0cb3433c5ac030dba47414e2655c3c49e4f37527
movie
http://www.imsdb.com/scripts/Get-Carter.html
GET CARTER Screenplay
: THE END
 Newcastle-born gangster Jack Carter has lived in London for years in the employ of organised crime bosses Gerald and Sid Fletcher. Jack is sleeping with Gerald's girlfriend Anna and plans to escape with her to South America. But first he must return to Newcastle and Gateshead to attend the funeral of his brother Frank, who died in a purported drunk-driving accident. Unsatisfied with the official explanation, Jack investigates for himself. At the funeral Jack meets with his teenage niece Doreen and Frank's evasive mistress Margaret. It is later implied that Doreen might actually be Jack's daughter.
Jack goes to Newcastle Racecourse seeking old acquaintance Albert Swift for information about his brother's death, however Swift spots Jack and evades him. Jack encounters another old associate, Eric Paice, who refuses to tell Jack who is employing him as a chauffeur. Tailing Eric leads him to the country house of crime boss Cyril Kinnear. Jack bursts in on Kinnear who is playing poker but learns little from him, he also meets a glamorous drunken woman Glenda. As Jack leaves Eric warns him against damaging relations between Kinnear and the Fletchers. Back in town, Jack is threatened by henchmen who want him to leave town, but he fights them off, capturing and interrogating one to find out who wants him gone. He is given the name "Brumby".
Jack knows Cliff Brumby as a businessman with controlling interests in local seaside amusement arcades. Visiting Brumby's house Jack discovers the man knows nothing about him and, believing he has been set up, he leaves. The next morning two of Jack's London colleagues arrive, sent by the Fletchers to take him back, but he escapes. Jack meets Margaret to talk about Frank, but Fletcher's men are waiting and pursue him. He is rescued by Glenda who takes him in her sports car to meet Brumby at his new restaurant development at the top of a multi-storey car park. Brumby identifies Kinnear as being behind Frank's death, also explaining that Kinnear is trying to take over his business. He offers Jack ÂŁ5,000 to kill the crime boss, which he flatly refuses.
Jack has sex with Glenda at her flat, where he finds and watches a pornographic film where Doreen is forced to have sex with Albert. The other participants in the film are Glenda and Margaret. Overcome with emotion Jack becomes enraged and pushes Glenda's head under water as she is taking a bath. She tells him the film was Kinnear's and she thinks Doreen was 'pulled' by Eric. Forcing Glenda into the boot of her car, Jack drives off to find Albert.
Jack tracks Albert down at a betting shop. Albert confesses he told Brumby Doreen was, indeed, Frank's daughter. Brumby showed Frank the film to incite him to call the police on Kinnear. Eric and two of his men arranged Frank's death. Information extracted, Jack fatally knifes Albert. Jack is attacked by the London gangsters and Eric, who has informed Fletcher of Jack and Anna's affair. Jack shoots one of them dead. As Eric and the others escape they push the sports car into the river with Glenda trapped inside. Returning to the car park Jack finds Brumby, beats him senseless and throws him over the side to his death. He then posts the pornographic film to the Vice Squad at Scotland Yard in London.
Jack abducts Margaret at gunpoint. He telephones Kinnear in the middle of a wild party, telling him he has the film and makes a deal for Kinnear to give him Eric in exchange for his silence. Kinnear agrees, sending Eric to an agreed location; however, he subsequently phones a hitman to dispose of Jack. Jack drives Margaret to the grounds of Kinnear's estate, kills her with a fatal injection and leaves her body there. He then calls the police to raid Kinnear's party.
Jack chases Eric along a beach. He forces Eric to drink a full bottle of whisky as he did to Frank, then beats him to death with his shotgun. As Jack is walking along the shoreline, he is shot through the head by the hitman with a sniper rifle.
Newcastle-born gangster Jack Carter has lived in London for years in the employ of organised crime bosses Gerald and Sid Fletcher . Jack is sleeping with Gerald s girlfriend Anna and plans to escape with her to South America . But first he must return to Newcastle and Gateshead to attend the funeral of his brother Frank , who died in a purported drunk-driving accident . Unsatisfied with the official explanation , Jack investigates for himself . At the funeral Jack meets with his teenage niece Doreen and Frank s evasive mistress Margaret . It is later implied that Doreen might actually be Jack s daughter . Jack goes to Newcastle Racecourse seeking old acquaintance Albert Swift for information about his brother s death , however Swift spots Jack and evades him . Jack encounters another old associate , Eric Paice , who refuses to tell Jack who is employing him as a chauffeur . Tailing Eric leads him to the country house of crime boss Cyril Kinnear . Jack bursts in on Kinnear who is playing poker but learns little from him , he also meets a glamorous drunken woman Glenda . As Jack leaves Eric warns him against damaging relations between Kinnear and the Fletchers . Back in town , Jack is threatened by henchmen who want him to leave town , but he fights them off , capturing and interrogating one to find out who wants him gone . He is given the name Brumby . Jack knows Cliff Brumby as a businessman with controlling interests in local seaside amusement arcades . Visiting Brumby s house Jack discovers the man knows nothing about him and , believing he has been set up , he leaves . The next morning two of Jack s London colleagues arrive , sent by the Fletchers to take him back , but he escapes . Jack meets Margaret to talk about Frank , but Fletcher s men are waiting and pursue him . He is rescued by Glenda who takes him in her sports car to meet Brumby at his new restaurant development at the top of a multi-storey car park . Brumby identifies Kinnear as being behind Frank s death , also explaining that Kinnear is trying to take over his business . He offers Jack ÂŁ5,000 to kill the crime boss , which he flatly refuses . Jack has sex with Glenda at her flat , where he finds and watches a pornographic film where Doreen is forced to have sex with Albert . The other participants in the film are Glenda and Margaret . Overcome with emotion Jack becomes enraged and pushes Glenda s head under water as she is taking a bath . She tells him the film was Kinnear s and she thinks Doreen was pulled ' by Eric . Forcing Glenda into the boot of her car , Jack drives off to find Albert . Jack tracks Albert down at a betting shop . Albert confesses he told Brumby Doreen was , indeed , Frank s daughter . Brumby showed Frank the film to incite him to call the police on Kinnear . Eric and two of his men arranged Frank s death . Information extracted , Jack fatally knifes Albert . Jack is attacked by the London gangsters and Eric , who has informed Fletcher of Jack and Anna s affair . Jack shoots one of them dead . As Eric and the others escape they push the sports car into the river with Glenda trapped inside . Returning to the car park Jack finds Brumby , beats him senseless and throws him over the side to his death . He then posts the pornographic film to the Vice Squad at Scotland Yard in London . Jack abducts Margaret at gunpoint . He telephones Kinnear in the middle of a wild party , telling him he has the film and makes a deal for Kinnear to give him Eric in exchange for his silence . Kinnear agrees , sending Eric to an agreed location ; however , he subsequently phones a hitman to dispose of Jack . Jack drives Margaret to the grounds of Kinnear s estate , kills her with a fatal injection and leaves her body there . He then calls the police to raid Kinnear s party . Jack chases Eric along a beach . He forces Eric to drink a full bottle of whisky as he did to Frank , then beats him to death with his shotgun . As Jack is walking along the shoreline , he is shot through the head by the hitman with a sniper rifle .
http://en.wikipedia.org/wiki/Get_Carter
Get Carter
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<b>                                    GET CARTER
</b>
                             Screenplay by Mike Hodges

                                 Based on the novel
                          Jack's Return Home by Ted Lewis





                                                        Revised Draft, 1971

               Copyright (c) 1971
               Turner Entertainment Co
               All Rights Reserved.

               Copyright (c) 1971
               Mike Hodges
               All Rights Reserved. 



<b>               FADE IN:
</b>
<b>               EXT. PENTHOUSE APARTMENT - LONDON - NIGHT
</b>
               Framed in the large picture window stands JACK CARTER, 
               alone, looking out at the night. He turns away as the heavy 
               satin curtains close, wiping him from view.

<b>               INT. FLETCHER'S APARTMENT - NIGHT
</b>
               A blinding beam of light cuts across the room. One 
               pornographic slide after another hits the screen at the 
               opposite end of the room. They show a dowdy group in some 
               anonymous bedroom, frozen in various stages of a sexual 
               orgy. 

               GERALD FLETCHER is slumped on a sofa. His young wife, ANNA, 
               is curled up beside him. 

               SID FLETCHER, operating the projector's remote-control, 
               has the same flaccid appearance as his twin brother. 

               Jack Carter, drink in hand, watches from an armchair. 

               Clunk. Another slide hits the screen. Gerald is getting 
               turned on. He runs his hand along his wife's stockinged 
               leg. Anna shudders momentarily. She obviously finds his 
               touch repulsive. Carter watches Gerald's hand.

<b>                                     GERALD
</b>                              (removing the cigar 
                              from his mouth)
                         Bollock naked with his socks still 
                         on?

<b>                                     SID
</b>                              (thoughtfully)
                         They do that up North.

<b>                                     GERALD
</b>                         What for? Protective purposes?

               He laughs.

<b>                                     SID
</b>                         Ask me?

<b>                                     GERALD
</b>                         Ask Jack. It's his old stamping 
                         ground.

               Carter turns sharply away to the cocktail cabinet. Lights 
               and sweet music happen when he opens it. 

               Clunk. The slide changes.

<b>                                     SID
</b>                         Must be a bloody contortionist

               Still looking at the screen, Gerald continues.

<b>                                     GERALD
</b>                         We don't want you to go up the 
                         North, Jack.

               Jack and Anna look at each other momentarily. There is 
               definitely something between them. 

<b>                                     JACK
</b>                         No.  

               Clunk. The slide changes.

<b>                                     GERALD
</b>                              (groans)
                         Not suede boots!  

<b>                                     SID
</b>                         Knock it off, Gerald.

<b>                                     GERALD
</b>                         What? And get the clap?  

               Clunk. The slide changes.

<b>                                     GERALD
</b>                         You work for us, Jack. We have 
                         connections in those parts.  I'd 
                         hate you to screw 'em up.  

               Clunk. The slide changes.

<b>                                     GERALD
</b>                         What's that? A python.  

               Sid laughs raucously.  Clunk. The slide changes.

<b>                                     GERALD
</b>                         What are you going for?  

<b>                                     JACK 
</b>                         To find out what happened.  

               Clunk. The slide changes. 

<b>                                     GERALD
</b>                         Some hard nuts operate up there, 
                         Jack. They won't take kindly to 
                         someone from London poking his 
                         bugle in. 

<b>                                     JACK
</b>                         Too bad. 

<b>                                     GERALD
</b>                         I smell trouble, boy.  

               Clunk. The slide changes. 

<b>                                     SID
</b>                         The law was satisfied. 

<b>                                     JACK
</b>                         Since when was that good enough?  

               Clunk. The slide changes. 

<b>                                     GERALD
</b>                         Think again, Jack.

<b>                                     JACK
</b>                         I will.

<b>               EXT. RAIL TRACK - DAY
</b>
               Express train plunges into a tunnel Blackness. 

<b>               BEGIN TITLES:
</b>
<b>               INT. TRAIN COMPARTMENT - DAY
</b>
               The compartment is full. Jack Carter sits in one corner, 
               reading a Raymond Chandler paperback, Farewell My Lovely.

<b>               EXT. RAIL TRACK - DAY
</b>
               The train speeds northwards. In the distance the stacks of 
               a lonely power station belch a continuous stream of brown 
               smoke.

<b>               INT. TRAIN CORRIDOR - DAY
</b>
               Carter steadies himself as he comes along the corridor.

<b>               EXT. RAIL TRACK - DAY
</b>
               A massive iron bridge crossing a river whips past. Its 
               mesh sides create an almost hypnotic effect.

<b>               INT. TRAIN TOILET - DAY
</b>
               Carter tips his head back and dispenses drops into his 
               nose.

<b>               EXT. RAIL TRACK - EVENING
</b>
               The train breaks from another tunnel. Evening light cuts 
               across the track as the train hurtles on.

<b>               INT. TRAIN RESTAURANT CAR - EVENING
</b>
               Carter pours himself a glass of water and takes out a small 
               phial of brown pills. He swallows one.

<b>               EXT. RAIL TRACK - NIGHT
</b>
               A chemical factory, brightly lit, passes by and the 
               outskirts of the city appear.

<b>               INT. TRAIN COMPARTMENT - NIGHT
</b>
               The train moves slowly along the platform and stops. Carter 
               collects his coat and briefcase from the rack.

<b>               EXT. NEWCASTLE STATION - NIGHT
</b>
               The street is fairly deserted.  

               Carter exits with other passengers from the train. He pauses 
               and looks about before crossing to the pub opposite.

<b>               INT. THE LONG BAR - NIGHT
</b>
               A couple of youths are playing records on the juke box. An 
               old man sits in the corner reading a newspaper.  

               Carter enters through the swing door and a weedy BARMAN 
               comes to serve him.

<b>                                     CARTER
</b>                         Pint of bitter.

               The barman picks up a glass mug and begins to draw the 
               beer. Carter snaps his fingers at him.

<b>                                     CARTER
</b>                         In a thin glass.  

               The barman sighs petulantly, transfers the beer into a 
               thin glass and puts it on the counter.

               A telephone rings. The second barman answers it. 

<b>                                     BARMAN
</b>                         Is there a Mr Carter in the room? 

<b>                                     CARTER
</b>                         Yes.

               Carter walks to the far end of the bar and picks up the 
               receiver.

<b>                                     CARTER
</b>                         Hello?
                              (pause)
                         Margaret?
                              (pause)
                         Why the hell aren't you here?
                              (he lights a 
                              cigarette.)
                         What time?
                              (pause)
                         Is Doreen at the house?
                              (pause)
                         Who's with him then?
                              (pause)
                         When can I see you? Will you be 
                         there tomorrow?
                              (pause)
                         Now listen, Margaret...  

               The line goes dead. Carter hangs up.

<b>               INT. FRANK CARTER'S HOUSE - HALL - NIGHT
</b>
               A key hanging inside the letter box starts to move upwards 
               and out through the flap. A moment later, the door opens. 
               Carter is standing at the bottom of a flight of stairs in 
               a worker's terraced house. He closes the door and climbs 
               the stairs.

<b>               INT. FRANK CARTER'S HOUSE - LANDING - NIGHT 
</b>
               Carter moves cautiously. His eyes scan the peeling 
               wallpaper, the mildew on the banisters. A roof leak hits 
               an unseen bucket with depressing regularity.

<b>               INT. FRANK CARTER'S HOUSE - BEDROOM - NIGHT
</b>
               An unmade bed with pyjamas on it, a beaten-up wardrobe, a 
               dressing table and chair are about it. Carter hears a 
               vehicle stopping on the street below. He eases back the 
               ancient net curtain. Two men in a Land Rover are looking 
               up. They see him and quickly drive off.

               Carter looks around the room. On top of the wardrobe there's 
               an old shotgun. He reaches up and brings it down. Memories 
               flood back. He reaches up again and finds a box of 
               cartridges. More memories, jack and Frank grew up here. He 
               leaves the gun on the bed and returns to the landing.

<b>               INT. FRANK CARTER'S HOUSE - LIVING ROOM - NIGHT
</b>
               Pitch black.

               An overhead light snaps on to the face of a dead man FRANK 
               CARTER. He is lying in a coffin. His eyes are closed, his 
               skin made-up, like porcelain.

               Carter stands over the coffin. He gently touches his 
               brother's crossed hands and folds the shroud over his face. 
               He exits, turning out the light and closing the door. 

               Darkness returns.

<b>               INT. 'LAS VEGAS' BOARDING HOUSE - ENTRANCE HALL - NIGHT
</b>
               The landlady, EDNA GARFOOT, is climbing the stairs. She's 
               well built, sexy, experienced. Carter follows with his 
               baggage. He watches her appreciatively from behind.

<b>                                     CARTER
</b>                         I won't be using the room tonight.

<b>                                     EDNA
</b>                              (stops and turns)
                         I see.

