up, Thorpey.
Carter smiles.
EXT. BOARDING HOUSE - NIGHT
Keith kicks broken glass into the gutter while he waits.
Edna's next-door neighbour, an OLD WOMAN, watches. Carter
and Thorpe come down the street.
CARTER
Hello, Keith,
(pause)
Stay there, Thorpey.
He knocks on Edna's door. It flies open. Edna is furious.
EDNA
What the bloody hell do you think
you're at?
CARTER
(smiles)
I'm sorry.
EDNA
You don't look it.
CARTER
No. Really, I am.
EDNA
Don't come that bloody flannel
with me. If you're a traveller,
I'm bloody Twiggy.
(She points at
Thorpe.)
And who's he?
OLD WOMAN
What's going on? Have you no thought
for others?
CARTER
We're going inside.
EDNA
Inside? Why should I give house-
room to your sort?
CARTER
Up the stairs, Keith. The door on
the right.
OLD WOMAN
Everybody knows you, Edna Garfoot.
Everybody knew there'd be trouble
when you moved in.
Carter, Keith and Thorpe enter the house.
EDNA
You keep your trap shut, Ma.
OLD WOMAN
I'll send my old man to see you!
EDNA
And wouldn't he love it!
INT. BOARDING HOUSE - HALL - NIGHT
Carter, Thorpe and Keith are climbing the stairs. Carter
stops to pick up Frank's casket. Edna rushes in and slams
the door.
EDNA
Where do you think you're going?
Carter opens the door to his room.
CARTER
Why don't you go and make us all a
nice cup of tea?
Carter shoves Thorpe into the room. Keith follows.
EDNA
And what you going to do?
CARTER
Make us a nice cup of tea and I'll
tell you. I might even let you
watch.
EDNA
I'll call the police.
CARTER
(He knows she fancies
him)
No, you won't.
Carter closes the door.
INT. BOARDING HOUSE - BEDROOM - NIGHT
Carter carefully places the casket on the chest of drawers.
CARTER
Well now, Thorpey. It seems I've
got a secret benefactor.
(He moves into the
room and opens his
briefcase, which
is lying on the
bed.)
It's nice to know that. Isn't it,
Keith?
(He takes out a
bottle of whisky.)
There's only one trouble, I don't
know who to thank.
Thorpe looks longingly at the bottle of Scotch. Suddenly
Carter punches him hard in the stomach. He grunts and
collapses into a chair.
CARTER
Now, I want to know who it is,
Thorpey.
Carter tosses the whisky bottle to Keith and continues
wearily.
CARTER
All right. If you like, Thorpey,
we'll stop mucking about. Somebody
doesn't want me poking my nose
into something and I happen to
know what that something is.
(pause)
Now stand up.
Thorpe looks at him, terrified. Slowly he stands. Carter
grabs him by the testicles and applies preasure. Thorpe
screams.
CARTER
Who paid you to see me off?
THORPE
I can't Jack. How can I?
CARTER
Yes you can.
Carter applies more pressure. Thorpe screams.
THORPE
No, don't Jack, don't.
CARTER
Who sent you, Thorpey?
THORPE
(desperate)
Brumby!
Carter gives him a final squeeze and lets go. Thorpe groans
and slips to the floor, doubled up in agony.
CARTER
There you are, you see. Now you
could, couldn't you?
(pause)
And quickly.
There's a knock on the door. Carter lets in Edna, who is
carrying the teatray.
CARTER
Ah, Edna, come in. Join the tea
set.
KEITH
Who's Brumby?
CARTER
Cliff Brumby. Ever been to Westsea?
Keith nods.
CARTER
Ever been into an arcade there and
put a penny in the slot machine?
KEITH
Yeah.
CARTER
Ten to one, it belonged to Cliff
Brumby, and like as not the bloody
arcade as well. Right along the
coast. Isn't that right, Thorpey?
Thorpe drags himself painfully to a chair.
CARTER
Where's he living these days?
THORPE
He's got a new place at Burnham.
CARTER
Address?
THORPE
On the Durham Road. The Pantiles.
EDNA
(furious)
Suppose you tell me what the bloody
hell's going on. It's my house,
you know.
CARTER
Yes, Edna, and I must say you've
been great about the ...
EDNA
Stick the soft soap. Let's be having
it.
Thorpe's plaintive voice interrupts.
THORPE
Can I go now?
CARTER
You must be joking,
(to Keith)
Keep him away from the telephone.
I'm going out for a bit.
EDNA
Now just a minute...
CARTER
Ta-ra.
THORPE
Don't let on I told you, for God's
sake.
Carter laughs and closes the door.
EXT. THE PANTILES - NIGHT
It's a large, new, ranch-style house, set back from the
road. The front garden is a landscape gardener's nightmare,
with its phoney brick and wrought-iron wishing well,
porcelain dwarfs, lily pond, the lot. Fairy lights hang
over everything.
There's a party going on. Lights are on in every room and
the rock music is loud. The drive is lined with sports
cars.
Carter parks and gets out.
Out of a side door a young man stumbles towards the lily
pond. There, he promptly throws up.
Carter watches from behind a tree.
His attention shifts to the white Bentley turning into the
drive. It brakes sharply and the driver jumps out.
CLIFF BRUMBY has been to a police ball. He is impeccably
dressed in tuxedo and white scarf. Now he's hopping mad.
BRUMBY
Jesus wept!
MRS BRUMBY cowers in the passenger seat.
MRS BRUMBY
Now, Cliff, don't get mad.
BRUMBY
I'll murder the little bitch!
MRS BRUMBY
Cliff ...
Brumby roars up to the front door, banging it furiously. A
young woman in a party dress, expecting to greet a
latecomer, is stunned to see who it is.
SANDRA
Daddy!
BRUMBY
That's right, bloody Daddy.
SANDRA
I wasn't expecting you until three
o'clock.
BRUMBY
And this is what you call having a
few friends back for coffee, is
it?
Brumby pushes past her into the house.
BRUMBY
Running bloody riot over my bloody
furniture, drinking my bloody
booze...
The rest is lost as he disappears inside. He then powers
out through the side door
BRUMBY
... spewing over my fucking
goldfish.
He aims a kick at the young man's backside, sending him
face-down into the lily pond.
Mrs Brumby gets out of the car and hovers for a moment. As
she approaches the house, people pour out. Brumby appears
at the door with a boy pulling up his trousers.
MRS BRUMBY
Cliff ...
Brumby throws the boy out.
BRUMBY
Shut up, Phyllis.
(He walks back into
the house.)
Sandra!
Mrs Brumby goes into the house and closes the door. Brumby
passes an upstairs window as Sandra locks herself in a
bedroom.
