Gangs of London

GANGS OF LONDON
Episode 1
Created by Gareth Evans and Matt Flannery

Written by Matt Flannery and Gareth Evans
11th September 2018
Pulse Films Ltd. & Sister Pictures Ltd This script is strictly confidential. Please do not discuss the contents of this
script with anyone outside the production. The sending of this script does not constitute an offer for any part of it.
Gangs of London Episode One 11th September 2018 1
1 EXT. AERIAL VIEW OF LONDON - DAWN 2 1
LONDON.
In all its glory. Only not.
We travel through low hanging clouds as the glass and chrome

beasts of high rise towers carve down from above, the sky
resting below.
Gliding through this neo-noir vision of the city that is

literally turned upside down.
Through thoroughfares, parks and business districts.
Through public housing projects, rich gated communities,

apartment blocks.
All manner of life walking the streets.
We come to a stop. The upside down view of the city suddenly

makes sense.
Look up. That’s our POV...
Along our torso, hanging from the edge of a high rise

building.
Rope burning a bruise into our ankle -
Eighteen years old, street thin, face of a hyena, hysterical

with fear, hanging off the building, crying incoherent, but
it sounds like -
VICTIM
Please! No, no! I swear down man, I
know fuck all...
SOMEONE reaches down, brushes a handful of burnt out matches

off the victim’s charred, cracked bare foot, they scatter
past him as they fall...
SOMEONE holds a large pack of matches, shakes it. Sounds

full.
Then reveal...
SEAN WALLACE, late 20s, some of the victim’s blood flecked on

his white shirt, dried tracks of tears staining his face,
looks down with a frightening detachment in his eyes.
He gestures with a hand, and a GUARD, till now standing

silently in the shadows behind steps forward. He hands Sean a
bottle and steps back without a word.
SEAN pops open the can of lighter fuel - drizzling the rope
with it, then...
SEAN leans further over the edge to make sure he covers the
victim’s clothes with the flammable liquid - seems unaware of
the 400 foot drop below.
He’s on the top of an “in construction” sky rise. Red beacon

lights flashing on the corners of the rooftop.
SEAN strikes a match against the roof, it ignites; shelters

the flame with his hands, concentrated, determined...
Another incoherent whimper.
VICTIM (CONT’D)
Please -
SEAN looks him in the eye, flame fluttering in the breeze but
staying alight, then an odd vulnerability - for a moment he
hesitates, the briefest flicker of uncertainty. But within a
moment, his eyes harden once again and he steps forward
towards the edge. He looks down at the still struggling
figure...
SEAN
What else can I do?
Still cradling the match, SEAN slowly lowers his hands

towards the rope.
The VICTIM stares up at the match, eyes wide with fear.
VICTIM
Please ... please! I don’t wanna-
SEAN drops the match.
The rope starts to burn, flame travels in an instant to the

VICTIM’s body.
The VICTIM screams in agony, bouncing against the building as

his body thrashes in a ball of flames, rope twisting as he
hangs suspended.
Until...
The rope finally gives in, snaps -
LONDON -
In all its glory. A city of glass and chrome beasts -

shimmering in the early morning sun as the victim falls to
earth, a butterfly with burning wings.
GANGS OF LONDON
2 EXT. CAMPSITE - NIGHT 1 (ONE WEEK EARLIER) 2
Oil drum bonfires illuminate the crushed grass and puddles of

mud terrain of this travellers campsite as a barbecue party
is in full swing.
Music screams from tannoys. Local girls and local lads eye up
their chance to dance while parents, uncles and aunts keep
drinks and conversations alive.
Dogs sit patiently waiting for scraps.
Elsewhere...
3 INT. CAMPSITE, CARAVAN - NIGHT 1 3
Sat alone at a table is DARREN, 17 years old.
Mobile phone resting before him.
The party echoes through in muffled tones but he may as well

be a million miles away.
The phone buzzes, twists around the surface of the table.
Haunted look in his eyes as he picks it up, green light of

the screen hovering around his trembling thumb as he clicks
to read:
From: JOB
Message: Flat 6A, 132 MERTON COMMON, 23:40.
4 EXT. CAMPSITE - NIGHT 1 4
DARREN steps out from the caravan, walks past the party all
blind to his presence, all bar one boy -
EOIN, 17 years old also and best friend to DARREN, peels away
from the lips of his girlfriend KEELA and rushes over.
EOIN
Darren, Darren!
DARREN slows until EOIN catches up.
EOIN (CONT’D)
Did’ja get it?
DARREN
Aye.
EOIN
Are ye gawn do it?
Approaching a rust bucket of a car, a red Vauxhall Nova; the

driver’s door is blue. EOIN’s older brother PATRICK spots
them.
PATRICK
Where tha’ fuck’ja think yer going?
EOIN
Ah c’mon Patrick, we’re out n’ dry
back there, won’t be long wit’ her
I promise, just a quick run, refuel
like...
PATRICK
Bring us back a flaggan’ or two...
EOIN
Sure Patrick, nae problem there.
PATRICK
You’re paying.
EOIN
Ah come on...
PATRICK
Do ye’s want the car aw naw?
EOIN
Fine.
PATRICK turns back to the party. EOIN and DARREN get into the
car.
5 INT/EXT. PATRICK’S CAR/CAMPSITE - NIGHT 1 5
EOIN in the driver’s seat, DARREN passenger.
EOIN touches two wires together under the dash - brake lights
paint the grass red as the engine chugs to life.
The car moves off, stretching away into the distance.
6 EXT. TOWER BLOCK - NIGHT 1 6
Now far from home, DARREN and EOIN pull up, parking outside a
run down tower block.
EOIN kills the engine and the lights.
7 INT. PATRICK’S CAR - NIGHT 1 7
Silence, as they scan the neighbourhood - plenty of shadows,

enough to remain anonymous.
EOIN reaches into his jacket, pulls out something wrapped in

an old handkerchief.
Unravels it to reveal an old pistol.
EOIN
Three bullets gawn be enough ya
think?
DARREN
Gawna hafta be!
DARREN takes the pistol, tucks it in his jacket pocket.
EOIN
Ye sure ya want to do this?
DARREN pauses a moment, hand on the door handle
Door pops open, out steps DARREN lifting his hood over his
head.
Looks around, sees no-one. Listens, hears only silence.
Casts a gaze upon the entrance to the tower block. His eyes
follow its structure, rising high into the sky.
9 INT. TOWER BLOCK - NIGHT 1 9
Lift doors open.
DARREN steps out. Walks quietly along a corridor as sounds of

televisions and arguments muffle through closed doors.
Stops at his destination: FLAT 6A
Looks behind him. A faulty light flickers.
DARREN looks back to 6A, to the glass lamp shade above - an

empty socket, no bulb, dead.
Reaches his hand inside, pushes with his fingertips against

the glass, sliding out an apartment key.
Tests it in the lock.
Click. Door opens.
Apartment appears deserted.
DARREN disappears behind the door, closing it behind him.

10 INT/EXT. PATRICK’S CAR/TOWER BLOCK - NIGHT 1 10
EOIN sits in the car. Keeping watch.
Spots a GANG OF TEENS (mixed ethnicity) some on foot, some on

bikes.
The gang stop as one - they’ve seen the Red Nova.
Immediately, they re-route heading straight for EOIN.
11 INT/EXT. PATRICK’S CAR/TOWER BLOCK - NIGHT 1 11
EOIN sees them coming towards him, sinks into his seat.
EOIN
(to himself)
Ah fuck, fuck, fuck, fuck.
The GANG are fast up to the car, and then all around it.
BANG! A punch to the window, startling EOIN.
A FACE pressed up against the window: we recognise the alpha

of the group - RING LEADER - street thin - hyena face - the
victim set light to at the top of the high-rise.
RING LEADER
Yo, who’s dat?
EOIN stares ahead, hoping this will go away.
BANG on the window! RING LEADER enjoying himself -
RING LEADER (CONT’D)

Why so jumpy cuz, yo, open the
window yeah? We can talk like
proper bowler hat gents.
A GANG MEMBER jams a crowbar into the bonnet to pop it open-
12 INT. TOWER BLOCK, FLAT 6A - NIGHT 1 12
DARREN stands, unaware of EOIN’s predicament, eye pressed up

against the peephole focused on one thing only.
He watches as the corridor light flickers. Sweat gathering

around his eye.
Hand clutching at the pistol in his pocket.
Back outside, the stand off continues.

Metal buckles as the GANG MEMBER strains against the crowbar,

unable to pop the bonnet.
EOIN
No, wait, now listen lads...
BANG! GANG LEADER’s fist again smashes against the window.
RING LEADER
Shut the fuck up, you ‘ad your
chance to open up
(to GANG MEMBER)
Fucking pop it already!
Suddenly, they are bathed in light.
RING LEADER’s eyes widen as he sees the approaching

headlights of a luxury car.
A car that would only come near this place if it belonged to

someone with power.
RING LEADER (CONT’D)

Oh shit! Yo bounce! Bounce! Bounce!
GANG MEMBER
Fucking run!
The gang scatter for the shadows leaving EOIN to sit and
watch as the pristine car parks up ahead.
A driver, JACK (mid-40s) steps out and opens the back door
for his passenger.
A pair of shoes hit the litter strewn pavement, tailored

trousers give way to a winter coat followed by a large paper
bag clutched tightly in one hand.
EOIN freezes the moment he sees him in full view.
FINN WALLACE (60s), a towering presence, pillar of the

criminal community. The boss of bosses.
THE KING TO THE GANGS OF LONDON.
Also known as: DARREN’S target.
He stands for a moment, hesitation as he looks down both ends

of the long street. The group of kids disappear around a
corner at one end. He turns back to the open window of the
car, engine still purring.
FINN
Keep it running, Jack.
EOIN watches through the windscreen as FINN walks on towards

the tower block.
EOIN scrambles for his phone, dials DARREN’s number, tries to

remain calm as JACK stares in his direction, noticing the
crowbar still wedged in the bonnet of the car.
14 INT. TOWER BLOCK, CORRIDOR - NIGHT 1 14
The sound of the elevator echoes in the empty corridor as it

grinds its way up floor by floor.
DARREN maintains his position, eyes glued to the peep hole.
So full of intent he fails to feel his phone vibrating as the

screen illuminates his trouser pocket.
EOIN stares at JACK walking towards him; continues to pray

that Darren picks up the phone.
JACK reaches the car, yanks out the crowbar and casually
tosses it to the side of the road. He knocks on the window.
EOIN lowers the window, phone still ringing, pressed against

his ear.
JACK
You ok there mate?
EOIN smiles nervously.
EOIN
Yeah - thanks.
JACK takes a good look at him.
JACK
The fuck you doing in Albania, boy?
EOIN
Soon as me girl comes down I’ll be
on ma way. She always keeps me
waitin’ -
JACK
Girl?
JACK takes a step back, looks at the Nova in disgust.
JACK (CONT’D)
Went for the car did she? Thought
you pikeys kept amongst your own.
No wheels on these homes, Paddy.
JACK looks at EOIN, tries to read him. EOIN isn’t giving up

anything.
17 INT. TOWER BLOCK, ELEVATOR - NIGHT 1 17
Back of FINN’s head, sharp cut hair, spotless collar against

grim graffiti walls. Tired elevator continues to rise.
PING. Doors open with a jolt. He steps out into the CORRIDOR.
18 INT. TOWER BLOCK, CORRIDOR - NIGHT 1 18
FINN walks along the CORRIDOR, towards the door for FLAT 6A.
DARREN watches as the silhouette of FINN comes into view.
The flickering corridor light blinding him from identifying

his target.
DARREN reaches into his jacket for his gun.
20 INT. TOWER BLOCK, CORRIDOR OUTSIDE FLAT 6A - NIGHT 1 20
FINN stops, looks up at the lamp shade above the door,

reaches inside.
He frowns. Something’s wrong. Fingers feel around the empty

shade. No key. His eyes widen, alert. But it’s too late.
BLAM!
The peep hole bursts apart, splintered wood charges towards

