This screenplay is copyrighted to its author. All rights reserved. 
This screenplay may not be used or reproduced without the express 
written permission of the author.

KINGDOM COME
Written by Matthew Clarke, February-May 2003
janusespirit@aol.com


1.	PROLOGUE

 It seems like the end of a dreadful series of events, which took place 
in the Underground of London's crime era. We are currently witnessing 
the massacre, which had taken place just seconds before. Among the 
dead, HIXON, an established crime lord, TATE, a cop turned vigilante, 
WATTS a bank robber caught, kidnapped by HIXON and KNOWLES a rival 
London crime lord. The bodies of the dead are in HIXON'S warehouse 
except for JOHNSON, TATE'S partner, who had been knifed outside. During 
this, LEWIS, the survivor of this tragedy, recalls the day gone by. At 
the end of the narration we see LEWIS crouching outside in the parking 
lot.

The screen goes blank and a shot can be heard.

LEWIS
It was one of the experiences that you could only possibly imagine 
yourself to go through, as you hope, through the bleak mist of 
salvation, that no-one else would go through the tragedy of grasping 
the cold-dead hands of her soul mate through the carnage of 
dysfunctional mayhem they have both been in. I now see it as one of the 
things that are visibly clear to you and you alone, this happens a lot 
in life, take the last few days as an example. Although, this paves 
it's way for the understanding and bereavement that lies ahead. I have 
learnt that you could never be too sure of yourself and never to trust 
another. This has leapt to the possibility of replaying the incident of 
what has been the last few days in my head and then trying to wipe them 
out as quickly as insanely possible. This can unfortunately never be 
the case for me. I will live in the despair of the broken down shell of 
life, which I have turned into. I fear any communication with outside 
of these four walls and cling to the thought that my secrets will never 
be revealed. But like all amazing, spectacular, or in my case, 
horrifying circumstances, which have been lived through, it is hard to 
see them through the portal of my mind, with just blurred out 
photographic images to rely on for any memory of what happened, which 
for me, has a fifty, fifty chance of being either good or bad. Good 
being I can never relive the last few days, bad being the fact that the 
last few living moments of my only cherished one, are lost forever in 
the motion of time. And as I leave these days gone by, I see what could 
have been instead of what was. And with that, nothing would be the same 
again.

7 hours and 47 minutes earlier.



CREDITS

2.	EASY MONEY

In the eyes of the viewer, the last few days were just a flashback as 
we open the can of worms that can never be shut. But for now we meet 
GINA LEWIS and TIM WATTS for the first time in person and in familiar 
scenery. They are currently outside a NATWEST BANK owned by CHARLIE 
HIXON in GROSVENOR PLACE. Both dressed in black attire, WATTS in a 
casual, plain white tee shirt, black suit jacket with black trousers 
with black, laced shoes. LEWIS in a black shirt, buttoned three down, 
with sunglasses and black, flared trousers. LEWIS and WATTS prepare to 
attempt a hopeful bank robbery, which will guide them in a high-octane 
journey through the Underground crime circuit in the heart of London.

