45 Continued:

TOMMY

Brick Top's just landed, he's walking

in the front, I would move it if I

were you Turkish...

Turkish puts down the phone

ERROL

What's happening with the tea?

TURKISH

Help yourself. You have to every

thing else.

ERROL

That sounds like hostility, doesn't

it John?

JOHN

Oh we don't like hostility do we

.Errol?

EROL

No John we don't, but I am sure he

could be pacified, what do you think

John? Here you hold his arms, and

I'll hold his legs.

In walks Brick Top before the boys have had a chance to get

a grip.

TURKISH

Brick Top.

BR,ICK TOP

Turkish. Got the kettle on?

Turkish adapts to his new circumstances.

TURKISH

You want sugar?

BRICK TOP

No thank you Turkish, I am sweet

enough.

TURKISH

If I turn my back am I going to get

a hole through it?

BRICK TOP

Don't be silly Turkish, if I wanted

you dead would I be talking?. . .

(MORE)

(CONTINUED)

45 Continued: (2)

BRICK TOP (CONT'D)

Carry on. You've provided me with a

problem, which you gonna have to

remedy. I gotta bare knuckle fight

in a couple of days. I want to use

the pikey.

TURKISH

Of course.

BRICK TOP

Of course fuckin of course, I wasn't

asking I was telling. But this time

I do want him to go down in the

fourth. And I do mean it this time.

Pause

BRICK TOP (CONT'D)

Now I know you,came back. to. open

your safe, so now you can open it. .

There is nothing Turkish can do.

46 EXT. AMUSEMENT ARCADE

Brick Top exits with Errol and John and grimaces with.the

light. He's holding the contents of Turkish's safe.

BRICK TOP

He's been a busy little bastard that

Turkish.

ERROL

I think you have let him get away

with enough all ready gov.

Brick Top looks round with some concern.

BRICK TOP

It can get you into a lot of trouble

thinking Errol, I shouldn't do so

much of it. •

Pause as Errol wants the ground to swallow him up.

BRICK TOP (CONT'D)

Well that takes care of one little

piggy, now find me the silly sods

that blagged the bookies. Find em

today.

FADE OUT:

(CONTINUED)

46 Continued:

FADE TO BLACK:

FADE IN:

47 EXT. PORTACABIN

The film stock is 1970s, and things seem more dated. This

is confirmed by the dress of our man TONY. Tony is standing

outside a scrap metal yard and he is kicking the door of a

portacabin. . .

TONY

Open up Charlie.

CHARLIE

Fuck off. The only thing I'11 open

up is you.

TONY

It's lucky you .got me Charlie, it

could have been one of the other

lads, and then think how much trouble

you' d be in.

CHARLIE

You come through that door and you'll

be going out prostrate.

TONY

It doesn't belong to you Charlie.

He kicks open the door. CHARLIE is standing behind his desk

holding a pistol directly at Tony. On the table is a bag of

what we must believe is coke, it's open, and Charlie has it

all over his nose. .

TONY (CONT'D)

You silly fucker, you can't go running

off with other people's gear. How

much you put up your nose?

Charlie opens up, he fires four shots straight into Tony who

buckles and falls to the floor. Tony seems only shaken and

he holds his hands out to inspect them, he's bleeding.

TONY (CONT'D)

Oh you silly cunt.

Tony stands and walks towards Charlie. Charlie is

understandably shocked and fires another. It goes straight

through Tony and we see the blood hit the wall behind.

CHARLIE

Go down-boy, go down.

(CONTINUED)