FINN - but not as fast as the bullet fired.
It hits, burying itself into FINN’s face, tearing apart his

upper lip as he falls to the ground, body twitching, gunshot
echoing throughout the block.
The impact of that bullet, hitting this man will soon echo
through the entire city.
JACK reacts, looking up to the apartment building.
EOIN looks to the front door of the building, panic mode sets
in.
JACK is fast to his car, reaches in, pulls out a gun and
rushes towards the tower block.
EOIN steps on the accelerator, punching it hard.
The car screams forward, ploughing into JACK. He bounces off

the bonnet as EOIN slams on the breaks.
JACK rolls to the ground in agony, a crumpled heap.
DARREN steps out, his stomach flips as he sees for the first
time, the face of the man he has killed.
DARREN
Oh Jesus. Fuck. No.
Paces around, wipes the door handle to the flat the best he
can, trembles as he puts the gun back in his jacket.
Spots the envelope in FINN’s hand, a tear in the paper

revealing a bundle of cash.
Sounds echo from the corridor. A baby begins crying in one

of the apartments. A dog barks.
Grabs at the envelope, tears open - money spills onto FINN’s

body.
As he reaches for the cash, a hand grips tight to his wrist.

FINN.
Startled. How the fuck isn’t he dead?
Pulls Darren close. Inches from the mass of torn flesh and
blood. Horror show.
Darren squirms as he fires another shot. Blam!
Takes off a chunk of the big man’s skull, ricocheting

fragments of the bullet scram at the concrete floor.
Almost definitely dead. Peels back the fingers of his grip.

Pulls free the brown paper back with one hand, while grabbing
desperately at the loose notes fluttering on the dead man’s
chest.
He pauses a moment, frowns as he registers the foreign

currency in his hands. The Queen’s face is there, but it all
looks off - Belize Dollars, hundreds.
Regardless, it’s money. Takes it all and dumps it in the bag

with the rest of it, rushes to the stairwell.
23 INT. TOWER BLOCK, STAIRWELL - NIGHT 1 23
We race, gliding down floor after floor following DARREN’s

feet as they clap against the hard concrete steps.
DARREN rushes out from the tower block and races towards the
car.
Freezes as he sees JACK, trying to get back to his feet.
Determined, JACK scrambles with whatever energy he has left,

reaches, grabbing at DARREN’s leg.
DARREN stamps JACK down into the ground, freeing himself.
EOIN
WHAT THE FUCK DID YOU DO?
DARREN
JUST FUCKING DRIVE EOIN!
DARREN leaps in. Car door slams shut.
Tyres squeal as they grip the road, leaving behind a pristine

parked car, an incapacitated JACK and a crime boss with a
hole where his face used to be.
Thin wooden dust still hangs in the air.
It flutters and dances down gently, surrounding the

motionless body of FINN WALLACE, King of London.
The sound of the lone car engine fades into the night.
26 EXT. THE WALLACE HOUSE - DAY 2 26
The quiet still air of early morning.
On this leafy square of Georgian town houses, a hearse sits

parked outside one in particular.
The doors to the house are flanked by dark suited guards, a

large security presence that we will see surrounding this
house - in every window, through every doorway.
They give solemn gestures as ED HALE - (60s) tall, powerful,

father to ALEXANDER (late 20s), his sister SHANNON (early
30s) and her son DANNY (8), all Black British, walk past them
to the front door - suit bags and shoes hanging from their
arms.
27 INT. THE WALLACE HOUSE, CORRIDOR - DAY 2 27
We track along a long wide corridor that leads to the

staircase of this varnished wood home.
An old Georgian house - during the property boom of the 90’s

Finn bought out their next door neighbours and tore down the
walls.
Boardrooms and all manner of business to the left. Family

gatherings and domestic ‘bliss’ to the right.
On any other day it might feel warm and loving -
A voice calls out from another room off screen.
MARIAN (O.S.)
Use your old room upstairs, love -
mind the boxes.
ALEXANDER (O.S.)
Thanks.
DANNY runs into frame, bolts straight up the stairs.
SHANNON
(harsh under her breath)
Don’t run!
SHANNON and ALEXANDER follow, house creaking with every step.
A line of photographs adorn the corridor wall.
Finn Wallace. Better days. Before those bullets broke him.
A history of business deals, community out-reach work,

foundations, then more personal memories - holidays with
friends. With Ed his business partner - at a beach - then
holding both of their screaming, giggling boys high above
swimming pool water - one a young Alexander.
And then resting on a candidly staged family photo. Wallace

blood only - Finn and Marian smile over their three kids.
They beam back - none more than Finn’s boy...
28 INT. THE WALLACE HOUSE, BEDROOM/BATHROOM - DAY 2 28
SEAN stands under a shower, calmly washes dirt and blood from
underneath his finger nails.
A figure enters the room. MARIAN (late 50s), picks up Sean’s

dirty blood-flecked clothes from the floor. She feels
something in a pocket, finds the box of matches; there’s no
judgement to her as she calmly puts the matches away in a
drawer...
SEAN looks through a gap in the shower curtain. He sees the

drawer close, then the eyes of his mother in the mirror,
looking right back at him.
A brief acknowledgment as they hold eye contact - before she

walks out the door, and SEAN continues to shower.
29 INT. THE WALLACE HOUSE, BEDROOM - DAY 2 29
We’re in what appears to be a spare bedroom, but one that

feels like it’s seen more use than most. It has a life and
character to it.
Two spare single beds, room split in half with posters and
decorations - boys side / girls side.
ALEXANDER and SHANNON shared this room once.
But now, ALEXANDER lifts the collar of DANNY’s shirt, feeds a

black tie around it.
DANNY is busy trying to play with a walkie talkie - batteries

died long ago. Alexander struggles to keep him still.
ALEXANDER
Come on bud, help me out here.
Takes the walkie talkie from him, tosses it onto the bed.
DANNY starts toying with ALEXANDER’s tie with clumsy fingers.
DANNY
Uncle Alex, when was the last time
you and mummy stayed here?
SHANNON, DANNY’s mother, stands in the mirror putting

understated but expensive earrings in. She smiles as she
watches ALEXANDER playing uncle.
SHANNON
Long time ago, Danny. When he was
your age.
DANNY
Aunt Marian says it’s my room now.
ALEXANDER
Maybe so, but they’re my toys.
Don’t you go breaking ‘em.
ALEXANDER finishes tying the knot, pulls down the corners of

DANNY’s collar.
ALEXANDER (CONT’D)
Righty-o. All done.
DANNY
(mimicking his Uncle)
All done.
ALEXANDER, looks down to see his own tie hanging forlornly

around his neck, front side hanging comically short. He
smiles and ruffles DANNY’s hair.
SHANNON swings a jacket around the young boy’s shoulders,

buttons it up, checks him over.
SHANNON
Okay, you’re all set. Go find
grandad.
Danny runs out shouting “Grandad!”.
SHANNON looks out the window: cars are pulling up - GANG

LEADERS are arriving with body guards and drivers - they all
look like wealthy business people - not criminals.
She watches Turkish heroin dealer LALE (40s); every inch the
successful entrepreneur.
CLICK-CLACK!
SHANNON turns, startled by the sound of a gun being cocked

back in ALEXANDER’s hands. He checks the chamber before
slipping it into a discrete holster. Shannon can only look
on, concern etched on her face - it’s not the sight of the
gun. The shock is for who is holding it.
SHANNON (CONT’D)
Jesus Alex!
The silence holds for a moment.
SHANNON (CONT’D)
Is this who you are, now?
Alexander smiles. But there’s little humour there.
ALEXANDER
For today at least - until we know
who and why...
ALEXANDER looks out the window - NASIR (20s, British

Pakistani) takes a phone out of his immaculate suit and hands
it to his bodyguard as he walks to the house.
30 INT/EXT. THE WALLACE HOUSE, ENTRANCE HALL - DAY 2 30
The GANG LEADERS waiting in the entrance hall to be patted

down are not used to being kept in line, or searched.
WONG (60s, Old School Triad) hands his phone to MARK, head of
Wallace security, and stretches his arms out.
WONG looks over his shoulder to LALE, as she receives the

same pat down from a female security guard through clenched
teeth.
WONG
(smiles)
What do they think we’ll do? He’s
already dead.
Her gaze hardens as NASIR passes them ahead and is waved

straight through.
LALE
(to Mark)
And him?
MARK pretends he doesn’t hear, eyes rooted to the floor as he

continues to pat Wong down.
NASIR savours Lale’s anger as he sails on through.
31 INT. THE WALLACE HOUSE, STAIRS - DAY 2 31
DANNY runs down the stairs, boundless energy, eyes focused on

each step.
Thud! As he reaches the bottom, he rebounds off a huge frame.
DANNY looks up, passing figures tower over him, a forest of

unfamiliar faces.
Languages he has never heard intermingle as hushed

conversations go on around him.
He peers into the main living room that everyone is

entering... gets a glimpse of the side of a coffin, too
small to see inside, too afraid to get close enough.
In amongst the sea of languages:
ED
When you’ve paid your respects,
please make your way to the board
room.
DANNY, fascinated turns to see the businessmen filing into a

room, some already seated at a long table.
A large hand gently lands on his shoulder, he looks up at ED.
DANNY
Who are they, Grandad?
ED
Just friends of the family, Danny.
ED looks across and sees MARIAN standing at the rear of the

entrance hall, still carrying Sean’s dirty clothes. Her face
is tense, expression set firm, as she watches the guests
filing through.
One or two of them notice her, no polite smiles from her -

one of these may have killed her husband and she wants them
to feel it burning in her eyes. Sheepishly they move on.
As she notices Ed, she sighs, and turns her back, moving away
towards the utility room.
32 INT. THE WALLACE HOUSE, SEAN’S BEDROOM - DAY 2 32
Immaculately preserved since he left the homestead.
Remnants of Sean’s teenage years dress the room.
Panini football stickers dress one of the doors of his

