RUREADY4MI

R U READY 4 MI
Written by
Abolaji Abimbola
Telephone: 01462 621 333
Mobile: 07957 441 411
Email: aabimbola@gmail.com
EXT. LETCHWORTH GARDEN CITY - DAY
A burgeoning town with greenery, open spaces and tree-lined

roads outside houses with extensive lawns.
CAPTION: HERTFORDSHIRE, ENGLAND 2000
EXT. LETCHWORTH GARDEN CITY, FIELD - SAME
A juniors cricket match in the middle of the field.
The bowler is SOLOMON, 7 years old, black, average height and

build. He has clear brown eyes and a young face.
He faces the chubby BATSMAN and the three stumps. The other
kids watch, pensive.
SOLOMON stares at the scrawled autograph on the cricket ball

in his hand. He nods a skinny white boy, BONES across the
field, same age.
BONES nods back.
The chubby BATSMAN wipes his runny nose on the back of his
hand and glares at SOLOMON, trying to intimidate him.
SOLOMON
Ready?
SOLOMON runs, hurls the ball. He has a good arm. The ball
whizzes fast and hits the bails off the stumps.
The TEAM shout in victory as they rush towards SOLOMON.
BONES reaches him first, bursting with energy and an open

smile. They touch wrists, their signature gesture and shout
together as they've done many times before.
SOLOMON is lifted on the shoulders of his TEAM MATES.
TEAM
Sunny! Sunny! Sunny!
BONES watches, grinning proudly. He holds up the autographed

cricket ball and tosses it to SOLOMON. SOLOMON catches it and
raises it up in the air.
Suddenly, SOLOMON quietens. A look of fear crosses his face.
SOLOMON
Put me down!
Confused, his TEAM MATES let him down. BONES watches

concerned, as SOLOMON runs off the field.
All eyes on BONES.

2.
TEAM MATE
Bones, what wrong with Solomon?
EXT. LETCHWORTH GARDEN CITY, STREET - SOON
SOLOMON runs down the street, out of breath. The cricket ball
in his hand.
He turns a corner and rams into an ELDERLY WOMAN, knocking

her to ground. He scrambles up, tears running down his
cheeks, continues running.
SOLOMON
I'm sorry ...
ELDERLY WOMAN
Solomon? What's the matter?
EXT. LETCHWORTH GARDEN CITY, SOLOMON'S HOME - SOON
A long gravelled driveway leads a lovely home. SOLOMON pauses

at the gates, out of breath and pensive. The front door looms
ahead of him.
INT. SOLOMON'S HOME - SOON
SOLOMON enters the tastefully decorated and spacious home.
He walks past a studio. An easel stands in the middle of the

room, bottles of paint scattered around the studio.
SOLOMON climbs up the stairs. Frames paintings hang along the

wall.
He hears moans of ecstasy coming from upstairs and pauses.
INT. SOLOMON'S HOME, MASTER BEDROOM - SOON
SOLOMON walks in on his mother ROSE, a beautiful woman in her

thirties, having an affair with her male MODEL. Loud moans,
their bodies writhing in passion under the bedsheets.
The cricket ball drops from SOLOMON's hand and bounces on the
floor. ROSE sees him and screams.
ROSE
Solomon!
SOLOMON's eyes roll to the back of his head. He collapses.

3.
INT. LAWYER'S OFFICE - DAY
SOLOMON opens his eyes. He is in a room with shelves of law

books against the walls. Sitting beside him, holding his hand
is his father JOE, a slim tall man.
ROSE is across the table. Her breath is uneven, her hands

trembling.
A LAWYER sits beside each parent. JOE stands, pointing and

shouting at ROSE. SOLOMON is watching, not hearing a sound.
He cringes from his father's anger but is a drawn to his

mothers tear-worn face.
ROSE meets SOLOMON's gaze and he looks away. He gets up and

runs out of the room. She breaks down, inconsolable.
CAPTION: TWELVE YEARS LATER
EXT. LETCHWORTH GARDEN CITY - MORNING
There are less tree-lined streets. Less greenery. Less open

spaces. More houses.
EXT. LETCHWORTH POLICE STATION, CAR PARK - MORNING
Constable DANIEL HEAD, an aging, hard-nosed policeman

approaches the police building. He walks straight and tall,
but his eyes betray his exhaustion.
He looks around the car park, younger MEN and WOMEN, arriving
for their shifts with purposeful strides, faces still
hopeful.
HEAD enters the building.
INT. POLICE STATION - SOON
HEAD has learnt to ignore the pitying glances from younger

officers.
He makes his way down the hallway, using all his will power
to keep his chin up.
INT. POLICE CHIEF'S OFFICE - SOON
HEAD enters the cluttered office. CHIEF DUTTON, a younger man

concentrates on the unimpressive view outside his window.
HEAD
You asked to see me Chief?
DUTTON points to a folder on his desk with the letters Y.R.P.

4.
DUTTON
The new initiative from the bright
boys in government. Use your eyes,
have a gander.
HEAD picks up the file, reads.
HEAD
Youth Rehabilitation Program?
DUTTON
It aims to address the social
disruption caused by youths. They
being the future of the British
society.
DUTTON turns and faces HEAD.
DUTTON (CONT'D)
It's an election year and they want
votes.
HEAD
But sir ..
DUTTON (CONT'D)
They've shat the youth service and
local authority on us. We are
expected to engage the community at
a grass roots level, project a
friendlier face, so to speak.
HEAD
Sir ...
DUTTON (CONT'D)
The youth service will design
programs to work on the needs of
the youth, we are to support
them.
HEAD
But ...
DUTTON
I don't want to hear about it, just
deal with it. The local authority
is counting on our full support.
DUTTON picks up his desk telephone.
DUTTON (CONT'D)
Connie, send in Constable Saunders.
DUTTON sits, assesses HEAD.
DUTTON (CONT'D)
You've got a year to retirement?
5.
HEAD
Yes, sir.
DUTTON's face softens.
DUTTON (CONT'D)
You gave me my induction when I
first joined the force, didn't you?
HEAD
I don't remember --
DUTTON
Seems like ages ago.
HEAD
Why me sir?
DUTTON
What do you mean?
HEAD
I mean, why choose me?
DUTTON
You're uncompromising and
principled.
HEAD meets his eye. DUTTON smirks.
DUTTON (CONT'D)
You always have to push, don't you?
Constable MIKE SAUNDERS enters, a younger mellow black man.
DUTTON (CONT'D)
Constable Mike Saunders, meet and
greet Constable Daniel Head.
SAUNDERS nods at HEAD. HEAD grunts.
DUTTON (CONT’D)
No doubt this enthusiasm for the
youth will taper when the elections
are over. Meanwhile both of you get
out there and keep this Y.R.P shit-
storm out of my office.
EXT. MOTORWAY - MORNING
Morning rush hour traffic. A black motorbike zips between the

slow-moving cars.
Hands in dark leather gloves rev the motorbike engine. It

charges forward, handles barely missing a car side mirror.
6.
The RIDER wears a dark helmet, an acoustic GUITAR strapped to

his back. The motorbike veers off the motorway unto a slip
road.
EXT. HERTFORDSHIRE, SANITORIUM - SOON
The RIDER stops at a set of the high gates. A GUARD lets the
RIDER through.
The RIDER parks the motorbike outside the impressive main

building, SOLOMON/RIDER takes off his helmet. He is eighteen,
with his mother's good looks.
INT. SANITORIUM - SOON
SOLOMON moves down the hallway, guitar in hand. He nods

familiar greetings to NURSES as he passes.
A DOCTOR sees SOLOMON. She smiles at him with a motherly

affection.
DOCTOR
How are you Solomon?
SOLOMON
Very well.
DOCTOR
Let's keep it that way.
SOLOMON nods. She touches his chin.
DOCTOR (CONT’D)
We like having you around.
CUT TO:
SOLOMON pauses outside a door. He is nervous. He notices the

JANITOR watching him.
The JANITOR nods an encouragement as he mops the floor.

SOLOMON forces a smile.
INT. SANITORIUM, HOBBY ROOM - CONTINUOUS
SOLOMON enters the well-lit noisy room. PATIENTS amble about,

engaged in various activities - basket-making, puzzles,
drawing, knitting.
In a quiet corner is a canvas and easel, a PAINTER behind it.
SOLOMON nods a greeting to the GUARD-NURSES as he heads for

the corner. ROSE is the PAINTER.
7.
SOLOMON sits across from ROSE. She paints dark vortexes on

the canvas, ignoring him. She looks withdrawn, her eyes dull.
SOLOMON
Mom?
ROSE twitches, trying to steady her hand. She marks the

canvas and shouts frustrated.
SOLOMON (CONT'D)
Mom, it's not ruined.
ROSE grabs her hand and traps it between her knees. She
avoids looking at SOLOMON, ashamed.
SOLOMON reaches for his guitar.
SOLOMON (CONT'D)
I've written something new ... for
you Mom.
SOLOMON holds the guitar with practised ease. He plays a

soothing melody to her.
A few of the other PATIENTS pause, listening.
ROSE stops twitching, her breathing calms. She stares, lost

in the black spirals on the canvas, listening.
A PATIENT moves and knocks over a jug, it hits the floor with
a crash. ROSE jerks, frightened. SOLOMON reaches for her
hand.
SOLOMON (CONT'D)
It's alright Mom.
SOLOMON meets her gaze, searching for recognition. He finds
none. He stops playing.
SOLOMON (CONT'D)
I can't seem to finish it. I
like what I've done so far though.
Beat.
SOLOMON (CONT'D)
My numbers have doubled on the blog
charts. Record companies want to
meet musicians with the highest
votes.
ROSE starts to paint.
SOLOMON (CONT'D)
Dad still travels a lot. He wants
me to quit my music. He says I have
a one in a million chance of making
it, that my head is in the clouds.
8.
He looks to ROSE for support. She continues painting.
SOLOMON (CONT'D)
Do you want to hear it again?
He waits, no response. He starts to play and ROSE twitches,

marring the spiral. She yells in anger and knocks the canvas
down.
She hits her can of brushes to the floor as NURSES rush

forward and restrain her.
NURSE
Breathe Rose, calm down.
Best leave it for another day
Solomon.
They escort Rose away. Solomon looks at the marred canvas.
SOLOMON
I'm sorry.
EXT. LETCHWORTH, SOLOMON'S HOME - SOON
A long gravelled driveway leads to a lovely home.
INT. SOLOMON'S BEDROOM - DAY
The room is tidy. The autographed cricket ball is on the bed.
SOLOMON is beside it, practising alone on his guitar.
On the wall are black and white posters of Jazz legends; Duke
Ellington, Earl Hines, Jo Oliver and in particular, many of
COUNT BASIE.
SOLOMON pauses, writes on a note pad, trying to finish the

song.
SOLOMON gets frustrated and puts down his guitar.
COUNT BASIE (O.S.)

Always have a ball, whatever you
do.
SOLOMON grins. COUNT BASIE walks out of the wall and his
poster, alive and real-size. He strolls towards SOLOMON
looking dapper in a dark suit. He has a calm presence, kind
eyes and a musical voice.
SOLOMON points to the cricket ball on the bed next to him.
COUNT BASIE (CONT'D)

Now, you know that's not what I
mean. How was she?
9.
SOLOMON
Mom's the same.
COUNT BASIE pats SOLOMON on the shoulder.
COUNT BASIE
Adversity is the mother of genius.
SOLOMON moves away.
COUNT BASIE (CONT’D)

In time, you may learn to use your
pain, like I did, then the world
will see life through your eyes and
rejoice with you.
He takes the guitar from Solomon and sings.
COUNT BASIE (CONT’D)

That you went through the night,
and was found standing on your two
feet as the dawn rose over the
horizon.
COUNT BASIE catches SOLOMON's disenchanted glance at his

notes on the bed.

You are trying too hard, using the
wrong tools. You need to open up,
be vulnerable. The greater the
artistry, the more vulnerable the
artist must be.
SOLOMON
So you've been telling me since I
was ten, but you don't look
vulnerable.
COUNT BASIE
No, I don't.
COUNT BASIE admires the posters on the wall, especially the

ones of him.

The good old days, wasn't I
something?
SOLOMON
Yes, you are.
COUNT BASIE
I do believe you have a point there
my talented friend.
SOLOMON sobers.
10.
SOLOMON
Do you think I'll ever be a great
artist?
COUNT BASIE
Buddy, when you are ready,
yours will be a legacy that will
outshine mine.
EXT. LETCHWORTH GARDEN CITY, CONSTABLE HEAD'S HOME - NIGHT
A semi-detached house with a small garden in a less affluent

residential neighbourhood.
The front windows have metal bars across them.
A dog barks incessantly in the background. Various

disgruntled neighbours hurl abuse at it from their homes.
INT. CONSTABLE HEAD'S BEDROOM - NIGHT
HEAD stares at his reflection on a wall mirror in his

underwear. He rubs his potbelly and sits on the bed. He looks
old and tired, worried.
JULES enters, a middle-aged woman, slim, with a quiet grace.
JULES
She's finally asleep.
HEAD nods. JULES softens at her distraught husband. She goes

to him, wraps her arms around him.
JULES (CONT'D)
How's my favorite stud?
She neighs like a horse, teasing him.
HEAD
I'm no stud.
JULES
I call it like I sees it. What's
your new partner like?
HEAD
He has a degree, studied youth
psychology. He talks too much. He
gets on my nerves.
JULES
I think he'll be good for you.
HEAD
It' a strange assignment Jules.
11.
JULES
Why strange?
HEAD
I'm not right for it. Everyone at
the station knows what I think,
the law is not hard enough on
youth offenders. Now they want
me to be the friendly face of the
police?
JULES pulls at the corners of his mouth, watching in the

mirror as she creates a crooked smile.
JULES
Tell me that is not a friendly
face.
HEAD
I'm serious Jules. I think they are
setting me up for a fall.
JULES
Why?
HEAD
They snigger behind my back. They
make jokes at my expense! I'm not
stupid.
JULES
Babe ..
HEAD
Will that damned dog ever stop
barking!?
JULES gets up and shuts the window.
JULES
I read that the program is a waste
of tax-payers money, that the only
children worth helping are in
school during day and home at
night.
HEAD
What we need is more prisons and
the scraping of juvenile courts. I
don't agree with --
JULES
The way I see it, you have more
street experience than anyone in
the station and you have great
instincts.
HEAD considers.
12.
JULES (CONT’D)
You're honest, fair and a great
role model for the black kids out
there. Did it ever occur to you
that could be why you've been
assigned to the program? You're
needed.
HEAD
I guess.
JULES
Daniel, you have nothing to be
ashamed of. You've made a success
of yourself. You have a wife who
loves you and a daughter who adores
you.
HEAD
I don't like feeling used.
JULES
What about by me? Do you like it
when I use you?
JULES nuzzles his neck. She neighs softly. HEAD looks into
her eyes, kisses her tenderly.
JULES (CONT'D)
Get your cuffs out Constable.
HEAD laughs.
EXT. LETCHWORTH GARDEN CITY, STREET - MORNING

SOLOMON walks past Election Party posters on a wall. He has
his headphones on, a satchel hanging over his shoulder.
CUT TO:
SOLOMON approaches the town centre, the once clean walls are
covered in graffiti. The signature on majority of the
graffiti is BONES.
SOLOMON pauses at the signature.
INT. POLICE STATION, STORAGE - MORNING
HEAD and SAUNDERS look through files of juvenile crime

reports.
SAUNDERS
Shouldn't these be on a computer?
13.
HEAD
The crimes have exceeded our
manpower budget, we're playing
catch up.
SAUNDERS
I feel like a work-horse.
HEAD grins to himself. SAUNDERS gives him a strange look.
SAUNDERS (CONT'D)
You've been doing that all morning,
what's amusing?
HEAD's grin widens.
HEAD
No idea what you're talking about.
What could a guy like me have to
grin about?
SAUNDERS
I keep seeing the same names.
HEAD
They attend the same local
school. I've arranged for us to
talk with the kids this afternoon.
SAUNDERS
When?
HEAD
This afternoon.
SAUNDERS
When did you arrange it?
HEAD
I came in early.
SAUNDERS
You didn't want to consult me?
HEAD
I'm consulting you now.
SAUNDERS
I thought we were working together?
HEAD
Fair point.
SAUNDERS
Well?
HEAD
What do you want? An apology?
14.
HEAD leaves. SAUNDERS is angry, but follows him.
EXT. LETCHWORTH GARDEN CITY, LOCAL SCHOOL - MORNING
SOLOMON strolls past the school gates. Clusters of BOYS and

GIRLS are about. Many of them glance at SOLOMON, nodding a
greeting as he passes by.
SOLOMON responds in turn, mostly avoiding eye contact. He is

quietly popular.
EXT. LETCHWORTH GARDEN CITY, STREET - MORNING
HEAD and SAUNDERS drive through the town in their patrol car.
HEAD is driving. HEAD grimaces at the graffiti on the walls.
HEAD
Kids today are wasteful.
SAUNDERS
Depends on how you look at it.
Many art movements started on the
streets. The artists had original
ideas and had no other avenue of
expressing themselves.
HEAD glances at SAUNDERS, out of his depth.
HEAD
Still does not excuse vandalism.
SAUNDERS
I wasn't excusing vandalism, I was
proposing a possible reason.
They drive pass a group of BOYS playing cricket in a field.
HEAD
They should be in school.
HEAD turns the wheel to pull over.
SAUNDERS
We'll be late.
HEAD checks his watch, grunts and continues driving.
They drive past, one of the boys, the batsman, stares

directly at HEAD, meeting his gaze, challenging him.
HEAD fumes at the boy's audacity. SAUNDERS notices.
The boy is tall, skinny, eyes bursting with energy, his mouth
a thin line. He is BONES, all grown up.
15.
SAUNDERS (CONT'D)
He's just trying to rile you.
BONES grins as HEAD looks away and continues his game.
INT. LOCAL SCHOOL - MORNING
SOLOMON moves through the crowded halls. A COUPLE steal

kisses in the corner. SOLOMON seems to be in his own world.
He stops at a door labelled "MUSIC ROOM". He pauses,

considering. He decides otherwise and moves from the door.
INT. MUSIC ROOM - SAME
MR TOTES, the music teacher, has his back to the door.

