BONE ASYLUM
                        BY 
                     SAL KAPOOR

                       STORY
                        BY 
                     SAL KAPOOR

SAL KAPOOR
5 HILL PAUL CHEAPSIDE STROUD GL5 3BL
07985 508 251
COPYRIGHT SAL KAPOOR UKCOPYRIGHTONLINE
SALKSAL@AOL.COM

FADE IN:
EXT. sTREET - dAY
A tatty old Jaguar is parked on a side street with the engine running. 
A moment later, a four-wheel-drive pulls up adjacent to it. 
A brown jiffy bag is carefully thrown from the driver's seat into the Jaguar. 
Through the window, we hear - 
VOICE (O.C.)
Here's half the money, as we agreed. You'll get the rest on collection of the girl.
Don't call me.
The four-wheeler's window rises as it pulls away. The Jaguar follows-suite.

INT. churchall - dAY
Wooden beams are hewn together, tenebrous and gloomy. Statues and musk fill the belly of the old church. 
The Priest, a Black-man in his 30's, preaches to the crowd. 
Priest
And let me tell you, our Father asks one thing of you, that you honour thy mother and Father and love one another as Christ loved his disciples, for love brings love and is needed in today’s world where we are faced with broken homes and marriages which leave the children without roots. In heaven we shall never stray from our Fathers sight but on Earth, and within our communities we need our parent’s guidance and their love. Now please, join me in prayer as we remember those who are unfortunate to be without their families today.
As the crowd stand in unison, the Priest notices a young man sat on the last bench alone. 
He is TONY MINTLE, 25, smartly dressed and with a face laced with anger. 
He fingers a rosary which hangs from around his neck, Revealed, next to his rosary is a swastika tattoo.  
The crowd stands. TONY lounges back in contempt. Some of the crowd eye TONY, slightly uncomfortable.
TONY stands and turns to exit the church, not before meeting the Priests eyes. A two-way thousand yard stare. 
PRIEST/ crowd (CONT'D)
And thank you Lord, once again for this day on which we remember our brothers and sisters as well as our parents.
EXT. street - dAY
TONY walks down the steps of the church. Carved winged angels converge behind.
A group of Asian youths are hanging around TONY'S BMW. One of them, MOHAN spies TONY walking towards them and maliciously grins. He pulls a key from his jacket and pretends to scratch the paint-work. 
Mohan
Yes star, It's cool. Watcha want? 
Brown? White? I got some fine shit that'll give you an audience with God.
TONY
No thanks.
MOHAN points to a sexy-looking woman across the road standing in a doorway of a building.
Mohan
Well, you want a woman? Spend all night with her over there?
Tony appears repulsed as he catches her helpless gaze. 
MOHAN (CONT'D)
Forget your past mate, One way or another.
TONY gets in and drives off leaving the YOUTHS laughing and joking.
MOHAN
Nazi cunt!
I/e tony's car, moving - day 
TONY drives through the squalid inner-City, past heaps of tower blocks...
-industrial complexes and littered streets.   
He stops at a zebra crossing to allow a YOUNG ASIAN MOTHER and CHILD to cross.
TONY, reminiscently strokes the passengers seat-belt clip as if it holds a precious memory. He closes his eyes...
...and as he struggles to stay in the moment, we - 
CUT TO:
I/e. flash - tony's car - moving - dAY
TONY and his MOTHER, GEORGINA (45, smart and attractive)are driving in TONY'S B M W. Shopping clutters the driver's and front passenger's seats.
GEORGINA, struggles to fasten her seat-belt as TONY frantically weaves his way through the city's rush hour traffic. 
Georgina
Slow down, Tony!
TONY
I can't mum. I've got to meet the lads in twenty minutes. Gonna bash some Bush-whacker today I swear it!
GEORGINA
You and your friends! A bunch of - 
TONY
-Ah Ha! Ah ha!
The B M W hastens towards a zebra crossing where a young MOTHER (ASIAN) and her CHILD step-on to cross the road.
GEORGINA spots the WOMAN crossing at the last moment. 
GEORGINA
Look out!
He slams on the breaks...nothing! The breaks have failed
The B M W skids as TONY locks the wheel and plunges the car head-on into a bollard at the side of the road!
The impact propels GEORGINA, crashing through the wind-screen. 
The fragments hit the disoriented TONY and -  
BACK TO:
I/E. tony'S CAR - PARKED - dAY
- bring him back to reality.
The WOMAN smiles at TONY as she crosses with her child.
TONY revs the engine to a threatening growl. 
The WOMAN looks back, puzzled.
TONY looks down, embarrassed by his own intentions.
EXT. mINTS HOUSE - dAY
The mansion stands in a green and leafy avenue. Automatic entrance-gates guard it's privacy and a wall runs the perimeter. This is Maidenheads' Millionaires' Row. 
We see a luxury sports car. There is also the four-wheel-drive we saw in the opening scene. 
INT. mints house dining room - dAY
On a dining table, the servant, DOUG (35, smart looking) pours wine into glasses. 
At the head of the table sits MIKE MINTLE (MINT), his beautiful Indian wife, PINKY and her daughter, ASH.
ASH is a delicately featured girl with an air of helplessness around her. 
Mint
(To DOUG)
Thank you.
MINT picks up a glass and inspects it, scrutinizing the stain with a bandaged finger.
MINT (CONT'D)
Doug! What's this?
DOUG freezes.
MINT (CONT'D)
Look at the state of this glass. I don't expect it to be crystal but this looks like you've been using a toe-rag. Bring the set we received for Christmas. All this money, Doug and you can still make me feel like a peasant.  
DOUG eyes MINT, resentfully.
Doug
Of course sir.
PINKY
(to ASH)
Why don't you try the salmon.
MINT
She can have the steak. Needs to bit some meat on that puny frame of hers.
PINKY
But She's always liked fish.
TONY enters and walks reluctantly to the table. He pauses and inspects the meal.
MINT
Joining us, Son?
TONY is not. As he heads out of the room.
MINT
Guess he doesn't fancy the steak either.
PINKY
We need to start eating together, like a real family.
MINT
I agree.
PINKY
It doesn't help with you out all hours, working.
MINT
I work all hours so you can sit at a table that's worth more money than half the population's  life-savings. And you know it's meal-times because you wear a twenty-grand watch.
PINKY
Don't discuss your money when we're working to be a family!
DOUG
(interrupting)
Sir, there's a call from Glasgow...hospital. It's your mother, Rose.
MINT appears troubled.
DOUG (CONT'D)
Not good, I'm afraid.
CUT TO:
EXT. dERILICT BUILDING - eVENING
An abandoned tower block against a depressing sky line. The whole area, burnt-out is cordoned off for urban misery. 
The old jaguar is parked inconspicuously amongst this waste of rubble and dereliction.
The windows have been covered with dampening cardboard. The First floor...covered...
The second...covered...
...Until we reach the tenth floor where we see a silhouette illuminated by a tiny bulb.
Through the window we hear a man scream-
INT. DERELICT building - eVENING
-as a cleaver strikes down on his hand!
Two fingers plop to the ground.
FRANK, 25, battered and tied up is being tortured by the GRIFFIN GANG. 
They are WINDOWS GRIFFIN, 26, a junkie, scarred and slimy GRIPPER GRIFFIN, 28, a teddy boy with a mean looking face.
A variety of torture instruments; chain-saws, knives and sharpened instruments.
JO GRIFFIN 55, a battering ram of a man, approaches FRANK holding a syringe of opiates and a butane burner. 
JO
One of these eases the pain and the other prolongs it. Which one do you want? Which one will you get?
MILLS GRIFFIN, 24 hideously skinny and frightening looking, approaches and takes the gas burner, tossing the cleaver.
Mills
(laughing)
This one!
He doesn't hesitate to scorch FRANK'S hands.
FRANK howls in agony, futilely kicking against the floor-boards. He vomits, a mixture of gunk and blood.
GRIPPER
Now listen you kettle-cunt, don't spoil the laminate in this shit-hole. Tell us where you hid it!
(slaps FRANK)
Is it worth it Jo? It's no fun. 
Jo
You stole from Judge's firm and like all thieves, you must be punished. Consider yourself lucky this ain't Arabia. Over there you loose a hand for stealing. 
(beat)
I do believe in the value of talk, but when you add money to the equation, any fuckin parlez can wait.
FRANK
I didn't...I didn't steal...
MILlS
I’ll carve him up like a turkey, then see if the cunt can steal. Go on, steal now you cunt, with no fuckin arms. He’s  making me late for a date with Jenny's parlour. There's some new tot from Moxo.
JO
You mean Moscow?
GRIPPER
He's trynna say something.
FRANK laughs, delirious...the last stand of a condemned man. 
Frank
That's the only way you'll get it. You ugly fuckin virgin cunt !
Mills rushes towards FRANK, wielding his knife in the air. FRANKS comment has obviously hit a nerve. GRIPPER intercepts him.
GRIPPER
I'll take that.
MILLs
You might do. If you came with an army.
JO
Cut it out!
MILLS
Because it's you who's asking, Daddy I'll do it. Normally I'd...
MILLS slowly cuts an imaginary throat with the knife then surrenders it to JO.
JO 
He's trying to wind you up... trying to split us up. Don't worry son. Remember, a sinking ship wants to take everything down with it. 
JO produces a photograph from his jacket pocket. 
The photograph JO is holding shows the back of an Asian woman, wearing a leather jacket with a skull motif.
JO (CONT'D)
Nah, we've got much bigger fish to fry, except we ain't gonna fry it, just keep it iced till the chef's ready. And this little fish is going to wet our beaks, boys for a long fuckin time.

MILLS breaks free from the others and head-butts FRANK in the face. FRANK passes out. 
                                                                                 
CUT TO:
EXT. club - eVENING
Outside a noisy club, a few men and women are taunting each other. Their attention is swayed as they hear a car veer around the corner.
The GRIFFIN'S battered old jaguar screeches to a halt. 
The rear passenger's door opens and FRANK is ejected from the car. Stripped naked, cut and bruised.
The women scream!
The car's engine growls as the Jaguar vanishes into the darkness.
From a dingy doorway, a sharply dressed man, JIMMY, 25, Black with dreadlocks approaches. He's a real hustler, complete with designer Prada.  
Jimmy
Frank! Frank! Who did this to you? Tell me!
Fervent, his eyes fill with vengeful intent.
CUT TO:
INT. mint's house ash's bedroom - next day
ASH stands, solemn, in front of the dresser, staring into an empty pet-cage.
The stitched motif on the back of the jacket...the same one JO inspected in the photograph earlier.
Int. minTS HOUSE hallway - dAY
PINKY walking through the hallway, pausing to peer through the creek through the door of ASH'S room. She knocks on the door.
INT. mINT'S HOUSE ASH'S BEDROOM - dAY
ASH barricades herself against the door.
PINKY (O.C.)
C'mon Ash, let me in. Your acting like a kid who didn't get the latest Cindy!
(beat)
C'mon, I need you signature on my account.
Slowly, the door begins to creak open.
INT. mINTS HOUSE HALLWAY - dAY
Two packed suitcases stand near the entrance. The sound of a car pulling up near the door from outside.
MINT hurriedly descends the stairs.
The door opens and the DOUG pokes his head round.
DOUG
Sir, the car is ready.
MINT
OK. Put my luggage away, I'll be out in a minute.
DOUG
Yes sir.
INT. mINTS HOUSE HALLWAY - dAY
MINT pauses outside a door. He knocks then without waiting for a reply, enters, scrutinizing-
INT. mINTS HOUSE library - dAY
-the shelves of books which are neatly stacked, one shelve upon another.  
A copy of William Blakes's Book of Job...books on self-help... psychology and other esoteric treatises.  
A framed photograph shows a younger TONY hugging GEORGINA.
MINT
Beautiful woman, your mother. I'm glad you treasure her memory.
TONY
I'm glad you do too. She would have been happy to see you waited a whole year to remarry. 
MINT ignores the comment and picks up a copy of The bible.
MINT
When are you going to grow out of all this? I mean, the bible! 
TONY
What's wrong with that? 
MINT
Son. No matter what you do in life, you can never escape who and what you really are. You might try and make yourself feel better by reading this, but at the end of the day, you are still my son. Blood is thicker than water, and ours is especially thick. If our blood flowed through the rivers, all the scum in this town would shrivel up and perish. Come and work for me.
TONY
I've told you before, I don't want to. I'm on a path, not sure where it's going but I believe I should follow my instinct.
MINT
I don't understand you. 
CUT TO:
INT. fLASH - pub - eVENING
TONY and about fifteen other men are stood in a pub. They are drinking and shouting abuse at another group of men.
MINT (V.O.)
I've stood by you through thick and thin. When you were hanging around with those hooligans, I didn't like it but I accepted it. 
INT. flash - toilet - eVENING
TONY is sprawled out on the floor of a public lavatory, utterly dishevelled. A syringe sticks out from a vein. 
MINT (V.O.)
And then there was the drugs.
BACK TO:
INT. mINTS HOUSE LIBRARY - dAY
MINT (CONT'D)
And now...This. I know you blame yourself for your mother's death but you have to forgive yourself...have to forgive me for not spending time with you. I was busy securing my future...our future. "The cut worm forgives the plow!"
TONY stands silent and still, his face ridden with guilt. He doesn't like to be reminded of his past.
TONY 
I want to find myself Dad. I want to know exactly who I am...Something to believe in.
MINT
Find yourself? You're my son! You're exactly like me. Life goes on even after death.