BRUMBY
Sandra! Unlock the door, you bitch.
Carter pauses outside the front door and listens to the
row going on upstairs. He opens the door and goes in.
INT. THE PANTILES - NIGHT
Carter passes silently through the hall into the large
sitting room. Mrs Brumby is sitting in an armchair.
Brumby is still yelling at his daughter upstairs.
CARTER
Good evening.
Mrs Brumby jumps. The front door is open.
MRS BRUMBY
(standing)
Who are you?
CARTER
I'm an old friend of Cliff's. I
want to see him.
Mrs Brumby looks at her watch irritably.
CARTER
It's urgent.
MRS BRUMBY
What's it about?
CARTER
Business.
MRS BRUMBY
I know all about Cliff's business.
Carter moves further into the room.
CARTER
Yeah, well, tell him the Fletchers
sent me.
Mrs Brumby is uncertain what to do. Carter sits in an
armchair to make his point. She leaves. A moment later
Brumby storms into the room.
BRUMBY
What the bloody hell's all this?
Carter doesn't move.
BRUMBY
You know what the bloody time is!
(pause)
It's two o'clock in the bloody
morning!
CARTER
I know.
BRUMBY
Well?
Carter still doesn 't move.
BRUMBY
The wife says the Fletchers sent
you.
Carter just looks at him. Weighing him up.
BRUMBY
What's so bloody important it
couldn't wait till the morning?
Carter starts to laugh. He realizes Thorpe has lied to
him. Brumby isn't his man.
BRUMBY
Listen, I'm not in the mood for
bloody silly buggers.
Carter stands.
CARTER
I made a mistake.
BRUMBY
What?
CARTER
I made a mistake.
BRUMBY
What about?
CARTER
Never mind.
Brumby looks confused.
BRUMBY
It's not business?
Carter moves to the door.
CARTER
See you.
Brumby moves between him and the door.
BRUMBY
Listen, I don't like it when some
hard nut comes pushing his way in
and out my house in the middle of
the night.
Carter again makes to leave. Brumby stops him.
BRUMBY
Bloody well tell me who sent you.
CARTER
You're a big man, but you're in
bad shape. With me, it's a full-
time job. Now behave yourself.
Brumby swings at him. Carter moves away from the punch,
then applies several sharp blows to Brumby's head and neck.
Brumby groans and collapses into the armchair, hurt.
Carter walks into the hall and out of the front door.
CARTER
Good night, Mrs Brumby.
EXT. 'LAS VEGAS' BOARDING HOUSE - NIGHT
Carter walks up the deserted street to Edna's place. He
finds the front door unlocked.
INT. BOARDING HOUSE - HALL - NIGHT
Carter enters cautiously. There is no sound. He closes the
door quietly and pauses at the foot of the stairs. Still
there is no sound. He waits. A sudden rustle attracts his
attention. Quietly, he moves to the sitting-room door.
INT. BOARDING HOUSE - SITTING ROOM - NIGHT
Carter switches on the light. Edna is pressed against the
far wall, holding a poker. Her dress is torn and her hair
dishevelled. When she sees Carter, she sighs with relief.
EDNA
You sod.
CARTER
They came back?
EDNA
(sarcastically)
No.
Carter helps himself to a glass of water from the tap.
Edna looks at her torn dress.
EDNA
Look at this. You bastard.
Carter puts the glass on the table.
EDNA
You don't care a stuff, do you?
Carter takes out his phial of pills.
CARTER
I'll buy you another.
Carter swallows a pill.
EDNA
What about the lad? They took him
away.
Carter shrugs his shoulders.
EDNA
What'll they do to him?
CARTER
Don't ask me.
Edna rubs her wrists.
EDNA
They bloody hurt me.
CARTER
You're lucky. They kill as well.
EDNA
(mocking him)
And what about you? Did you kill
Brumby?
Carter shakes his head.
EDNA
Thorpey nearly died laughing.
CARTER
That little shit!
EDNA
What about Keith?
CARTER
What about Keith?
EDNA
What you going to do?
CARTER
Pension him off.
EDNA
You're a bastard.
CARTER
(angry)
What am I supposed to do? I don't
know where they've taken him. Do
you?
Edna shakes her head.
CARTER
So shut up.
EDNA
What's that gun doing in your room?
Suppose I phoned the police and
told them there's a bloke staying
in my hotel who's planning to shoot
somebody?
CARTER
You wouldn't.
EDNA
How'd you know I wouldn't?
CARTER
(smiling)
'Cos I know you wear purple
underwear.
EDNA
What's that supposed to mean?
CARTER
Think about it.
Carter takes hold of her torn blouse and rips it open. She
is wearing purple underwear.
EXT. BOARDING HOUSE - DAY
It's Sunday morning. A girls' marching band rehearses on
the wasteground in front of the terraced houses. The Pelaw
Hussars march back and forth carrying their proud banner,
led by the drum majorette.
INT. BOARDING HOUSE - DAY
Above the bed hangs a sign 'What would Jesus say?' In the
bed lie Carter and Edna. The distant sound of the marching
band helps them surface.
EDNA
Are you awake?
CARTER
No.
EDNA
Do you want breakfast?
CARTER
You must be joking. I never eat
breakfast,
(pause)
Did you sleep well?
EDNA
Uh-huh.
EXT. BOARDING HOUSE - DAY
The Pelaw Hussars keep on marching. The back of their banner
a stirring motto For Youth and Valour.
INT. BOARDING HOUSE - DAY
Scene as before.
EDNA
Did you sleep well?
CARTER
Yes, thank you.
He puts his arm around her and moves on top.
EXT. BOARDING HOUSE - DAY
As the band executes another movement, a red Jaguar slides
to a halt outside Edna's house. Two men get out. PETER the
Dutchman and CON MCCARTY are definitely not local lads.
They look, and are, lethal. They try Edna's front door. It
opens.
INT. BOARDING HOUSE - DAY
Scene as before.
CARTER
Are you tired?
EDNA
No. Are you tired?
CARTER
No. I'm not tired,
(pause)
Do you eat breakfast?
Edna laughs. They start to make love. Gently. Below the
undulating bedsprings rests a large chamberpot and, beside
it, Carter's shotgun. Beyond is the bedroom door. It opens
slowly and the two men enter. Only their legs are visible.
CON (O.S.)
Put us in it, Jack.
Carter is off the bed, and Edna, in a flash. Edna screams
and tries to stop the bedclothes following Carter on to
the floor. Peter and Con stand beside the bed smiling.
