diff --git "a/scripts/In Bruges.txt" "b/scripts/In Bruges.txt" new file mode 100644--- /dev/null +++ "b/scripts/In Bruges.txt" @@ -0,0 +1,5978 @@ + 1. + + + + +1 EXT. BRUGES STREETS - NIGHT 1 + + Various shots of the empty, cobble-stoned, other worldly + streets of Bruges, Belgium. It's winter, and a freezing fog + covers everything; the Gothic churches, the narrow canals, + their odd little bridges. We could be in any period of the + last five hundred years. We happen to be in the present + day. + + RAY speaks over all this. + + RAY (V.O.) + After I killed them I dropped the + gun in the Thames, washed the + residue off my hands in the + bathroom of a Burger king, and + walked home to await instructions. + Shortly thereafter the instructions + came through - "Get the fuck out of + London, you dumb fucking cunts. Get + to Bruges". I didn't even know + where Bruges fucking was. + + FADE TO BLACK. + + RAY (V.O.) + It's in Belgium. + + OPENING CREDITS. + + +2 EXT. BLACK SCREEN - DAY 2 + + SOUND ONLY of two men walking, a train in the background. + + RAY + Bruges is a shithole. + + KEN + Bruges is not a shithole. + + RAY + Bruges is a shithole. + + KEN + Ray, we've only just got off the + fucking train. Could we reserve + judgement on Bruges until we've + seen the fucking place? + + RAY + 2. + + + I know it's gonna be a shithole. + + +3 EXT. BRUGES STREETS - DAY 3 + + KEN and RAY walking through the pretty Christmas-tide + streets from Minnewater Park to the Burg; past quaint + chocolate shops, past horse and carts, past canal boats, + past tourists taking photos of all these. + + KEN, pop-up map in hand, is enjoying the novelty of the + place, which irritates the sulky RAY no end. By the end of + the walk we have passed most of Bruges picturesque places, + none of which could be described as a shithole. + + RAY + Shithole. + + +4 EXT. HOTEL CANALSIDE - DAY 4 + + They arrive at their pretty canalside hotel, KEN looking it + over. + + KEN + Looks quite nice. + + RAY just looks at him. + + +5 INT. HOTEL LOBBY - DAY 5 + + A small (five room) family-run place; a breakfast room off + the lobby, a narrow set of carpeted stairs to the first + (and only) floor, and a small front desk that nobody's at. + KEN rings the bell. + + RAY + Great service. + + KEN + (quietly) + Cheer... fucking... up, or I will + smack you... in your fat... + fucking... head. + + RAY + Yeah? You and whose army? Your + mum's? + + KEN + Are you twelve years fucking old? + 3. + + + MARIE, the pretty, heavily pregnant receptionist/owner of + about thirty, appears behind the desk, obviously having + heard. + + KEN + Oh, hello... + + RAY + No, I'm not twelve years fucking + old. + + RAY sits, in a mood. + + KEN + I think we have a couple of rooms + booked with you, under Cranham and + Blakely. + + MARIE + Yes. No, we have one room booked. + One twin room. + + KEN + Oh. + + MARIE + Booked for two weeks. + + RAY + Two weeks?!! + + KEN + Do you have another room? + + MARIE + No, I'm afraid we're fully booked, + with Christmas. Everywhere's fully + booked. + + +6 INT. HOTEL ROOM - DAY 6 + + KEN looking out at the pretty canal beneath the latticed + picture-window. RAY on one of the twin beds, staring at the + poky room. + + KEN + It's very pretty. + + RAY + Ken, I'm not being funny. We can't + stay here. + 4. + + + KEN + We've got to stay here till he + rings. + + RAY + What if he doesn't ring for two + weeks? + + KEN + Then we stay here for two weeks. + + RAY + For two weeks?! In fucking Bruges?! + In a room like this?! With you?! No + way. + + KEN + Ray, I really don't like to say + this... + + RAY + You really don't like to say what? + + KEN + Well, y'know, X wasn't the one who + killed the little kid, Ray. + + The life totally drains from RAY'S face as he turns bleary- + eyed, sickened, sad. + + RAY + (quietly) + Fucking bring that up... + + RAY goes into the bathroom, closes the door. + + KEN + (quietly) + Well... I wasn't. + + +7 INT. HOTEL BATHROOM - DAY 7 + + RAY looks at himself in the mirror, then breaks down in + silent tears. He cries them all out, cleans himself up. + Looks at himself again. Breathes deeply. + + +8 EXT. CANALS - DAY 8 + 5. + + + RAY and KEN at the back of a canal-boat, half full of + tourists, sightseeing the waterways. The dull DRIVER drones + on, the usual quips. RAY stares at KEN as he does so; KEN + enjoys the sights. He has a pocket guidebook with him, + which he consults now and then. + + We see various of the town's picturesque places. + + RAY + Do you think this is good? + + KEN + Do I think what is good? + + RAY + Y'know, going round in a boat, + looking at stuff. + + KEN + Yes. I do. It's called sight- + seeing. + + KEN observes the sights further. + + KEN + Look at that. + + RAY + Look at what? + + KEN + It's a former hospital. + + RAY looks at him blankly. + + KEN + From the eleven-hundreds. + + RAY looks at him blankly. + + KEN + Bruges is the most well-preserved + medieval town in the whole of + Belgium, apparently + + RAY looks at him blankly. KEN can only smile. + + +9 EXT. BEGIJNHOF CONVENT - DAY 9 + + KEN looking at the buildings of the 13th century + Benedictine convent. + 6. + + + KEN + This here... + + RAY + Ken! It's just all old buildings!! + Can we go and get a fucking beer, + please? I assume they have beer in + this fucking country. + + KEN + They have over three hundred + different types of beer. + + RAY + Ken, I just want one. + + RAY walks off. KEN follows. + + +10 INT. IRISH BAR - DAY 10 + + RAY happily plonks two pints in front of them, KEN's an + odd­coloured one in a strangely shaped glass. + + RAY + Now this is more like it. Proper + holidays. One gay beer for my gay + friend, one normal beer for me, + because I am normal. Ahh! Dis is + duh loif. + + KEN + We're not staying here getting + pissed. We're quietly sight-seeing, + like he says, and awaiting his call + to see what we do next. + + RAY hands KEN an English newspaper. + + RAY + Ken. Read it. They haven't got a + single lead. + + KEN + They say they haven't got a single + lead. + + RAY + 7. + + + Ken, come on, they're the English + police. When they say they haven't + got a single lead, they haven't got + a single lead. This is my vote of + what we should do. We give it + another day, two days max, then we + check the papers again and if + there's still nothing in 'em we + phone him and say "Harry, thank you + for the trip to Bruges, it's been + very nice, all the old buildings + and that, but we're coming back to + London now and hide out in a proper + country where it isn't all just + fucking chocolates". + + KEN + ‐ + My vote would be we quietly sight­ + see, like he says, and we await his + call to see what we do next. + +RAY sneers, drinks, gestures to the paper. + + RAY + Close that up. + +As KEN closes the paper we glimpse the edge of a headline +reading '...IN SHOOTING DEATH OF LITTLE TOBIAS'. + + KEN + You don't even know that we're here + hiding out. + + RAY + What are you talking about? + + KEN + You don't even know that we're not + here on a job. + + RAY + What? On a job? + + KEN + Yeah. + + RAY + Here in Bruges? + + KEN + Yeah. + + RAY + 8. + + + Here in Bruges, on a job? + + KEN + Yeah. + + RAY + Why, what did he actually say? + + KEN + He didn't actually say nothing. + + RAY + So why do you think it might be... + + KEN + I don't think anything. But it's a + bit fucking over-elaborate, isn't + it? "Go take him to hide out". "Go + take him to hide out where?" "Go + take him to hide out in fucking + Bruges". + (pause) + You can hide out in Croydon. + + RAY + (thinking) + Mm. Or Coventry. Hmm. It is a bit + over-elaborate. Hmm. But we ain't + got no guns. + + KEN + Harry can get guns anywhere. + + RAY + Hmm, interesting. Very interesting. + + +11 INT. HOTEL ROOM - NIGHT 11 + + RAY sitting at window, looking at the beautiful night-lit + canal. KEN lying on the bed, reading a book, 'THE DEATH OF + CAPONE' by K.K.KATURIAN. + + RAY + He ain't gonna ring tonight. + + KEN keeps reading. + + RAY + (pause) + How did Capone die? + + KEN + 9. + + + (finishing his + cheesecake) + Neuro-syphilis. + + RAY nods, looks out window again. + + RAY + He ain't gonna ring tonight. Let's + go out. + + KEN + Go out where? + + RAY + The pub. + + KEN + No. + + RAY + Let's go out and look at some of + all the old medieval buildings and + that, cos I bet they look even + better at night, all lit up. + + KEN smiles, puts down his book. + + RAY + Yes! + + +12 EXT. GRUUTHUSE MUSEUM/ENVIRONS - NIGHT 12 + + They wander the beautifully lit buildings, sculptures and + little bridges around the museum, KEN consulting his + guidebook, RAY with two beer bottles in his trousers front + pockets and one in his hand, happy out. + + KEN + This is the smallest bridge in + Bruges. + + RAY + Ahh, it's so little, look at it. + Ahh. Hello little bridge. How would + a little bridge's voice go? + (in a little bridge's + voice) + "Hello. I'm a little bridge". + + KEN + Yeah, go easy on the fucking beers + now, Ray. + 10. + + + RAY + I am! + +SCULPTURE GARDEN. + + KEN + These are the Four Horsemen of the + Apocalypse. Designed by Rik Poot, + it says. Rik Poot. + + RAY + Hmm. They're not the real Four + Horsemen of the Apocalypse though, + are they? They're more sort of + robot versions. + + KEN + Yes, well, I guess they're more the + artist's impression of the Four + Horsemen of the Apocalypse. The + real Four Horsemen of the + Apocalypse didn't actually exist. + + RAY + Didn't they? They were just made + up? + + KEN + Yes. They might exist one day. + That's the whole thing. + + RAY + I like robot horses. They're good. + How would a Four Horseman of the + Apocalypse's voice go? Probably + angry. "Grrr". + +MUSEUM BUILDING. + + KEN + That there is called the 'Gruuthuse + Museum'. + + RAY + They all have funny names, don't + they? + + KEN + Yes, Flemish. In here, this says, + the Belgians twice sheltered + fugitive English kings from being + murdered. + 11. + + + RAY + So they're not all good. + + KEN + Henry IV and Charles II, in 1471 + and 1651, respectively. + + RAY + I used to hate History, didn't you? + It's all just a load of stuff + that's already happened. What are + they doing over there?! They're + filming something... They're + filming midgets!! + + RAY runs off excitedly. + + KEN + Ray! + + +13 EXT. FILM SET - NIGHT 13 + + Behind a rope cordon with a few other people, RAY watches + the crew et al as they set up between takes, dry ice + around. + + RAY'S POV: A little way off, the film's DIRECTOR is + coaching JIMMY, a bored American dwarf actor, on how to + creep along on tiptoe "like a l'il mouse". JIMMY, + irritated, is forced to ape this, without enthusiasm. + DIRECTOR goes off happy. JIMMY quietly gives him the finger + behind his back. END POV. + + RAY is THRILLED by all this dwarf/film stuff. KEN comes up. + + KEN + Ray, come on, let's go. + + RAY + My arse 'let's go'. They're filming + midgets. + + RAY spots a stunning GIRL ON SET. + + RAY + Oh my god! Look at that girl! She's + gorgeous! + + The GIRL smiles over at the overly loud RAY. + + KEN + Ray? We're going right now. + 12. + + + RAY + Fuck off are we! This the best bit + of Bruges so far! You and your + buildings. + + KEN storms off. + + +14 EXT. FILM SET/CATERING SECTION - NIGHT 14 + + The cute GIRL, CHLOE, gets a coffee. RAY gets one too. + + RAY + Hello. + + She just looks at him. He's smiling gormlessly but seems + safe. + + RAY + Do you speak English? + + CHLOE + No. + + RAY + Ah yes you do. Everybody does. What + are you filming midgets for? + + CHLOE smiles - he's so genuinely excited by it all. + + CHLOE + It's a Dutch movie. It's a dream + sequence. It's a pastiche of + Nicolas Roeg's 'Don't Look Now'. + Not a pastiche, but a... 'homage' + is too strong... A 'Nod of the + Head'. + + RAY is bemused but she's so cute he doesn't mind. + + RAY + Wow, your English is very good. + + He's losing her, he knows it. From the depths of his brain + he finally dredges something up... + + RAY + 13. + + + A lot of midgets tend to kill + themselves. Yes. A disproportionate + amount. Of midgets. In comparison + to normal people. Herve + Villechaise, off of Fantasy Island. + I think somebody off 'The Time + Bandits'. A hell of a lot of + midgets. Kill themselves. I guess + they must get really sad about, + like, being really little, and + that. People looking at them, and + laughing at them. Calling them + names. 'Shortarse'. There's another + famous midget I'm missing but I + can't remember. It's not the R2D2 + man, he's still going. No, it's + somebody else. + (pause) + I hope your midget doesn't kill + himself. Your dream sequence'll be + fucked. + + CHLOE + He doesn't like being called a + midget. He prefers 'dwarf'. + + RAY + Well this is my exact point! People + going round calling you a midget + when you wanna be called a dwarf. + Of course you're gonna blow your + head off! + +She smiles. + + RAY + My name's Ray. What's yours? + + CHLOE + Chloe. How did you get past the + security men? + + RAY + Getting past security men, it's + sort of my job. + + CHLOE + You're a shoplifter? + + RAY + No, I'm not a shoplifter. Good + joke, though. No, I'll tell you + what I am at dinner tomorrow night. + 14. + + + She laughs, walks away, and RAY thinks he's lost her, until + she tosses a small card over her shoulder and behind her, + into the mud. + + RAY picks the card up. It reads 'CHLOE VILLETTE’ and a + mobile number. He watches her, hoping she'll look back. She + doesn't. + + RAY + How fucking cool. + + RAY gives the DWARF the thumbs up as he walks away. The + DWARF smiles slightly. + + +15 INT. HOTEL LOBBY - NIGHT 15 + + As KEN passes up the stairs, MARIE appears behind the desk. + + MARIE + Mister Blakely? + + KEN + Yes. No, Mister Cranham. No! Yes! + Mister Blakely. Yes. + + MARIE + You have a message. + + She hands him an envelope, blushing, then hurries away + again, KEN a little disconcerted at her behavior. + + +16 EXT. HOTEL CANALSIDE - NIGHT 16 + + Leaning on a wall by the night-lit canal outside the hotel, + KEN opens the envelope, sees the typed message is from + HARRY. + + KEN + Shit. + + HARRY (V.O.) + 15. + + + Number one, why aren't you in when + I fucking told you to be in? Number + two, why doesn't this hotel have + phones with fucking voicemail on + them and not I have to leave + messages with the fucking + receptionist? Number three, you + better fucking be in tomorrow night + when I fucking call again or + there'll be fucking Hell to pay, + I'm fucking telling you. Harry. + + KEN sighs, then sees the following hand-written message at + the bottom of the card - 'I'M NOT THE RECEPTIONIST, I'M THE + CO-OWNER WITH MY HUSBAND, PATRICE' - signed 'MARIE'. + + KEN smiles. In through the yellow-lit windows of the + reception, MARIE is quietly talking to her unborn baby. + + +17 EXT. BRUGES STREETS - NIGHT 17 + + RAY wanders drunkenly the misty cobbled streets and + bridges. + + An odd song plays over, like a gentle music box on LSD. As + he wanders, there's a happiness at having met a girl, and a + curiosity at finding the night-lit Bruges a lot more + interesting than he'd have thought. + + A child's teddy bear has been left on a canal wall. As RAY + tries to button up it's pretty little jacket, the bear's + head falls off and into the canal, and RAY is reminded, + somewhat, of why he's in Bruges. + + +18 INT. HOTEL ROOM - NIGHT 18 + + The room is dark. Sound of RAY stomping up the stairs, key + fumbling, opening the door, turning the light on. + + KEN + Turn the fucking light off! + + RAY + Sorry, Ken. + + KEN + And keep the fucking noise down! + + RAY sits on his bed, takes off his shoes. + + RAY + 16. + + + Someone's in a mood. + +RAY turns the light off, lets his shoes clatter to the +floor, starts taking his clothes off. + + RAY + You'll never guess what. + + KEN + Can you shut your fucking mouth + please and go to sleep? + + RAY + Oh, sorry. Except I've gotta take + my contact lenses out. + +RAY goes to the bathroom, turns the light on, blinding KEN +and waking him fully. He resigns himself to it, turning +onto his back, wide-eyed. RAY returns with glasses on. + + RAY + Altogether I've had five pints of + beer and six bottles... No, six + pints of beer and seven bottles, + and y'know what? I'm not even + pissed! + +KEN just stares at the ceiling. + + RAY + You'll never guess what, Ken? + (pause) + Ken, you'll never guess what? + + KEN + What? + + RAY + I've got a date for tomorrow night. + + KEN + I'm so happy for ya. + + RAY + With a girl. + + KEN + Can you turn the light off, please? + + RAY + 17. + + + Only been in Bruges one day, got a + date with a girl in the film + business. The Belgium film + business. They're doing a film + about a midget. + (pause) + Harry didn't ring, did he? + + KEN + Can you turn the light off, please? + + RAY does so, and gets into bed. + + RAY + Told you he wouldn't. + + +19 EXT. LONDON CATHOLIC CHURCH - DAY 19 + + A small pretty church in a run down area. KEN loitering + outside. + + +20 INT. LONDON CATHOLIC CHURCH -DAY 20 + + FLASHBACK. CONFESSIONAL . The faces of RAY and FATHER + MCHENRY, a priest in his sixties, can just be seen in the + darkness. + + The crucifix on MCHENRY'S signet ring glints now and then. + + MCHENRY + Take your time, son. Just take your + time. + + RAY + What's your name, Father? + + PEWS. Outside the confessional, a LITTLE BOY of seven is + kneeling, awaiting his turn. He goes over his crimes on his + fingers, but can't remember them properly. He takes out a + scrap of paper and looks at it. + + MCHENRY (O.S.) + It's Father McHenry. What's your + name, son. Just your first name? + + CONFESSIONAL. + + RAY + It's Ray, Father. Raymond. + + MCHENRY + 18. + + + And what is it you've done, + Raymond? + + RAY + Murder, Father. + + MCHENRY + Murder? Why did you murder someone, + Raymond? + + RAY + For money, Father. + + MCHENRY + For money? You murdered someone for + money? + + RAY + Yes, Father. Not out of anger, not + out of nothing. For money. + + MCHENRY + And who did you murder for money, + Raymond? + +RAY clears his throat. + + RAY + You, Father. + + MCHENRY + I'm sorry...? + + RAY + I said "You, Father". What, are you + deaf? + +MCHENRY recoils from the gauze as RAY cocks his gun. + + RAY + Harry Waters says 'Hello'. + +RAY shoots him point blank. MCHENRY bursts out of his +little compartment, clutching his stomach. RAY shoots him +again. + +MCHENRY wrenches open the door of the confessional, trying +to get away, and, as daylight bursts in from the body of +the church, framing him in angelic shafts of light, RAY +shoots him in the back four more times, stopping him dead +in his tracks. + 19. + + + MCHENRY slowly turns around to face RAY, still framed in + the doorway, blood trickling from his mouth. + + MCHENRY + The little boy. + + RAY doesn't understand what he's talking about. MCHENRY + falls to his knees, then collapses backwards, dead, + revealing behind him, still kneeling in the pews, the + LITTLE BOY, whose head has been blown apart by one of the + bullets that passed through the priest. + + Horrified, RAY approaches the BOY who, though clearly dead, + remains kneeling, his hands clasped together in prayer, the + scrap of paper between them. RAY falls to his knees, pulls + the paper from the BOY'S hands. It reads + + '1. BEING MOODY. + + 2.BEING BAD AT MATHS. + + 3.BEING SAD'. + + VIEWED FROM OVERHEAD, KEN comes running down from the back + of the church, as RAY collapses, and starts dragging RAY + away, their footsteps echoing, leaving the blood-soaked + corpses alone and silent and still. + + +21 INT. HOTEL ROOM - DAY 21 + + RAY'S eyes are open. He looks at the bed beside him. It's + empty. He looks at the blue skies through the latticed + windows, then at the grey ceiling, thinking. A tear falls + from his cheek. He wipes it, sighs. + + +22 INT. HOTEL RESTAURANT - DAY 22 + + KEN having breakfast, looking through his guidebook. MARIE + passes. + + KEN + Um, Miss? Marie? I'm sorry about + the message last night. The man who + left it is a bit of a... Well, he's + a bit of a... + + MARIE + Cock? + + KEN + (smiles) + 20. + + + Yes. He's a bit of a cock. + +She smiles and passes on. RAY holds a door open for her +with a gallant flourish, comes in, sits. + + KEN + Harry rang last night. We missed + it. + +KEN gives RAY the message, which he reads. + + RAY + He swears a lot, don' he? + + KEN + We're staying in tonight, whatever + happens. + + RAY + Mm. Except... hmm. + + KEN + Mm except hmm what? + + RAY + Except only really one of us needs + to stay in, really. + + KEN + Uh-huh? And which one of us would + that be, Ray? I thought you didn't + like Bruges. + + RAY + I don't like Bruges. It's a + shithole. But I did already say I + had a date with a Belgian lady in + the Belgian film business, which I + did already say about before. + + KEN + Well just don't get into any + fucking trouble. We are keeping a + low profile. And this morning and + this afternoon we are doing + whatever I want to do. Got it? + + RAY + Of course. Which I presume will + involve culture. + + KEN + 21. + + + We shall strike a balance between + culture and fun. + + RAY + Somehow I believe, Ken, that the + balance shall tip in the favour of + culture. Like a big fat fucking + retarded fucking black girl on a + see­saw, opposite... a dwarf. I was + down the park one day when I was + little and this big fat retarded + black girl came up and beat the + fucking shit out of me for + absolutely no reason. Completely + beat the shit out of me. + + KEN + What does her being black have + anything to do with it? + + RAY + Well, she was black. + (pause) + She mightn't've been retarded. She + might've just been one of them deaf + and dumb people, I'm not sure. + Whatever she was, she was a cunt. + Completely beat the shit out of me! + Bitch! + + +23 INT. GROENINGE MUSEUM - DAY 23 + + KEN and RAY wandering the gallery - various odd paintings + including 'The Judgement of Cambyses' (a flaying alive) and + 'De gierigaard en de dood' (a skeletal Death come to + collect his due). + + They end up in front of Bosch's 'LAST JUDGEMENT' which we + see various details from - freakish demons torturing + various people in various freakish ways. KEN and RAY take + it all in, quietly. + + RAY + I quite like this one. All the rest + were rubbish by spastics, but this + one's quite good. What's it all + about, then? + + KEN + Well it's the Last Judgement. + Judgement Day. Y'know? + 22. + + + RAY + Oh yeah? What's that then? + + KEN + Well it's, y'know, the final day on + Earth when mankind will be judged + for all the crimes they have + committed. And that. + + RAY + Oh. And see who gets into Heaven + and who gets into Hell and all + that? + + KEN + Yeah. + + RAY + And what's the other place? + + KEN + Purgatory. + + RAY + Purgatory. Purgatory's kind of like + the inbetweeny one. "You weren't + really shit, but you weren't all + that great, either." Like + Tottenham. Do you believe in all + that stuff, Ken? + + KEN + Tottenham? + + RAY + The Last Judgement and the + afterlife and... guilt and... sins + and... Hell and... all that...? + + KEN realises that RAY is really looking for an answer. + + KEN + Um... Oh. Um... + + +24 EXT. JAN VAN EYCKPLEIN SQUARE - DAY 24 + + KEN and RAY on a bench, the distinctive Poorterslodge + rising up behind them. + + KEN + 23. + + +I don't know, Ray. I don't know +what I believe. Um. Y'know, I was +brought up believing certain +things, I was brought up Catholic, +which I've more or less rejected +most of... + + RAY +Yeah, they're nuts, aren't they? + + KEN +But the things you're taught as a +child, they never really leave you, +do they? So I believe in trying’ to +lead a good life, like if there's +an old lady carrying her shopping +home... Well, I don't try and help +her carry her shopping, I don't go +that far, but I'll certainly hold +the door open for her and that and +let her go out before me. + + RAY +Yeah. And anyway, if you tried to +help her carry her shopping, she'd +probably think you were just trying +to nick her shopping. + + KEN +Exactly. + + RAY +This is the world we live in today. + + KEN +And at the same time, at the same +time as trying to lead a good life, +I have to reconcile that with the +fact that, yes, I have killed +people. Not many people. And most +of them were not very nice people. +Apart from one person. + + RAY +Who was that? + + KEN +This fella Danny Aliband's brother. +He was just trying to protect his +brother. Like you or I would. He +was just a lollipop man. But he +came at me with a bottle. What are +you gonna do? I shot him down. + 24. + + + RAY +Hmm. In my book, though, someone +comes at you with a bottle, I'm +sorry, that is a deadly weapon, +he's gotta take the consequences. + + KEN +I know that in my heart, but I also +know he was just trying to protect +his brother, you know? + + RAY +I know, but a bottle, that can kill +ya. That's a case of "It's you or +him". If he'd come at you with his +bare hands, that'd be different. +That wouldn't've been fair. + + KEN +But, technically, someone's bare +hands, they can kill you too. They +can be deadly weapons too. What if +he knew Karate, say? + + RAY +You said he was a lollipop man. + + KEN +He was a lollipop man. + + RAY +What's a lollipop man doing, +knowing fucking Karate? + + KEN +I'm just saying... + + RAY +How old was he? + + KEN +About fifty. + + RAY +What's a fifty year old lollipop +man doing, knowing fucking Karate? +What was he, a Chinese lollipop +man? + + KEN +Course not. + + RAY + 25. + + + Well then. Jesus, Ken, I'm trying + to talk about... + + KEN + I know what you're trying to talk + about... + + RAY + I killed a little boy. You keep + bringing up lollipop men! + + KEN + You didn't mean to kill a little + boy. + + RAY + I know I didn't mean to. But + because of the choices I made, and + the course that I put into action, + a little boy isn't here any more. + And he'll never be here again. + (pause) + Y'know, I mean here in the world. + Not here in Belgium. + (pause) + Well, he'll never be here in + Belgium either, will he? He + might've wanted to go, when he got + older. I don't know why. And that's + all because of me. He is dead + because of me. And I'm trying to... + I'm trying to get my head round it, + but I can't. I will always have + killed that little boy. And that + ain't ever gonna go away. Ever. + Until, maybe, I go away. + + KEN + Go away where? + +RAY gives him a look. Suicide is conveyed. + + KEN + Don't even think like that. + + RAY + And even then it mightn't go away. + Looking at that painting of fucking + torment and Hell... + + RAY + 26. + + + Jesus, I'm not sure if I fucking + needed that right now. The bloke + who painted that, he must be + bonkers. + + KEN + Don't think like that, Ray. It'll + get easier. It will. + + RAY + I think that's the problem, Ken. I + think that's the problem. + + +25 EXT. MARKET SQUARE - DAY 25 + + KEN looking up at the 300ft bell-tower, the dominant + landmark of town. + + KEN + You coming up? + + RAY + What's up there? + + KEN + The view. + + RAY + The view of what? The view of down + here? I can see that from down + here. + + KEN + Ray, you're about the worst tourist + in the whole world. + + RAY + Ken, I grew up in Dublin. I love + Dublin. If I'd grown up on a farm, + and was retarded, Bruges might + impress me, but I didn't, so it + doesn't. + + +26 INT. BELL TOWER - ENTRY KIOSK -DAY 26 + + A sign, 'ENTRY FIVE EUROS'. A stern Belgian TICKET-SELLER + (male) behind glass. + + KEN + 27. + + + Trying to get rid of my coins. + There's 3,.. 3:50. There's 4. 