London (Script)

I know some of you might have come here after reading  Unite and Take Over vol 2. Here's my original script for London. Enjoy!

LONDON

By Russell Hillman

(Inspired by the song by Morrissey/Marr)

PAGE 1:

Page 1, Panel 1:

Establishing shot of Manchester Piccadilly station. A reasonably crowded platform. Our cast are there, but we cannot make them out among the throng.

CAPTION

MANCHESTER PICCADILLY STATION. OCTOBER, 1962.

BILLY (FROM CROWD)

It's not fair!

Page 1, Panel 2:

Stan is talking to Billy. He has crouched down slightly so he can look Billy in the eye. Billy is wiping away a tear.

BILLY

Why do you have to go to London now, Stan? We haven't finished making the Messerschmitts yet!

STAN

You can do those yourself. It's like I told you - -

Page 1, Panel 3:

Close up on Stan. He is standing now, looking down at Billy.

STAN

- - Dad got me a job with Mr. Delaney. A good one.

STAN (CONTINUED)

You're getting so big now, Billy - you don't need me to help you anymore. And our Rita's still here.

 

Page 1, Panel 4:

Stan has moved on to Rita now. He reaches out to hug her.

STAN

You'll come down and visit, won't you Reet?

RITA

Of course we will.

Page 1, Panel 5:

Stan is hugging Rita. They whisper to one another.

STAN (WHISPERING)

I mean it. If you need to get away...

RITA (WHISPERING)

We'll be OK, but thanks. That's... thank you.

PAGE 2:

Page 2, Panel 1:

Stan has pulled away from Rita, and tentatively offers a hand to Vic.

STAN

Victor.

VIC

Stanley.

Page 2, Panel 2:

Vic shaking Stan's hand. He is crushing it, but Stan is taking the pain.

VIC

You won't catch me going to that London - nowt but nig-nogs and nancies down there.

Page 2, Panel 3:

Vic is still shaking Stan's hand. They look one another in the eye.

STAN

You’ll take proper care of our Rita, won't you?

VIC

I always do.

Page 2, Panel 4:

On Vic. He is staring right into your soul.

VIC

She’s a smart girl, that one. Knows her place.

VIC (CONTINUED)

Most of the time.

Page 2, Panel 5:

Stan and Vic looking directly at one another, still shaking hands. Vic is still staring at Stan. No dialogue.

Page 2, Panel 6:

They break their handshake, and Stan turns to Phyllis.

STAN

Bye mum.

PHYLLIS

Come here, little soldier!

PAGE 3:

Page 3, Panel 1:

Stan hugs Phyllis.

PHYLLIS

My little baby's going away!

STAN

Oh, Mum!

Page 3, Panel 2:

Stan and Phyllis part. She wags a finger at him.

PHYLLIS

You make sure you eat properly - I don't want you wasting away.

STAN

They have roast dinners down in London too, mum.

Page 3, Panel 3:

Stan has stepped back, and Alf has stepped in from the side.

PHYLLIS

Have you got a vest on?

STAN

Yes mum.

ALF

Don't smother the boy, Phyllis!

Page 3, Panel 4:

Alf and Stan shaking hands. Body language very stiff, no strong emotion from Alf.

ALF

Bye lad. Be sure and write to your mother.

ALF (CONTINUED)

She'll only worry.

Page 3, Panel 5:

Alf and Stan break their handshake.

STAN

Yes Dad.

ALF

You see that you do.

Page 3, Panel 6:

Colin steps up, he is smiling.

COLIN

You'll be back in a fortnight.

STAN

Shut your face, you!

PAGE 4:

Page 4, Panel 1:

On Colin.

COLIN

...there's the Christmas do at the Bell, Archie’s birthday, the darts club dinner and dance...

COLIN (CONTINUED)

We'll see more of you than we do now!

Page 4, Panel 2:

Colin and Stan.

COLIN

I never did show you how to play "His Latest Flame", did I? You'll have to come back for that.

STAN

No, you didn't.

Page 4, Panel 3:

Stan looking down at his shoes.

STAN

I'll see what I can do, Col.

STAN (CONTINUED)

I'll see what I can do.

Page 4, Panel 4:

Stan hugs Audrey. She is in tears.

AUDREY

I'll write to you every week, Stan.

Page 4, Panel 5:

The hug continues.

AUDREY

You’ll hurry back for me, won't you?