Peter is a queer and dressed fancy in a leather coat, wide-
bottomed trousers and a loud silk scarf. His hair is
bleached blond. Con is more traditional, more butch. He's
in a camelhair overcoat, suit and tie. Both are in their
thirties.
PETER
Don't let us interrupt you, Jack.
CARTER
I might have guessed.
CON
Sorry about this. But there you
are. Orders are orders.
CARTER
And what orders would they be,
Con?
Carter's hand runs over the carpet. It's going towards the
chamber pot instead of the gun.
CON
Gerald phoned us in the middle of
the night, said he'd heard you've
been making a nuisance of yourself.
PETER
We've got to take you back to
London.
CON
He said it'd be doing him a big
favour.
Carter's hand finds the chamber pot and quickly moves on
towards the gun.
CON
We know why you're all steamed up,
and so do Gerald and Sid.
PETER
But they have to be diplomatic.
Carter pulls out the gun and jumps up.
CARTER
Right. Now take me back to London.
CON
(smiling)
It'd be best if you got dressed
first.
Carter moves around the bed towards them. He's naked.
CON
Put it away, Jack. You know you
won't use it.
PETER
The gun he means.
Both men are laughing.
CARTER
Out.
Peter and Con back down the stairs. Peter looks up at
Carter's cock.
PETER
If Anna could see you now.
CARTER
Out.
CON
Now, Jack. Be reasonable. You know
we're going to take you back -
sooner or later.
CARTER
Out.
EXT. BOARDING HOUSE - DAY
Con is the first to emerge from the front door.
CON
Mind you don't catch cold.
Peter follows.
PETER
I hope she's got understanding
neighbours.
Then Carter comes out, shotgun held across his chest.
CON
See you when you've got your drawers
on.
The old woman next door chooses that moment to come out
for her milk. As she straightens up, she sees Carter. The
bottle flies from her hand and smashes on her doorstep.
Carter, never taking his eyes off Peter and Con, slowly
backs into the house.
INT. BOARDING HOUSE - BEDROOM - DAY
Carter watches from the window as he pulls on his jacket.
The gun lies across the armchair. Outside, he can see Peter
and Con talking by the Jaguar. Con exits.
Edna, now in her dressing gown, enters.
CARTER
Do us a favour?
EDNA
What, and get myself beaten up
again?
CARTER
No chance of that.
EDNA
Not much.
CARTER
They're friends of mine.
EDNA
And that'll make me feel better?
CARTER
I don't want to get rough, do I?
Carter picks up the gun. He hands Edna, bis case and the
casket.
INT. REAR OF BOARDING HOUSE - DAY
Edna comes out of the back gate into an alley, carrying
the casket and case. Con emerges from his hiding place
holding a handgun.
CON
Hold it! Where do you think you're
going?
Carter appears from the gate next door, covering Con with
the shotgun.
CARTER
Strawberry Fair.
He takes Con's handgun and signals him to go into Edna's
yard.
CARTER
In. Turn right.
(He points the gun
at the coalshed.)
Open that door.
Con unbolts the door.
CARTER
And go inside.
Con goes in. Carter closes and bolts the door. He moves
quickly back to Edna and the car.
EDNA
What you going to do?
CARTER
I'm going to sit in the car and
whistle 'Rule, Britannia'.
Carter jumps into the car.
EDNA
You coming back?
CARTER
How could I stay away?
The car roars off.
EXT. BACK ALLEY - DAY
Washing hangs behind each house as far as the eye can see.
Carter drives full tilt through it, collecting towels and
sheets on the windscreen.
EXT. EDNA'S YARD - DAY
The coalhouse door is getting a terrible battering. It
finally gives and Con bursts out. He runs into the alley,
following after Carter.
EXT. BOARDING HOUSE FRONT - DAY
Carter's car screeches as it corners from the alley on to
the road. Peter is leaning against the open door of the
Jaguar. When he sees Carter coming straight at him, he
scarpers for the pavement. Carter hits the Jaguar's door
at speed, tearing it off. It flies up and crashes on to
the tarmac as Carter careers over the wasteground. Soon he
is out of sight.
Con comes running. Peter is looking at the damage.
PETER
Where were you, then?
Con sees what's happened to the car and is not pleased.
CON
Bollocks.
EXT. BACK STREET - DAY
Carter pulls up outside a house and gets out. He takes the
washing off the car's bonnet, and throws it into a neglected
garden.
EXT. FRONT DOOR - DAY
Carter presses the bell. The door's opened by a young man,
SHAMIR.
CARTER
Keith in?
SHAMIR
(shouts)
Keith.
No answer. Shamir watches Carter as he walks into the hall.
CARTER (O.S.)
Which is his room?
INT. KEITH'S ROOM - DAY
Carter enters and closes the door. Keith is in a had way,
his face like a piece of raw steak. He is lying on a bed,
still in the clothes of the night before.
CARTER
What happened to you, then?
KEITH
How'd you find me?
Keith lifts his head painfully from the pillow.
CARTER
Did they give you a rough time?
KEITH
No.
(He lowers his head
to the pillow.)
You bastard. You knew they'd come
back.
CARTER
No, I didn't,
(pause)
Does Albert Swift still live over
the ferry?
KEITH
Get knotted.
CARTER
All right. All right. I want to
square things with you first.
KEITH
Oh yes? How?
Carter takes out of his wad of money. Keith's bloodshot
eyes watch him through the surrounding puff of flesh.
KEITH
Stuff it! My girl friend's coming
from Liverpool tonight. Nice
surprise, isn't it?
CARTER
I'm sorry. Here. This'll pay for a
course in karate.
He throws some money on the bed. Keith tries to kick it
off, but it's too painful. He clutches his testicles.
KEITH
Frank said you were a shit and he
was bloody well right.
Carter turns to leave. Keith continues, crying and angry.
KEITH
You even screwed his wife, didn't
you?
Carter shuts the door, leaving Keith shouting after him.
KEITH
The poor bastard didn't even know
if the kid was his.
He falls back on to the bed, crying out in pain.
EXT. RIVERSIDE - DAY
A wide road runs alongside the Tyne. It passes below the
vast steel bridges that link the two parts of the city. A
carpark lies at the foot of the 'Iron Bridge'. Carter pulls
up and parks. He gets out and moves quickly.
EXT. THE IRON BRIDGE - DAY
The bridge is a, massive structure. The traffic lanes are
flanked each side by pedestrian walkways. It is here that
Carter and Margaret have arranged to meet.
CARTER
How were things between you and
Frank?
MARGARET
He was all right to me.
CARTER
Nothing more? Just another feller?
MARGARET
Nicer than most.
CARTER
But he was just another feller,
wasn't he?
MARGARET
Yes.