wardrobe - sports trophies on the windowsill, the 2nd walkie
talkie resting on a bedside cabinet.
SEAN sits on his old bed, sharp suit, immaculate hair - as he

mouths the words of his eulogy, shuffling through the index
cards in his hands.
Finn’s magnitude as a Father and a leader condensed into a

handful of bullet points.
33 INT. THE WALLACE HOUSE, UTILITY ROOM - DAY 2 33
MARIAN is loading the huge washing machine, mid-conversation

with ED -
MARIAN
He’s grieving, Ed
ED
We all are. But what he did last
night gave us nothing.
She shuts the door and turns the switch with a click. As the
machine starts up, she picks up a belt and screwdriver.
She turns to ED, driving the tip into the surface of the
leather.
MARIAN
At least he’s trying.
ED MARIAN (CONT'D)
And I’m not?! Finn was like a He has a right to find out
brother to me and it fucking who killed his father.
hurts!
ED
Of course he does and we will.
MARIAN
He should be in that meeting.
ED
Marian, the boy’s about to bury his
father -
MARIAN
He needs to be strong, Ed. They
need to see that what should have
broken us down and made us weak
gave him strength.
ED
No one’s doubting him, Marian. But
just for today, let the boy grieve
his father. Alex and I will take
care of everything - we’ll reassure
them that we have things under
control.
ED steps forwards, puts his arms around her.
ED (CONT’D)
Finn always said Sean and Alexander
would one day front the
organisation side-by-side. He saw
it before any of us.
MARIAN
But he never had the chance to tell
them, let alone prepare them for
it.
ED
Trust me, Marian, All I want is for
his legacy to continue - through
our boys.
He takes one of her hands in his.
ED (CONT’D)
Together.
MARIAN takes comfort in an old friend.
ED (CONT’D)
Finn was a good man
MARIAN smiles.
MARIAN
More often than not.
Suddenly, music (Cream - We’re Going Wrong) can be heard

coming from somewhere in the house - FACES turn - look
towards the inappropriate sound.
34 INT. THE WALLACE HOUSE, HALLWAY - DAY 2 34
SEAN, reaching the bottom of the stairs hears the muffled

sound of music; a quiet smile of recognition.
35 INT. THE WALLACE HOUSE, OFFICE - DAY 2 35
A needle dances along the grooves of the revolving vinyl.
BILLY WALLACE (31), gaunt, his suit slightly too large -

heroin has taken its toll - looks up as SEAN walks in - a
smile of recognition between the two brothers - ‘Dad’s
music’.
SEAN walks over to the HiFi, picks up the record cover next
to it: Cream - Disraeli Gears. Looks at the garish red and
green sleeve defaced with white poster paint - written across
it -
“To Dad,”
A crudely drawn stick man with a tie holds the hand of a

smaller stick boy with a football by his foot.
“Love, Sean”
SEAN
I thought he’d be pleased -
BILLY
He wasn’t -
SEAN turns up the volume; now it’s a wall of sound.
BILLY smiles at SEAN’s defiant gesture.
The last of the GANG LEADERS are moving into the boardroom,
confused looks as the blaring music drifts out.
Further down, ED rushes towards the office.
ALEXANDER, already making a bee-line for the room, cuts him

off.
ALEXANDER
Dad. Let me.
37 INT. THE WALLACE HOUSE, OFFICE - DAY 2 37
ALEXANDER walks in - looks at the two brothers for a moment.
Gestures at the record player.

SEAN knows he’s been sent to turn the music off - but he
doesn’t immediately move, still looking at the sleeve.
BILLY
Alright Al?
ALEXANDER looks to BILLY in his ill-fitting suit and smiles.
ALEXANDER
Looking good, Billy.
(to Sean)
C’mon Sean, mate.
SEAN looks up from his thoughts, lifts the stylus off the
record.
SEAN
One of those fuckers killed my dad.
ALEXANDER
I know.
SEAN
I can’t go in there pretending
things are ok Al, can’t shake the
hand of the person that killed him.
ALEXANDER
I can.
Sean’s taken back by this.
And when we know who it is, we’ll
destroy them. I want the same as
you. Honest to god I do. But we
have to do this the right way,
Sean.
(softer, treading
carefully)
Not like last night.
(not giving Sean chance to
react)
If we don’t go in there and
convince them that this business
can function as normal, forget
finding his killer we’ll have a war
on our hands.
SEAN
Maybe. Let’s see.
Alexander doesn’t know how to respond.
The room silent now for a moment.
ED (O.S.)
It’s time, Alex.
The three boys look to the door.
Behind ALEXANDER, ED stands, watching. His subdued temper

suggests he’s been there a while.
ALEXANDER
You have my word, Sean. Me and dad
won’t fail him. And we won’t fail
you either.
SEAN nods. Understands.
As ALEXANDER leaves the room, ED makes eye contact with SEAN -

any remaining anger he held fading as he sees the grieving
boy before him.
A look of genuine sympathy and love, before he turns to

leave.
SEAN looks at the closing door, still holding the sleeve.
38 INT. THE WALLACE HOUSE, BOARDROOM - DAY 2 38
TWENTY GANG LEADERS - a counsel of wealth, corruption, and

violence - sit around the table, all listening to ED’s
commanding confident voice -
ED
Please excuse Sean’s absence from
the table, I’m sure you understand
he is - grieving more than most.
Awkward looks between their guests - no shit.
ED (CONT’D)
I just want to thank you all for
your patience over the last two
weeks.
WONG
Patience isn’t infinite, Ed
ED
We appreciate it has been a
difficult time for all of you. As
it has been for us.
WONG
Some of us still have cargo ships
anchored out at sea. I take it we
can expect something in return for
the losses we have incurred? Yes?
ED
No.
LALE
Wong you have a box of silicon
pussies doing laps of the Indian
Ocean - I have 80 kilos of product
sitting in the docks.
(to Ed)
With respect I just want to know
where we stand.
ED
Of course, which is partly why we
are gathered here today.
Firstly, I -
(gestures to Alexander)
- we, hope you can all understand,
why we did what we did. After the
sudden, and brutal murder of Mr.
Wallace - we had to close all
operations. To protect all of us.
But as of today this... grace
period is over. After the funeral,
business will resume as normal.
ALEXANDER steps in, building on the growing reassurance in

the room
ALEXANDER
Over the last week we’ve been
putting into place a system for
transition. By dawn we will have
the docks back open and fully
operational-
WONG
That’s good, but it’s no good to us
unless we can continue to clean our
profits.
LALE
Agreed. What about our money? We
can’t afford more downtime. Where
do we stand now with Mr Wallace
gone?
ALEXANDER
Each and every one of your deals -
every detail that Finn carried in
his head - I have in mine. Only I
know how to take what that great
man started, and make it better.
For all of us.
The atmosphere of the room starts to ease.
Once concerned faces settling as he continues to speak with a

calm and confident power.
I’ll be personally liaising with
our financial partners at BNT to
get all laundering facilities
stable, and functioning as always.
I’ll make myself available to speak
to each of you individually to
improve operations across the
board. Trust me, once our investors
are satisfied, it will be business
as usual, and then we all prosper.
ED watches, as the potential of his son starts to come to

fruition.
39 INT. THE WALLACE HOUSE, CORRIDOR - DAY 2 39
DANNY moves cautiously into the deserted main room...
He stops as he sees the coffin - curiosity nudging his

footsteps ever nearer.
Dares himself, moves towards it - fear increasing as he

reaches out and gently lifts the lid of the coffin.
SEAN (O.S.)
Nothing to be afraid of, Danny...
SEAN walks past him, stands over the coffin. Gestures at

DANNY to join him.
SEAN (CONT’D)
Come here.
DANNY walks over slowly, afraid.
SEAN (CONT’D)
Come on. Come to your Uncle Sean.
As he nears, SEAN opens the coffin. Danny’s eyes widen as

Sean gently picks him up and holds him above the open coffin,
over the corpse of FINN WALLACE.
SEAN (CONT’D)
See that man there...
DANNY sees FINN, his broken, reconfigured face - put back

together the best it could be - instantly turns to hide
himself in SEAN's shoulder, he stops him.
SEAN (CONT’D)
It’s okay Danny, you don’t need to
be afraid. Be strong, don't look
away.
DANNY makes eye contact with MARIAN as she walks past, still
working the belt in her hand.
She sees how uncomfortable and afraid he is, but continues

into the hallway leaving him to dig deep, to find the courage
alone.
SEAN (CONT’D)
That man there, he loved you. Loved
you like you were his own.
DANNY
He looks... empty...
SEAN
(gestures at the board
room)
All those people in there - they’d
be nothing if it wasn’t for this
man. They loved him.
DANNY
But-
DANNY’s not sure whether to say it. SEAN gives him a

reassuring look.
DANNY (CONT’D)
If they loved him, why did they
kill him?
SEAN looks at DANNY with shock. How does he know that?
The scar where his face has been put back together.
A reminder of the crime. Of the violent rage that took him.
It sparks something in Sean. An impulse.
Puts DANNY down and starts walking. Faster. Feet hitting the
floor like fists pounding flesh.
Meets MARIAN in the hallway. But she does not intervene.
Keeps the path clear for him to head to...
ED
...we’d like to thank you all
for...
Door bursts open and SEAN walks in.
ED looks on cautiously, wasn’t expecting Sean, no one was.

Alex, unseen by the room, winces. He knows where this is
going.
In the moment of stunned silence, NASIR spots an opportunity,

stands up fast, offers his hand -
NASIR
Sean, I know I speak for everyone
here when I say how deeply sorry we
are for your loss.
SEAN briefly shakes NASIR’s hand, doesn’t make eye contact

with anyone, sits at the opposite end of the table from ED.
ED, still rattled, resumes his role as chairman -
ED
As I was saying Alex and I...
(regathers)
Alex and I would like to thank you
all for coming. Today we mourn the
loss of a great man, but tomorrow
we shall honour his memory.
ALEXANDER watches SEAN uneasily, as he stares calmly into the

table.
ED (CONT’D)
I assure you that it will be
business as usual from now on.
SEAN
No. The tap stays off.
Shocked silence as the news settles in the room. ED sits in

stunned disbelief at being contradicted.
SEAN (CONT’D)
Nothing gets brought in. Nothing
gets shipped out. No dirty money is
washed. No one sells a fucking gram
on those streets -
Protesting VOICES - SEAN ignores them, reaches into his

pocket, places something on the table.
SEAN (CONT’D)
It’s what my father would have
done.
He lifts his hand up to reveal a spent bullet on the table.

