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41.

MACHINE (quiet) You’re a fucking monster. THE BOY (off) Only if you get on my bad side. I’ll see you again. Bring me my pearls, next time... INT. BIRDCAGE - NIGHT Blue lights flash outside. Two policemen and Sergeant Stephens enter. Small groups of locals look up, but aren’t surprised or interested to see police officers invading and ignore them. Fast Charlie and Diane stand behind the bar, drying glasses. Where Fast Charlie was scared of The Boy before, with the Police he is contemptuous. FAST CHARLIE Well, here’s a surprise. SERGEANT STEPHENS Is it, really? Nice place like this, can’t imagine why you would ever see the police. FAST CHARLIE You don’t come in all that often. SERGEANT STEPHENS We do not. Guess the station’s bar does us alright. FAST CHARLIE Might learn something about your neighbourhood, you drank in here. Build up trust. Instead of coming in here every six months when you want something. SERGEANT STEPHENS Is that right? FAST CHARLIE What can I do for you, Sergeant?

(CONTINUED)


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42.

SERGEANT STEPHENS Harbouring prisoners is a serious crime, Charlie. Goes back years, think about Catholics, slaves. Mutinous behaviour, real enemy of the state kind of business. Could even be treason. FAST CHARLIE You came to give me a history lesson? SERGEANT STEPHENS A reminder. That if you see a known criminal in your establishment, it’s your responsibility to report said criminal. FAST CHARLIE I’ll certainly do that. (raises voice) Never seen a criminal in ’ere, though. This generates a laugh from the clientele. The police officers look annoyed. SERGEANT STEPHENS That’s very good, Charlie. Your next trick: renewing your alcohol license when it’s up in a year. FAST CHARLIE You can’t deny that. This pub’s too important. You’d ’ave riots on your hands. SERGEANT STEPHENS (looking at Diane) And for your little girl. Can’t have her around these criminal types too long. She’ll get affected. Not good for the moral development of a child. DIANE Mind who you’re calling a child, wanker. SERGEANT STEPHENS You see that, men? She’s corrupted beyond all hope.

(CONTINUED)


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43. FAST CHARLIE Listen. You can’t come in here, insult my family. SERGEANT STEPHENS (leans closer) I can do whatever I need to get to who I’m looking for. (pulls back) Any sign of The Boy, you call me. Know the number alright? FAST CHARLIE I’ll work it out. SERGEANT STEPHENS You better. I hope you know what we’re dealing with, here. This is a dangerous, unreformed villain. A thief, he’s not afraid to kill. And if he’s still hanging around these parts, he’s got business to settle. And we’re not letting him do that. FAST CHARLIE It’s lovely to see you, Sergeant. Funny that it’s whenever you need something, but when I’ve called for ’elp here at the pub I’ve had to wait hours. SERGEANT STEPHENS I can’t comment on our call times. FAST CHARLIE I can. They’re bloody useless. SERGEANT STEPHENS Come on, men. I can see we’ve outstayed our welcome, glowing as it was.

The policemen leave the pub. DIANE Why’ncha tell them, if he’s so dangerous. FAST CHARLIE I hate the bloody police, more than anyone. Useless bastards. (reaches under the counter) Diane, love, can you get some more crisps from out back? (CONTINUED)


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44.

Sure, dad.

DIANE

Diane leaves the bar, walking through to the back storage room. She rummages in a box of crisps, choosing certain numbers of flavours. THE BOY Can you believe it? Diane jumps, dropping the crisps. She looks up to the source of the noise. The Boy sits in an attic space, looking down at her through a trapdoor opening. He is holding a packet of crisps. THE BOY I mean, what they said. DIANE I haven’t got any reason to believe either way. THE BOY Well, your dad lets me around. DIANE So I have a reason to trust you. Maybe.

THE BOY

DIANE (peering up into the attic) How did you get up there? I didn’t know we had an attic. THE BOY We’ve all got attics. Where do you think I’m sleeping? DIANE That’s not right. THE BOY Never trust a pub with any less than one entrance. That’s what I love about the Birdcage. I know of four.

(CONTINUED)


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45.