Headphones on, eyes shut, face contorted in musical ecstasy.
SOLOMON enters, closes the door behind him and waits.
The Rachmaninoff aria ends and TOTES takes off his

headphones, casually wiping the tears from his eyes. He's in
his late thirties.
TOTES
Genius in an otherwise dull and
tone-deaf world.
He sees SOLOMON. Frowns.
SOLOMON
I came to say I'm sorry.
TOTES waits.
SOLOMON (CONT'D)
I can be a better musician.
TOTES
It takes courage to bite the hand
that fed you, then come back and
ask for favours.
Beat.
TOTES (CONT'D)
You've had the summer to reconsider
your outburst. Why should I take
you back Solomon? Why should I
waste my efforts on someone who
clearly does'nt care about his
talent or my time?
SOLOMON
I'll do whatever you ask, whatever
it takes.
16.
TOTES
That's what you said the last time
you came begging. You go back and
forth enough times and nobody will
take you seriously, frustrated
prodigy or not.
SOLOMON
Mr Totes, I'll do anything you
want. Please take me back.
TOTES
Can you be consistent?
SOLOMON
I swear, I'll be consistent.
Beat.
SOLOMON (CONT'D)
Please Mr Totes.
Beat.
TOTES
I'll take you on ... again but
moving forward you'll pay for the
lessons, maybe that will keep you
committed. We can't use the school
premises and equipment any longer,
you'll have to come to my home, in
Hitchin. Do you accept these
conditions?
SOLOMON nods.
TOTES (CONT'D)
Come see me later and I'll give you
an hourly rate and directions to my
place. Talk with your father. This
is it Solomon, disappoint me again
and I'll stop taking you seriously.
SOLOMON
Thank you Mr Totes.
TOTES
Don't thank me, be consistent.
Don't disappoint your self.
SOLOMON nods, turns to leave.
TOTES (CONT'D)
What made you come back?
SOLOMON looks away, does not answer.

17.
TOTES (CONT'D)
How's your mother?
SOLOMON
Mom's the same.
TOTES
You'll be late for class.
INT. CLASSROOM - MORNING
SOLOMON stares out of the window, pensive, ignoring the

TEACHER who is scribbling equations on the board.
Most of the students are copying the equations. A few are

sending texts on their mobile phones.
SOLOMON blinks as a stunning young WOMAN IN A RED DRESS

strolls across the school grounds. She sways her hips, moving
in red high heels.
SOLOMON can't take his eyes off her. Nobody else seems to
notice her. She turns in SOLOMON's direction, her eyes
catching his despite the distance between them.
SOLOMON looks away embarrassed. He peeks but she is gone.
INT. SCHOOL ASSEMBLY HALL - DAY
The students congregate, filling up the last empty plastic

seats. SOLOMON is seated, holding a USB stick on his hand.
A few TEACHERS act as monitors around the room. The School

Principal, MR GRAVES, middle-aged, balding and stern, is on
the stage. Constable SAUNDERS waits in the sidelines.
GRAVES
Hurry up, take a seat please and
don't be sluggish about it.
HECKLER (O.S.)
Anything you say Baldy!
A TEACHER glares in the direction of the HECKLER. GRAVES

ignores the comment. Everyone is seated.
GRAVES
Police Constable Saunders is here
from the Metropolitan Police ...
INT. SCHOOL STAFF ROOM - DAY
TOTES leads HEAD into the small room. TEACHERS mill around,
reading, drinking tea. Gradually everyone notices HEAD.
18.
TOTES
May I introduce Constable Head. He
would like to have a couple of
words about the children.
FEMALE TEACHER
What have the buggers done now?
MALE TEACHER
Do we get to throw the switch?
INT. SCHOOL ASSEMBLY HALL - DAY
SAUNDERS addresses the STUDENTS, he is at ease, sincere. The

STUDENTS are attentive.
SAUNDERS
I understand why in the past, some
of you may have perceived us as the
enemy but a change needs to happen.
This new initiative led locally by
Constable Head and myself aims to
address the mistrust --
HECKLER (O.S.)
Head and Shoulders!
The STUDENTS laugh. SAUNDERS is not fazed.
SAUNDERS
-- and facilitate understanding
between the youth and the police.
Through a window, SAUNDERS sees a group of truant BOYS led by

BONES, spray painting his police car parked outside.
INT. SCHOOL STAFF ROOM - DAY
HEAD sips from a cup of coffee as he listens to the TEACHERS.
TEACHER
I can feel it most times when I'm
teaching. On my back of my neck.
The hostility. You look into their
eyes and there's no connection.
TEACHER 2
You can't teach a child who does
not give a damn.
TEACHER
I blame the parents.
19.
TOTES
We have to stop blaming the
parents. They are doing their best,
same as we are.
TEACHER
I can remember when learning your
ABC's meant something else.
TEACHER 2
Acceptable Behaviour Contracts.
TOTES
They are living in a world
unprepared for them, creatively
speaking.
FEMALE TEACHER
They're starved of the right kind
of stimulation.
TEACHER 2
They have it too easy.
FEMALE TEACHER
Don't you see? They are victims.
TEACHER 2
I don't agree.
All eyes turn to HEAD.
TOTES
How do you see it Constable
Head? Do the kids today have it
easy or are they victims?
HEAD
I'm hear to listen.
TOTES
You're on the frontline. We'd value
your opinion.
FEMALE TEACHER
Do we lack perspective because
we're close to the children?
HEAD looks around the round, meeting the concerned gazes.
HEAD
They need discipline and structure,
a firmer hand. They need to be
taught self-control.
Some TEACHERS nod their heads in agreement, others look away

losing interest.
20.
TOTES
Isn't that too simplistic?
HEAD
Simple works. Thank you for your
time, the youth centre will be
contacting you in due course.
EXT. SCHOOL - DAY
SAUNDERS is waiting by the patrol car. HEAD approaches, sees

the graffiti.
The truant BOYS are leaning against the school fence

chatting, slyly watching HEAD.
HEAD
Those shits!
HEAD marches towards the BOYS. SAUNDERS grabs his arm.
SAUNDERS
They are testing us, like they
would any parent.
HEAD
Parent?! You can't let these kids
get away with crap like this,
they'll walk all over you.
HEAD tosses SAUNDERS the car keys.
HEAD (CONT'D)
You drive.
EXT. LETCHWORTH GARDEN CITY, FIELD - DAY
BONES is watching a cricket game, angry with his TEAM'S

score. They're losing.
A few GIRLS are watching and COLIN, a catcher on BONES' team,

is showing off and making the GIRLS laugh.
A TEAM MATE goes to COLIN, grabs him by the arm.
TEAM MATE
Stop fooling around Colin, we're
losing. Bones is pissed off.
COLIN
So? Why is everyone scared of him?
He's not that tough.
CUT TO:
BONES sees the TEAM MATE back away from COLIN.

21.
BONES assesses the rest of his team. They are a hapless

group, a disappointment to him.
BONES walks across the field to a BURLY BOY.
The BURLY BOY sees BONES approaching, grins.
BURLY BOY
Getting worried?
BONES
Double or nothing.
BONES grins, his eyes cold.
BURLY BOY
It's your money.
CUT TO:
BONES goes up to bat. He sees SOLOMON walking home after

school, on the other side of the fence.
SOLOMON has his head-phones on, oblivious.
The BOWLER hurls the ball and BONES whacks the cricket ball,
it whizzes across the field, into COLIN's face! COLIN
screams, blood and teeth in his hands.
The OTHERS watch, waiting for BONES to speak.
BONES
Get him off the field.
CUT TO:
SOLOMON is startled as BONES shakes the wire fence. He sees
BONES grinning at him. There is a tension between them. They
both know it, BONES chooses to pretend.
BONES (CONT'D)
Hey Solo.
SOLOMON
Bones.
BONES
Long time.
SOLOMON nods. The tension thickens.
BONES (CONT'D)
I'm losing a bet, want to bail me
out? We're a player short.
SOLOMON
I've got to get home.
22.
BONES
What's the hurry? So busy you can't
help out an old friend?
Beat.
BONES (CONT'D)
I used to be able to count on you
Bro.
EXT. LETCHWORTH GARDEN CITY, FIELD - SOON
SOLOMON tosses the cricket ball. He looks around the pitch,

everyone watching.
BONES is on the edge of his seat in the sidelines. The BURLY

BOY does not look happy.
SOLOMON looks down at the BATSMAN.
SOLOMON
Ready?
The BATSMAN looks nervous. SOLOMON bowls.
EXT. LETCHWORTH GARDEN CITY, STREET - EVENING
SOLOMON and BONES walk together. BONES is counting his money.

He is bursting with excitement, like they are kids again.
BONES
A perfect in-swinger! You haven't
lost the touch!
SOLOMON grins. BONES puts away the money.
BONES (CONT'D)
You've always been a mate. I
missed you Bro.
He hugs SOLOMON.
BONES (CONT'D)
You have time for me to show you
something quickly?
EXT. LETCHWORTH GARDEN CITY, ALLEY - EVENING
BONES puts the finishing touches to his graffiti. It's a

vibrant depiction of a guitar. BONES autographs it.
He stands back to admire his work. SOLOMON is impressed.

23.
BONES
How can anyone call this work of
art, vandalism?
SOLOMON quietens.
SOLOMON
I heard about what happened? Sorry
I didn't come to see you.
Beat.
BONES
Sorry I didn't come to see you too.
Beat.
BONES (CONT'D)
So, how's school?
SOLOMON
You should come.
BONES
I've moved on.
Beat.
SOLOMON
I saw Totes today.
BONES
Is he still trying to rescue the
misguided and talented? "An artist
must transform talent to
expertise".
SOLOMON
He charges for his lessons now.
BONES
He should. He's worth it.
SOLOMON
I can't afford it.
Beat.
BONES
How's your mother?
SOLOMON
Mom's the same.
BONES
Solo, the world is crazy. The duty
of the artist is to shine a light
on the hypocrisy of society.
(MORE)
24.
BONES (CONT'D)
Playing it safe won't get you where
you want to go.
BONES glances at his work of art.
BONES (CONT'D)
Why is it a crime to add colour to
a boring wall?
SOLOMON
What's next for you?
BONES
I'm making the right moves, it's
coming together. I'm on the right
track.
SOLOMON looks away.
BONES (CONT'D)
Today was like the old days. I've
really missed you Bro.
BONES's mobile beeps.
BONES (CONT'D)
I'm late, meeting with some big
boys from London.
SOLOMON nods. BONES raises his hand to touch wrists with

SOLOMON, their old signature move.
BONES (CONT'D)
Later.
BONES leaves SOLOMON staring at the beautiful mural.
INT. SOLOMON'S HOME - NIGHT
SOLOMON arrives home. He enters the quiet house.
INT. LIVING ROOM - CONTINUOUS
SOLOMON looks into the dark room.
COUNT BASIE (O.S.)

You should have been home hours
ago, practising. Where were you?
SOLOMON does not answer.

A young's man choices dictate his
destiny -
25.
SOLOMON
You're not my father.
COUNT BASIE
He's not here, I'm what you have.
SOLOMON
Thanks for reminding me.
COUNT BASIE
That's what I'm here for.
SOLOMON
I'm going to bed.
SOLOMON heads up the stairs.
SOLOMON (CONT’D)
Good night.
EXT. LETCHWORTH GARDEN CITY, BONES'S HOME - NIGHT
A nice house with tended garden and a neat driveway. BONES is

looking into living room through the window. A middle-aged
COUPLE are inside arguing.
BONES's face hardens at the sight of them.
INT. BONES'S HOME, LIVING ROOM - CONTINUOUS
BONES MOTHER is worried, BONES FATHER is perplexed.
BONES'S MOTHER
Where is he then!?
BONES'S FATHER
I don't know!
BONES'S MOTHER
You're his father, you should be
out looking for him?
BONES'S FATHER
And you're his mother. We've been
through this! He doesn't listen to
us!
BONES enters the house, walks past the living room ignoring
his parents. He goes to his room.
BONES'S MOTHER
You should go talk to him.
BONES'S FATHER
He's home, leave it at that.
26.
BONES'S FATHER heads for the kitchen.
BONES'S MOTHER
Haven't you had enough?
BONES'S FATHER returns with a beer, ignoring her.
BONES'S MOTHER (CONT'D)

You need to talk to him. He's your
son.
BONES'S FATHER
I'm his father God damn it! What
of his responsibilities to me!? It
works both ways!
BONES'S MOTHER
Tell him to stop smoking that stuff
we found in his room.
BONES'S FATHER
You're not hearing me, he does not
listen to me! We've given him
every opportunity, spent several
months of my salary to send him to
that fancy school in London and
what did he do?!
BONES'S MOTHER
You can't give up on him!
BONES'S FATHER
No? You need to open your eyes.
He's not a child, stop deceiving
yourself! He lies, he steals and
I'm sure he's selling the drugs we
found in his room.
INT. BONES'S HOME, BONES'S ROOM - SAME
BONES listens to his parents argue as he plays with his TOY

TRAIN SET. The train tracks run across the floor of the neat
room.
The walls are bare, except for the cellotaped edges of ripped
posters.
BONES'S MOTHER (O.S.)

You don't know that for sure!
BONES'S FATHER (O.S.)

Wake up, will you?!
BONES'S MOTHER (O.S.)