Now they’re all looking at the bullet. ALEXANDER and ED
glance at each other - this can’t happen -
SEAN (CONT’D)
Everything stops until I find out
who killed him.
MARIAN stands at the door to Finns office - listening to the

muffled shouts of protest emanating from the boardroom.
The screwdriver pops through the belt in her hands, making a

new hole.
She looks back into the office, and hands the belt to BILLY
in the office - he takes it, and threads it though his
trousers as MARIAN looks back to the closed boardroom door.
She listens intently; but now it’s quiet...
SEAN sits calmly. LALE tries to reason with him:
LALE
Sean, think about it. When business
stops, people stop talking.
She’s got everyone willing SEAN to see sense.
LALE (CONT’D)
Keep the gates open, the sooner my
dealers will hear something -
SEAN
- and the sooner you start making
money and forget my Father was
killed. No. The only business
that’s going to get done - will be
finding out who pulled the trigger.
GANG LEADER 1
With respect. You seem intent on
punishing us. Your business
partners.
SEAN
My customers.
GANG LEADER 1 chooses to ignore the cheap insult. Others

around the table less so...
GANG LEADER 2
But we all know, your father was
killed in an Albanian tower block,
on Albanian turf - forgive me, but
I look around and I don’t see the
great white Albanian chief - just
an empty chair.
A lot of agreement on that -
ED
Luan is cooperating -
GANG LEADER 2 scoffs. Ed ignores it.

ED (CONT’D)
...the Albanians are trying to find
out as much as they can -
WONG’s plea to ED - to the whole room.
WONG
(meaning Sean)
Who is in charge here, Ed?
But before Ed can answer -
ALEXANDER
Sean is. And he’s made himself
clear.
Sean looks across to Alexander. Deep in his eyes, there’s a

reluctance to his solidarity.
But he still acknowledges the sentiment. Faintest of smiles.
He’s always had his back. Empowers him.
SEAN
If you want access to our business,
you’ll hunt down my father’s
killer.
SEAN stands, picks up the bullet.
SEAN (CONT’D)
I’m sure he’s not that far away.
SEAN walks out. As he goes, he glances to Alex and gives a

small grateful nod. Alex returns the nod, while Ed stands to
head off the protest -
ED
OK, everyone - give me time, the
boy is clearly emotional, he’s
about to bury his father. Please,
we will sort this out -
But the GANG LEADERS are standing up, walking out.
ALEXANDER remains calm, confident. Leader-like.
ALEXANDER
We’ll see you at the church.
ED leads the group out, angry mutters drift away. Alex is

left in the room to consider. He notices one figure who has
remained sitting.
NASIR
You know this won’t work for us,
Al.
ED watches from the open door.
ALEXANDER
Nasir, please tell your father -
this won’t affect our arrangement,
We’ll make sure of it.
NASIR, reassured, nods before he leaves.
Meanwhile, outside the house LALE observes at a distance,

controlling her anger, for now. She speaks to HAKAN (40s),
her chief lieutenant, in Kurdish.
LALE
Divert the boat. Send it somewhere,
anywhere else -
As NASIR leaves, ED looks towards Finn’s office. Through the

doorway Sean stands behind his father’s chair, finger tips
digging deep into the material.
Ed again looks towards the office. Sean takes a breath, and

lets go of his grip on the chair and walks out of sight.
Leather creaks as it slowly returns to its original shape.
43 EXT. ALLEYWAY - DAY 2 43
Sludge water drips from the mouth of a stained green

drainpipe.
A hand enters frame, plunges into the open drain below.
Hand to wrist, wrist to elbow, past the rolled up sleeves of

his white shirt.
Meet ELLIOT FINCH (30s) grimacing as his arm is swallowed all

the way inside the drain.
Eyes dart as he searches blindly. Determined, desperate...
Reaches so far, his lips brush the edge of the drain.
Finds what he was looking for. Pulls out a bundle of cash

wrapped in cling film, dirty water dripping from it as he
shakes it dry.
He looks around at the dismal deserted alleyway, city sounds

all around, wet dirty money in his hand; this is not how life
was supposed to pan out...
He peels open the cling film, counts a few notes off for
himself, thinks it through, ‘fuck ‘em’; he skims more cash
from the bundle, pockets ‘his take’, wraps the cash back in
the cling film.
He grabs at his dark suit jacket that hangs from a nearby

wheelie bin, slings it on; pulls out a black tie; knots it as
he walks to the end of the alleyway...
44 EXT. CHURCH STREETS - DAY 2 44
...out onto a street cordoned off by police.
Esteemed guests gather around the steps of a church.
ELLIOT looks around him, spotting faces of territorial bosses

- as he brushes shoulders with these people.
Ashamedly tries to conceal the stain on his sleeve.
A wave of languages and culture pass by. We hear them left

and right. Front and back.
Slows as he spots the funeral procession approaching.
45 EXT. CHURCH STREETS - DAY 2 45
A hearse carries the coffin at a slow walking pace. Wreathes

decorated with floral tributes: ‘FATHER’, ‘FINN’. Petals
flutter in the wind
A few steps behind, the mourners follow:
The Wallace family in a show of unity: MARIAN walks arm in

arm with SEAN and BILLY. She glances back at her other child,
walking a few steps behind.
JOSEPHINE ROBINSON (mid-30s) dark sunglasses partially

obscuring the tracks of her black, mascara-bleeding tears.
She’s heavily pregnant, and holding the arm of her husband,
JAMES. She looks back at her mother with blank indifference.
ALEXANDER and ED follow, breaking the line of immediate

family. Their years of service have earned their place.
The end of the line is held by SHANNON. She holds DANNY’S

hand, he’s doing his best to walk respectfully but he can’t
help being fascinated by the spectacle.
And walking along the pavement, unnoticed, blending in with

the few passers by, keeping pace with procession, is
ELLIOT...
As the wind picks up SHANNON clutches at her hat, bowing her

head.
A wreath spelling out “FINN” topples from the carriage and

hits the road with a muffled thud.
ELLIOT moves fast - reaches the fallen tribute before SEAN’s

feet grow near.
As he carefully lifts the wreath and secures it back in

place. Shannon watches, taken by the gesture.
Suddenly, ELLIOT’s attention drawn to another set of eyes on

him.
MARK’s. Only they are far less warm. Far more angry in fact.
A look of what the fuck are you doing aimed right at Elliot.
Stolen thunder.
ELLIOT backs away. Disappearing away from the procession.
Reminded of his place in all this.
46 EXT. CHURCH - DAY 2 46
As the procession arrives, SEAN looks up the steps and into

the empty church beyond.
This is it. The place that he must say goodbye to his father.
SEAN stops. The procession slows.
Looks back - Mother, brother, sister, friends, enemies -

everyone is waiting for him to enter. He remains, paralysed
for a moment.
ALEXANDER walks up, puts an arm on SEAN’s shoulder.
SEAN
(quietly spoken)
You think I did the wrong thing?
ALEXANDER doesn’t want to get into that here -
ALEXANDER
It’s not important right now, mate.
What’s important is we’re united.
SEAN
I love you Alex, but it has to be
my way on this. It matters.
ALEXANDER
Then we’ll make it our way.
SEAN takes a deep breath and nods. ALEXANDER smiles and hugs
him, a genuine hug between ‘brothers’ united in grief.
Alex glances back down the steps at the faces now beginning
to notice Sean’s moment of indecisiveness.
Go inside, your family needs you.
I’ll take care of out here.
SEAN nods takes his mother’s arm. With BILLY on the other
side, the family follow Finn’s coffin as its carried into the
church...
ALEXANDER joins ED and MARK who stand by the church doors.

He looks out at GANG LEADERS arriving, police photographers
with long lenses taking pictures of the mourners. His concern
grows as he sees the bodyguards and entourages in tow.
They’ve brought their dogs with
them...
ED
This is what happens when you
create uncertainty: people get
nervous.
ALEXANDER
(to Mark)
Get their people off the streets -
That’s what the pub’s for - I want
them all inside. Now.
MARK moves away to deal with the situation.
Meanwhile, LALE walks to the church, her chief lieutenant,

HAKAN, moves through the mourners: he has information for
her: They speak Kurdish; subtitled -
HAKAN
We couldn’t reach them in time. Our
entire cargo is sitting at their
docks. It’s a complete shut down.
Can’t get anything out.
LALE
Then buy me someone who can.
HAKAN
They’re all on Wallace payroll.
LALE
All we have is in that dock. We
can’t wait a day longer just
because a “dead man’s son” has said
’no’. He has known one death. One.
He’s a child.
HAKAN
Leave it with me.
LALE nods at HAKAN, grateful as he heads back to the street.
She pulls a black veil over her face.
LALE
Grief is expensive.
In the midst of all this ELLIOT watches as MARK, under

pressure, shepherds the entourages in the direction of the
pub.
As Elliot follows, he passes and notices, with some surprise,

the instantly recognisable figure stepping out of a taxi...
JEEVAN KANATHIGODA, late 30s, Sri Lankan British; political

advisor / trendy tech-millionaire; all smiles and charm,
poster boy for his community - if ever there was a man who
got into power to serve the people - this isn’t him.
As he closes the door to the black cab and heads towards a

side entrance to the church, we pick out NISHA (30s, British
Indian) and her fluid movement through the crowd; we don’t
explain her here, you won’t see her for a while...
47 INT. CHURCH - DAY 2 47
ED is waiting at the door as JEEVAN enters. They walk

together towards the front of the church.
ED
Good of you to come -
Jeevan’s voice lowers as he continues his step.
JEEVAN
Of course. They send their
condolences.
They reach the empty pew, reserved for VIP’s.
Meanwhile, off screen.
JOSEPHINE
No, mum.
Ed turns gives a cursory glance.
Sees MARIAN reaching for Josephine’s stomach.
Sees her recoil. Unlike any daughter to a mother should.
Sees Sean watching him and Jeevan, Ed smiles reassuringly to