TONY appears more vulnerable than angry now.
MINT (CONT'D)
Besides, You have Pinky and Ash to take care of. Come and work for me. I've made a deal that is gonna give us a lot more freedom.
(slightly grave)
Don't make me beg son, it's not my style.
TONY
Dad! Tell Rose...
(searches for the words)
Tell her...
MINT
I know. Doug's driving me so look after Pinky and Ash while I am gone.
MINT extends his hand. TONY shakes it.
MINT (CONT'D)
You've got a firm grip son, just like your Dad.
TONY
Mine comes from reading. I don't know where yours comes from.
MINT
Counting money, maybe? Here.
TONY
What else can you do for me, apart from give me money?
MINT leaves a large wad of notes, pulls out a mobile phone and leaves.

INT. mINT'S HOUSE ASH'S BEDROOM - dAY
PINKY
(To ASH)
Come on, We'll have a girls day out.
INT. mINTS HOUSE HALLWAY - dAY
TONY comes out to see PINKY and ASH making their way down.
TONY
Hi. Where are you two off to?
PINKY / ash
Shopping.
TONY
OK. I'll drive you.
(to ASH)
Are you OK? You look a bit sad.
CUT TO:

I/E. TONY's car - dAY
TONY, ASH and PINKY make their way to TONY'S car. ASH, slightly flatulent and dragging her feet.
I/E. griffins car parked - dAY
The GRIFFINS Jaguar is parked 20 meters from TONY'S car.  
JO
That's them. Remember, we're only taking one of them and the others, 
Good night-
GRipper
-Sienna.
JO
I hope Mills has the place ready. I worry about that boy.
GRipper
You're right to worry. He's a fruit- balloon...a fuckin psychopath who's so shit scared of women, he takes it out on everybody else.
WINDOWS laughs.
JO
Enough of that, He's still your brother. Did five years for us, don't forget that. It's good he's scared of women, limits the threshold of the trouble he can cause.
GRipper
That's comes from experience, I take it.
JO
Very funny.
WINDOWS produces a glass pipe and starts to smoke some crack.
WHOOSH!- 
GRipper
Fuckin hell!  You ever considered patches? 
JO
How many times do I have to tell you not to bring that crap with you. You start smoking that your going to land us all in a puddle of shit.
Windows
(drugged up stutter)
Break... I need a break.
JO
A break? What d'you think this is son, a fuckin temping agency?
JO grabs the pipe from WINDOWS and hurls it out of the window.
WINDOWS
Oi! I need that to calm my nerves!
GRIPPER shoves a Uzi sub-machine gun into WINDOW'S face.
GRIPPER
Will this calm your nerves?
JO
They're moving. Gripper! Don't loose them.
I/E. TONY'S CAR - moving - dAY
TONY at the wheel, driving with PINKY relaxed in the passengers seat. 
ASH in the back seat, fidgety and uneasy.
I/E. gRIFFINS CAR - moving - dAY
GRIPPER follows TONY'S tail, always keeping a calculated distance.
GRIPPER
Jo, who's paying us for this job?
JO
Judge.
WINDOWS
(horrified)
Judge?! You speak to him?
CUT TO:
FLASH - APPARTMENT - nIGHT
In a dimly lit office, we see a pair of legs sprawled on a mahogany desk. This is JUDGE. Authority oozes from the hidden man. 
JUDGE casually throws a jiffy envelope onto the desk. DOUG slowly approaches from the shadows and clenches it tight.
JO (V.O.)
Nah. Went through a middle-man named Doug. This guy, Doug's really pissed at his boss and Judge wants a little score-settled so the two of them got together and threw the hit our way.
BACK TO:
I/E. gRIFFINS CAR - MOVING - dAY
GRIPPER
Judge? The one that runs that paki firm outta Southall?
JO
For the benefit of your health son, don't repeat that Paki word whilst where on this job.
CUT TO:
EXT. flash - street southall - dAY
Market traders and street hawkers holler their wares to passers by. 
We see the backs of Two men; one ASIAN and a Black man...our friend JIMMY. They walk the street engaged in business-like conversation. 
JO (V.O.)
The last bloke that called Judge a paki-
A man with a shaved head pushes into the two men on purpose.
JUDGE and JIMMY turn to stare the man down but decide to continue on their way, forgiveness being their forte.
MAN
Fuckin paki 
(louder)
Fuckin coon!
INT. flash - appartment - dAY
The SKIN-HEAD is being dragged and beaten into the building by JIMMY and another ASIAN MAN.
Judge (O.C.)
I condemn you for using your tongue in a profane and offensive manner to me and my colleagues. So that you may learn that such foul language shall not be tolerated in this day I sentence you to live out the rest of your days using only your hands to ask for your basic needs. Consider this an imperative vow of silence.
(beat)
Take him down.
The SKIN-HEAD screams!
JIMMY takes some wire-cutters and snips off the SKIN-HEAD'S tongue.
JUDGE (O.C.)
Now, you ugly piece of shit, say it again. Say it!
JO (V.O.)
And that was that. I heard he also cut off someone's private-
BACK TO:
I/E. gRIFFINS CAR PARKED - dAY