Keep your voice down!
27.
The TOY TRAIN rides over a bump on the tracks. BONES stops
the train and gives the track a closer look. He reaches for
his box of tools and carefully proceeds to expertly fix the
track. He concentrates, taking his time.
INT. BONES'S HOME, LIVING ROOM - SOON
BONES'S FATHER is on the sofa, irritated. BONES'S MOTHER sits

on the arm of the sofa, trying to sweet-talk him.
BONES 'SMOTHER
We can't give up on him.
BONES'S FATHER
He's given up on us.
BONES'S MOTHER
We're the parents.
BONES'S FATHER
Tell him that.
BONES bedroom door opens. BONES strides past his parents and
heads for the front door. He leaves.
BONES'S MOTHER looks to her husband, tears of frustration

welling in her eyes.
EXT. HITCHIN, THE ZEE CLUB - NIGHT
A queue of TEENAGERS wait to be let in by a BOUNCER.
INT. THE ZEE CLUB - NIGHT

Loud music. Scantily-clad teenage GIRLS dancing with
exuberant BOYS. Heavy drinking. A haven for the under-aged
and bold.
BONES weaves through the mass of heaving bodies. A BOUNCER

nods him through to a back room.
INT. THE ZEE CLUB, VIP AREA - CONTINUOUS
BONES enters the dimly-lit room. Soft music. Sofas line the
walls. At centre stage is a DANCER sliding up and down a
shiny pole. Lines of cocaine on tables. Large bottles of
champagne in ice-buckets.
BEAUTIFUL PEOPLE making out. This is the VIP area.
BONES moves across the room to a curtained door. A few PEOPLE

look with envy as BONES is let through.
28.
INT. THE ZEE CLUB, INNER ROOM - CONTINUOUS
BONES enters. He is greeted by suave-looking man who leads

him aside. BONES is led to JEREMY who sits behind a desk.
Lean, hard and creepy.
JEREMY motions for BONES to sit. BONES is slightly nervous.
JEREMY quietly assesses BONES. BONES meets his gaze briefly.
JEREMY
I had my doubts about you. I've
been reminded that you're eighteen
years old with room for growth. I'm
willing to take a leap of faith,
give you a chance.
BONES
I won't let you down Jeremy.
JEREMY
We'll see.
JEREMY tosses a wrapped packet at BONES.
JEREMY (CONT'D)
This stuff is as good as it gets.
My own hybrid. The junk that was
sold around here before I moved in?
I wouldn't give to my dog.
He motions to a small dog resting on a cushion.
JEREMY (CONT'D)
We nee more than a dealer, I'm
offering a partnership. Can you
step up? Can you grasp the future I
have in store for you?
BONES
The past has nothing for me, I'm
ready for the future.
JEREMY
Do you use the product?
BONES
Never.
JEREMY
A smart start is essential to
success. Come back with my money
and you're in, you don't come back
with my money ... you're out.
BONES nods.
29.
JEREMY (CONT'D)
Treat this as a business and it
will pay off. I plan to live long
and wealthy life, what about you?
BONES
I'd like to be wealthy too.
JEREMY
We're on the same page then.
JEREMY waves him away. BONES picks up the wrapped packet.
JEREMY (CONT’D)
You don't come back with my money?
BONES
I'm out.
BONES looks at the faces around him. Hard unforgiving MEN.
EXT. LETCHWORTH GARDEN CITY, SOLOMON'S HOME - MORNING
The sun's rays glisten off the windows.
INT. SOLOMON'S BEDROOM - MORNING
SOLOMON wakes to see COUNT BASIE staring out of the window, a

solemn expression on his face.
COUNT BASIE stands just beyond the sun's rays.
COUNT BASIE
I'd like to feel the sun's rays on
my face again.
SOLOMON listens in empathy.

You'd think I'd be used to the
shade by now.
SOLOMON
It's the way it is.
COUNT BASIE
I'm getting tired of the status
quo. I am used to the spotlight,
the bright lights, the big cities.
How did I come to this? Stuck here
in this house.
SOLOMON
The great Count Basie.
COUNT BASIE goes to the posters on the wall.

30.

In those days we had to tour the
circuit, build the numbers, there
were no internet charts, it was the
real thing. You could touch it,
life has become less tangible.
He grins sadly.

The vaudeville circuit, great
memories.
SOLOMON climbs out of bed, heads for his en-suite bathroom.
SOLOMON
You started as a soloist.
COUNT BASIE
Yes, toured Kansas city to
Missouri. Those were the days of
jazz royalty.
INT. SOLOMON'S BATHROOM - CONTINUOUS
SOLOMON stares at his reflection in the mirror. He opens the

medicine cabinet. The shelves are filled with PRESCRIPTION
DRUGS, SOLOMON's name is on all of them, his medicine.
COUNT BASIE (O.S.)

There was so much talent back then.
Like Ella, the first lady. We made
beautiful music together. She was a
great dancer too. We had a ball.
She was luminous. What a woman.
SOLOMON shuts the cabinet.
COUNT BASIE (O.S.) (CONT'D)

You should hurry, you'll be late
for school.
SOLOMON
I'm not going to school today.
COUNT BASIE
What say you?
INT. POLICE STATION, MEETING ROOM - MORNING
HEAD sits across from a panel of his SUPERIORS. CHIEF DUTTON

is one of them, he has an amused look on his face.
31.
DUTTON
Thanks for the extensive debrief
Constable Head, we will take your
suggestions under consideration.
The success of this program is a
priority.
HEAD is not sure if they are humouring him.
DUTTON (CONT'D)
If there are no more questions ...
DUTTON glances at his colleagues.
DUTTON (CONT'D)
That will be all then.
HEAD stands and goes to the door.
DUTTON (CONT'D)
Constable, remember our primary
duty is to assist the youth centres
with their initiatives. It's not a
personal crusade.
HEAD
No sir.
DUTTON
Best to keep our noses ... and
patrol cars clean.
Sniggers from the panel. DUTTON can't resist a smirk as HEAD

shuts the door behind him.
EXT. MOTORWAY - DAY
SOLOMON whizzes down the motorway on his motorbike. He ducks

and weaves between cars, driving too fast. He zooms ahead.
EXT. WEST END, LONDON - DAY
SOLOMON rides into Soho on his motorbike. He parks and

removes his helmet. He seems nervous.
EXT. WEST END, BUILDING - MORNING
SOLOMON looks up at the imposing building. He checks his

watch, realizes the time and runs in.
INT. BUILDING - CONTINUOUS
SOLOMON hurries across the foyer for the closing lift door.
32.
SOLOMON
Hold up!
The slick-looking ASIAN GUY inside the lift, grins and waves
as the door closes. He is a few years older than SOLOMON.
SOLOMON dives for the lift, hits the ground, slides, shoving
his arm between the doors. The doors pull back.
The ASIAN GUY shrugs and grins as SOLOMON stands and enters
the lift. This is CHAZZ.
SOLOMON ignores CHAZZ, dusting off his clothes. He pauses,

considers saying something as the doors open again and PEOPLE
enter, coming between them.
SOLOMON lets it go.
INT. BUILDING, 13TH FLOOR - LATER
SOLOMON is sitting in a waiting room with some other young

poeple. He looks at his watch.
A RECEPTIONIST goes him, shaking her head.
SOLOMON stands and storms away from her, furious and

embarrassed.
He presses for the lift. He feels like everyone is watching

him and fidgets. He heads for the stairs.
INT. BUILDING, STAIRWELL - CONTINUOUS
SOLOMON shoves open the doors, knocking back CHAZZ on the

other side. The door rebounds hitting SOLOMON in the face.
SOLOMON curses.
CHAZZ steps forward, angry. He looks SOLOMON over and speaks

with a posh accent.
CHAZZ
Apologise, now.
SOLOMON remembers him from the lift and steps to him.
SOLOMON
Fuck off!
CHAZZ jabs SOLOMON hard in the throat, punches him in the

stomach and sends him stumbling down the stairs.
SOLOMON crashes into wall on the next landing, grimacing in

pain. CHAZZ looks down a him from the top of the stairs. He
sees SOLOMON's USB on the ground.
33.
CHAZZ
The great unwashed telling you your
music is good doesn't make you
special. Go back to school, learn
your place.
CHAZZ crushes the USB under his feet. He adjusts his suit and
ties, exits the stairwell. SOLOMON's lip is bleeding. He
moves and grunts in pain.
EXT. WEST END, BUILDING - LATER
SOLOMON exits the building, his jaw is bruised. He notices a

very pretty ASIAN GIRL about his age, staring at him, a look
of concern on her face.
She moves towards him and SOLOMON hurries away.
EXT. LETCHWORTH GARDEN CITY, SOLOMON'S HOME - AFTERNOON
SOLOMON arrives home to find his father's VOLVO JEEP parked

outside. He braces himself and parks his motorbike.
INT. SOLOMON'S HOME - CONTINUOUS
SOLOMON's father JOE is on the telephone. He motions for

SOLOMON to sit while he finishes his conversation.
JOE gives SOLOMON a hard look when he sees his cut lip.
JOE
Where have you been? The school
called.
SOLOMON
I had things to do.
JOE
You've been in a fight. You're old
enough -
SOLOMON
I was not in a fight, I went to
London.
JOE
To see a music company? I thought
we agreed you'd complete a
university education first? What on
earth has come over you?!
SOLOMON
No, we agreed that after my A
levels I could do what I wanted,
but you keep moving the wicket!
34.
JOE
Solomon, I'm trying to guide you,
make sure you go down the right
path, one that will bring you
happiness in future.
SOLOMON
How would you know what makes me
happy!? The only care about
yourself!
JOE
Oh yes! I work eighty hours a week
for myself! I pay for your school
fees, your mother's prescription
charges and the bills of a
house I hardly live in, for
myself! You're like your mother,
ungrateful! Passion and no
sense of direction or loyalty! She
wanted to explore her creativity
and look where she ended up!
She's in a sanitorium! Is that
what you want?! To end up like
her!?
SOLOMON
Don't talk about her like that!
You made her the way she is!
JOE
It's my fault is it? I cheated on
my partner?! I selfishly threw away
nine years of marriage?! Are you
listening to yourself?!
SOLOMON
I hate you!
SOLOMON storms off.
JOE
Of course you do! You're an
ingrate!
SOLOMON slams the door of his room.
INT. SOLOMON'S HOME - NIGHT
SOLOMON is on his bed, staring at the ceiling. He hears noise

outside. He gets up and goes to the window.
A CAB DRIVER puts JOE's bags in his boot. JOE looks up to

SOLOMON's window, an apologetic look crossing his face.
SOLOMON backs away from the window.

35.
COUNT BASIE (O.S.)

Many adults choose not to have
children you know. Those who do
deserve a certain leeway. These
days, you need to give your folks a
break. It is not easy bringing up a
child.
COUNT BASIE emerges from the shadows. SOLOMON has tears in

his eyes.

Come here.
SOLOMON goes to him. COUNT BASIE hugs him, SOLOMON cries.

It's alright, my boy. Some days are
tougher than others.
EXT. LETCHWORTH GARDEN CITY, OLD MILL - AFTERNOON
SOLOMON waits by the old mill. BONES emerges from the bushes.
BONES
Let's go.
BONES leads SOLOMON through woodlands.
SOLOMON
Where are we going?
BONES
You'll see.
EXT. LETCHWORTH GARDEN CITY, HOUSE IN THE WOODS - SOON
BONES peers from behind a bushel at the house. SOLOMON is

behind him. BONES heads towards the house.
BONES
Come on.
BONES stops under a window.
BONES (CONT'D)
Keep a look out.
SOLOMON is conflicted. He starts to protest.
BONES (CONT'D)
Nobody's home, it's fine.
BONES expertly pries open the window with his switch-blade.

He climbs into the house.
36.
BONES (CONT'D)
Don't worry about it, the guy who
lives here is an old fool.
INT. HOUSE IN THE WOODS - SOON
BONES grins at the expensive furniture. He moves around the

room, whistling.
He flicks out his switch-blade and buries it in a leather

sofa, ripping it as he walks along. He picks up an ornament,
pockets it.
BONES
Hanging out together, like when we
were kids. Hey Solo?
SOLOMON (O.S.)
Yeah, this is like stealing
magazines from the news
agent. Bones, this is serious.
BONES casually slashes a framed painting on the wall. He

grins, puts away his switch-blade.
BONES
Nah, it's the same principle, only
we're not kids anymore.
SOLOMON
Hurry up.
BONES
Nothing to be afraid of --
BONES opens a door and a DOBERMAN dog charges out! Barely
missing BONES'S hand. BONES stumbles backwards in shock. The
Doberman leaps on him, BONES fumbles for his switchblade but
the dog is too close.
BONES (CONT'D)
Solo! Solo!
BONES holds the dog at bay as it struggles, baring its fangs

and trying to take off BONES's face.
BONES (CONT'D)
SOLO!
SOLOMON rushes in. Hesitates.
BONES (CONT'D)
Get this bitch off me!
SOLOMON is nervous.
37.
BONES (CONT'D)
Solo!
SOLOMON looks around. He goes for a large flash-light. He

stands behind the dog, flash-light raised.
BONES (CONT'D)
Hit her!
SOLOMON hesitates.
BONES (CONT'D)
HIT HER!
SOLOMON whacks the dog on the head. It has no effect.
BONES (CONT'D)
Again!
SOLOMON hits the dog. The dog is still reaching for BONES's
face.
BONES (CONT'D)
AGAIN!
SOLOMON smashes the flash-light on the dogs head. The dog

collapses, bleeding, twitching.
BONES pushes the dog off him. He stands, takes out his switch-
blade. SOLOMON grabs his hand. Their eyes meet.
BONES puts away his switchblade and winks. He KICKS the dog
instead.
BONES (CONT'D)
Bitch.
SOLOMON looks on, dazed.
BONES (CONT'D)
Let's grab what I came here for
and get out of here.
BONES heads up the stairs. SOLOMON is still staring at the

dog, transfixed.
BONES (O.S.) (CONT'D)

Solo!
SOLOMON does not move. BONES pulls him away.
EXT. LETCHWORTH, SUPERMARKET CAR PARK - AFTERNOON
SOLOMON sits alone on a bench, lost in thought. BONES

approaches with a wide grin. He hands SOLOMON a wad of cash.
38.
BONES
For your music lessons with Totes.
SOLOMON stares at the wad of cash.
BONES (CONT'D)
It's enough?
SOLOMON nods. BONES grins.
SOLOMON
I had no choice, did I?
BONES
Enough about the dog. Let me tell
you what's happening. I met up with
the guys from London, I'm their
contact man, Letchworth is my
territory. I'm close Solo, close to
making it big.
SOLOMON listens.
BONES (CONT'D)
Look around, people are settling
for scraps. That's why I admire
you, you have dreams, with your
music. You won't make it big
though, you know why?
SOLOMON
Why?
BONES
You want to tell the truth, the
world is not ready for the truth,
the fuckers want bullshit,
nostalgia.
SOLOMON
I don't think so.
BONES
Doesn't mean it isn't true.
SOLOMON is staring into the distance, BONES follows his gaze

to the young LADY IN THE RED DRESS, strolling across the car
park.
BONES (CONT’D)
What are you looking at?
SOLOMON
Nothing.
SOLOMON glances down at the wad of cash in his hand.

39.
SOLOMON (CONT’D)
Thanks Bones.
BONES
Solo, it's not the same with the
others, you know? They're a bit
daft. I'm making all the moves
by myself. It's tiring. I need
you Bro.
BONES gives SOLOMON an earnest look.
BONES (CONT'D)
I've missed my best friend.
Beat.
SOLOMON
Ok. So long as nobody gets hurt.
BONES grabs SOLOMON in a hug, laughing.
BONES
Me and Solo against the fuckers,
they don't stand a chance.
EXT. HITCHIN, MR TOTES HOME - AFTERNOON
SOLOMON checks the address on a piece of paper in his hand.

His guitar is strapped to his back.
He walks to the door of the modest house. He knocks and

waits. He raises his hand to knock again when TOTES opens the
door.
TOTES
You're early.
SOLOMON
I wasn't sure how long -
TOTES
Hmmm ... Come in.
INT. MR TOTES HOME, LIVING ROOM - CONTINUOUS
SOLOMON moves around TOTES apartment. TOTES is watching him

with interest.
TOTES
Do you approve?
SOLOMON becomes self-conscious.
TOTES (CONT'D)
A drink? Juice?
40.
SOLOMON
Yes, please.
TOTES goes to the kitchen.
TOTES (O.S.)
First I'll see how much you've
moved on from our last session,
then we can work out a lesson
structure that works for us both.
SOLOMON
Ok.
SOLOMON notices several pictures of TOTES and a GUY. Holiday

pictures. Party pictures. Pictures of them kissing. SOLOMON
freezes instinctively.
TOTES (O.S.)
Do you approve?
SOLOMON steps away from the picture.
SOLOMON
It's none of my business.
TOTES picks it up a photograph.
TOTES
I meant, do you think we look good
together?
SOLOMON is dumb-founded. TOTES hands SOLOMON a drink.
TOTES (CONT'D)
Do we have a problem?
SOLOMON glances back at the picture.
TOTES (CONT'D)
You can leave if you want, I
won't think any less of you.
Actually, no I will, but I won't
hold it against you.
SOLOMON
We don't have a problem.
TOTES
Want to play me what you've
been working on?
SOLOMON reaches for his guitar.