4:10. + 4:20, 4:30, 4:40, 4:50, 4:60, 4:70, + 4:80... Oh, 4:90. Will you take + 4:90? + + TICKET-SELLER taps the sign. + + TICKET-SELLER + Entry is five Euro. + + KEN + Come on, man, it's ten cents. + + TICKET-SELLER taps the sign. + + TICKET-SELLER + Entry is five Euro. + + KEN collects up all his coins, pays a fifty Euro note. + Stares at the TICKET-SELLER as he gets his change and + ticket. + + KEN + Happy in your work? + + TICKET-SELLER + Very happy. + + KEN gives him a look, goes through the turnstile. + + +27 EXT. MARKET SQUARE - DAY 27 + + RAY sitting waiting outside the tower, watching people + pass, Christmas stuff, his thoughts on darker things. Some + way away JIMMY THE DWARF passes, in normal clothes. RAY + waves enthusiastically at him, smiling. JIMMY looks at him, + then looks away without acknowledging. RAY loses his smile. + + RAY + (quietly) + Little fucking cunt. + + +28 INT. BELL TOWER - DAY 28 + + KEN climbing the narrow winding wooden staircase to the + tower top. Reaches the uppermost look-out room, slightly + breathless. Takes in the town and environs. + + KEN + (quietly) + 28. + + + I like it here. + + He sees RAY way down below. Cocks his finger, shoots him + with an imaginary gun, just for fun. + + +29 EXT. MARKET SQUARE - DAY 29 + + A massive shadow falls over RAY. Three enormously + overweight Americans are standing there, one MAN, two + WOMEN. + + OVERWEIGHT MAN + Have you been to the top of the + tower? + + RAY + Yeah, yeah. It's rubbish. + + OVERWEIGHT MAN + It is? The guidebook says it's a + must-see. + + RAY + Well you lot ain't going up there. + + OVERWEIGHT MAN + Pardon me? Why? + + RAY + I mean, it's all windy stairs. I'm + not being funny. + + OVERWEIGHT MAN + What exactly are you trying to say? + + RAY + What exactly am I trying to say? + You're a bunch of fucking elephants + 11 + + The OVERWEIGHT MAN tries to hit RAY, but RAY dodges and + steps away from the blows. The MAN tries to catch and hit + him but RAY keeps dodging easily. + + RAY + Come on, leave it, Fatty... + + The MAN is already puffing, one of the WOMEN is crying. KEN + comes out of the tower. + + WOMAN + 29. + + + You are just the rudest man! The + rudest man! + + The WOMEN lead the breathless MAN away. + + KEN + What was all that about? + + RAY shrugs innocently. The Americans enter the tower. + + KEN + They're not going up there... + (calling out) + Hey guys? I wouldn't go up there. + It's really narrow and... + + WOMAN + Screw you, Motherfucker!! + + KEN is dumbfounded, open-mouthed. RAY shrugs again. + + RAY + Americans, ain' it? + + +30 INT. BASILICA OF THE HOLY BLOOD - DAY 30 + + Small Gothic chapel, RAY sitting irritated in a pew, + watching as KEN quietly ambles, guidebook in hand, + surveying the statues and murals, the Stations of the + Cross, all candle-lit and warm. + + KEN ushers RAY over. RAY sighs, refuses - all this holy + shit is getting to him. KEN ushers him over again, + forcefully this time. RAY idles over, head bowed, trying + not to look at anything with Jesus on it. + + KEN + Ray, did we or did we not agree + that if I let you go on your date + tonight, we'd do the things X + wanted to do today? + + RAY + We are doing the things you wanted + to do today. + + KEN + And that we'd do them without you + throwing a fucking moody like some + five year old who's dropped all his + sweets? + 30. + + + RAY + I didn't agree to that. + (pause) + I'll cheer up, I'll cheer up. + + KEN + This here, up there on the altar, + is a phial brought back by a + Flemish knight from the Crusades in + the Holy Land, and that phial, you + know what it's said to contain? + + RAY + No, what is it said to contain? + + KEN + It's said to contain some drops of + Jesus Christ's blood. + +RAY feigns interest with his eyebrows. + + KEN + Yeah. That's where this church gets + it's name, the Basilica of the Holy + Blood. + + RAY + Yeah? + + KEN + Yeah. And this blood, right, though + it's dried blood, at different + times over many years, they say it + turned back to liquid. Turned back + to liquid from dried blood. At + various times of great... stress. + + RAY + Yeah? + + KEN + Yeah. So, yeah, I'm gonna go up in + the queue and touch it, which is + what you do. + + RAY + Yeah? + + KEN + Yeah. You coming? + + RAY + Do I have to? + 31. + + + KEN + Do you have to? Of course you don't + have to! It's Jesus's fucking + blood, isn't it?! Of course you + don't fucking have to! Of course + you don't fucking have to! + + KEN storms off and gets in the queue, seething. RAY takes + in some more of the iconography for a minute then leaves. + KEN watches him doing so. Now he's really pissed off. He + tries to calm himself down and concentrate on Jesus' + fucking blood. + + +31 INT. BASILICA STAIRWELL - DAY 31 + + On the way out, still pissed off, KEN sees, through the + basilica's beautiful second-storey windows, RAY sitting on + a bench in the square below, eating an ice-cream. Sounds of + a children's choir. + + +32 EXT. BASILICA OF THE HOLY BLOOD - DAY 32 + + KEN bursts out of the church and approaches RAY, who pays + him no attention, transfixed as he is on the CHILDREN'S + CHOIR a short distance to the side, as they sing the creepy + Christmas carol "Gabriel's Message" for the passers-by. + + None of the kids are much older than eight, and a few bear + a resemblance to the LITTLE BOY that RAY killed. As KEN + gets closer he sees the tears in RAY's eyes. He slows down, + loses his anger, and sits beside RAY, who wipes his eyes. + + KEN + Did you get yourself an ice-cream? + + RAY + Yeah. Strawberry, + (pause) + How was Jesus's blood? + + KEN + Just looked like some really old + phlegm, really. + + The Christmas carol finishes, the passers-by applaud. + + RAY + What shall we do now? Culture or + fun? + + RAY crosses his fingers and grits his teeth. KEN smiles. + 32. + + +33 EXT. MARKET SQUARE - BELGIAN BAR - DAY 33 + + RAY plonks the drinks down on KEN's outside table and sits, + the tower high in the background. + + RAY + Yes! One gay beer, one normal beer + and one whisky to calm me nerves + for me date. Ching-ching! + + RAY downs the whisky. + + KEN + You nervous? + + RAY + Shitting myself. + + KEN + What time are you meeting her? + + RAY + Seven thirty. + + KEN + You'd better drink up, Ray. You've + only got four and a half hours. + + RAY + I figure if I have four pints here, + takes us up to five-thirty, go + home, change, takes us up to six, + go to the place where we're meeting + to make sure I don't get lost, then + go to a nearby bar, have a coupla + drinks in there til seven-thirty, + and hope my nerves calm down. Then + go back to the place and begin our + date. And if she's late, sneak in + another little one. They're usually + late on a first date, aren't they? + + KEN + Belgians? + + RAY + Girls. Very droll. + + KEN + It was nice up that tower. You + should've come up. + + RAY + 33. + + + I know. I hear it's a must-see. + + KEN + You could see for miles. If you had + a high-powered rifle, you could be + up there all day. + + RAY + Yeah. Picking off little kids. + + KEN + Jesus. Where are you meeting your + girl? + + RAY takes out a couple of pieces of paper from his pocket + and realises one of them is the LITTLE BOY's confession + note. KEN grabs it to get rid of it. RAY just stares at him + a second, then puts his hand out to be given it back. KEN + gives it back. RAY puts it away. + + RAY + 'Spinola' the restaurant's called. + + KEN + A restaurant? That's a bad move. + First date, dinner at a restaurant? + That's a bad move. That's way too + nerve-wracking. That always ends in + disaster. + + RAY + (worried) + Do you think? + + KEN + Always. + + RAY sips some beer, thinks about it, then shrugs. + + RAY + Fuck it, I'll be pissed anyway. + + +34 INT. HOTEL ROOM - NIGHT 34 + + RAY sombrely getting dressed up. KEN at window-seat. A + downbeat song, 'I SEE A DARKNESS4 by Bonnie Prince Billy, + plays on their Walkman's mini-speakers. They're both + drinking miniatures. RAY finishes dressing. He looks good. + + KEN + You look good. + 34. + + + RAY looks himself over. + + RAY + (sadly) + What does it matter anyway? + + A gesture of goodbye. An exit. + + +35 INT. RESTAURANT - NIGHT 35 + + At the table, CHLOE is looking stunning, RAY looking + similar. + + It's quite a small restaurant, the next door table quite + close, at which a young American-sounding GUY and his + GIRLFRIEND eat. CHLOE is smoking. + + CHLOE + So what do you do, Raymond? + + RAY + I shoot people for money. + + CHLOE + What kinds of people? + + RAY + Priests, children. Y'know, the + usual. + + CHLOE + Is there a lot of money to be made + in that line of business? + + RAY + There is in priests. There isn't in + children. What is it you do, Chloe? + + CHLOE + I sell cocaine and heroin to + Belgian film crews. + + RAY + Do you?! + + CHLOE + Do I look like I do? + + RAY + You do, actually. + + She laughs. + 35. + + + RAY + Do I look like I shoot people? + + CHLOE + No. Just children. + +RAY doesn't laugh. + + RAY + I saw your midget today. The little + prick didn't even say hello. + + CHLOE + Well, he's on a lot of Ketamine. + + RAY + What's that? + + CHLOE + A horse tranquiliser. + + RAY + A horse tranquiliser? Where'd he + get that? + + CHLOE + I sold it to him. + + RAY + You can't sell horse tranquilisers + to a midget! + + CHLOE + This movie, I think it's going to + be a very good one. There's never + been a classic movie made in + Bruges, until now. + + RAY + Of course there hasn't. It's a + shithole. + + CHLOE + Bruges is my home town, Ray. + + RAY + Well it's still a shithole. + + CHLOE + It's not a shithole. + + RAY + 36. + + + What? Even midgets have to take + drugs to stick it. + + CHLOE + Okay, so we've insulted my home + town, you're doing well, Raymond. + Why don't you tell me some Belgian + jokes while you're at it? + + RAY + I don't know any Belgian jokes. And + if I did, I think I'd have the good + sense not to... Hang on! Is Belgium + where there was all those child + abuse murders lately? + +She nods, warily. + + RAY + Then I do know a Belgian joke. + What's Belgium famous for? + Chocolates and child abuse. And + they only invented the chocolates + to get to the kids! + +She stares at him blank-faced. + + RAY + What? + + CHLOE + One of the girls they murdered was + a friend of mine. + +RAY'S face falls. + + RAY + I'm sorry, Chloe. + +She stares at him a while. + + CHLOE + One of the girls they murdered + wasn't a friend of mine. I just + wanted to make you feel bad. It + worked quite well. + +She smiles slightly. He stares at her open-mouthed. + + CHLOE + Somehow I don't believe you shoot + people for money, Raymond. + 37. + + + RAY + Somehow I don't believe you sell + drugs to film crews, Chloe. + + CHLOE + What do you believe I do? + + RAY + I believe you're a wardrobe lady, + or a continuity person, or some + girl who makes the tea. + + CHLOE + Uh-huh? And do you know what I + believe you are? I believe you are + a sad little tourist, come here to + see the stupid sights of Bruges, + hopefully to fuck some Belgian + girl, then hurry home to your ugly + Irish girlfriend, feeling slightly + guilty, but not very. + + RAY + If you thought that, why would you + still be sitting here? + +CHLOE blows a cool stream of cigarette smoke out of the +side of her mouth. + + CHLOE + I'm horny. + +She winks at him and goes to the bathroom. RAY smiles, but +the stream of smoke has hit the neighbouring American- +sounding couple, who react like it's Anthrax. + + GUY + (under breath) + Fucking unbelievable. + +This is one of those situations where a normal person +wouldn't react, even though he knows he ought to. + + RAY + What's fucking unbelievable? + +The GUY ignores him. + + RAY + I said "What's fucking + unbelievable"? + + GUY + 38. + + + Are you talking to me? + + RAY + (beat) + He pauses, even though he should + just hit the cunt, and he repeats, + yes, I am talking to you. What's + fucking unbelievable? + + GUY + Well I'll tell you what’s fucking + unbelievable, shall I? Blowing + cigarette smoke straight in myself + and my girlfriend's face, that's + fucking unbelievable! + + RAY + This is the smoking section. + + GUY + I don't care if it's the smoking + section! She directed it right in + my face, man. I don't wanna die + just cos of your fucking arrogance. + + RAY + Uh-huh? Isn't that what the + Vietnamese used to say? + + GUY + The Vietnamese? What are you + talking about, 'The Vietnamese'? + That statement makes no fucking + sense at all! + + RAY + Yes it does. The Vietnamese. + + GUY + Saying it over and over ain't gonna + make any more sense out of it. How + does 'The Vietnamese' have any + relevance whatsoever to myself and + my girlfriend having to breathe + your friend's cigarette smoke? Tell + me how saying... + +RAY punches the GUY clean in the jaw. He falls off his +chair in an unconscious heap. + + RAY + That's for John Lennon, you Yankee + fucking cunt! + 39. + + + Suddenly his GIRLFRIEND swings their wine bottle at RAY'S + head. RAY dodges, the bottle missing him by a whisker. + + RAY + A bottle?! + + The GIRLFRIEND tries to swing again. + + RAY + No, don't bother... + + RAY hits her in the chin too, and she collapses beside GUY. + + The other diners and waiters are stunned into silence. + + CHLOE returns from the bathroom, sees the two prone diners. + + RAY has her coat in his hand. + + RAY + We're leaving. + + +36 EXT. BRUGES STREETS - NIGHT 36 + + RAY and CHLOE walking the mist-strewn, cobbled streets, + glancing behind them now and then, RAY a little embarrassed + CHLOE half in shock. + + CHLOE + Ray, I'm a bit uncomfortable with a + man who would hit a woman. + + RAY + I don't hit women1 I would never + hit a woman! I'd hit a woman who + was trying to hit me with a bottle! + That's different. That's self- + defence, isn't it? Or a woman who + could do Karate. I'd never hit a + woman generally, Chloe. Don't think + that. God you're pretty. + + She looks at him a while, then takes out a mobile. + + CHLOE + I have to make a call. + + RAY + Oh no. You've gone off me now, + haven't you? Just cos I hit that + fucking cow. + 40. + + + She shakes her head, puts a finger to his lips, kisses him + quickly, then speaks into the phone in French. + + CHLOE + (in French, sub-titled) + Eirik? it's Chloe. Go home, I'm + calling it off tonight. + (pause) + Because he's a nice guy. + (Eirik angry) + Okay, listen, listen, it isn't that + he's a nice guy, it's that there's + no way you could take him all your + own, so forget about it, okay? + Okay. + + She hangs up. + + RAY + What was all that? + + CHLOE + I was just checking with my + flatmate to make sure she's not + coming home tonight. + + RAY + oh. + (realising) + Oh-h... + + She takes his hand and leads him off. + + RAY + This is turning out to be a really + nice date. + + +37 INT. HOTEL ROOM - NIGHT 37 + + In one continuous take, if possible. + + KEN blankly channel-surfing, remains of his dinner on a + tray on the bed beside him. Phone rings, KEN mutes the + cartoons and answers. + + KEN + Hello? + + HARRY + Where the fuck were you yesterday? + + KEN + 41. + + +We just popped out for some dinner, +Harry. We only popped out half an +hour. + + HARRY +Yeah? What did you have? + + KEN +For dinner? + + HARRY +Yeah. + + KEN +Er pizza. Pizza-Hut. + + HARRY +Was it nice? + + KEN +Yeah, it was alright. Y'know, it +was Pizza-Hut, it was the same as +in England. + + HARRY +Yeah, well, that's globalisation, +isn't it? Is Ray there with ya? + + KEN +Er, he's in the toilet. + + HARRY +Can he hear? + + KEN +No. + + HARRY +What's he doing? + + KEN +What do you mean? + + HARRY +Is he doing a wee or a pooh? + + KEN +I don't know, Harry. The door's +closed. + + HARRY + 42. + + + Send him out on an errand for half + an hour. But don't make it sound + suspicious. + +KEN puts his hand over the receiver and, a little confused +starts talking to the empty bathroom. + + KEN + Ray? Why don't you go out down the + pub for half an hour? + (pause) + I know I said you couldn't, but we + might as well enjoy ourselves, eh? + (pause) + No, I don't know if they've got + bowling anywhere, you could have a + look, eh? Yeah, see ya.... + +KEN goes to the door, awkwardly with the phone, opens it, +slams it, and goes back to the bed. + + KEN + Yeah, he's gone. + + HARRY + What did you say to him? + + KEN + I said why don't he go have a + drink, save being cooped up. + + HARRY + And what did he say? + + KEN + He said yeah he would, and he might + go have a look see if there's a + bowling alley around. + + HARRY + Was he just having a wee? + + KEN + Yeah, I think so. I assume so. + + HARRY + So he didn't mind? + + KEN + No, he was glad to get out. + + HARRY + Is he definitely gone? + 43. + + + KEN + Yeah, yeah, he slammed the door. + + HARRY + That don't mean he's gone. Go check + outside the door. + +KEN rolls his eyes, sighs internally, opens the door, +pauses closes it again and returns to the phone. + + KEN + Harry, he's definitely gone. + + HARRY + You realise there are no bowling + alleys in Bruges? + + KEN + I, realise that, Harry. The boy + wanted to have a look anyway. + + HARRY + What are they gonna have, a + Medieval fucking bowling alley? + + KEN + As I say, I think he was just glad + to get out and about. + + HARRY + Ah, is he having a nice time, + seeing all the canals and that? I + had a lovely time when I was there. + + HARRY (COAT'D) + All the canals and the old + buildings and that. + + KEN + When were you here? + + HARRY + When I was seven. Last happy + holiday I fucking had. Have you + been on a canal-trip yet? + + KEN + Yeah. + + HARRY + And have you been down like all the + old cobbled streets and that? + 44. + + + KEN + Yeah. + + HARRY + It's like a fairy-tale, isn't it, + that place? + + KEN + Yeah. + + HARRY + With the churches and that. The + Gothic. + + KEN + Yeah. + + HARRY + Is it 'Gothic'? + + KEN + Yeah. + + HARRY + So he's having a really nice time? + + KEN + Well... I'm having a really nice + time. I'm not sure if it's really + his cup of tea. + + HARRY + (pause) + What? + + KEN + Y'know, I'm not sure if it's really + his thing. + + HARRY + What do you mean it's not really + his thing? What's that supposed to + mean, "It's not really his thing". + What the fuck is that supposed to + mean? + +KEN realises something is very wrong. + + KEN + Nothing, Harry. + + HARRY + 45. + + +It's a fairy-tale fucking town, +isn't it? How can a fairy-tale town +not be somebody's fucking thing? +How can all those canals and +bridges and cobbled streets and +those churches and all of that +beautiful fucking fairy-tale stuff, +how can that not be somebody's +fucking thing, eh? + + KEN +What I think I meant to say was... + + HARRY +Is the swans still there? + + KEN +Yeah, there's swans. + + HARRY +How can fucking swans not fucking +be somebody's fucking thing?! How +can that be?! + + KEN +What I think I meant to say was, +when he first arrived he wasn't +quite sure about it. Y'know, +there's that big dual-carriageway +when you get off the train, that +mightn't've been here when you were +here last, Harry, but as soon as he +got to, like, the old town proper, +and saw the canals and the bridges +and, y'know, the swans and that, +well he just fucking loved it then, +he couldn't get enough of it, the +medieval part of town. It was just +that initial dual-carriageway thing +sort of put him off for a second. + + HARRY +I don't remember a dual- +carriageway. That must be recent. +It hasn't spoilt it, has it? + + KEN + 46. + + + No, no, it was just that initial + thing. And you know what? As we + were walking through the streets, + there was this kind of freezing fog + hanging over everything, and it + made it look almost like a fairy- + tale or something, and he turned to + me and you know what he said? + + HARRY + What did he say? + + KEN + He said, "Ken, I know I'm awake, + but I feel like I'm in a dream". + + HARRY + Yeah? He said that? + + KEN + Yeah. + + HARRY + Meaning like in a good dream? + + KEN + Yeah. Of course, like in a good + dream. + + HARRY + Ahh. Good. I'm glad he likes it + there. I'm glad we were able to + give him something. Something good + and happy. Cos he wasn't a bad, + kid, was he? + +KEN's heart sinks, he hopes he isn't hearing what he's +hearing. + + KEN + Huh? + + HARRY + He wasn't a bad kid, was he? + Listen, take down this address. + "Raamstraat 17". That's "Raam" like + "Ram" but with an extra 'A'. + + KEN + Raamstraat 17. + + HARRY + You got that? + 47. + + + KEN +Yes. Raamstraat 17. + + HARRY +Good. There'll be a man there +tomorrow morning at nine, his +name's Yuri. + + KEN +Yuri. + + HARRY +He'll give you the gun. Ring me on +the public phone at Jimmy +Driscoll's about three or four +tomorrow, after it's done. + + KEN +After what's done? + + HARRY + (pause) +Are you being thick? + + KEN +NO. + + HARRY +Listen. I liked Ray. He was a good +bloke, but when it all comes down +to it, y'know, he blew the head off +a little fucking kid. And you +brought him in, Ken. So if the buck +don't stop with him, where does it +stop? + (pause) +Ken? If the buck don't stop with +him, where does it stop? + + KEN +It stops with me, Harry. That's an +easy one. + + HARRY +Don't get shirty, Ken. Listen, I'm +just glad I was able to do +something for the boy before he +went. + + KEN +Do what for the boy? + + HARRY + 48. + + + Y'know, have him get to see Bruges. + I hope to get to see Bruges again + before I die. What was it he said + again, about "It's like a + dream..."? + + KEN + "I know I'm awake, but I feel like + I'm in a dream". + + HARRY + Ahh. + (pause) + Yeah, give me a call when he's + dead. + + HARRY hangs up. KEN listens to the phone's dead drone a + while, staring at the muted cartoons, then hangs up. He + sits on the window seat, and looks at Bruges all lit up + like a fairy-tale and... + + +38 EXT. CANAL - CONTINUOUS 38 + + As KEN sits in the window we pull back, leaving him framed + there, alone with his thoughts, as a swan passes on the + canal below. + + FADE TO BLACK. + + +39 INT. CHLOE'S APARTMENT - NIGHT 39 + + RAY and CHLOE half-naked on the bed, kissing, rolling + around, starting to get down to it. They're both a little + awkward but giggly about it. A gun is slowly pointed + against the back of RAY'S head. CHLOE reacts in shock, RAY + freezes. + + EIRIK + That's my fucking girlfriend, you + asshole! + + EIRIK, a skinhead, slowly drags RAY off her by the neck, + gun still to his head. + + CHLOE + Eirik, what are you doing?! + + EIRIK + Where you from, fucker? + + RAY + 49. + + + Ireland, originally. + + EIRIK + Uh-huh? And you think it's okay to + come over to Belgium and fuck + another man's girl? + + RAY + Look, I didn't know she had a + boyfriend, alright, and I hadn't + fucked her anyway. Ask her. I'd + only put my hand on it. + + CHLOE + Eirik, put the gun down! + + EIRIK + (to RAY) + Get down on your knees and open + your mouth. + + RAY + Oh don't start being silly... + + EIRIK + Get down on your knees and open + your mouth, Irishman! + +RAY sighs, then suddenly headbutts EIRIK hard in the face, +grabs the gun and backs away, pointing it back at him. + +EIRIK's nose is broken and bleeding. + + RAY + Exactly at what point was it that + all skinheads suddenly became + poofs? It used to be, if you were a + skinhead, you just went round + beating up Pakistani twelve-year + olds. Now it seems a prerequisite + to be a fucking bum-boy! + +EIRIK takes out a hunting knife. + + RAY + That's not gonna help ya, mate. + +RAY cocks the gun. EIRIK smiles. + + CHLOE + Ray, there's only blanks in that + gun. + 50. + + +RAY turns the gun towards a wall and fires at it. A loud +shot is heard, but the wall remains unscathed. EIRIK slowly +moves towards him with the knife. + + CHLOE + Eirik, don't...! + + EIRIK + Now who's a fucking bum-boy...? + +Suddenly, RAY raises the gun, lunges forwards... + + RAY + You, ya fucking bum-boy! + +...and fires it into EIRIK's face point blank, the fiery +discharge blinding him. EIRIK screams, falls to his knees, +dropping the knife, clutching at his eyes. CHLOE jumps up +from the bed to try to help him. + + RAY + Chloe? What exactly is going on + here? + + EIRIK + I can't see! I can't see! + + RAY + Of course you can't fucking see! I + just shot a blank in your fucking + eyes! Is this fella your boyfriend? + + CHLOE + No. I mean, he used to be. + + RAY + Well what's he doing here? + + CHLOE + We rob tourists sometimes. Eirik + comes in and the guy is usually so + scared... + +RAY sits slumped on the bed. + + RAY + I fucking knew it was too good to + be true! I knew you'd never've + shagged me normally! + + CHLOE + 51. + + + No, it's not true! I called it off + tonight! I told him not to come + tonight. + +She hits EIRIK. + + CHLOE + Why did you come tonight! + + EIRIK + Chloe, I can't see, I swear it. + + RAY + Oh stop whinging like a big gay + baby. + +CHLOE splashes water in EIRIK'S eyes. It doesn't help. + + RAY + And I haven't had a shag in months! + + EIRIK + I still can't see out of this eye, + Chloe. I'll have to go to the + hospital. + + CHLOE + I'll drive you. + +She finds her keys and coat as EIRIK gets to his feet. + + RAY + Oh great, so now the whole night's + ruined1 + + CHLOE + You can stay if you want, but I + don't know how long I'll be... + + RAY + Oh I just knew someone like you + would never like someone like me. I + just knew. + + CHLOE + What do you mean, someone like me? + + RAY + Y'know. Someone nice. + +She looks at him to see if he's being sarcastic. He isn't. + +Touched, she kisses him goodbye. + 52. + + + CHLOE + Call me. Please? + + She leaves with EIRIK, the door slamming shut, leaving RAY + alone in silence. He can barely believe what's happened. He + picks up his shirt from the floor, puts it on, finds his + poor unopened condom on the bed, tuts, puts it away. + + Looks over CHLOE'S stuff on her dresser, opens a + distinctive froggy ornament - it's full of baggies of + cocaine, pills, acid, etc. RAY brightens considerably. He + helps himself to a pocketful of drugs, then he tries + another drawer. In it are two boxes of bullets, one, + irritatingly, full of blanks, the second, happily, full of + live rounds. He brightens again, and puts the live box in + his pocket. + + +40 INT. BAR - NIGHT 40 + + KEN nursing a beer at the bar, depressed. Downs half the + pint in one, gestures for another. BARMAN gives him a + slight look, then refills his pint. + + KEN + Have you got some sort of problem? + + BARMAN + No, no problem. Four beers in + twenty minutes, man? No problem. + + KEN + (quietly) + Fuck off. + + JIMMY the DWARF enters with a very attractive girl, DENISE, + and sits at the bar, orders. BARMAN fixes the drinks, + looking the couple over. DENISE kisses JIMMY on the cheek, + goes to the bathroom. KEN looks at JIMMY a while too. + + KEN + How's the movie going? + + JIMMY + It's a jumped-up Euro-trash piece + of rip-off fucking bullshit. + + KEN + Oh. Like in a bad way? + + JIMMY smiles. + + KEN + 53. + + + Your girlfriend's very pretty. + + JIMMY + She ain't my girlfriend. She's a + prostitute I just picked up. + + KEN + Oh. I didn't know there were any + prostitutes in Bruges. + + JIMMY + You just have to look in the right + places. Brothels are good. + + KEN + Well... You've picked up a very + pretty prostitute! + + JIMMY + Thank you! + +BARMAN serves the drinks. + + KEN + You from the States? + + JIMMY + Yep. But don't hold it against me. + + KEN + I'll try not to. Just try not to + say anything too loud or crass. + +JIMMY only half-smiles. DENISE returns and the couple sit +at a corner booth to get some distance from KEN, who +finishes his pint rapidly, gestures for and is given +another. RAY enters, sits up beside him, sniffing slightly. + + RAY + Hey-ho. Drowning your sorrows, huh? + + KEN + What sorrows? + + RAY + Y'know. Being a sad old ugly little + man. + (to BARMAN) + One gay beer, please. + + KEN + How did your date go? I'm assuming + not fantastically well. + 54. + + + RAY + My date involved two instances of + extreme violence, one instance of + her hand on my cock and my finger + up her thing which lasted all too + briefly, isn't it always the way, + one instance of me blinding a poofy + little skinhead, and one instance + of me stealing three grams of her + very high quality cocaine, of which + I have already partaken of one + gram, so, all in all, my evening + pretty much balanced out fine. + + KEN + You've got three grams of coke? + + RAY + I've got two grams on me and one + gram in me which is why my heart is + going like the clappers as if I am + about to have a heart-attack so if + I collapse any minute now please + remember to tell the doctors that + it might have something to do with + the coke. + + KEN + Give us a gram, then. + + RAY + I thought you were laying off it + cos it makes you too depressed? + + KEN + Y'know what? I really don't give a + fuck any more. + +RAY quietly passes KEN the coke. KEN goes to the bathroom. + +RAY gets his drink, then spots JIMMY and DENISE kissing. He +goes over and stands looking at them a while. They finally +notice him. + + RAY + Why didn't you wave hello to me + today when I waved hello to you + today? + + JIMMY + 55. + + + I was on a very strong horse- + tranquiliser today. I wasn't waving + hello to anybody. Except, maybe, to + a horse. + + RAY + Huh? What are you talking about? + + JIMMY + Ah just horse-shit. + + RAY + You from America? + + JIMMY + Yep. But don't hold that against + me. + + RAY + Well, that's for me to decide, + isn't it? + (to DENISE) + Are you from America too? + + DENISE + No, I'm from Amsterdam. + + RAY + Amsterdam? Amsterdam's just a load + of bloody prostitutes, isn't it? + + DENISE + Yes. That's why I came to Bruges. I + thought I'd get a better price for + my pussy here. + + RAY + Huh?! You two are weird. + (pause) + Would you like some cocaine? + + KEN comes out of the toilet, sniffling, wired. + + RAY + I've also got some acid and some + ecstasy. + + +41 INT. FIVE STAR HOTEL - JIMMY'S SUITE - NIGHT 41 + 56. + + +A trippy scene. Music loud. DENISE on phone in bra and +pants JIMMY semi naked too, chatting with RAY. KEN +hoovering up another line or two of coke. A semi-naked +black girl, KELLI, beside him, helping. + + RAY + Herve Villechaise, I know, did. The + dwarf off, I think, 'The Time + Bandits', did. Lots of midgets... + dwarfs. Top themselves. Mm, + shitloads. + (pause) + Would you ever think about it? + + JIMMY + Huh? + + RAY + Would you ever think about killing + yourself because you're a midget? + + JIMMY + Fuck, man, what kind of a question + is that? + + RAY + (shrugging) + We're just chatting, aren't we? + +JIMMY goes back to the drugs. KEN comes over. + + RAY + See, Ken, this is the sort of hotel + Harry should've put us in. A five + star, with prostitutes in. Y'know, + sometimes I think Harry doesn't + even give a shit about us at all. + Has he still not called? + +RAY does another line. + + RAY + Ken? Has Harry still not called? + +KEN looks at him, thinks about it a moment. + + KEN + No. He still hasn't called. + + RAY + Well, no news is good news, eh? + +KEN nods. LATER. KELLI on RAY's lap, kissing him at length. + 57. + + +KEN looking at them both, rather sadly. KELLI breaks off +and does a line. RAY mouths "Who's she?" to KEN. The very +wired JIMMY starts talking. + + JIMMY + There's gonna be a war, man, I can + see it. There's gonna be a war + between the blacks and between the + whites. You ain't even gonna need a + uniform no more. This ain't gonna + be a war where you pick your side, + man. Your side's already picked for + ya. + + RAY + Well I know whose side I'm fighting + on. I'm fighting with the blacks. + The white's are gonna get their + heads kicked in! + + JIMMY + You don't decide this shit, man. + Your side's already