GRIPPER
All right! I get the picture.
JO
Good. Saves me getting my paint-brush out.
GRIPPER
This Judge fella, he sounds like a head case.
JO
Never you mind that. Just keep your eyes on that motor. I want to grab some sweets for Mills then start making serious plans for our money.
GRIPPER
You spoil that boy. What plans?
JO
Never you mind that either son. You just keep your eyes on the road like your driving Miss Daisy.
I/E. TONY'S CAR - parked - dAY
TONY parks in a vacant parking space of the shopping center's car-park. 
TONY
Shall we say...30 minutes?
PINKY
30 minutes? When was the last time you took a bunch of girls shopping. 
ASH laughs.
PINKY (CONT'D)
Add another hour to that and then another 30. Let's say...well it's two now..so...erm...four O'clock, OK?
TONY
Two hours? OK. I'll see you at four. There are some books I want to check out.
I/E. gRIFFINS CAR PARKED - dAY
JO looks around, studying the location. Just parked cars and shoppers milling back and forth.
GRIPPER
Do we do it here Jo?
JO
No. There's a risk factor here. Look, they've got that C.C.T.V. lark.
WINDOWS pokes his head out of the window to gain a better view.
GRIPPER
Stupid fucker. Why don't you get out and give them a close-up.
WINDOWS starts to open the door. GRIPPER restrains him.
GRIPPER (CONT'D)
I was joking. It was a joke
WINDOWS
You didn't sound like you were joking. You sounded-
GRIPPER
-You can't tell-
JO
Cut it out! Jesus, It's like baby sitting a pair of two year olds. We're gonna stay put here till they come back.
INT. shopping center - lower level - dAY
TONY walks by a group of prankish youths. One of the youths push into him as he passes.
He stares at the youth; hard...his piercing eyes..vindictive. 
Youth
Sorry Mr.
INT. sHOPPING CENTER -  women's boutique - later
PINKY and ASH browse casually, fingering clothes on rails. 
I/E. gRIFFINS CAR PARKED - dAY
The time on the dashboard reads...2.45.
WINDOWS fidgets, quivering with cocaine withdrawal.
WINDOWS
That's it! I need to take a gypsy's.
JO
That's not it! You're not going anywhere. You're staying right here.
GRIPPER
Let him go. We might be here for a while.
EXT. sHOPPING CENTER - car park - dAY
WINDOWS hurries towards the toilets. 
He spots a toddler crouching down and playing with a few stones. 
The TODDLER'S gold chain glints in the sun. 
Checking that no-one is looking, he expertly removes the chain. The Toddler is non-the-wiser.
INT. sHOPPING CENTER - toilet - dAY
WINDOWS locks himself in a cubicle and fecklessly tosses his Glock to the ground. 
He attempts to snort some cocaine but clumsily knocks it into the toilet. 
WINDOWS
Shit!
INT. sHOPPING CENTER - women's boutique - dAY
PINKY picks out a white linen jacket and tries it on. It looks good. ASH approves.
ASH
Mum, that looks great. It's beautiful.
PINKY twirls in front of the mirror, draping her collars to reveal a small butterfly tattoo.
ASH (CONT'D)
I want one too. I'll see if they've got another one. I know these stores only stock one of each.
She searches the rail to no avail.
PINKY spots her reaction, takes the jacket off and offers it to ASH. ASH removes her jacket, revealing a skull tattoo.
PINKY
Here. You have it.
ASH
No, Mum. It suits you. I'd feel like I was stealing your glory.
PINKY
No really. I want you to have it.
They swap jackets. ASH is delighted.
ASH
Whoa! It looks fantastic...makes me look slightly more mature, wouldn't you say, Mum? Can I have it? Please?
PINKY smiles a "yes".
ASH (CONT'D)
That really suits you. Makes you look younger. I'm gonna keep this on. I'm going to meet a friend later.
PINKY in ASH'S leather and ASH in her new jacket approach the cashier.
I/E. gRIFFINS CAR PARKED - dAY
The time reads 3.55.
The GRIFFINS still waiting, anticipating the arrival of their targets.
INT. sHOPPING CENTER - lower level - dAY
ASH and PINKY approach the exit where TONY is flicking through a newly purchased book.
TONY
Looking good, sis. You look like a Bollywood babe.
The three buoyantly exit through the automatic doors, arm-in-arm. 
I/E. gRIFFINS CAR PARKED - dAY
GRIPPER spots the three approach their car.
GRIPPER
Jo, they're here!
JO looks out and watches as the three climb into the car.
JO
Check your shooters, boys. Remember we're only taking the one in the leather.
They check their guns. WINDOW'S hand trembles as he checks his.
JO (CONT'D)
I'll take the target, Windows, eliminate the driver and Gruff, do the passenger. Remember, shoot to the head.
(beat)
Follow them a while. It's too crowded here.
JO hands them each a mask.
I/E. TONY'S CAR - MOVING - dAY
TONY drives towards the exit, approaching a barrier. He turns right and approaches a junction and stops.
ASH
Mum, do you remember when you said no matter what I've said, that you'll always love me.
PINKY
Of course darling, no matter what...
SUDDENLY, her attention is diverted as a car screeches besides them. 
She looks to see as the Jaguar rams their car into a wall.
ASH screams!
PINKY
My God...
A masked man jumps from the car and forces her door open. It's JO GRIFFIN.
JO
Well I'm sort of a God. Get the fuck out!
PINKY screams!
JO grabs PINKY and yanks her towards him, forcing a Balaclava onto her face.
GRIPPER jumps from the jaguar's bonnet onto TONY'S car. He approaches the passengers window.
ASH
Please. Don't kill me.
GRIPPER fires two quick shots at her. The silencer muffling the sound of the bullets.
ASH falls back, dead.
WINDOWS stares at TONY, His hand trembling as he points his gun.
JO 
Windows! Come on! Quick!
WINDOWS squeezes the trigger. Nothing...the safety is on!
GRIPPER
WINDOWS! Come on! Do it!
WINDOWS removes the safety. His hand quivers, the cocaine withdrawal, thwarting his aim. 
He squeezes the trigger. BLAST! The recoil throws his hand in the air. He misses!
WINDOWS squeezes again. His chamber is empty! WINDOWS brings the butt down onto TONY'S head.
GRIPPER
Come on! Get in!
GRIPPER accelerates and the jaguar races off, leaving the carnage well behind. 
Inside the car, TONY is sprawled over ASH'S dead body. His head, resting on her shoulder. 
ASH, a still, lifeless and stone-cold corpse. Her new jacket, stained with blood. 
Slowly, we bring into focus evidence of life. The nosrtil dilates as air escapes from the TONY'S lungs. Maybe he's having a bad dream or nightmare in his now comatose state.
CUT TO:
EXT. glasgow hospital - dAY
A sign reads; GLASGOW CITY HOSPITAL.
INT. glasgow hospital corridor- dAY
The corridor is bustling. Patients waiting for treatment sit around in pain, resenting the NHS staff. 
An old drunk sits on a hospital bed with blood pouring from his head. Doctors and nurses pass him by without acknowledging his plight. A DOCTOR and MINT pass him by.
Drunkard
Doctor! Give mee something. I hurt reeel bad.
Doctor
Please lay down. You've received medication and now you have to wait to be discharged.
The DOCTOR and MINT continue to the end of the corridor.
DOCTOR (CONT'D)
(to MINT)
Where do these people live? I don't know. Every week that man comes in here looking for free painkillers. Seems like our country's flooded with people looking for a handout when real Brits, like your mother are the ones who require our attention.
MINT
How is she?
DOCTOR
Well, we had a  frightful scare last night but this morning it appears she's back in remission. It really is astonishing, the human body. She must have family praying for her.
The DOCTOR points to MINT'S badly plastered finger.
DOCTOR (CONT'D)
Want me to check that out for you?
MINT
No. About the expense, Doctor. Please don't spare any-
DOCTOR
-We can sort that out later.
The DOCTOR opens the door of a private room.
DOCTOR (CONT'D)
She's quite heavily sedated, so please...
MINT enters the darkened room - 
INT. hOSPITAL private room - dAY
 - and looks around. 
The blinds are drawn. The darkness is eerie; musky with a whiff of foul cancerous sickness that surrounds the air.  
The only sound comes from the beeping heart rate monitor. Wires lead from the hi-tech machinery to a withering arm.
MINT'S MOTHER, ROSE, lies in her hospital bed like a queen waiting to pass into the next-world. It is difficult to guess her age; anywhere from 60-90.
Next to her bed is a small antique cabinet which holds a pentagon of lit candles, something strangely esoteric. Next to these, a book on Scottish Mystics.
MINT smiles as he walks slowly over to ROSE'S side. He picks  up the book and reminiscently strokes it. He places a hand on ROSE'S forehead. The hair moves ever-so-slightly as he realizes the silky hair is a wig. 
MINT
It's ok Mother, I'm here now.
The wind blows gently though a window-crack, making the blinds tap.
CUT TO:
EXT. dERELICT BUILDING - dAY
The GRIFFINS jaguar has been laxly parked amongst the rubble. 
INT. dERELICT BUILDING - dAY
The door bursts open and The GRIFFIN GANG rush in. JO is carrying the still- unconscious PINKY over his shoulder. 
INT. dEReLICT BUILDING - BEDROOM - dAY
GRIPPER kicks the bedroom door open to see MILLS eating a pack of jelly babies.
GRIPPER
Your supposed to have got this place ready!
MILLS
What did you expect? Balloons and a "welcome home banner?"
GRIPPER leaves the room in a fury.
MILLS gets up as JO rushes into the room and hoists PINKY off of his shoulder. PINKY is slapped-to into consciousness with a few light punches.
Instinctively, she panics and lurches...capriciously...in any direction. 
MILLS and JO watch, bemused by the woman as if observing a panicking fox being closed in slowly by blood-thirsty hounds.
PINKY darts for what she thinks is the exit but collides head-on into a wall.
MILLS back-hands PINKY and sends her reeling.
MILLS
Now, any more shit from you an' you'll be picking up you pearly-whites.
INT. dEReLICT BUILDING - dAY
GRIPPER discreetly approaches WINDOWS who's trembling with fear.
GRIPPER
Windows! Listen to me. Did you kill that driver?
WINDOWS is apathetic.
GRIPPER (CONT'D)
Listen! Now tell me, did you kill him?
WINDOWS
I think so.
GRIPPER
You think so?! I'm not asking you if you left the fuckin' cooker on!
WINDOWS
I don't know! I think so! What does it matter anyway? We've got the girl. 
GRIPPER picks up a crack-pipe.
GRIPPER
It matters. Of course it fuckin matters! People end up doing fifteen years things they thought never mattered. I think this plastic-prick you suck-on has turned you brain into bovril.
An awkward silence as GRIPPER observes a helpless looking WINDOWS.
GRIPPER (CONT'D)
Look, just keep shtumm about this, OK? You're right, we've got the girl and all this'll be over soon. But you gotta do one thing, do not repeat any of this to Mills or Jo, OK? If they ask you, you say "yes! I killed the cunt" Alright? 
WINDOWS nods.
GRIPPER (CONT'D)
If all this goes wrong, me and you'll take the money and run. OK? We hand around with Mills, we're gonna get shafted.
WINDOWS
You wanna rip off Dad?
GRIPPER
Is he our Dad? You know that for sure?
The doubt in WINDOWS eye's matches GRIPPER'S.
GRIPPER (CONT'D)
He doesn't look like us. And was he ever a Dad to us? The only one of us that's as ugly as him is Mills. We gotta look out for ourselves. OK? Good lad.
MILLS comes into the room.
MILLS
What's the matter with you two girls? You look like you've just seen a hungry ghost.
INT. dEReLICT BUILDING - BEDROOM - dAY
PINKY is spread out on the mattress, sobbing.
JO
That was just a taste of what's possible. I know your old-man is a big-wig but that doesn't count for fuck all here. Lets get a few things straight, while your here, don't ask any questions, because this ain't university challenge. In fact if I hear so much as a squeak from you during your stay with us, the very last thing you'll see is...
(shoves the gun to her face)
JO now realizes PINKY can't see a thing with her balaclava on.
JO (CONT'D)
Oh...Right.
He lift's up the balaclava. PINKY bites a small chunk of flesh from JO'S hand. JO screams.
The door bursts open and MILLS barges in.
JO (CONT'D)
It's OK son, it's OK.
Disappointed, MILLS leaves.
JO (CONT'D)
I'll give you that one. Let's start again. You've been detained because surprisingly, your old-man's got enemies. 
(beat)
I'm a family man and hate all this. Deep down I love all that 60's peace love shit but this ain't no burnt out Hendrix world we live in, so I'm in it for the money. In a few days, you'll be collected from here and that's where we part company.  How you wanna spend those hours is up to you, Sheba. Don't make it hard for yourself. You've already met Mills...he's not someone you wanna piss off.
The wind whistles through the window creak.
JO (CONT'D)
You hear that? It's the noise the wind makes on a tenth floor window, so don't get any ideas.
INT. dEReLICT BUILDING - dAY
WINDOWS, GRIPPER and MILLS are sat around a make-shift chess table. GRIPPER and MILLS are in mid-game.
JO enters.
GRIPPER
Check, your King -cunt, check! You see, Windows, it's about the soldiers, let the little fuckers work for you. 
MILLS
(putting down a piece)
Mate! You can let these  peasants work all you want, but it's all about the Queen. Daddy, How's our prisoner?
JO
Under manners. She won't be misbehaving at all, which brings me to you lot. I don't want her tampered with.
MILLS grins.
JO (CONT'D)
I mean it! This job is so simple, we'd really have to be a bunch of degenerates to screw it up. We just need to sit back and wait for Judge's lot to collect. Now do you think you lot can do that? 
MILLS
(childlike)
Daddy, can I have a look at her?
The others exchange worried glances, as if they recognize trouble brewing.
JO
No!
BANG! BANG!
GRIPPER
That paki bitch, she had better shut-up! I'm getting a fuckin head-ache. I'm gonna shut her up.
MILLS
Who put you in charge? I'm going.
GRIPPER
I'm the oldest.
MILLS
And?
The two are now face-to-face, eyeball-to-eyeball. JO steps up and separates the two men.
JO
Alright...alright! What's the matter with you two? Mills you go and see what all the fuss is about but you leave blade that here.
MILLS reluctantly folds the bear-claw and tosses it to WINDOWS.
MILLS
Here. You keep it. Cut yourself a coco plant. Maybe you can cut your hombre some sense here.
INT. dEreLICT BUILDING - BEDROOM - dAY
MILLS opens the door to see PINKY lying, slovenly on the floor. 
PINKY
(gasping)
Breeeeeeve...cannnt...breeeeeeve.
MILLS storms to the window and bangs the window open. 
PINKY gestures to her mouth in disbelief.
PINKY
Cannnt breeeeeeve.
MILLS marches towards PINKY, his face furious. He rips of the balaclava.
PINKY gasps for air, like she's having an asthma attack. She lifts her head to MILLS. Her mascara running down her cheeks like smudged ink-blots. 
MILLS appears stunned in disbelief. His jaw drops but as he struggles to believe this beautiful woman. He is totally transfixed!
PINKY
I...couldn't ...breathe.
MILLS
(dumbfounded)
Your welcome.
CUT TO:
EXT. charring cross hospital - dAY
A sign reads: CHARRING CROSS HOSPITAL.
The car-park is filled with vehicles. Ambulances drive to and fro the building.
INT. cHARRING CROSS HOSPITAL - dAY
The sign on the door reads: TONY MINTLE- DO NOT DISTURB.
Two detectives leave a private room. They are balding and middle-aged. They appear complacent.
Detective#1
Well, they say lightning never strikes you twice, but that poor fucker's taken a hit second time around.
DETECTIVE#2
I know. 
DETECTIVE#1
Fancy that. Driving your dear mum and she gets killed then exactly a year later, your step-sister gets clumped in an ambush and someone pinches your step-mum. 
Have you reached the old-man yet?
DETECTIVE#2
Nah. Irony is he's up North gone to see his old dear 'cos she's dying!
DETECTIVE#1
Fuckin' hell, what a mess.
Both DETECTIVES continue to walk, both beyond belief.
DETECTIVE#2
This step-mum, what's her name?
DETECTIVE#1
Pinky.
DETECTIVE#2
Pinky?
DETECTIVE#1
Yep. A real honey too. Indian lady. Makes Jordan look like the pig she really is. 
DETECTIVE#2
Indian?
DETECTIVE#1
Yes. People whose ancestors originate from the jewel of the east. Used to run that club up west...what's it...
(searches)
Bone...Bone...Bone asylum!
DETECTIVE#2
I know it well. Exclusive clientele, you needed a 6 figure salary just to take a piss in there.
DETECTIVE#1
So how'd you get in?
They both laugh.
DETECTIVE#2
It doesn't make sense though, why would any one kidnap a mother, shoot her daughter and leave the son? I mean a woman runs a club. She should be able to handle herself a bit.
DETECTIVE#1
That's why they come to people like us, because our job is to make sense of matters that most people can't. My hunch is someone's grabbed the mother and we'll soon receive a ransom note.
DETECTIVE#2
What'll we do till then.
DETECTIVE#2
Nothing. Let's wait till the old-boy Mint gets back. We need to ask him about any enemies he might have. Till then we sit tight and keep our eyes peeled. 
DETECTIVE#2
Shall I start making enquiries?
DETECTIVE#1
Don't be silly! We only move when we need to. Come on, lets go down the bookies. Someone gave me a dead- cert on a horse yesterday. I've seen this rolex I want for my wife.
They nonchalantly head towards the exit.
INT. cHARRING CROSS HOSPITAL tony's room - dAY
In the darkened room, TONY is sat upright in his hospital bed. Stunned, silent and dazed.
The cut on his forehead now bandaged is congealing into a mass of bloodied skin. The sawstika just below his collar bone ruins an otherwise unblemished body. He looks directly ahead, fixated and sees...
A FLASH! GEORGINA and ASH.
The two apparitions sit wearing white dresses; virtuous with the smell of summer.
The noise in his head...disturbing, growing louder and louder. 
JO (V.O.)
Windows! Come on!
The noise, still gaining to a screaming pitch.
GRUFF (V.O.)
Windows! Do it! Quick!
A GUN SHOT!
Then...SILENCE. 
Which supersedes the recollection. 
He places a palm over the swastika tattoo, covering the shame of his past. He rips off the bandage from around his head. 
INT. cHARRING CROSS HOSPITAL - dAY
TONY walks past sick patients and busy hospital staff. 
Nurse
Mr. Mintle. You should be resting. Please, you are not fit to be discharged.
INT. mINTS HoUSE mint's office- lATER
TONY holds a mobile phone against his ear. He is breathing heavy, agitated- 
-as he hits the redial button, again and again. He's impatient as there is no reply. 
TONY
(into phone)
Dad, Dad. Please pick up. Please pick up. You have to phone me back as soon as you get this message. It's about...
Phone
Please hang up and try again. Please hang up and try again.
The line goes dead. 
He starts to search frantically through papers on the desk. He's rummaging through memos, notes, anything, any sign or clue.
The rummaging frenzies until he throws all the bits of paper to the ground. 
TONY opens a drawer. He pulls out an album and flicks through some photographs.
The photos- inscribed beneath - MY FAMILY - MINT, TONY and GEORGINA 1985
Next page- inscribed beneath a photo of ROSE - MOMMIE DEARESTROSE 
Next page - inscribed beneath - MY NEW FAMILY - MINT PINKY AND ASH  
Next page - no inscribing, just a photograph of ASH.
Next page - a photograph of three men, MINT and two other men. One of the men is Asian, the other is white. INSCRIBED beneath, almost engraved- 
MINT, JUDGE and SENATOR- THE ORIGINAL GANG - WHEN WE WERE STILL FRIENDS 1975!
TONY
(mulling it over, to himself)
Senator...Judge?
TONY replaces the album before taking out a small address book. 
He riffles through to find only stubs. Except the very last page which has a fragment of paper still attached. 
He reads an address: SENATOR - 15 ALPINE LANE W1. 
TONY tears out the page and shoves it into his pocket.
INT. mINTS HOUSE KINS ROOM - eVENING
TONY is standing on a chair, frenziedly pulling books off the shelve. The books; pamphlets on white supremacy and hooliganism.
EXT. mINTS HOUSE - garden- evening
A burning bin with flames rising higher and higher.
Through the fire we see TONY pick up and toss the last of the books into the fire. He stands, watching the inferno as pages stoke the furnace. TONY'S face: more determined than ever. As the flames reach to the sky- 
-TONY tucks a 9mm Sauer into his belt.