41.
INT. MR TOTES HOME - LATER
TOTES is on the sofa, SOLOMON is crossed legged on the carpet

in front of him. SOLOMON is coming to the end of another
improvisation, TOTES is listening with his eyes closed.
SOLOMON finishes, waits for feedback.
TOTES
Skilled yet needs more heart, more
fire. You're staying within your
comfort zone. I want you to take
chances. I want you to take me to
the edge of the cliff, then I want
to watch you jump. I want to be in
awe of your courage, to be
concerned about your safety.
SOLOMON is perplexed.
TOTES (CONT'D)
You have to be fearless with art.
SOLOMON
How?
TOTES
That, I can't teach you.
TOTES stands, picks up SOLOMON's empty glass and goes to the

kitchen.
TOTES (O.S.) (CONT'D)

What did the record company in
London say again?
Beat.
SOLOMON
My music is nothing special.
TOTES (O.S.)
Harsh. Anything else?
SOLOMON
I wasn't urban enough.
TOTES (O.S.)
They're telling you to seek shelter
in the herd.
TOTES returns with a glass of juice, places it on the table

by SOLOMON.
TOTES (CONT'D)
What do you want for your future
Solomon?
42.
SOLOMON
I don't know.
TOTES
I'll be more specific. What do you
want for your music?
SOLOMON
I want the world to hear it.
TOTES
And what do you want the world to
take away from it?
SOLOMON
I'm not sure. It is important?
TOTES
Yes, very, until you know what you
want your music to say to your
audience, they won't hear you.
SOLOMON looks away, saddened.
TOTES (CONT'D)
I asked you a while back what you
loved about your music, remember?
SOLOMON nods.
TOTES (CONT'D)
Remember your response?
SOLOMON
It helps me forget.
TOTES
How do you feel when you play?
SOLOMON's eyes light up. He is lost for words. Totes grins.
TOTES (CONT'D)
Where do you feel the music when
you play?
SOLOMON thinks, touches his stomach.
SOLOMON
Here.
TOTES
Take a break, go for a walk, it
does wonders for the creative mind.
TOTES leads SOLOMON to the door.

43.
TOTES (CONT’D)
You won't believe how going for
a walk can elevate your perspective
Be back in an hour.
EXT. HITCHIN, STREET - EVENING
SOLOMON strolls down the street wearing his headphones. He

notices a Chinese restaurant across the street. His stomach
rumbles.
INT. JADE CHINESE RESTAURANT - CONTINUOUS
The restaurant is packed with a mix of PEOPLE, the buffet has

a queue. SOLOMON enters and manages to find a seat.
The WAITRESS comes to him. She's Asian. He recognizes her.

She's the girl he saw in London, who was concerned about his
bruised lip.
She smiles at SOLOMON and he fidgets, uncomfortable. Her name

is JADE.
JADE
You look like you're going to run
away again.
SOLOMON
I'm not.
JADE
My name is Jade. We go to the same
school, I'm a year behind you.
Beat.
JADE (CONT'D)
I remember you played guitar in
front of the whole school, you're
good.
SOLOMON
Can I get something to eat?
JADE is taken aback by his abrupt tone. She notices her

FATHER, YUN, watching from the kitchen.
JADE
The plates are by the buffet table.
Enjoy your meal.
She leaves him alone. SOLOMON regrets his tone.

44.
INT. JADE CHINESE RESTAURANT - LATER
SOLOMON finishes his meal. He watches as JADE moves from

table to table, smiling and talking to customers, most of
them seem like regulars. JADE avoids looking at him.
Another WAITRESS brings SOLOMON his bill. SOLOMON pays.
WAITRESS
Thank you.
SOLOMON continues to watch JADE. She is beautiful. The

WAITRESS returns with his change and receipt. SOLOMON takes
it and heads for the door.
EXT. JADE CHINESE RESTAURANT - CONTINUOUS
SOLOMON exits the restaurant. He takes a couple of steps and

realises that he left his mobile phone inside. He silently
curses and goes back in.
JADE sees SOLOMON enter and hands his mobile phone to the
WAITRESS to give to him.
The WAITRESS goes to SOLOMON and gives him the mobile phone.
SOLOMON
Thank you. Can you tell Jade
that I'm sorry I snapped at her.
WAITRESS
Tell her yourself.
The WAITRESS walks away. SOLOMON leaves the restaurant. JADE
watches him leave.
INT. MR TOTES HOME - LATER
TOTES opens the door to a troubled SOLOMON.
TOTES
You hungry?
SOLOMON
I've eaten.
SOLOMON touches his chest.
TOTES
Are you alright?
SOLOMON
Heart burn.
45.
TOTES
What did you eat?
SOLOMON
I don't remember, Chinese.
TOTES
Jades?
SOLOMON flinches at the mention of her name.
TOTES (CONT'D)
I'll get you something for your
stomach. Sit down.
CUT TO:
SOLOMON is on the couch, an empty glass and packet of

capsules on the table next to him. He still looks
uncomfortable. TOTES enters the room.
TOTES (CONT'D)
Feeling better?
SOLOMON
A little.
TOTES
You must have eaten too fast. Why
were you in such a hurry?
SOLOMON
(defensive)
I wasn't in a hurry.
TOTES gives SOLOMON a strange look.

TOTES
Well, it's getting late.
SOLOMON nods, sitting up.
CUT TO:
TOTES leads SOLOMON to the door.
TOTES (CONT'D)
Practise the lessons we went
through today.
SOLOMON pauses at the door.
TOTES (CONT'D)
Sure you'll be fine?
SOLOMON shakes his head, yes. TOTES pats SOLOMON on the back.
46.
TOTES (CONT'D)
Good night then Solomon.
He holds SOLOMON's gaze for a second too long.
SOLOMON
Good night Sir.
INT. HEAD'S CAR - NIGHT
HEAD sits alone in his Ford Escort, down the street from THE
ZEE CLUB. The club looks closed.
He watches as a new model Jaguar pulls up. JEREMY and his MEN
climb out, look around, then enter the club.
HEAD checks his watch, 11.30 p.m. He raps his fingers on the
steering wheel.
A knock on the side-window, startles him and he reaches for

his gun. He realises it's SAUNDERS.
SAUNDERS
What are doing here!? Is that a
gun?! Where did you get the gun?!
HEAD
Confiscated it.
SAUNDERS
From whom?! And you didn't turn it
in?!
HEAD does not respond.

SAUNDERS (CONT’D)
Should I be worried about you?
HEAD
I followed some kids to that club.
SAUNDERS gives HEAD a long look.
SAUNDERS
What's this really about?! Because
it's obviously not about doing your
job. This is exactly what we were
told not to do!
HEAD
I called you to back me up, if it's
too much for you, you can go.
SAUNDERS looks away.

47.
HEAD (CONT'D)
Don't you get it yet? Everyone is
expecting us to mess up. The whole
station is laughing behind our
backs. I'm not some piece of shit
who has spent over thirty years of
his life being passed over! I'll
make something out of this. With or
without you.
SAUNDERS looks to the club, then back to HEAD. He enters the

car and sits in the passenger seat.
SAUNDERS
What's the score?
HEAD
Drugs, I think.
SAUNDERS
What else do you have?
HEAD
One of the boys in there, nicknamed
Bones, is on record for theft,
public disorder, assault, criminal
damage ..., you get the idea. I
think he's the leader.
SAUNDERS
Why?
HEAD
You get a feel for it after a
while.
SAUNDERS
What's the plan then?
HEAD
I don't have one yet, that's why I
called you. You're the bright one.
SAUNDERS shakes his head in disbelief.
SAUNDERS
You don't know for certain that
Drugs are involved, do you?
HEAD does not respond.
SAUNDERS (CONT'D)
You're clutching at straws here.
HEAD looks away.

48.
SAUNDERS (CONT'D)
This is why people are laughing at
you, this! Our mandate is to assist
the youth centres, not sit outside
a club in the middle of the night,
with no backup. Your surveillance
is unauthorized! You're not a
detective!
HEAD
Do you have a plan, or what?
EXT. HITCHIN, HEAD'S CAR - CONTINUOUS
HEAD and SAUNDERS climb out of the car. They cross the street
in the direction of the club.
EXT. THE ZEE CLUB - CONTINUOUS
A couple of BOUNCERS step out of the club and light

cigarettes. They turn to see HEAD and SAUNDERS approaching.
BOUNCER 1
Good evening Constables, you need
directions?
The BOUNCERS snigger.
SAUNDERS
We're looking for a missing white
boy, aged eighteen. Seen any new
young faces around here?
BOUNCER 1
A lot of kids come through here,
can't say any one in particular
stands out.
BOUNCER 2
Can't say any one has.
SAUNDERS
He goes by the nickname Bones.
The BOUNCERS shake their heads.
BOUNCER 1
Is that short for something
Constable? Like chicken bone?
BOUNCER 2
Dog bone?
HEAD looks from one BOUNCER to the other, they seem unruffled
by his presence.
49.
SAUNDERS
He's been seen around here. We'll
be driving about for while, when
next we come by, be sure to let us
know if you've seen him.
BOUNCER 1
We will.
HEAD and SAUNDERS walk back to their car.
HEAD
What did that accomplish?
SAUNDERS
If he's in there as you say, we've
made things uncomfortable for him.
Beat.
SAUNDERS (CONT'D)
Promise me you'll get rid of the
gun.
INT. THE ZEE CLUB, INNER ROOM - NIGHT
JEREMY hands over a wrapped packet to BONES. A couple of MEN

lean against the wall, watching BONES with suspicion.
JEREMY
You've been impressive. Then
again, my product sells itself.
Nonetheless, a good start.
BOUNCER 1 enters. JEREMY pauses as BOUNCER 1 whispers in his

ear. JEREMY looks at BONES, nodding as BOUNCER 1 whispers to
him. JEREMY gives BONES a hard look.
JEREMY (CONT'D)
I spoke too soon. Two Constables
were outside the club, asking about
you.
BONES is surprised.
JEREMY (CONT'D)
I like to work with intelligent
people, stupid people are messy,
they come with baggage. Am I been
vague, or do you understand?
BONES
I understand.
50.
JEREMY
Consider this your rites of
passage, we'll all be watching to
see how you handle this.
BONES nods.
JEREMY (CONT'D)
Tell me you’re a capable young man.
BONES
I'm capable Jeremy.
JEREMY
I hope so.
EXT. LETCHWORTH GARDEN CITY, LOCAL SCHOOL - AFTERNOON
School is finished for the day, STUDENTS move towards the

gates in clusters, chatting.
SOLOMON walks alone. He sees JADE and her friends ahead. He

looks away. Looks back to her. Looks away again.
JADE breaks from her friends. SOLOMON hurries after her.
JADE does not notice him as she runs to a parked sports car
waiting outside the gates. SOLOMON stops, recognizing the
CHAZZ as the driver.
JADE climbs in beside CHAZZ, the guy from the stairwell.
CHAZZ
I've been waiting.
CHAZZ sees SOLOMON watching and winks at him, then drives
off. SOLOMON's heart sinks.
INT. CHAZZ'S CAR - SOON
CHAZZ grins to himself as he floors the pedal. He leans over

to kiss JADE. She turns away.
JADE
Stop it Chazz, get off.
CHAZZ
I'm trying to Jade. I'm trying.
She gives him a look of disgust. CHAZZ leans back, grinning.
CHAZZ (CONT'D)
You know we're destined to be
together, don't you? Everyone but
you sees it.
51.
JADE looks away. CHAZZ places his hand on her thigh. She
brushes it away. He laughs, places it back on her thigh.
CHAZZ (CONT'D)
You're such a baby.
She removes his hand.
CHAZZ (CONT'D)
Don't worry, I'll cure of that when
we're married. I have big plans for
us Jade. Enjoy your last days of
refusing me.
JADE stares out of the side window.
EXT. HITCHIN, JADE CHINESE RESTAURANT - DAY
CHAZZ parks outside. JADE hurries out, enters the restaurant.

CHAZZ has an amused grin on his face.
JADE enters, hurries past the CUSTOMERS towards the kitchen.

Her MOTHER, GLORIA, early fifties, a small and capable woman
looks up with a smile as JADE approaches the kitchen.
GLORIA is putting away newly delivered supplies. She is

strong for her small size.
INT. KITCHEN - CONTINUOUS
JADE enters, goes to help her.

JADE
Hi Mother.
GLORIA
How was your --?
A strong MALE VOICE interrupts from behind a stack of

shelves, YUN, JADE's father.
YUN (O.S.)
Where's Chazz?
JADE
He's outside Father.
YUN (O.S.)
He gave you a lift here did he not?
JADE
Yes Father, he did.
52.
YUN steps out from behind the shelves. Late fifties, slim
frame, tired eyes, severe graying at the temples.
YUN
It’s rude to leave him outside
alone to park the car. It's not how
we raised you.
CHAZZ (O.S.)
Sir, I told her to go in ahead of
me, Jade was not being rude.
CHAZZ enters, a smug look on his face. YUN grins widely on

seeing CHAZZ.
YUN
Chazz, we should leave the women to
do what they do, I want to pick
your brains.
JADE watches them leave together, almost in tears.
GLORIA
You could do a lot worse. It gives
your father peace that you will be
looked after when we are gone.
Chazz is not perfect, you will
discover that no man is. Everything
will turn out for the best. Help me
put these away.
JADE nods, lifting a small bag of potatoes.
EXT. JADE CHINESE RESTAURANT - DAY

YUN leads CHAZZ outside. They sit at one of the tables in
front of the restaurant.
YUN
I moved here from London many years
ago. People told me there were not
many chinese people living in
Hitchin and my business would fail.
I didn't go to a fancy school like
you, but I was a hard worker and I
had a little foresight.
A WAITRESS brings them drinks. YUN has a worried expression

on his face.
YUN (CONT'D)
I've made one mistake in my life. I
had Jade later than I should have,
and now as I get older, I worry who
is going to look after her when I'm
my time passes.
53.
Beat.
YUN (CONT’D)
She has these immature ideas about
who she is and what she wants. She
is my only child, a free-spirit,
her mother's fault. Free-
spiritedness is good for a
child but impractical for a woman.
I want to make that she never
suffers, like I and her mother did,
which brings me to you.
CHAZZ nods.
YUN (CONT'D)
I am not ashamed to admit my
short-comings, or ask for advise.
You are studying Business at
Oxford University, I need your help
to expand my business. I’ve been
reluctant but I feel it's right
time. What do you think?
CHAZZ
I applaud your entrepreneurship
Sir, in the years to come I can
only hope that I am able to display
the same level of business acumen.
YUN grins.
YUN
How do we proceed?
CHAZZ
I'll draw up a business plan, one
we can take to the bank to secure
financing for the expansion. We
will also need a marketing plan.
YUN
And you can do this too?
CHAZZ
Yes, we can span it over an initial
five years to analyze projections.
YUN nods.
YUN
I am having a memorial for my
mother in a week, for close members
of the family only. You’re invited.
CHAZZ
I am honoured Sir.
54.
INT. LOCAL SCHOOL, HALLWAY - MORNING
JADE sees SOLOMON coming out of the Music room. She moves
through the crowded hallway to him.
JADE
Hi.
SOLOMON turns, sees her. Keeps quiet.
JADE (CONT'D)
Are you ok?
SOLOMON
Why shouldn't I be ok?
JADE
I was just asking --?
SOLOMON
Now you know.
SOLOMON meets her gaze blankly. JADE holds his gaze, sadness
behind her eyes. She turns and walks away.
SOLOMON's shoulders slump. He bangs his head with his palm in

disbelief at his behavior.
EXT. LETCHWORTH GARDEN CITY, LOCAL SCHOOL - AFTERNOON
STUDENTS moving en masse towards the school gates. SOLOMON

sees JADE ahead, walking alone. He catches up to her.
SOLOMON
Jade?
She turns.
SOLOMON (CONT'D)
I'm sorry, about earlier.
JADE
Why?
SOLOMON
Why what?
JADE
Why do you do it?
SOLOMON is dumbfounded. JADE turns away, moving on.
SOLOMON
I was angry.
JADE
Why?
55.
SOLOMON
I don't know. I’m sorry.
He looks sincere.
JADE
Fine, apology accepted.
She moves away.
SOLOMON
Can I walk with you? Or is your
boyfriend picking you up?
JADE
My boyfriend?
SOLOMON
The guy with the sports car.
JADE
I don't have a boyfriend.
SOLOMON
Who is he then?
JADE
Someone I don't even like.
SOLOMON does not believe her.
JADE (CONT'D)
I don't lie.
SOLOMON is still not convinced.