OUTSIDE THE BANK

WATTS
Fine, but are you sure it is going to be this easy.
LEWIS
Yeah, trust me.
WATTS
Do you know who owns this bank?
LEWIS
Yeah. Hixon. Don't worry he's less frightening than a kitten. It's his 
goons you want to be worried about.
WATTS
Was that supposed to be reassuring?
LEWIS
No, I am trying to make us lots of money you just lose it if you're 
reassuring.
WATTS
Good plan. (Sarcastically). 
LEWIS
I like my ideas to be recognized.
WATTS
So, anyway, let's get this thing sorted. You walk into the bank, hand 
the teller the phone, and tell the poor bloke his family are strapped 
with C4
LEWIS
No, Hixon knows what I look like.
WATTS 
And?
LEWIS 
What kind of plonker would Hixon be if his bank didn't have security 
cameras?
WATTS
A big one?
LEWIS
Exactamento!
WATTS
What's his name then?
LEWIS 
Who, the teller?
WATTS
No the ape, cause the teller?
LEWIS 
Why you ask?
       WATTS
Well, I have to confront him, don't I, and I'd be a bit thick if I 
never knew what I was doin'?
LEWIS
They don't really have tellers'; Hixon's got this "failsafe" system 
where his employee's float around while the stash in locked up safely 
in the back. Like a supermarket.
WATTS
Give us the name of a few of these floaters then.
LEWIS
The two regulars, Briggs and Jefferson and this new guy who has been 
with them, probably Hixon's new favorite. Right you remember the plan. 
WATTS 
Yeah have you done this before?
LEWIS 
No, but I've been meaning to try it out. 
 WATTS 
Look, can't I just storm in equipped with a shotgun and shoot them all 
dead and bag the money before making a heroic escape.
LEWIS
Neanderthal.
WATTS
What?
LEWIS 
You're thinking too primitive. Look if you do that it's going to go 
wrong, and there isn't a possible example of you getting out alive. 
What's going to happen is obvious. 
You're going to storm in, shock the first guy, Jefferson, BAM! Shoot 
him dead. You are then going to alert the second and third guys. The 
second guy comes out with a loaded handgun. He shoots you, but you nail 
him in the head. Now you're injured, desperate to escape, desperate to 
be rich, thinking about the cash before safety, so then being like you 
are you say.
WATTS
Right, I've got to get the cash.
LEWIS
So, unaware of the third man, you break into the back room, take the 
cash and make your valiant escape. But it's not that simple. Man number 
three pops out ready to avenge his mate's life and shoots you. And it's 
the end of the line for you.

All writing in bold is a vision of what LEWIS is saying and all events 
involving WATTS are visually picture, but this does not actually take 
place in the plot. 

WATTS
Ok, ok, I'll go for the subtle approach. I'll go for Jefferson. Not 
like I've got a choice. But what am I going to do, I mean how am I 
going to act? I can't just walk in stuttering and wobbling all over the 
place like jelly.
LEWIS 
Well you have to be sophisticated, like you are ready for anything, 
like you're the boss. Just remember, it's easy money. Now are you 
ready, cos' if your not, I'm gone.
WATTS 
I'm as ready as I'll ever be.

LEWIS hands WATTS a mobile phone.

LEWIS
I'll make the call from just up the street. If anything goes haywire, 
get out of there and give me a call when it's safe.
WATTS 
Ok, I'll see you on the other side.

WATTS enters the NATWEST BANK as LEWIS leaves and walks away from it.

3.	BANKING EQUITIES 

An average style bank with dull posters and banners are pinned to the 
walls of the BANK attempting to catch the attention of any customers 
who browse, but never even start an account let alone take out a loan. 
It is a normal day for business as customers try to avoid this bank as 
it has a completely different strategy to other banks. There are no 
kiosks concealed behind glass windows and there is but one person in 
the front of the BANK, but another two lowly tellers in the bank. These 
double up for HIXON'S elite group which consist of two regulars and a 
suspicious, but yet unidentified under cover cop. JEFFERSON, who has 
been in the HIXON family for years after his father, RICKY JEFFERSON 
was tragically gunned down by the KNOWLES GANG OF SOHO and taken into 
care by HIXON, is prowling ready for a customer to cheer him up. He is 
obviously bored as everything is being placed differently or being 
moved around. The door creeks open and if like a God had just walked 
in, a smiles perks on his face, but waits patiently for WATTS to go to 
him.

JEFFERSON
Good afternoon sir. Is there anything I can help you with?
WATTS
In the matter of fact, there is. I would like to draw out a large 
amount of cash.
JEFFERSON
How much of a loan would sir want?
WATTS
Who said I was paying it back?

WATTS pulls out a loaded automatic handgun and shoots JEFFERSON. But 
this is just what he wants to do.

JEFFERSON
Sorry, what was that?
WATTS
Nothing. Actually, I don't know how much, you see, I'm doing this for a 
friend on a business trip.
JEFFERSON 
Oh, OK. Is there any way I can speak to your friend?

A PHONE rings. 

WATTS
Yes, I assume that's her now.

WATTS answers the phone. He obviously knows it's her and is anxious 
what to do next.

WATTS
You took you're time, didn't you. I'm surprised he hasn't gotta clue 
what is gonna go down. God, feels like the walls are closing in on me.
LEWIS
Calm down and don't look vulnerable. We don't want to give you away and 
ruin any chances of toppling one of London's greatest gangsters now do 
we? Ok, calmly pass me over to the teller.
WATTS
Ok, then what?
LEWIS
Just wait, let me do all the talking. After I'm done talking to him, he 
should go to the back and bring out a suitcase of money. Take it, but 
if anything looks suspicious, scarper.
WATTS
Ok, I'll pass you to the teller then. 