DIANE But we only lock up two.. THE BOY That’s ok. Most people don’t have as much time on their hands as I do. The Boy lowers himself down through the opening and lands on the floor. He looks at his hands, worried. THE BOY Are my hands As he sees them, they are covered in blood, thick, oozing red blood. THE BOY - still dirty? Now, from Diane’s point of view, we see that they’re completely clean. DIANE Uh - not visibly. THE BOY Oh. Yes, so they are. Diane gives him a strange look, gathers her crisps, and exits. The Boy keeps looking at his hands, which from his perspective are still dripping with blood. INT. BIRDCAGE - NIGHT Diane walks back through, holding the crisps. Fast Charlie looks up at her. He looks worried. FAST CHARLIE Sorry you need to go through this, love. DIANE What’s the matter, dad? FAST CHARLIE Nothing, nothing. I just worry about you. It’s not easy, round here. Specially for a young lady. And I’ve got you workin’ here...

(CONTINUED)


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46.

DIANE Dad, it’s ok. I want to be here. I’m happy, ok? Really. FAST CHARLIE This wasn’t meant to last forever, we was meant to move out to the country, me and your mum. DIANE You can still move. FAST CHARLIE Nah, it’s not the same. I’m ’ere now. This is my life, now. But you don’t have to stay ’ere forever, you know? DIANE I know. Thanks. Diane hugs Fast Charlie. MACHINE (o.s.) Evening, Charles. Fast Charlie lets go of Diane, quickly. FAST CHARLIE Diane, get some more crisps. More? Go on.

DIANE FAST CHARLIE

Diane exits. FAST CHARLIE What do you want, Machine? Machine and Gunner are standing on the other side of the bar. MACHINE We’re not here for trouble. We just want The Boy. FAST CHARLIE He’s more popular than ever.

(CONTINUED)


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47. MACHINE That’s right. You seen him? FAST CHARLIE Not since Tower was with us. But we’ve had the Bill in just now, looking as well. MACHINE Naturally. FAST CHARLIE You think he’s stupid enough to come here? He’d have to have a screw loose. MACHINE Well if he is here, let’s not let him make an escape. Gunner?

Gunner goes behind the bar, following Diane. FAST CHARLIE Don’t you cause trouble, here. I won’t ’ave it. MACHINE It’s not like we need a warrant. There’ll be no trouble, I assure you. Diane is shoved very roughly out of the back room. Fast Charlie stops her from falling. FAST CHARLIE Oi! How dare you? DIANE I’m ok, dad. ButGunner reappears. GUNNER Nothing. Not in the cellar, not in the attic. MACHINE No sign of life, eh? Well, you know where I am if you do happen to find him. Remember who butters your bread, Charles. Don’t throw your life away.

(CONTINUED)


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48. FAST CHARLIE I’ve nothing to hide. Especially not from you. MACHINE Easy, tiger. You and your little girl stay safe, now. There’s a dangerous man on the loose.

Machine and Gunner leave. Diane hugs close to Fast Charlie. EXT. STREET - DUSK - MOMENTS LATER Machine and Gunner walk out of The Birdcage. GUNNER Is he lying? MACHINE You tell me. Any sign of him? GUNNER No, nothing. MACHINE Well. I think he’s seen him. But I don’t think he’s saving hiAs they approach their parked car, Machine is interrupted by its explosion, which knocks them both off their feet. Machine and Gunner lie on the floor, dazed, as neighbours scream. A telephone box, 20 feet away, starts to ring. Machine drags himself off the ground and limps over to the box. He lifts the receiver. THE BOY (o.s.) How stupid do you think I am? MACHINE Medically, if you’re still in London. THE BOY (o.s) I’ll be gone as soon as I get what I’m due. Let’s meet. (CONTINUED)


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49.

MACHINE But we don’t have your pearls, boy. I think you’ll find we didn’t take ’em. Didn’t think it was right, that. THE BOY (o.s.) So they’re still at the jeweller? MACHINE Could be, unless they’ve sold ’em. What do you think? Beat. MACHINE Boy? Boy? Machine replaces the receiver, satisfied. EXT. JEWELLERS - NIGHT The Boy is crouched in a window, looking down at the jewellers. Tower stands above him, smoking. TOWER Remember this place? THE BOY What do you think? TOWER Well I had to bring you here. You didn’t seem to want to remember. THE BOY I remember. TOWER So get in there. You need to find the pearls. INT. JEWELLERS - NIGHT The Boy breaks in silently through a back window. He creeps through the store, seeing pools of blood in the moonlight. (CONTINUED)

SHORT FILM The Long Run