JADE (CONT'D)
My parents like him, I don't.
SOLOMON
You don't like him?
She holds his gaze. Shakes her head, no. SOLOMON is relieved.
SOLOMON (CONT'D)
I have a motorbike, would you like
to ride with me, sometime?
JADE
How about now?
SOLOMON grins.
INT. SOLOMON'S HOME, LIVING ROOM - DAY
JADE walks around the spacious room. She is excited and

nervous.
56.
She goes to the table with framed family pictures. They are
mostly of SOLOMON growing up. She smiles at the pictures of a
baby SOLOMON.
INT. SOLOMON'S BEDROOM - SAME
SOLOMON rushes into the room, drops his bag on the bed and
heads for the bathroom.
INT. SOLOMON’S BATHROOM - CONTINUOUS
SOLOMON opens the cabinet. He pauses at his array of pills.

He grabs the mouthwash and gurgles.
COUNT BASIE (O.S.)

You're not taking your medicine.
You know what happens to you when
you don't.
COUNT BASIE is by the door.

We don't want a repeat of the last
time, do we?
SOLOMON ignores him, brushing past.
EXT. LETCHWORTH GARDEN CITY, TOWN CENTRE - AFTERNOON
SOLOMON revs the motorbike engine speeding down the street,

JADE behind him, holding on, the wind on her face. They take
a corner at high speed.
JADE
Are we going fast enough?
SOLOMON does not respond. He is focused on the road.
JADE (CONT'D)
Solomon?
The motorbike charges up the hill. They approach a bend.

SOLOMON ignores the road sign to slow down. JADE holds her
breath.
SOLOMON takes the bend and sees an oncoming car overtaking on

his lane! JADE screams.
SOLOMON and the CAR DRIVER react. Twisting away, barely

missing each other.
The car screeches to a halt, SOLOMON speeds on.

57.
EXT. LETCHWORTH GARDEN CITY, HILL - SOON
SOLOMON stops the motorbike. There are woods nearby.
SOLOMON
I want to show you something.
He walks ahead. JADE removes her helmet. She is still dazed,

shaken. She sees that he is oblivious and becomes upset.
She marches up to him, but pauses as the magnificent view of

the town hits her. She gasps.
SOLOMON has a big grin on his face.
SOLOMON (CONT'D)
I knew you would like it.
JADE
How often do you come here?
SOLOMON
My first time, I've looked up here
for ages, somehow it seemed too
high.
JADE
Why now?
SOLOMON
You're always asking why? Do you
always have to know why?
SOLOMON removes his cricket ball from his jacket, starts

tossing and catching it.
SOLOMON (CONT’D)
I brought you here because I
thought you'd like it.
JADE
I like it.
EXT. LETCHWORTH GARDEN CITY, HILL - LATER
SOLOMON and JADE sit quietly, overlooking the town.
JADE
Are we going to talk about what
happened on the way up here?
SOLOMON
What?
JADE searches his face. He gives her a blank look. He

continues to toss the cricket ball. JADE notices the
autograph on it.
58.
JADE
Do you always carry the cricket
ball with you?
SOLOMON
What if I said yes? You'll ask why?
Can't we sit quietly and enjoy
the view?
JADE
Well, not really, I want to know
more about you.
SOLOMON
Like what?
JADE
Have you always lived here?
SOLOMON
Yes.
JADE
Whose autograph is that?
SOLOMON glances down at the ball, does not respond.
JADE (CONT’D)
Do you have any siblings?
SOLOMON
No.
JADE
Do you get on with your parents?
SOLOMON
My father travels a lot and when
he is around he talks a lot. My
mother does not talk at all, she's
not well.
JADE
I'm sorry.
SOLOMON
It's not your fault.
JADE
I didn't say it was my fault.
SOLOMON
That’s what I said.
Beat.
JADE
When did you start playing guitar?
59.
SOLOMON
I don't know, since I was twelve.
JADE
Are you uncomfortable talking about
yourself?
SOLOMON
No. Yes.
JADE
Anything you want to ask me?
SOLOMON
No.
JADE
Don't you want to know more
about me?
SOLOMON
I do, but -
JADE nods, turning back to the view. SOLOMON glances at her.

She is quiet. He is remorseful.
SOLOMON (CONT'D)
Do you have any brothers?
JADE
I'm an only child.
She turns back to the view. SOLOMON searches for another

question.
SOLOMON
Have you always lived here?
JADE
No, my parents moved here from
London when I was small girl.
She turns back to the view. SOLOMON studies her profile, the
wind blowing her hair.
They look out over the town together.
SOLOMON
Letchworth looks small from here,
like I can fit it in the palm of my
hand. It's -
JADE
Comforting.
SOLOMON nods.
60.
SOLOMON
The ball reminds me of my mother.
JADE
Where is she?
SOLOMON
At the sanitarium. She suffered a
mental breakdown.
JADE
How old were you when it happened?
SOLOMON
Eight.
JADE's heart goes out to him.
JADE
It must have been difficult.
SOLOMON
Not really, I had a friend.
JADE
The friend who signed your ball?
SOLOMON
A different friend. He always knew
what to say to make me feel better.
He taught me how to play guitar --
SOLOMON catches himself. He gets up.
SOLOMON (CONT'D)
We should go back. It's getting
late.
JADE
Can't we stay a little longer?
SOLOMON pauses.
JADE (CONT'D)
How about a walk in the woods?
SOLOMON
It's getting late.
JADE
A quick walk.
SOLOMON
It's not a good idea. We should be
going.
JADE nods, standing. SOLOMON takes one last look at the view.
61.
SOLOMON (CONT'D)
Doesn't seem so high after all.
The beam of the motorbike approaches. It stops down the

street from JADE's home. SOLOMON switches off the beam as
JADE dismounts.
JADE
See you in school?
SOLOMON
Ok.
They are both smiling. She sees the sadness behind his eyes.
JADE
It can be lonely being an only
child. I'm glad you had a friend.
SOLOMON
You didn't?
JADE shakes her head, no.
JADE
I had an imaginary friend though.
SOLOMON laughs, surprised.
JADE (CONT'D)
I had no choice, my parents worked
long hours. I was by myself most
of the time.
SOLOMON
What happened to your imaginary
friend?
JADE
Nothing, she's standing behind you.
SOLOMON looks. JADE laughs.
JADE (CONT'D)
Silly, I gave her up. My parents
were getting worried.
SOLOMON
They made you give her up?
JADE
They know what's best.
JADE glances nervously at her home.

62.
JADE (CONT'D)
I should go.
She kisses him quickly on the cheek. Giggles. Then hurries

away, waving.
SOLOMON has mixed emotions as he watches her leave.
INT. JADE'S HOME - EVENING
JADE quietly enters the house. She moves past the living
area, heading towards the stairs -
YUN (O.S.)
Where have you been?
INT. LIVING ROOM - CONTINUOUS
YUN is in his armchair. GLORIA is in the adjoining kitchen,

cooking dinner. YUN is furious.
JADE
I was with Chazz.
YUN
Chazz has been calling for you!
JADE is contrite.
YUN (CONT'D)
Where have you been?!
GLORIA enters the living room.

GLORIA
Jade, we were worried about you.
YUN
You have not answered my question,
Where were you? And don't
lie to me!
JADE
I was with a friend from school.
YUN
A boy?! Doing what!? Is he Chinese?
JADE
No.
GLORIA
Is he the boy that came to the
restaurant the other day?
JADE nods.
63.
YUN
You won't see this boy again,
understand?
JADE nods.
INT. SOLOMON'S HOME - EVENING
SOLOMON rushes into the house, excited. He finds COUNT BASIE

asleep on the sofa, murmuring as he dreams.
CUT TO:
COUNT BASIE’S DREAM
A SPOTLIGHT hits a polished wood floor, dimness all around.

COUNT BASIE walks to the spotlight with confidence, APPLAUSE
in the background.
He steps into the spotlight and it moves!
Concerned, COUNT BASIE moves towards it. It moves again,

growing dimmer.
Worried, he hurries after the spotlight which keeps moving,

evading him, growing dimmer.
COUNT BASIE panics as the spotlight disappears and he is

plunged into darkness.
CUT TO:
COUNT BASIE wakes with a start. He sees SOLOMON.

SOLOMON
Are you ok?
COUNT BASIE
This isn’t working for me.
SOLOMON
What?
COUNT BASIE
This ... this friendship. We're
drifting apart.
SOLOMON
Drifting apart?
COUNT BASIE
I want something more and so do
you.
SOLOMON
You're leaving me?
64.
COUNT BASIE
You don't need me Solomon. There
was a time when you did, but you're
growing up, opening up to new
experiences --
SOLOMON
Why are you doing this?
COUNT BASIE
I'm not abandoning you.
SOLOMON
Everyone does in the end!
COUNT BASIE is perplexed.
COUNT BASIE
Why are you holding on?
SOLOMON
Because you said that’s what people
who care about each other do!
COUNT BASIE
They also know when to move on.
SOLOMON's eyes well up with tears.

This is more for you -
SOLOMON storms away.
SOLOMON
Do what you like, I don't care!
INT. SOLOMON'S HOME - DAY
SOLOMON opens the front door to BONES. He squints at the sun.

BONES grins at him.
BONES
No school today?
SOLOMON lets him in.
BONES (CONT'D)
Something wrong with your phone?
BONES looks around, it's been a while since he's been inside
the house.
65.
INT. SOLOMON'S LIVING ROOM - CONTINUOUS
SOLOMON curls up on the sofa with his guitar. BONES enters,

sees the grand piano.
BONES sits at the piano and strokes the fine wood. He enjoys
the feel of the keys.
SOLOMON plucks the strings of his guitar, playing an easy

tune.
BONES listens and his fingers find the keys of the piano. He
plays. SOLOMON joins in the rhythm. They jam together. BONES
improvises, the music coming from him in waves of emotion.
SOLOMON stops playing, nodding, enjoying BONES’s rhythm.

SOLOMON gets back into the groove. His fingers moving with
speed across the guitar strings.
BONES nods to SOLOMON. His fingers move quickly over the

keys, hitting the right notes with ease. He smiles, enjoying
the music. He closes his eyes.
SOLOMON ups the tempo. BONES follows, matching him. SOLOMON

begins to smile.
BONES stops playing.
BONES (CONT'D)
Sod it!
BONES pushes away from the piano.
BONES (CONT'D)
It's bullshit.
SOLOMON puts away his guitar.
SOLOMON
What happened at the music school
in London?
BONES
They wanted to teach me stuff I
didn't want to know. Who cares how
Mozart arranged his arias? I want
to play my own music. I needed
to learn the craft, not copy some
dead guy's style. I have my own
style. They weren't ready for me.
SOLOMON
Is that why you left?
BONES
This particular teacher was
consistently pissing me off, so I
(MORE)
66.
BONES (CONT'D)
slammed the piano lid on his
fingers. You know? Like in
the old Tom and Jerry cartoons?
BONES is grinning.
BONES (CONT'D)
He'll never bully another boy
again. I said it was a mistake,
but they didn't believe me. They
said I wasn't committed to being a
musician and sent me home, result.
SOLOMON is quiet.
BONES (CONT'D)
You coming or what?
SOLOMON
Where?
BONES
Get dressed, you'll see.
COUNT BASIE (O.S.)

Solomon, what's going on? Where
are you going?
COUNT BASIE has been in the corner, listening. SOLOMON

ignores COUNT BASIE. BONES is oblivious to him.
SOLOMON gets up, nods to BONES.
SOLOMON
Give me a minute.
COUNT BASIE
I have a bad feeling about this
Solomon, don't go.
SOLOMON leaves with BONES.
EXT. LETCHWORTH GARDEN CITY, STREET - DAY
BONES and SOLOMON join COLIN who is across the street from
Constable HEAD's home, scouting the place.
COLIN has a bandage over his nose where BONES whacked him
with the cricket ball. His mouth is swollen. He talks with a
lisp.
COLIN
It's empty.
BONES
Let's go.
67.
The boys cross the street, open the gate and walk through the
front garden to the front door.
EXT. CONSTABLE HEAD'S HOME - CONTINUOUS
BONES checks the metal bars on the front windows.
BONES
He takes his security seriously.
SOLOMON
Whose house is this?
BONES
Does it matter? Nobody is going to
get hurt.
BONES squats and picks the front door lock. SOLOMON nods a
greeting at COLIN. COLIN gives him a cold look.
INT. CONSTABLE HEAD'S HOME - SOON
BONES enters, grinning to himself. SOLOMON and COLIN follow

closely.
BONES
Colin, stay by the window, keep a
look out.
COLIN nods, stands by the window. BONES turns to SOLOMON.
BONES (CONT'D)
Come on Solo.
BONES sees a framed picture of Constable HEAD in full
uniform. He glances quickly at SOLOMON and places the picture
face down.
SOLOMON
What are we doing here?
BONES
Teaching someone a lesson.
SOLOMON
How?
BONES waves a lighter in the air.
BONES
We're going to burn it down.
SOLOMON
I'm leaving.
SOLOMON heads for the door. BONES rushes after him.

68.
BONES
Solo, it's a joke. We're going to
mess up the place, that's all, send
him a message.
SOLOMON
Who is he?
CUT TO:
COLIN sees Constable HEAD drive up and park outside the front
gate. BONES and SOLOMON are talking, unaware.
COLIN looks around, sees the kitchen and moves towards it.
BONES
Where do you think you're going?
COLIN
I need a drink. I'm thirsty.
BONES
You're supposed to be keeping a
look out!
COLIN
I'll be right back.
INT. CONSTABLE HEAD’S KITCHEN - CONTINUOUS
COLIN walks to the back door, opens it quietly and slips out.
He locks the door behind him, breaking the key in the lock.
INT. CONSTABLE HEAD’S LIVING ROOM - CONTINUOUS

BONES hears the front gate open. He rushes to the window and
sees HEAD approaching the front door.
BONES
Let's get out of here.
BONES hurries to the kitchen, SOLOMON behind him.
BONES (CONT'D)
Where's Colin?
INT. CONSTABLE HEAD’S V ,.CKITCHEN - CONTINUOUS
The kitchen is empty. BONES hurries to the back door. It is

locked.
COLIN (O.S.)
You're done!
69.
BONES
Colin! Open this door!
COLIN (O.S.)
You think you can mess up my
face and get away with it!
BONES
Colin!
SOLOMON grabs BONES.
SOLOMON
He's not going to open the door, we
have to find another way out.
BONES is livid.
SOLOMON (CONT'D)
Come.
INT. CONSTABLE HEAD’S LIVING ROOM - CONTINUOUS
SOLOMON looks around, no other doors. BONES flicks out his

switch-blade.
BONES
I'll take care of him.
SOLOMON
No Bones!
BONES
There's no other way.
SOLOMON
You promised no one would get hurt.
BONES
We don't have a choice!
BONES moves towards the door.
SOLOMON
I have an idea. Give me your
lighter. Hide behind the door.
BONES hands SOLOMON the lighter. SOLOMON runs to the

curtains. He sets a curtain on fire.
He hurries to join BONES behind the door. They hear a key

enter the lock. HEAD opens the door and sees the blaze.
HEAD
Jules! Fire!
HEAD yanks the curtain down, stomping on it.