WATTS puts his hand over the PHONE and passes it to JEFFERSON.

WATTS
My partner would like to speak to you.
JEFFERSON
Fine.

WATTS holds out the PHONE and JEFFERSON takes it.


JEFFERSON
Hello?
LEWIS
Mr. Jefferson, I need your help.
JEFFERSON
How, how?
LEWIS
What, know you're name? We all have names. You're name is Mr. Jefferson 
and right now, my name is not important. Any way, I have a problem and 
it just shows how downright terrible society can leave you feeling.
JEFFERSON
Where are going with this?
LEWIS
Don't interrupt. Right now you're family, being your wife and daughter 
are under serious danger .I don't want to be seen as a terrorist, but I 
am currently pointing a 9mm Beretta handgun at your wife and a block of 
C4 plastic explosives is strapped to your daughter and just in case you 
aren't scared yet, I add they are blindfolded and gagged to chairs.
JEFFERSON
What do you want?
LEWIS
Doesn't that seem obvious? What every moron holding a bank up with a 
telephone wants. Cash and lots of it. Used, non-marked single notes in 
a neutral coloured briefcase, preferably black. And then give to this 
gentleman, touch him and you're family is no more.

While this is being said (in bold we are shown the family being gagged 
blindfolded and being threatened by a masked woman. (This is what 
JEFFERSON thinks is happening, and the woman is masked because he does 
not know what she looks like)

JEFFERSON, bewildered, turns to WATTS and gives back the phone.

JEFFERSON
Are you holding this bank up?
WATTS
Yes, Yes I am.
JEFFERSON turns away to get the money. 

WATTS
What did you say? He looked like he was going to piss his pants.
LEWIS
Nuthin' much.

JEFFERSON opens the door to the back room where he finds TATE and 
BRIGGS smoking cigarettes and eating crisps. While JEFFERSON kneels 
down and starts the combination for the safe.
JEFFERSON
Damn it! What's the bloody combination for this thing?
BRIGGS
5-7-3-4-9. Why do you ask?

JEFFERSON fiddles with combination.

TATE
It's a loan. It's got to be.
JEFFERSON
ARE you sure this is the right code.
BRIGGS
Yeah.
JEFFERSON
Pass me…a…a…goddamn it…black suitcase.
TATE
Sure, but calm down. No need to tear at us. We're all friends here. 
What is it?
JEFFERSON
Some idiot terrorist wants cash or he's going to kill my family.
BRIGGS
What?

JEFFERSON starts getting angry with the safe and shakes it around. 

JEFFERSON
Give me the bloody money. Ooooohhhhh!!!
BRIGGS
That's impossible.

JEFFERSON stands up and boots the safe.

JEFFERSON
I know. Stupid safe.

TATE kneels down, has a go at it himself and can't get the safe open.

BRIGGS
No, I mean…

TATE stands up pulls out a gun shoots the safe and the door flies open.

BRIGGS
…You're kid's at school and I thought Julia was at work on Fridays.

JEFFERSON stops and thinks.

JEFFERSON
Oh my. Oh Jesus Christ. She was bluffing. (In complete shock). She was 
bluffing. Hilarious. Look it was hilarious. I'm not bloody laughing. I 
actually believed her, and him. Right give me that gun. I'm gonna show 
him not mess with me. 
TATE 
Hold on, can't we be more civilized about this. Handle it like men. 
(Pause) We can take him to Hixon…and then kill him.
JEFFERSON
Fine. I'll give him the empty case and then you two can come out.

JEFFERSON walks out of the room, and takes the empty case to WATTS.

WATTS
Right he's back, I'll go as soon as I've got the cash.

JEFFERSON hands WATTS the empty briefcase. 

JEFFERSON
I'll think you'll find everything is there.

WATTS opens the case.

WATTS
But it's empty.

JEFFERSON goes to punch WATTS. The frame freezes with TATE with a 
pointed shotgun and BRIGGS with an automatic handgun. 

LEWIS
I can't believe such a stupidity, which it was, sparked off a tragedy, 
which will imprint on me for the rest of my short-lived life, which it 
will.