Sean - then returns to his conversation. A conversation we
aren’t privy to.
Sean isn’t privy to it either, but distracted, turns his

attention to - MARIAN as she walks past him at some pace,
emotionally hurt by the rejection.
SEAN
Mum.
No answer. Head down. She exits to the lobby for the

toilets...
SEAN (CONT’D)
(to Billy)
They gonna be okay?
BILLY
Dad’s dead. They’re in the same
room. What do you think?
SEAN walks up to JOSEPHINE - looks as his mother is consoled

by ED in the front row.
SEAN
Come on Jo, just come to the
front...
JOSEPHINE
Don’t start, Sean.
SEAN glances at JAMES.
JAMES looks ahead, terrified of being pulled into this.
SEAN
Jo, for the both of us, please.
It’ll be ok. I’ll sit between you.
(smiles)
If we can get one good thing out of
today -
JOSEPHINE looks at SEAN. Then at BILLY standing awkwardly

behind him. It’s the same old story every time.
She relents, stands up. SEAN takes one hand, BILLY takes the
other.
JAMES watches as his wife walks away to the front of the

church between her two brothers.
48 INT. PUB - DAY 2 48
A dart thuds into a board, followed by two more. WONG’s men

play darts as ELLIOT enters the pub and walks behind them.
Foot soldiers and sub-bosses belonging to the gang leaders

now fill the pub - another huge wonderful criminal
multicultural mix.
Enemies sit under one roof, coexisting on neutral ground, for

now...
ELLIOT crosses the room towards JIM, (70’s) dour faced,

lifelessly plugging coins into a fruit machine.
JIM
United Nations in here today -
ELLIOT puts the cling-film cash on the machine. JIM grabs it -

quickly pockets it - then notices that ELLIOT is dressed in a
suit and black tie. Takes in the soiled shirt cuff -
JIM (CONT’D)
Fuck me! What were you hoping? That
they’d ask you to carry the coffin?
JIM laughs.
ELLIOT
Fuck off, Jim. There’s a lot of
people out there - crowd control
and that...
JIM
Yeah well they’re all in here now.
So stay put. It’s a funeral, not a
job interview.
(another glance)
Suit and tie can’t hide a washed up
squaddie. No matter how hard you
try. You’re stuck with me.
Click. Nudge. Nudge. The fruit machine comes to life as JIM

wins “reasonably” big.
A percussion of pound coins spitting out.
JIM (CONT’D)
Things are looking up.
ELLIOT
They’re about to bury your boss.
JIM
Twenty years of service and I never
even met the man.
An outburst of Cantonese as WONG’s foot soldiers protest as

the Serbs walk in front of the darts board.
JIM (CONT’D)
The money you just skimmed from me:
buy us both a drink with it, then
put the rest back.
ELLIOT looks out of the window - he can see the church down
the street.
ALEXANDER watches the last of the mourners arriving, then

heads further down the street towards GORDON PETERS (50s)
schlub of a detective, standing against an unmarked police
car.
ALEXANDER
Detective.
GORDON stealthily slides a slip of paper into ALEXANDER’s

hand.
GORDON
You’re going to want to see that.
[You’ve] got about an hour until
the footage is transferred over to
the murder investigation team.
ALEXANDER’s attention is taken by three black Range Rovers

drawing up outside the church -
GORDON (CONT’D)
Make sure your dad knows that came
from me -
But ALEXANDER is focused on the Albanian gang members

disembarking - in particular as LUAN (40s), a handsome
Albanian gang leader, steps out.
This could be very big trouble.
MARK directs the Albanian entourage to the pub, amongst them

is BESMIR (30s), balding, bad skin; a real mongrel of a man.
ALEXANDER watches as LUAN, flanked by TARIQ, his lieutenant,

walk towards the doors of the church -
50 INT. CHURCH, LOBBY - DAY 2 50
ED welcomes the last of the guests into the church - polite

greetings and handshakes.
Surprise as LUAN and TARIQ step inside...
ED
Luan - is this wise?
LUAN approaches, something deep concerns him.
LUAN
(hushed)
Ed. I must say, I was... surprised
not to be invited to such an
important meeting of minds this
morning.
ED
We didn’t invite you to the church
either, but here you are.
LUAN
Am I really that unwanted?
ED’s hard face suggests that he’s not wanted at all.
LUAN (CONT’D)
I’m here to pay my respects, the
same as everyone.
As SEAN takes his seat, he takes one last glance towards the
entrance to the church, and sees:
ED talking to none other than LUAN.
52 INT. CHURCH, LOBBY - DAY 2 52
LUAN
I need to know our agreement will
still be honoured.
ED’s expression suddenly goes flat. Poker face on.
ED
Your agreement died with Finn.
LUAN
Ed, I’ve honoured my side of the
arrangement -
ED’s eyes flash for an instant.
ED
There’s nothing honourable about
what you did.
LUAN
What I did, for him.
ED
Now’s not the time.
LUAN
When is?
ED
Not now.
LUAN turns and sees what ED saw - SEAN approaching.
LUAN smiles predatory at ED.
SEAN
[What the] fuck is he doing here?
LUAN
Sean, we’ve never been properly
introduced, Luan Dushaj -
LUAN holds out his hand. SEAN is too angry to reply. LUAN is
quick to go on -
LUAN (CONT’D)
At moments like these, I know that
fingers are quick to point-
SEAN
Yeah, and they’re only pointing in
one direction
LUAN
I can assure you, we had no hand in
his death. But we will find answers
ED puts a hand on SEAN’s shoulder.
SEAN
Look forward to it. Now take a seat
and pay your fucking respects.
SEAN turns and leaves.
LUAN
(to Ed)
It’s a trying time, I’m sure.
LUAN nods, excusing himself.
FACES watch as...
LUAN and TARIQ walk along the aisles. As he watches SEAN take
his seat, LUAN speaks quietly to TARIQ in Albanian.
LUAN (CONT’D)
A boy like him would burn cities
just to convince the world he’s a
man.
LUAN and TARIQ find a place to sit. There’s a lot of people

looking at them.
Which is mirrored by...
The multi-ethnic mix of foot soldiers turn and look as the

Albanians walk in.
JIM still focused on the gaming machine sees their reflection

as they walk past and over to the bar.
JIM
Fucking nerve on them. Coming here.
You know I offered to send a couple
of boys over there. Make it right.
ELLIOT
That’s kind of you.
JIM
(backtracking)
Well I say I offered. I thought
about it.
ELLIOT
It’s the thought that counts, Jim.
ELLIOT walks to the bar.
ELLIOT (CONT’D)
Alright Bes?
BESMIR
Are we good?
ELLIOT
Ish.
BESMIR
I have nothing to hide.
ELLIOT
Regardless. You lot shouldn’t
really be here.
BESMIR
Is that so?
A huge GOON of an Albanian steps up to the bar, stands

between BESMIR and ELLIOT.
Towers over ELLIOT. Looks up at him.
ELLIOT
Take a step. You’re blocking the
sun.
BESMIR smiles, his soft warning.
BESMIR
Elliot, seriously? He hasn’t had
breakfast yet.
ELLIOT
So why’d you kill Finn?
The GOON swipes a glass off the bar. ELLIOT doesn’t flinch.
ELLIOT (CONT’D)
That’s not mine.
BESMIR looks around, senses the rising tension, and speaks

rapidly in Albanian to the GOON to stop him.
BESMIR
(to Elliot)
Are you for real?
ELLIOT doesn’t back down - something is stirring in him.
BESMIR (CONT’D)
(to Jim)
Jim, you gonna let this prick bark
at me?
JIM whistles at ELLIOT.
Beyond patronising. Borderline humiliating.
ELLIOT
‘the fuck, Jim?
JIM
We’re keeping the peace here,
Elliot. No matter the cunt. Heel.
The shame of it. That tired old man. His “boss”.
ELLIOT walks towards JIM - burning with humiliation. Everyone

watching him - a few smile at the whipped dog.
Stops. Looks at the door to the pub, sees through the green
tinted panel glass a view of the church in the distance.
A building, filled with opportunity.
A decision.
ELLIOT
(nonchalant)
To Finn Wallace!
ELLIOT downs the rest of his pint, throws the glass so it

explodes near the head of the ALBANIAN GOON.
Gangs erupt and cheer, laughing. The ALBANIAN GOON turns

startled but unharmed. JIM turns around, ‘what just
happened’?
But ELLIOT is out the door -
54 EXT. PUB - DAY 2 54
ELLIOT moves away from the pub - checks to make sure no one
is coming after him - no one is...
There’s a rage and anguish to him now, this is about more

than just missing a job opportunity: he’s defeated,
desperate, lost...
The streets are almost empty now, feels like a ghost town.
ELLIOT stands indecisive - no hope, and no plan...
ED
No Blacks. No Irish.
ED speaks calmly and powerfully into a small microphone on

the lectern.
ED (CONT’D)
So Finn and me hit the jackpot.
The congregation of mourners smile, listening to Ed’s eulogy.
MARIAN looks past SEAN at JOSEPHINE who looks ahead, ignoring

her mother.
ED (CONT’D)
Finn came over, a 12 year old
immigrant, all alone. We met in
London, young teenagers; every one
of those doors closed to us. I got
angry. Finn got busy. He led. I
followed. He saw hope in this city.
Instead of suffering the indignity
of prejudice, he drew strength from
the barriers that were put up to
deny him and he vowed to take them
down.
ED’s eyes scan across the assembled guests - LUAN, flat

expression as he regards SEAN; LALE, eyes fixed on the back
of NASIR; WONG further back strains to hear the words; JEEVAN
looks attentive; no hint of the cynicism coursing through his
veins...
ED (CONT’D)
Finn did things differently, he
built a new world, where a man’s
success was not determined by the
colour of his skin. London was open
to all who came - it became a place
where we could coexist, grow
stronger. Together.
ED looks towards the coffin - genuine emotion.
ED (CONT’D)
He took the best of us, created
something unique. Something that no
door could keep out. I am so proud
to have known the man, to have
worked for him all these long
years. When I lost...
(steadies himself)
(MORE)
ED (CONT’D)
...when I lost my beautiful Ayana -
it was Finn and Marian who helped
shield Alexander and Shannon from
the pain of watching her fade. They
took them in, showered them with
the warmth and love I struggled to
find. From that day I truly felt
part of his family, and have since.
And with his passing, as I look to
those that survive him -
(looks to them)
I promise my heart and soul to you.
56 EXT. PUB - DAY 2 56
ELLIOT, still standing aimless, sees MARK and his SECURITY

TEAM walking at a pace around the side of the church.
Something is happening.
ELLIOT follows...
57 EXT. CHURCH GROUNDS - DAY 2 57
Video footage plays on ALEXANDER’s phone screen.
An empty narrow street, with a building on one side. No sign

of life.
MARK and his TEAM are huddled around the phone in a quiet
corner of the church grounds.
ALEXANDER
This is from the back of the
building. Watch -
He reaches over, scrolls through the footage - timecode

speeding by, until - the video plays out in normal speed:
A white van pulls up to the curb. Doors pop open - a group of

balaclavas rush out, make an immediate charge for the
APARTMENT BLOCK and disappear.
Again ALEXANDER scrolls through.
The van sits. No movement again. Until the building door

opens. The balaclavas reappear, but this time they carry
someone. Barely moving but showing some signs of life.
That’s Jack. Finn’s driver. He’s
still alive.
JACK is bundled into the van and the balaclavas follow him.
The doors close, and tyres turn as the van speeds off.
PAUSE.
The white van hovers half out of frame.
ALEXANDER looks up at the assembled men.
(points to white van)
...if we find them, we find him.
ELLIOT O/S
Play it back.
Everyone turns around towards the unexpected voice - ELLIOT

is at the back of the huddle.
MARK stares daggers, recognising ELLIOT from earlier.
ALEXANDER
Who the fuck are you?
ELLIOT
I work for Jim.
ALEXANDER
Who the fuck is Jim?
ELLIOT
(to Alexander)
Play it back, I think I know that
van.
ALEXANDER makes his way through the men over to ELLIOT . He

re-cues the video and presses play.
ELLIOT waits for the van to appear. As it does, he reaches

forward. Hits pause. Points at it on the screen.
ELLIOT (CONT’D)
That’s Besmir.
ALEXANDER
(to MARK)
Who?
MARK shrugs, clueless. Before he can say anything -
ELLIOT
One of Luan’s guys
(to MARK)
You literally just walked him
across the street. He’s in there
downing shots as we speak.
FACES turn towards the pub - Now he’s got their attention.
MARK, humiliated, can only glare furiously at ELLIOT.
ALEXANDER
(to ELLIOT)
You’re sure about this?
ELLIOT
Broken headlight passenger side.
Dent in the back. Cheap little
beads hanging off the rear view.
It’s his van. It’s him.
ALEXANDER holds a look for a moment. Takes in ELLIOT.
ALEXANDER
Alright...You go over there, show
him...
(meaning MARK)
...who you’re talking about.
ELLIOT
Of course -
ALEXANDER
And that’s all you do. Nothing
more.
(to MARK)
Don’t lose sight of him, don’t do
anything; nothing kicks off. We’ll
handle it after the funeral. If he
leaves, you follow - but low key -
unseen - understood?
He gets a nod from MARK. Then ALEXANDER’s look at ELLIOT.
Do not fuck this up.
ELLIOT watches ALEXANDER walk off fast.
58 EXT. STREET NEAR CHURCH - DAY 2 58
ELLIOT walks with MARK towards the pub - three of his