AUDREY (CONTINUED)

You’ll hurry back for us.

Page 4, Panel 6:

Stan has stepped back from Audrey. The train is arriving.

STAN

Of course I will.

STAN (CONTINUED)

You know you're my girl.

PAGE 5:

Page 5, Panel 1:

The train has arrived. Stan has stepped on the train with his bag. Alf is handing him the suitcase.

ALF

Here you go, lad. Now, you look after yourself.

Page 5, Panel 2:

They shake hands again.

ALF

Mr. Delaney runs a tight ship down there. But you work hard, he'll treat you fair.

STAN

I know, Dad.

Page 5, Panel 3:

On Alf. He looks wistful.

ALF

I could have gone down there, you know. When the office opened.

ALF (CONTINUED)

Delaney wanted me to help train the London lads.

Page 5, Panel 4:

On Alf. He is lost in thought.

ALF

I could have been running the place by now...

Page 5, Panel 5:

Continued. He has snapped back to reality.

ALF

But there was me and your mother, and you kids had your school....

ALF (CONTINUED)

It wouldn't have worked.

Page 5, Panel 6:

Stan has closed the train door, and is leaning out of the window.

STAN

Goodbye Dad.

ALF

Bye, son.

Page 5, Panel 7:

Stan in the carriage, alone with his thoughts. No dialogue.

PAGE 6:

Page 6, Panel 1:

Dennis comes in to the carriage. He is smiling. Stan is still thinking.

DENNIS

Here you are - I thought you'd missed it!

STAN

No chance. I wouldn't miss this for the world.

Page 6, Panel 2:

Dennis has sat down next to Stan He lights two cigarettes, one for each of them. Dennis is smiling, Stan is not.

DENNIS

Are you happy?

STAN

Of course I am.

Page 6, Panel 3:

Dennis hands Stan the cigarette. Dennis is still smiling, Stan is still looking reflective.

STAN

I'm finally free.

Page 6, Panel 4:

Stan and Dennis hold hands, their eyes lock. Dennis is still smiling. No dialogue.

Page 6, Panel 5:

Stan turns to look out of the window and lets go of Dennis’ hand. Dennis' smile fades. No dialogue.

Page 6, Panel 6:

Stan and Dennis sit turned slightly away from one another. Smoke lingers around Stan’s fingers, the train heaves on to Euston...

- - - - - - - - - -

Stan Marsden

22. Medium height. Neatly trimmed dark brown hair parted on the left, dark eyes. Long pointed nose. White shirt, dark tie, thick dark grey suit. Has a small suitcase and a big haversack, and carries a dark overcoat under his arm.

Billy Marsden

9. Short for his age. Like a miniature Stan, with scruffier hair. Striped tie, short light grey shorts, light grey blazer, white shirt.

Rita Kent

26. Short. No makeup. Rounded face. Big eyes. Dark brown hair under a scarf. Rough, styleless fringe is all that’s visible. Thick brown eyebrows. Heavily pregnant. Big overcoat worn over faded old housedress. Dull, flat shoes. A black eye may be too obvious, but a little swelling and the hint of darkness over one eye could work. She is pushing a pram containing hers and Vic’s first child.

Vic Kent

28. Tall, broad, muscular, burly. Brown hair side parted but swept back. Lantern jaw. Big hands. Broken nose. Thick white rollneck jumper worn with dark trousers.

Alf Marsden

53. Medium height. Light grey hair under a flat cap. Light coloured scarf , dark overcoat. Thin, weathered face. Small oval glasses, slightly wonky. 

Phyllis Marsden

46, medium height, short mid-brown hair in a perm. Light jumper, darker sensible skirt, plain blouse. Cat’s-eye glasses.

Audrey Clark

21. Short, but looks taller because of heavily back-combed hair. Long thin flat nose with wide nostrils. Almost pretty. Thick light coloured knitted jacket, plain white blouse, skirt just above the knee, dark shoes with a slight heel. Not much make up.

Colin West

23. Medium height. Slim. Curly hair piled on top of his head, slicked back at the sides. Big thick black glasses. Big nose. Thin face. Small mouth. Light coloured thick suit, white shirt, dark tie.

Dennis Barnes

25. Tall, painfully handsome. Thick blond hair, side parted but a little windswept. Light coloured jumper worn over a shirt with no tie. Mid-brown trousers. Carries a small suitcase.