We are still given the image of WATTS, but the movie carries on with 
the image this time accompanied by the frantic calls of his PHONE.

LEWIS
Tim, TIM, TIM!!!

The phone goes dead. The screen is faded. The audience knows this isn't 
over with a lot more concerning LEWIS and WATTS to come. 

LEWIS 
And from that stupid act, London's most notorious gangster, a power 
driven vigilante, his mistress, a rival London gangster and thieves' 
fate will all be sealed.


4.	A PLAN TO END THEM ALL, PART 1

JOANNA JOHNSON, an average sized, young woman, dressed in almost work 
clothes, and her boyfriend, MICHAEL TATE the power-hungry vigilante 
infiltrating HIXON'S crime sector, are talking about they can take 
London for themselves'. They are in a dark office thinking up a way to 
frame CHARLIE HIXON. 

JOHNSON
This Hixon is getting annoying now, I mean you're waiting for a reason, 
not even forgetting the money, and now we have one. London is basically 
ours all we have to do is cease this opportunity.
TATE 
You're right, damn right. I could do that, but I'm not going do.
JOHNSON
Why not? You're not turning into a wimp now are you?
TATE
Shut up. It's not that simple. We have money.
JOHNSON
And lot's of it.
TATE
But Hixon trusts me and the old begger is almost six feet under. It's 
the perfect business deal.
JOHNSON
So we wait 'til he's pushin' up the daisies and then we take London for 
ourselves.
TATE
Yeah, well, yeah.
JOHNSON 
Look we should be celebrating. I'll go and get the champagne.
TATE
Hold on, I'm not sorted yet.
JOHNSON
Mike, It's all business with, let's get down with the pleasure.

JOHNSON tries wrapping herself around TATE. He obviously is not settled 
and wants to continue talking.

TATE
Get off!

TATE shoves JOHNSON off him, she is very disgruntled.

TATE 
Look, there's a slight hiccup in the plan to takeover.
JOHNSON
A hiccup, nuthin' serious, well if its just a hiccup, rectify the damn 
problem that making you uncomfortable and we'll continue what we 
discussed.
TATE
It's Knowles.
JOHNSON
Knowles, what does that two-faced git want. 
TATE
Look I get my information from him and vice-versa and he's on our side, 
he wants Hixon gone as much as we do.
JOHNSON
Fine, he's a good guy. What happened?
5.	NOBODY'S PROBLEM
TATE
Well, we had a robbery. 
JOHNSON
I know.
TATE
Yeah but there was a problem.
JOHNSON
A problem?

We have now been taken from the dark office and taken back in time to 
where the failed robbery was held. BRIGGS and JEFFERSON are trying to 
hold and gag WATTS with masking tape while TATE is watching. 

JEFFERSON
So, what now?
BRIGGS
We take him to Hixon, he'll know what to do.

TATE lifts open the trunk of the car.

TATE 
Stick him in then.

JEFFERSON and BRIGGS lift and leave WATTS in the trunk. BRIGGS is about 
to shut the trunk when TATE holds him back.

TATE
Aren't you the slightest bit scared what Hixon is going to do when he 
finds out we could have lost a ton of cash if it wasn't for him. I'm 
not pointing fingers but it's you're fault we're in this mess. Not to 
mention the fact we have an amateur thief in the back. He didn't have a 
clue what he was doin'.
JEFFERSON 
Ok, fine, but why did he try to rob us, if he didn't know what to do? 
I'm just sayin' that we're diggin into nuthin' here. It's no ones 
problem. We're all clean here.

By this time, TATE is infuriated. He lifts JEFFERSON up and props him 
against the car.

TATE
NOBODY"S PROBLEM! IF IT'S NOBODY'S PROBLEM, THEN WHY AM I SORTING IT 
OUT!

JEFFERSON
Ok, ok. I'll deal with it. Chill, God, let me go.
TATE
So you think I'm God now?

JEFFERSON flinches, but TATE is only winding him up. TATE slaps him 
gently around the head. BRIGGS and TATE start laughing.

6.	MONEY, MONEY, MONEY
This is our first introduction with HIXON and his WAREHOUSE. At first 
the gang are waiting for HIXON in the lobby. TATE pours four glasses of 
brandy out for the lads and HIXON. He takes out a phone and calls HIXON 
down.
TATE
Alright lads. The boss'll be down in a mo.
BRIGGS 
Fine. We'll be round the front. Call us when he gets down.