SECURITY TEAM walk with them. MARK addresses his men.
MARK
Right, let’s take the fucker out,
make sure my path is clear.
ELLIOT
Wait-
MARK looks at ELLIOT with a blank look.
ELLIOT (CONT’D)
Alexander said-
MARK
Fuck that office boy, he’s out of
his depth: We’ll take him straight
to Sean ourselves-
ELLIOT
No, this isn’t-
MARK spins, slugs Elliot in the gut with a sucker punch.
MARK
Either stay down or fuck off - I
know what an Albanian looks like.
Mark and his men enter the pub, leaving ELLIOT on the floor
outside.
ELLIOT looks back towards the church, door closed, streets

empty.
He hears the commotion from inside the pub and picks himself
back up onto his feet.
Whatever MARK’s plan was, it is unfolding in real time behind

the green bubble glass window. A mass of shapes rolling and
tumbling.
Now or never. ELLIOT makes his decision.
BAM! The door to the pub slams open, ELLIOT storms in - we

follow from behind in a single, unbroken take.
ELLIOT sees MARK being beaten by the ALBANIAN GOON - two of

MARK’s men already floored and hurt. JIM, bemused, takes
refuge under the shelter of the fruit machine.
Foot soldiers - from the other gangs look on with a mixture

of surprise and amusement, enjoying the show.
ELLIOT rushes for the ALBANIAN GOON mid-beat down.
Kicks out hard, detaching the goon’s knee cap. As he falls,

ELLIOT grabs a thick glass ashtray and slams it into his
mouth, taking a few teeth with it, before slamming his face
into the bar.
A horrible wet smacking sound is interrupted by the cascading

glass of the shattered ashtray as it bounces against the
floor.
ELLIOT sees Mark - stumbling around blood pouring from his

mouth, leaves him to recover for himself. He has a far more
pressing issue at hand - where is Besmir?
He heads towards the open door to the beer garden, grabbing a

dart from the empty pint glass on the bar as he passes. Tucks
it between his fingers, gripping it tight.
60 EXT. PUB, BEER GARDEN - DAY 2 60
ELLIOT steps out, pumped up -
ELLIOT
Besmir! Where the fuck is Jack?
Fight or flight, BESMIR chooses the latter, scrambling

towards the back fence.
BESMIR’s men, step between their boss and ELLIOT.
ELLIOT simply doesn’t have time.
Maximum damage, minimum amount of blows - every hit counts

and they come in hard and fast.
Dart gripped tightly in his fist - he takes BESMIR’s men out -

puncture wounds in elbow joints, heads smashed into tables -
ruthless efficiency.
The wall has fallen, leaving ELLIOT to hound BESMIR’s every

step as he clambers over the fence and drops down...
61 EXT. ALLEYWAYS - DAY 2 61
ELLIOT’s feet land heavy on the gravel ground, charges after

BESMIR through this claustrophobic residential alleyway.
62 EXT. STREETS - DAY 2 62
Out into the open, ELLIOT continues to close the gap to

Besmir as they charge past a backdrop of civil unrest.
Freshly erected tower blocks cast a shadow of uncertainty

over the last remaining protestors who clash with
construction managers.
BESMIR turns a corner and charges up the steps of a recently

boarded up complex.
63 EXT. OLD COMPLEX, COURTYARD - DAY 2 63
“A New Future For An Ever Growing City” the slogan reads. At

a later point in our story this will carry significant weight
but for now…
BAM! A muddy football bounces hard against it, leaving a

stain of puddle water and mud to slide down.
Kids playing football in the run-down courtyard stop and

watch as Besmir runs through them. ELLIOT shortly after.
BESMIR approaches a balcony wall - leap of faith - jumps over

and drops down to an underground car parking area below.
ELLIOT continues to echo his movements. Step for step. Hurls

himself over and down.
64 EXT. OLD COMPLEX, UNDERGROUND CAR PARK - DAY 2 64
Closes the gap. Enough to grab BESMIR by the collar and spin
him around, hurling him into some nearby industrial bins.
Lifts his tired, injured body up against the wall.
ELLIOT
Where is he?
BESMIR
I swear I don’t know what -
ELLIOT
Fuck you! You were seen! Your van.
Very quick to arrive, scooped him
up -
BESMIR’s world just fell in -
BESMIR
Fuck you, Elliot.
ELLIOT
I work for the Wallaces now - you
want to fuck with them?
Another shock for BESMIR. ELLIOT tightens his grip.
BESMIR
Wait, wait, wait!
ELLIOT increases the pressure on BESMIR’s neck, impatient.
BESMIR’s face turns red, neck straining under the pressure.
BESMIR (CONT’D)
We were out picking up tabs, we
heard gun shots - we were streets
away. I get a call, shit’s going
down - we just turned up to it
ELLIOT slams Besmir’s face against the concrete wall, scrapes

it across, tearing at the skin.
BESMIR (CONT’D)
(in pain)
I swear it’s true, we didn’t expect
to find what we did.
ELLIOT
So why not hand him over to the
Wallaces? Get the glory - and a big
fat thank you?
Before BESMIR can answer, A car roars into the carpark,

blocking the only escape route.
ELLIOT’s face falls as he sees the occupants - BESMIR’s foot

soldiers stare out of the open windows, including the huge,
bloody, and very angry GOON...
ELLIOT feels the power shift. BESMIR feels it too.
ELLIOT pulls out a blade, presses it against BESMIR’s throat.
ELLIOT (CONT’D)
Is the driver alive?
He gets a slight nod out of BESMIR. Elliot considers his

options - the dead end behind him, and the opening car doors
in front.
ELLIOT (CONT’D)
Take me to him -
BESMIR
Elliot, you have no idea -
ELLIOT presses the knife closer.
ELLIOT
Take me!
At this, the approaching goons calmly exit the car, each

carrying shotguns. Elliot tightens his grip on the knife.
Both sides assess the situation. BESMIR smiles, a shark’s
smile.
BESMIR
Whatever you say.
**** HALFWAY PART BREAK ****
SEAN
Respect. Honour. Dignity...
SEAN stands at the lectern; voice full of emotion.
SEAN (CONT’D)
These are the things my father
taught me.
MARIAN nods gently, gazing up proudly at her son. She looks

across, the empty space vacated by Sean the only thing that
separates her from JOSEPHINE.
Reaching into her bag she pulls out a book wrapped in brown
paper, rests it on the seat between them. Finally they look
eye to eye.
JOSEPHINE peels open the wrapping. A children’s book, first

pressing - the sight of it alone fills her with memories of
her father, of him reading it to her at night, tears growing.
SEAN (CONT’D)
His loyalty to us, his family, and
those that worked for him was
unflinching. Today we may lay him
to rest, but he has not gone from
this world. Look around you - every
corner of this city will remind you
of him. Every development, you’ll
see prosperity to the downtrodden
and the disadvantaged.
A few rows behind ED, we see TARIQ’s face illuminated,

hunched over the glowing blue light of his phone.
News has spread.
TARIQ leans over and whispers into LUAN’S ear. LUAN’s eyes
widen in the dark.
SEAN stumbles. Movement catching his eye. He watches as LUAN

stands and slips silently out of the door.
The guests look expectantly up at SEAN, waiting for him to

continue.
He glances over to where ED and ALEXANDER sit, but ALEXANDER

has already been watching them, and himself slips silently
out of the nearest door.
SEAN refocuses, and continues.
SEAN (CONT'D)
My father gave his life to this
city. There are of course those who
betrayed him - betrayed his
trust...
ED suddenly focuses on what SEAN is saying - this is

dangerous territory - but MARIAN nods - urging the boy on...
SEAN (CONT’D)
They soon regretted it, and I swear
on his grave today that they always
will...
As he exits the church, ALEXANDER catches a glimpse of Luan’s

car, driving off and away, fast.
Something’s gone wrong. Something big. Gears turning,

Alexander looks towards the pub.
The door opens and ALEXANDER enters.
Aftermath of broken glass and furniture.
Sees in the corridor of the toilets, MARK nursing his wounds.
68 INT. CAR - DAY 2 68
ELLIOT sits in the back of the moving car, blade still

trained on Besmir’s throat.
The huge GOON looks back from the front passenger seat.
BESMIR observes ELLIOT, sees the fear of the unknown creeping

into his eyes as he watches the city pass him by.
Smiles.
ELLIOT spots it. Does his best to shake it off.
A phone rings. The huge GOON answers. Listens.
He turns around, looks at ELLIOT as if he were lunch; cold

eyes locked on him as he passes the phone to BESMIR.
BESMIR takes the phone, gestures to Elliot as if asking for

permission. ELLIOT allows him.
BESMIR umm’s. A lot. Doesn’t give anything away. Doesn’t say

anything. In any language.
ELLIOT tries to read him. But is distracted as the GOON gives

instructions to the Driver.
The moment ELLIOT focuses on them, BESMIR clicks the phone

shut.
ELLIOT flinches, presses the blade harder against BESMIR’s

throat.
BESMIR enjoys the shift in power.
BESMIR
Almost there.
The car turns onto an everyday, commercial high street.