CUT TO:
EXT. dEReLICT BUILDING - eVENING
Evening descends over the city giving the tower-block an even more depressing feel to the neglect.
INT. dEReLICT BUILDING - eVENING
WINDOWS and GRIPPER are sat around playing chess.
JO enters the room with a variety of fast-food packages.
JO
Keep this place spick will ya?
Where's Mills?
WINDOWS and GRIPPER glance at each other, apprehensively.
INT. dEReLICT BUILDING bedroom 2 - eVENING
JO enters the room to see a slightly despondent MILLS  lying down, listening to I Wanna be adored.
JO
Why you lying down, boy? You crackered?
MILLS
I'm just fed up listening to them two out there. All they go on about is money.
JO
What's wrong with that? We're gonna have a million quid soon.
JO offers MILLS a packet of sweets. MILLS scowls and tosses the offering aside.
JO (CONT'D)
Jesus! You must be coming down with something. Jelly babies are your favorite.
MILLS
They ruin my teeth, Dad. Look.
He opens his mouth to display his decaying teeth.
MILLS (CONT'D)
I wanna have nice teeth, Dad. Like an actor.
JO
You silly sod!
MILLS
(slow and threatening)
You laughing at me, Dad? You know I don't like people laughing at me.
JO
(noticeably frightened)
No son. I'm not laughing at you.
An awkward silence.
MILLS
Where is she, Dad?
JO
(playing dumb)
Who?
MILLS
The girl.
JO
Oh her, She's in her room. She'll be gone soon an' we'll be a whole lot richer. Best she stay in there, keep out of our way.
MILLS appears slightly turned-on.
MILLS
Have you seen her, Dad? She's alright. Don't ya reckon?
JO
There's a million slags better than her. 
MILLS
But that's exactly it, Dad. They're all slags. She's different...she's...classy.
JO
She's a fuckin' pig.
MILLS
Are you blind or bent? She's fuckin' beautiful!
(beat)
I want her, Dad.
JO
What the hell's the matter with you?! You're gonna have a bundles of money soon. You'll be able to get anyone you want!
MILLS
I don't care about the money Dad, I want her. You said so your-self, when you were with my mum, you were the happiest you've ever been. All I ever get is a "there-there" and a fuckin packet of sweets thrown at me, like I'm your dog's-body.
JO
OK Romeo, what makes you think she's gonna want you? I mean look at your clobber.
MILLS examines his shabby attire.
JO (CONT'D)
These voodoo bitches only go for blokes who're dollared up. They don't go for council trash like us. 
Personally I blame it on all this political correctness bollocks myself, trynna make us feel guilty.
MILLS
But I'll have money Dad. You just said I'll have money.
Are you planning to cut me out?
The two men simultaneously rise and stand face to face. There is an awkward pause. Finally-
JO
Of course not. But this thing is gonna go as I say...I am in charge after all.
MILLS
(almost ironic)
Of course Dad, you're the governor. You're well in charge.
EXT. dEReLICT BUILDING - nIGHT
A few dogs bark as night descends over the city.
INT. dEReLICT BUILDING BEDROMM 2 - nIGHT
WINDOWS and GRIPPER are fast asleep. They snore and break-wind at regular intervals.
JO sits up and looks around. He sees MILLS vacant mattress. The sleeping bag and pillow have gone.
JO
(to himself)
Shit!
INT. dEReLICT BUILDING - BEDROOM - nIGHT
PINKY, fully clothed, is fast asleep on her mattress. 
Sat next to her, watching over her, like an angel-of-terror, is MILLS who spreads the sleeping bag over PINKY'S body.
PINKY'S hand instinctively reaches besides her. She purrs as she takes a hold of MILLS' hand.
PINKY
(snoozy)
Mmmmmmm. That's really nice babe.
MILLS looks terrified and yelps in excitement. 
CUT TO:
I/E. TONY'S CAR - PARKED - dAY
TONY pulls his car to a stop, takes a few deep breaths. 
He checks the Sauer; it's loaded with a full cartridge. He tucks the gun into his belt.
A street sign reads ALPINE LANE. A glum part of town where Raucous men and women yell as they move along the pavement.   
EXT. alpine lane - dAY
TONY walks along, discreetly canvassing a row of terraced houses.
NO. 11. TONY moves along to the next house.
NO. 13. TONY moves along, again.
NO. 15. TONY stops. He checks himself. His heart is really beating quick.
His finger reaches to press the door-bell. Hesitates.
No reply. TONY buzzes again.
No reply. He steps back and calls up at the smashed first floor window.
TONY
Hello!
No reply
TONY (CONT'D)
Hello! I'm looking for Senator!
A tough looking man with long hair pokes his head out. TONY's obviously caught the man, BILLY, having a nap.
TONY (CONT'D)
Are you Senator?
Billy
No!
TONY
You Judge?
BILLY
Sometimes. But sometimes I like to beat the shit outta pretty white boys like you who disturb my kip.
What the fuck d'you want?!
TONY
I'm looking for someone.
BILLY
So?! What's so important that you come round my gaff at this hour, in your Lyle and fuckin' Scott?
TONY
Sorry, didn't mean to disturb you. Someone gave me this address and I'm trying to find a friend of my Dads.
BILLY
Who's your Old man?
TONY
Mint.
BILLY is ever-so-slightly taken aback. 
BILLY
See that boozer. Go and wait in there.
A pub stands on the corner. THE HALFWAY HOUSE.
BILLY (CONT'D)
And white boy Next time you bang on my door like that, it's gonna take more than your Daddy's name to stop me from ripping you balls off!
INT. HALFWAY HOUSE - dAY
TONY walks into the pub. A bruised and tumble-down establishment serving a clientele of crooks and low-lifes. JULIA, the bar-maid, collects glasses.
By the pool-table, several despicable looking characters are stood around. One of them, MOHAN, holds court with tales.
Mohan
Yeah, told ya star, it's true. One ounce later, Izzy's looking at his last pipe when he starts to panic, so guess what he does?
MAN
What?
MOHAN
He smokes the pipe then makes him self sick, fans the sick out then proceeds to smoke his very own vomit.
Everybody laughs.
MOHAN (CONT'D)
It's true. That's crack psychosis for you, thinking you'll get a buzz from your own puke.
TONY
(to bar-man)
I'll have a Budweiser.
EVERYBODY turns to glare at TONY, suspicion oozing from the motley crew. 
The BARMAN stares at TONY, unsure, He looks across to MOHAN, for consent. Receives none.
Barman
Sorry mate, No Bud.
TONY
I'll have a Southern Comfort, then.
BARMAN
Sorry mate, No Southern either.
Might be better for you if you just turn around and head back to your manor.
TONY
I've come in here, to meet a friend Now Serve me a fuckin drink! 
TONY reaches to his belt.
The BARMAN reaches beneath the bar.
JULIA
It's OK! I'll serve him.
JULIA steps to the bar and gently pushes the BARMAN to the side.
MOHAN
Well, if Julia says it's ok, I guess it is OK, then. Get another bottle of Johnny Black over here will ya?
EXT. dEReLICT BUILDING - dAY
The tower-block, in all it's dilapidated morning array.
INT. dEReLICT BUILDING - bathroom - dAY
MILLS examines himself in the broken mirror, trying to vanquish his unattractiveness. He picks a few bogeys from his nose and flicks them at the wall, looking extremely pleased with himself.
INT. dEReLICT BUILDING - dAY
MILLS is pacing outside PINKY'S room, indecisive as to whether he should enter, or not.
WINDOWS, GRIPPER and JO, discreetly watch from the table.
INT. dERILICT BUILDING - BEDROOM - dAY
MILLS opens the door to see PINKY brooding against the wall. PINKY hurls a packet of sweets straight at him.
PINKY
Get out!
Spurned, he slams the door closed. His face, vexed with rejection.
INT. dERILICT BUILDING - dAY
PINKY (O.C.)
Get out you pig!
WINDOWS sniggers.
MILLS bolts towards him and lifts him up by his collars, shoving him against the wall.
MILLS
You laughing at me?
MILLS sees the gold chain dangling from WINDOW'S neck. He pulls it off and pockets it.
A small medicinal vial spills besides him. The label reads: BENZODIAZEPAM 20 mg.
MILLS marches back into his room leaving GRIPPER and JO to exchange anxious looks.
INT. dEReLICT BUILDING BEDROMM 2
JO enters to see MILLS lying on the mattress. 
JO
What's the matter, boy?
MILLS
What d'you think? It's her, she told me to get out.
JO
I thought you spent the night in her room.
MILLS
She was asleep, Dad. I sat beside her. But now, she doesn't want to know. I can't understand it.
JO
She's scared of you son! She's probably terrified of being hurt.
MILLS
I don't wanna hurt her.
Sort it out Dad! Tell her my intentions are...
(searches for the word)
Horrib...hon...holable...
JO
Honourable?
MILLS
Yes! My intentions are honourable!
I like that. You sort it out for me, and I swear there'll be no trouble.
INT. dEReLICT BUILDING - BEDROOM - dAY
PINKY turns as she sees JO and GRIPPER enter. PINKY picks up a packet of sweets and hurls it towards them. Neither of them flinch as JO catches the pack. 
JO
Well, well. Looks like our guest has got a temper.
GRIPPER
Must be all the chillies in her blood.
PINKY
What do you want from me? Money?
JO
Yes. Money. Half a million to be precise. But not from you, from your old-man's enemies.
PINKY
Where's my d-
GRIPPER
(interrupting)
Shut it!
JO 
Now I told you before, you're in no fuckin position to be asking questions. We're gonna let you go, soon as we get paid. If you wanna go back to your old-man still worth your salt, you'd better behave yourself.  
GRIPPER starts to stroke her neck, undressing her with his eyes.
GRIPPER
I can see why Mills likes this. They say spice is the variety of life.
JO
You should show a bit of gratitude. The only reason you're still in one piece is because of my youngest son, Mills-
PINKY looks blank.
GRIPPER
The retard-
JO
He's taken a liking to you. Granted, the boy's a fuckin' loon, but right now, he's your ace-card, and I'd seriously reconsider before pissing him off again.
JO takes out the vial and produces two tablets. 
JO (CONT'D)
Here's something to cool you down.
JO shoves the tablets down her throat.
JO (CONT'D)
Now spice, you be nice.
INT. hALFWAY HOUSE - dAY
The earlier tension has diminished, slightly. BILLY and TONY are sat at the bar having a drink.
BILLY
Who?
TONY
Senator. I need to know where he is.
BILLY
Why?
TONY
It's personal. Can you tell me where he is?
BILLY
Hold on there. Who do you think you are coming to my manner and nosing around like Colombo? 
This is the boozer, this is me and this is you, not making any attempt to parlez or connect, you just sit there sipping your drink like you've got advantage when really it's deuce.
(beat)
See if you came in here like a gentleman, I'd be treating you like a gentleman, but you come in here like you wanna rip my face off...that's why I'm getting all defensive, blood.
TONY is just about holding on. Turning to JULIA - 
TONY
Can we get two beef pasties please?
JuLIA
Yeah sure. Do you want me to warm them up with some chips?
BILLY
Nah, serve 'em like they come.
JULIA serves the two men.
BILLY
Now, how can I be of service to you, white boy?
TONY
Your white!
BILLY
Only on the outside, star. Inside I is free, yes-I.
TONY
Tell me where Senator is. I've got some business with him? 
BILLY
What sort of business?
TONY
I told you it's personal.
BILLY
And what's in it for me?
TONY takes out a wad of notes; approximately £500.
BILLY sees the sauer tucked in TONY'S belt. He looks slightly taken aback.
BILLY (CONT'D)
Heavy is it?
TONY
Let's just say it's to do with family.
BILLY
No one's seen Senator for a while now. 
CUT TO:
EXT. flash disused railway line - eVENING
SENATOR, a well dressed man in his fifties is thrown on the railway track by a couple of masked thugs. The THUGS, mercilessly beat him into submission and whip out a pistol.
Senator
Please! I've got a Kid.
BILLY (V.O.)
Rumor has it a couple of guy's came down from up-North under contract and took him out.
One of the THUGS shoots SENATOR, point-blank in the face. He falls back silent on to the tracks, dead.
BILLY (V.O.)
Another rumor has it, these fellas were acting on your old-man's behalf. Maybe Mint was monopolising the industry.
BACK TO:
INT. hALFWAY HOUSE - dAY
TONY is beyond belief.
TONY
Come on! What are you talking about?
BILLY
I'm only telling you what I heard. 
TONY
And what's all this got to do with my sister?
BILLY
I dunno. Maybe Senator's mate, Judge snatched 'em to get back at Mint. Maybe not. These are all rumor's of course.
TONY
And what other rumors have you heard?
BILLY
A few. I've told you exactly a monkey's worth. Of course if you were to cough up a little more.
TONY checks pulls out his wallet. It is empty.
TONY
Tell me.
BILLY
Nah. Sorry. That's enough for today. Senator's my mate. Or should I say, was.
BILLY gets up to leave. TONY grabs his arm and clenches it, tight. His looks as if he is going to explode with anger.
TONY
(imminent)
I've lost my sister and my Mum is missing. You better tell me what you know.
BILLY
You don't let go of my arm, you're gonna join 'em.
TONY pushes BILLY against the bar. BILLY tumbles to the floor. TONY whips out his Sauer.
TONY
My sister's dead you fucker! My sister is dead!
As TONY raises the gun and aims, MOHAN and a few others scramble from across the pool table and smash TONY on the shoulder with the pool- cues. 
MOHAN
You dare start blazing in here?! I'll turn this place into a fuckin' crime scene, you Nazi-fuck. 
MOHAN picks up a bar-stool and breaks it across TONY'S back. 
TONY
You fuckers! You're all in it together!
 