TATE pulls out a chair opposite to WATTS where he is gagged and 
strapped to a chair. He sits down on the back of it while BRIGGS and 
JEFFERSON are having a smoke outside.

TATE
Right. I don't like you and you don't like me, but that doesn't 
necessarily mean we can't co-operate. It's a terrible shame, that after 
three years of buying time and trust, you would come along and spoil it 
all for me. I need you're help and it's only going to come from you, 
because let's face it, when those two were orphans, Hixon helped them, 
and I sincerely doubt it that if I told them I was a cop and wanted him 
dead, they wouldn't respond to it very well. So I promise that any help 
from you won't go unnoticed. I'm glad you understand. So I will help 
you, If you help me, but it won't just take the two of us to bring him 
down. So I, being the bent copper that I am, have a reliable bent cop 
contact currently suspended from the force, an old DI and fellow 
organiser of crime. So what I want you to do is keep you're mouth shut 
and agree with me for absolutely and positively everything. Or I'm 
dead, and I can't help people in need of helping when I'm dead. So 
please, keep your big mouth shut, and only open it when I tell you to. 
Capiche. Good.

HIXON comes out of the shadows and greets TATE.

HIXON
I hear we had a problem. I say had in the past tense as I hope it's all 
done and dusted, but I fear I'm going to hear things differently. 
Inform me.
TATE
Well, we did, and we still do, look it can't be helped. This bozo here 
thought it would be fun to hold us up...with a phone. 

HIXON silently laughs.

HIXON
Amusing. Do we know who made this threatening phone call. I do presume 
he was not alone on this, poor, dim-witted fool, probably can't think 
for himself. 

HIXON bends down opposite to WATTS.

HIXON
So who is he?
TATE
It was a woman, that's what Jay said anyway.
HIXON
Ok, so who wanted to give me a wind up and you the run around. Come on, 
I won't bite. Come on Michael, we have to give this poor chap some 
breathing space. He can't speak to us with tape over his trap.
HIXON rips the masking tape off WATTS' mouth. WATTS screams out in 
terrible pain and agony.

HIXON
So who is she?

There is a short pause where WATTS is oblivious to talk. Suddenly, 
HIXON moves his hand towards TATE. TATE pulls out a knife and threatens 
WATTS with it. Now, crying and in pain, he is reluctant to talk as he 
has no intention on getting hurt.

HIXON 
I'm not going to ask again. Who is she? Ok, give him the knife.

TATE is about to slice parts of WATTS, when...

WATTS
No, ok, ok, I'll tell you, but please don't hurt me.

At this time JEFFERSON and BRIGGS are both interested in what is going 
on and come in.

BRIGGS
What's going on?
TATE
Shut up!
HIXON
Finally you're willing to exchange information. Put the knife away 
Michael, I doubt very much violence will be much use here. Ok son, give 
us what you got. Just a name that's all I need.

There is a pause, and this time JEFFERSON pulls out his gun and points 
it at WATTS.

BRIGGS
Calm down mate, he's sortin' it out.
WATTS
Ok, alright I'll tell you. It's Lewis, Gina Lewis.

HIXON obviously knows this name and is positively gob smacked.

JEFFERSON
I know her, that's Knowles' girl. Likes them young him. 
HIXON
I always knew that bent copper had other businesses. Ever since he 
pulled me in for that risky drug deal down Chinatown, damn Triads set 
me up, couldn't wait 'til I was behind bars, probably 'cos I knew he 
was bent. You did good young Timothy.

HIXON ruffles WATTS' hair and points up to TATE.

HIXON
Knowles. What do you know?
TATE
Not much, but I can tell you where he is and when he will be there.
HIXON
That's a start.
TATE
Ok, so every morning he gets up take's a shower, the norm, then he 
works, but he has some personal business involving our mutual friend, 
the drug dealing, money laundering Mr. Ling. This happens every 
Thursday where Knowles takes fifty grand in cash to get a clean, decent 
service from the Triads. This takes place at Kings Cross. The money is 
put in locker number #3574 and is picked up at precisely 12:30pm the 
following day, being Friday, being today. Now, he then has the problem 
of getting out with the cash. So the cash, which is in a carrier bag, 
now goes into a suitcase, which he already has but to be sure he takes 
it in the station bogs.
BRIGGS 
How the hell did you know that?
TATE
Ok, five years back, Knowles busted me for a six month stretch. So 
every day for six months he was in my watchful eye, and I found a 
pattern. Every Thursday he would go into the station with a bag and 
every Friday he would come out with a suitcase. So I wanted to use this 
info, exclusively to you, to plot my vengeance.