ELLIOT
You’ve been keeping him here?
BESMIR
Would anyone have looked?
The car stops. The door locks pop open.
He looks at the goons in the car.
ELLIOT
They stay.
ELLIOT opens the door, grabs BESMIR by his collar...
69 EXT. HIGH STREET - DAY 2 69
ELLIOT drags BESMIR out of the car onto a busy high street
with heavily populated ethnic food stores, salons, newsagents
and bureau de changes.
Passers-by recoil at the sight of the knife in ELLIOT’s hand.
ELLIOT
Where?
BESMIR points, they head for a desolate building - plain

white door - no signage - greased windows hiding what lays
within.
ELLIOT looks back to the car, Besmir’s men have exited,

cautiously following them at a safe distance.
Sees eyes of passers-by.
Hold it together. Breathe. See it through. Absolute

conviction.
Opens the door.
70 INT. CAFE - DAY 2 70
‘Ting’. A small hanging bell sounds out.
ELLIOT takes in the room. It’s not what he was expecting.
No armed goons anywhere to be seen.
Just a few elderly men playing cards, reading Albanian

newspapers sat around cafeteria tables. The air above them
thick with smoke.
Albanian folk music gently plays from a pair of old PC

speakers, wire stretching to a CD Walkman.
A threadbare rug sits where a counter should be. Faded Balkan

folk art hangs where a menu should be.
Nothing is sold here, nothing is bought. No services offered,

no questions asked.
And most importantly, no outsiders.
The elders, all hang-dog faces - all stare at ELLIOT.
ELLIOT
I’m just collecting someone.
Nothing more.
A wrinkled, old hand grips at the handle of a sawn off

shotgun concealed beneath the table, but you’d never know it
to look into his heavy expressionless eyes.
BESMIR gives the tiniest shake of the head towards the ELDER.
ELLIOT taps the back of BESMIR’s head with the knife, like a
lazy horse. Humiliated, he leads ELLIOT to a door at the back
of the room.
As they approach, ELLIOT watches as one of the elderly men

casually moves to the CAFE entrance, and makes a point of
turning the lock.
No going back.
CORRIDOR
Dusty boxes filled with dusty paper and old broken office
chairs line the stained, damp walls.
The further they walk, the more subterranean it gets.

Corridor goes on forever.
The bustling city streets outside might as well be a million

miles away.
They turn a corner. TWO huge GUARDS stand in front of a heavy

steel door.
ELLIOT grips tighter, the knife’s edge brushing against

BESMIR’s throat -
BESMIR
(hoarsely)
Relax, Elliot.
BESMIR speaks in Albanian to the guards. One of them unlocks

the heavy door, pulls it open.
ELLIOT grips tighter as they pass the GUARDS, and enter the
room, eyes locked for any sudden movement.
71 INT. CAFE, BACK ROOM - DAY 2 71
ELLIOT’s eyes peer in through the doorway where he sees...
JACK, face covered in yellow-green days old bruises, sat

upright in an old fashioned hospital bed, tray of food in
front of him.
A television rests on an old warped filing cabinet, playing

out a daytime TV show.
JACK looks towards ELLIOT, still holding the knife to

BESMIR’s throat.
ELLIOT sighs with relief, releases his grip on BESMIR.
BESMIR
He’s in much better shape now than
when we picked him up, trust me.
ELLIOT
(to JACK)
Can you walk?
JACK looks at ELLIOT; like anyone worth anything to the

Wallace’s before today...
JACK
(weak)
Who the fuck are you?
ELLIOT
I’m going to take you back to the
Wallaces.
JACK doesn’t move. ELLIOT takes a step towards him.
ELLIOT (CONT’D)
Come on. Let’s get you up.
ELLIOT helps JACK from the bed, he’s very weak -
BESMIR
You make sure you tell Sean we took
care of him yeah; like I said we
didn’t know what was -
BANG! Out of nowhere, a small hole appears, swells through

BESMIR’s face.
He stands there wobbling. Legs late to react.
Blood streams out of his nose - eyes roll back white.
Drops limp to the floor.
ELLIOT freezes. Ears ringing from the gunshot.

Looks to the door. TARIQ enters gun raised.
The room stands still. Everyone except LUAN who follows

closely behind with the huge Goon with the limp.
LUAN takes the gun from TARIQ and wipes it with a

handkerchief.
ELLIOT can only stand, head spinning, face to face with one
of the city’s most feared gang bosses. On his territory.
LUAN
(to ELLIOT)
Don’t recognise you.
ELLIOT
No reason to.
LUAN is unmoved. Holds his stare.
ELLIOT (CONT’D)
(dry mouth)
Elliot.
ELLIOT looks to BESMIR, dead on the floor. LUAN hands TARIQ’s

gun to the huge GOON, and speaks to him in Albanian...
LUAN
Get rid of the body. If you get
caught, you did it. We’ll provide a
lawyer.
GOON
Yes sir.
LUAN
(to JACK)
I had no knowledge you were being
held here. I’m just glad to see you
were at least looked after.
Back to ELLIOT.
LUAN (CONT’D)
You got this far, I trust you can
find your way safely back.
Please...
Clears a path for them to leave.
As ELLIOT and JACK cautiously hobble their way to the door,

LUAN lowers his voice.
LUAN (CONT’D)
But Elliot? Do not ever come into
my place of business brandishing a
weapon again.
ELLIOT
I’m just here to retrieve what
belongs to the Wallaces...
LUAN
And I let you. Make that clear when
you take him back.
ELLIOT nods, and leads JACK out of the cafe with a DING of
the bell.
A moment of perfect quiet follows - LUAN takes a long breath

as his men stand still waiting for their boss.
LUAN looks across the cafe at Besmir’s sheepish GOONs,

awaiting their fate. He turns to TARIQ and speaks quietly but
firmly
LUAN (CONT’D)
(in Albanian)
Deal with them. I want to know what
has been happening on my own
fucking doorstep.
72 EXT. CAFE - DAY 2 72
Back outside, ELLIOT helps a shivering JACK down the street

towards a row of black cabs.
Passes by the first cab, peers in spots a driver who looks as

local to the neighbourhood as possible - all the way down to
the tasbih prayer beads hanging from the rear view mirror.
Moves on. Stops at the next cab, walks to the window...
ELLIOT
(to TAXI DRIVER)
Say something.
TAXI DRIVER
(thick cockney accent)
[the] fuck you on about mate?
ELLIOT
Good enough.
Satisfied, they get in and the cab pulls away.
73 INT. TAXI - DAY 2 73
As they move through the traffic, it’s clear that JACK is in

a bad way. Shivering, injuries not yet healed.
ELLIOT pulls out his phone, picks a song, cranks up the

volume - presses it against the cab’s intercom mic.
As music floods the drivers personal space, he watches them

in the rear view mirror. But the look from Elliot in return
is enough to make the DRIVER not question him.
ELLIOT
(to Jack)
What happened?
JACK doesn’t respond - strength fading.
ELLIOT (CONT’D)
Who killed him?
JACK
Just ... I fucked up. Should’ve ...
ELLIOT digs his grip harder.
ELLIOT
Who? Who killed him?
JACK coughs, bloody phlegm spraying down his chin.
JACK
Nobodies. Kids. I’m not ... a
fucking traitor.... Red Nova...
(slurring words tapering
off)
CV...97...
74 EXT. DOSS HOUSE - DAY 2 74
Close on a license plate, it reads: CV97 4LH.
Pull back to see the red Nova parked alongside an old

abandoned factory building. Bright yellow wheel clamp.
A parking ticket stuck to the windscreen flaps in the wind.
EOIN (O.S.)
We should leave. Should we leave?
75 INT. DOSS HOUSE, BEDROOM - DAY 2 75
Inside the empty building, now used as a makeshift doss house

for addicts and hideaways, EOIN sits on edge of the filthy
mattress, looking down at DARREN who lays, eyes open but
vacant.
EOIN shakes DARREN’s shoulder
EOIN
Darren!
DARREN
I don’t know, ok!
EOIN
They hav’ta know it was us.
DARREN doesn’t want to hear it.
EOIN (CONT’D)
An’ if they don’t by now, your da’
will.
DARREN
[We] got enough here to stay low,
jus’ have to wait...
EOIN
Wait? For how long? S’not like ye
fucking forget about something like
that.
DARREN has no answer.
EOIN (CONT’D)
(points to DARREN’s phone)
Try calling ‘em again, maybe they
can do something, help us.
DARREN
I keep tellin’ ya, it’s a dead
line. They fucked us. We’re on our
own.
EOIN is terrified at the prospect.
76 EXT. CAMPSITE - DAY 2 76
We track back with a nervous energy as KINNEY (50s), DARREN’s

father, hulking presence and leader of the traveller
community storms across the campsite.
Behind him, KEELA (EOIN’s girlfriend) is dragged along by a

group of his men, tears streaming down her face.
They cross past caravans and children straight towards

PATRICK as he and two of his friends work at pulling apart a
stolen car.
PATRICK dumps a carburetor behind him as he furrows deep

inside the open bonnet oblivious to his “boys” as they step
aside seeing KINNEY approach with anger in his eyes.
PATRICK
Ah bollocks, she’s leaking - grab a
towel for us...
KINNEY grabs PATRICK by the head and slams it repeatedly

against the engine. Then pulls him by the leg, body bouncing
hard against the car before hitting the ground.
PATRICK (CONT’D)
Fuck, Kinney! Please, no!
Kinney slides Patrick across the mud, positions him below a

bare wheel axle and kicks at the jack handle.
The weight of the car crashes down, the rim of the wheel
snapping his shin in two - burying it deep into the mud.
PATRICK screams out in pain.
KINNEY signals one of his men, who immediately starts jacking

the car back up, spins PATRICK’s body around placing his face
beneath the wheel.
Blood and mud drips down from the wheel, landing on PATRICK’s
trembling face.
PATRICK (CONT’D)
Fuck no Kinney!
KINNEY
Where’s your fucking brother?
He starts to turn the jack, the car jolts down - one crank at
a time - descending towards PATRICK’s face.
PATRICK
Ah Christ!
KINNEY
(points to KEELA)
Cos his girl says your braw had a
fucking pistol on ‘im and that he
n’ my boy were off to put a bullet
in some Albanian nobody. Now I
ain’t seen either since. But I know
they ain’t in fuckin’ hiding cos of
some dead Albanian.
We see in unflinching detail as the rusted, blackened

underside of the old car presses against PATRICK’s cheek,
pinching at the skin as it lowers further, pushing him deeper
into the mud.
PATRICK
I swear I don’t know anything about
it...
KINNEY
Well that makes two of us now.
KINNEY grabs hold of the jack handle.
PATRICK shoots a look to one of KINNEY’S men, MACK.

PATRICK
(to MACK)
Dad!
He’s met with a blank stare. PATRICK falls into desperation.
PATRICK (CONT’D)
E-E-Eoin - he asked to borrow her,
I had no fucking idea Kinney. God,
they were supposed to be back -
just said they were going to buy
drinks...
KINNEY’s grip around the handle tightens.
PATRICK (CONT’D)
Please. Don’t. I’ll do anything.
KINNEY
Find ‘em. Both of ‘em.
KINNEY lets go of the handle, steps over PATRICK leaving him

quivering in fear.
77 INT. THE WALLACE HOUSE, KITCHEN - NIGHT 2 77
SEAN paces around the kitchen.
SEAN
I want Luan!
ES stands. Looks exasperated. MARIAN sits at the table.