<b>                                     CARTER
</b>                         I'm staying with a friend.

<b>                                     EDNA
</b>                              (continuing up the 
                              stairs)
                         Her husband docks tomorrow, does 
                         he?  

<b>                                     CARTER
</b>                              (smiles)
                         It's not like that, luv.

<b>                                     EDNA
</b>                         It never is.

<b>               INT. BOARDING HOUSE - BEDROOM - NIGHT
</b>
               The door opens and the light goes on. It's a big room 
               overlooking the road, furnished cheaply but comfortably. 

               Edna and Carter enter, talking. 

<b>                                     EDNA
</b>                         Are you a traveller?  

<b>                                     CARTER
</b>                              (smiling)
                         Definitely.

<b>                                     EDNA
</b>                              (surveying the room)
                         Will this do?  

<b>                                     CARTER
</b>                              (looking around)
                         Very nice. (He takes his wallet 
                         out.) I'll pay you for tonight as 
                         well.

<b>                                     EDNA
</b>                         Don't be bloody silly. You're the 
                         first since Monday.

<b>                                     CARTER
</b>                         You sure?  

               Carter gives her the money.

<b>                                     EDNA
</b>                         Ta.

<b>                                     CARTER
</b>                              (feeling the mattress)
                         I'll bet this one's seen some 
                         action.

               Carter smiles and looks straight at her. Edna returns his 
               look, dead pan.

<b>                                     EDNA
</b>                         I'll give you the key when you 
                         come down.

               She closes the door.

<b>               INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
</b>
               Carter moves around the coffin as he shaves. His electric 
               razor is plugged into the lamp above his dead brother.

<b>               INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
</b>
               The coffin lid is being screwed down.  

               Carter stirs a cup of instant coffee while watching the 
               undertakers at work.  

<b>                                     CARTER
</b>                         Was he in bad shape?  

<b>                                     UNDERTAKER
</b>                         They come worse.

<b>               INT. HEARSE - DAY
</b>
               The hearse is parked outside the row of terraced houses. A 
               youthful UNDERTAKER is minding it. He turns and looks 
               through the back window as a young girl walks up the street. 

               DOREEN CARTER is sixteen and, like most girls of her age, 
               tries to look older. She wears all the right gear but it's 
               cheap and doesn't fit properly. Her long hair is lank.  
               There's something sad and embarrassing about her appearance. 
               The young undertaker watches as she enters Frank's house.

<b>               INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
</b>
               The door opens slowly. Doreen stands there looking at the 
               coffin. Carter sees her.

<b>                                     CARTER
</b>                         Doreen?  

               She seems mesmerized by what's going on.

<b>                                     CARTER
</b>                         All right, are you?  

               Doreen doesn 't answer.

<b>                                     CARTER
</b>                         Been staying with a friend?  

               Doreen nods. The undertaker coughs and thrusts another 
               screw into the coffin.

<b>                                     CARTER
</b>                         Sorry about your father.

<b>                                     DOREEN
</b>                              (pause)
                         Yeah.

<b>                                     CARTER
</b>                         Tell me, Doreen, did the police 
                         say anything?

<b>                                     DOREEN
</b>                              (dazed)
                         They said he was drunk.

<b>               INT. HEARSE - DAY
</b>
               The young undertaker is still in the hearse listening to 
               the radio. In the driving mirror he sees the Land Rover 
               moving slowly tip the road. It stops by the house. Two men 
               suss the scene and drive off.

<b>               INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY
</b>
<b>                                     CARTER
</b>                         How's school?  

<b>                                     DOREEN
</b>                         I left last year.

<b>                                     CARTER
</b>                         Oh, what you doing now?  

<b>                                     DOREEN
</b>                         Working at Woolworths. 

<b>                                     CARTER
</b>                         That must be interesting.

<b>                                     DOREEN
</b>                         Yes.

               Carter and Doreen look at each other awkwardly.

<b>                                     CARTER
</b>                         What you going to do? Live with 
                         Margaret? 

               Doreen looks at him nervously, shakes her head and fumbles 
               in her bag for a cigarette.

               Carter continues, slightly indignant.

<b>                                     CARTER
</b>                         Well, why won't you come with us 
                         to South America? My fiancee won't 
                         mind,
                              (pause)
                         Your dad would have wanted it.  

               The undertaker puts the final screw in.

<b>                                     UNDERTAKER
</b>                              (to colleague)
                         Get Hughbert up, will you?
                              (to Carter)
                         We're ready now, sir.

<b>               EXT. FRANK CARTER'S HOUSE - DAY
</b>
               The undertakers struggle with the coffin down the narrow 
               staircase into the street. Outside Carter and Doreen wait 
               with two men. EDDIE APPLEYARD, a middle-aged man, is wearing 
               a shabby tweed suit, cap and black tie. KEITH LACEY is a 
               young barman who worked with Frank.

<b>                                     EDDIE
</b>                         We weren't sure where it was taking 
                         place, like.

<b>                                     CARTER
</b>                         Nice of you to come.

<b>                                     EDDIE
</b>                         No. Frank was a good bloke.

<b>                                     KEITH
</b>                         He was that.

<b>                                     EDDIE
</b>                         One of the best.

<b>               INT. LIMOUSINE - DAY
</b>
               Through the windscreen of the following limousine Carter 
               can see his brother's coffin in the hearse as it moves 
               slowly through the streets of the city. Sitting in front 
               on fold-out seats are Eddie and Keith.

<b>                                     KEITH
</b>                         I couldn't believe it when I heard.  
                         Carter is suddenly attentive.

<b>                                     CARTER
</b>                         What?  

<b>                                     KEITH
</b>                         I mean, I was surprised when he 
                         didn't turn up for work.  He was 
                         always on time.

<b>                                     CARTER
</b>                         Did you work with him, Keith?  

<b>                                     KEITH
</b>                         At the Half Moon.

<b>                                     EDDIE
</b>                              (not to be left out)
                         It's a bloody funny thing. You 
                         know a bloke for six bloody years 
                         and all the time he's as calm as 
                         gentle Jesus...
                              (pause)
                         ...then he goes and does a thing 
                         like that.
                              (he shakes his head.)
                         It's a bloody funny thing.

<b>                                     CARTER
</b>                              (quietly)
                         Yeah. A bloody funny thing!

<b>               EXT. CREMATORIUM GATES - DAY
</b>
               As the cortege drives into the crematorium, it passes the 
               Land Rover parked outside. The same two men who passed 
               Frank's house are in it. A long and expensive-looking 
               funeral cortege passes out as they move up the driveway.

<b>               INT. CREMATORIUM - DAY
</b>
               Carter, Doreen, Eddie and Keith are in the front pews facing 
               the catafalque on which Frank's coffin rests. The vicar is 
               already midway through the solemn words of the 'committal' 
               when a woman enters. The clunk of her high heels cuts 
               through the silence. Everybody looks round.

<b>                                     CARTER
</b>                              (whispering to Doreen)
                         Is that Margaret?  

               Doreen nods. Frank's coffin sinks out of sight.

<b>               INT. CREMATORIUM COMMITTAL CHAMBER - DAY
</b>
               Two men in long grey coats wait in silence. The coffin 
               appears. Expertly, they take it and swing it on to a 
               trolley. They push it up the wide corridor towards the 
               furnace. One of the men starts whistling cheerfully.

<b>               EXT. CREMATORIUM - DAY
</b>
               MARGARET is thirtyish, blonde, attractive in a tarty kind 
               of way.  Her heels are too high and she is wearing a cheap 
               pair of sunglasses. She walks quickly away, down the 
               cloisters, past the memorial tablets and urns.  

               Carter comes out of the chapel and sees her.

<b>                                     CARTER
</b>                         Margaret.

               Margaret stops and looks round. Carter joins her.  I thought 
               you weren't coming.

<b>                                     MARGARET
</b>                         Changed me mind.

               They face each other in silence. Margaret looks past Carter 
               and sees Doreen watching them at the end of the cloisters. 
               She turns away and starts walking slowly. Carter moves 
               with her.  Margaret continues nervously.

<b>                                     MARGARET
</b>                         Everyhing go off all right? 

<b>                                     CARTER
</b>                         Fine...
                              (pause)
                         I want to talk to you. 

<b>                                     MARGARET
</b>                         What about?

<b>                                     CARTER
</b>                         Doreen. 

               Margaret stops in her tracks and looks back at Doreen. 
               She's still watching them.

<b>                                     MARGARET
</b>                              (adamantly)
                         She's nothing to do with me. 

<b>                                     CARTER
</b>                              (puzzled)
                         What do you mean? You've been 
                         Frank's bird ever since her mother 
                         cleared off. You're closer to her 
                         than anyone.

<b>                                     MARGARET
</b>                              (shaking her head)
                         No. No. It's not like that. I've 
                         got a husband, you know.

               Margaret starts walking again, fast.  

               Carter catches hold of her arm and stops her.

<b>                                     CARTER
</b>                         Hold it!   Hold it!
                              (looking her in the 
                              eye)
                         Who killed Frank, Margaret?

<b>                                     MARGARET
</b>                              (nervously)
                         Killed?  I don't know anything 
                         about it.

               She moves off rapidly. Carter catches up with her.

<b>                                     CARTER
</b>                         Really.

<b>                                     MARGARET
</b>                         I must go. I'm in a hurry.

<b>                                     CARTER
</b>                         I want to talk to you later.

<b>                                     MARGARET
</b>                         I can't.

<b>                                     CARTER
</b>                         Tomorrow morning, then?  

               Margaret dithers.

<b>                                     MARGARET
</b>                         Well, all right then. Twelve o'clock 
                         on the Iron Bridge.

               Margaret walks off as calmly as she can, her high heels 
               clicking as she goes. Carter watches her disappear. Doreen 
               watches too.

<b>               INT. CREMATORIUM COMMITTAL CHAMBER - DAY
</b>
               Frank's coffin is slid inside the furnace. Flames start to 
               lick it as the steel trap closes.

<b>               INT. THE HALF MOON PUB - DAY
</b>
               It's a large room with a horseshoe bar in the centre, a 
               real boozer.  A handful of hard drinkers are already in 
               position.

               Carter, Doreen, Keith and Eddie are sitting alone. Their 
               table is already covered with glasses. Doreen appears to 
               be slightly drunk on Babycham, Eddie on whisky and Keith 
               on beer. Carter is stone-cold sober.

<b>                                     EDDIE
</b>                         Absent friends.
                              (He raises his glass 
                              and drinks, then 
                              continues 
                              thoughtfully.)
                         You don't think he might have done 
                         it on purpose?

<b>                                     KEITH
</b>                         What? You mean, like, kill himself?  

               Eddie and Keith look at each other.

               Doreen watches them. She is getting very upset by the 
               conversation.

<b>                                     KEITH
</b>                         Naw. Frank? Kill himself? You what?  

               Carter stares at Keith, who is getting uncomfortable.

<b>                                     KEITH
</b>                         I mean, what for?  

<b>                                     CARTER
</b>                         That's what I was wondering.

<b>                                     KEITH
</b>                         Come off it. Frank was... well... 
                         straight. He had no worries I know. 
                         Hell, we worked together every day 
                         for a year. It would have showed.

<b>                                     CARTER
</b>                         Why would it?  

<b>                                     KEITH
</b>                         It just would. He was always the 
                         same.

<b>                                     CARTER
</b>                         Since when did he drink whisky?  

<b>                                     KEITH
</b>                         Don't know.

<b>                                     CARTER
</b>                         Nobody seems to know.

               Doreen is now crying openly.

<b>                                     EDDIE
</b>                              (finishing off his 
                              drink)
                         Bloody good bloke. One of the best.

<b>                                     DOREEN
</b>                              (blurts out)
                         How would you know?
                              (She suddenly jumps 
                              up and empties her 
                              glass in Eddie's 
                              face.)
                         Or you?  Or you? None of you knew.  
                         I knew. He was me dad.

               She runs off out of the door crying. Keith goes to follow.  
               Carter puts his hand out to restrain him.

<b>                                     CARTER
</b>                         Let her go. She'll be OK.
                              (to Eddie)
                         Sorry about that.

<b>                                     EDDIE
</b>                              (wiping his face 
                              with a handkerchief)
                         Don't worry. She's bound to be 
                         upset.

<b>                                     CARTER
</b>                              (to Eddie)
                         Have another?  

<b>                                     EDDIE
</b>                         No. I'll be off now. I should be 
                         at work.

               Eddie stands up, cap in hand. Carter pulls out a wad of 
               money.

<b>                                     CARTER
</b>                         Look, look.
                              (He peels off a 
                              note.)
                         Get your suit cleaned.

<b>                                     EDDIE
</b>                         No. It's all right.

<b>                                     CARTER
</b>                              (standing, pushes 
                              the note in his 
                              top pocket)
                         Thanks for coming.

<b>                                     EDDIE
</b>                         Frank was a good bloke. It's the 
                         least I could have done.

               Eddie leaves.

<b>                                     CARTER
</b>                         You work here, Keith?  

<b>                                     KEITH
</b>                         Yes.

               Carter thinks for a moment, then leans forward to Keith. 

<b>                                     CARTER
</b>                         Keith, if anybody comes in here 
                         and asks for me, you let me know. 
                         Right?  

<b>                                     KEITH
</b>                         Right.

<b>                                     CARTER
</b>                         I'm at the Las Vegas. Behind the 
                         dance hall.
                              (He casts an eye 
                              around the bar.)
                         Do you know a man called Albert 
                         Swift?

<b>                                     KEITH
</b>                         Yeah. He comes in here a bit.

<b>                                     CARTER
</b>                         Where would I find him?

<b>                                     KEITH
</b>                         Today? At the races. He always 
                         goes.

               Carter takes out his phial of pills.

<b>                                     KEITH
</b>                         How'd you know Albert?

<b>                                     CARTER
</b>                         Went to school with him.
                              (smiles)
                         He was leader of our gang. He'll 
                         know what's going on in this town.

<b>               EXT. RACE TRACK - DAY
</b>
               The rain has just stopped. Bookies and punters lower their 
               umbrellas. Horses thunder towards the finishing post. Turf 
               flies in all directions as the jockeys whip their mounts 
               in a last desperate effort and the crowd roars.

<b>               EXT. TRACK ENCLOSURE - DAY
</b>
               Albert Swift is standing by a bookmaker's marking bis race 
               card with a biro. A hot dog is sticking out of his mouth, 
               like a cigar. A man of about thirty-five, be appears much 
               older, probably from an excess of booze and women. He looks 
               up, and his mouth drops open, the hot dog falling to the 
               ground. He has seen Carter.

<b>               EXT. TRACK ENCLOSURE - DAY
</b>
               Carter is pushing his way along the line of bookies, all 
               the time looking about him. The track loudspeaker announces 
               the winner of the last race.

<b>               EXT. TRACK ENCLOSURE - DAY
</b>
               Albert pales. He holds his race card in front of his face 
               and disappears into the crowd. As he moves off, his foot 
               steps on the hot dog and tomato ketchup oozes out.

<b>               EXT. TRACK SADDLING ENCLOSURE - DAY
</b>
               Carter stands alone, casting an eye over the punters. His 
               eyes rest on someone the other side of the saddling ring 
               ERIC PAICE.  Dressed in a grey chauffeur's uniform, cap, 
               dark glasses and gloves, he is standing close to three 
               well-heeled-looking men with binoculars and shooting sticks.

               Horses for the next race are being led around the enclosure.  
               Carter approaches from behind. He looks at Eric closely 
               before speaking.

<b>                                     CARTER
</b>                         Grey suits you, Eric.

               Eric swings round, startled.

<b>                                     ERIC
</b>                         Good God!

               Carter smiles.

<b>                                     CARTER
</b>                         Is he?

<b>                                     ERIC
</b>                         Jack Carter.

<b>                                     CARTER
</b>                              (amused)
                         Eric. Eric Paice.

<b>                                     ERIC
</b>                         What you doing around here then?