CARTER
Though nicer than most?
MARGARET
Yes. I can't help the way I am.
CARTER
(ignoring the
statement)
Why'd you see him so regular?
MARGARET
Once a week?
CARTER
I call that regular.
MARGARET
He was gentlemanly. I like that.
CARTER
Once a week you like a gentleman?
MARGARET
(angrily)
Look, I'm me, right. You're not.
We are what we are, like it or
not.
(She turns and walks
slowly along the
bridge.)
Why all the bloody needle?
CARTER
What was bugging Frank?
MARGARET
He wanted me to leave Dave and
marry him. Last Friday I told him
it wouldn't work. Dave would have
killed us both!
(pause)
He followed me home and kicked up
a stink in the street,
(pause)
I had to tell Frank I couldn't see
him any more. It was getting too
dodgy. That was on Sunday.
(She stops and looks
over the bridge.)
He said he'd kill himself. I was
frightened what you might do.
They look at each other for a moment. Carter shakes his
head. He gently takes the sunglasses from Margaret's face
and folds them up.
CARTER
I don't believe you, Margaret.
Frank wasn't like that.
(pause)
I'm the villain in the family,
remember?
MARGARET
It's the truth.
Carter snaps her glasses in two and throws them away.
MARGARET
It is. Honestly.
CARTER
(shouting)
You bloody whore. Frank was too
careful to die like that. Who killed
him?
MARGARET
I don't know nothing.
Carter holds her arm. She winces like she's been hit before.
CARTER
Listen, the only reason I came
back to this craphole was to find
out who did it. And I won't leave
until I do. You understand?
Behind Carter Peter's Jaguar comes slowly along the bridge.
It stops. The passenger side is a gaping hole.
CON
Hello, Jack.
Carter swings round to see them, then swings angrily back
to Margaret.
CARTER
You bitch! It was you who told
them I was here, wasn't it?
He smacks her hard across the face. Margaret cries out.
The car draws alongside. A steel mesh separates the
pedestrian way from the traffic, so the two men can't get
to Carter until he reaches the end of the bridge. Con leans
out, his usual cheery self.
CON
Peter's very upset about his car.
He's going to shit all over you.
CARTER
I'll catch up with you later,
Margaret.
And with that he vaults over the handrail on to a corrugated
roof. Con jumps out of the Jaguar.
PETER
(shouts above the
revs)
Come on, get in.
Con does and they race off.
EXT. WASTELAND - DAY
Carter arrives at the top of some narrow, steep, overgrown
steps leading down to the river road, where his car is
parked. He leaps down the steps as the Jaguar screeches to
a halt at the top. Con leaps out of the Jaguar and gives
chase. Peter backs the Jaguar and roars off.
EXT. RIVER ROAD - DAY
Carter comes running down the steps with Con not far behind.
He arrives at the river road. In the distance, he can see
his parked car.
As he nears the car park, Peter's Jaguar comes down the
hill. It's going to cut Carter off from his car.
A Sunbeam Alpine sports car waits there. Its engine roars
into life and it races out of the car park. It reaches him
just before the Jaguar and slows down.
GLENDA
Over here, Jack.
Carter sees that the driver is GLENDA. The hood is down,
so he vaults into the car as it accelerates off.
The Sunbeam swings round, narrowly missing the oncoming
Jaguar, and roars away. Peter hasn't a chance. He's facing
the wrong way and has little room to manoeuvre.
Glenda laughs as the car swings wildly around a corner at
the top of the hill.
INT. SUNBEAM - DAY
Every movement Glenda makes is sexually charged manual
gear changes, steering, even braking. Carter can't take
his eyes off her.
GLENDA
You didn't know you had a fairy
godmother, did you?
CARTER
No. I didn't know that.
GLENDA
A fairy godmother, all of your
own. Aren't you lucky?
CARTER
So where are we going, Princess?
GLENDA
To the demon king's castle, of
course.
CARTER
Of course. Where else?
The car screams off the road into a multi-storey carpark.
INT. MULTI-STOREY CAR PARK - DAY
Glenda really puts her foot down. The car hurtles around
each deserted floor.
CARTER
How'd you know where I'd be?
GLENDA
You were seen parking your car.
The demon king waves his wand and
I was dispatched to bring you to
him. Lucky for you I waited.
CARTER
Very lucky, I should think. You're
drunk!
GLENDA
Nasty.
CARTER
He must have been pretty sure I'd
come.
GLENDA
Oh, he was. He told me a magic
spell that would make you come.
CARTER
(smiling)
And what was that?
GLENDA
We're there now.
She brakes to a split-second stop.
INT. PENTHOUSE RESTAURANT - DAY
It's one large empty concrete box with big picture windows
all the way round. Wires are hanging from the ceiling and
walls where the lights will eventually be fixed.
A tall figure stands at the opposite end, facing the setting
sun. He is just a silhouette.
Carter and Glenda enter and walk towards the man. The
silhouette turns as he nears it. It's Brumby.
BRUMBY
A new venture of mine. It's going
to be a restaurant.
(pause)
Do you like it?
CARTER
Yes.
BRUMBY
Last night, after you'd gone, I
did a little bit of asking around.
Seeing as you weren't very
forthcoming,
(pause)
It seems that you are concerned
about the death of your brother?
(pause) I got to thinking it would
be nice if the bloke you were after
was the same bloke I wanted off my
back,
(pause)
You know my life. Machines. The
arcades. Nice business. Looks after
itself. People put money in. I
take it out. Not much rough stuff.
It's a business that makes me very
happy. But recently, I've had a
spot of bother,
(pause)
One of my lads gets a bit over-
anxious and flogs some machines in
a club that's already got some.
The upshot is I've had to eat shit
and stop flogging my machines to
other clubs.
(pause)
So far as I'm concerned, that's
it. Apparently not. These people
I've offended get the idea that it
would be good to take over my whole
outfit,
(pause)
So I'm worried. I can't fight them
— I haven't that kind of set-up.
But I've got to fix them before
they fix me. Trouble is, if I try
and they find out, I'm dead.
Brumby picks up a black briefcase. He holds it up to Carter.
BRUMBY
Five grand. It belongs to you.
Along with a little name I'm going
to give you.
CARTER
What name?
BRUMBY
Kinnear. Cyril Kinnear.
(pause)
Kinnear did it.
CARTER
Why?
BRUMBY
I don't know. All I know is that
people were shitting bricks up at
his place last Saturday. Your
brother's name was mentioned. Next
day, he was dead.
CARTER
Why?
BRUMBY
I don't know. That's all I was
told.
Carter takes a last look at Glenda and walks slowly back
towards the entrance.