picked for ya. + + RAY + Who are the half-castes gonna fight + with? + + JIMMY + With the blacks, man. That's + obvious. + + RAY + (pause) + What about the Pakistani's? + + JIMMY + The blacks. + + RAY + What about, think of a hard one... + What about the Vietnamese? + + JIMMY + The blacks! + + RAY + Well I'm definitely fighting with + the blacks if they've got the + Vietnamese. + (pause) + 58. + + + So, hang on, would all of the white + midgets in the world be fighting + against all of the black midgets in + the world? + + JIMMY + Yeah. + + RAY + That'd make a good film! + + JIMMY + You don't know how much shit I've + had to take offa black midgets, + man. + + RAY + That's... undeniably true. + + KEN + See, Jimmy? My wife was black. And + I loved her very much. And in 1976 + she got murdered by a white man. So + where the fuck am I supposed to + stand in all this blood and + carnage? + + JIMMY + Oh man. Did they get the guy who + did it? + + KEN + A friend of mine got him. + + RAY + Harry Waters got him. Ker-chunk! + + KEN + So tell me, Jim, whose side do I + fight on in this glorious war? + + JIMMY + (pause) + I think you need to weigh up all + your options and let your + conscience decide, Ken. + +JIMMY goes off to do more coke. RAY comes over to KEN, +observing the fleshy, debauched scene with sudden depressed +disdain. + + KEN + 59. + + + Two manky hookers and a racist + dwarf. I think I'm gonna head home. + + RAY + Yeah? I think I'll come with ya. + + They collect their stuff, push JIMMY and the girls out of + the way, take their drugs and go to leave. + + JIMMY + Hey! What's...? + + RAY pulls a Karate stance. + + RAY + Back off, shorty. + + JIMMY + Huh. You don't know Karate... + + RAY Karate chops JIMMY'S neck. JIMMY falls to his knees in + pain. + + JIMMY + Owww... + + KEN + Don't say you didn't have it + coining... + + RAY + (overlap) + Don't say you didn't have it + coining... + + JIMMY + Hurts... + + RAY + (overlap, exiting) + Shortarse. + + +42 INT. HOTEL ROOM - NIGHT 42 + + Early blue dawn. The come down. RAY on window seat, KEN + sitting on bed, wrapped in blankets, grinding his jaw a + little. + + RAY + I should've phoned Chloe. + + KEN + 60. + + + And say what? + + RAY + I hate myself and I want to die. + + KEN + Save that for your second date. + Keep her keen. + + RAY + Crush a couple of your sleeping + pills in a glass of whisky, will + ya, Ken? + +KEN pours a miniature whisky then gets his pills, pours two +into his hand, pauses, pours another ten into his hand, +pauses, pours the ten back into the bottle and crushes just +two in the whisky. Gives it to RAY. He knocks it back in +one. + + KEN + How are you feeling? + + RAY + As if I've recently murdered a + little boy. + + KEN + (pause) + It's funny how we don't even give a + shit about the priest. + + RAY + You become a priest, you've got to + accept whatever's coming to you. I + assumed it was some paedophile + thing. Didn't you? You know how + Harry is about kids. + + KEN + No. That church was in the middle + of one of Harry's housing + developments. The priest was just + on the action committee against it. + + RAY + Oh. Great. + +LATER. Both in bed, wide awake. RAY thinking of the killing +of the little boy. KEN thinking of killing RAY. + 61. + + + Sounds of a couple having sex start up next door. They look + at each other, laugh a little, then turn back to their + respective ceilings. + + RAY + I kinda like hearing people having + sex. Means at least somebody around + here's happy. + + KEN + It doesn't mean they're happy. It + just means they're having sex. + + RAY + (pause) + We're a barrel of fucking laughs, + aren't we? + + KEN + (sarcastic) + I love cocaine. + + RAY + It's great being a gangster. + + They sigh a while. + + LATER. 8:15 on clock. RAY asleep. KEN dressed, brings the + address 'Raamstraat 17', gently closes the door behind him + as he leaves. RAY opens his eyes, he wasn't asleep at all. + + +43 EXT. BRUGES STREETS - DAY 43 + + KEN wandering the misty dawn streets and bridges to + Raamstraat. Knocks on door at number 17. YURI answers it. + + KEN + Meeting Yuri? + + YURI + Yes, I am Yuri. + + YURI lets him in. + + +44 INT. HOTEL ROOM - DAY 44 + + RAY loads live bullets into the gun. Lays it on the bed. + + Looks out window. Sits on bed. Takes a piece of paper. + Writes "Dear Ken...". + 62. + + +45 INT. YURI'S HOUSE - DAY 45 + + The room is like an arsenal, semi-automatics all over the + walls. KEN is given a handgun... + + YURI + Mr Waters said this might be + necessary... + + ...and a silencer. KEN looks over the gun, attaches the + silencer. + + YURI + There are a lot of alcoves in the + Koningin Astrid Park. You use this + word, 'Alcoves'? + + KEN + Alcoves? Yes. Sometimes. + + YURI + There are not many people around in + these alcoves in Christmastime. If + I were to murder a man, I would + murder him here. Are you sure this + is the right word, 'Alcoves'? + + KEN + Alcoves, yes. Kind of like 'Nooks + and crannies'. + + YURI + 'Nooks and crannies', yes. Perhaps + this would be more accurate. 'Nooks + and crannies'. Rather than + 'Alcoves'. Yes. + + KEN is still looking the gun over, somewhat sadly. + + YURI + You are going to do it, aren't you? + Mr Waters will be very + disappointed... + + KEN + Of course I'm going to fucking do + it. + (pause) + It's what I do. + + +46 EXT. PHONE BOX - BRUGES STREET. DAY 46 + 63. + + + RAY dials a number. The other end is picked up. + + CHLOE (O.S.) + (sleepily) + Hello? + + RAY + It's Raymond. + + CHLOE + Hello Raymond. What time is it? + + RAY + Early. Listen, I nicked some of + your drugs last night. + + CHLOE + I know. It's okay. + + RAY + Out of your froggy thing. + + CHLOE + It's okay. + + RAY + The fucking midget hogged most of + 'em anyway. Oh, and I took some of + your bullets too. I'm sorry. + + CHLOE + What did you want the bullets for? + + +47 SHOOTING SCRIPT - IN BRUGES - 29/12/2006 57. 47 + + RAY + It doesn't matter. How's your + skinhead boyfriend? + + CHLOE + He's not my boyfriend. He's lost + the sight in one eye. + + RAY + Oh great, so I bet he's pissed off + with me now too. + + CHLOE + Can I see you today? + (pause) + Raymond? Can I see you today? + 64. + + + RAY + I'm just calling to say goodbye, + Chloe. I've got to hang up the + phone now. + + RAY hangs up, walks off. + + +48 INT. BAR - DAY 48 + + A large whisky in front of him, drizzly rain outside, KEN + sits there thinking. + + +49 INT. LONDON BROTHEL (1970'S) - NIGHT 49 + + FLASHBACK. KEN (in his early 20's) holds the dead body of + his beautiful black WIFE. There's blood all over the bed + and walls, and another WORKING GIRL standing beside it, + staring. + + KEN is in tears as HARRY (early 20's) bursts into the room. + + HARRY + Who? + + WORKING GIRL + Potter. + + KEN + (numb, rocking) + She's gone, Harry. She's gone. + + HARRY + Yeah, I can see that, Ken. Why + don't you just sit there crying + about it? I'll sort it out. + + KEN + I'm coming with you. + + HARRY + Ken, it's Potter. Just sit there + and take care of your missus. + + HARRY exits. + + +50 INT. LONDON POLICE STATION (1970'S) - NIGHT 50 + + FLASHBACK. HARRY approaches the DESK SERGEANT. + + DESK SERGEANT + 65. + + + Well, well. Harry Waters. Come to + turn yourself in? + + HARRY + Hello Blinky... + + DESK SERGEANT + (blinking) + Don't call me Blinky... + + HARRY + Is Mr Potter about? + + DESK SERGEANT + It's Detective Potter to you... + + HARRY + Oh, there he is. I'll go straight + through... + + HARRY brushes past the DESK SERGEANT and approaches POTTER, + who's sharing a joke with some uniformed SUBORDINATES. The + DESK SERGEANT tries to catch HARRY up. + + POTTER + Waters ? What the fuck are you...? + + In one swift motion, HARRY lets a machete slide down from + his sleeve and hacks it clean through POTTER'S neck, + completely beheading him. The SUBORDINATES and the DESK + SERGEANT just stare, stunned, as his head and body fall to + the floor. + + HARRY + Now don't get mad but I think I + just beheaded your Detective. + + HARRY tosses the machete away over his shoulder. END + FLASHBACK. + + +51 INT. BRUGES STREETS - DAY 51 + + KEN walking back to the hotel, drizzly rain, Christmas + clutter, children about. He's hunched up in his overcoat, + gun in pocket, deep in thought. + + +52 INT. HOTEL LOBBY - DAY 52 + + KEN ignores the smiling MARIE completely and darts + upstairs. + 66. + + + MARIE + Your friend was behaving very oddly + this morning. + + KEN comes back down. + + KEN + Oddly? How? + + MARIE + Well, he asked me about the baby, + and if I wanted a boy or a girl, I + said I didn't mind as long as it + was healthy, of course, and then he + gave me two hundred Euros to give + to the baby. I refused, obviously, + but he was quite insistent. Would + you give it back to him when you + see him? I don't want to appear + ungrateful, and it seemed like all + the money he had. + + KEN nods, takes the notes. + + KEN + Do you know where he is now? + + MARIE + He said he was going to the park. + + KEN looks out at the heavy rain. + + +53 EXT. KONINGIN ASTRID PARK - DAY 53 + + RAY on a bench in the rain, watching a solitary MOTHER and + SON in the distant children's playground, the SON splashing + about in Wellingtons, a see-through umbrella in hand. He + looks a lot like the boy from the church. + + Some distance behind RAY, KEN watches him from the cover of + a tree. He sees also the MOTHER and SON, waits for them to + leave. + + At the bench, the rain is heavier on RAY'S face. He doesn't + even flinch. + + At the tree, KEN tightens his collar against the rain. + + Notices... + 67. + + +In the playground the MOTHER finally decides it's too wet +and takes her SON by the hand. They slowly walk off out of +the park. + +RAY watches them go, then slowly looks around the park... + +KEN darts back behind his tree. Waits a few seconds, then +peeks back out to see RAY facing front again, his back to +KEN. KEN takes out and cocks his gun. + + KEN + (quietly) + I'm sorry, Ray. I'm sorry. + +KEN comes out from behind the tree and starts approaching +RAY from behind... + +RAY is totally oblivious to KEN'S approach... + +KEN raises his gun and aims it at the back of RAY's head, +still approaching, just as... + +RAY suddenly raises his own gun, and holds it straight up +in the air for a second. + +KEN into stops dead in his tracks, as... + +RAY places the gun against his own temple and cocks it... + +KEN horrified, screams out almost involuntarily... + + KEN + Ray! Don't...! + +RAY is totally startled. He jumps, the gun falls from his +hand and fifes off a shot as it hits the ground. + + RAY + Fucking hell! Where the fuck did + you come from? + +KEN hides his gun in his overcoat, but RAY sees him as he +does so. RAY quickly picks up his own gun and hides it from +anyone who might've heard the shot. + + KEN + I was behind a tree. What the fuck + are you doing, Ray? + + RAY + What the fuck are you doing? + 68. + + + KEN + Nothing. + + RAY + Oh my God! You were gonna kill me. + + KEN + No I w... You were gonna kill + yourself! + + RAY + Well,... I'm allowed to. + + KEN + No you're not. + + RAY + What? I'm not allowed to and you + are? How's that fair? + + KEN + Um... Can we just get out of this + bloody rain, please? + + +54 EXT. CHILDREN'S PLAYGROUND - DAY 54 + + RAY and KEN huddled in the park's brightly coloured + shelter/climbing thing. Funny faces painted on it's walls. + + RAY + You fucking bastard. + + KEN + I wasn't gonna go through with it, + Ray. + + RAY + Well you fucking looked like you + were gonna go fucking through with + it. Where'd you get that gun? + + KEN + A friend of Harry's. + + RAY + Fuck, man. Let me see it. + + KEN gives RAY the gun. RAY looks it over. + + RAY + Silencer too. Nice. + 69. + + +RAY gives it back without a thought. + + RAY + Mine's a bloody girl's gun... + +RAY gives KEN his gun. He examines it, then puts both guns +away inside his overcoat. + + KEN + I'm keeping it. + + RAY + Pardon me? Gimme my gun back. + + KEN + You're not getting it back. You're + a suicide case. + + RAY + And you're trying to shoot me in + the fucking head! + + KEN + You're not getting that gun back. + + RAY + Oh a great day this has turned out + to be! I'm suicidal, my mate tries + to kill me, my gun gets nicked, + it's pissing down, and we're still + in fucking Bruges! + + KEN + Listen, I'm gonna give you some + money and put you on a train to + somewhere... + + RAY + Back to England? + + KEN + You can't go back to England, Ray. + You'll be a dead man. + + RAY + Ken, I wanna be a dead man! Have + you been missing something? + + KEN + You don't want to be a dead man, + Ray... + + RAY + 70. + + + Ken! I killed a little boy...! + + RAY breaks down in tears that won't stop. KEN holds him, + and RAY allows himself to be held. + + KEN + Then save the next little boy. Just + go away somewhere, get out of this + business, and try to do something + good. You're not going to help + anybody dead. You're not going to + bring that boy back. But you might + save the next one. + + RAY + What am I gonna be, a doctor? You + need exams. + + KEN + Do anything, Ray. Do anything. Just + keep moving. And don't ever go + home. + + +55 INT. HOTEL ROOM - DAY 55 + + RAY packing his stuff away. KEN in bathroom, sees a note on + the sink, which reads 'DEAR KEN, I WENT TO THE PARK SO SHE + WOULDN'T HAVE TO CLEAN IT UP. RAY'. + + RAY + So Harry Waters wants me dead. What + a wanker! + + KEN + He said this whole trip, this whole + being in Bruges thing, was just to + give you one last joyful memory + before you died. + + RAY + In Bruges?! + + RAY laughs at length, KEN also. RAY has to sit on the bed, + he's coughing and spluttering so much. + + RAY + The Bahamas, maybe. Like, + fucking... Fiji. Bruges? Why + fucking Bruges? + + KEN + I suppose it's cheaper. + 71. + + +56 EXT. TRAIN STATION - PLATFORM - DAY 56 + + RAY loads his bag onto the train, then lowers the window to + talk to KEN on the platform. + + KEN + You've got a few minutes. + + RAY gives KEN a little package surreptitiously. + + RAY + The rest of the acid and the + ecstasy. + + KEN + Why don't you keep it? + + RAY shakes his head. + + RAY + Think I'm gonna clean myself up a + bit. Cut down on the booze. Become + a worthwhile citizen a bit. Yeah. + Can I have my gun back, please? + + KEN shakes his head. + + RAY + What am I gonna do, Ken? What am I + gonna do? + + KEN + Just keep moving. Keep on moving. + Try not to think about it. Learn a + new language, maybe? + + RAY + I can hardly do English. + (pause) + That's the one thing I like about + Europe, though. You don't have to + learn any of their languages. + + KEN + Just forget about home for a while. + See how the land lies in six years, + seven years. Seven years isn't all + that long. + + RAY + It's more than that boy got. + (pause) + 72. + + + My first fucking job. A great + hitman I turned out to be. + + KEN + Some people just aren't cut out for + it, Ray. + + RAY + Are you? + +KEN doesn't answer. + + RAY + When are you going back to England? + + KEN + I'll head back in a couple of hours + or something. + + RAY + Harry isn't gonna be mad at you, is + he, for letting me go? + +KEN smiles. Train doors are slamming, it's ready to go. + + KEN + I'll sort out Harry. + + RAY + Just tell him I'll have probably + killed meself in a fortnight + anyway. + +RAY smiles, the train slowly starts up. + + KEN + You won't, will you, Ray? + +RAY just looks at him a while, then shrugs, as the train +pulls away. They wave goodbye sadly, tears in their eyes. +KEN dials a number on a public phone on the platform. + + KEN + Harry? It's Ken. Listen to this + noise... + +KEN holds the phone out towards the departing train. + + KEN + You know what that is? + (pause) + 73. + + + I know you know it's a train. But + do you know what train? Well, it's + a train that Ray's just got on, and + he's alive and he's well, and he + doesn't know where he's going and + neither do I. So, if you need to do + your worst, do your worst. You've + got the address of the hotel, I'll + be here waiting. Cos I'm getting to + quite like Bruges now. It's like a + fucking fairy-tale or something. + + KEN hangs up and walks away as the train passes into the + distance behind him. + + +57 EXT. BRUGES STREETS - DAY 57 + + KEN heads back towards the distant spires and bell-tower of + Bruges proper, huddled up against his fate. + + +58 INT. TRAIN CARRIAGE - DAY 58 + + RAY alone in a carriage with his thoughts as the train + trundles along. Suddenly the brakes are put on, and the + train slows to a halt. RAY looks out window - there's no + station, just flat countryside five minutes from Bruges + town. + + A POLICEMAN comes up along the aisle. + + POLICEMAN + You Irish? + + RAY + Yes + + POLICEMAN + What is your name? + + RAY + Um, Derek... Per-lurrl. + + POLICEMAN + You heet the Canadian? + + RAY + Hah? + + POLICEMAN + You heet the Canadian? + 74. + + + RAY + I heet the Canadian? I don't know + what you're talking about. + + The POLICEMAN points back along the carriage. RAY looks + that way. At the far end of the carriage, RAY sees a SECOND + POLICEMAN, along with the American-sounding GUY and his + GIRLFRIEND he beat up in the restaurant last night, the GUY + with a cut lip, the GIRLFRIEND with bruising. + + GUY + ‐ + That's him! That's the mother­ + fucker! + + GIRL + You asshole! + + The POLICEMAN takes out his cuffs. + + POLICEMAN + You heet the Canadian, yes? + + RAY + Canadian? Shit. + + The POLICEMAN cuffs RAY'S hands behind his back. + + POLICEMAN + We're taking you back to Bruges. + + RAY + Brilliant. + + The POLICEMAN walks RAY back along the aisle. + + +59 INT. HARRY'S HOUSE - DAY 59 + + STUDY. HARRY stares at the phone he's just put down. + + LIVING-ROOM. His kids, aged 8, 7 and 5, are playing happily + with their Japanese au pair, IMAMOTO. The children's + mother, NATALIE, an aging dolly bird, sits reading 'Hello'. + + Sound of a phone being smashed to pieces in the next room. + + The children are startled at first, then giggle - it's + obviously happened before. NATALIE sighs, gets up. + + STUDY. HARRY is smashing the final remnants of the phone + against the wall with the cord, as NATALIE comes in. + 75. + + + NATALIE + Harry. + + HARRY + What? + + NATALIE + It's an inanimate fucking object. + + HARRY + You're an inanimate fucking object! + +NATALIE sighs, exits. Breathing deeply, HARRY tries to calm +himself, puts the remnants of the phone on the table. Takes +his passport from a cluttered drawer, flips through it - no +stamps on any of the pages. Pockets it. + +LIVING-ROOM. HARRY tenderly kisses and hugs each of his +kids goodbye, as NATALIE and IMAMOTO watch, bemused. + + HARRY + You lot be good for your mummy and + Imamoto, okay? Daddy's got to go + away for a few days. + + NATALIE + Where you going? + + HARRY + Got to go to Bruges. + + NATALIE + Bruges? Where's that? + + HARRY + It's in Belgium. + + NATALIE + Why would anybody have to go to + Belgium? + + HARRY + I have to sort something out. + + NATALIE + Is it something to do with the + phone? + + HARRY + It's something to do with Ken. It's + a matter of honour. + + NATALIE + 76. + + + It ain't gonna be dangerous, is it? + + HARRY + Well course it's gonna be dangerous + if it's a matter of fucking honour! + + NATALIE + You are bringing the fellas with + ya. Tell me you're bringing the + fellas with ya? + + HARRY shakes his head sadly. + + HARRY + I'm sorry for calling you an + inanimate object. I was upset. + + NATALIE + I'm scared, Harry. I don't want you + to go. + + HARRY + There's nothing to be scared about. + + They look at each other. They both know that there is. + + +60 INT. EUROSTAR TRAIN - DAY 60 + + HARRY watching the English countryside pass by, his mood + grim, a suit-and-tied BUSINESSMAN opposite him. + + BUSINESSMAN + Off to Belgium on business? + + HARRY + If I'd wanted a conversation with a + cunt, I'd've gone to the "Have a + conversation with a cunt" shop. + + The BUSINESSMAN can't even speak. The train enters the + darkness of the channel tunnel. + + +61 INT. HOTEL ROOM - DAY 61 + + KEN dresses in a neat suit and tie, hides RAY'S gun in a + cupboard, checks his own gun is loaded and pockets it, and + lays a sealed envelope on the pillow of his neatly-made + bed. + + He looks over the room one last time, and exits. + 77. + + + The envelope reads 'MY LAST WILL AND TESTAMENT'. + + +62 EXT. BRUGES STREETS - DAY 62 + + HARRY walking through the same pretty streets that RAY and + KEN did earlier, taking it all in, remembering the last + time he was here. + + FLASHBACK: HARRY, AGED SEVEN, hand in hand with a MAN we + can't quite see, taking in the church towers, the horse and + carts, the canals, the swans, et al, happily, mouthing + words we don't hear, pulling the MAN along. The MAN is + dressed in black. + + +63 EXT. MARKET SQUARE - DAY 63 + + HARRY looking up at the bell-tower. + + FLASHBACK: HARRY, AGED SEVEN, racing into the tower, the + UNSEEN MAN behind him. + + +64 INT. BELL TOWER - DAY 64 + + FLASHBACK: HARRY, AGED SEVEN, racing up the winding steps, + the UNSEEN MAN trying to keep up, HARRY rabbiting on. + UNSEEN MAN comes out on the dark look-out room, to see + HARRY trying to jump up to see out of the window. HARRY + gestures to be picked up. The man does so. HARRY looks out + at the town below, thrilled. + + After a moment, the UNSEEN MAN puts him back down and + gestures for HARRY to go back downstairs. HARRY complains + they've only just got up there. The MAN gestures more + forcefully, and HARRY trudges away moodily, leaving the MAN + alone there. + + UNSEEN MAN (O.S.) + Not here. Not here. + + +65 EXT. CANALSIDE - DAY 65 + + HARRY leaning on a wall, looking at the waters below, a + leaf in his hand, thinking. + + UNSEEN MAN (V.O.) + Did you like Bruges, Harry? + + HARRY - AGE SEVEN (V.O.) + 78. + + + Oh my God, it was like a fairy-tale + or something! It was the best + holiday I've ever had in my life! + + UNSEEN MAN (V.O.) + Well, seeing as I did that whole + trip for you, will you do something + for me? + + HARRY - AGE SEVEN (V.O.) + Oh anything, Father! Anything! + + FLASHBACKS A smiling HARRY AGED SEVEN'S cheek is gently + caressed by the UNSEEN MAN'S hand. The hand bears the same + crucifix signet ring as the man in SCENE 20. HARRY loses + his smile somewhat. + + Back in present day Bruges, HARRY lets the leaf he was + holding fall into the waters below, and watches it slowly + float away. + + +66 INT. YURI'S HOUSE - DAY 66 + + EIRIK on couch, forlorn, one eye heavily bandaged. HARRY + looks him over as he enters... + + HARRY + Aye aye... + + ...as YURI lays out a bunch of heavy duty guns to choose + from; Uzi's, Magnum's, etc. + + YURI + Take your pick, Mr Waters. + + HARRY + An Uzi? I'm not from South Central + Los-fucking-Angeles. I didn't come + here to shoot twenty black ten- + year-olds in a fucking drive-by. I + want a normal gun for a normal + person. + + YURI gets him a run of the mill .45. + + YURI + I knew he wouldn't kill the guy. I + could see it in his eyes. When I + was telling him about the alcoves. + + HARRY + About the what? + 79. + + + YURI + The alcoves. The alcoves in the + Koningin Astrid Park. + +HARRY is nonplussed. + + YURI + Oh, I also have some Dum-Dums. You + use this word, 'Dum-Dums'? The + bullets that make the head explode. + + HARRY + Dum-Dums, yes. + + YURI + Would you like some of these Dum- + Dums? + + HARRY + I know I shouldn't, but I will. + +YURI gives him a box of bullets. + + EIRIK + Motherfucker. + + HARRY + Is he talking to me? + + YURI + No, Eirik's on your side, Mr- + Waters. Your young friend blinded + him last night. + + HARRY + Ray did? + + EIRIK + I was trying to rob him and he took + my gun from me, and the gun was + full of blanks, and he shot a blank + into my eye, and now I cannot see + from this eye ever again, the + doctors say. + + HARRY + Well, to be honest, it sounds like + that was all your fault. + + EIRIK + Hah? + + HARRY + 80. + + + I mean, basically, if you're + robbing a man, and you're only + carrying blanks, and you allow your + gun to be taken off you, and you + allow yourself to be shot in the + eye with a blank, which I assume + the person has to get quite close + to you, then, yeah, really it's all + your fault for being such a poof. + So why don't you stop whinging and + cheer the fuck up? + + EIRIK is about to react angrily... + + YURI + Eirik? I really wouldn't respond. + + EIRIK calms down. + + EIRIK + I thought you wanted the guy dead. + + HARRY + I do want the guy dead. I want him + fucking crucified. It doesn't + change the fact that he stitched + you up like a blind little gayboy, + does it? Thanks for the gun, Yuri. + + HARRY leaves the house. + + YURI + (in Flemish, subtitled) + He's under a lot of stress. + + +67 EXT. MARKET SQUARE - NIGHT 67 + + HARRY walking the cobbled streets to the square as dusk + falls, a pop-up map with 'KEN'S HOTEL' circled and arrowed. + + Suddenly, ten feet behind his map, he sees KEN sitting at a + table outside a bar, staring straight back at him, a beer + in front of him. + + HARRY freezes, hand on gun in pocket. KEN sips his beer + nonchalantly and gestures for HARRY to come and sit down. + + After a moment, HARRY does so. They sit in silence for + quite a while. + + HARRY + Well? + 81. + + + KEN + The boy's suicidal, Harry. He's a + walking dead man. He keeps going on + about Hell and purgatory and... + + HARRY + When I phoned you yesterday, did I + ask you, "Ken, will you do me a + favour and become Ray's + psychiatrist, please?" No. What I + think I asked you was "Could you go + blow his fucking head off for me?" + (pause) + "He's suicidal". I'm suicidal! + You're suicidal! Everybody's + suicidal! We don't all keep going + on about it! Has he killed himself + yet? No. So he's not fucking + suicidal, is he? + + KEN + He put a loaded gun to his head + this morning. I stopped him. + + HARRY + He...? This gets fucking worse...11 + +HARRY gestures for a beer from the WAITER. + + KEN + We were down the park... + + HARRY + Let me get this right... "You were + down the park"? What's that got to + do with fucking anything? Let me + get this right. Not only have you + refused to kill the boy, you've + even stopped the boy from killing + himself. Which would've solved my + problem, which would've solved your + problem, and which, it sounds like, + would've solved the boy's problem! + + KEN + It wouldn't've solved his problem. + + HARRY + 82. + + +Ken, if I'd killed a little kid, +accidentally or otherwise, I +wouldn't've thought twice, I'd've +killed myself on the fucking spot! +On the fucking spot! I'd've stuck +the gun in my mouth on the fucking +spot! + + KEN +But that's you, Harry. The boy has +the capacity to change. The boy has +the capacity to do something decent +with his life. + + HARRY +Excuse me, Ken. I have the capacity +to change. + + KEN +Yeah, you do. You've got the +capacity to get fucking worse! + + HARRY +Oh now we're getting down to it! + + KEN +Harry, let's face it, and I'm not +being funny and I mean no +disrespect, but you're a cunt. +You're a cunt now, you've always +been a cunt, and the only thing +that's gonna change is you're going +to become an even bigger cunt. And +maybe have some more cunt kids. + + HARRY +Leave my kids fucking out of it! +What have they done?! + + HARRY +You fucking retract that bit about +my cunt fucking kids... 1 + + KEN +I retract that bit about your cunt +fucking kids. + + HARRY +Insulting my fucking kids! That's +going overboardr mate! + + KEN +I've retracted it, haven't I? + 83. + + + (pause) + That still leaves you being a + cunt... + + HARRY + I fucking got that!! + + HARRY takes a big drink, deciding what to do, where to go. + + KEN drinks too. + + HARRY + Where's Ray now? + + KEN + Right about now, Ray's in one or + the other of the one million towns + in mainland Europe it's possible to + be in. Other than here. + + +68 INT. BRUGES POLICE STATION - NIGHT 68 + + CHLOE waiting, DESK CONSTABLE doodling. She stands, + excited, as RAY is released. + + RAY + I'll get the money back to you as + soon as I get through to my + friend.