<b>                                     CARTER
</b>                         Didn't you know this is my home 
                         town?

<b>                                     ERIC
</b>                         No, I didn't know that.

<b>                                     CARTER
</b>                         Funny, that.

               Carter takes out his cigarettes. Eric takes one.

<b>                                     ERIC
</b>                         Thanks. So what're you doing? On 
                         your holidays?

<b>                                     CARTER
</b>                         No. I'm visiting relatives.

<b>                                     ERIC
</b>                         Oh, that's nice.

<b>                                     CARTER
</b>                         It would be. If they were still 
                         living.

<b>                                     ERIC
</b>                         Meaning what?  

<b>                                     CARTER
</b>                         A bereavement. A death in the 
                         family.

<b>                                     ERIC
</b>                         Oh, I'm sorry to hear that.

<b>                                     CARTER
</b>                         That's all right, Eric.

               Carter flicks bis lighter and gives Eric a, light.

<b>                                     ERIC
</b>                         Well, well. Small world, isn't it?

<b>                                     CARTER
</b>                         Very...
                              (pause)
                         So, who you working for these days 
                         Eric?

<b>                                     ERIC
</b>                         Oh, I'm straight.
                              (indicating uniform)
                         Respectable.

<b>                                     CARTER
</b>                              (smiling)
                         What are you doing? Advertising 
                         Martini?

<b>                                     ERIC
</b>                         Oh, you've been watching television.

<b>                                     CARTER
</b>                         Yeah,
                              (pause)
                         Come off it, Eric. Who is it?

               Eric smiles back.  

<b>                                     CARTER
</b>                         Brumby?

               Eric shakes his head.

<b>                                     CARTER
</b>                         Kinnear?

               Eric shakes his head

<b>                                     ERIC
</b>                         What's it to you anyway? 

<b>                                     CARTER
</b>                         I've always ad your welfare at 
                         heart, Eric. Besides which, I'm 
                         nosy.

<b>                                     ERIC
</b>                         That's not always a healthy way to 
                         be...

<b>                                     CARTER
</b>                         And you should know, if I remember 
                         rightly.

               A track announcement interrupts them.

<b>                                     CARTER
</b>                         So you're doing all right then, 
                         Eric. You're making good. 

<b>                                     ERIC
</b>                         Making a living.

<b>                                     CARTER
</b>                         Good prospects for advancement, is 
                         there? A pension?
                              (He can't resist it 
                              any longer. He 
                              lifts the sunglasses 
                              off Eric's nose 
                              and looks into his 
                              eyes.)
                         Do you know, I'd almost forgotten 
                         what your eyes looked like.

               Eric stares back.

<b>                                     CARTER
</b>                         They're still the same. Piss holes 
                         in the snow.

<b>                                     ERIC
</b>                         Still got a sense of humour?

<b>                                     CARTER
</b>                         Yes, I retained that, Eric.
                              (He moves towards 
                              the saddling ring 
                              and turns to Eric.)
                         Do you know a man called Albert 
                         Swift, Eric?

<b>                                     ERIC
</b>                         Can't say I do.

               Carter looks across at the track.

<b>                                     CARTER
</b>                         Don't miss the start on my account.

<b>               EXT. RACE TRACK - DAY
</b>
               Starting gates slam open and the horses leap out.

<b>               INT. HIRE CAR - AFTERNOON
</b>
               Carter is driving along a country road. Ahead, two cars 
               are between him and a Cadillac with dark-tinted windows. 
               The Cadillac turns on to a minor road. Carter follows.

<b>               INT. CADILLAC - LATE AFTERNOON
</b>
               Eric Paice is driving. In the back sit the three men seen 
               with him at the race track. The drinks compartment is open 
               and they are helping themselves to champagne. Racing results 
               come over the car radio.

<b>               INT. HIRE CAR - LATE AFTERNOON
</b>
               Carter follows the Cadillac at a safe distance. It turns 
               into a driveway. Carter slows down and reads a sign by the 
               entrance: The Heights. 

               He drives on and parks.

<b>               EXT. THE HEIGHTS - LATE AFTERNOON
</b>
               Carter comes through a wooded area. He pauses by a lake, 
               now overgrown with weeds. A big man stands tossing stones 
               into the water. Carter silently picks up a dead branch 
               then runs at the man. Carter whacks him on the head and he 
               collapses unconscious into the lake. Carter moves on towards 
               the house. MARTY and RAY the two men previously seen in 
               the Land Rover, are playing with an Alsatian on the spacious 
               lawn fronting the house. It's a Victorian building 
               surrounded by acres of woodland.

               Carter breaks from the trees and darts for the side door. 
               One of the men notices and shouts after him.

<b>               INT. THE HEIGHTS - LATE AFTERNOON
</b>
               Carter runs into the house and slips into a small service 
               room. Ray and then Marty charge inside but miss seeing 
               Carter.

<b>               INT. THE HEIGHTS - SITTING ROOM - LATE AFTERNOON
</b>
               A game of poker is in progress. Seated around the table 
               are the three men with Eric at the race track. With them 
               is an elegant man, CYRIL KINNEAR. On the sofa are GLENDA, 
               a sexy-looking young woman, and Eric Paice.

               Ray bursts in. 

<b>                                     RAY
</b>                         Carter's here.

               Eric jumps up.

<b>                                     ERIC
</b>                         Where? 

<b>                                     RAY
</b>                         I don't know.

<b>                                     ERIC
</b>                         You stupid shit! 

               Carter walks past Ray, blowing him a kiss.

               Kinnear watches with some amusement.

<b>                                     KINNEAR
</b>                         You see what it's like these days, 
                         Jack.  You can't get the material.

               Carter looks at Eric.

<b>                                     CARTER
</b>                         Yes, I can see your problem, Mr 
                         Kinnear.

<b>                                     KINNEAR
</b>                         Sit down, Jack,
                              (pause)
                         I could weep. I really could.  
                         Sometimes I think I'll retire. 
                         Just piss off to the Bahamas and 
                         let somebody else employ them,
                              (to girl)
                         Glenda, get Jack a drink. What is 
                         it, Jack?

<b>                                     CARTER
</b>                              (to Glenda)
                         Scotch, please.

<b>                                     KINNEAR
</b>                              (to bouncer)
                         Piss off, Ray.

               Ray closes the door behind him.

               Glenda brings Carter his Scotch. He looks at her as she 
               sits beside him.

<b>                                     KINNEAR
</b>                         Eric told me of your bereavement.

<b>                                     CARTER
</b>                         Yep.

<b>                                     KINNEAR
</b>                         Do you know, I never knew he worked 
                         in one of my places!

<b>                                     CARTER
</b>                         No? Funny that. Neither did I.

<b>                                     KINNEAR
</b>                         If I'd known, I'd have fixed him 
                         up with something better.

<b>                                     CARTER
</b>                         Yeah.

<b>                                     KINNEAR
</b>                         Nasty way to go.

<b>                                     CARTER
</b>                         Yes.

               One of the three men sitting around the table with Kinnear 
               gets impatient. PETER, LES AND HARRY are well-heeled, middle-
               aged, northern businessmen.

<b>                                     HARRY
</b>                         Are we here to play cards or talk 
                         about the old days? 

<b>                                     KINNEAR
</b>                         Harry! Jack, I don't want to be 
                         rude, but these men have brought a 
                         lot of money with them. Glenda, 
                         you don't offer a man like Jack a 
                         drink in those piddling little 
                         glasses.  Give him the bloody 
                         bottle.
                              (He picks up his 
                              cards.)
                         Now, where are we?

               Harry keeps a cold, wary eye on him.

<b>                                     KINNEAR
</b>                         Oh... I think I'll stay as I am.

<b>                                     HARRY
</b>                              (shaken)
                         You're bluffing, you bastard!

<b>                                     KINNEAR
</b>                         That's what you pay to find out. 
                         Right, Jack?

<b>                                     CARTER
</b>                         Right. If you can afford it.

<b>                                     HARRY
</b>                              (to Carter)
                         Thought you were going soon.

<b>                                     CARTER
</b>                         Soon. When you've lost your money. 
                         Won't take long. 

<b>                                     HARRY
</b>                         Clever sod, aren't you?  

<b>                                     CARTER
</b>                         Only comparatively.

<b>                                     KINNEAR
</b>                         Harry, I don't like to push, but 
                         could you let us know how much 
                         your hand's worth?

               Harry looks at his cards. Glenda tucks her legs up, making 
               sure that Carter gets an eyeful.

<b>                                     GLENDA
</b>                         You know Sid Fletcher?

<b>                                     CARTER
</b>                         What?  

<b>                                     GLENDA
</b>                         You know Sid Fletcher? 

<b>                                     CARTER
</b>                         I work for him.

<b>                                     GLENDA
</b>                         Do you?

<b>                                     CARTER
</b>                              (amused)
                         Yes, I do.

               Carter looks back at the table. Kinnear pushes in some 
               money.

<b>                                     HARRY
</b>                         What's that? A hundred?

<b>                                     KINNEAR
</b>                         That's right, Harry.

<b>                                     HARRY
</b>                         Your hundred, and another hundred.

               Kinnear lays more cash on the table.

<b>                                     HARRY
</b>                         What's that?

<b>                                     KINNEAR
</b>                         That, Harry? That's another hundred - 
                         twenty-five pounds notes of the 
                         realm.

<b>                                     HARRY
</b>                         Three hundred altogether?

<b>                                     KINNEAR
</b>                         Three hundred altogether, Harry.

               Glenda attracts Carter's attention again.

<b>                                     GLENDA
</b>                         I know him too.

<b>                                     CARTER
</b>                         Who? 

<b>                                     GLENDA
</b>                         Sid Fletcher.

<b>                                     CARTER
</b>                              (sending her up)
                         Oh, do you?

<b>                                     GLENDA
</b>                              (dumb)
                         Yes.

<b>                                     CARTER
</b>                         No, do you really? 

               Carter turns to the table yet again.

               Harry nervously puts another hundred on the table. Kinnear 
               purses his lips. 

<b>                                     KINNEAR
</b>                         I'll follow that and go two hundred.

               Harry looks sick.

<b>                                     KINNEAR
</b>                         You can always see me, Harry.

               Harry sweats and then smiles nervously.

<b>                                     HARRY
</b>                         All right. Two hundred.

<b>                                     KINNEAR
</b>                              (raises an eyebrow)
                         Ha.

               Kinnear takes a wad of notes out of his pocket. Glenda, 
               shifts herself on the sofa.

<b>                                     GLENDA
</b>                         Yes. I met him last year.

<b>                                     CARTER
</b>                         Go on.

<b>                                     GLENDA
</b>                         Oh yes. When he came up on business.

<b>                                     CARTER
</b>                         Really?

<b>                                     GLENDA
</b>                         He came to see Mr Kinnear.

<b>                                     CARTER
</b>                         No.

               Carter, getting bored, looks back at the game.

<b>                                     HARRY
</b>                              (panicking)
                         What's that?

<b>                                     KINNEAR
</b>                         That's six hundred pounds, Harry. 
                         Two hundred to follow you, and 
                         I've raised it four hundred.

               Harry sweats some more.

<b>                                     HARRY
</b>                         Four hundred?

<b>                                     KINNEAR
</b>                         That's right.

<b>                                     HARRY
</b>                         You're not seeing me?

<b>                                     KINNEAR
</b>                         No.

               Harry smiles nervously. He counts some money out.

<b>                                     HARRY
</b>                         I'll see you, then.

<b>                                     KINNEAR
</b>                         Calling my bluff, are you, Harry?

               Harry nods.

               Glenda speaks, but this time Carter keeps his eyes on the 
               table. Kinnear lays out his hand  a hearts flush, queen 
               high.

<b>                                     GLENDA
</b>                         We went about together.

<b>                                     CARTER
</b>                         Really?

<b>                                     GLENDA
</b>                         Yes, while he was here.

<b>                                     CARTER
</b>                         While he was here. You went about 
                         together?

<b>                                     GLENDA
</b>                         He was here for four days.

<b>                                     CARTER
</b>                         Was he? 

<b>                                     GLENDA
</b>                         Could you do me a favour?  

<b>                                     CARTER
</b>                         Yeah, I'll do you a favour.

<b>                                     GLENDA
</b>                         Could you please put my glass on 
                         the table? 

               Carter smiles and does just that.

<b>                                     KINNEAR
</b>                         Oh, come on, Harry. I haven't won, 
                         have I? Go on, you're pulling my 
                         leg.

               Kinnear leans across to pick up Harry's cards. Harry grabs 
               them and puts them in the pack. Kinnear turns to Carter.

<b>                                     KINNEAR
</b>                         How about that, Jack?  Old Harry 
                         thought I was having him on.

<b>                                     HARRY
</b>                         Shut up.

               Carter gets up from the sofa.

<b>                                     KINNEAR
</b>                         Not going, Jack? 

<b>                                     CARTER
</b>                         I have to. Things to see to.

<b>                                     KINNEAR
</b>                         Of course, of course. Well, any 
                         time, just drop by.

<b>                                     CARTER
</b>                         Yeah, I'll do that.
                              (He points at Harry.)
                         Told you it wouldn't take long, 
                         didn't I? 

               Eric opens the door and follows him out.

<b>               INT. THE HEIGHTS - HALLWAY - EVENING
</b>
               Carter moves towards the front door.

<b>                                     ERIC
</b>                         Jack! I didn't like that.

<b>                                     CARTER
</b>                         You should have told me who you 
                         were working for. 

<b>                                     ERIC
</b>                         Cyril didn't like it, either.

<b>                                     CARTER
</b>                         Oh, Cyril, eh? So it's all girls 
                         together, is it?

<b>                                     ERIC
</b>                         He's thinking Sid and Gerald won't 
                         like it much when they hear you've 
                         been sticking your nose in.

               Carter carries on walking to the front door. He opens it. 

<b>                                     CARTER
</b>                         He's right. Tell him to save the 
                         cost of the phone call.

               Carter leaves. Eric signals Ray to follow him.

<b>               EXT. SCRAPYARD - DAY
</b>
               Huge metal claw catches hold of an old car and lifts it 
               like it was a toy. The yard is beside the River Tyne. In 
               the distance a train crosses the Iron Bridge.

               Carter is examining a beaten-up Hillman when the yard owner, 
               BILLY LAWS, approaches.

<b>                                     BILLY
</b>                              (suspicious)
                         What do you want?

<b>                                     CARTER
</b>                         What happened to this car? 

<b>                                     BILLY
</b>                         What's it got to do with you? 

<b>                                     CARTER
</b>                         This is my brother's car.

<b>                                     BILLY
</b>                         Oh ay?

<b>                                     CARTER
</b>                         Yeah.

<b>                                     BILLY
</b>                         Well, he drove it into the river.

<b>                                     CARTER
</b>                         Was the steering faulty? 

               Billy shakes his head.

<b>                                     CARTER
</b>                         What about the brakes?  

<b>                                     BILLY
</b>                         Fine. Nowt wrong with them.

<b>                                     CARTER
</b>                         How'd it happen, then?

<b>                                     BILLY
</b>                         He was drunk. Drunk as a lord.

<b>                                     CARTER
</b>                         Was he?

<b>               INT. THE HALF MOON - NIGHT
</b>
               A big, busty pub singer is performing on the small stage. 
               A trio on her right plays a good, grinding, up-tempo number.  

               Carter comes through the door. He pushes his way through 
               the packed drunken crowd to the bar. Keith serves him. 

<b>                                     KEITH
</b>                         What you having, Jack? 

<b>                                     CARTER
</b>                         Large Scotch.

               Carter watches the singer. The customers cheer and whistle.  
               Keith returns with the Scotch. He looks nervously around 
               and speaks to Carter quietly.

<b>                                     KEITH
</b>                         Heard of a man called Thorpe? 

<b>                                     CARTER
</b>                         Old Thorpey? Haven't seen him in a 
                         long time.

<b>                                     KEITH
</b>                              (picking up Carter's 
                              money)
                         That's what he was saying about 
                         you.