CARTER
That's not good enough.
BRUMBY
Christ, what...
CARTER
(shouting)
Do me a favour. You don't really
expect me to fix Kinnear on your
say-so?
(pause)
Just because they tried to get me
on you last night, don't think you
can pull the same trick. Stroll
on.
BRUMBY
Jack, you're wrong.
CARTER
Good afternoon, Mr Brumby. Carter
exits.
BRUMBY
Jack...
EXT. MULTI-STOREY CAR PARK - DAY
Carter steps out of the elevator as Glenda's Sunbeam comes
down the bottom ramp fast. The car brakes hard and stops.
Carter opens the door and gets in. Not a word is said.
INT. GLENDA'S APARTMENT - DAY
The apartment is one of many in a modern block and Glenda
has only recently moved in. There is a mattress on the
floor. A large mirror leans against the wall behind it and
a film projector stands close to the window, which has
makeshift curtains.
Carter and Glenda are on the mattress. The bedding is all
over the place. They have just finished fucking.
CARTER
(looking around)
Who's setting you up in this place?
GLENDA
Brumby.
CARTER
Is he coming here?
GLENDA
Don't worry. He's meeting the
architects at the restaurant.
Carter plays with her hair.
CARTER
Aren't you scared Kinnear will
find out?
GLENDA
He won't. He thinks I'm simple.
Carter kisses her neck.
CARTER
What does he want that bloody great
country place for?
GLENDA
(knowingly)
Entertaining.
CARTER
What kind of entertaining?
GLENDA
Now you're asking.
Carter looks at the film projector by the bed and points.
CARTER
Does Brumby get a kick out of that
crap?
GLENDA
(giggling)
Especially when I play the lead.
Carter wraps his arms about her.
CARTER
Did Kinnear say anything? After
I'd left the other night?
Glenda sits up sharply.
GLENDA
That's why you waited for me.
CARTER
(kissing her on the
neck)
Not entirely. No.
GLENDA
You sure about that?
CARTER
Sure I'm sure.
Glenda pushes him away and gets out of the bed.
GLENDA
You bastard.
Glenda leaves for the bathroom. Carter, curious, looks at
the film projector. It's loaded. He switches it on. A beam
of light hits the opposite wall. He settles down to watch
the film. The leader flashes by, then a title being chalked
on a school blackboard 'The Teacher's Pet'. A zoom back
reveals Glenda, bare-breasted, holding the chalk. This is
followed by a long shot of a young girl, dressed in school
uniform, waiting at a bus stop. A car approaches and stops.
A woman driver offers the girl a lift. The woman is
Margaret. The identity of the girl not revealed.
INT. GLENDA'S BATHROOM - DAY
Glenda is in the bath. Lots of foam. The hot water is still
running. She's smoking. She leans forward, turning off
the tap.
INT. GLENDA'S APARTMENT - DAY
Carter is sitting up on the mattress, amused by the soft
porn unfolding on the white wall in front of him.
The schoolgirl accepts the lift and the car drives off.
The door to an anonymous apartment opens and Margaret comes
in with the girl. Her school hat still hides her identity.
Glenda is there to greet them.
The girl is very awkward. Glenda tries to make her relax,
sitting her down and showing her a magazine.
Glenda brings her into a bedroom. She takes her own top
off and goes to do the same with the girl. She takes her
hat off. A close-up shows that it is Doreen.
Carter tenses but never flinches from what's happening in
the film. Margaret comes into the bedroom and feigns shock
at what she sees. She slaps Glenda and they start fighting,
eventually rolling off the bed.
The apartment door opens and a man smoking a big cigar
comes in.
Carter sits up. It's Albert Swift.
Albert opens another door, looking for someone. He leaves.
Another door opens and he's in the bedroom. He sees the
two women fighting on the floor, but on the bed is his
prize Doreen. Carter watches.
Doreen bites her nails and looks terrified. Reflected in
the mirror behind Carter is the image of Albert taking off
his trousers. The reel runs out and flaps like a fish.
Carter doesn't move. Tears form in his eyes. He looks old
and defeated. His is a wasted life. Then the anger that
drives him explodes again and he throws back the bedclothes.
INT. GLENDA'S BATHROOM - DAY
Carter, now dressed, moves slowly towards her in the bath.
CARTER
I want to give you an Oscar.
GLENDA
(laughs)
You've been watching the film.
CARTER
Tell me about the girl.
GLENDA
What girl?
CARTER
The young girl. Who pulled her?
GLENDA
I don't know.
CARTER
Was it Albert?
GLENDA
Shouldn't think so.
CARTER
Is it one of Kinnear's films?
GLENDA
Yeah.
CARTER
Who set it up? Eric?
GLENDA
Yeah.
CARTER
Then he must have pulled her.
GLENDA
Expect so.
CARTER
Did my brother Frank find out?
GLENDA
Your brother? What you talking
about?
Carter's fury bursts. He's out of control. He seizes Glenda
and plunges her under the bathwater, holding her there.
CARTER
You're a lying bitch.
Carter lifts her up, out of the water. She is spluttering,
nearly drowned.
CARTER
Now tell me the truth.
GLENDA
The girl's name was Doreen. That's
all I know.
CARTER
And you didn't know her last name?
GLENDA
No.
CARTER
Well, it's Carter. That's my name,
(pause)
And her father was my brother. And
he was murdered last Sunday. Now
get up and get dressed.
He pushes her ahead of him.
EXT. GLENDA'S APARTMENT BLOCK - DAY
Carter manhandles Glenda towards her Sunbeam. He opens the
boot.
CARTER
Get in.
Glenda climbs in and he slams the boot shut. The car
scorches away.
EXT. JETTY. TYNE FERRY - DAY
Carter parks the sports car as the ferry docks. He moves
down the gangway towards it.
INT. CAFE - DAY
A girl with a baby in a pram is having a cup of tea. The
door slams open. There's Carter.
CARTER
Where's Albert?
The girl is numb with fear, unable to answer. Carter grabs
her by the throat.
CARTER
Where's Albert?
The girl is frozen with terror. He lets go as suddenly as
he grabbed her.
CARTER
I know where I'll find him.
EXT. BACK STREET - DAY
Carter walks fast. There's the sound of a phone being
dialled. It's the GIRL in the cafe.
GIRL (V.O.)
Eric, he's come for Albert,
(pause)
I don't know, (pause) On the ferry,
I reckon.
Carter reaches the front of a betting shop. He walks in.
INT. BETTING SHOP - DAY
Carter closes the door. Race results and odds are coming
over the Tannoy. He moves into the shop until he reaches
ALBERT SWIFT. Albert is making out a betting slip and
doesn't see him.