HIXON
Ok, his story checks out. Now we can do a double whammy on our bent 
copper friend. The first and obvious thing, of course is the fact he 
will die today, and the second is, we will walk out fifty grand the 
richer. Gentlemen, God is alive. 

This is showed to the viewer in visual form.

HIXON now stands up and walks towards the exit of his warehouse. The 
others follow him, while WATTS is still tied to a chair.

HIXON 
You still got the number on the phone?
JEFFERSON
I think so. Yeah.
HIXON
 Let's see what Lewis will do to help?

7. THE PLAN TO END THEM ALL, PART 2

We have returned to TATE and his mistress, JOHNSON after the discussion 
of the events during the previous hours. 
JOHNSON
So, in your mind, how does this turn into a problem. Ok, there is the 
possibility that Hixon and his cronies will find out that your a liar 
and a cheat, make a truce will Knowles, hunt you down and string you're 
balls up in a barn in the middle of nowhere and let the vulture's take 
care of you. But we know this isn't doing to happen because you have 
things under control. You know where you are and where we will be this 
time tomorrow. Let's face it, Knowles is going to give you the 50 gees 
anyway for bringing down Hixon. 
TATE
I suppose you're right. I mean, we're going to be in the Caribbean, 
rich, and Hixon's going to be either dead or banged up, along with the 
idiots that follow him. There is a severe circumstance, involving Gina 
Lewis and that guy Watts. They might figure it out. They could 
jeopardise the very plan I've had ever since Knowles offered me a way 
out of the force. If things go wrong at the station, I'll give you a 
one-ringer, when you get the signal tell Knowles to get down to a safe 
house or similar cos' I'm going to lead them to his apartment. Then 
tell 'em to get down to Hixon's warehouse, you get down there too, in 
fact take my car and bring him. I suppose I'm just worried Knowles will 
do a runner and won't show.
JOHNSON
Don't worry, I mean you don't even need him. You have the money from 
the bank. It's not like he has the cash anyway.
TATE
Oh, you picked it up then?
JOHNSON
Yeah, you said you left the safe open so I went round there and nabbed 
it. 
Ok, I'll await you're signal.

TATE is about to leave the flat.

JOHNSON
Have fun, but whatever you do, don't get killed. Will you?

8. STATION SHOWDOWN

	We are now just outside section of the train station. A train 
docks into view. A mysterious man, being KNOWLES, exit's the train with 
a black suitcase. He moves swiftly first through the platform. He 
enters the station reception, passing a lonely ticket operator on the 
way, sharing friendly gestures with the operator.
KNOWLES is now striding through the station. On his way to the lockers, 
he passes JEFFERSON, BRIGGS, TATE and LEWIS. The camera stops here 
although the viewer is not completely aware of who is on the bench as, 
their faces are covered by newspapers. 

TATE
Ok, get ready to move. Wait 'til he's in the loos, then we follow him. 
I'm going in the bogs with Jay, Briggs, you betta make sure you don't 
leave Lewis to herself. In fact both you two betta make sure she 
doesn't go anywhere. Jay, you best take the side door. We don't want 
the police or any other type of security notified about our little 
plan.

TATE notices KNOWLES turning to go into the toilets. 


TATE
Ok, let's go.
 
TATE picks up a sports bag and the group set off in single file towards 
the toilets. TATE walks through the toilet door, JEFFERSON goes to the 
right to block the side entrance and BRIGGS and LEWIS wait outside the 
toilet door.

We now realise this is a complete set-up by the fact a window has been 
left open where Knowles has escaped. TATE now pulls out a phone and 
walks into a cubicle.

TATE
Are you here? Good. I'll leave the cash out the front. Pick it up and 
get down to Hixon's warehouse. Tell Knowles to get down there too. 

Outside the toilets, BRIGGS is becoming anxious.