               Keith takes the money to the till. The music grinds away.  
               Keith returns.

<b>                                     KEITH
</b>                         Said he'd heard you were up in 
                         town. Wondered if I knew where you 
                         was staying. Wanted to look you 
                         up. Old time's sake.

<b>                                     CARTER
</b>                         That's nice. What'd you tell him?  

<b>                                     KEITH
</b>                         Nowt.

<b>                                     CARTER
</b>                         Good lad.

               Carter watches the singer, then finishes his drink.

<b>                                     CARTER
</b>                         See you later.

<b>                                     KEITH
</b>                         Where you off to?

<b>                                     CARTER
</b>                              (smiling)
                         Las Vegas.

               Carter makes for the door. The singer is now moving through 
               the tables. She pauses to give some man a kiss. Everybody 
               cheers.

               The woman sitting with the man snaps. She picks up his 
               glass of beer and throws it over the singer; then grabs 
               her hair and pulls her to the ground.

               Carter stops to watch. The two women roll on the floor, 
               punching and scratching.

               Carter smiles and leaves.

<b>               EXT. ALLEY IN TOWN CENTRE - NIGHT
</b>
               On the corner is a neon-lit snack bar. Doreen and another 
               young girl are sitting inside sucking milk shakes. Somewhere 
               a drunk is singing. His voice echoes up the alley.

               Carter draws alongside and notices Doreen. He stops and 
               watches her. She hasn't seen him so he goes to the window 
               and knocks on it. She looks up and he beckons her outside. 
               Reluctantly, she comes.

<b>                                     CARTER
</b>                              (gently)
                         You all right now?

<b>                                     DOREEN
</b>                         Yeah.

<b>                                     CARTER
</b>                         You coming to South America?

<b>                                     DOREEN
</b>                         No.

               Carter's hurt and slightly irritated by this rejection. 

<b>                                     CARTER
</b>                         Where you going to live, then? 

<b>                                     DOREEN
</b>                         At me friend's house.

<b>                                     CARTER
</b>                         Where's that?

<b>                                     DOREEN
</b>                         Wilton Estate.

<b>                                     CARTER
</b>                         Nice family, are they? Church-goers 
                         and all that?

               Doreen nods.

<b>                                     CARTER
</b>                         Good. I'm off tomorrow, so I don't 
                         suppose I'll see you again.
                              (He pulls out a wad 
                              of money, and peels 
                              off some notes.)
                         There. Go and get your hair done.

<b>                                     DOREEN
</b>                              (Can't believe it)
                         Thanks.

               He lifts her chin with his finger and looks at her.

<b>                                     CARTER
</b>                         Be good. And don't trust boys.

               Doreen blushes and turns away. She rushes back to the snack 
               bar with the money to show her friend.

<b>               INT. BOARDING HOUSE - HALL/SITTING ROOM - NIGHT
</b>
               The front door opens and Carter enters.

               Standing on the hall table is a small wooden casket with 
               an envelope taped to it. Carter pockets the envelope and 
               picks up the casket.  

<b>                                     EDNA (O.S.)
</b>                         That was left for you this evening. 

               Carter walks past her into the sitting room.

<b>                                     EDNA
</b>                         What is it?

<b>                                     CARTER
</b>                         My brother, Frank.

<b>                                     EDNA
</b>                         Is he staying the night?  

<b>                                     CARTER
</b>                         Funny.
                              (He puts the casket 
                              on a side table.)
                         Can I phone London?

<b>                                     EDNA
</b>                         It'll cost you.

<b>               INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
</b>
               Anna is undressing. She's alone. Pulling the short black-
               silk underslip over her head, she stands in front of a 
               long mirror, clad only in black panties, bra and tights. 
               She looks at herself appreciatively. The phone rings. She 
               flops on the bed and picks up the receiver.

<b>                                     ANNA
</b>                         Hello.

               A voice speaks on the end of the line.

<b>                                     ANNA
</b>                         How I miss you.
                              (She stretches 
                              herself out sexily 
                              and smiles.)
                         Stop it, darling.

<b>               INT. BOARDING HOUSE - SITTING ROOM - NIGHT
</b>
               It's a cosy room. Carter is on the telephone. EDNA sits in 
               a rocking chair.

<b>                                     CARTER
</b>                              (looking at Edna)
                         I fancy you. I wish I was touching 
                         you right now...

               Edna turns towards him. Carter fixes her with his eyes. 
               Edna rocks herself gently. Carter continues softly.

<b>                                     CARTER
</b>                         ...making love to you. I want to 
                         stroke you and kiss you all over. 
                         Where are you?

<b>               INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
</b>
               Anna is lying full-length on the bed.

<b>                                     ANNA
</b>                         In the bedroom.

               Carter speaks on the other end.

<b>                                     ANNA
</b>                         My black underwear.

<b>               INT. BOARDING HOUSE - SITTING ROOM - NIGHT
</b>
               Edna rocks backwards and forwards. 

<b>                                     CARTER
</b>                              (quietly)
                         The sexy, silk ones?  

               Anna replies. He continues softly.

<b>                                     CARTER
</b>                         Take your bra off.
                              (pause)
                         No, go on.

<b>               INT. FLETCHER'S HOUSE - BEDROOM - NIGHT 
</b>
               Anna unhooks her bra. There's a flash of breasts.

<b>               INT. BOARDING HOUSE - SITTING ROOM - NIGHT
</b>
               The scene as before.

<b>                                     CARTER
</b>                         Now hold them. Gently.

<b>               INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
</b>
               Anna's hands cover her breasts. Her head moves slowly from 
               side to side, eyes closed.

<b>               INT. BOARDING HOUSE - SITTING ROOM - NIGHT
</b>
               Scene as before.

<b>                                     CARTER
</b>                         Slowly. Imagine it's me.

<b>               INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
</b>
               Anna's hand caresses the inside of her leg. Her head rolls 
               from side to side slowly. She's breathing heavily.

               CROSS-CUT between Edna's head rocking backwards and forwards 
               and Anna's head moving from side to side.

<b>                                     CARTER (V.O.)
</b>                         When we're in South America, we'll 
                         make love in the sun. Roll over... 
                         and make love again... and again... 
                         For me... I fancy you...

<b>               THE SPEED OF THE CUTTING BUILDS.
</b>
<b>               INT. FLETCHER'S HOUSE - BEDROOM - NIGHT
</b>
               Suddenly the door opens and Gerald comes in. He sees Anna 
               groaning on the bed.

<b>                                     GERALD
</b>                         What's the matter? You got gut 
                         trouble or something?

               Anna sits up abruptly and puts her hand over the receiver. 

<b>                                     ANNA
</b>                         No, darling. Just doing some 
                         exercises,
                              (into telephone)
                         Listen, Janet, Gerald's just got 
                         in, so I must ring off.
                              (pause)
                         Yes. Yes. I'll come tomorrow.

<b>               INT. BOARDING HOUSE - SITTING ROOM - NIGHT
</b>
               Scene as before.

<b>                                     CARTER
</b>                         Save it till Sunday. I'll be back 
                         then.

               Carter replaces the receiver. He still holds Edna's eyes. 
               She rocks to and fro. The rocker creaks.

               The front door bell breaks the mood.

<b>                                     CARTER
</b>                         That'll be for me.

<b>               INT. BOARDING HOUSE - HALL - NIGHT
</b>
               Carter opens the door. Keith is outside. He's sweating. 
               His tie is somewhere round the back of his neck and his 
               suit is covered with dirt.

<b>                                     KEITH
</b>                         Thorpey. They were waiting for us 
                         in the car park. 

<b>                                     CARTER
</b>                         How many?

<b>                                     KEITH
</b>                         Four of them.

               Carter pulls Keith inside and turns out the light. 

               A Ford Zodiac comes along the road. It stops. Four faces 
               peer into the darkness where they're standing. Nobody gets 
               out. The back window winds down. Thorpe's nervous voice 
               floats out.

<b>                                     THORPE
</b>                         Jack? 

<b>                                     CARTER
</b>                         Good evening.

<b>                                     THORPE
</b>                         I'd like a word with you, Jack.

<b>                                     CARTER
</b>                         That's nice.

<b>                                     THORPE
</b>                         Confidential, like.

<b>                                     CARTER
</b>                         You stay in the car. I'll come and 
                         listen. (
                              (He leaves the 
                              darkness and walks 
                              to the car.)
                         What you want to tell me, Thorpey?

               Thorpe holds out his hand.

<b>                                     THORPE
</b>                         I've been asked to give you this.

               He hands Carter a railway ticket. Carter smiles.

<b>                                     THORPE
</b>                         Train goes at four minutes past 
                         twelve. You've just got time.

<b>                                     CARTER
</b>                         That's very kind of somebody. Who 
                         do I have to thank? (pause) What 
                         happens if I miss the train?

<b>                                     THORPE
</b>                         I've been asked to make sure you 
                         don't.

<b>                                     CARTER
</b>                         Oh, really. You're getting very 
                         optimistic in your old age, aren't 
                         you, Thorpey?

               One of the men inside mutters.

<b>                                     MAN
</b>                         Let's stop pissing about.

<b>                                     THORPE
</b>                         Are you coming, Jack? It'd be best.

               Carter tears the ticket in half and drops it in the gutter.

<b>                                     THORPE
</b>                         Right lads.

               The front passenger door starts to open. Carter grabs it 
               and pulls it wide open. With all his force, he slams it 
               against the man as he gets out. The window shatters over 
               his head. Blood spurts everywhere.  The driver panics. He 
               accelerates away as the man in the back is getting out. 
               His foot is trapped in a safety belt. He's upended and 
               dragged along the tarmac, his head dangerously close to 
               the back wheel. His yells make the driver brake. In the 
               confusion Thorpe escapes from the car and makes off. Carter 
               spots him and begins to run.

<b>                                     CARTER
</b>                              (roars)
                         Thorpe!

               Thorpe turns into the main road. He makes for the dance 
               hall and disappears inside. Carter follows.

<b>               INT. DANCE HALL - NIGHT
</b>
               The dance floor is full, mainly with miniskirted girls, 
               their handbags at their feet. A rock band play mechanical 
               music to match the dancing.

               Thorpe vanishes into the crowd circling the floor. Carter 
               arrives. He scans the place, then sees Thorpe as he 
               disappears down into the gents' lavatory.

<b>               INT. DANCE HALL - GENTS' LAVATORY - NIGHT
</b>
               Carter enters. There's no sign of Thorpe. He checks the 
               cubicles until he finds the one that's occupied, then goes 
               into the next one. He climbs on the seat and looks over 
               the partition. Thorpe is sitting down looking at the door. 
               Carter quietly leans across and pulls the chain. Thorpe 
               jumps up, terrified.

<b>                                     CARTER
</b>                         Time's up, Thorpey.

               Carter smiles.

<b>               EXT. BOARDING HOUSE - NIGHT
</b>
               Keith kicks broken glass into the gutter while he waits. 
               Edna's next-door neighbour, an OLD WOMAN, watches. Carter 
               and Thorpe come down the street.

<b>                                     CARTER
</b>                         Hello, Keith,
                              (pause)
                         Stay there, Thorpey.

               He knocks on Edna's door. It flies open. Edna is furious. 

<b>                                     EDNA
</b>                         What the bloody hell do you think 
                         you're at? 

<b>                                     CARTER
</b>                              (smiles)
                         I'm sorry.

<b>                                     EDNA
</b>                         You don't look it.

<b>                                     CARTER
</b>                         No. Really, I am.

<b>                                     EDNA
</b>                         Don't come that bloody flannel 
                         with me. If you're a traveller, 
                         I'm bloody Twiggy.
                              (She points at 
                              Thorpe.)
                         And who's he?

<b>                                     OLD WOMAN
</b>                         What's going on? Have you no thought 
                         for others?

<b>                                     CARTER
</b>                         We're going inside.

<b>                                     EDNA
</b>                         Inside? Why should I give house-
                         room to your sort? 

<b>                                     CARTER
</b>                         Up the stairs, Keith. The door on 
                         the right.

<b>                                     OLD WOMAN
</b>                         Everybody knows you, Edna Garfoot.  
                         Everybody knew there'd be trouble 
                         when you moved in.

               Carter, Keith and Thorpe enter the house.

<b>                                     EDNA
</b>                         You keep your trap shut, Ma.

<b>                                     OLD WOMAN
</b>                         I'll send my old man to see you!

<b>                                     EDNA
</b>                         And wouldn't he love it!

<b>               INT. BOARDING HOUSE - HALL - NIGHT
</b>
               Carter, Thorpe and Keith are climbing the stairs. Carter 
               stops to pick up Frank's casket. Edna rushes in and slams 
               the door.

<b>                                     EDNA
</b>                         Where do you think you're going? 

               Carter opens the door to his room.

<b>                                     CARTER
</b>                         Why don't you go and make us all a 
                         nice cup of tea? 

               Carter shoves Thorpe into the room.  Keith follows.

<b>                                     EDNA
</b>                         And what you going to do? 

<b>                                     CARTER
</b>                         Make us a nice cup of tea and I'll 
                         tell you. I might even let you 
                         watch.

<b>                                     EDNA
</b>                         I'll call the police.

<b>                                     CARTER
</b>                              (He knows she fancies 
                              him)
                         No, you won't.

               Carter closes the door.

<b>               INT. BOARDING HOUSE - BEDROOM - NIGHT
</b>
               Carter carefully places the casket on the chest of drawers. 

<b>                                     CARTER
</b>                         Well now, Thorpey. It seems I've 
                         got a secret benefactor.
                              (He moves into the 
                              room and opens his 
                              briefcase, which 
                              is lying on the 
                              bed.)
                         It's nice to know that. Isn't it, 
                         Keith?
                              (He takes out a 
                              bottle of whisky.)
                         There's only one trouble, I don't 
                         know who to thank.

               Thorpe looks longingly at the bottle of Scotch. Suddenly 
               Carter punches him hard in the stomach. He grunts and 
               collapses into a chair.

<b>                                     CARTER
</b>                         Now, I want to know who it is, 
                         Thorpey.

               Carter tosses the whisky bottle to Keith and continues 
               wearily.

<b>                                     CARTER
</b>                         All right. If you like, Thorpey, 
                         we'll stop mucking about.  Somebody 
                         doesn't want me poking my nose 
                         into something and I happen to 
                         know what that something is.
                              (pause)
                         Now stand up.

               Thorpe looks at him, terrified. Slowly he stands. Carter 
               grabs him by the testicles and applies preasure. Thorpe 
               screams.

<b>                                     CARTER
</b>                         Who paid you to see me off?  

<b>                                     THORPE
</b>                         I can't Jack. How can I? 

<b>                                     CARTER
</b>                         Yes you can.

               Carter applies more pressure. Thorpe screams.

<b>                                     THORPE
</b>                         No, don't Jack, don't.

<b>                                     CARTER
</b>                         Who sent you, Thorpey? 

<b>                                     THORPE
</b>                              (desperate)
                         Brumby!

               Carter gives him a final squeeze and lets go. Thorpe groans 
               and slips to the floor, doubled up in agony.

<b>                                     CARTER
</b>                         There you are, you see. Now you 
                         could, couldn't you?
                         (pause)
                         And quickly.

               There's a knock on the door. Carter lets in Edna, who is 
               carrying the teatray.

<b>                                     CARTER
</b>                         Ah, Edna, come in. Join the tea 
                         set.

<b>                                     KEITH
</b>                         Who's Brumby? 

<b>                                     CARTER
</b>                         Cliff Brumby. Ever been to Westsea? 

               Keith nods.

<b>                                     CARTER
</b>                         Ever been into an arcade there and 
                         put a penny in the slot machine?  

<b>                                     KEITH
</b>                         Yeah.

<b>                                     CARTER
</b>                         Ten to one, it belonged to Cliff 
                         Brumby, and like as not the bloody 
                         arcade as well. Right along the 
                         coast. Isn't that right, Thorpey?