CARTER
Hello, Albert.
Albert looks like he's going to be sick.
ALBERT
Hello, Jack,
(snivelling)
I don't know anything, Jack.
CARTER
Yes, you do, Albert. Talk or I'll
kill you.
ALBERT
I know. I know.
Carter sees a door at the back. There's a sign for the
toilets.
CARTER
Do you want to go to the toilet,
Albert?
At first Albert doesn't understand.
CARTER
Do you want to go to the toilet,
Albert?
This time it clicks. Albert moves to the door and Carter
follows.
EXT. BETTING SHOP BACKYARD - DAY
Carter turns to close the door. Albert runs for it. He
reaches the high double-gate at the end. It's locked and
he tries to climb it. No luck. Carter easily pulls him
down. Albert faces him.
CARTER
You can't get away from me, Albert.
ALBERT
I know.
He feels for his cigarettes but can't find them.
ALBERT
For Christ's sake, give us a fag.
Carter takes out his cigarettes. Albert takes one.
ALBERT
I didn't know who Doreen was.
Thought she was just another bird.
CARTER
Did Eric Pake pull her?
ALBERT
Yes.
CARTER
How?
ALBERT
I dunno. He's got his ways. He
knows Margaret.
CARTER
When did you find out?
ALBERT
A couple of weeks back.
CARTER
How?
ALBERT
No choice. I had a visit from
somebody.
CARTER
Who?
ALBERT
Cliff Brumby. He'd seen the film.
He wanted to meet Doreen.
CARTER
And you told Brumby?
Albert nods.
CARTER
Who killed Frank?
Albert doesn 't answer.
CARTER
Do you want to be dead, Albert?
ALBERT
Last Sunday afternoon, Eric and
two of his boys arrive with Frank
and tell me that he's rumbled.
Somehow, he's seen the film and
was about to shoot his mouth off.
They ask me for some whisky and
start forcing it down his throat.
(pause)
I thought they'd just duff him up
a bit. Honest.
CARTER
What did you do? Albert?
ALBERT
Nothing. What could I do?
CARTER
Did Eric know that Frank was my
brother?
ALBERT
Yes. I told him.
CARTER
What did he say?
ALBERT
'Good.'
Albert draws deeply on his cigarette.
They drove Frank away in a car.
CARTER
Is that all there is?
Albert nods.
CARTER
Then that's it, Albert.
Carter takes something from his pocket. There's a loud
click. It's a. knife.
ALBERT
Jack, for Christ's sake ...
He falls to his knees.
CARTER
You knew what I'd do.
ALBERT
(crying)
Yes, but listen. Christ, I didn't
kill him.
Carter drives the knife into him with all his might.
CARTER
I know you didn't kill him.
(and again.)
I know you didn't.
A ship's horn calls mournfully from the harbour. Albert
leans back. Blood seeps from his chest. He pitches forward,
twitches, and is dead.
INT. BETTING SHOP - DAY
Carter comes in from the back and walks calmly through to
the street. A blind man is at the counter placing a bet.
EXT. JETTY - TYNE FERRY - DAY
The Sunbeam waits in the car park. Eric, Con and Peter
arrive in the Land Rover and park behind it. They go down
the gangplank to the floating jetty. A ferry is chugging
across the water.
INT. FERRY - DAY
Carter sits, watching the other passengers. A mother and
two young children take his attention. His look is tinted
with regret even remorse.
EXT. JETTY - DAY
As the ferry comes alongside, Eric, Con and Peter move up
to the rail. The passengers disembark, leaving Carter
standing alone. He's holding Con's handgun.
Eric, Con and Peter hack slowly away to the steel shelters.
Peter, impatient as ever, pulls a sawn-off automatic shooter
from under his coat, cocks it and fires. Too late. Carter
is already safely behind the ferry's superstructure. Eric
shouts.
ERIC
No shooters. Cyril said no shooters,
you stupid bastard.
PETER
Get stuffed. He's reloading.
CON
Gerald wants to see him first.
PETER
Shut up.
Carter is listening to all this.
CARTER
(shouting)
Are you coming in? Or do we piss
about all day?
Eric laughs.
ERIC
You're finished, Jack. You know
that, don't you? I've bloody
finished you.
CARTER
Not till I'm dead, Eric.
Eric laughs.
ERIC
Oh, you've still got your sense of
humour? Tell him how I've fixed
him, Con.
CON
He's told Gerald about you and
Anna.
ERIC
Didn't believe us at first, did
he, Con? Then Peter talked to him.
PETER
Didn't even say goodbye. Just asked
us to take you back - alive.
ERIC
He's probably talking to her right
now. Are you still going to fancy
her when Gerald's finished with
her face?
Carter shows no emotion. Or are his eyes just that bit
sadder? Peter lets rip again. Another window is shattered.
Carter ducks back, allowing Peter time to board the ferry.
Carter catches a glimpse of Peter as he climbs up the
ferry's superstructure to the roof. By the time he heaves
himself into position, Carter is waiting.
CARTER
Stay where you are, Peter.
Peter is helpless, clinging to the roof, unable to even
raise his shooter.
PETER
(screaming)
Don't.
There's a long pause while Carter looks at him, then he
cold-bloodedly shoots. Peter is blown away. By the time he
hits the deck, he's dead.
Con and Eric panic. They run up the gangplank, safely out
of range.
ERIC
Carter, your car needs a wash.
Eric signals to the driver in the Land Rover to bump the
Sunbeam into the water. Two hits and the task is done.
Glenda's screams are lost as the river wraps itself around
the sinking car.
Carter watches impassively.
EXT. BRUMBY'S RESTAURANT COMPLEX - DAY
Carter's hire car corners at speed into the high-rise
carpark.
INT. RESTAURANT - DAY
Brumby and two architects in a site meeting. Plans are
laid out on a table.
BRUMBY
I don't want them cooking in here.
You can put a hatch in that wall.
INTERIOR DECORATOR
Yes, it's all a question of ...
The sound of a car screeching up the ramps interrupts him.
BRUMBY
Who in Christ's name is that? It's
a bloody madman.
He strides away to investigate.
EXT. RESTAURANT - DAY
Brumby comes out to the top tier. On the floor below,
Carter, unseen by Brumby, has parked and is now making for
the concrete spiral staircase.
EXT. STAIRCASE - DAY
Brumby pounds down to the first level. Carter comes around
the corner.
BRUMBY
Jack!
Carter slams his fist hard into his gut.
CARTER
You shouldn't have shown the film
to Frank.
BRUMBY
I had to. It was the only way I
could get at them.
INT. BACK STREET POST OFFICE - EVENING.