BRIGGS
Is everything alright in there?
TATE
Yeah. I'm just lookin' for the cash. I'll be out in a mo.
BRIGGS
He said he will only be a minute.

We now pan into LEWIS who slowly and cautiously pretends to tie her 
lace and pulls out a knife from her sock. We now go back to the 
cubicle. TATE now dials the number for HIXON.

HIXON
Hello.
TATE
Yeah, Charlie, it's Michael. 
HIXON
Have you got the money, Michael? You have got the money haven't you?
TATE
Sorry. Knowles was a no-show.
HIXON
WHAT? You said it would be a fool proof plan. You said you would 
deliver Knowles and fifty k, now you can't give me Knowles and I am 
once again down in the pits. You really have done it this time.
TATE
Look I'm sorry.
HIXON
Get out of London, before I give you a reason to be sorry. 

HIXON hangs up the phone and walks out of the office. WATTS still tied 
to a chair, has become visible. But we now return to the station. We 
now see LEWIS, completely afraid, but she takes her knife ready to kill 
BRIGGS.

BRIGGS 
Hey, Mike is sure taking his time in there. Wonder what he's up to.

The toilet flushes. And in the moment's panic LEWIS pulls out her knife 
and slits BRIGGS' throat.


JEFFERSON
Briggsy.

JEFFERSON runs from his waiting place to see what is going on. LEWIS 
starts to run down the corridor and TATE pushes the door open and 
shoots and kills JEFFERSON. He tries to shoot LEWIS but misses. 

9. THE GRAND FINALE?

TATE now exits the train station and leaves the bag with the cash at 
the entrance. JOHNSON almost immediately comes and takes the bag. We 
now leave the station and go back to the warehouse. We now see HIXON as 
he slowly walks in with a handgun and a large bottle of gasoline. He 
places the gun on a table beside a have drunk bottle of whisky and the 
petrol on the ground. WATTS is struggling and screaming silently.

HIXON
How does it feel, for the tables' to be turned? I bet it feels 
absolutely, positively nerve shattering. How dare you trick my boys 
into leaving my bank, to deal with you while you're girl is getting off 
with the cash. Well it's over. It's too late. Goodbye old chap, I 
helped Queen and Country for years and this is the thanks I get. But 
you're not thinking about how you feel. Feelings are obsolete in the 
guessing game. I bet, your wondering what is he doing with that petrol. 
Yeah I knew it! Hit the nail on the head with that one! I don't like 
bad calls and it's not that often I get them. But when I do get them I 
don't respond well. So pardon my bad behaviour. Anyway, I've got some 
good news for you sonny. This place is going up like a barbecue. And 
you're the main course! Look I'm sorry to take it out on you, kid, but 
if I'm going to be taken seriously, that's just what I'll have to do.

HIXON picks up the bottle of whisky takes a swig of it and puts it back 
on the table.

HIXON
For years, people have had no recognition of me. I've dialled all 
London's calls of crime, but no-one's picked up the phone. Well, that's 
the last time Charlie Hixon is taken for an idiot. But no, he means 
nothing. Let's leave him be. Well I've had it…UP TO HERE!!!

HIXON once again picks up the whisky and takes a swig of it. 

HIXON
Let's make this a tad more interesting.

HIXON places the bottle of whisky upside down on WATTS' lap and the 
alcohol run's down his legs. HIXON then picks up the petrol bottle and 
pours it in a zig-zag motion on the warehouse floor up to the entrance. 
HIXON takes out a box of matches and light's a match.

HIXON
Right, time to light this barbecue. Goodbye kid.

There's a moment of suspense as HIXON prepare to do drop the lighted 
match. Suddenly, a gunshot goes off and HIXON falls. A blurry vision of 
KNOWLES holding a gun can come into view. 

KNOWLES 
Oh spare me the sentimental crap. So how does it fell, Charlie? How 
does it really feel? Go on don't be shy. Holding hostages, illegitimate 
franchises, and what for, tell me what is this really for? It's just so 
angry Charlie hasn't got his way for once. Has a tantrum with the 
world. Well no-one cares, no-one has ever cared and no-one will care. 
You're acting like you actually mean something, like you're a cog in 
the London crime wheel, when in fact, it might actually work properly 
if you were gone. So I might just give us all that pleasure. Face it 
Charlie, your scum, we don't need scum in our lives. So give it up, and 
for once in you're soon to be short, miserable life, leave it to the 
professionals.