               Thorpe drags himself painfully to a chair.

<b>                                     CARTER
</b>                         Where's he living these days?  

<b>                                     THORPE
</b>                         He's got a new place at Burnham.

<b>                                     CARTER
</b>                         Address? 

<b>                                     THORPE
</b>                         On the Durham Road. The Pantiles.

<b>                                     EDNA
</b>                              (furious)
                         Suppose you tell me what the bloody 
                         hell's going on. It's my house, 
                         you know.

<b>                                     CARTER
</b>                         Yes, Edna, and I must say you've 
                         been great about the ...

<b>                                     EDNA
</b>                         Stick the soft soap. Let's be having 
                         it.

               Thorpe's plaintive voice interrupts.

<b>                                     THORPE
</b>                         Can I go now? 

<b>                                     CARTER
</b>                         You must be joking,
                              (to Keith)
                         Keep him away from the telephone. 
                         I'm going out for a bit.

<b>                                     EDNA
</b>                         Now just a minute...

<b>                                     CARTER
</b>                         Ta-ra.

<b>                                     THORPE
</b>                         Don't let on I told you, for God's 
                         sake.

               Carter laughs and closes the door.

<b>               EXT. THE PANTILES - NIGHT
</b>
               It's a large, new, ranch-style house, set back from the 
               road. The front garden is a landscape gardener's nightmare, 
               with its phoney brick and wrought-iron wishing well, 
               porcelain dwarfs, lily pond, the lot. Fairy lights hang 
               over everything.

               There's a party going on. Lights are on in every room and 
               the rock music is loud. The drive is lined with sports 
               cars.

               Carter parks and gets out.

               Out of a side door a young man stumbles towards the lily 
               pond.  There, he promptly throws up.

               Carter watches from behind a tree.

               His attention shifts to the white Bentley turning into the 
               drive. It brakes sharply and the driver jumps out.

               CLIFF BRUMBY has been to a police ball. He is impeccably 
               dressed in tuxedo and white scarf. Now he's hopping mad.

<b>                                     BRUMBY
</b>                         Jesus wept!  

               MRS BRUMBY cowers in the passenger seat.

<b>                                     MRS BRUMBY
</b>                         Now, Cliff, don't get mad. 

<b>                                     BRUMBY
</b>                         I'll murder the little bitch!

<b>                                     MRS BRUMBY
</b>                         Cliff ...

               Brumby roars up to the front door, banging it furiously. A 
               young woman in a party dress, expecting to greet a 
               latecomer, is stunned to see who it is.

<b>                                     SANDRA
</b>                         Daddy!

<b>                                     BRUMBY
</b>                         That's right, bloody Daddy.

<b>                                     SANDRA
</b>                         I wasn't expecting you until three 
                         o'clock.

<b>                                     BRUMBY
</b>                         And this is what you call having a 
                         few friends back for coffee, is 
                         it?

               Brumby pushes past her into the house.

<b>                                     BRUMBY
</b>                         Running bloody riot over my bloody 
                         furniture, drinking my bloody 
                         booze...

               The rest is lost as he disappears inside. He then powers 
               out through the side door

<b>                                     BRUMBY
</b>                         ... spewing over my fucking 
                         goldfish.

               He aims a kick at the young man's backside, sending him 
               face-down into the lily pond.

               Mrs Brumby gets out of the car and hovers for a moment. As 
               she approaches the house, people pour out. Brumby appears 
               at the door with a boy pulling up his trousers.

<b>                                     MRS BRUMBY
</b>                         Cliff ...

               Brumby throws the boy out.

<b>                                     BRUMBY
</b>                         Shut up, Phyllis.
                              (He walks back into 
                              the house.)
                         Sandra!

               Mrs Brumby goes into the house and closes the door. Brumby 
               passes an upstairs window as Sandra locks herself in a 
               bedroom.

<b>                                     BRUMBY
</b>                         Sandra! Unlock the door, you bitch.

               Carter pauses outside the front door and listens to the 
               row going on upstairs. He opens the door and goes in.

<b>               INT. THE PANTILES - NIGHT
</b>
               Carter passes silently through the hall into the large 
               sitting room. Mrs Brumby is sitting in an armchair. 

               Brumby is still yelling at his daughter upstairs. 

<b>                                     CARTER
</b>                         Good evening.

               Mrs Brumby jumps.  The front door is open.

<b>                                     MRS BRUMBY
</b>                              (standing)
                         Who are you?

<b>                                     CARTER
</b>                         I'm an old friend of Cliff's. I 
                         want to see him. 

               Mrs Brumby looks at her watch irritably.

<b>                                     CARTER
</b>                         It's urgent.

<b>                                     MRS BRUMBY
</b>                         What's it about? 

<b>                                     CARTER
</b>                         Business.

<b>                                     MRS BRUMBY
</b>                         I know all about Cliff's business.

               Carter moves further into the room.

<b>                                     CARTER
</b>                         Yeah, well, tell him the Fletchers 
                         sent me.

               Mrs Brumby is uncertain what to do. Carter sits in an 
               armchair to make his point. She leaves. A moment later 
               Brumby storms into the room.

<b>                                     BRUMBY
</b>                         What the bloody hell's all this? 

               Carter doesn't move.

<b>                                     BRUMBY
</b>                         You know what the bloody time is!
                              (pause)
                         It's two o'clock in the bloody 
                         morning!

<b>                                     CARTER
</b>                         I know.

<b>                                     BRUMBY
</b>                         Well? 

               Carter still doesn 't move.

<b>                                     BRUMBY
</b>                         The wife says the Fletchers sent 
                         you.

               Carter just looks at him. Weighing him up.

<b>                                     BRUMBY
</b>                         What's so bloody important it 
                         couldn't wait till the morning?  

               Carter starts to laugh. He realizes Thorpe has lied to 
               him.  Brumby isn't his man.

<b>                                     BRUMBY
</b>                         Listen, I'm not in the mood for 
                         bloody silly buggers. 

               Carter stands.

<b>                                     CARTER
</b>                         I made a mistake.

<b>                                     BRUMBY
</b>                         What?

<b>                                     CARTER
</b>                         I made a mistake.

<b>                                     BRUMBY
</b>                         What about?

<b>                                     CARTER
</b>                         Never mind.

               Brumby looks confused.

<b>                                     BRUMBY
</b>                         It's not business?

               Carter moves to the door.

<b>                                     CARTER
</b>                         See you.

               Brumby moves between him and the door.

<b>                                     BRUMBY
</b>                         Listen, I don't like it when some 
                         hard nut comes pushing his way in 
                         and out my house in the middle of 
                         the night.

               Carter again makes to leave. Brumby stops him.

<b>                                     BRUMBY
</b>                         Bloody well tell me who sent you.

<b>                                     CARTER
</b>                         You're a big man, but you're in 
                         bad shape. With me, it's a full-
                         time job. Now behave yourself.

               Brumby swings at him. Carter moves away from the punch, 
               then applies several sharp blows to Brumby's head and neck.  
               Brumby groans and collapses into the armchair, hurt.

               Carter walks into the hall and out of the front door.

<b>                                     CARTER
</b>                         Good night, Mrs Brumby.

<b>               EXT. 'LAS VEGAS' BOARDING HOUSE - NIGHT
</b>
               Carter walks up the deserted street to Edna's place. He 
               finds the front door unlocked.

<b>               INT. BOARDING HOUSE - HALL - NIGHT
</b>
               Carter enters cautiously. There is no sound. He closes the 
               door quietly and pauses at the foot of the stairs. Still 
               there is no sound. He waits. A sudden rustle attracts his 
               attention. Quietly, he moves to the sitting-room door.

<b>               INT. BOARDING HOUSE - SITTING ROOM - NIGHT
</b>
               Carter switches on the light. Edna is pressed against the 
               far wall, holding a poker. Her dress is torn and her hair 
               dishevelled. When she sees Carter, she sighs with relief.  

<b>                                     EDNA
</b>                         You sod.

<b>                                     CARTER
</b>                         They came back?

<b>                                     EDNA
</b>                              (sarcastically)
                         No.

               Carter helps himself to a glass of water from the tap. 
               Edna looks at her torn dress.

<b>                                     EDNA
</b>                         Look at this. You bastard.

               Carter puts the glass on the table.

<b>                                     EDNA
</b>                         You don't care a stuff, do you?

               Carter takes out his phial of pills.

<b>                                     CARTER
</b>                         I'll buy you another.

               Carter swallows a pill.

<b>                                     EDNA
</b>                         What about the lad? They took him 
                         away.

               Carter shrugs his shoulders.

<b>                                     EDNA
</b>                         What'll they do to him?

<b>                                     CARTER
</b>                         Don't ask me.

               Edna rubs her wrists.

<b>                                     EDNA
</b>                         They bloody hurt me.

<b>                                     CARTER
</b>                         You're lucky. They kill as well. 

<b>                                     EDNA
</b>                              (mocking him)
                         And what about you? Did you kill 
                         Brumby?

               Carter shakes his head.

<b>                                     EDNA
</b>                         Thorpey nearly died laughing.

<b>                                     CARTER
</b>                         That little shit! 

<b>                                     EDNA
</b>                         What about Keith? 

<b>                                     CARTER
</b>                         What about Keith? 

<b>                                     EDNA
</b>                         What you going to do? 

<b>                                     CARTER
</b>                         Pension him off.

<b>                                     EDNA
</b>                         You're a bastard.

<b>                                     CARTER
</b>                              (angry)
                         What am I supposed to do?  I don't 
                         know where they've taken him. Do 
                         you?

               Edna shakes her head.

<b>                                     CARTER
</b>                         So shut up.

<b>                                     EDNA
</b>                         What's that gun doing in your room? 
                         Suppose I phoned the police and 
                         told them there's a bloke staying 
                         in my hotel who's planning to shoot 
                         somebody?

<b>                                     CARTER
</b>                         You wouldn't.

<b>                                     EDNA
</b>                         How'd you know I wouldn't? 

<b>                                     CARTER
</b>                              (smiling)
                         'Cos I know you wear purple 
                         underwear. 

<b>                                     EDNA
</b>                         What's that supposed to mean? 

<b>                                     CARTER
</b>                         Think about it.

               Carter takes hold of her torn blouse and rips it open. She 
               is wearing purple underwear.

<b>               EXT. BOARDING HOUSE - DAY
</b>
               It's Sunday morning. A girls' marching band rehearses on 
               the wasteground in front of the terraced houses. The Pelaw 
               Hussars march back and forth carrying their proud banner, 
               led by the drum majorette.

<b>               INT. BOARDING HOUSE - DAY
</b>
               Above the bed hangs a sign 'What would Jesus say?' In the 
               bed lie Carter and Edna. The distant sound of the marching 
               band helps them surface.

<b>                                     EDNA
</b>                         Are you awake? 

<b>                                     CARTER
</b>                         No.

<b>                                     EDNA
</b>                         Do you want breakfast? 

<b>                                     CARTER
</b>                         You must be joking. I never eat 
                         breakfast,
                              (pause)
                         Did you sleep well?  

<b>                                     EDNA
</b>                         Uh-huh.

<b>               EXT. BOARDING HOUSE - DAY
</b>
               The Pelaw Hussars keep on marching. The back of their banner 
               a stirring motto For Youth and Valour.

<b>               INT. BOARDING HOUSE - DAY
</b>
               Scene as before.

<b>                                     EDNA
</b>                         Did you sleep well?

<b>                                     CARTER
</b>                         Yes, thank you.

               He puts his arm around her and moves on top.

<b>               EXT. BOARDING HOUSE - DAY
</b>
               As the band executes another movement, a red Jaguar slides 
               to a halt outside Edna's house. Two men get out. PETER the 
               Dutchman and CON MCCARTY are definitely not local lads. 
               They look, and are, lethal. They try Edna's front door. It 
               opens.

<b>               INT. BOARDING HOUSE - DAY
</b>
               Scene as before.

<b>                                     CARTER
</b>                         Are you tired?  

<b>                                     EDNA
</b>                         No. Are you tired?  

<b>                                     CARTER
</b>                         No. I'm not tired,
                              (pause)
                         Do you eat breakfast? 

               Edna laughs. They start to make love. Gently. Below the 
               undulating bedsprings rests a large chamberpot and, beside 
               it, Carter's shotgun. Beyond is the bedroom door. It opens 
               slowly and the two men enter. Only their legs are visible.  

<b>                                     CON (O.S.)
</b>                         Put us in it, Jack.

               Carter is off the bed, and Edna, in a flash. Edna screams 
               and tries to stop the bedclothes following Carter on to 
               the floor. Peter and Con stand beside the bed smiling. 
               Peter is a queer and dressed fancy in a leather coat, wide-
               bottomed trousers and a loud silk scarf. His hair is 
               bleached blond. Con is more traditional, more butch. He's 
               in a camelhair overcoat, suit and tie. Both are in their 
               thirties.

<b>                                     PETER
</b>                         Don't let us interrupt you, Jack.

<b>                                     CARTER
</b>                         I might have guessed.

<b>                                     CON
</b>                         Sorry about this. But there you 
                         are. Orders are orders.  

<b>                                     CARTER
</b>                         And what orders would they be, 
                         Con?  

               Carter's hand runs over the carpet. It's going towards the 
               chamber pot instead of the gun.

<b>                                     CON
</b>                         Gerald phoned us in the middle of 
                         the night, said he'd heard you've 
                         been making a nuisance of yourself.

<b>                                     PETER
</b>                         We've got to take you back to 
                         London.

<b>                                     CON
</b>                         He said it'd be doing him a big 
                         favour.

               Carter's hand finds the chamber pot and quickly moves on 
               towards the gun.

<b>                                     CON
</b>                         We know why you're all steamed up, 
                         and so do Gerald and Sid.

<b>                                     PETER
</b>                         But they have to be diplomatic.

               Carter pulls out the gun and jumps up.

<b>                                     CARTER
</b>                         Right. Now take me back to London.

<b>                                     CON
</b>                              (smiling)
                         It'd be best if you got dressed 
                         first.

               Carter moves around the bed towards them. He's naked.

<b>                                     CON
</b>                         Put it away, Jack. You know you 
                         won't use it.

<b>                                     PETER
</b>                         The gun he means.

               Both men are laughing.

<b>                                     CARTER
</b>                         Out.

               Peter and Con back down the stairs. Peter looks up at 
               Carter's cock.

<b>                                     PETER
</b>                         If Anna could see you now.

<b>                                     CARTER
</b>                         Out.

<b>                                     CON
</b>                         Now, Jack. Be reasonable. You know 
                         we're going to take you back - 
                         sooner or later.

<b>                                     CARTER
</b>                         Out.

<b>               EXT. BOARDING HOUSE - DAY
</b>
               Con is the first to emerge from the front door.

<b>                                     CON
</b>                         Mind you don't catch cold.

               Peter follows.

<b>                                     PETER
</b>                         I hope she's got understanding 
                         neighbours.

               Then Carter comes out, shotgun held across his chest.

<b>                                     CON
</b>                         See you when you've got your drawers 
                         on.

               The old woman next door chooses that moment to come out 
               for her milk. As she straightens up, she sees Carter. The 
               bottle flies from her hand and smashes on her doorstep. 
               Carter, never taking his eyes off Peter and Con, slowly 
               backs into the house.

<b>               INT. BOARDING HOUSE - BEDROOM - DAY
</b>
               Carter watches from the window as he pulls on his jacket. 
               The gun lies across the armchair. Outside, he can see Peter 
               and Con talking by the Jaguar. Con exits.

               Edna, now in her dressing gown, enters.

<b>                                     CARTER
</b>                         Do us a favour?

<b>                                     EDNA
</b>                         What, and get myself beaten up 
                         again?

<b>                                     CARTER
</b>                         No chance of that.

<b>                                     EDNA
</b>                         Not much.

<b>                                     CARTER
</b>                         They're friends of mine.

<b>                                     EDNA
</b>                         And that'll make me feel better?  

<b>                                     CARTER
</b>                         I don't want to get rough, do I?  

