Thursday 6 December 2012

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.

Great Moments In Police History - Part 63



GREAT MOMENTS IN POLICE HISTORY - PART 63

BY RUSSELL HILLMAN



PAGE 1

TITLE
GREAT MOMENTS IN POLICE HISTORY - PART 63


CREDITS
WRITER – RUSSELL HILLMAN                    ART -                     LETTERS -

Page 1, Panel 1:
A small square room with redbrick walls. Two plain clothed New York City Police Officers stand in front of a table. They are Patrick Murphy (pale skin, red hair, mildly chubby) and Hymie Goldberg (skinny, big nose, dark hair, bushy eyebrows). Behind the table is Luigi Vanzetti (fat, dark hair, expensive suit). We’re behind Vanzetti in this panel, looking at Murphy and Goldberg. Murphy is leaning on the table, Goldberg is hanging back. On the table are a glass of water, a large glass jug of water, a pen and a pad of paper.

CAPTION
NEW YORK CITY, 1942. DETECTIVES PATRICK MURPHY AND HYMIE GOLDBERG ARE INTERROGATING SUSPECT LUIGI VANZETTI.


MURPHY
OK, Vanzetti. Where were you on the third?


VANZETTI
I ain’t tellin’ you nothin', copper.


Page 1, Panel 2:
Reverse angle to previous. Goldberg has now stepped forward and is speaking to Vanzetti.

GOLDBERG
Excuse us a second, Vanzetti. I need to speak to my partner here.


VANZETTI
Take all the time you need. I guess I ain’t goin’ noplace.


Page 1, Panel 3:
A hallway outside the interrogation room. Murphy and Goldberg stand either side of the closed door to the interrogation room (which has a frosted glass panel in the upper half, with INTERROGATION ROOM 3 written on it). Murphy is lighting a cigarette.

MURPHY
This isn’t working. We need to try a new technique.


GOLDBERG
Agreed. We need to try to catch him off guard.



Page 1, Panel 4:
Continued from previous. Murphy exhaling a cloud of cigarette smoke.

MURPHY
What we need to do is come at him from two different directions.


GOLDBERG
Maybe play up two different personality types?


Page 1, Panel 5:
Back in the room. We’re seeing from Vanzetti’s perspective. Murphy is dressed for St Patrick’s Day, and has a pig under his arm. Goldberg is wearing a yarmulke on his head and a tallit over his shoulders and a big Star of David on a chain around his neck...

MURPHY
Faith and begorrah, you’ll be telling us where you was on the t’ird, to be sure, to be sure?


GOLDBERG
Oy vey! What is with this goy meshuggener?


CAPTION
FIRST ATTEMPT – IRISH COP, JEWISH COP


Page 1, Panel 6:
Back out in the hall. Murphy is putting the pig down.

GOLDBERG
That might not have been the best idea.

MURPHY
Never mind. I’ve got a whole bunch of others.





PAGE 2

Page 2, Panel 1:
Back in the room. Vanzetti’s perspective. Goldberg and Murphy are back in their normal clothes. Goldberg’s tie is loose, his shirt is untucked and his hair is messy. He has a half-empty bottle of Manischewitz in his hand. Murphy is ultra-smart and is pouring from a thermos flask.

GOLDBERG
G’waaaan. Tell usssh where you was! I’ll be your besshtesht buddy!!


MURPHY
Would you like a black coffee?


CAPTION
DRUNK COP, SOBER COP


Page 2, Panel 2:
Vanzetti’s perspective again. Goldberg has a jaunty trilby on; he has smartened up again (except for the loosened tie) and is holding a microphone on a stand. Behind him, Murphy is in tails and a top hat and is tap-dancing.

GOLDBERG (SINGING)
Why don’t you sing like a bird -
Where were you on the night of the third?


SFX (FROM MURPHY’S FEET)
Tap-tap-tappety-tap!


CAPTION
SINGING COP, DANCING COP


Page 2, Panel 3:
Back to the view from the opening panel (behind Vanzetti’s head). In their normal clothes, Murphy has his hands clutched in a pleading gesture. Goldberg has a fist raised in anger and a face to match.

MURPHY
Oh, please tell us where you were on the third. We’d be really grateful!


GOLDBERG
YOUR MOTHER WEARS ARMY BOOTS, YOU LOW-LIFE SCUM!


CAPTION
POLITE COP, ANGRY COP


Page 2, Panel 4:
Back in the hallway. Goldberg is on the left of the panel this time.