JULIA rushes to where TONY lies and spreads-eagle.
JULIA
No! Get out! Everyone, out! 
MOHAN kicks TONY in the face before everybody runs out of the pub.
JULIA
Take it easy, just relax.
BANG! BANG!
The BARMAN, who has been watching from the bar exits-
INT. hALFWAY HOUSE hallway - dAY
-through to the hallway.
He looks to the top of the stairs to see JIMMY, leaning over the banister.
JIMMY
What's all the fuckin' drama?
INT. hALFWAY HOUSE bedroom - dAY
JIMMY enters a sordid bedromm, stacked with piles of alloy rims. 
FRANK lies in bed, semi-concious. His hands are wrapped in bandages and his is face is contused.
JIMMY
Lay still. 
JIMMY picks up a baseball bat and smashes at a pile of alloys. 
JIMMY (CONT'D)
Ain't time to settle with the Griffins yet.
(swings again)
But the hour is at hand, Frankie boy. I promise you that. But for now, we'll keep it humble.
JIMMY holds FRANKS hand tight.
CUT TO:
EXT. dEReLICT BUILDING - dAY
A work-man in hard-hat and tabard stops at the entrance site. He hangs a sign on the iron gates. It reads: 
DANGER: WORK COMMENCING SOON. 
INT. dEReLICT BUILDING - BATHROOM - dAY
From the window, MILLS watches the work-man leave the site. 
INT. dEReLICT BUILDING - BEDROOM - dAY
PINKY lies on the mattress, drugged-up with the affects of the Valium. MILLS enters.
MILLS
Hi.
No reply from PINKY who rouses slightly.
MILLS (CONT'D)
I just thought I'd come and see how you are...maybe get you anything you might need.
PINKY
Oh... I'm fine. You obviously didn't notice the "please make up room" sign on the door. 
MILLS
Sorry, I didn't. What are you doing?
PINKY
I'm baking a cake.
(beat, then yells)
What do you think I'm doing you idiot?! I'm waiting for this nightmare to end so I can get out of here!
MILLS rushes over to PINKY and gently grasps her hands.
MILLS
Ssshhh. If they hear you, they're gonna go mad. 
PINKY starts to sob, then wearily starts to throw her arms at MILLS.
PINKY
Please...please...let me out of here...please.
GRIPPER (O.C.)
Mills! You tell that girl to shut her trap or I'll shut it for her. You hear me?!
PINKY passes out in his arms, embracing him. He looks uncomfortable but starts to relax, not quite believing his strange fortune.
INT. julia's appartment - dAY
The appartment; plush with shabby-chic decor. Refreshing. Photographs of JULIA'S and SENATOR'S marriage embellish the walls.
TONY is lay-down on the white sofa, naked from the waist up. He stirs, groans and shifts as he awakes. 
His sees JULIA leaning over him. She's now changed from her work-clothes and is dressed like a hippie from Goa. 
TONY
How did I get here?
JULIA
It's OK. I got you out.
TONY
Where am I?
JULIA
You're at my place. Take it easy. You've had a hard day.
TONY
I don't know about hard, but this whole week seems to be going from bad dream to a nightmare.
JULIA hands him a drink.
JULIA
Here. Drink it. It's a vitamin drink.
TONY eyes it suspiciously. JULIA taps into his paranoia, smiles then sips it herself. TONY guzzles it down. He Points to the photographs.
TONY
Who's that, I recognize him.
JULIA
That's Senator...my husband.
TONY jumps to his feet.
TONY
(aghast)
You're married to Senator?
JULIA
Yes. As far as I know, it's still legal.
TONY
Where is he?!
JULIA
I don't know. I haven't seen him for weeks. He's stayed away before, but never this long. I'm really worried.
TONY
You're worried! I'm up to here with all this. Everywhere I go, I run into more shady happenings This is like a bad fuckin movie.
JULIA
I don't know about anything about that and I'm very sorry about your sister but my husband is missing and the part of me that doesn't want to think the worse is the part of me that believes that your Dad has something to do with it.
(beat)
I really miss him.
TONY
I'm sorry, I really am.
TONY grips JULIA'S arm.
TONY (CONT'D)
Why don't you help me out here. 
JULIA
Senator left a few weeks ago.
CUT TO:
INT. fLASH julia's appartment - dAY
SENATOR kisses JULIA on the cheek and wearily makes his way out of the appartment.
JULIA (V.O.)
He'd been working on a deal with Judge and your father, Mint. I don't know what exactly it was about, but I know he wasn't too happy about it. 
INT. flash bar - eVENING
An up-market bar in the city. Smoky and dim, near closing time.
SENATOR and MINT are sat at a table. We only see the back of JUDGE. The three men appear to be frustrated but the balking is restricted to business matters.
MINT
Come on! How long have I known you guys. We started together but took  separate paths. It just so happens I'm in a position to buy you guys out. It'll be better for you and for me.
(to SENATOR)
Admit it. Your company's going down the tube. You control these European workers, I grant you that. Anyone with a few quid's like a God to them after the blood-massacares they've witnessed. If you sign to me now, you'll get out with a hefty sum, holiday villas and a chance to globe-trott on every 18-hole course you ever dreamed of. You wait around, you'll be picking up the pieces and with the prices I'm able to cut, I can go in hard at developments. No-one's gonna give you guys any turn-ons or deals. You'll be lucky if someone slips you a deal with a local housing association.
We see JUDGE'S mouth chewing heavily on a cocktail stick. In deep contemplation.
MINT (CONT'D)
Don't make me beg guys, you know it's not my style.
JULIA (V.O.)
Apparently, Judge wasn't that keen to give his workers away to Mint, they were loyal to him. He felt he still had a shot at the property game.
As SENATOR agrees and gets ready to sign the document MINT has produced, we see the cocktail stick JUDGE was chewing land on the document. 
JUDGE (O.C.)
And what if I said I wasn't convinced. You know better than anyone I've worked with my bare hands to get this company of the ground. So what if I've taken a tumble in the shit heap for a while, it doesn't make me any less fond of it.
(beat)
I wont sign my workers over to you.
MINT appears frustrated.
JUDGE (O.C.)
We don't judge our true friends or poke 'em while their back is turned, we lend them a helping hand.
(almost threatening)
I mean, what if I possessed something you really loved? Could you put a price on it?
JULIA (V.O.)
I know Judge was adamant about keeping his independence and his workers and managed to convince Senator to keep his too. As far as I know, the deal never happened.
BACK TO:
INT. jULIAS APPARTMENT - dAY
TONY deciphers the information he has just received.
TONY
So you're telling me, My father had Senator killed and as payback, Judge killed my sister and is holding Pinky. You don't seem lean with grief.
JULIA
I don't even want to think about Senator. Frightens me.
TONY
(barley believes it)
I guess I'd better find Judge and talk with him. I don't believe all this but it beats hanging around in pubs, waiting for losers like that to give me a break.
JULIA
I wish I could help you, but I don't know where to find Judge.
TONY
Do you have any fuckin' idea, where I should go?
JULIA
Frank. Apparently Judge's men gave him quite a beating a little while ago. Accused him of stealing, but that's not true, he'd never steal from him. He hangs with a guy called Jimmy. 
TONY
Jimmy?
JULIA
Yeah, a black guy. But Jimmy seems to know who it really was. They drink in a pub called the Bone...bone...what is it?
TONY
Bone asylum?
JULIA
That's it! Do you know it?
TONY
I did when it was a club. Haven't been there since it burnt down.
JULIA'S approaches TONY. Her hand touches the tattoo on his chest. She appears sexually-charged. A baby starts to cry from the bedroom. TONY backs away, penitentially.
JULIA 
That's beautiful, that tattoo.
TONY
Yeah, well I was younger, a bit stupid.
JULIA
No, it really is beautiful.
JULIA lifts up her sleeves to reveal exactly the same markings; hundreds of little swastika's permanently hennaed all across her arms. 
JULIA
I had them done when I got married. It's an ancient symbol that symbolizes forgiveness. It means by doing something good, you're able to undo something in your past that still has a hold on you.
TONY
What are you hiding?
JULIA
We've all got something haunting us.
TONY
I always thought it was an evil sign.
JULIA
No. I don't think there's anything evil in you. You've just been unlucky.
CUT TO:
EXT. hOSPITAL - eVENING
An ambulance leaves the Accident and emergency ward.
INT. hOSPITAL PRIVATE ROOM - eVENING
The heart rate monitor continues to beep at regular intervals.
MINT'S eyes are closed as he relaxes on an arm chair.
The stimulus of this requiescence; he is receiving a pedicure from a BEAUTY THERAPIST and is dressed only in his boxers.
The door opens and the DOCTOR enters; slightly taken aback. 
DOCTOR
The results are encouraging. I firmly believe your Mother is on the mend.
MINT signals to the THERAPIST. She packs her stuff and leaves.
MINT
That's great Dr. There's so much I still want to say to her.
DOCTOR
I'll ... Er leave you to it, then.
The DOCTOR leaves.
MINT
(singing)
Cancer come, cancer gone.
CUT TO:
INT. dEReLICT BUILDING - BEDROOM - dAY
PINKY lies on the mattress, being watched-over by MILLS.
PINKY
Who was the one that hit me?
MILLS
(lying)
Oh. That was gripper. He's really crazy. Really unprof...bad at his job. Why?
PINKY
I thought it might have been you.
MILLS
What?! What do I look like to you?
PINKY looks at MILLS'S sloppy appearance.
PINKY
You look like a real professional.
MILLS
Nah. I'd never do something like that, but I wouldn't put it past the others. It's real lucky for you that we're friends. They won't touch you while I'm here.
PINKY
Friends?
MILLS
Yeah, I liked it the other night, you holding my hand...calling me baby.
PINKY looks shocked. She refrains.
Mills (CONT'D)
Made me feel int...intina...
PINKY
Intimate?
MILLS
Yeah! Intimate! I like that.
PINKY quickly sizes up the situation.
PINKY
Well handsome, if we really are friends, you should do friendly things for me. I mean friends don't treat each other like this, do they? If you really are my friend, you would let me go.
MILLS
Nah, I cant do that. The others'll go mental. 
PINKY
I thought you were in charge.
MILLS looks offended.
PINKY (CONT'D)
Then get me some decent clothes and food. These clothes have got the stench of death around them and I haven't eaten for days.
MILLS
Of course, I'll do that for you.
INT. dEReLICT BUILDING - dAY
MILLS walks in to see the rest of the GRIFFINS eye him up suspiciously. He locks the  bedroom door.
MILLS
While I'm gone, you lot had better stay away from her, else you'll have me to deal with.
MILLS leaves. 
JO and GRIPPER get up and head towards the door, picking the lock with ease.
INT. dEReLICT BUILDING - BEDROOM - dAY
JO and GRIPPER walk menacingly over to PINKY who terrified,  backs into a corner.
GRIPPER
I don't know what voodoo charms you've put on my brother, but spice, you've got him hooked.
JO
Now spice, I'm gonna tell you once, do not fuck with his head. A tart shows him a bit of affection, and he thinks it's love. I know it's co-dependency but he don't.
JO and GRIPPER grab hold of PINKY'S mouth. It's medication time again!
JO (CONT'D)
I know your kind. You come over here with tanned skin and weave your charms around our brethren, but your a gold digger, spice.
(to GRUFF)
You know Harry from the Old Kent road?
GRIPPER nods - "YES"
JO (CONT'D)
Living in a B&B. Down to eight stones. Fell for some tart he met in Sri fuckin Lanka and made the mistake of marrying her. Bought her back here and she took him for everything, the business, the house the kids...the whole fuckin lot. Left him for a shawl weaver she met in Brick lane.
(To PINKY)
Is that your game spice? Hey? You gonna marry some white-boy for his money?
PINKY doesn't Get a chance to reply. The GRIFFINS are on her like a pair of vultures, forcing her to swallow another Valium.
GRIPPER
Leave the retard be and this'll be over, real quick.
He back-hands her for good measure as he and JO exit.
PINKY falls across the room. The Valium drops from her mouth. She starts to sob as she holds up the tablet.
There's a plot forming in her mind.
PINKY
(to herself)
I'll let him be. I'll show you how a woman and a retard can be a lethal combination.
PINKY stashes the Valium under the mattress.
CUT TO:

EXT. sTREET southall - dAY
A bustling street in Southall; the heart of the Asian community. Rows of shops  with colorful displays of ethnic foods and clothes. 
INT. ethnic shop - dAY
MILLS is nervously browsing through piles of clothes. A few old Indian women oddly glance at him as they pass. He picks out a few ethnic items and approaches the cashier.
MILLS
These mate. Ring 'em up.
MILLS spies the cashier's turban.
MILLS (CONT'D)
And one of those mate.
The CASHIER turns behind him and picks out some incense.
MILLS (CONT'D)
Nah, Nah mate one of those.
The CASHIER is baffled.
MILLS (CONT'D)
Nah mate. That fuckin rag you've got on your head!
The CASHIER now comprehends. He shouts out to the back of the shop.
Cashier (SUBTITLE)
Bastard! Oh Pappoo! Mitu! Come here!
Two HEAVY looking INDIAN MEN with an even heavier vibe approach. They're built like gladiators.
Heavy man
Is there a fuckin problem?
MILLS
Nah mate. No problem. I was just telling the old boy that I wanted one of those.
HEAVY MAN (SUBTITLE)
It's OK Dad. He wants a costume turban.
CASHIER (SUBTITLE)
Oh. Right. Take him to the back then.
INT. eTHNIC SHOP dressing room - dAY
MILLS is trying on various turbans and waistcoats.
HEAVY MAN
Let me ask you mate, what d'you want one of these for?
MILLS
For my girl friend. She's a darkie. She told me she'd like me better if I dressed in Pakistani clothes. Might even get married. 
HEAVY MAN
Those are Indian, mate.
MILLS
Same difference. No offence.
MILLS leaves with his purchases.
HEAVY MAN
Stupid fucker! Need more than a turban to hide that ugly mug.
INT. chemist - eVENING
MILLS picks out some teeth- whitening tooth paste.
EXT. tanning salon - eVENING
MILLS pauses at the shop's entrance. He takes a deep breath before entering.
INT. tANNING SALON - eVENING
Two BEAUTY THERAPISTS are chatting at reception. They turn and stare at MILLS as he enters.
MILLS
Evening ladies. Make me brown, will ya?
The two THERAPISTS exchange looks.
EXT. dEReLICT BUILDING - eVENING
Evening descends over the city. Hundreds of Rats scurry around the base of the tower-block.
INT. dEReLICT BUILDING stairway - eVENING
MILLS, browned with fake tan, halts at the entrance of the flat, carrying some take-away food.
INT. dEReLICT BUILDING - eVENING
The GRIFFINS look up as MILLS comes in dressed in his new costume. They're stunned in silence.
Then suddenly they burst out laughing.
MILLS
What's so funny?
The others quickly fall silent.
Only for a second, then burst out in hysterics again.
MILLS (CONT'D)
I said what's so funny? Are you laughing at me?
JO
No son...we're not...
(controlled laughter)
...laughing at you. We're laughing at Windows. 
WINDOWS is on all-fours, gathering up particles of cocaine.
JO (CONT'D)
He's run out of chang and is now planning to smoke the laminate.
Slowly, MILLS starts to laugh, joining in with JO and GRIPPER.
MILLS
He looks ridiculous, doesn't he?
All of the GRIFFINS are now in hysterics, the laughter, uncontrollable and fever-pitch.  MILLS takes off his turban and flings it at WINDOWS.
MILLS (CONT'D)
Here you stupid fucker, smoke this. 
INT. dEReLICT BUILDING - BEDROOM - eVENING
PINKY lies on the mattress. She perks-up, holding her laughter in as she sees MILLS enter.
PINKY
Oh. That really suits you. Is that St. Tropez?
MILLS
I think so. I'm gonna change my image if we're gonna to be together.
PINKY
(playing along)
Yes, darling. We need to make some changes.
MILLS approaches with the food. He opens some containers to reveal chicken curry, rice and bread.
PINKY
My favorite! You must have read my mind. We must have a telepathic connection.
This is too much for MILLS. He stops dead in his tracks, like he is about to cry.
MILLS
(childlike)
No-one's ever been this nice to me.
PINKY
Come on darling, lets eat. I'm famished. Tut-tut,  you forgot one thing. We need some drinks.
MILLS looks ashamed. Offended even.
PINKY (CONT'D)
Run along to the kitchen and get some water, darling.
MILLS doesn't need to be told twice.
PINKY rushes and picks up the mattress, grabbing the valium and meticulously crushes it into MILL'S food.
INT. dEReLICT BUILDING - eVENING
The GRIFFINS nervously watch as MILLS coasts past them, completely ignoring them.
INT. dEReLICT BUILDING kitchen - eVENING
MILS fills two cups.
GRIPPER (O.C.)
I hope that slag hasn't got into his head. That's all we need to fuck this job up. A Knot's Landing style romance.
INT. dEReLICT BUILDING - eVENING
MILLS rushes in seething and hoists GRIPPER off the ground.
MILLS
You! Stay out of my business!
GRIPPER
Stay away from her then! You're gonna get us nicked!
MILLS
You're jealous!
GRIPPER
Jealous?
JO separates the two men.
JO
You two stop! We're gonna see this job through.
(to MILLS)
Get back in there and keep an eye on her. Me and your brothers are going out for a drink to cool things down, and when we get back make sure she's still here!
(to the others)
Come on! Leave the shooters here.
JO takes the padlock from the storage cupboard and -
INT. dEReLICT BUILDING sTAIRWAY - eVENING
- Seals the door with a two chunky padlocks, checking them a few times. 
EXT. dEReLICT BUILDING - eVENING
JO, GRIPPER and WINDOWS climb into the Jaguar.
JO
I'm gonna call Doug when we get back and get our money. My stress levels are high, boys, and I sure don't need any more dramas. What I fuckin need is a holiday, Get out of this fuckin Waterloo sunset I've been cursed with.
The Jaguar careers off into the dark night.
CUT TO:
INT. cHURCHALL - eVENING
Dark, musky and candle-lit. Flames flickering, casting shadows against statues.
TONY sits, Contemplating, wrestling with his faith.
The PRIEST, unusually, sits behind him on a bench.
TONY
And what if there is something I've done, Father, that I believe I am unable to forgive myself for?
PRIEST
All are forgiven in God's eyes, for it is he that shall decide who is absolved. 
(beat)
What is troubling your conscious, my son?
CUT TO:
I/e. flash - TONY's car - moving - dAY
The B M W skids as TONY locks the wheel and plunges the car head-on into a bollard at the side of the road!
The impact propels GEORGINA crashing through the wind-screen of the car.
TONY (V.O.)
I blame my self, Father. For my Mother's death. It was because I was a stupid racist, that she is dead.
BACK TO:
INT. cHURCHALL - eVENING
Both the PRIEST and TONY sit in silence.
Finally - 
PRIEST
Then be racist no more, my son. 
TONY
I was full of hate.
PRIEST
Then hate no more.
TONY
I was full of anger, Father and it is because of me, my mother is dead.
(beat)
I was so full of hate, hate for my mother, hate for my father. Even those tiny bits of childhood memories that I cherished, I managed to erode their value so they became a burden, Father, a burdened vision. Dark neighbors, without eyes or ears. Visions that haunted me, through every painful moment I existed.
PRIEST
Then hate no more, my Son. Let me ask you, If Christ forgave those who crucified him, and the Lord, our God was able to forgive them too, do you not think he would forgive you?
TONY'S eyes; struggling to believe.
PRIEST (CONT'D)
If it is true, then my son, you can amend all those wrongs now. Do good! Love those you hate. Treat those of a different colour from yourself with compassion and in time, you will learn the majestic value of forgiveness.
TONY
Stop with all this Biblical bull-shit!
PRIEST
Ok, ok. I'm gonna level with you. I'm a black man, right?.
TONY looks embarrassed.
PRIEST (CONT'D)
Let's see what color I really am.
The PRIEST produces a small scalpel and cuts his palm. 
Then cuts TONY palm, slowly and precise.
PRIEST (CONT'D)
The love of God knows no color. All are equal in his eyes.
TONY rubs mingles his blood with the PRIEST'S.
PRIEST (CONT'D)
Do something good for another, and you will experience the exultation of God.
TONY leaves, smudging the PRIEST'S blood with his forefinger and thumb.
CUT TO:
INT. bone asylum pub - nIGHT
TONY walks pensively from the bar with a drink. He settles in a booth, away from the sonorous crowd.
EXT. bONE ASYLUM PUB - nIGHT
The GRIFFIN'S jaguar screeches to a halt. JO, GRIPPER and WINDOWS climb out of the car and approach the pub.
INT. bONE ASYLUM PUB - nIGHT
TONY sips his drink contemplatively. His face is determined, almost resolute.
JO (V.O.)
Windows! Do it! Quick!
GRIPPER (V.O.)
Windows! Come on! Do it!
ASH (V.O.)
Please. Don't kill me.
The noise in his head...rising to excruciating levels.
When-
GRIPPER
Excuse me mate, got a light?
TONY is startled by the voice. He stares. Not quite present.
GRIPPER (CONT'D)
A light, mate. Have you got a light?
TONY continues to stare. Right through GRIPPER.
GRIPPER (CONT'D)
Tell you what mate, forget it.
TONY watches GRIPPER walk away to the bar and join JO and WINDOWS. 
TONY finishes his drink and makes his way to the toilets.
At the bar, JO is ordering drinks.
JO
Tell you what, I'll be glad when Judge collects ...what's her name...Ash! I've never seen a fella loose it so quick over a flute.
They start to drink and relax.
JO (CONT'D)
(to WINDOWS)
You all right son? You look someone just told you the coco plant just became extinct.
WINDOWS is sweating, twitching nervously as he downs his drink.
CUT TO:
INT. dEReLICT BUILDING - BEDROOM - nIGHT
MILLS appears slightly dozy as the valium starts to kick-in. PINKY gages his inebrious state.
MILLS
(dreamy)
Tell you what, I cant remember being this happy since I was a kid. 
MILLS produces the gold chain and offers it to PINKY.
The pendant is engraved with a Indian goddess.