               Carter picks up the gun. He hands Edna, bis case and the 
               casket.

<b>               INT. REAR OF BOARDING HOUSE - DAY
</b>
               Edna comes out of the back gate into an alley, carrying 
               the casket and case. Con emerges from his hiding place 
               holding a handgun.

<b>                                     CON
</b>                         Hold it! Where do you think you're 
                         going?  

               Carter appears from the gate next door, covering Con with 
               the shotgun.

<b>                                     CARTER
</b>                         Strawberry Fair.

               He takes Con's handgun and signals him to go into Edna's 
               yard.

<b>                                     CARTER
</b>                         In.  Turn right. 
                              (He points the gun 
                              at the coalshed.)
                         Open that door.

               Con unbolts the door.

<b>                                     CARTER
</b>                         And go inside.

               Con goes in. Carter closes and bolts the door. He moves 
               quickly back to Edna and the car.

<b>                                     EDNA
</b>                         What you going to do?

<b>                                     CARTER
</b>                         I'm going to sit in the car and 
                         whistle 'Rule, Britannia'.

               Carter jumps into the car.

<b>                                     EDNA
</b>                         You coming back?

<b>                                     CARTER
</b>                         How could I stay away?

               The car roars off.

<b>               EXT. BACK ALLEY - DAY
</b>
               Washing hangs behind each house as far as the eye can see. 
               Carter drives full tilt through it, collecting towels and 
               sheets on the windscreen.

<b>               EXT. EDNA'S YARD - DAY
</b>
               The coalhouse door is getting a terrible battering. It 
               finally gives and Con bursts out. He runs into the alley, 
               following after Carter.

<b>               EXT. BOARDING HOUSE FRONT - DAY
</b>
               Carter's car screeches as it corners from the alley on to 
               the road. Peter is leaning against the open door of the 
               Jaguar. When he sees Carter coming straight at him, he 
               scarpers for the pavement.  Carter hits the Jaguar's door 
               at speed, tearing it off. It flies up and crashes on to 
               the tarmac as Carter careers over the wasteground. Soon he 
               is out of sight.

               Con comes running. Peter is looking at the damage.

<b>                                     PETER
</b>                         Where were you, then?  

               Con sees what's happened to the car and is not pleased.

<b>                                     CON
</b>                         Bollocks.

<b>               EXT. BACK STREET - DAY
</b>
               Carter pulls up outside a house and gets out. He takes the 
               washing off the car's bonnet, and throws it into a neglected 
               garden.

<b>               EXT. FRONT DOOR - DAY
</b>
               Carter presses the bell. The door's opened by a young man, 
<b>               SHAMIR.
</b>
<b>                                     CARTER
</b>                         Keith in?  

<b>                                     SHAMIR
</b>                              (shouts)
                         Keith.

               No answer. Shamir watches Carter as he walks into the hall.

<b>                                     CARTER (O.S.)
</b>                         Which is his room?

<b>               INT. KEITH'S ROOM - DAY
</b>
               Carter enters and closes the door. Keith is in a had way, 
               his face like a piece of raw steak. He is lying on a bed, 
               still in the clothes of the night before.

<b>                                     CARTER
</b>                         What happened to you, then?

<b>                                     KEITH
</b>                         How'd you find me?

               Keith lifts his head painfully from the pillow.

<b>                                     CARTER
</b>                         Did they give you a rough time?

<b>                                     KEITH
</b>                         No.
                              (He lowers his head 
                              to the pillow.)
                         You bastard. You knew they'd come 
                         back.

<b>                                     CARTER
</b>                         No, I didn't,
                              (pause)
                         Does Albert Swift still live over 
                         the ferry?

<b>                                     KEITH
</b>                         Get knotted.

<b>                                     CARTER
</b>                         All right. All right. I want to 
                         square things with you first.

<b>                                     KEITH
</b>                         Oh yes? How?  

               Carter takes out of his wad of money. Keith's bloodshot 
               eyes watch him through the surrounding puff of flesh.

<b>                                     KEITH
</b>                         Stuff it! My girl friend's coming 
                         from Liverpool tonight.  Nice 
                         surprise, isn't it?  

<b>                                     CARTER
</b>                         I'm sorry. Here. This'll pay for a 
                         course in karate.  

               He throws some money on the bed. Keith tries to kick it 
               off, but it's too painful. He clutches his testicles.

<b>                                     KEITH
</b>                         Frank said you were a shit and he 
                         was bloody well right.

               Carter turns to leave.  Keith continues, crying and angry.

<b>                                     KEITH
</b>                         You even screwed his wife, didn't 
                         you?  

               Carter shuts the door, leaving Keith shouting after him.

<b>                                     KEITH
</b>                         The poor bastard didn't even know 
                         if the kid was his.

               He falls back on to the bed, crying out in pain.

<b>               EXT. RIVERSIDE - DAY
</b>
               A wide road runs alongside the Tyne. It passes below the 
               vast steel bridges that link the two parts of the city. A 
               carpark lies at the foot of the 'Iron Bridge'. Carter pulls 
               up and parks. He gets out and moves quickly.

<b>               EXT. THE IRON BRIDGE - DAY
</b>
               The bridge is a, massive structure. The traffic lanes are 
               flanked each side by pedestrian walkways. It is here that 
               Carter and Margaret have arranged to meet.

<b>                                     CARTER
</b>                         How were things between you and 
                         Frank?

<b>                                     MARGARET
</b>                         He was all right to me.

<b>                                     CARTER
</b>                         Nothing more? Just another feller?

<b>                                     MARGARET
</b>                         Nicer than most.

<b>                                     CARTER
</b>                         But he was just another feller, 
                         wasn't he?

<b>                                     MARGARET
</b>                         Yes.

<b>                                     CARTER
</b>                         Though nicer than most?  

<b>                                     MARGARET
</b>                         Yes. I can't help the way I am.

<b>                                     CARTER
</b>                              (ignoring the 
                              statement)
                         Why'd you see him so regular?

<b>                                     MARGARET
</b>                         Once a week?  

<b>                                     CARTER
</b>                         I call that regular.

<b>                                     MARGARET
</b>                         He was gentlemanly. I like that.

<b>                                     CARTER
</b>                         Once a week you like a gentleman?  

<b>                                     MARGARET
</b>                              (angrily)
                         Look, I'm me, right. You're not. 
                         We are what we are, like it or 
                         not.
                              (She turns and walks 
                              slowly along the 
                              bridge.)
                         Why all the bloody needle?  

<b>                                     CARTER
</b>                         What was bugging Frank?  

<b>                                     MARGARET
</b>                         He wanted me to leave Dave and 
                         marry him. Last Friday I told him 
                         it wouldn't work. Dave would have 
                         killed us both!
                              (pause)
                         He followed me home and kicked up 
                         a stink in the street,
                              (pause)
                         I had to tell Frank I couldn't see 
                         him any more. It was getting too 
                         dodgy. That was on Sunday.
                              (She stops and looks 
                              over the bridge.)
                         He said he'd kill himself. I was 
                         frightened what you might do.

               They look at each other for a moment. Carter shakes his 
               head. He gently takes the sunglasses from Margaret's face 
               and folds them up.

<b>                                     CARTER
</b>                         I don't believe you, Margaret. 
                         Frank wasn't like that.
                              (pause)
                         I'm the villain in the family, 
                         remember?

<b>                                     MARGARET
</b>                         It's the truth.

               Carter snaps her glasses in two and throws them away. 

<b>                                     MARGARET
</b>                         It is. Honestly.

<b>                                     CARTER
</b>                              (shouting)
                         You bloody whore. Frank was too 
                         careful to die like that. Who killed 
                         him?

<b>                                     MARGARET
</b>                         I don't know nothing.

               Carter holds her arm. She winces like she's been hit before. 

<b>                                     CARTER
</b>                         Listen, the only reason I came 
                         back to this craphole was to find 
                         out who did it. And I won't leave 
                         until I do. You understand?

               Behind Carter Peter's Jaguar comes slowly along the bridge.  
               It stops. The passenger side is a gaping hole.

<b>                                     CON
</b>                         Hello, Jack.

               Carter swings round to see them, then swings angrily back 
               to Margaret.

<b>                                     CARTER
</b>                         You bitch! It was you who told 
                         them I was here, wasn't it?

               He smacks her hard across the face. Margaret cries out. 
               The car draws alongside. A steel mesh separates the 
               pedestrian way from the traffic, so the two men can't get 
               to Carter until he reaches the end of the bridge. Con leans 
               out, his usual cheery self.

<b>                                     CON
</b>                         Peter's very upset about his car. 
                         He's going to shit all over you.

<b>                                     CARTER
</b>                         I'll catch up with you later, 
                         Margaret.

               And with that he vaults over the handrail on to a corrugated 
               roof. Con jumps out of the Jaguar.

<b>                                     PETER
</b>                              (shouts above the 
                              revs)
                         Come on, get in.

               Con does and they race off.

<b>               EXT. WASTELAND - DAY
</b>
               Carter arrives at the top of some narrow, steep, overgrown 
               steps leading down to the river road, where his car is 
               parked. He leaps down the steps as the Jaguar screeches to 
               a halt at the top. Con leaps out of the Jaguar and gives 
               chase. Peter backs the Jaguar and roars off.

<b>               EXT. RIVER ROAD - DAY
</b>
               Carter comes running down the steps with Con not far behind.  
               He arrives at the river road. In the distance, he can see 
               his parked car.   

               As he nears the car park, Peter's Jaguar comes down the 
               hill. It's going to cut Carter off from his car.

               A Sunbeam Alpine sports car waits there. Its engine roars 
               into life and it races out of the car park. It reaches him 
               just before the Jaguar and slows down.

<b>                                     GLENDA
</b>                         Over here, Jack.

               Carter sees that the driver is GLENDA. The hood is down, 
               so he vaults into the car as it accelerates off.

               The Sunbeam swings round, narrowly missing the oncoming 
               Jaguar, and roars away. Peter hasn't a chance. He's facing 
               the wrong way and has little room to manoeuvre.

               Glenda laughs as the car swings wildly around a corner at 
               the top of the hill.

<b>               INT. SUNBEAM - DAY
</b>
               Every movement Glenda makes is sexually charged manual 
               gear changes, steering, even braking. Carter can't take 
               his eyes off her.

<b>                                     GLENDA
</b>                         You didn't know you had a fairy 
                         godmother, did you? 

<b>                                     CARTER
</b>                         No. I didn't know that.

<b>                                     GLENDA
</b>                         A fairy godmother, all of your 
                         own. Aren't you lucky? 

<b>                                     CARTER
</b>                         So where are we going, Princess?  

<b>                                     GLENDA
</b>                         To the demon king's castle, of 
                         course.

<b>                                     CARTER
</b>                         Of course. Where else?  

               The car screams off the road into a multi-storey carpark.

<b>               INT. MULTI-STOREY CAR PARK - DAY
</b>
               Glenda really puts her foot down. The car hurtles around 
               each deserted floor.

<b>                                     CARTER
</b>                         How'd you know where I'd be?  

<b>                                     GLENDA
</b>                         You were seen parking your car. 
                         The demon king waves his wand and 
                         I was dispatched to bring you to 
                         him. Lucky for you I waited.

<b>                                     CARTER
</b>                         Very lucky, I should think. You're 
                         drunk!  

<b>                                     GLENDA
</b>                         Nasty.

<b>                                     CARTER
</b>                         He must have been pretty sure I'd 
                         come.

<b>                                     GLENDA
</b>                         Oh, he was. He told me a magic 
                         spell that would make you come.

<b>                                     CARTER
</b>                              (smiling)
                         And what was that?  

<b>                                     GLENDA
</b>                         We're there now.

               She brakes to a split-second stop.

<b>               INT. PENTHOUSE RESTAURANT - DAY
</b>
               It's one large empty concrete box with big picture windows 
               all the way round. Wires are hanging from the ceiling and 
               walls where the lights will eventually be fixed.

               A tall figure stands at the opposite end, facing the setting 
               sun. He is just a silhouette.

               Carter and Glenda enter and walk towards the man. The 
               silhouette turns as he nears it. It's Brumby.

<b>                                     BRUMBY
</b>                         A new venture of mine. It's going 
                         to be a restaurant.
                              (pause)
                         Do you like it?  

<b>                                     CARTER
</b>                         Yes.

<b>                                     BRUMBY
</b>                         Last night, after you'd gone, I 
                         did a little bit of asking around. 
                         Seeing as you weren't very 
                         forthcoming,
                              (pause)
                         It seems that you are concerned 
                         about the death of your brother?  
                         (pause) I got to thinking it would 
                         be nice if the bloke you were after 
                         was the same bloke I wanted off my 
                         back,
                              (pause)
                         You know my life. Machines. The 
                         arcades. Nice business. Looks after 
                         itself. People put money in. I 
                         take it out. Not much rough stuff. 
                         It's a business that makes me very 
                         happy. But recently, I've had a 
                         spot of bother,
                              (pause)
                         One of my lads gets a bit over-
                         anxious and flogs some machines in 
                         a club that's already got some. 
                         The upshot is I've had to eat shit 
                         and stop flogging my machines to 
                         other clubs.
                              (pause)
                         So far as I'm concerned, that's 
                         it. Apparently not. These people 
                         I've offended get the idea that it 
                         would be good to take over my whole 
                         outfit,
                              (pause)
                         So I'm worried. I can't fight them 
                          I haven't that kind of set-up. 
                         But I've got to fix them before 
                         they fix me. Trouble is, if I try 
                         and they find out, I'm dead.

               Brumby picks up a black briefcase. He holds it up to Carter. 

<b>                                     BRUMBY
</b>                         Five grand. It belongs to you. 
                         Along with a little name I'm going 
                         to give you.

<b>                                     CARTER
</b>                         What name?  

<b>                                     BRUMBY
</b>                         Kinnear. Cyril Kinnear.
                              (pause)
                         Kinnear did it.  

<b>                                     CARTER
</b>                         Why?  

<b>                                     BRUMBY
</b>                         I don't know. All I know is that 
                         people were shitting bricks up at 
                         his place last Saturday. Your 
                         brother's name was mentioned. Next 
                         day, he was dead.

<b>                                     CARTER
</b>                         Why?  

<b>                                     BRUMBY
</b>                         I don't know. That's all I was 
                         told.

               Carter takes a last look at Glenda and walks slowly back 
               towards the entrance.

<b>                                     CARTER
</b>                         That's not good enough.

<b>                                     BRUMBY
</b>                         Christ, what...

<b>                                     CARTER
</b>                              (shouting)
                         Do me a favour. You don't really 
                         expect me to fix Kinnear on your 
                         say-so?
                              (pause)
                         Just because they tried to get me 
                         on you last night, don't think you 
                         can pull the same trick. Stroll 
                         on.

<b>                                     BRUMBY
</b>                         Jack, you're wrong.

<b>                                     CARTER
</b>                         Good afternoon, Mr Brumby. Carter 
                         exits.

<b>                                     BRUMBY
</b>                         Jack...

<b>               EXT. MULTI-STOREY CAR PARK - DAY
</b>
               Carter steps out of the elevator as Glenda's Sunbeam comes 
               down the bottom ramp fast. The car brakes hard and stops. 
               Carter opens the door and gets in. Not a word is said.

<b>               INT. GLENDA'S APARTMENT - DAY
</b>
               The apartment is one of many in a modern block and Glenda 
               has only recently moved in. There is a mattress on the 
               floor. A large mirror leans against the wall behind it and 
               a film projector stands close to the window, which has 
               makeshift curtains.

               Carter and Glenda are on the mattress. The bedding is all 
               over the place. They have just finished fucking.

<b>                                     CARTER
</b>                              (looking around)
                         Who's setting you up in this place?

<b>                                     GLENDA
</b>                         Brumby.

<b>                                     CARTER
</b>                         Is he coming here?

<b>                                     GLENDA
</b>                         Don't worry. He's meeting the 
                         architects at the restaurant.

               Carter plays with her hair.