Yet another gunshot can be heard as KNOWLES hits the ground with a 
thump. He is dead.

HIXON 
It's about time, Michael. Now help me up.
TATE
What makes you think I would even consider helping you. Face it, I am a 
cop.

TATE now shoots and kills HIXON.

We now go outside the warehouse and we see JOHNSON in her car.

JOHNSON
God, It's about time Michael. The money's in the back so get in.

We see a knife lunging at JOHNSON then LEWIS walking away from the car 
into the warehouse.

LEWIS walks into the entrance of the warehouse, goes behind some boxes 
and sees WATTS with TATE behind him with a gun.

TATE
Smile!

A gunshot goes off and WATTS is killed instantly. He then shoots at 
LEWIS several times, but misses. She run's picks up the gun on the 
table and hides behind a door leading to a corridor.

TATE
Why can't you be a good girl and die. 

TATE drops the shotgun, picks up KNOWLES' gun and proceeds to the 
corridor door. 

TATE come out, come out wherever you are.

TATE reaches the threshold, but cannot see LEWIS. The camera spins 
around TATE. After a cycle a gun appears, a wider shot appears and 
LEWIS is holding a gun to TATE'S head.


LEWIS
What money? WHAT MONEY?
TATE
You know winning is not a possibility, not in this game.
LEWIS
You killed my guy. I've already lost. Now tell me. What money? And drop 
the gun.

TATE drops the gun.

TATE 
I don't know about any money.
LEWIS
Well the corpse in the car would disagree with you on that.
TATE
You killed her?
LEWIS
Had no choice. Now, I may be a loser but a rich one at that. Info or no 
info, I'd rather be rich than dead. Now spill.
TATE
Earlier, at the bank, I left the safe open, I rang Joanne, she picked 
it up. Hixon was going to kill him anyway. So I made up this stuff 
about the cash, about Knowles and…you.

The writing in bold is a flashback. This is shown in black and white.

LEWIS
What about me?
TATE
That you made off with the cash. Look I saved him for you. 
LEWIS
SAVED HIM! Didn't look like that when you unloaded in his back. Well it 
doesn't matter now. How much is there.
TATE
'bout 50.
LEWIS
Grand. 
TATE
Yeah. What are you going to do now?
10. Epilogue 

	Like the beginning the screen goes blank and a shot can be heard. 
And like the beginning we are shown the warehouse and the bodies, 
accompanied with LEWIS' narration.

LEWIS
It was one of the experiences that you could only possibly imagine 
yourself to go through, as you hope, through the bleak mist of 
salvation, that no-one else would go through the tragedy of grasping 
the cold-dead hands of her soul mate through the carnage of 
dysfunctional mayhem they have both been in. I now see it as one of the 
things that are visibly clear to you and you alone, this happens a lot 
in life, take the last few days as an example. Although, this paves 
it's way for the understanding and bereavement that lies ahead. I have 
learnt that you could never be too sure of yourself and never to trust 
another. This has leapt to the possibility of replaying the incident of 
what has been the last few days in my head and then trying to wipe them 
out as quickly as insanely possible. This can unfortunately never be 
the case for me. I will live in the despair of the broken down shell of 
life, which I have turned into. I fear any communication with outside 
of these four walls and cling to the thought that my secrets will never 
be revealed. But like all amazing, spectacular, or in my case, 
horrifying circumstances, which have been lived through, it is hard to 
see them through the portal of my mind, with just blurred out 
photographic images to rely on for any memory of what happened, which 
for me, has a fifty, fifty chance of being either good or bad. Good 
being I can never relive the last few days, bad being the fact that the 
last few living moments of my only cherished one, are lost forever in 
the motion of time. And as I leave these days gone by, I see what could 
have been instead of what was. 

We now see the parking lot of the warehouse, but instead of just 
crouching, LEWIS walks over to the car and gets in.

LEWIS
Chaos had a name. Hixon's reign of terror is over. I've lost everything 
I've ever had. Everything I have worked so hard to get. I've lost my 
love. My life. But then again, what's the point in crying. I am rich 
you know!

With that LEWIS drives off. The day behind her, this is truly a day she 
will never forget.


The End

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