•. + + CHLOE + It's not a problem, Raymond. + + RAY + And I'll get all your acid and + ecstasy back to you too... + + The DESK CONSTABLE looks up. + + CHLOE + (in French, subtitled) + English humour! + + She quickly leads him out. + + +69 EXT. CANALSIDE - NIGHT 69 + + CHLOE and RAY walking. + + RAY + 84. + + + Bloody Bruges again. I seriously + think I'm never gonna get out of + this town alive. + + CHLOE + Let's go to my place. + + RAY + That's a bit forward, Chloe. + + CHLOE + Uh-huh? And how about this... ? + + She kisses him at length. + + RAY + Let's go get a drink first... + + CHLOE + No. Let's go have a fuck first, + Richard Burton, then let's go get a + drink. + + RAY + 'Richard Burton', you're funny. + + +70 INT. CHLOE'S APARTMENT - NIGHT 70 + + RAY and CHLOE trying to make love; RAY can't quite get + there, but there's something so tender between them it + doesn't even matter. + + RAY + Somehow I didn't think I'd be here + tonight. + + CHLOE + Is Bruges so bad? + + He smiles, caresses her tummy. + + RAY + Bits of it are alright. + (pause) + But, seriously Chloe, can we go and + get that drink now, seriously? + + She hits him with a pillow and gets up, smiling. + + +71 EXT. BRUGES STREETS - NIGHT 71 + 85. + + + Arm in arm, CHLOE points the best direction to go - towards + Market Square and the bell-tower there. RAY tells her about + the OVERWEIGHT AMERICAN incident in mime. + + +72 EXT. MARKET SQUARE - NORTH SIDE - NIGHT 72 + + The bell-tower high in the background on the other side of + the square, HARRY finishes his drink. + + HARRY + I'm assuming you've got your gun on + you. + + KEN + (nods) + That Yuri bloke's a funny fella, + isn't he? + + HARRY + (nods) + He does Yoga. + + KEN + 'Alcoves'. + + HARRY + Was he going on to you about the + 'Alcoves'? + + KEN + 'The alcoves in the Koningin Astrid + Park'. + (pause) + Harry, I know you've gotta do what + you've gotta do, but it's a bit + crowded around here, you know? + + HARRY + Well I'm not gonna have a shoot-out + in the middle of a thousand fucking + Belgian's, am I? Not to mention the + other nationalities, just on their + holidays. + + KEN + Mm. To see the swans and the Gothic + and all the fairy-tale stuff, eh? + + HARRY + Are you trying to fucking wind me + up?! + 86. + + + KEN + No, Harry... + + HARRY + On top of calling me a cunt and + calling me kids cunts 1 I might + just have to fucking shoot you + right here! Christ! + + KEN + Let's go up the bell-tower. It'll + be quiet up there, this time of + evening. Let's go up there. + + HARRY looks up at it a while, then nods. They stand, KEN + pays the bill, and they start walking towards the tower, + just as it chimes six o'clock. + + +73 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 73 + + As the tower continues chiming, CHLOE and RAY look up at it + a second, then continue walking away from it, in the + direction that HARRY and KEN are coming from. + + RAY + Yeah, Canadians. Poor sods. I'm + terrible at telling the difference + between that lot. They still kind + of deserved it, but not as much. + They didn't kill John Lennon, did + they? Anyway, I'm supposed to turn + up to court here in two days. + + CHLOE + Are you going to turn up? + + RAY + I dunno. What have I got to stay + for, really? + + CHLOE smiles and kisses him, accidentally obscuring his + face from HARRY and KEN as they pass, oblivious. + + CHLOE + The most beautiful woman... + (kiss) + ... you've ever seen... + (kiss) + ... in all of your life. + + RAY + (pause) + 87. + + + The black one off of Star Trek? Is + she here? + + CHLOE mimes shooting RAY in the head. They take an outside + table at a bar there. In the background, HARRY and KEN + enter the bell-tower. + + +74 INT. BELL TOWER - ENTRY KIOSK - NIGHT 74 + + The stern TICKET-SELLER is out in front of the turnstile, + the entranceway is roped off. + + TICKET-SELLER + The tower is closed this evening. + + KEN + No way! It's supposed to be open + til seven. + + TICKET-SELLER + The tower is usually open until + seven. Yesterday an American had a + heart-attack up the tower. The + tower is closed this evening. + + HARRY + Here, Cranky, here's a hundred for + ya. We're only gonna be twenty + minutes. Okay? + + HARRY sticks a hundred euros in the TICKET-SELLER'S pocket. + + The TICKET-SELLER takes it out, scrunches it up, tosses it + at HARRY'S head, then taps the following words on HARRY'S + forehead with his finger. + + TICKET-SELLER + The tower... is closed..., this + evening. Understand,... Englishman? + + KEN can only smile, A few specks of blood spatter the wall + as we hear the sounds and see the shadow of the TICKET- + SELLER being quickly pistol-whipped unconscious. + + +75 EXT. BELL TOWER - NIGHT 75 + + EIRIK, in passing, sees HARRY shiftily roping off the + entranceway of the bell-tower. Knowing something unlawful + is occurring, he passes on. + 88. + + +76 INT. BELL TOWER - NIGHT 76 + + HARRY and KEN, huffing and puffing up the bell-tower steps, + finally reach the room at the top. They slowly get their + breath back, look out at the view. + + +77 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 77 + + RAY and CHLOE at table - staring at something in open- + mouthed shock. + + RAY'S POV - it's JIMMY the dwarf, standing staring at them, + dressed in the school uniform of a small boy, complete with + peaked cap, satchel and short trousers. His expression is + deadpan, even as RAY and CHLOE burst out laughing. END POV. + + They try to stop laughing, but can't. JIMMY stays staring + at them. + + RAY + Jimmy, I've been wanting to say I'm + really sorry for Karate-chopping + you the other night. That was way + out of order. + + JIMMY + Yeah, y'know, Ray, I'd find it + easier to believe you and forgive + you, somehow, if the two of you + weren't laughing straight in my + fucking face! + + They try to stop, but again can't, til JIMMY eventually can + only see the funny side too. He smiles, and joins them at + their table. + + JIMMY + It's for the goddam movie, man. + + Some distance away, EIRIK walks by, but as his blinded eye + is towards them, he doesn't see them at all, and passes on. + + +78 INT. BELL TOWER - NIGHT 78 + + HARRY and KEN look out at the view a while. Freezing fog is + gradually descending. + + KEN + 89. + + + It is a nice town, Harry. I'm glad + I got to see it. I didn't mean to + take the piss out of it being a + fairy­tale place. It is a fairy- + tale place. It really is. + + HARRY + Mm. It's just a shame it's in + Belgium, really. But then, you + think, if it wasn't in Belgium, if + it was somewhere good, there'd be + too many people coming to see it, + it'd spoil the whole thing. + + KEN + I'm glad I got to see it. Before I + died. + +KEN slowly opens his jacket, gently, safely, takes his gun +out butt first, as HARRY quickly takes his out too,... + + HARRY + What are you doing? + +...and tosses it at HARRY'S feet. + + HARRY + What are you fucking doing?! + + KEN + I ain't fighting any more, Harry. + + HARRY + Alright. Then I'm blowing your + fucking head off... + +HARRY points his gun at KEN's head. KEN nods in acceptance. + + HARRY + Oh don't come over all Gandhi! What + are you doing?! + +HARRY tosses his gun back to him. + + HARRY + Ken, stop messing about please. + Pick up your gun. I know I'm gonna + beat you anyway, cos you're a spaz, + but... + + KEN + 90. + + + Harry. I am totally in your debt. + The things that's gone between us + in the past, I love you + unreservedly for all that. For your + integrity, for your honour. I love + you. + (pause) + The boy had to be let go. The boy + had to be given a chance. And if to + do that I had to say fuck you and + fuck what I owe you and fuck + everything that's gone on between + us then that's what I had to do. + But I'm not fighting you. And I + accept totally everything you've + got to do. I accept it totally. + + HARRY + Oh yeah? + + KEN + Yeah. + + HARRY + (pause) + Well you say all that fucking + stuff, I can't fucking shoot you + now, can I? + + KEN + It's entirely up to you, Harry. + It's entirely your call. All I'm + saying is, I ain't fighting. + +Pause. HARRY raises his gun and shoots KEN in the leg. KEN +rolls around in pain. + + KEN + You fucking cunt 11 + + HARRY + Like I'm not gonna do nothing to ya + just cos you're standing about like + Robert fucking Powell! + + KEN + Like who?! + + HARRY + Like Robert fucking Powell out of + Jesus of fucking Nazareth. + + KEN + 91. + + + My fucking leg! + + HARRY + Oh shut your whinging, pick up your + gun and let's get out of this + place, it's freezing, and don't + think I haven't clocked you calling + me a cunt again, ya cunt. + + HARRY gives KEN back his gun, helps him up and gives him a + shoulder to lean on as they traipse down stairs. + + +79 EXT. MARKET SQUARE - SOUTH SIDE -NIGHT 79 + + At the table. + + JIMMY + Yeah, it's the final night's + shooting. The psycho dwarf turns + out to be just a lovable little + schoolboy and it was all some kinda + Boschian nightmare. Yeah, kiss my + ass! + + RAY + I guess at least there weren't any + black people involved, eh Jimmy? + + JIMMY puts his hand to his mouth, horrified. + + JIMMY + Aw no. I wasn't talking about... I + wasn't talking about... The War + again, was I? + + RAY nods. JIMMY puts his head in his hands. + + CHLOE + What war? + + RAY + There's gonna be a war between all + the blacks and all the whites. And + all the black midgets and all the + white midgets, which would actually + be really good. + + JIMMY + Aw shit, that's just cocaine. + That's just cocaine. + + RAY + 92. + + + He didn't even want the Vietnamese + on his side! + + CHLOE + You've got to have the Vietnamese + on your side. + + RAY + That's what X said. + + JIMMY + Man, I'm never gonna touch coke or + Ketamine or Ecstasy or acid ever + again. + (to CHLOE) + What else have ya got, Chloe? I'm + kinda... + + They laugh. + + JIMMY + Listen, we're filming down by the + Vismarkt tonight, this wild bloody + endgame thing. It should actually + be quite fucked up. You guys should + come along. + + CHLOE + I think we might just have a quiet + one tonight, Jimmy. + + JIMMY + Ohh, so that's how it is! Well, in + another life. + + Smiling, shaking hands, they make their goodbyes. + + +80 EXT. MARKET SQUARE - NORTH SIDE - NIGHT 80 + + Bell-tower in background, EIRIK remembers his keys or + something and, pissed off, turns around and heads back the + way he came. + + We follow him all the way, until he gets to the bar RAY and + CHLOE are at and JIMMY is walking away from. Suddenly + seeing them, EIRIK stops dead in his tracks. CHLOE ushers + him over. + + EIRIK edges away, then sprints for the bell-tower. RAY and + CHLOE watch him go, bemused. + 93. + + +81 INT. BELL TOWER - NIGHT 81 + + HARRY helping KEN down the winding wooden stairs with great + difficulty, they suddenly hear someone running up towards + them from far off. They sit on the steps and await the + strangers approach. The distant footsteps get closer and + closer, until they hear, still from far below... + + EIRIK + Mister Waters? Mister Waters? + + HARRY + Who's that? + + EIRIK + It's Eirik. + + HARRY + The blind boy? + + EIRIK + Ye... Er,.. Yes. + + HARRY + What do you fucking want? + + EIRIK + The guy you're looking for, the guy + Ray? He's downstairs. + + HARRY and KEN freeze. + + HARRY + He's where? + + EIRIK + He's downstairs, at a bar. + + In a flash, HARRY and KEN, still sitting side by side, pull + their guns and try to point them at each other, at the same + time as their free hands grab each others gun hands. + + It's like some slow, deathly arm-wrestling match, but HARRY + is the stronger man, and though KEN keeps struggling, he + knows there is nothing he can do, as HARRY slowly slowly + slowly brings his gun all the way up to KEN's neck. + + They look at each other in the eye, KEN crying a tear, + HARRY almost. HARRY blows a massive hole in KEN's neck. KEN + collapses, dropping his gun. HARRY gets up. + + HARRY + 94. + + + I'm sorry, Ken. You can't kill a + kid and expect to get away with it. + You just can't. + + KEN nods. HARRY starts racing downstairs. KEN leans back on + the bloody wooden staircase, dying. Sounds of HARRY'S + footsteps echo up, gradually getting more distant. + + Suddenly KEN gets an idea. He picks up his gun and slowly + starts pulling himself up the stairs, towards the look-out + room. + + STAIRWELL. HARRY continues his spiral descent. + + +82 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 82 + + Still bemused by EIRIK'S behaviour but not actually + worried, RAY orders from the WAITER. + + RAY + One gay beer and one normal, + please. Thanks. + + CHLOE + What's a gay beer? + + RAY + (bemused) + A beer that gay people drink. + + +83 INT. BELL TOWER - NIGHT 83 + + LOOK-OUT ROOM. Pouring blood and weak as hell, KEN makes a + massive final effort to pull himself onto a side wall. He + pulls out his gun and looks down at the Market Square + below. + + KEN'S POV - The freezing fog has descended so heavily that + nothing whatsoever can be seen down there. + + KEN loses hope, leaning in the window. + + +84 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 84 + + RAY kisses CHLOE at the table. She touches his face as they + break, the bell-tower entrance framed directly behind her. + + +85 EXT. BELL TOWER - NIGHT 85 + 95. + + + STAIRWELL. HARRY still racing down, passes EIRIK. + + HARRY + Where? + + EIRIK + To the left when you come out. The + bar to the left. + + HARRY continues on. + + LOOK-OUT ROOM. The forlorn KEN suddenly gets an idea. He + puts his gun inside his jacket, buttons it up tightly, then + takes out a handful of coins and lets a few drop out + through the open window, down into the fog. + + +86 EXT. MARKET SQUARE - NIGHT 86 + + Almost in SLOWMO, the coins fall out of the fog, landing in + the square, frightening the PASSERS-BY, who move away from + it, looking up... + + +87 INT. BELL TOWER - NIGHT 87 + + LOOK-OUT ROOM. KEN drops out all the rest of his coins. + + +88 EXT. MARKET SQUARE - NIGHT 88 + + The coins hit the ground heavily, warning the PASSERS-BY to + give the tower an even wider berth. Even RAY has noticed + something's wrong. He looks over and up... + + +89 INT. BELL TOWER - NIGHT 89 + + STAIRWELL. HARRY getting down lower and lower... + + LOOK-OUT ROOM. Scared, KEN breathes deeply, then lets + himself fall through the window, out into the fog. + + +90 EXT. MARKET SQUARE - NIGHT 90 + + As the PASSERS-BY and RAY are still looking up, a figure + plummets out of the fog and crashes to the ground in a + hideous broken heap. The PASSERS-BY move away in screaming + horror. + 96. + + +RAY flinches in disgust, turning CHLOE's face away, then, +as he brings himself to look again, slowly realises who it +is. + +He sprints over and collapses to his knees beside him. + +KEN's head, chest and shoulders have just about survived +the impact; everything else is pulp. + + RAY + Ken?! Ken?! + + KEN + Harry's here. + + RAY + What?! + + KEN + Take my gun. + +RAY reaches inside KEN's bloodied coat, and comes out with +the broken useless gun. Bits of KEN's heart drip off it. + + RAY + Ken? Where's my gun?! Where's my + gun?! + + KEN + (slowly, trying to think) + Hotel... + + RAY + Oh Ken, Jesus...! + + KEN + I'm gonna die now, I think. + +KEN nods, then dies. RAY is shaking in horror and sadness. + +HARRY bursts out of the tower, sees CHLOE and everyone else +staring at the bloody scene. He follows her gaze, and sees +RAY. + +RAY sees him but cannot move. + +HARRY sees KEN'S pulped corpse, the broken gun in RAY's +hand, realises what's gone down. He acknowledges, somehow, +KEN's sense of honour, courage, what have you. + +RAY starts backing away... + 97. + + + Which snaps HARRY out of it. He raises his gun... + + CHLOE screams... + + Harry fires at RAY but misses... + + ...And RAY sprints rapidly away, PASSERS-BY and CHLOE + scattering. + + HARRY gives chase, firing whenever he has a clear shot. + + RAY cuts down an alley and HARRY follows. + + +91 EXT. BRUGES STREETS - NIGHT 91 + + LONG CHASE SEQUENCE. Down the same cobbled streets, dark + canal-sides and bridges that we've seen earlier, now all + mist-strewn and doubly eerie, RAY is chased and shot at by + HARRY. + + However, because RAY already knows these streets so well, a + large gap starts opening up between them. + + We CRANE UP as RAY takes another couple of fast corners, + taking his jacket off, doubling back on