PINKY
Durga? For protection?
(quickly snaps out of emotion)
That's lovely, Darling. I'm just going to get some water.
MILLS grabs her hand as she gets up.
MILLS
Don't do anything silly now, will you?
PINKY
Like what?
MILLS
Like trying to run away.
PINKY laughs as she kisses MILLS fully on the mouth.
PINKY
And leave the love of my life here?
PINKY looks repulsed as she leaves.
INT. dEReLICT BUILDING - nIGHT
PINKY, trying frantically to force open the door. She realizes the futility as she hears the clunking of the padlocks. She rushes over to the window and looks out-
-at the vast dark milieu.
MILLS (O.S.)
Baby, where are you? I'm thirsty
PINKY
Coming darling.
INT. dEReLICT BUILDING KITCHEN - nIGHT
PINKY fills up two glasses of water - 
INT. dEReLICT BUILDING - BEDROOM - nIGHT
-And shoves one at MILLS. He downs the water, which refreshes him.
MILLS
Thanks babe, I was suffering. I feel weird.
PINKY
Suffering?! What the fuck do you know about suffering?
MILLS
What's the matter?
PINKY
This is the matter!
MILLS
What?
PINKY
This! You forcing me to stay here with those brothers of your. They're pigs!
MILLS
Did they hurt you? Tell me!
NO reply as PINKY starts to sob.
MILLS
Did they...you know...try to...
PINKY
What?
MILLS
You know.
PINKY
Fuck me?! That's what you want to say, isn't it? That's all you give a shit about, if someone else fucked "your woman"
MILLS attempts to gather PINKY in his arms. She throws him off.
MILLS
Babe, I relate to your pain. I feel your suffering.
PINKY
How the fuck could you know about my suffering?! I'm an Indian woman.
(beat)
I was raped when I was fifteen and raised a kid in a world dominated by men like you who treat women like shit!
PINKY walks over to MILLS and places a foot on his face.
PINKY (CONT'D)
How the fuck can you relate to that?! Look at you...big criminal hey? Look at how pathetic you men really are.
MILLS
(choking)
Babe, please ...don't say that...I love you...
PINKY
Love me? If you love me, you'd stand up for me.
(beat)
Do you know what your dad and the other two are planning? They're going to kill me and cheat you of the money.
PINKY releases her choke-hold. She's vulnerable again.
PINKY (CONT'D)
They're going to kill me, babe.
I'm so scared they're gonna kill me.
PINKY pulls a photograph from her pocket and shows it to MILLS. It's the same one that we saw earlier.
PINKY (CONT'D)
I just hope my daughter is alright.
MILLS now realises the GRIFFIN'S fatal error. They have kidnapped the wrong woman!
MILLS
(to himself)
Shit.
CUT TO:
INT. bONE ASYLUM PUB - nIGHT
A HEAVY BOUNCER watches The GRIFFINS drink the night away. The earlier tension gone, drowned in alcohol. 
GRIPPER(CONT'D)
Do you think he's ever fucked a woman?
JO
Not recently. Five years is a long time. He's got a kid you know, a boy. No one knows that I've got a grandson.
WINDOWS and GRIPPER are shocked!
GRUFF
Your joking! I didn't -
VOICE (O.S.)
(shouting)
-WINDOWS!
The GRIFFINS turn to see-
JIMMY...He's vexed!
He's accompanied by FRANK and TWO GORGEOUS Page three WANNABEES, SAM and GEMMA.
WINDOWS
Oh shit!
JIMMY
Windows! You dirty fuckin crack-head!
The GRIFFINS are not pleased to encounter JIMMY and FRANK. FRANK moves slowly, into the shadows.
JIMMY (CONT'D)
I ain't seen you since you smashed outta that crack-house in Brixton, star. How you doing mother-fucker? You still licking pipe?
WINDOWS
(frightened)
No, Jimmy.
JIMMY
What's that? I can't hear you. You don't lick pipe any more? Yeah, sure. But I bet you'd lick my arse right now if I told you I was plugging a teenth of each, eh?
JIMMY turns to the SAM and GEMMA who find this amusing.
JIMMY (CONT'D)
Yeah, seriously, this kettle-cunt, should've seen him, kept me in business he did. Every day guaranteed, Bam! 9 o'clock on the dot, cunt would ring me..."Jimmy, sort me out, I'm sick, I'm sick". 
WINDOWS is growing infuriated. The tension rising to his temples.
JIMMY (CONT'D)
Didn't need a hoover with Windows around, Nah! Cunt would smoke every little fuckin thing that other crack-heads dropped on the floor. Kept my pent house immaculate.
The WOMEN laugh.
JIMMY (CONT'D)
Know how he got his name though? Shall i tell 'em, Windows?
(to GEMMA)
What d'you think it is?
GEMMA
Er, is it because he's, like, good at computers? You know, Windows 95 and all that?
JIMMY
No. Anyway, it's XP now but that's besides the point. How about you, SAM? Take a guess.
SAM
Is he a window fitter, you know, double glazing?
JIMMY
Nah, beautiful, he ain't.
(to WINDOWS)
Shall i tell them, you dirty low-life crack-head?
CUT TO:
INT. crack house - eVENING
A dark and sordid crack-house in Brixton. A few men stand around smoking crack-cocaine, arguing over the next hit. 
JIMMY stands in the center of the room speaking into his mobile, exchanging rocks of crack for money.
WINDOWS is on his hands and knees, frantically searching for particles of crack. He finds a piece and places it on his crack-pipe.
WHOOSH!
JIMMY (V.O.)
Mother-fucker was always the same; skint! Scrounged off the brothers for a hit.
WINDOWS stumbles to the window. His face sweats and contorts as he glues himself besides the window-frame.
SUDDENLY, a MAN bursts into the room, panting out of breath.
MAN
BABYLOOON!!!
The crack-heads panic as JIMMY swallows the rocks he is holding. 
The POLICE burst in, wielding batons and attacking the frenzied addicts.
JIMMY rushes over to WINDOWS and attempts to seize his arm. 
JIMMY
Windows, noooooo!
Its too late! WINDOWS launches himself through the window!
JIMMY (V.O.)
Always the same! The cunt would prang and as soon as the Old Bill turned up...Whoosh! He would jump through the window. Cost me most of my profit just to keep those shit-holes glassed!
BACK TO:
INT. bONE ASYLUM PUB - nIGHT
SAM and GEMMA are delirious with laughter.
WINDOWS
I told you, I'm through with all that.
JIMMY
What?! You grass! Well I ain't through with you, or the rest of you Griffins! You fuck around with South London's prime supplier and expect me to let it go?
The BOUNCER leaps in-between the two parties, and pushes the GRIFFINS aside.
Bouncer
All-right! Break this up. Not in here! Jimmy for fuck's sake, take your guests into the back will ya. I don't want any trouble tonight.
INT. bONE ASYLUM PUB toilet - nIGHT
TONY lifts up the tissue dispenser and sees...
Swastikas...hundreds of them. Obviously he's previously marked the spot. He scribbles over them - 
The cut worm forgives
INT. bONE ASYLUM PUB - nIGHT
The GRIFFINS are huddled together at the bar.
WINDOWS
Dad, I want to do him.
JO
No son, Not tonight. We'll have him another time.
WINDOWS
(adamant)
Tonight!
GRIPPER winks at WINDOWS as they determinedly head in JIMMY'S direction.
INT. bONE ASYLUM PUB vip room - nIGHT
JIMMY sits on a sofa with GEMMA on his lap. SAM is snorting cocaine with FRANK.
JIMMY looks up as WINDOWS and GRIPPER enter.
JIMMY
So, you wants some Mother-fucker?
JIMMY produces a small bag and throws it at WINDOWS.
JIMMY (CONT'D)
Call it a turn-on for an old punter.
(beat)
Now get the fuck outta here. I'm about to get my dick sucked by the type of woman you can only imagine paying for.
WINDOWS approaches JIMMY. 
JIMMY reaches for his gun!
WINDOWS drives a carving knife into JIMMY'S throat!
WINDOWS
Suck this, Selassi!
THE WOMEN scream and flee!
FRANK darts behind the sofa!
GRIPPER
Oh shit! Noooooo!
INT. bONE ASYLUM PUB TOILET - nIGHT
TONY, still scribbling - 
Forgives forgives forgives
TONY is alerted as he hears that familiar voice.
GRIPPER(O.S.)
Windows! Come on! Quick!
TONY dashes out of the toilet -
INT. bONE ASYLUM PUB VIP ROOM - nIGHT
- and rushes in to see FRANK cradling JIMMY'S body, which has been brutally and repeatedly stabbed.
FRANK is crying, somber as he gently kisses JIMMY INTIMATELY on the lips.
FRANK
Jimmy, man. I always loved you.
TONY
Where's Windows?
Bouncer (O.S.)
Everybody out! 
TONY bends over and picks the gun that JIMMY didn't get a chance to use.
TONY
Come on!
I/E. gRIFFINS CAR - MOVING - nIGHT
The GRIFFINS are making their get-away.
JO
You stupid fuckers! One more night, but no! You had to fuck it up!
I'm calling Doug. We're gonna get this deal done tonight.
INt. jaccuzi - nIGHT
DOUG is sweating as the steam heats the jaccuzi. He begrudgingly answers his mobile.
DOUG
Hello. Who..? I told you not to ring me. I said I'd call you.
I/E. gRIFFINS CAR - MOVING
JO
I said tell Judge we want to hand Pinky over and collect the rest of our money, tonight!
INT. JACCUZI - nIGHT
DOUG
What? What the fuck are you doing with Pinky? Where's Ash?
I/E. gRIFFINS CAR - MOVING - nIGHT
JO
Who's Ash? I want to speak to Judge!
INT. JACCUZI - nIGHT
DOUG
Judge?! Judge?!
DOUG is beyond belief.
DOUG (CONT'D)
Judge is at the bottom of the Thames. The only thing he's doing is negotiating with the river's many many creatures. Now you listen closely you council trash, please fuckin tell me you've got Ash.
I/E. gRIFFINS CAR - MOVING - nIGHT
DOUG (V.O.)
About 18 years old, dark hair with a skull tattoo on her neck.
BANG!
JO almost crashes as he deciphers the information. WINDOWS and GRIPPER become alarmed at the conversation. Jo presses loudspeaker.
JO
(panicking)
We've got a woman... in her thirties called Pinky... no skull tattoo. She was the one wearing the leather.
A BEAT. THEN - 
DOUG (V.O.)
FUUUCCCKKK!
INT. JACCUZI - nIGHT
DOUG (CONT'D)
My god. You've killed us. All of us. You killed a young girl and snatched her Mother instead.
(beat)
Get out! Leave England and go. Go anywhere, just get out! Leave to a place where my Boss cant find you.
I/E. gRIFFINS CAR - MOVING - nIGHT
JO
Where the fuck should we go?
DOUG (V.O.)
Anywhere. Just get out of the country! If they've got a one-way to Lima, I suggest you buy a phrase book en-route so you can tell the mason what you want engraved when you get killed.
JO
What about the rest of our money?
DOUG (V.O.)
You kill the wrong person and you want payment? Just tell me you killed the boy.
WINDOWS and GRIPPER exchange looks.
JO
Who's your boss, Dougy?
DOUG (V.O.)
My boss is the one that finally killed off the Griffin gang, the most stupid fuckers ever to grace London's underworld!
The line goes dead. The GRIFFINS exchange worried looks.
INT. gLASGOW HOSPITAL - nIGHT
The heart rate monitor beeps at regular intervals.
MINT stands next to ROSE'S bedside, gazing reminiscently at the old-woman.
MINT
I'm so very glad, Mother, that you're making a recovery. The doctor said that the results were encouraging. Gives us a chance to catch up.
He pulls up a seat and takes her hand.
MINT (CONT'D)
I always wanted to tell you, how much I really loved you. I guess I never really knew how...It's not the kind of thing I'm good at...you know, talking about feelings but I realize that as we get on, we learn to value what's really precious to us...family.
(beat)
I remember, Mother, when I was young, after Dad had left us, or should I say, after you drove him away with your obsession with mysticism, how difficult it was for us. I appreciate the sacrifices you made for me. I remember it well, waiting for you to come home after you had worked all day to buy us food, and how you would sometimes scold me and send me to bed without supper
(laughs)
You never knew it but I always hid biscuits under my bed, our bed. I guess that was the one thing I was really ashamed of, never being allowed to have my own room. When the other kids found out that we still slept together till I was fifteen, they made my life hell mother, pure Hell.
(laughs)
But I guess that's like asking a pack of hyenas to kill a gazelle affectionately, Yep! I hated my childhood, Mother, absolutely detested it. That's why I'm so successful now, Mother. Resentment!
(beat)
I've made millions, lost millions and have all the trappings of success...but what does it all really mean? Did you really sell my soul so you could make me rich? I know you were involved with some dark stuff, but what does that make me? The son of the Devil's whore? Is that why I'm unable to love, or be loved?
MINT now starts to baste, slightly. His whole demeanor becoming more aggressive.
MINT (CONT'D)
You drove my first wife, Georgina away. Well, I know you didn't actually do it, but it was your jealousy, mother. I was merely acting as your pawn. Now, Pinky.
(beat)
Well let me tell you, I've made some new plans and they don't include you, Mother, dearest, No they don't. And they don't include Pinky, either. In fact, you'd be hard pressed to find any remnants of my old life included.
(beat)
I love Ash! I've loved her from the moment I saw her, and a girl like her is worth doing anything for.
MINT gets up. He grabs a pillow from under ROSE'S head and stretches it out.
MINT (CONT'D)
Worth killing for. Now you old witch, say good night.
MINT crushes ROSE'S mouth as he suffocates his Mother!
With his other hand, he causally lights a Cuban Havana.
MINT (CONT'D)
I hope when you're down there in your inferno, the worms take little bites of your soul.
MINT pulls the pillow away.
SILENCE.
SUDDENLY, ROSE bolts-up like the un-dead; her arms outstretched, her wig fallen off.
MINT shoves her back down, pressing the pillow against ROSE'S face. Her arms thrash wildly, convulsing, till there is no movement.
THE heart rate monitor flat-lines.
EXT. dEReLICT BUILDING - nIGHT
The Jaguar screeches to a halt, the tires squashing a few rats which now number over a thousand.
INT. dEReLICT BUILDING - nIGHT
JO quickly unlocks the door to see MILLS sat, awaiting their arrival.
MILLS
(calm)
Dad, we've done something very silly.
JO
I know! I know! Where is she?
MILLS motions to the bedroom. GRIPPER rushes in-
INT. dEReLICT BUILDING - BEDROOM - nIGHT
-and drags PINKY to the mattress. He furiously ties and gags her.
INT. dEReLICT BUILDING - nIGHT
JO
Right! We're outta here.
(beat. To MILLS)
We're gonna have to kill her, son.
MILLS
Sorry, Dad. I can't allow that.
WINDOWS and GRIPPER align themselves with JO.
JO
Don't be stupid. We made a cock-up and killed the wrong girl. We've gotta leave.
MILLS
You lot leave but lets split the dough here. You think I'm stupid? I know you were planning to cut me out.
GRIPPER
That fuckin lying bitch!
MILLS whips out the Uzi and aims at GRIPPER.
MILLS
Hold it! Don't even breathe.
WINDOWS makes for MILLS who with his other hand, raises another gun and aims at him. WINDOWS freezes.
JO
Have you lost your fuckin marbles? 
MILLS
No Dad. I've come to my senses.
JO
I don't know what that bitch has done to you son, but its a load of bull. Any minute now, the guy who set this up is gonna be here and when he finds her and learns that the other bitch is dead...It's gonna be tough fuckin goin'.
MILLS
Tough fuckin luck.
JO
What's the matter with you?!!!
MILLS
Nothing the matter with me Dad. Let's just say we've got a different opiu...opi...
JO
Opinion?
MILLS
Yeah! Let's just say we've got a different opinion on how things should be.
MILLS (CONT'D)
Take the dough out Dad, and cut my share. I Only want what's mine, just enough for me and my girl.
GRIPPER starts to cackle.
MILLS shoots, just past his head.
GRIPPER
Fuckin' hell!
JO takes out the jiffy bag and starts to divide the money, four ways.
JO
I think your making a big mistake son. They don't come any bigger than this. We're your family!
JO throws MILLS share over.
JO (CONT'D)
We'll always be here for you.
MILLS
That's why i always took the rap. I would have died for this firm, you don't understand that. Five years I did for you, five fuckin years. What did I get in return? A crack-head and a cheat! I've heard them talk, Dad. They would have robbed you given half a chance.
JO stares at GRIPPER, then back at MILLS.
JO
Son, there's still time to redeem this situation. Put the shooter down and let's talk about this.
MILLS
I'm through with talking. Take the money and go.
Still under aim, JO and GRIPPER prepare to leave. JO picks up the money.
WINDOWS
You stupid fucker! You sold your us out for her? A bitch?? A fuckin Paki?!!!
WINDOWS pulls out the knife and rushes at MILLS.
MILLS fires and shoots WINDOWS, straight in the face.
WINDOWS is thrown back against the wall. THUD!
GRIPPER
Windows! Nooooooooo!
GRIPPER rushes at MILLS.
MILLS squeezes the uzi's trigger and pumps him full of bullets.
GRIPPER hits the ground. THUD!
Then - SILENCE.
JO stares at his two dead sons.
JO
That's it, boy. It's what we both really wanted. You and me...together.
MILLS still has JO locked in his sights.
MILLS
No, Dad. It's what you really wanted. I've got what I wanted.
In there. It's all I ever wanted.
JO
You can take the money, Son. But while I'm still breathing, you will not be taking her with you. You're a Griffin, it's in your blood.
If my Father could see you now.
JO steps towards the bedroom.
JO (CONT'D)
I'm gonna kill her, Son, so take the money and go.
MILLS
If you kill her, Dad, you'll never walk out of this shit-hole alive.
JO
She dies.
MILLS
Then you die.
JO pulls out a Glock.
MILLS
Don't, Dad.
JO
I said I'm gonna kill her. I owe that to my father, not my son.
INT. dEReLICT BUILDING - BEDROOM - nIGHT
PINKY struggles to break free of the binding as she hears the two men holler.
JO (O.S.)
Put that fuckin thing away!
She freezes as she hears gun-shots.
INT. dEReLICT BUILDING - nIGHT
JO and MILLS are lying in pools of blood. There are deep-rooted groaning sounds coming from MILLS.
MILLS
(delirious)
Dad...? Dad...?
No reply from JO, who is dead.
MILLS
Daaaaaadddddd????
The door-knob turns and the door slowly opens. 
MILLS (CONT'D)
Whose there?!!! Who?!
INT. dEReLICT BUILDING - BEDROOM - nIGHT
PINKY'S eyes are filled with trepidation as she hears footsteps.
A shot rings out!
PINKY freezes. Then buries her head into the mattress, playing-dead.
The bedroom door creaks open.
The Footsteps...approaching her-
-Stop.
VOICE (O.C.)
Ash? Are you ok, Ash?
It's MINT. His immaculate white suit has been blood-stained. 
He warily takes a seat on the bed, resting his hand on what he believes is ASH.
MINT (CONT'D)
I'm sorry about all this. If people did what they were paid to, there wouldn't be any fuck-ups. But I suppose, it's that age old-maxim again, hey? If you want to do something properly, you've got to do it yourself.
PINKY attempts to shout and scream.
MINT (CONT'D)
Ssshhh, now, It's all over. I know it's come as a shock to you, Ash, but deep down it's what you wanted. 
I apologize that it dragged on for so long. Should've just done it quick and painless. Every now and then, babe, it's good to have a thorough cleanse; get's rid of that anger that keeps you up at night. You know? All those niggly little resentments we harbor.
MINT strokes PINKY'S neck, running his hand through her hair and down to her nape.
He feels something. It's the gold-chain. He fingers it, casually.