70.
Behind him, BONES and SOLOMON quietly make their way out of
the door.
EXT. LETCHWORTH GARDEN CITY, STREET - CONTINUOUS
They exit the front garden and see JULES, carrying a three
year old girl. They freeze.
JULES screams. HEAD sees them.
HEAD (CONT'D)
Stop! Police!
BONES pushes JULES aside. She falls backward, grasping at

BONES's jacket for support. She misses and falls backwards
with the baby.
JULES protects the baby but hits her head against the sharp
edge of a rock. She blacks out.
BONES and SOLOMON dash for the gates. SOLOMON pauses, looking
back at JULES. A pool of blood is forming around head.
BONES
Run!
HEAD rushes out to JULES. He talks hurriedly into his Walkie-

Talkie as he picks up his crying daughter..
CUT TO:
SOLOMON stops running, looking back, hesitating. BONES is

ahead of him.
BONES (CONT’D)
Come on!
SOLOMON follows BONES.
CUT TO:
HEAD kneels beside JULES. He is distraught. He notices a

wrapped packet on the ground.
EXT. LETCHWORTH GARDEN CITY, ALLEY - DAY
BONES rushes into the alley. He leans against the wall, out
of breath. SOLOMON enters after him, breathing hard.
BONES moves to touch him. SOLOMON brushes away his hand.
SOLOMON
Police!? Police!? Why?!
BONES
I knew it would make you nervous.
71.
SOLOMON retches.
BONES (CONT'D)
I had to do it to get in with the
guys from London.
SOLOMON
You were going to burn his house
down!
BONES
Come on, I wasn't.
SOLOMON
Bullshit!
BONES
Solo -
SOLOMON
That woman, the blood.
BONES
It was her fault! She got in the
way. Solo?
SOLOMON
You don't care about anybody but
yourself, do you?
SOLOMON backs away.
BONES
Bro, calm down.
SOLOMON
Stay away from me.
BONES
Solo -
SOLOMON
Stay the away from me!
BONES
You crossing me Solo?
SOLOMON leaves the alley.
BONES’S face is ugly with anger from the rejection as SOLOMON

turns the corner.
INT. MR TOTES HOME - DAY
SOLOMON plays the guitar. He plays well. Totes notices that

SOLOMON is distracted.
72.
TOTES
Some place you’d rather be?
SOLOMON
I'm sorry.
Totes is sympathetic. He pats SOLOMON's thigh.
TOTES
Put the instrument down. What's
going on?
SOLOMON
Nothing.
TOTES
The reason I push you hard is
because ... well, you're gifted.
With the right guidance you
could be something extra-ordinary.
There's another young person I know
with a similar level of talent.
SOLOMON nods, knowing who Totes is referring to.
TOTES (CONT'D)
You two used to be inseparable.
Are you still in contact with him?
SOLOMON
I see him around.
TOTES
He had something too. I had great
hopes for him, but he was lazy,
believed the world owed him a
favour.
Totes looks around his small living room, a wave of sadness

registering on his face.
TOTES (CONT'D)
Choose your beliefs wisely Solomon,
for when you're old and grey and
full of sleep, they’ll be the
pillars of your life.
EXT. LETCHWORTH GARDEN CITY, STREET - EVENING
SOLOMON barrels down the road on his motorbike. JADE is

behind him, holding on to him.
SOLOMON is tense, his face pensive. JADE is enjoying the wind

on her face. Her eyes rest on the back of SOLOMON's head. A
grin escapes her lips.
73.
She rests her head on his back, closing her eyes. SOLOMON
feels her weight on him and visibly relaxes.
SOLOMON
You ok?
JADE
Never better.
EXT. LETCHWORTH GARDEN CITY, HILL - EVENING
SOLOMON and JADE sit, watching the horizon. SOLOMON is quiet.

JADE is concerned.
JADE
What's wrong?
SOLOMON
I have to tell you something.
JADE waits.
SOLOMON (CONT'D)
When I was seven I walked in on my
mother having an affair. My dad
divorced her and she had a
mental breakdown.
JADE reaches out to him. SOLOMON pulls away.
SOLOMON (CONT'D)
I was twelve when I was diagnosed
with ulcer. At fourteen they say I
had a minor breakdown. I remember
feeling drowsy for months. My
father blamed my mother. He hasn't
gone to visit her since.
JADE
It wasn't your fault.
Beat.
JADE (CONT’D)
Are you all better?
SOLOMON
Yes, and no. I have to take some
pills until I'm twenty, then the
doctors with re-assess my
condition.
JADE
You're taking the pills?
SOLOMON
Of course.
74.
JADE
What happens if you don't?
SOLOMON
I become drowsy again.
Beat.
JADE
Why did you tell me?
SOLOMON
I don't know, I want to.
EXT. LETCHWORTH GARDEN CITY, WOODS - LATER
SOLOMON and JADE walk through the woods. He takes her hand.
She grins. He removes his cricket ball from his jacket and
plays with it as they walk.
JADE
Why do you always carry the ball?
SOLOMON
I don't know, it reminds me of my
mother.
SOLOMON becomes uncomfortable. JADE notices.
JADE
I have never been able to
understand cricket.
SOLOMON grins.
JADE (CONT'D)
What's it about really? I see is
men running around in white
uniforms.
SOLOMON laughs.
SOLOMON
Cricket is a perfect game, if you
understand it.
He shows her the cricket-ball.
SOLOMON (CONT'D)
You see this seam? It's the key to
a perfect in-swinger.
JADE
What's a perfect in-swinger?
75.
SOLOMON
The most liberating feeling in the
world.
JADE is amused at SOLOMON's passion.
JADE
I wish I had something I was that
passionate about or a talent like
yours.
SOLOMON
If you could have any talent in the
world, what would it be?
JADE grins, enjoying the game.
JADE
I would sing professionally.
SOLOMON
Why don't you?
JADE
I can't.
SOLOMON
Your parents?
JADE
They've worked hard to give me a
good future.
SOLOMON
What about what you want?
JADE
I believe I have a duty to them.
SOLOMON
Be careful of your beliefs because
when you're old and grey and full
of shit .. ?
JADE
Shit?
SOLOMON grins. JADE laughs.
SOLOMON
Sleep. I meant full of sleep.
JADE is still laughing.
SOLOMON (CONT'D)
Do you really think I have talent?
76.
JADE
Noodles of it.
SOLOMON
Noodles?
JADE
If you can say shit, I can say
noodles.
SOLOMON
Noodles of talent?
JADE faces him, placing her hands on his hips.
JADE
Noodles of it.
SOLOMON kisses her. They share a smile. She looks around,

becoming embarrassed.
JADE (CONT'D)
It's getting late.
SOLOMON parks his motorbike on the quiet street. JADE

dismounts. They can't stop grinning at each other.
Down the street, behind them, BONES and his gang drive past.
BONES has a blood-shot black eye and a bruised face. He has

been badly beaten. He sees SOLOMON and JADE.
BONES
Stop!
The DRIVER stops the car. BONES climbs out.
BONES (CONT'D)
Go!
The car moves off.
BONES watches SOLOMON and JADE with interest, a cruel smirk

forms on his lips.
He watches as SOLOMON kisses JADE, then rides to the junction

and take a left.
JADE takes a right at the junction. BONES follows her.
CUT TO:
BONES follows JADE down the side street like a detective. He

hides when he suspects she is about look back.
77.
BONE leers at her body, adjusting his groin and licking his
lips, a wicked glint in his eye.
JADE is uncomfortable, sensing someone behind. She looks and

BONES stoops behind a car. JADE does not see him.
BONES checks to see that she has continued walking and

follows her.
CUT TO:
JADE is walking faster. She looks behind quickly and manages

to catch a glimpse of BONES ducking behind a wall.
The Jade Chinese Restaurant is halfway down the street. JADE

makes a run for it.
BONES watches her run, enjoying her discomfort. JADE reaches

the restaurant, hurries inside.
GLORIA looks up from clearing a table as JADE bolts into the

restaurant. The restaurant is mostly empty.
She gives JADE a questioning look. JADE smiles, trying to

look casual as she heads for the kitchen.
INT. JADE CHINESE RESTAURANT, KITCHEN - CONTINUOUS
YUN is in a corner behind a desk, looking through the

ledgers. He barely glances up as JADE enters.
JADE
Hi Father.
YUN
You're late. Where have you been?
JADE
I was at home, doing school work.
YUN
I called home.
JADE
I had my headphones on.
YUN
Go help your mother clean up.
78.
JADE sees BONES at the door. He looks like he wants trouble.

GLORIA is worried as BONES walks around the room confidently.
The few CUSTOMERS present avoid his glare.
GLORIA goes to him.
GLORIA
Can I help you?
BONES looks her over with disdain.
BONES
Buffet.
GLORIA
The buffet is closed.
BONES
I see food over there.
GLORIA
The buffet is closed.
BONES
I'm hungry.
GLORIA
You can order from the main menu.
BONES
I want the buffet.
JADE goes in to get her father.

GLORIA
The buffet is closed, restaurant
policy.
BONES
Do I look like I give a rats arse
about your policy?
YUN rushes out of the kitchen. BONES gives him a lazy look as
he approaches.
YUN
I'm the manager, is there a
problem?
BONES looks from GLORIA to YUN.
BONES
I wan flied lice.
YUN is insulted.
79.
YUN
Please leave.
BONES
No flied lice?
YUN
I’ll call police.
BONES grins, looking around the restaurant.
BONES
I will be back.
YUN
Your kind is not welcome here.
BONES
My kind?
YUN
Hooligans.
BONES
Me?
Beat.
BONES (CONT'D)
We'll see.
He slowly turns and leaves.
INT. HOSPITAL ROOM - EVENING

A HEART MONITOR beeps slowly. HEAD is by JULES's bedside. She
is unconscious, her head wrapped in bandage. A drip is
connected to her arm, feeding her fluids.
HEAD is distraught, he is crying as he talks to her.
HEAD
The baby is with your sister,
she'll spoil her, like she always
does. You must rest now, use all
your energy to heal. I'll take care
of our family.
He touches her face, tears in his eyes.
HEAD (CONT'D)
Don't leave me. You have to wake
up, without you, I'll be lost.
HEAD rests his head on her hand and weeps. A NURSE enters and
sees HEAD crying. She gives him an encouraging smile as she
checks the heart monitor, then leaves them alone.
80.
INT. JADE'S HOME, LIVING ROOM - NIGHT
JADE sits, resting her head in her hands. YUN and GLORIA
stand around her, looking down on her with disappointment.
CHAZZ is in the background.
YUN
Are you ready to tell the truth?
JADE does not respond.
GLORIA
You were seen with the black boy
again. Why would you go against
our wishes?
YUN
Hooligans! I see them, hanging
around the streets, in dark
corners! Up to no good! Thieves!
Drug dealers! Murderers! Going
nowhere in life. You're going to
destroy your future!
JADE
Solomon is different! He's not
like that! He is talented, he has
dreams!
YUN is shocked at her outburst. He turns to GLORIA.
YUN
What happened? She was never like
this! He's done something to her!
JADE
He's done nothing to me. I’m happy
when I'm around him, he lets me be
myself. He doesn’t try to control
me and change me.
JADE starts to cry.
YUN
Control you?! We've given you
everything! That boy is putting
nonsense in your head! I'll send
you to my mother in Hong Kong
before I see you with a hooligan!
JADE
You don't understand!
JADE runs out of the room.
YUN
Yes, I'm sending you to Hong Kong,
I should have done so years ago!
81.
YUN is perplexed. He turns to CHAZZ.
YUN (CONT'D)
You know this boy?
CHAZZ
I've heard about him. He deals
drugs.
GLORIA slumps in a chair.
INT. JADE'S ROOM - NIGHT
JADE bursts in and runs for the bed. She weeps into her
pillow.
On the wall are posters of the female jazz greats, Ella

Fitzgerald, Billie Holiday and Helen Humes. There are more
posters of Ella Fitzgerald than the others.
JADE
Ella, they don't understand.
INT. SOLOMON'S BEDROOM - NIGHT
SOLOMON is staring out of the window, pensive. COUNT BASIE

goes to him.
SOLOMON
Something bad is about to happen.
COUNT BASIE
Change always comes with fear.
SOLOMON
I'm losing control.
COUNT BASIE
You are at the cross-roads. You can
go forward, or turn back. What you
can't do is stay still.
SOLOMON
What does that mean?
COUNT BASIE
You have to let me go. I can't
stay with you in this place any
longer. I need to feel the sun on
my face, be in the spotlight, it’s
where I belong. You have to find
someone else to confide in, someone
to trust.
SOLOMON
Who?
82.
COUNT BASIE smiles kindly at him. He takes SOLOMON's hand and

places it on SOLOMON's heart.
COUNT BASIE
You don't have to search too far,
it's in the palm of your hand.
SOLOMON
I don't understand.
COUNT BASIE
You will.
INT. SOLOMON'S BEDROOM - MORNING
SOLOMON wakes up from sleep with a start. He looks around the

room, he is alone. His shoulders slump with disappointment.
INT. SOLOMON'S BATHROOM - SOON
SOLOMON stares at his reflection in the mirror.
SOLOMON
I have to go forward.
He opens the cabinet, stares at his drugs. He grabs open a

container and empties the pills into the toilet. He empties
all the containers into the toilet.
INT. LOCAL SCHOOL, PRINCIPAL'S OFFICE - MORNING
Principal GRAVES sits across the table from Totes. He gives

Totes a searching look.
GRAVES
You know why I wanted to see you?
TOTES
I was hoping you’d tell me.
GRAVES
We are teachers Mr Totes, a
vocation which carries with it a
responsibility of some magnitude.
We are guardians of young minds,
impressionable minds.
Totes sits up.
GRAVES (CONT'D)
Despite our best intensions we
can't always do right by them,
which is why there are rules. Do
you understand?
83.
TOTES
Some.
GRAVES
Solomon Shaker. You've been
tutoring him privately without his
fathers consent. It has also come
to my attention that you are ...
TOTES
I am what?
GRAVES
Homosexual.
TOTES
I don't see how that has a bearing-
GRAVES
The lessons will have to stop.
Solomon's father has expressly
requested that Solomon's interest
in music be discouraged.
TOTES
I'll speak with him.
GRAVES
I wouldn't bother. I am asking you
not to push the issue any further,
otherwise life could be difficult
here.
Totes shakes his head with disbelief.
TOTES
I could report you.
GRAVES
You're a smart man, you know where
that road leads for your career. Is
that where you want to go?
EXT. HITCHIN, MR TOTES HOME - AFTERNOON
SOLOMON arrives to find the front door open.
INT. MR TOTES HOME, LIVING ROOM - CONTINUOUS
SOLOMON enters to find Totes packing. Totes is angry as he

shoves his belongings into black bags. He picks up a picture
of him and his boyfriend. He does not notice SOLOMON.
SOLOMON
What's going on?
84.
TOTES
It's over Solomon.
Totes gently caresses the picture. He tosses it in a bag.
TOTES (CONT'D)
I have to leave.
SOLOMON
Why?
TOTES
Circumstances beyond my control.
SOLOMON
I don't understand.
TOTES
I think you understand a lot more
than you let on.
TOTES grabs another picture, glances at it, tosses it in a

bag. SOLOMON understands.
SOLOMON
We can fight them.
TOTES
Or we can live to fight another
day.
SOLOMON
You're just going to give up?
TOTES
It's less complicated this way.
SOLOMON
What about speaking from your
heart, being who you were meant to
be, expressing yourself!
TOTES
You are meant to have those ideals
at your age. As you get older,
there are other considerations. In
the adult world, self-expression is
a luxury you can't always afford.
And right now, I feel too exposed.
Do you understand? I am vulnerable.
I need a fresh start.
SOLOMON
I understand feeling exposed and
vulnerable, it's how I've felt
My whole life, but unlike you, I
can't pack my bags and leave!
85.
TOTES
Solomon, I
SOLOMON
You're a liar.
TOTES
Solomon ...
SOLOMON
Liar!!
SOLOMON runs out of the house.
INT. JADE'S HOME - AFTERNOON
YUN knocks on the door of JADE's bedroom.
No response. He knocks again.
YUN
Jade? I'm coming in.
YUN opens the door.
INT. JADE'S BEDROOM - CONTINUOUS
JADE is on her bed, her face in her pillow. YUN goes to her,
sits beside her.
YUN
Tonight is my mother's memorial.
JADE does not look up.

YUN (CONT'D)
I know that she is looking down on
me from heaven and blessing me. Do
you know why? Because I did my duty
to her as a son when she was alive.
I have continued to do my duty
though she’s passed on. There is
nothing more sacred than the bond
between a parent and child.
Beat.
YUN (CONT'D)
I want the best for you. Your
mother is worried, we have both
devoted our lives to your
happiness, everything we have
worked for, is for you.
He strokes JADE's hair.