GOLDBERG
I think we had something there - it just needs a little fine tuning.


MURPHY
No way. This next one’ll work, you’ll see!


Page 2, Panel 5:
Back to Vanzetti’s perspective. Goldberg is wearing a comedically oversized sombrero but is otherwise normally attired. Murphy is dressed as a French chef complete with moustache, and is holding a covered tray of food.

MURPHY
Un chapeau, et... bœuf bourguignon! Voila!


CAPTION
HAT COP, FRENCH CHEF COP


Page 2, Panel 6:
Vanzetti’s perspective. Back in their normal clothes, Goldberg wears facepaints to look like a cat (very poorly done, just a few lines for whiskers and the tip of his nose coloured in black), Murphy is sitting on a horse. If the top of the panel cuts off Murphy’s head and shoulders, that would be perfect.

GOLDBERG
Miaow!


HORSE
Neigh!


CAPTION
CAT COP, MOUNTED COP





PAGE 3

Page 3, Panel 1:
Vanzetti’s perspective. Goldberg looks completely normal. Murphy is wearing a dress over his suit, a blonde wig and expertly applied make-up.

GOLDBERG
Bore da, boyo! Sut mae?


MURPHY
Do you like my new dress?



CAPTION
WELSH COP, LADY COP



Page 3, Panel 2:
This time, we’re behind Vanzetti again... Murphy is in his usual outfit doing a handstand, Goldberg is completely naked (Vanzetti’s head stops us seeing too much). No dialogue.

CAPTION
UPSIDE-DOWN COP, NUDE COP


Page 3, Panel 3:
Back to Vanzetti’s perspective. This one will be fun. Goldberg is dressed as famed French philosopher Henri Bergson (Google Image search is your friend). Murphy is in a marching band uniform, playing an imaginary sousaphone. (Again, Google Image search).

GOLDBERG
Genius is that which forces the inertia of humanity to learn.


MURPHY
PARP!


CAPTION
HENRI BERGSON COP, SOUSAPHONE IMPERSONATION COP


Page 3, Panel 4:
At a make-up table in the corridor. Murphy is halfway through applying blackface to Goldberg, who is wearing a jacket with broad stripes.

GOLDBERG
I feel a little uncomfortable. Maybe we should skip this one?


MURPHY
Yeah, this doesn’t seem right.


CAPTION
LET’S CALL THIS ONE “AL JOLSON COP” AND MOVE ON.


Page 3, Panel 5:
Back in the room, back to Vanzetti’s perspective. Goldberg is in his normal clothes, Murphy has an obvious pillow stuffed up his shirt, and is holding a big cake.

GOLDBERG
C’mon buddy! If you tell us now, it’ll be a lot easier for you.


MURPHY
CAKE!


CAPTION
GOOD COP, FAT COP


Page 3, Panel 6:
Vanzetti’s perspective. This time, Murphy is in his normal outfit and Goldberg is dressed as a traditional mime artist and is walking into the wind.

MURPHY
Just tell us who else was there. That’s all.


GOLDBERG
(Empty balloon)


CAPTION
GOOD COP, MIME COP





PAGE 4

Page 4, Panel 1:
Back out in the corridor, back in their suits. Goldberg lights a cigar.

GOLDBERG
It’s no good. We’re never going to break him.


MURPHY
I’ve got one more idea. Just go with it. You go in first...


Page 4, Panel 2:
Behind Vanzetti’s head. Goldberg and Murphy are back in the room. Goldberg is pouring himself a drink from the big glass jug.

MURPHY
Come on, Vanzetti. We know you were there.


Page 4, Panel 3:
Goldberg pours the jug of water over his head.

SFX
KER-SPLOOSH!


Page 4, Panel 4:
On Vanzetti. He is contorted with laughter.

VANZETTI
HA HA HA HA HA!


Page 4, Panel 5:
Continued from previous. Vanzetti has picked up the pen and holds it over the paper.

VANZETTI
OK, that one was good.


VANZETTI (CONTINUED)
I’ll tell you whatever you need to know.


Page 4, Panel 6:
Continued from previous. We see a Murphy and a soaking wet Goldberg from behind, stood by the table as Vanzetti writes out a confession. No dialogue.

CAPTION
And so, thanks to the pioneering work by
Murphy and Goldberg, we have the world-renowned
 interrogation technique known as
GOOD COP, WET COP.