It's a combined shop and post office. Carter is on the
phone.
CARTER
The guy on the swing-bridge?
(pause)
OK.
Carter hangs up. He takes a can of film from his pocket
and slips it into a large envelope. At the counter two
women are talking.
FIRST WOMAN
They don't know how it happened.
SECOND WOMAN
How far did he fall?
FIRST WOMAN
What did Betty say... Ninety floors,
I think it was.
SECOND WOMAN
Really. Was he dead?
FIRST WOMAN
Oh, yes.
The envelope is passed across to the post office assistant.
It is addressed to Vice Squad, Scotland Yard, London Sw1.
SECOND WOMAN
Better to go quick like that.
EXT. SWING-BRIDGE - EVENING
The huge steel superstructure pivots on a large man-made
island in the middle of the river.
On top is a structure not unlike a small lighthouse, from
which a man operates the bridge. Carter climbs the outside
ladder. A man waits for him at the top.
The man hands him a small cloth package. Carter opens it.
Inside is heroin and a hypodermic. He wraps it up again
and hands over an envelope. The man checks the money as
Carter disappears down the outside ladder.
INT. BINGO HALL - NIGHT
The hall is crowded. The compere calls the numbers. The
atmosphere is tense as the audience look at their cards.
Someone calls, 'Bingo.' A buzz goes round the hall as
everybody starts talking again.
Carter enters, surveying the audience. Eventually, his
eyes alight on the person he's been looking for Margaret.
She's involved with a woman friend and doesn't see him.
The next game starts up.
EXT. BINGO HALL - NIGHT
Crowds of people come pouring out. It's the end of the
evening's entertainment. Margaret walks out with her friend.
Carter follows them and turns up a side street.
EXT. STEPS LEADING TO BACK STREET - NIGHT
The place is deserted. Margaret and her friend descend the
steps. The clop of their high heels is the only sound.
Carter follows discreetly. At the bottom, Margaret and her
friend chat for a moment and part.
Carter follows Margaret.
EXT. BACK ALLEY - NIGHT
The clop of Margaret's shoes is heard in the distance. She
appears. Carter is following behind. He slips into another
dark alley to get ahead of her. As she reaches her home
Carter's arm shoots out from behind a pillar. It's holding
Con's handgun.
CARTER
I've come for you, Margaret.
INT. THE HEIGHTS - SITTING ROOM - NIGHT
There's a big party going on. The music is loud. It's mainly
rich-looking middle-aged men and young dolly birds.
Different things are obviously going on in different rooms
in the house. Dancing in one room, blue movies in another,
etc. Kinnear flits from one to another. Eric Paice is on
the phone. He puts the receiver down and crosses to Kinnear.
ERIC
Gerald Fletcher wants a word with
you Cyril.
Kinnear crosses to the telephone.
KINNEAR
Hello, Gerald.
EXT. VILLAGE TELEPHONE KIOSK - NIGHT
Carter stands in the dimly lit kiosk with Margaret. The
hire car is parked alongside.
CARTER
It's Carter. Listen carefully, you
hairy-faced git. I've got the film
and enough evidence to put you
away for a long time. All it takes
is one call to the police.
INT. THE HEIGHTS - SITTING ROOM - NIGHT
Kinnear listens.
KINNEAR
Really?
(pause)
So?
EXT. VILLAGE TELEPHONE KIOSK - NIGHT
Carter into phone.
CARTER
I'll do a simple deal with you.
All I want is ...
INT. THE HEIGHTS - SITTING ROOM - NIGHT
Kinnear is still listening to Carter. He looks over at
Eric, who's fixing a drink.
KINNEAR
I see. I think that can be arranged.
Kinnear continues listening.
INT. VILLAGE TELEPHONE KIOSK - NIGHT
Carter into phone.
CARTER
... but I don't want him there
until six in the morning. OK?
(pause)
Right.
Carter hangs up. He pushes Margaret towards the car.
INT. THE HEIGHTS - LIBRARY - NIGHT
The noise of the wild party is heard off. Eric comes into
the room.
ERIC
You want something, Cyril?
KINNEAR
Yes, Eric. A word with you.
EXT. DESERTED WOOD - NIGHT
Headlights, through the thick trees, as Carter's car comes
bouncing over rough ground.
INT. HIRE CAR - NIGHT
Carter stops in a clearing and leaves his headlights on.
He turns to Margaret.
CARTER
Get out.
Carter and Margaret get out. They appear in the beam of
the headlights and move further into the wood.
EXT. WOOD - NIGHT
Carter and Margaret stop.
CARTER
Take your clothes off.
Margaret is confused. Take your clothes off. Margaret
does just that: coat, blouse, skin. She goes to remove her
knickers.
CARTER
Keep your pants on.
(pause)
Lie down.
Again she obeys.
He kneels on her, pinning her arms with his knees, then
stuffs a gag in her mouth.
He takes out the hypodermic, places it against her arm,
and injects the heroin into her. She struggles, her eyes
moving frantically about. She screams, but its muffled by
the gag. Carter holds her down and she quickly goes under.
Carter removes the gag. He stands, picks her up and walks
into the darkness with Margaret in his arms.
INT. THE HEIGHTS - LIBRARY - NIGHT
Kinnear is alone, speaking on the telephone quietly. The
party is still going on.
KINNEAR
I want you to listen very carefully.
Jack Carter,
(pause)
You know what he looks like?
INT. HOTEL BEDROOM - NIGHT
A bedside light is on. A man in bed is listening on the
phone.
MAN
Yes.
He taps his cigarette against the ashtray. On his middle
finger is a large ring with the initial 'J' on it. He
listens until the line goes dead.
The woman beside him stirs. He stubs out the cigarette and
switches off the light. Darkness.
EXT. THE HEIGHTS - DAWN
Eric comes out of the front door. Inside the party is still
in progress. He gets into a Cadillac and drives off.
EXT. COUNTRY ROAD - DAWN
Carter is parked where he can see the drive up to Kinnear's
house.
The Cadillac appears and swings on to the road.
There's the sound of a phone being dialled.
CARTER (V.O.)
Police.
EXT. THE HEIGHTS - DAWN
A long line of police cars move slowly up the drive,
followed by a police bus. They park by the front door and
around fifty policemen pour out. They move silently around
the building. A chief constable opens the front door and
walks in.
INT. THE HEIGHTS - DAWN
The police move through the house and grounds. In the
bedrooms they find groups of people in bed together. The
men in particular protest and are obviously concerned about
being identified. The police find evidence of drugs,
pornography and so on.