86.
YUN (CONT'D)
Part of the challenge of being
young is that you’re easily
overwhelmed by emotions. I say
this because you have not known
this boy for long, yet you
disrespect your parents for him.
JADE
I don't mean to respect you and
mother.
YUN
We know. I want you to keep away
from the boy for six months, don’t
take his calls, don’t talk to him.
If he is interested afterwards, you
have my blessing to see him.
JADE
Six months?
YUN
Is nothing, when your parents
hearts are at stake. Isn’t it?
JADE nods.
JADE's mobile rings. She looks at it. YUN nods for her to
answer the call. He gets up to leave.
JADE reaches for the phone, it's SOLOMON calling.
JADE
Hello?
EXT. HITCHIN, STREET - SAME
SOLOMON is running, breathless, confused, almost in tears.
SOLOMON
I have to see you.
JADE (O.S.)
I can't.
SOLOMON
Why?
INT. JADE'S BEDROOM - SAME
JADE has tears in her eyes. YUN watches from the door.
JADE
Trust me, it's for the best.
87.
YUN nods.
SOLOMON (O.S.)
I need you.
JADE
I can't see you anymore.
SOLOMON (O.S.)
What did I do?
JADE
It's not you. Just trust me.
SOLOMON (O.S.)
It's your parents isn't it?
JADE
Yes.
SOLOMON (O.S.)
Don't listen to them!
JADE
I have to.
SOLOMON (O.S.)
You don't have to!
JADE
I do.
SOLOMON (O.S.)
Don't.
JADE
Bye Solomon.
JADE switches off her phone. YUN leaves her to cry.
SOLOMON stares at his phone, distraught, his heart breaking.

He shouts in pain.
INT. HOSPITAL ROOM - EVENING
The DOCTOR checks on JULES. HEAD is at her bedside. He looks

like hell, tired, unshaven and exhausted.
DOCTOR
We've got the results of the last
test, the bleeding has stopped.
She’ll recover. We're not expecting
any permanent damage. She’s very
lucky, it was close.
88.
HEAD nods, relief washing over him.
DOCTOR (CONT'D)
You should give yourself a break.
HEAD shakes his head, no.
DOCTOR (CONT’D)
You were there when it happened?
HEAD nods.
DOCTOR (CONT'D)
Kids. It makes no sense why they
behave the way they do.
Anger brims behind HEAD's eyes.
INT. SOLOMON'S HOME - EVENING
SOLOMON rushes into the empty house. He is agitated. He looks

into the living room.
SOLOMON
Where are you?!
INT. SOLOMON'S BEDROOM - CONTINUOUS
SOLOMON scans the room, it's empty.
INT. SOLOMON'S BATHROOM - CONTINUOUS
SOLOMON enters, stops in front of the mirror and his

reflection. He spits at the mirror.
He opens the cabinet. It is empty.
SOLOMON crumbles in the corner and weeps.
BONES (O.S.)
Solo?
SOLOMON looks up. BONES is by the door. He is limping, a cut

over his eye. He has been beaten up some more.
BONES (CONT'D)
I need your help. They're going to
kill me.
EXT. ALLEY - EVENING
Dimly-lit and grimy. COLIN checks that nobody is watching as

he sells a small packet to a teenage COUPLE. His nose is
still bandaged over.
89.
He pockets the cash and walks towards the main road. He steps
out of the alley and is punched in the nose. COLIN doubles
over, blacking out.
INT. VAN - LATER
COLIN wakes up with a hood is over his head, his hands and
feet are tied and his mouth is gagged.
He panics and starts to shake. A hand yanks off the hood.
COLIN blinks as his eyes gets used to the light. HEAD is

squatting in front of him, looking haggard and vicious.
HEAD rips off the tape over COLIN'S mouth.
COLIN
You bastard --!
HEAD sends a hard punch into COLIN's bandaged nose. COLIN's

head snaps back, his eye rolling to the back of his head,
nose bleeding.
HEAD hard-slaps him. COLIN's eyes snap open.
HEAD
I need you awake!
COLIN tries to focus. HEAD slaps him again. The van door
shakes open and SAUNDERS climbs in.
SAUNDERS
What are you doing!?
SAUNDERS grabs HEAD, pulling him back. He kneels by COLIN.

SAUNDERS (CONT'D)
My god! What have you done?!
HEAD grabs SAUNDERS, pushing him towards the van door.
SAUNDERS (CONT'D)
This is wrong! This is revenge!
You're a Police Constable!
EXT. LETCHWORTH GARDEN CITY, WOODS - CONTINUOUS
HEAD shoves SAUNDERS out of the van. SAUNDERS lands hard on

the ground. HEAD shuts the doors.
SAUNDERS pounds on the doors.
SAUNDERS
Head!! Listen to me! Don't cross
this line!
90.
SAUNDERS can hear COLIN screaming inside as HEAD pummels him.
SAUNDERS (CONT’D)
That’s it! You’re on your own!
SAUNDERS runs to his patrol car parked near by. He grabs the
radio mouth-piece.
OPERATOR (O.S.)
Central?
SAUNDERS looks back at the van. Then the mouth-piece. He

considers, conflicted.
OPERATOR (O.S.) (CONT’D)

Hello?
SAUNDERS pushes the talk button. He pauses. He looks back to

the van. He releases the talk-button, his shoulders slumping
in resignation.
OPERATOR (O.S.) (CONT'D)

Hello?!
SAUNDERS replaces the radio mouth-piece. He leans against the

patrol car, looking away from the van.
EXT. PARKING LOT - EVENING
The parking lot is empty. A gang of teenage BOYS hang out

smoking weed. They puff smoke into the night air and tease
each other with fake hooks and jabs. They are excited.
A car approaches. It stops, headlights peeled on the BOYS.

The BOYS shield their eyes with their palms.
BONES switches off the headlights and climbs out of the car.
SOLOMON steps out of the passenger side.
BONES goes to the boot and removes a bag. He places the bag
on the car bonnet, motioning to his GANG to come closer.
BONES opens the bag, inside are knives, switch-blades and a

gun. He grabs the gun, pulls back the safety. SOLOMON looks
from one BOY to the next as they help themselves to knives.
BONES is putting bullets in the gun.
SOLOMON
I'm not going with you.
BONES pauses. He pulls SOLOMON aside, away from the GANG.

91.
BONES
I told what happened, I need the
money! I need to buy back the gear
I lost at the coppers house!
SOLOMON
I can't, you won't even tell me
where were going?
BONES
It was fine for us to rob the
house to pay for your lessons with
Totes, but when I need your help,
you turn your back on me.
SOLOMON is lost for words.
SOLOMON
I promised from here ...
SOLOMON touches his stomach.
SOLOMON (CONT'D)
... Not here.
He touches his heart.
SOLOMON (CONT'D)
I'm sorry Bones.
BONES
You know where you should have
promised from, don't you? Here!
BONES head-butts SOLOMON in the face. SOLOMON staggers. BONES

punches him in the stomach. SOLOMON goes down.
BONES (CONT'D)
You punk!
He kicks SOLOMON in the stomach and face.
BONES (CONT'D)
You're such a disappointment!
He stamps on SOLOMON, tears in his eyes. SOLOMON cowers away

from the beating. BONES spits on him.
BONES (CONT'D)
You were like a brother!
BONES kicks him again.
BONES (CONT'D)
Keep the fuck away from me or I'll
kill you!
92.
BONES walks back to his gang. He enters the car, the GANG
rushing in after him. The car pulls away.
INT. BONES’S CAR - CONTINUOUS
BONES puffs on a stick of weed and turns to the DRIVER.
BONES
Are you high?
DRIVER
You said not to smoke cause I'm
driving.
BONES is angry, he turns to the side window.
DRIVER (CONT’D)
I never liked him, that Solomon.
He's a --
BONES shoves the DRIVER's head.
BONES
Solo has more going for him than
you dead-end fucks, even me.
INT. JADE CHINESE RESTAURANT - NIGHT
Chinese lanterns and white paper funerary wreaths hang from

the ceiling and adorn the walls.
The restaurant is seated to capacity. Well-dressed guests

chat, impressed at the effort put into the occasion.
GLORIA and JADE move from table to table, personally thanking
everyone for coming. YUN looks from across the room. It is an
auspicious setting. He has done his mother proud.
EXT. HITCHIN, JADE CHINESE RESTAURANT - SAME
BONES and his GANG screech to a halt outside. The car engine
is still running as the GANG prepares, putting on masks.
BONES removes a little packet of white powder from his

jacket. He snorts the white powder.
He grimaces at the ceremony inside the restaurant. He sees

JADE inside, she looks beautiful, his eyes harden as he puts
on his mask.
EXT. HITCHIN, JADE'S HOME - NIGHT
SOLOMON parks his motorbike. He is still shaken from the

beating,, his face bruised. CHAZZ's sports car out front.
93.
CHAZZ exits the house carrying more funerary wreaths. He sees

SOLOMON and stops in his tracks.
He gives SOLOMON a once over, sees the bruises on him and

dismisses him. He goes to his car and places the wreath in
the boot.
SOLOMON
Where is she?
CHAZZ pauses, faces SOLOMON.
CHAZZ
She's too good for you.
SOLOMON
Where is she?
CHAZZ
Paying her respects. Respect is
important in our culture. You
wouldn't understand. Our culture
dates back centuries, it gives us a
sense of identity, purpose, grounds
us. You on the other hand are black
trash. No decent values or sense of
propriety.
CHAZZ steps to SOLOMON, his nose inches from SOLOMON's face.
CHAZZ (CONT'D)
Now, off.
SOLOMON grabs CHAZZ by the collar. CHAZZ twists SOLOMON's

elbow, snapping him round and forcing him down. CHAZZ applies
pressure.
SOLOMON
Ahhh!
CHAZZ
This is going to hurt.
He rams his fist into SOLOMON's shoulder, dislocating it!
SOLOMON
AHHHHHH!
CHAZZ laughs, pushing SOLOMON away. SOLOMON falls to the

ground, clutching his shoulder in pain.
CHAZZ kicks SOLOMON in the stomach. PASSERS-BY look away, no-

body offers to help or stop the two boys fighting.
CHAZZ
See? They're not coming to your
aid.
(MORE)
94.
CHAZZ (CONT'D)
They know you're trash, another
punk going nowhere. You see I have
a plan, I have an education.
He kicks SOLOMON really hard.
CHAZZ (CONT'D)
And I have Jade!
CHAZZ checks his watch, realises he is running late. He gives

SOLOMON a final hard kick.
CHAZZ (CONT'D)
Keep away from what is mine! Stay
with your kind.
CHAZZ walks back to the house. SOLOMON blacks out from the
pain.
EXT. HITCHIN, JADE'S HOME - SOON
It's raining. A light drizzle. The water hits SOLOMON's face.

He stirs, opening his eyes. He moves -
SOLOMON
AHHHH!
He grabs his shoulder in anguish. He manages to sit up.

CHAZZ's car is still out front.
SOLOMON struggles to his feet. He is livid, raging with

anger. He reaches into his jacket.
CUT TO:
CHAZZ exits the house with the last of funerary wreaths. He
hurries to his car.
SOLOMON (O.S.) (CONT'D)

Hey!
CHAZZ pauses, grins at SOLOMON.
CHAZZ
You're awake.
SOLOMON charges towards him. CHAZZ shakes his head in

amusement. He motions to SOLOMON to come, to give it his best
shot.
SOLOMON skips, then hops. CHAZZ frowns. SOLOMON screams in

pain as he sends the cricket-ball in his good arm scudding
towards CHAZZ.
It's a perfect in-swinger. It shatters CHAZZ's nose

cartilage.
95.
CHAZZ is lifted off his feet into the car, banging his head
against the side window. His eyes flutter briefly as he
blacks out.
SOLOMON holds on to his shoulder, breathing hard, his face

pained as he wipes the rain from his eyes.
He walks away, leaving the autographed cricket-ball on the

ground next to CHAZZ.
INT. JADE CHINESE RESTAURANT - NIGHT
BONES looks at the rain outside through the window. His

movements are manic. He becomes transfixed by two beads of
raindrops travelling down the glass, racing.
BONES pulls down the blinds and faces the restaurant, gun in
hand . The tables and chairs are against the wall.
The GUESTS are huddled together in the middle of the room, in

their underwear, hands tied in front of them. They look
frightened, confused. A few of them have bloody faces.
BONES
I saw this in a movie onc. Life
imitating art.
His GANG, also high on drugs and wearing masks, carry bags of
swag.
BONES (CONT'D)
I promised if you all cooperated,
this would end quickly. I get what
I want and you get what you want.
His eyes rest on JADE. He leers at her, adjusting his crotch.
YUN and GLORIA instinctively lean towards her protectively.
BONES (CONT'D)
Just one more thing.
EXT. HITCHIN, JADE CHINESE RESTAURANT - SAME
The DRIVER in the car sees headlights approaching at high

speed. He ducks quickly as the patrol car passes, HEAD is
driving and SAUNDERS next to him.
INT. PATROL CAR - CONTINUOUS
HEAD inspects the restaurant facade.
SAUNDERS
They’re closed. I told you! You
beat up that boy for nothing!
96.
HEAD ignores him, his bruised knuckles tightening on the

wheel.
HEAD
He wasn't lying.
SAUNDERS
How can you be so sure?
HEAD
I just know! Call it experience.
HEAD notices the door of the car parked outside the

restaurant opening.
HEAD (CONT'D)
Look.
The DRIVER darts from the side of the car and runs down the
street. HEAD reaches for the car-radio.
HEAD (CONT'D)
Back up requested. Robbery in
progress Jade Chinese Restaurant
Hitchin. Suspects are armed.
INT. JADE CHINESE RESTAURANT - SAME
BONES looks down at JADE. She meets his eye. He grins. A GANG-
MEMBER looks behind the blinds and sees the Patrol car.
GANG-MEMBER
Coppers!
BONES goes to the window. He sees the Patrol car. He notices

that their DRIVER has abandoned their getaway car.
BONES
Fuuuuuck! This isn't happening!!
He looks to his GANG.
BONES (CONT'D)
Change of plan. It's a hostage
situation.
Another GANG-MEMBER drops his bag of swag, ready to

surrender.
BONES (CONT'D)
You're going to bottle out on me?
GANG-MEMBER 2
We didn't plan for this. We should
give ourselves up.
97.
BONES
It's one police car!? We outnumber
them and we've got weapons.
The GANG-MEMBER shakes his head. BONES points the gun at him,
ready to shoot. The rest of the GANG look to one another.
BONES (CONT'D)
All of you!? Fuck you all then!!
I should shoot you all here!
Punks with no vision!
Sound of police sirens approaching.
BONES (CONT'D)
They're not going to put me in a
box!
He yanks JADE up on her feet.
YUN
Please, leave her alone.
BONES whacks YUN on the face with his gun. YUN collapses.
JADE
Father!
GLORIA
Yun!
BONES looks GLORIA in the eye.
BONES
Say another word and I will shoot
her in the face. Here and now.
GLORIA nods, tears streaming down her cheeks. BONES shoves
JADE towards the kitchen.
EXT. JADE CHINESE RESTAURANT - NIGHT
HEAD hurries towards the arriving Patrol cars.
SAUNDERS (O.S.)
Somebody's coming out!
SAUNDERS points to the door. HEAD hurries back.
GANG-MEMBER
We're coming out! We surrender!
The GANG MEMBERS file out with hands raised. POLICEMEN take
cover behind their cars, guns poised at the GANG.
CUT TO:
98.
The GANG MEMBERS are thrown to the wet ground by POLICEMEN,

their arms wrenched behind them and hand-cuffs slapped on.
CUT TO:
The GANG MEMBERS are shoved roughly into holding vans.
CUT TO:
HEAD runs towards the restaurant.
SAUNDERS
What?
HEAD
Bones is still inside.
HEAD stops by the front door, taking cover. SAUNDERS hurries

to him.
SAUNDERS
The detectives are here, let them
handle it.
HEAD
Are you coming?
SAUNDERS shakes his head, no. HEAD takes out his gun.
SAUNDERS
I thought you were going to get rid
of that! Don’t do this!
HEAD enters the restaurant.
SAUNDERS (CONT'D)
Shit!
EXT. HITCHIN, WOODS - NIGHT
BONES pushes JADE ahead of him. It's dark, streams of moon-

light penetrate the tall trees looming over their heads.
The ground is mushy from the rain. JADE misses her footing,
falls. BONES grabs her, pulls her up.
BONES
Move!
CUT TO:
BONES and JADE come out to a field. BONES pushes her on.
99.
EXT. JADE CHINESE RESTAURANT, REAR EXIT - SAME
HEAD kicks open the back door. He checks. All clear. The
backyard is enclosed by a wooden fence. A gate which leads to
the woods is open.
HEAD goes through the gate, his gun poised.
SOLOMON stops in the middle of the street, holding on to his

shoulder.
In the distance, he can see the police cars and blue lights
flashing outside the restaurant.
He hears a noise to the left of him, from across the field, a

girl cries out in pain.
SOLOMON looks from the blue lights in the opposite direction

to the field where the cry came from.
EXT. HITCHIN, FIELD - SAME
BONES yanks JADE to her feet. She cries out in pain.
JADE
My ankle!
BONES
Shut up!
JADE limps in pain.