himself, and + finally comes out on his hotel, checks that he's lost HARRY + and, breathless, enters. + + +92 INT. HOTEL LOBBY - NIGHT 92 + + MARIE is behind the desk. + + MARIE + Oh. Mr Blakely said you'd left... + + RAY + I need the key to the room right + now. QuicklyI Now! + + She finds and gives it to him. + + RAY + And I need you to lock up and go + home right now. It's very very + dangerous here. Okay? Go home right + now! + + MARIE + Okay... + 98. + + + Realising how serious he is, MARIE gathers up her coat and + stuff. RAY heads upstairs. + + MARIE + Is Mr Blakely not coming back + tonight? + + RAY winces, keeps moving. + + +93 EXT. BRUGES STREETS - NIGHT 93 + + HARRY, breathing hard, opens his pop-up map of Bruges with + 'KEN'S HOTEL' circled, and looks up at a street sign. + + +94 INT. HOTEL ROOM - NIGHT 94 + + RAY quickly tears the room asunder and finds the hidden + gun, checks it's loaded. He sees the 'Last Will' envelope + and almost cries, but stops as he suddenly hears + downstairs... + + MARIE (O.S.) + No I won't let you up there. Put + that gun away right now. + + HARRY (O.S.) + Lady, get out of my way, please. + + MARIE (O.S.) + No. I won't. I won't get out of + your way. You'll have to go through + me. + + RAY goes to the top of the stairs, peeks round the corner + and down at MARIE on the second step of the stairs, + blocking the way of HARRY, below her. RAY crouches down and + takes aim as they argue... + + RAY'S POV: Along the barrel of the gun, he has a clear shot + of HARRY, but it's just above MARIE'S pregnant tummy. + + END POV. + + HARRY + Well obviously I'm not gonna go + through you, am I, with your baby + and that. I'm a nice person. But + could you just get out of the + fucking way, please? + 99. + + +RAY chooses not to take the shot, and lowers the gun. As +RAY speaks, HARRY ducks out of sight. + + RAY + Marie? Just let him come up, it's + okay. Harry? Swear not to start + shooting until she's left the + hotel. + + HARRY + I swear not to start shooting til + she's left the hotel. I totally + swear. + + MARIE + Well I'm not going anywhere. This + is my hotel. So you can fuck off. + +MARIE sits in the middle of the narrow stairs. HARRY is +astonished. RAY peeks out and looks down at him. They +exchange a look of 'What the hell is wrong with this +woman?' + + HARRY + I suppose you've got a gun up + there? + + RAY + Yeah. + + HARRY + Well what are we gonna do? We can't + stand here all night. + + MARIE + Why don't you both put your guns + down and go home? + + HARRY + ‐ + Don't be stupid. This is the shoot­ + out. + + RAY + Harry? I've got an idea. Listen, my + room faces onto the canal, right? + I'm gonna go back to my room, jump + into the canal and see if I can + swim to the other side and escape. + + RAY + 100. + + + If you run outside and round the + corner, you can shoot at me from + there and try and get me. But that + way we leave this lady and her baby + out of the whole entire thing. + + HARRY + Do you completely promise to jump + into the canal? I don't wanna run + out there and come back in ten + minutes and find you fucking hiding + in a cupboard. + + RAY + I completely promise, Harry. I'm + not gonna risk having another + little kid die, am I? + +MARIE hears that, disturbed and saddened. + + HARRY + So, hang on, I go outside and then + I go which way, right or left? + + RAY + You go right, don't ya. You can see + it from the doorway. It's a big + fucking canal! + + HARRY + Alright! Jesus! I've only just got + here, haven't I?! Okay. On a count + of 'One, two, three, go'. Okay? + + RAY + Okay. + (long tense pause) + What, who says it? + + HARRY + Oh. Er, you say it. + + MARIE + You guys are crazy!! + + RAY + Alright, ready? + + HARRY + Ready. + + RAY + Set? + 101. + + + HARRY + Set. + + RAY + (pause) + One, two, three, go! + + Sound of RAY stomping into his room. HARRY rushes outside. + + MARIE is left sitting there, stunned. + + +95 INT/EXT. HOTEL ROOM - NIGHT 95 + + RAY pulls open the lattice-window, looks down into the + waters below, prepares himself... + + ...then sees a canal-boat approaching quickly out of the + freezing fog, empty save for the DRIVER. RAY times it so + it's just under his window as he leaps... + + +96 EXT. CANAL BOAT - NIGHT 96 + + ...And lands in the boat with a thud. His gun, however, + topples out of his hands and is lost in the murk of the + canal. + + RAY + (to DRIVER) + Keep driving! + + RAY suddenly sees HARRY appear at the distant canalside, + look around at the water a few seconds, then spot RAY in + the boat, getting further and further away, into the mist. + HARRY takes aim as the DRIVER speeds up. + + RAY + (quietly) + No way. You're way too far away. + + +97 EXT. HOTEL CANALSIDE - NIGHT 97 + + HARRY steadies his gun hand, takes aim at RAY, steadily + receding into the fog... + + HARRY + No way. I'm way too far away. + + ...and fires. + 102. + + +98 EXT. CANAL BOAT - NIGHT 98 + + RAY is hit fully in the stomach, busting a bloody hole + there. + + He falls back in the boat. The DRIVER speeds towards the + nearest landing dock. + + +99 EXT. CANALSIDE - NIGHT 99 + + HARRY, seeing the boat aiming for the distant dock, sprints + away to cut them off, MARIE watching him go from the + doorway. + + It's beginning to snow. + + +100 EXT. DOCK - NIGHT 100 + + Bleeding profusely and terribly faint, RAY walks up the + steps of the dock. The DRIVER tries to help him, but he + says he's okay, and gives him the last of his money. + + In the background, HARRY can be seen running along the + other side of the canal towards the nearest bridge. + + At the top of the steps, RAY sees distantly, through the + fog and the snow, the arc-lights, the costumes, the cameras + and the people of JIMMY'S film set. He staggers towards + them. + + +101 EXT. BRIDGE - NIGHT 101 + + HARRY puts his gun away so he doesn't look so suspicious to + the PASSERS-BY, but keeps on after RAY. + + +102 EXT. CANALSIDE FILM SET - NIGHT 102 + + RAY slowly staggers into the middle of the misty set, which + seems to be waiting for the freezing fog to clear. All the + EXTRAS are dressed in strange, nightmarish masked costumes, + many frighteningly similar to the demons, and those + terrorised by them, in Bosch's 'LAST JUDGEMENT'. Some have + an identical bullet wound to RAY'S, who staggers through + all these, dizzily, horrified. + 103. + + +He tries to warn them of the danger from HARRY, but they +don't seem to understand. A little way off, JIMMY THE DWARF +gets up to see what all the fuss is about, but can't quite +see through the throng of people, so tries to push his way +through them. + +RAY falls to his knees at one point, but gets up and +staggers on. HARRY finally arrives, a few feet behind him, +and takes his gun back out. The EXTRAS don't seem to be +sure if this isn't all part of their film, somehow. + +RAY suddenly stops dead in his tracks, staring at something +in front of him, horrified. + + RAY + The little boy. + + HARRY + That's right, Ray. The little boy. + +HARRY fires twice through RAY's back. RAY falls to his +knees... + + RAY + Oh Jesus, no...! + +...then slumps to the ground, revealing to us, and to +HARRY, the body of JIMMY THE DWARF, one of the bullets +having passed through RAY and blown JIMMY'S head off. + +RAY crawls up beside him and touches him gently. He's +obviously dead, and with his head half gone, and his +school­cap and uniform still intact, he looks just like a +little dead boy. + +He looks that way to HARRY, anyway, as he stands above the +pair, horror-stricken. HARRY looks at RAY. RAY looks at +HARRY. + + HARRY + Oh. I see. + +Slowly, very slowly, HARRY raises his gun and places it in +his own mouth... + + RAY + No, Harry, no...! + +HARRY takes the gun out again, taps it against his teeth a +moment, thinking, then nods... + + HARRY + 104. + + + You've got to stick to your + principles. + + HARRY puts the gun back into his own mouth... + + RAY + Harry, No! He's not...! + + ...and blows his head completely off. + + RAY slumps back down. The gunshot rings in his ears and all + other sound is gone. + + RAY'S POV - looking up at the misty night sky and the roofs + of the old buildings around as the snow falls heavy; then, + in turn,... + + At the horrifying Bosch figures looking down at him; + + At one-eyed EIRIK somehow amongst them, looking as guilty + as Judas; + + At the dismayed, tear-stricken face of CHLOE being dragged + away from him, screaming (silently); + + At the AMBULANCEMEN and DOCTORS, whose grim countenances + don't seem to hold out too much hope; + + At, from somewhere almost heavenly, MARIE, whose gentle, + angelic, smiling face makes him think it all might work out + alright in the end. + + As the oxygen goes on, as he's loaded into the too bright + ambulance, RAY'S POV FADES TO BLACK. + + LONG PAUSE. + + +103 INT. ROOM - DAY 103 + + CLOSE SHOT of a NEWSPAPER HEADLINE seemingly reading 'IN + BRUGES'. We pull back to reveal the headline actually reads + 'THREE DIE IN BRUGES BLOODBATH'. We pull back further to + reveal, beneath the headline, the photo's of HARRY, JIMMY + and KEN. This whole piece of paper has been pinned to a + wall. + + A telephone starts ringing. + 105. + + +Sitting on his bed, his chest and stomach wrapped in +bandages, is RAY, the newspaper article pinned to the wall +to the side of him. It's three months since the shooting, +he's unshaven and sickly-looking. The phone is still +ringing. + +He puts a couple of ice-cubes from the tray beside his bed +into his glass, pours some whisky in and drinks. The phone +finally stops ringing. + +RAY gets up, still in pain, and moves across the room, +passing another newspaper headline on the wall reading +'STILL NO CLUES IN MURDER OF LITTLE TOBIAS' along with a +large happy picture of the little boy from the church. Also +pinned to the wall is the LITTLE BOY's confession note. + +As we see these, we hear RAY open a cupboard and take +something metallic out. + +Phone starts ringing again. RAY sits back on the bed in the +same position as before, takes another sip of whisky, and +picks up the phone. He doesn't speak. + + CHLOE + Hello?! Hello, Raymond?! + (pause) + Raymond, is that you? + (pause) + Please, Raymond....! + + RAY + Hello, Chloe. + + CHLOE + Ray...! + +SOUND of CHLOE breaking down in tears. + + CHLOE + You went back to London? + + RAY + Mm. + + CHLOE + I wanted to take care of you. + (pause) + They said it was okay to leave? + + RAY + To leave Bruges? + + CHLOE + 106. + + +To leave the hospital. + + RAY +I stayed in Bruges three months +longer than I ever intended to. I +wasn't staying any longer. + + CHLOE +Are you going to come back? + + RAY + (almost tearfully) +I don't think so. + + CHLOE +Well can I come to London to see +you? + + RAY +No. + + CHLOE + (crying) +Raymond, please... Don't be +horrible. + + RAY +I'm not being horrible. + + CHLOE +Then let me come to see you. + + RAY +I'm not gonna be here. + + CHLOE +Where are you going to be? + (pause) +Ray, come back to Bruges. + + RAY +I don't like Bruges. + + CHLOE +You do like Bruges. + + RAY +I don't like Bruges. + (smiling) +It's a shit-hole. + + CHLOE + (laughs) + 107. + + + Say you like Bruges, just a little + bit. + (pause) + Ray? Say you like Bruges, just a + little bit. + + RAY + I like Bruges. Just a little bit. + + CHLOE + Do you really? + + RAY + I liked the swans. + (pause) + And a couple of the people. + + CHLOE + Oh, that lady from the hotel, you + know? Is her name Marie? I met her + on the street yesterday. She had a + baby boy. + + RAY + Did she? + + CHLOE + Yes. + + RAY + That's good. + + CHLOE + Seven pounds. + + RAY + That's good. What's she going to + call it? + + CHLOE + Er... What's she going to call it, + she did tell me... I can't + remember. Something like 'Tobias' + or something. + +RAY half-laughs, sick to his stomach. + + CHLOE + I think it's a nice name. + + RAY + 108. + + + I think it's a nice name too. + Listen, Chloe, I've got to hang up + now. + + CHLOE + What?! + + RAY + I've got to hang up now. + + CHLOE + You've got to hang up?! You + wouldn't let me see you all the + three months you were in the + hospital, even though I came every + day, then you run back to England + without even telling me, and then + when I finally speak to you, you + speak for two minutes, then you + have to hang up?! Why do you have + to hang up?! Why?! + + RAY + It's for your own good, Chloe... + + CHLOE + It's not for my own good! How is it + for my own good?! Tell me why you + have to hang up! I've waited for + three months, Ray! Tell me why you + have to hang up! + + RAY + Why do I have to hang up? + + CHLOE + Yes! Why do you have to hang up?! + + RAY + (pause) + Because I don't want you to hear + the gunshot. + +RAY hangs up, then takes the receiver off the hook and lays +it down. It will quietly drone through the rest of the +scene. + +A tear falls as he takes the gun that was resting in his +lap, holds it in the air for a second, breathes deeply for +a few moments, then places it against his head. + 109. + + +He holds it there a long while, eyes closed, deep +breathing, then finally takes it away, opens his eyes, +picks up his whisky glass, sighing, and slowly finishes it +off. Courage regained, he puts the glass back down, +breathes deeply again, and puts the gun back up to his +head. + + RAY + Come on. Ten, nine, eight, seven... + +He closes his eyes... + + RAY + Six, five, four, three, two, one... + +Teeth gritted, eyes clamped tight, ten more seconds pass +til he finally sighs loudly, takes the gun away again and +leans his head back against the wall. + +He looks at the photos on the wall from the newspaper +story, of JIMMY, of HARRY, and, lingeringly, of KEN. None +of them want him to go through with it. + +Then finally he looks at the photo of little TOBIAS and the +blood-stained confession note beside it. He moves across +the bed and takes the confession note from the wall, +knocking into the telephone slightly as he does so. + +He looks at the phone a while as it irritatingly drones on. + +He puts the phone back on the hook and looks at it a very +long while, to see if it'll ring. It doesn't ring. + +He sits on the edge of his bed, shitty London framed out +the window behind him. + +He looks at the confession note again, as do we... + +RAY'S POV: "1. Being sad. 2. Being bad at maths. 3. Being +moody" and the months-old blood still caked in the corner. + +He folds the note into his left breast pocket, beside his +heart. He nods... + + RAY + You've got to stick to your + principles. + +He cocks the gun. + +He slowly puts it to his head. + +Tears fill his eyes and he closes them as the tears fall. + 110. + + +He sighs calmly, knowing, perhaps for the first time, that +this time he'll go through with it. + +The telephone starts ringing. + +He opens his eyes. + + CUT TO BLACK + \ No newline at end of file