Outside, police are combing the grounds. In the long grass
leading down to the lake they find women's clothes. They
follow the trail until they discover a woman floating naked,
face downwards, in the lake. A policeman with waders goes
in and pulls her to the side. As others heave her out, we
see that it's Margaret.
EXT. THE HEIGHTS - DAWN
The house is surrounded by police measuring and
photographing, and outside the house are police cars and
ambulances. The lawn is crowded with the party crowd. In
the early-morning light, they look like dolls.
Kinnear comes out of the front door with two plain-clothes
officers and gets in a police car. Sirens going, it comes
down the short drive to the gate.
INT. HIRE CAR - DAWN
Carter is driving along a coast road. The sea and a wide
beach lie on his right. Long rows of houses are to his
left.
The sun is still low. It's very quiet. He arrives at a
harbour and drives on until he reaches the end of a vast
wooden jetty running out into the estuary. It's a coal
loader for tankers.
This jetty is very high, a complex of wooden staves and
pillars, interwoven with steps and gangways. On its top
tier is a complex of railway lines, signals and black coal
chutes.
EXT. COAL JETTY - DAWN
Carter parks his car and picks up the shotgun and a bottle
of Scotch off the back seat. He get out and walks over to
the jetty and along a lower gangway. At the far end, a man
is standing. It's Eric Paice. Eric turns around abruptly.
He sees Carter and disappears up the nearest stairway.
Carter follows.
At the top he stops to listen, but can see and hear only
the harbour waters lapping below.
Carter looks back to the coal jetty, just in time to see
Eric scamper down to the level below. Eric sprints for the
roadway. Carter waits and then starts running directly
above him.
Eric keeps running. Carter stays always overhead. He's
playing cat and mouse with Eric.
CARTER
(calling out)
You couldn't win an egg and spoon
race, Eric.
ERIC
(wheezing)
Sod off.
Paice darts down another staircase to ground level and
makes for the roadway. Carter stops above the roadway.
Below, Paice makes for the parked car. Carter holds the
gun up. Eric stops and looks up.
CARTER
Stay away from the car or I'll
blow you apart.
Eric darts under the jetty. Carter runs on down the steps.
He can see Eric scampering along the row of cottages towards
the beach. Carter starts after him.
EXT. BEACH - EARLY DAY
Eric runs out on to the beach. The only sounds are his
feet pounding the pebbles and his hurtful panting.
In the distance, factory chimneys belch out smoke. Carter
appears. For a moment he watches Eric stumbling along at
the far end of the beach. He climbs down to the beach and
starts running.
EXT. BEACH - EARLY DAY
Carter is gaining on Eric rapidly. Eric looks round and
panics. He stumbles and falls over.
He gets to his feet quickly and disappears round the
headland. Carter follows.
EXT. BEACH - EARLY DAY
On the other side of the headland, the scene is
extraordinary. The deserted beach is like the edge of the
world. The sand is black as far as the eye can see. It's
littered with rubbish. Several old lorries are sunk deep
in the sand. High, grass-covered cliffs flank it on the
left. It's deserted.
In the distance, a continuous line of giant black buckets
move, like cable-cars, out to sea, before they deposit
their load of coal slag and move inland again. The coal
mine itself is inland, hidden away behind the cliffs. The
sea, like the sand, is black as it crashes on to the shore.
Eric is half-way along the beach, struggling in the mud.
Carter closes on him.
EXT. BEACH - EARLY DAY
Eric nears the line of buckets and cuts inland towards the
mine. Carter has nearly caught up. The buckets grind and
crash as they move along the cable.
Eric scrambles up the narrow valley down which the coal
slag travels. He is panting horribly. Carter is close on
his heels. Near the top, where the buckets are practically
at ground level, Eric stumbles and falls. He is too
exhausted to get up.
Carter stands over him.
CARTER
(panting slightly)
Stand up, Eric. Stand up.
Eric just manages it. Carter pulls the bottle of Scotch
out of his pocket.
CARTER
I bet you could use a drink, could
you, Eric?
He throws the bottle to Eric.
CARTER
Eh? Have a drink.
ERIC
Still got your sense of humour.
Eric takes the cap off and looks at Carter. He's in a
terrible state.
CARTER
Drink up, Eric. Drink up. I want
you to drink all of that. Do you
understand? Drink up. Just like it
was with my brother, Frank. Go on,
son. Drink up.
Eric pours the whisky into his month. It spills over and
runs down his face.
CARTER
Drink up, Eric.
Eric begins to stagger about.
CARTER
It was you who poured it down him.
Eh, Eric?
Eric takes a breather and looks pathetically at Carter. No
mercy there.
CARTER
Did you all have a good laugh, eh?
Did you have a good laugh when he
was spewing it up? The whisky is
pouring all over Eric's face and
suit.
It's disgusting to watch. Suddenly, he retches, but nothing
comes up.
CARTER
Drink it! Drink it! Did you all
pass the bottle round after the
car went over the top?
Eric is choking.
CARTER
Don't stop, Eric.
Carter leans forward and with his free hand lifts the bottle
up to Eric's mouth again. In the other, he holds the
shotgun. Eric chokes and retches. Carter has seen enough.
CARTER
Goodbye, Eric.
Carter raises the butt of the gun and brings it down on
Eric's head.
EXT. BEACH - EARLY DAY
Eric's body, loaded on to a a coal bucket, moves off on
it's final journey. Carter, laughing, walks beside it, gun
riding on his shoulder. The bucket shudders and grinds as
it moves along the cable. Eric's body moves of on its final
journey. It reaches the end of the line, where an automatic
catch tilts it. Eric's body drops into the sea. The coal
slag follows in a cloud of black dust. The waves pass over
and everything is gone.
Carter stands for a moment, turns and walks back along the
beach. He stops, looks at the shotgun, and decides to get
rid of it.
EXT. CLIFF TOP - EARLY MORNING
Below, Carter moves slowly by the edge of the sea. He raises
the shotgun to throw it away. High on the clifftop a rifle
and telescopic lens line up on Carter. A finger curls around
the trigger. On the middle finger of the same hand is a
large gold ring with the letter 'J' engraved upon it. It
is the man Kinnear contacted after sending Eric to his
death.
The finger tightens on the trigger and pulls it. There's a
quiet, whooshing sound. Carter drops to the ground.
EXT. BEACH - EARLY MORNING
Carter lies on the beach. The waves lap around his head. A
small trickle of blood pours out of a hole in his temple.
He's dead.
EXT. CLIFF TOP - EARLY MORNING
Kinnear's hit man coolly dismantles his rifle. He carefully
wraps it in a cloth fishing-rod carrier. He walks off and
is soon lost as he drops out of sight.
FADE OUT:
THE END
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