MINT (CONT'D)
New jewelry, babe?
 
He bends to kiss PINKY'S neck. He stops as he sees something-
-it's PINKY'S butterfly tattoo-
-instead of ASH'S skull tattoo.
He viciously grabs PINKY'S face and pulls at her chin to see-
PINKY! Her eyes are defiantly triumphant.
MINT
(frenzied)
Whaaattt? Whaaattt? Whaattat? Whaaattt? Whaaattt? Whaaattt?
PINKY, still gagged, struggles as MINT attempts to shove the whole of his hand down her throat, through the gag and all. She bites!  
MINT (CONT'D)
Whaaattt? Whaaattt? Whaaattt?
MINT then leaps onto PINKY, licking, biting...anything, a frenzied beast. Rabid. Trying to make sense of what he sees. 
PINKY pokes her fingers into MINT'S eyes.
MINT howls in pain, then pulls out a gun and holds it into the air. He pauses and laughs as he points the gun at PINKY'S head. 
The night-sky fades through the window. A shot is heard.
FADE TO BLACK.
Over black, A shot is heard.
FADE IN:
INT. Flash back bONE ASYLUM CLUB - eVENING
The shot is of a champagne cork opening.  
A fluorescent skull lights up the main hall; we're in the Bone Asylum club.
Its a celebration. PINKY and MINT toast with about a hundred others.  
EVRYBODY
To the happy couple!
The club is packed with guests.
The music starts to pump and the club comes to life. LAP DANCERS and GUESTS start to mingle.
PINKY
I'm so happy, darling. 
That's just like Ash to be fashionably late. I can't wait for you to meet her.
MINT
Likewise with Tony. We've got some work to do with our kids there.
PINKY
But not tonight, darling. Tonight is our night.
In the corner, TONY walks in with a few friends. They have shaved heads and wear skin-head outfits.
TONY's friend
Never thought I'd see the day! The Mintle family, corrupting their blood with heathens. A sad fuckin day for London's crime legacy.
TONY
Shut your fuckin hole! You think I like all this?
Two men, JUDGE and SENATOR approach TONY, holding out their hands. 
JUDGE
Congratulations Son. Let's hope this is a new start for all of us.
TONY leans back and glares at the two. Spurned, they walk away.
At the entrance, three Asian girls barge through the crowd. They wear hot-pants and leather jackets with the club emblem.              
MINT is stunned! He just about manages to hold his drink as he starts to sweat. 
PINKY
Hello darling, so good of you to come.
ASH blows smoke into PINKY'S face.
PINKY (CONT'D)
This is Mint. Your new step father.
ASH and MINT shake hands. The allurement is powerful. Electric.
ASH
What Should I call this one? Mint? Daddy?
The music rises in volume as strobes blind and shine in everybody's eyes.
INT. flash mINT'S house ash's BEDROOM - dAY
OH DADDY by Fleetwood Mac plays on the stereo.
MINT and ASH are having violent and wall-to-wall sex. The older man, pulling and ripping at his step-daughter's clothes.
LATER - 
MINT is sat in bed smoking watching ASH dry her hair.
MINT
When are you going to come away with me?
ASH
Where are we going to go?
MINT
Where do you wanna go?
ASH
I'll go, when you show me you'll do anything I ask.
MINT
You know I would do anything for you. What do you want?
ASH
(laughing)
I've told you, I want, on a silver platter, Pinky's, my mother's head.
Do that for me, and I'll believe you. She married you for your money. She's a chav! She left me when I was a kid. Reckons she can have anything she wants.
ASH walks into the en-suite bathroom.
ASH (O.C.)(CONTD.)
Do it! For me. For this little girl.
ASH blows MINT a kiss before leaving.
MINT pokes his finger through the pet-cage, playfully beckoning the rat. The rat licks MINT'S finger, then suddenly buries its incisors into his finger. 
MINT howls in pain-
-then yanks the rat out, repeatedly smashing it against the wall till it is nothing more than pulp. He throws the dead rat onto the bed.
MINT
Ash, consider your wish imminent.
MINT rips ASH'S photo out of it's frame and grips it tight.
I/E. flash mint's x5 - dAY
PINKY sits in the passenger seat, continually checking her watch.
DOUG approaches the driver's seat and jumps in.
DOUG
Sorry Ms Mintle. Your husband sent me to pick you up. He's been delayed in a meeting.
PINKY
You're very loyal to Mint, aren't you?
DOUG
Absolutely.
INT. flash - bone asylum club - nIGHT
MINT lounges at the bar, sipping scotch with DOUG, watching ASH dance on stage.
An older man from the crowd slips her some money and she blows him a kiss.
MINT
Who's that cunt?
DOUG shrugs.
PINKY approaches from the bar, Laughing as she watches ASH
PINKY
She's always been a bit wild.
MINT
(intense)
Be better for her if she enrolled at college, or got a decent job. Don't want any girl of mine prancing around like a tart.
PINKY
She's just a girl! Lost. A girl without a father.
PINKY goes back to business.
MINT watches as ASH hugs FRANK.
MINT
Who the fuck is that, now?
DOUG
He's harmless! Does a bit for Judge. He's the sound-man here.
DOUG notices the MINT'S jealousy.
DOUG (CONT'D)
Relax. He likes the trades man's entrance...likes to suck cock. Heard he's been at it with Jimmy for a while now.
MINT
Well that's enough reason to give him a fuckin hiding. Tell you what Doug, it's time. Set the fuckin plan in motion. I've Waited years for this. Those two cunts, Judge and Senator, first. Then sort out that fuckin faggot. You know the rest. It's a new era for the Mint corporation.
DOUG
Are you sure?
(uncomfortable)
I mean, Tony...He's your own son.
MINT
He's made his fuckin choice! I wasn't so lucky to have choices when I was growing up. If he wants to fuck around, that's up to him.
DOUG
Shall I do a brake-job. Like the one we fixed for Georgina?
MINT
Nah, too many open ends. I want a Hit for this, no misses. Straight to the head. Boom!
You doubting me Doug?
DOUG is most definitely not!
DOUG
Who do you wanna use for the hit?
MINT
Use that bunch of fuckin trash, the Griffins.  This job's so complex, no one in their right mind could suspect those imbeciles. You light a match on this place too and use it for your retirement fund.
(beat)
This is it Doug. Me, Ash, you Julia and the nipper. She's been loyal to you for years. She's a good woman.
MINT plants a kiss on DOUG'S forehead.
MINT (CONT'D)
This is the real Bone Asylum.
I love you Doug, as my own son.
I loved your mother, too.
MINT leans back onto the bar, triumphantly watching the LAP DANCERS prance to the music.
BACK TO:
INT. dEReLICT BUILDING - nIGHT
PINKY watches in horror as a shot is fired.
MILLS, standing at the doorway, delirious with a gut-shot fires at MINT. 
MINT ducks but the bullet grazes the back of his arm. He leaps from the bed, avoiding MILL'S next shot - 
-which shatters the window above PINKY'S head.
PINKY screams!
MINT gets up and with his left hand, fires three shots into MILLS'S face.
He collapses, defending his face.
PINKY
Noooooo!
MINT starts howling with laughter, filling the room with his sadistic laugh. 
Louder...Louder...screeching...
VOICE (O.C.)
(calm)
Dad.
It's TONY, and FRANK.
Tony
What are you doing, Dad?
MINT
Rewriting our legacy, Son.
TONY
No, Dad. You've lost your fuckin mind.
PINKY looks to the window, as she hears the sounds of industrial machinery.
TONY (CONT'D)
Put the gun down.
MINT aims at TONY.
FRANK moves towards the bed, out of range.
MINT
You're my son, and you're gonna tell me what to do?
TONY raises his gun, aimed at MINT.
TONY
Yes!
MINT
Well well, if it ain't the good son and his queer side-kick. What are you gonna do? Kill your own father?
TONY
If need be.
TONY (CONT'D)
I blamed myself for years, Dad. For mum's death, but I've learnt to forgive myself.
MINT
Don't flatter yourself, you were supposed to die too! Didn't think you'd make it this far. 
(beat)
Everything I did for you, for your mother, for Rose. Nothing was ever good enough! You had millions you little brat.
TONY
No difference. I ain't gonna let you do this.
MINT
Then kill me.
TONY'S mind, slightly undecided...although his eyes are resolute. He attempts to squeeze the trigger-
Nothing!
MINT (CONT'D)
(laughing)
You cant kill me. I'm your father.
MINT sees the younger man coming and out-manoeuvres him, grabs a hold and brings TONY to his knees.
With his left hand, MINT has his gun pointed at TONY'S jaw.
MINT (CONT'D)
You idiot, we could have worked together.
TONY is being strangled.
MINT (CONT'D)
Chance after chance, time after time.
MINT tightens his hold further. As a last defence, TONY takes a chunk out of MINT'S left hand.
MINT screams!
Then swaps the gun to his right hand.
MINT (CONT'D)
You fucker!
MINT aims at TONY -
-but the bandaged finger, twitters. He shoots-
-Wildly, as the bullets fly into the walls.
TONY is on the ground, choking.
MINT stomps him in the face.
FRANK
Bastard!
Now, FRANK rushes and head-butts MINT in the stomach, propelling him towards and through the window.
EXT. dEReLICT BUILDING - dawn
The windows shatters as MINT crashes and falls from the tenth floor, 
Down...
Dropping...
Down...
- straight through -
I/E. gRIFFINS CAR PARKED - 
-the roof of the GRIFFIN'S car.
MINT'S body, twisted and contorted, crushed by the fall, lies bleeding and shredded. 
Rats, hundreds of starved-urban rats, close in the for the feeding frenzy, taking little chunks out of MINT.
EXT. dEReLICT BUILDING - dAWN
FRANK and TONY lean over the window, looking at the decimated Jaguar. 
INT. dEReLICT BUILDING - dAWN
TONY unties a mournful PINKY. 
PINKY
My baby, he killed my baby.
TONY
I'm sorry, mum. I'm so sorry.
FRANK throws his arms around both of them. The three of them, banded in grief.
PINKY walks to where MILLS lies. She touches his face, the emotion, now, genuine. She kisses the gold pendant hanging from around her neck.
EXT. dEReLICT BUILDING - dAWN
The sun rises from the horizon. It's rays illuminate the dilapidating site, now MINT'S necropolis.
TONY, PINKY AND FRANK walk arm-in-arm from the site entrance.
EXT. sTREET - dAWN
A convoy of construction vehicles approaches the site in single file. The J C B'S headlamps, illume the three figures as they make their way into London's milieu.
THE END
FADE OUT.