<b>                                     CARTER
</b>                         Aren't you scared Kinnear will 
                         find out?

<b>                                     GLENDA
</b>                         He won't. He thinks I'm simple.

               Carter kisses her neck.

<b>                                     CARTER
</b>                         What does he want that bloody great 
                         country place for?

<b>                                     GLENDA
</b>                              (knowingly)
                         Entertaining.

<b>                                     CARTER
</b>                         What kind of entertaining?  

<b>                                     GLENDA
</b>                         Now you're asking.

               Carter looks at the film projector by the bed and points. 

<b>                                     CARTER
</b>                         Does Brumby get a kick out of that 
                         crap?

<b>                                     GLENDA
</b>                              (giggling)
                         Especially when I play the lead.

               Carter wraps his arms about her.

<b>                                     CARTER
</b>                         Did Kinnear say anything? After 
                         I'd left the other night?

               Glenda sits up sharply.

<b>                                     GLENDA
</b>                         That's why you waited for me.

<b>                                     CARTER
</b>                              (kissing her on the 
                              neck)
                         Not entirely. No.

<b>                                     GLENDA
</b>                         You sure about that?  

<b>                                     CARTER
</b>                         Sure I'm sure.

               Glenda pushes him away and gets out of the bed.

<b>                                     GLENDA
</b>                         You bastard.

               Glenda leaves for the bathroom. Carter, curious, looks at 
               the film projector. It's loaded. He switches it on. A beam 
               of light hits the opposite wall. He settles down to watch 
               the film. The leader flashes by, then a title being chalked 
               on a school blackboard 'The Teacher's Pet'.  A zoom back 
               reveals Glenda, bare-breasted, holding the chalk. This is 
               followed by a long shot of a young girl, dressed in school 
               uniform, waiting at a bus stop. A car approaches and stops. 
               A woman driver offers the girl a lift. The woman is 
               Margaret. The identity of the girl not revealed.

<b>               INT. GLENDA'S BATHROOM - DAY
</b>
               Glenda is in the bath. Lots of foam. The hot water is still 
               running.  She's smoking. She leans forward, turning off 
               the tap.

<b>               INT. GLENDA'S APARTMENT - DAY
</b>
               Carter is sitting up on the mattress, amused by the soft 
               porn unfolding on the white wall in front of him.

               The schoolgirl accepts the lift and the car drives off. 
               The door to an anonymous apartment opens and Margaret comes 
               in with the girl. Her school hat still hides her identity. 
               Glenda is there to greet them.

               The girl is very awkward. Glenda tries to make her relax, 
               sitting her down and showing her a magazine.

               Glenda brings her into a bedroom. She takes her own top 
               off and goes to do the same with the girl. She takes her 
               hat off. A close-up shows that it is Doreen.

               Carter tenses but never flinches from what's happening in 
               the film.  Margaret comes into the bedroom and feigns shock 
               at what she sees. She slaps Glenda and they start fighting, 
               eventually rolling off the bed.

               The apartment door opens and a man smoking a big cigar 
               comes in.

               Carter sits up. It's Albert Swift.

               Albert opens another door, looking for someone. He leaves.  
               Another door opens and he's in the bedroom. He sees the 
               two women fighting on the floor, but on the bed is his 
               prize Doreen.  Carter watches.

               Doreen bites her nails and looks terrified. Reflected in 
               the mirror behind Carter is the image of Albert taking off 
               his trousers. The reel runs out and flaps like a fish. 
               Carter doesn't move. Tears form in his eyes. He looks old 
               and defeated. His is a wasted life. Then the anger that 
               drives him explodes again and he throws back the bedclothes.

<b>               INT. GLENDA'S BATHROOM - DAY
</b>
               Carter, now dressed, moves slowly towards her in the bath.  

<b>                                     CARTER
</b>                         I want to give you an Oscar.

<b>                                     GLENDA
</b>                              (laughs)
                         You've been watching the film.

<b>                                     CARTER
</b>                         Tell me about the girl.

<b>                                     GLENDA
</b>                         What girl?

<b>                                     CARTER
</b>                         The young girl. Who pulled her?

<b>                                     GLENDA
</b>                         I don't know.

<b>                                     CARTER
</b>                         Was it Albert?

<b>                                     GLENDA
</b>                         Shouldn't think so.

<b>                                     CARTER
</b>                         Is it one of Kinnear's films?

<b>                                     GLENDA
</b>                         Yeah.

<b>                                     CARTER
</b>                         Who set it up?  Eric?

<b>                                     GLENDA
</b>                         Yeah.

<b>                                     CARTER
</b>                         Then he must have pulled her.

<b>                                     GLENDA
</b>                         Expect so.

<b>                                     CARTER
</b>                         Did my brother Frank find out?

<b>                                     GLENDA
</b>                         Your brother? What you talking 
                         about?

               Carter's fury bursts. He's out of control. He seizes Glenda 
               and plunges her under the bathwater, holding her there. 

<b>                                     CARTER
</b>                         You're a lying bitch.

               Carter lifts her up, out of the water. She is spluttering, 
               nearly drowned.

<b>                                     CARTER
</b>                         Now tell me the truth.

<b>                                     GLENDA
</b>                         The girl's name was Doreen. That's 
                         all I know.

<b>                                     CARTER
</b>                         And you didn't know her last name?

<b>                                     GLENDA
</b>                         No.

<b>                                     CARTER
</b>                         Well, it's Carter. That's my name,
                              (pause)
                         And her father was my brother. And 
                         he was murdered last Sunday. Now 
                         get up and get dressed.

               He pushes her ahead of him.

<b>               EXT. GLENDA'S APARTMENT BLOCK - DAY
</b>
               Carter manhandles Glenda towards her Sunbeam. He opens the 
               boot.

<b>                                     CARTER
</b>                         Get in.

               Glenda climbs in and he slams the boot shut. The car 
               scorches away.

<b>               EXT. JETTY. TYNE FERRY - DAY
</b>
               Carter parks the sports car as the ferry docks. He moves 
               down the gangway towards it.

<b>               INT. CAFE - DAY
</b>
               A girl with a baby in a pram is having a cup of tea. The 
               door slams open. There's Carter.

<b>                                     CARTER
</b>                         Where's Albert?

               The girl is numb with fear, unable to answer. Carter grabs 
               her by the throat.

<b>                                     CARTER
</b>                         Where's Albert?

               The girl is frozen with terror. He lets go as suddenly as 
               he grabbed her.

<b>                                     CARTER
</b>                         I know where I'll find him.

<b>               EXT. BACK STREET - DAY
</b>
               Carter walks fast. There's the sound of a phone being 
               dialled. It's the GIRL in the cafe.

<b>                                     GIRL (V.O.)
</b>                         Eric, he's come for Albert,
                              (pause)
                         I don't know, (pause) On the ferry, 
                         I reckon.

               Carter reaches the front of a betting shop. He walks in.

<b>               INT. BETTING SHOP - DAY
</b>
               Carter closes the door. Race results and odds are coming 
               over the Tannoy. He moves into the shop until he reaches 
               ALBERT SWIFT. Albert is making out a betting slip and 
               doesn't see him.

<b>                                     CARTER
</b>                         Hello, Albert.

               Albert looks like he's going to be sick.

<b>                                     ALBERT
</b>                         Hello, Jack,
                              (snivelling)
                         I don't know anything, Jack.

<b>                                     CARTER
</b>                         Yes, you do, Albert. Talk or I'll 
                         kill you.

<b>                                     ALBERT
</b>                         I know. I know.

               Carter sees a door at the back. There's a sign for the 
               toilets.

<b>                                     CARTER
</b>                         Do you want to go to the toilet, 
                         Albert?

               At first Albert doesn't understand.

<b>                                     CARTER
</b>                         Do you want to go to the toilet, 
                         Albert?

               This time it clicks. Albert moves to the door and Carter 
               follows.

<b>               EXT. BETTING SHOP BACKYARD - DAY
</b>
               Carter turns to close the door. Albert runs for it. He 
               reaches the high double-gate at the end. It's locked and 
               he tries to climb it. No luck. Carter easily pulls him 
               down. Albert faces him.

<b>                                     CARTER
</b>                         You can't get away from me, Albert. 

<b>                                     ALBERT
</b>                         I know.

               He feels for his cigarettes but can't find them.

<b>                                     ALBERT
</b>                         For Christ's sake, give us a fag.

               Carter takes out his cigarettes. Albert takes one.

<b>                                     ALBERT
</b>                         I didn't know who Doreen was. 
                         Thought she was just another bird.

<b>                                     CARTER
</b>                         Did Eric Pake pull her?

<b>                                     ALBERT
</b>                         Yes.

<b>                                     CARTER
</b>                         How?

<b>                                     ALBERT
</b>                         I dunno. He's got his ways. He 
                         knows Margaret.

<b>                                     CARTER
</b>                         When did you find out?

<b>                                     ALBERT
</b>                         A couple of weeks back.

<b>                                     CARTER
</b>                         How?

<b>                                     ALBERT
</b>                         No choice. I had a visit from 
                         somebody.

<b>                                     CARTER
</b>                         Who?

<b>                                     ALBERT
</b>                         Cliff Brumby. He'd seen the film. 
                         He wanted to meet Doreen.

<b>                                     CARTER
</b>                         And you told Brumby?

               Albert nods.

<b>                                     CARTER
</b>                         Who killed Frank?

               Albert doesn 't answer.

<b>                                     CARTER
</b>                         Do you want to be dead, Albert?

<b>                                     ALBERT
</b>                         Last Sunday afternoon, Eric and 
                         two of his boys arrive with Frank 
                         and tell me that he's rumbled. 
                         Somehow, he's seen the film and 
                         was about to shoot his mouth off. 
                         They ask me for some whisky and 
                         start forcing it down his throat.
                              (pause)
                         I thought they'd just duff him up 
                         a bit. Honest.

<b>                                     CARTER
</b>                         What did you do?  Albert?

<b>                                     ALBERT
</b>                         Nothing. What could I do?

<b>                                     CARTER
</b>                         Did Eric know that Frank was my 
                         brother?

<b>                                     ALBERT
</b>                         Yes. I told him.

<b>                                     CARTER
</b>                         What did he say?

<b>                                     ALBERT
</b>                         'Good.'

               Albert draws deeply on his cigarette.

               They drove Frank away in a car.

<b>                                     CARTER
</b>                         Is that all there is?

               Albert nods.

<b>                                     CARTER
</b>                         Then that's it, Albert.

               Carter takes something from his pocket. There's a loud 
               click.  It's a. knife.

<b>                                     ALBERT
</b>                         Jack, for Christ's sake ...

               He falls to his knees.

<b>                                     CARTER
</b>                         You knew what I'd do.

<b>                                     ALBERT
</b>                              (crying)
                         Yes, but listen. Christ, I didn't 
                         kill him.

               Carter drives the knife into him with all his might.

<b>                                     CARTER
</b>                         I know you didn't kill him.
                              (and again.)
                         I know you didn't.

               A ship's horn calls mournfully from the harbour. Albert 
               leans back. Blood seeps from his chest. He pitches forward, 
               twitches, and is dead.

<b>               INT. BETTING SHOP - DAY
</b>
               Carter comes in from the back and walks calmly through to 
               the street. A blind man is at the counter placing a bet.

<b>               EXT. JETTY - TYNE FERRY - DAY
</b>
               The Sunbeam waits in the car park. Eric, Con and Peter 
               arrive in the Land Rover and park behind it. They go down 
               the gangplank to the floating jetty. A ferry is chugging 
               across the water.

<b>               INT. FERRY - DAY
</b>
               Carter sits, watching the other passengers. A mother and 
               two young children take his attention. His look is tinted 
               with regret even remorse.

<b>               EXT. JETTY - DAY
</b>
               As the ferry comes alongside, Eric, Con and Peter move up 
               to the rail. The passengers disembark, leaving Carter 
               standing alone.  He's holding Con's handgun.

               Eric, Con and Peter hack slowly away to the steel shelters. 
               Peter, impatient as ever, pulls a sawn-off automatic shooter 
               from under his coat, cocks it and fires. Too late. Carter 
               is already safely behind the ferry's superstructure. Eric 
               shouts.

<b>                                     ERIC
</b>                         No shooters. Cyril said no shooters, 
                         you stupid bastard.

<b>                                     PETER
</b>                         Get stuffed.  He's reloading.

<b>                                     CON
</b>                         Gerald wants to see him first.

<b>                                     PETER
</b>                         Shut up.

               Carter is listening to all this.

<b>                                     CARTER
</b>                              (shouting)
                         Are you coming in? Or do we piss 
                         about all day?

               Eric laughs.

<b>                                     ERIC
</b>                         You're finished, Jack. You know 
                         that, don't you? I've bloody 
                         finished you.

<b>                                     CARTER
</b>                         Not till I'm dead, Eric.

               Eric laughs.

<b>                                     ERIC
</b>                         Oh, you've still got your sense of 
                         humour?  Tell him how I've fixed 
                         him, Con.

<b>                                     CON
</b>                         He's told Gerald about you and 
                         Anna.

<b>                                     ERIC
</b>                         Didn't believe us at first, did 
                         he, Con? Then Peter talked to him.

<b>                                     PETER
</b>                         Didn't even say goodbye. Just asked 
                         us to take you back - alive.

<b>                                     ERIC
</b>                         He's probably talking to her right 
                         now. Are you still going to fancy 
                         her when Gerald's finished with 
                         her face?

               Carter shows no emotion. Or are his eyes just that bit 
               sadder?  Peter lets rip again. Another window is shattered. 
               Carter ducks back, allowing Peter time to board the ferry.  

               Carter catches a glimpse of Peter as he climbs up the 
               ferry's superstructure to the roof. By the time he heaves 
               himself into position, Carter is waiting.

<b>                                     CARTER
</b>                         Stay where you are, Peter.

               Peter is helpless, clinging to the roof, unable to even 
               raise his shooter.

<b>                                     PETER
</b>                              (screaming)
                         Don't.

               There's a long pause while Carter looks at him, then he 
               cold-bloodedly shoots. Peter is blown away. By the time he 
               hits the deck, he's dead.  

               Con and Eric panic. They run up the gangplank, safely out 
               of range.

<b>                                     ERIC
</b>                         Carter, your car needs a wash.

               Eric signals to the driver in the Land Rover to bump the 
               Sunbeam into the water. Two hits and the task is done.  
               Glenda's screams are lost as the river wraps itself around 
               the sinking car.

               Carter watches impassively.

<b>               EXT. BRUMBY'S RESTAURANT COMPLEX - DAY
</b>
               Carter's hire car corners at speed into the high-rise 
               carpark.

<b>               INT. RESTAURANT - DAY
</b>
               Brumby and two architects in a site meeting. Plans are 
               laid out on a table.

<b>                                     BRUMBY
</b>                         I don't want them cooking in here. 
                         You can put a hatch in that wall.

<b>                                     INTERIOR DECORATOR
</b>                         Yes, it's all a question of ...

               The sound of a car screeching up the ramps interrupts him. 

<b>                                     BRUMBY
</b>                         Who in Christ's name is that? It's 
                         a bloody madman.  

               He strides away to investigate.

<b>               EXT. RESTAURANT - DAY
</b>
               Brumby comes out to the top tier. On the floor below, 
               Carter, unseen by Brumby, has parked and is now making for 
               the concrete spiral staircase.

<b>               EXT. STAIRCASE - DAY
</b>
               Brumby pounds down to the first level. Carter comes around 
               the corner.

<b>                                     BRUMBY
</b>                         Jack!  

               Carter slams his fist hard into his gut.

<b>                                     CARTER
</b>                         You shouldn't have shown the film 
                         to Frank.

<b>                                     BRUMBY
</b>                         I had to. It was the only way I 
                         could get at them.

<b>               INT. BACK STREET POST OFFICE -  EVENING.
</b>
               It's a combined shop and post office. Carter is on the 
               phone. 