CUT TO:
SOLOMON trudges through the muddy field. He can see two

people moving in the distance. He recognizes Jade and
quickens his pace.
CUT TO:
BONES and JADE come to a fence, behind it is a high bush.

BONES shoves JADE towards a hole in the fence.
She goes through it, treading on a path between the bushes,

coming to a -
EXT. HITCHIN, TRAIN DEPOT - CONTINUOUS
JADE pauses at the open space covered in gravel. Train-tracks

lead off the main lines to a shelter where the trains are
serviced. A sign reads "Track Ends"
A couple of trains are parked, ready to be serviced.

100.
BONES comes up behind JADE, jolting her.
BONES
Move!
CUT TO:
BONES and JADE move alongside a train, the train engine is

running. BONES can't contain his excitement as they head
towards the light coming from the cock-pit.
EXT. HITCHIN, FIELD - SAME
SOLOMON comes to the fence. He is dizzy with pain and

staggering. He sees the hole. He goes through it.
CUT TO:
HEAD comes out of the woods onto the field. He sees the
footprints in the mud. He gives chase.
EXT. HITCHIN, TRAIN DEPOT - NIGHT
BONES points his gun into the train cock-pit. It is empty.
TRAIN DRIVER (O.S.)

Who's there?
BONES spins, behind him is an older MAN in a uniform. JADE

tries to run.
JADE
He has a gun!
BONES slaps her. She spins into the side of the train. The
TRAIN DRIVER steps forward to help her.
BONES
Yes, come closer.
CUT TO:
SOLOMON approaches the train with caution. He sees BONES push

the TRAIN-DRIVER and JADE into the cock-pit
SOLOMON climbs on board the train.
CUT TO:
HEAD exits the hole in the fence. He hears a shout as BONES

throws the TRAIN-DRIVER off the train.
The train starts to creep forward. HEAD runs, cutting across

the open space. He trips and falls face first into the
gravel. He picks himself up.
101.
INT. TRAIN COCK-PIT - SAME
BONES is laughing, intoxicated, living his dream. JADE is in

the corner, fear in her eyes.
BONES
Can you feel it? The thrill of
control!
INT. TRAIN - SAME
SOLOMON staggers through the carriages, heading towards the

cock-pit. He bangs his knee on the edge of a seat and
stumbles, hitting his dislocated shoulder against a pole.
SOLOMON
Ahhhhhhh!
INT. TRAIN COCK-PIT - CONTINUOUS
BONES hears SOLOMON's cry of pain. He gives JADE a curious

look, his eyes frantic.
BONES
What was that?! Did you hear it?
EXT. HITCHIN, TRAIN DEPOT - NIGHT
HEAD runs alongside the moving train, breathing hard under

the exertion. He reaches out, trying to grab hold of the door
handle. He misses, stumbles almost falling under the tracks.
HEAD gains his balance, continues chasing. He reaches out

again.
BONES is shouting at the top of the voice. Singing.
BONES
I'm going out in a blaze of glory!
A blaze of glory! Nobody is going
to forget me! Nobody is going to
forget Bones!
The train is moving out of the depot area towards the main
tracks.
INT. TRAIN - SAME
HEAD climbs on board the train. He reaches for his walkie-

talkie but its on the ground back where he fell.
102.
He scrambles up and hurries towards the cock-pit.
CUT TO:
HEAD enters the next compartment and comes across SOLOMON who
is resting. HEAD points his gun at him.
HEAD
Put your hands where I can see
them.
SOLOMON
My shoulder is dislocated. You
want Bones, not me.
Beat.
HEAD
Who are you?
SOLOMON almost laughs.
SOLOMON
I get confused.
HEAD
What's your name? No sudden
moves.
SOLOMON
Solomon. Solomon Shaker. I'm
trying to stop Bones.
HEAD approaches, gun primed on SOLOMON.
HEAD
I don't believe you.
SOLOMON
That's not my problem.
HEAD considers the bruises all over SOLOMON's arms and face.
He makes a decision and lowers his gun. He squats beside

SOLOMON.
HEAD
When I snap the joint back into
place, the pain will stop.
HEAD reaches for SOLOMON's shoulder. SOLOMON recoils.
HEAD (CONT'D)
Trust me.
SOLOMON
Trust you?! Who are you?!
103.
HEAD
Daniel.
HEAD grabs SOLOMON's arm.
HEAD (CONT'D)
On the count of three.
SOLOMON
Take your hands off --
HEAD
One.
SOLOMON braces himself.
HEAD (CONT'D)
Two!
HEAD snaps the shoulder back into place before three.
A scream fills the night air. BONES looks to JADE.
BONES
There is it again! Did you hear
that!?
INT. TRAIN - NIGHT
HEAD looks out of the window, the train is gaining speed.
SOLOMON holds his shoulder, the pain is almost gone. He looks

at HEAD with gratitude.
HEAD
Keep all your elbow movements below
shoulder level.
SOLOMON nods.
HEAD (CONT'D)
Tell me about Bones.
SOLOMON
He's got a gun.
BONES (O.S.)
Pointed at your head.
SOLOMON and HEAD turn to see BONES grinning at them.
BONES (CONT'D)
My two favourite people.
104.
HEAD dives for cover. BONES shoots, misses.
BONES (CONT'D)
Stay still!
HEAD (O.S.)
Bones, you have to stop the train.
People could get hurt.
BONES
They don't give a fuck about me, I
don't give a fuck about them.
SOLOMON
Bones --
BONES
Shut the fuck up!
SOLOMON
This isn't the mark we said we'd
leave on the world.
BONES
I've grown up since.
HEAD tries to move from behind the seat. BONES shoots at the
seat, several times.
BONES (CONT'D)
Keep still!
SOLOMON approaches BONES hands raised.
SOLOMON
I let you down. I'm sorry.
BONES becomes serious.
BONES
I warned you to keep away from me.
He raises his gun at SOLOMON.
JADE (O.S.)
No!
JADE pushes BONES from behind. He misfires. SOLOMON ducks.

BONES grabs JADE by her hair, flings her towards SOLOMON.
BONES
Bitch!
JADE clambers to SOLOMON, he holds her.
BONES (CONT'D)
How sweet?
105.
He points the gun at JADE, ready to shoot. SOLOMON puts

himself in front of JADE. BONES pauses.
BONES (CONT'D)
You'd sacrifice yourself for her?!
Why?!
BONES is stunned.
BONES (CONT'D)
You have talent, she doesn't.
SOLOMON does not respond.
BONES (CONT'D)
Your funeral.
BONES shoots three times. JADE screams. She opens her eyes,
SOLOMON is fine, BONES shot into a nearby seat.
BONES (CONT'D)
Damn Bro, you’re serious!
HEAD points his gun at BONES. BONES aims his gun at HEAD.
It's a stand off.
HEAD
Solomon, get to the cock-pit and
try to stop the train.
SOLOMON looks to BONES.
HEAD (CONT'D)
Don't worry about him, if he
blinks, I'll kill him.
SOLOMON nods, moving towards BONES. BONES does not take his
eyes off HEAD as he steps aside.
BONES
Solo, it's me and you against the
fuckers. Me and you.
SOLOMON leans in.
SOLOMON
No Bones, you're the fucker.
BONES is distracted by the self-realisation and SOLOMON

escapes the carriage.
CUT TO:
SOLOMON runs through the carriages, gunning for the cock-pit.

106.
INT. TRAIN COCK-PIT - SOON
SOLOMON rushes in and sees the radio is damaged. His head

reels as the room begins to spin. He looks through the wind
screen, the train tracks are rushing towards him.
SOLOMON's eyes begin blink uncontrollably. He drops to his

knees, slumps in the corner, staring blankly.
INT. TRAIN - SAME
HEAD glances at JADE. The train is not slowing down. BONES

has his gun primed at him.
BONES
I destroyed the radio.
JADE
I can stop the train.
BONES
Of course, you were there at the
tutorial. You'll have to get
past me.
HEAD
I don't want to kill you.
BONES
Don't you get it yet? You already
have.
BONES pulls the trigger and HEAD shoots him in the chest
twice. HEAD realises that BONES’S gun had no bullets.
BONES grins as he staggers.
BONES (CONT'D)
Fooled you. I got the last laugh.
BONES falls forward, dies. JADE rushes out of the carriage.
INT. TRAIN COCK-PIT - SOON
JADE sees SOLOMON in the corner staring blankly. She resists

going to him and moves the controls. The train wheels
screech, as the train starts to slow down.
HEAD enters, watching her. JADE rushes to SOLOMON.
JADE
Solomon?
He stares, his eyes drowsy.

107.
JADE (CONT'D)
We need to get him to a doctor!
HEAD
We will.
The train slows to a stop.
HEAD helps JADE get SOLOMON on his feet. As they move reach
the door --
SWISH!
Another train! WHEEZES PAST! They are inches away from a

junction!
HEAD and JADE stare at the wide-eyed PASSENGERS in the well-

lit carriages as the train charges past.
SOLOMON is watching. Time slows down as he sees the scared

faces of the PASSENGERS that would have been killed by the
collision. The train moves on.
INT. POLICE STATION - DAY
HEAD sits in front of a panel of his SUPERIORS, DUTTON is one

of them. It is an inquiry, chaired by a SUPERINTENDENT. HEAD,
somehow, seems unruffled.
DUTTON
Your actions were irresponsible! A
man of your experience should know
better! Your duties were specific
and you went off the rails! Beating
up a boy?! Carrying an unlicensed
fire-arm?! Which you used to kill
another boy!! You're going to fry
for this.
The SUPERINTENDENT interrupts, he is DUTTON's superior.
SUPERINTENDENT
Enough Dutton. Let's not sidetrack
the fact that many lives were saved
by Constable Head's actions. Head
here has a personal letter of
commendation from the Prime
Minister himself.
DUTTON
But Sir -
SUPERINTENDENT
That's enough from you.
DUTTON quietens.
108.
SUPERINTENDENT (CONT’D)
Constable Head?
HEAD
Yes sir.
SUPERINTENDENT
What do you want?
EXT. HERTFORDSHIRE, SANITORIUM - DAY
A VOLVO JEEP pulls up outside the main building.
INT. VOLVO JEEP - CONTINUOUS
JOE is driving, SOLOMON is beside him and JADE is in the back

seat. SOLOMON's arm is in a sling. SOLOMON turns to JOE.
SOLOMON
Are you coming in Dad?
Beat.
JOE
Maybe soon son.
SOLOMON nods, understanding.
JOE (CONT'D)
You're ready?
SOLOMON
Ready.
SOLOMON grins, climbing out with JADE. They watch JOE drive
away. JADE is carrying SOLOMON'S guitar. SOLOMON grins at
her. She grins back.
INT. SANITORIUM, HOBBY ROOM - DAY
The PATIENTS are gathered around SOLOMON. He is on a stool.

He gently removes his arm from the sling.
JADE hands him his guitar.
JADE
Be careful.
SOLOMON nods. She kisses him. The PATIENTS cheer. JADE moves
back, grinning but embarrassed.
SOLOMON's eyes rest on ROSE. She is in the corner, away from

the group, painting, oblivious to him.
109.
Standing beside her is the LADY IN THE RED DRESS! She places
a comforting hand on ROSE'S shoulder. SOLOMON does a double
take and the LADY is gone.
SOLOMON turns to the PATIENTS watching him.
SOLOMON
I've just finished this song.
He plays, closing his eyes. The music feels good to him.
SOLOMON opens his eyes and through the window he can see
COUNT BASIE waltzing in the sun, with the LADY IN THE RED
DRESS!
SOLOMON almost stops playing, his eyes widening. He turns to

JADE, she is staring at COUNT BASIE and the LADY IN THE RED
DRESS as well. She can see them too.
SOLOMON and JADE realise that they are both seeing the same
thing. COUNT BASIE grins and winks at SOLOMON and JADE.
COUNT BASIE (V.O.)

Always have a ball.
COUNT BASIE and the LADY IN THE RED DRESS continue dancing to
SOLOMON's music.
End.

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R U READY 4 MI

Telephone: 01462 621 333

Mobile: 07957 441 411

A burgeoning town with greenery, open spaces and tree-lined

CAPTION: HERTFORDSHIRE, ENGLAND 2000

EXT. LETCHWORTH GARDEN CITY, FIELD - SAME

A juniors cricket match in the middle of the field.

The bowler is SOLOMON, 7 years old, black, average height and

SOLOMON stares at the scrawled autograph on the cricket ball

BONES nods back.

The TEAM shout in victory as they rush towards SOLOMON.

BONES reaches him first, bursting with energy and an open

SOLOMON is lifted on the shoulders of his TEAM MATES.

BONES watches, grinning proudly. He holds up the autographed

Suddenly, SOLOMON quietens. A look of fear crosses his face.

Confused, his TEAM MATES let him down. BONES watches

All eyes on BONES.

EXT. LETCHWORTH GARDEN CITY, STREET - SOON

He turns a corner and rams into an ELDERLY WOMAN, knocking

EXT. LETCHWORTH GARDEN CITY, SOLOMON'S HOME - SOON

A long gravelled driveway leads a lovely home. SOLOMON pauses

INT. SOLOMON'S HOME - SOON

SOLOMON enters the tastefully decorated and spacious home.

He walks past a studio. An easel stands in the middle of the

SOLOMON climbs up the stairs. Frames paintings hang along the

INT. SOLOMON'S HOME, MASTER BEDROOM - SOON

SOLOMON walks in on his mother ROSE, a beautiful woman in her

SOLOMON's eyes roll to the back of his head. He collapses.

INT. LAWYER'S OFFICE - DAY

SOLOMON opens his eyes. He is in a room with shelves of law

ROSE is across the table. Her breath is uneven, her hands

A LAWYER sits beside each parent. JOE stands, pointing and

He cringes from his father's anger but is a drawn to his

ROSE meets SOLOMON's gaze and he looks away. He gets up and

CAPTION: TWELVE YEARS LATER

EXT. LETCHWORTH GARDEN CITY - MORNING

There are less tree-lined streets. Less greenery. Less open

EXT. LETCHWORTH POLICE STATION, CAR PARK - MORNING

Constable DANIEL HEAD, an aging, hard-nosed policeman

INT. POLICE STATION - SOON

HEAD has learnt to ignore the pitying glances from younger

INT. POLICE CHIEF'S OFFICE - SOON

HEAD enters the cluttered office. CHIEF DUTTON, a younger man

DUTTON points to a folder on his desk with the letters Y.R.P.

HEAD picks up the file, reads.

DUTTON turns and faces HEAD.

DUTTON picks up his desk telephone.

DUTTON sits, assesses HEAD.

DUTTON's face softens.

HEAD meets his eye. DUTTON smirks.

Constable MIKE SAUNDERS enters, a younger mellow black man.

SAUNDERS nods at HEAD. HEAD grunts.

EXT. MOTORWAY - MORNING

Morning rush hour traffic. A black motorbike zips between the

Hands in dark leather gloves rev the motorbike engine. It

The RIDER wears a dark helmet, an acoustic GUITAR strapped to

EXT. HERTFORDSHIRE, SANITORIUM - SOON

The RIDER parks the motorbike outside the impressive main