<b>                                     CARTER
</b>                         The guy on the swing-bridge?
                              (pause)
<b>                         OK.
</b>
               Carter hangs up. He takes a can of film from his pocket 
               and slips it into a large envelope.  At the counter two 
               women are talking.

<b>                                     FIRST WOMAN
</b>                         They don't know how it happened.

<b>                                     SECOND WOMAN
</b>                         How far did he fall?

<b>                                     FIRST WOMAN
</b>                         What did Betty say... Ninety floors, 
                         I think it was.

<b>                                     SECOND WOMAN
</b>                         Really. Was he dead?

<b>                                     FIRST WOMAN
</b>                         Oh, yes.

               The envelope is passed across to the post office assistant. 
               It is addressed to Vice Squad, Scotland Yard, London Sw1. 

<b>                                     SECOND WOMAN
</b>                         Better to go quick like that.

<b>               EXT. SWING-BRIDGE - EVENING
</b>
               The huge steel superstructure pivots on a large man-made 
               island in the middle of the river.

               On top is a structure not unlike a small lighthouse, from 
               which a man operates the bridge. Carter climbs the outside 
               ladder. A man waits for him at the top.

               The man hands him a small cloth package. Carter opens it. 
               Inside is heroin and a hypodermic. He wraps it up again 
               and hands over an envelope. The man checks the money as 
               Carter disappears down the outside ladder.

<b>               INT. BINGO HALL - NIGHT
</b>
               The hall is crowded. The compere calls the numbers. The 
               atmosphere is tense as the audience look at their cards. 
               Someone calls, 'Bingo.' A buzz goes round the hall as 
               everybody starts talking again.

               Carter enters, surveying the audience. Eventually, his 
               eyes alight on the person he's been looking for Margaret. 
               She's involved with a woman friend and doesn't see him. 

               The next game starts up.

<b>               EXT. BINGO HALL - NIGHT
</b>
               Crowds of people come pouring out. It's the end of the 
               evening's entertainment. Margaret walks out with her friend. 
               Carter follows them and turns up a side street.

<b>               EXT. STEPS LEADING TO BACK STREET - NIGHT
</b>
               The place is deserted. Margaret and her friend descend the 
               steps. The clop of their high heels is the only sound. 
               Carter follows discreetly. At the bottom, Margaret and her 
               friend chat for a moment and part.

               Carter follows Margaret.

<b>               EXT. BACK ALLEY - NIGHT
</b>
               The clop of Margaret's shoes is heard in the distance. She 
               appears. Carter is following behind. He slips into another 
               dark alley to get ahead of her. As she reaches her home 
               Carter's arm shoots out from behind a pillar. It's holding 
               Con's handgun.

<b>                                     CARTER
</b>                         I've come for you, Margaret.

<b>               INT. THE HEIGHTS - SITTING ROOM - NIGHT
</b>
               There's a big party going on. The music is loud. It's mainly 
               rich-looking middle-aged men and young dolly birds. 
               Different things are obviously going on in different rooms 
               in the house. Dancing in one room, blue movies in another, 
               etc. Kinnear flits from one to another. Eric Paice is on 
               the phone. He puts the receiver down and crosses to Kinnear.

<b>                                     ERIC
</b>                         Gerald Fletcher wants a word with 
                         you Cyril.

               Kinnear crosses to the telephone.

<b>                                     KINNEAR
</b>                         Hello, Gerald.

<b>               EXT. VILLAGE TELEPHONE KIOSK - NIGHT
</b>
               Carter stands in the dimly lit kiosk with Margaret. The 
               hire car is parked alongside.

<b>                                     CARTER
</b>                         It's Carter. Listen carefully, you 
                         hairy-faced git. I've got the film 
                         and enough evidence to put you 
                         away for a long time. All it takes 
                         is one call to the police.

<b>               INT. THE HEIGHTS - SITTING ROOM - NIGHT
</b>
               Kinnear listens.

<b>                                     KINNEAR
</b>                         Really?
                              (pause)
                         So?

<b>               EXT. VILLAGE TELEPHONE KIOSK - NIGHT
</b>
               Carter into phone.

<b>                                     CARTER
</b>                         I'll do a simple deal with you. 
                         All I want is ...

<b>               INT. THE HEIGHTS - SITTING ROOM - NIGHT
</b>
               Kinnear is still listening to Carter. He looks over at 
               Eric, who's fixing a drink.

<b>                                     KINNEAR
</b>                         I see. I think that can be arranged.

               Kinnear continues listening.

<b>               INT. VILLAGE TELEPHONE KIOSK - NIGHT
</b>
               Carter into phone.

<b>                                     CARTER
</b>                         ... but I don't want him there 
                         until six in the morning.  OK?
                              (pause)
                         Right.

               Carter hangs up. He pushes Margaret towards the car.

<b>               INT. THE HEIGHTS - LIBRARY - NIGHT
</b>
               The noise of the wild party is heard off. Eric comes into 
               the room.

<b>                                     ERIC
</b>                         You want something, Cyril?

<b>                                     KINNEAR
</b>                         Yes, Eric. A word with you.

<b>               EXT. DESERTED WOOD - NIGHT
</b>
               Headlights, through the thick trees, as Carter's car comes 
               bouncing over rough ground.

<b>               INT. HIRE CAR - NIGHT
</b>
               Carter stops in a clearing and leaves his headlights on. 
               He turns to Margaret.

<b>                                     CARTER
</b>                         Get out.

               Carter and Margaret get out. They appear in the beam of 
               the headlights and move further into the wood.

<b>               EXT. WOOD - NIGHT
</b>
               Carter and Margaret stop.

<b>                                     CARTER
</b>                         Take your clothes off.

               Margaret is confused.  Take your clothes off.  Margaret 
               does just that: coat, blouse, skin. She goes to remove her 
               knickers.

<b>                                     CARTER
</b>                         Keep your pants on.
                              (pause)
                         Lie down.

               Again she obeys.

               He kneels on her, pinning her arms with his knees, then 
               stuffs a gag in her mouth.

               He takes out the hypodermic, places it against her arm, 
               and injects the heroin into her. She struggles, her eyes 
               moving frantically about. She screams, but its muffled by 
               the gag.  Carter holds her down and she quickly goes under.  
               Carter removes the gag. He stands, picks her up and walks 
               into the darkness with Margaret in his arms.

<b>               INT. THE HEIGHTS - LIBRARY - NIGHT
</b>
               Kinnear is alone, speaking on the telephone quietly. The 
               party is still going on.

<b>                                     KINNEAR
</b>                         I want you to listen very carefully. 
                         Jack Carter,
                              (pause)
                         You know what he looks like?

<b>               INT. HOTEL BEDROOM - NIGHT
</b>
               A bedside light is on. A man in bed is listening on the 
               phone.

<b>                                     MAN
</b>                         Yes.

               He taps his cigarette against the ashtray. On his middle 
               finger is a large ring with the initial 'J' on it. He 
               listens until the line goes dead.

               The woman beside him stirs. He stubs out the cigarette and 
               switches off the light. Darkness.

<b>               EXT. THE HEIGHTS - DAWN
</b>
               Eric comes out of the front door. Inside the party is still 
               in progress. He gets into a Cadillac and drives off.

<b>               EXT. COUNTRY ROAD - DAWN
</b>
               Carter is parked where he can see the drive up to Kinnear's 
               house.

               The Cadillac appears and swings on to the road.

               There's the sound of a phone being dialled.

<b>                                     CARTER (V.O.)
</b>                         Police.

<b>               EXT. THE HEIGHTS - DAWN
</b>
               A long line of police cars move slowly up the drive, 
               followed by a police bus. They park by the front door and 
               around fifty policemen pour out. They move silently around 
               the building. A chief constable opens the front door and 
               walks in.

<b>               INT. THE HEIGHTS - DAWN
</b>
               The police move through the house and grounds. In the 
               bedrooms they find groups of people in bed together. The 
               men in particular protest and are obviously concerned about 
               being identified. The police find evidence of drugs, 
               pornography and so on.

               Outside, police are combing the grounds. In the long grass 
               leading down to the lake they find women's clothes. They 
               follow the trail until they discover a woman floating naked, 
               face downwards, in the lake. A policeman with waders goes 
               in and pulls her to the side. As others heave her out, we 
               see that it's Margaret.

<b>               EXT. THE HEIGHTS - DAWN
</b>
               The house is surrounded by police measuring and 
               photographing, and outside the house are police cars and 
               ambulances.  The lawn is crowded with the party crowd. In 
               the early-morning light, they look like dolls.

               Kinnear comes out of the front door with two plain-clothes 
               officers and gets in a police car. Sirens going, it comes 
               down the short drive to the gate.

<b>               INT. HIRE CAR - DAWN
</b>
               Carter is driving along a coast road. The sea and a wide 
               beach lie on his right. Long rows of houses are to his 
               left.

               The sun is still low. It's very quiet. He arrives at a 
               harbour and drives on until he reaches the end of a vast 
               wooden jetty running out into the estuary. It's a coal 
               loader for tankers.

               This jetty is very high, a complex of wooden staves and 
               pillars, interwoven with steps and gangways. On its top 
               tier is a complex of railway lines, signals and black coal 
               chutes.

<b>               EXT. COAL JETTY - DAWN
</b>
               Carter parks his car and picks up the shotgun and a bottle 
               of Scotch off the back seat. He get out and walks over to 
               the jetty and along a lower gangway. At the far end, a man 
               is standing. It's Eric Paice. Eric turns around abruptly. 
               He sees Carter and disappears up the nearest stairway. 
               Carter follows.

               At the top he stops to listen, but can see and hear only 
               the harbour waters lapping below.

               Carter looks back to the coal jetty, just in time to see 
               Eric scamper down to the level below. Eric sprints for the 
               roadway. Carter waits and then starts running directly 
               above him.

               Eric keeps running. Carter stays always overhead. He's 
               playing cat and mouse with Eric.

<b>                                     CARTER
</b>                              (calling out)
                         You couldn't win an egg and spoon 
                         race, Eric.

<b>                                     ERIC
</b>                              (wheezing)
                         Sod off.

               Paice darts down another staircase to ground level and 
               makes for the roadway. Carter stops above the roadway. 
               Below, Paice makes for the parked car. Carter holds the 
               gun up. Eric stops and looks up.

<b>                                     CARTER
</b>                         Stay away from the car or I'll 
                         blow you apart.  

               Eric darts under the jetty. Carter runs on down the steps. 
               He can see Eric scampering along the row of cottages towards 
               the beach. Carter starts after him.

<b>               EXT. BEACH - EARLY DAY
</b>
               Eric runs out on to the beach. The only sounds are his 
               feet pounding the pebbles and his hurtful panting.

               In the distance, factory chimneys belch out smoke.  Carter 
               appears. For a moment he watches Eric stumbling along at 
               the far end of the beach. He climbs down to the beach and 
               starts running.

<b>               EXT. BEACH - EARLY DAY
</b>
               Carter is gaining on Eric rapidly. Eric looks round and 
               panics. He stumbles and falls over.

               He gets to his feet quickly and disappears round the 
               headland. Carter follows.

<b>               EXT. BEACH - EARLY DAY
</b>
               On the other side of the headland, the scene is 
               extraordinary. The deserted beach is like the edge of the 
               world. The sand is black as far as the eye can see. It's 
               littered with rubbish. Several old lorries are sunk deep 
               in the sand. High, grass-covered cliffs flank it on the 
               left. It's deserted.

               In the distance, a continuous line of giant black buckets 
               move, like cable-cars, out to sea, before they deposit 
               their load of coal slag and move inland again. The coal 
               mine itself is inland, hidden away behind the cliffs. The 
               sea, like the sand, is black as it crashes on to the shore.  

               Eric is half-way along the beach, struggling in the mud. 
               Carter closes on him.

<b>               EXT. BEACH - EARLY DAY
</b>
               Eric nears the line of buckets and cuts inland towards the 
               mine.  Carter has nearly caught up. The buckets grind and 
               crash as they move along the cable.

               Eric scrambles up the narrow valley down which the coal 
               slag travels. He is panting horribly. Carter is close on 
               his heels.  Near the top, where the buckets are practically 
               at ground level, Eric stumbles and falls. He is too 
               exhausted to get up.

               Carter stands over him.

<b>                                     CARTER
</b>                              (panting slightly)
                         Stand up, Eric. Stand up.

               Eric just manages it. Carter pulls the bottle of Scotch 
               out of his pocket.

<b>                                     CARTER
</b>                         I bet you could use a drink, could 
                         you, Eric?  

               He throws the bottle to Eric.

<b>                                     CARTER
</b>                         Eh? Have a drink.

<b>                                     ERIC
</b>                         Still got your sense of humour.

               Eric takes the cap off and looks at Carter. He's in a 
               terrible state.

<b>                                     CARTER
</b>                         Drink up, Eric. Drink up. I want 
                         you to drink all of that. Do you 
                         understand? Drink up. Just like it 
                         was with my brother, Frank. Go on, 
                         son. Drink up.

               Eric pours the whisky into his month. It spills over and 
               runs down his face.

<b>                                     CARTER
</b>                         Drink up, Eric.

               Eric begins to stagger about.

<b>                                     CARTER
</b>                         It was you who poured it down him. 
                         Eh, Eric?  

               Eric takes a breather and looks pathetically at Carter. No 
               mercy there.

<b>                                     CARTER
</b>                         Did you all have a good laugh, eh? 
                         Did you have a good laugh when he 
                         was spewing it up? The whisky is 
                         pouring all over Eric's face and 
                         suit.

               It's disgusting to watch. Suddenly, he retches, but nothing 
               comes up.

<b>                                     CARTER
</b>                         Drink it! Drink it! Did you all 
                         pass the bottle round after the 
                         car went over the top?  

               Eric is choking.

<b>                                     CARTER
</b>                         Don't stop, Eric.

               Carter leans forward and with his free hand lifts the bottle 
               up to Eric's mouth again. In the other, he holds the 
               shotgun.  Eric chokes and retches. Carter has seen enough. 

<b>                                     CARTER
</b>                         Goodbye, Eric.

               Carter raises the butt of the gun and brings it down on 
               Eric's head.

<b>               EXT. BEACH - EARLY DAY
</b>
               Eric's body, loaded on to a a coal bucket, moves off on 
               it's final journey. Carter, laughing, walks beside it, gun 
               riding on his shoulder. The bucket shudders and grinds as 
               it moves along the cable. Eric's body moves of on its final 
               journey. It reaches the end of the line, where an automatic 
               catch tilts it. Eric's body drops into the sea. The coal 
               slag follows in a cloud of black dust. The waves pass over 
               and everything is gone.

               Carter stands for a moment, turns and walks back along the 
               beach. He stops, looks at the shotgun, and decides to get 
               rid of it.

<b>               EXT. CLIFF TOP - EARLY MORNING
</b>
               Below, Carter moves slowly by the edge of the sea. He raises 
               the shotgun to throw it away. High on the clifftop a rifle 
               and telescopic lens line up on Carter. A finger curls around 
               the trigger. On the middle finger of the same hand is a 
               large gold ring with the letter 'J' engraved upon it. It 
               is the man Kinnear contacted after sending Eric to his 
               death. 

               The finger tightens on the trigger and pulls it. There's a 
               quiet, whooshing sound. Carter drops to the ground.

<b>               EXT. BEACH - EARLY MORNING
</b>
               Carter lies on the beach. The waves lap around his head. A 
               small trickle of blood pours out of a hole in his temple. 
               He's dead.

<b>               EXT. CLIFF TOP - EARLY MORNING
</b>
               Kinnear's hit man coolly dismantles his rifle. He carefully 
               wraps it in a cloth fishing-rod carrier. He walks off and 
               is soon lost as he drops out of sight.

<b>                                                               FADE OUT:
</b>
<b>               THE END 
</b>

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	<td><h1>Get Carter</h1><br><br>
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Who killed Frank?
Who killed Frank ?
Kinnear was behind Franks death
Kinnear was behind Franks death
Eric and two of his men
Eric and two of his men