ALEXANDER stands to one side.
We’re in the middle of harsh words -
SEAN (CONT’D)
Right here, on his knees explaining
himself. His men took Jack, and I
wanna know why-
ED
Sean, please. Will you just stop?
SEAN turns. ED has just told a lion not to attack.
ED (CONT’D)
We don’t know the whole picture
here? We’re creating chaos and
confusion at a time when we don’t
need either.
SEAN
I have the entire city looking for
him.
ED
By starving it!
ED softens his tone.
ED (CONT’D)
You’re making enemies out of
business partners. And the longer
this goes on, the closer they are
to turning on you. On all of us.
SEAN
And we’re suddenly afraid?
ED
Marian, please...
MARIAN
I agree with Sean. It’s the right
move.
ED bristles, he expected her backing.
MARIAN (CONT’D)
Whoever killed Finn remains the
greatest threat to this family.
SEAN
If we back down now, they’ll walk
all over us.
ALEXANDER grows frustrated.
ALEX
Enough! Both of you. Our strength
lies in our smarts, in unity...
(to Sean)
That’s what your dad built for us.
ED
Please...
(changing strategy -
softer)
Listen to me, son. I want nothing
more than to give you the head of
whoever had the fucking nerve to
hurt us. But you have to involve
me.
(pointing at the
boardroom)
You acted alone in there and it
made us look weak. Divided. Work
with me, Sean, and I’ll give all I
can to you, as I did for your
Father.
SEAN calms, but there’s a stillness to the violence in his

eyes. He is growing into the power that MARIAN has given him.
SEAN
I’m glad to hear it.
VOICE (O.S.)
OPEN THE FUCKING DOOR!
SEAN and everyone in the room turns, hearing the commotion

coming from outside.
SEAN leads the charge to the hallway. Sees...
78 INT/EXT. THE WALLACE HOUSE, HALLWAY - NIGHT 2 78
...in the open door to the house ELLIOT is helping JACK

inside.
A bruised, injured MARK tries to lend a hand - but ELLIOT

wants this glory for himself - he almost died for it.
ELLIOT
Take your fucking hands off him!
MARK see’s the venom in ELLIOT’s eyes and backs off.
SEAN and ALEXANDER are fast along the hallway towards them.
SEAN
Jack!
(to the GUARDS)
The boardroom!
The men take JACK from an exhausted ELLIOT. SEAN barely

acknowledges ELLIOT - heads straight for the boardroom to
question Jack.
As Ed and Alexander follow.
ED
(to Mark, about Elliot)
Get him, outside!
SEAN
No! He stays.
ED
We know nothing about him.
SEAN
We know he knew where Jack was.
ALEXANDER
(to Ed)
It’s ok, Dad. He’s one of ours.
Ed looks to Alexander - How does he know?
Continues into the boardroom. Alexander stops.

(to Elliot)
You’ve had quite the day.
(points to a chair)
Wait there.
The boardroom door closes behind them, leaving Elliot alone

in the hallway to take in his new surroundings.
The WALLACE house. He’s actually inside it.
ELLIOT looks down at his shoes. Caked mud hangs off them.
Considers the plush rug that runs down the corridor.
He slips his shoes off. Realises too late there’s nowhere to

put them. Fuck. He sheepishly picks them up and walks further
into the house...
Muffled voices creep from the board room.
SEAN (O.S.)
Come on Jack. Talk to us!
(beat)
What’s he saying?
ED (O.S.)
Give him time and some space to
breathe; doctor is on his way...
Socks pad along the hallway. As he goes, he takes in the

framed photos of FINN WALLACE and his family. Then a sudden
stop -
The door to the board room has opened behind him.
And ED is standing there looking at him - but the energy of

the situation outweighs the question of how a man with gutter
stains on his sleeve - holding a pair of shoes - a man he’s
never seen before - could be the one to deliver JACK out of
LUAN’s den.
ELLIOT peers in, sees an unconscious JACK spread across the

boardroom table.
A frustrated SEAN, letting go of his collar.
SEAN
Fuck!
JACK slumps back. ALEXANDER stops his head from hitting the
table.
ELLIOT
Is he ok?
ALEXANDER
He passed out.
ELLIOT
He does that a lot.
SEAN paces angrily. Notices ELLIOT. Looks to ALEXANDER.
SEAN
Alright, who the fuck are you?
MARK
He’s the one that tore up the pub -
Elliot defends himself.
ELLIOT
Elliot. I’m the one who found him.
SEAN seems to really notice ELLIOT for the first time.
SEAN
You did all that? Empty handed?
What was it? Six of them?
ELLIOT
Eight. But I had a dart, so...
SEAN
(smiles)
This way.
ELLIOT follows SEAN down the hall to FINN’s Office.
ED stands there a moment, feeling every inch of the power

shift - but he still follows.
79 INT. THE WALLACE HOUSE, CORRIDOR - NIGHT 2 79
SHANNON watches as ELLIOT follows SEAN into the office,

followed by her father.
MARIAN notices SHANNON watching.
80 INT. THE WALLACE HOUSE, OFFICE - NIGHT 2 80
Inside the office, ELLIOT is being grilled.
ELLIOT
If he’d wanted to he could’ve
killed us there and then. Easily.
The door opens and ALEXANDER enters.
ALEXANDER
Doctor gave him a shot, he’ll be
out until the morning...
SEAN’s struggles to hide his dismay. Ed barks orders to Mark

down the corridor.
ED
(to Mark)
Take him back to his flat, put a
medic on standby throughout the
night.
(to SEAN)
Let him sleep it off, you can grill
him in the morning.
As Ed closes the door to Finn’s office.
Sean walks up to Alexander.
SEAN
(quietly)
Trust me.
Reaches inside his jacket and takes the gun from his holster.
Checks the chamber. Empty.
SEAN (CONT’D)
[It’s] a good thing you didn’t need
it.
Slings it back. Charged now.
Elliot doesn’t flinch.
Not even when Sean puts the gun to his head.
SEAN (CONT’D)
Get on your fucking knees.
ED
Sean?
Elliot calmly does as he’s told, oddly taking this in his

stride.
SEAN
I don’t buy it. That Albanian prick
killed my dad.
ALEXANDER
You heard him, Luan gave Jack back
to us. That has to mean something.
SEAN knows it but doesn’t want to accept it.
SEAN
(to Elliot)
Nah, nah, nah - he sent you! Didn’t
he?!
ELLIOT
What? No. I work for Jim, I work
for you.
SEAN
You expect me to believe some
street grunt can do what you just
did? We spent a week searching the
city and you find him in a day?
Bullshit. You’re a fucking wooden
horse.
ELLIOT
Then go ahead, cut me open.
SEAN
Don’t even. I’m my father’s son and
I’ll take a fucking belt sander to
your eyes if you don’t start
talking.
ELLIOT
Jim was right, years I’ve shed
blood for this organization - risk
my life to carry that dizzy cunt to
your door and you point a fucking
gun at me?
Elliot has a point. But Sean has a gun.
SEAN
You done?
ELLIOT
He saw who did it. Jack. He saw who
killed your father.
Yes, Sean still has a gun. But now Elliot has his attention.
ELLIOT (CONT’D)
Said it was a couple of pikey kids.
SEAN
You fucking high?
ELLIOT
I’m telling you what he said.
SEAN
What else?
ELLIOT
Gave me a number plate.
ALEXANDER grabs a pen from the desk - shoves it at ELLIOT -

ELLIOT writes it down - hands it to him.
SEAN
If any of this is bullshit...
ELLIOT
Belt sander I know. But when you
find out it’s all true...
Sean waits.
ELLIOT (CONT’D)
I work for you. Not Jim. Not even
fucking Mark. You.
Sean weighs it up.
SEAN
Make it known, I want everyone
searching for these fuckers. Don’t
care if they work for us or are
paid off by us - they join the
hunt.
(to Elliot)
Elliot, right?.
ELLIOT nods.
SEAN (CONT’D)
That includes you.
Sean uncocks the gun. Walks away from Elliot.
Breathe.
81 INT. THE WALLACE HOUSE, HALLWAY - NIGHT 2 81
ELLIOT sits, alone, on a small bench outside the office,

squeezing his feet back into his shoes.
As his foot comes down to the floor suddenly, a ball bounces

against his leg.
SHANNON (O.S.)
DANNY! What have I told you?
DANNY
Mum!
ELLIOT picks it up as DANNY rushes towards him.
ELLIOT
Here.
DANNY
Thank you.
ELLIOT
That your mum?
DANNY
Yep.
ELLIOT looks to SHANNON, she looks back through the kitchen -

a glance just long enough to power the national grid.
SHANNON gestures at his collar.
ELLIOT feels the flap of his collar sticking out, adjusts it,
fixes it.
Politely smiles back his thanks.
ELLIOT
[Does] she tell you not to play
football in the house?
DANNY
But I wasn’t...
ELLIOT points DANNY in the direction of a door, glass panel

reflecting the kitchen.
ELLIOT
...Do you think she knows I saw her
throwing it?
DANNY’s mouth opens wide with shock, smiles, giggling.
ELLIOT (CONT’D)
Tell you what, lets keep it a
secret so your mum doesn’t get
embarrassed. Deal?
DANNY
Deal!
ELLIOT
Good lad.
SHANNON arrives, guides Danny back to the lounge.
SHANNON
(to Danny)
Right you, back in there.
(to Elliot)
Sorry about him, he’s a handful...
ELLIOT watches as DANNY disappears, ball tucked under his

arm.
ELLIOT
So am I...
SHANNON smiles. Curious.
SHANNON
Yeah, so I’ve heard. You new?
ELLIOT smiles.
ELLIOT
Ish.
ALEXANDER comes out of the office and spots the private

exchange between ELLIOT and SHANNON.
ALEXANDER
(to ELLIOT)
Don’t you have work to do?
ELLIOT nods and returns to tying his shoe guiltily.
I want you back here first thing
tomorrow. You’re working for me
now.
ELLIOT smiles.
82 EXT. ESTATE - NIGHT 2 82
We follow ELLIOT down a busy main road. Passes drunk people

having fun.
He pauses outside his destination. A small red brick terraced

house.
He pauses a moment. As he moves towards the door handle, he

glances at the bubble glass in the door.
The distorted reflection stares back.
Elliot wipes a thumb at the small patch of dried blood along

his hairline. He takes a deep breath, and reaches for the
handle.
83 INT. CHARLIE’S BEDSIT - NIGHT 2 83
ELLIOT steps into the small entrance hall. Look close enough
and you’ll see his expression soften.
As he closes the door and takes a few steps, even his posture
shifts slightly. The confident squared shoulders slump just a
touch. No need to keep wearing a mask. No need to present a
tough exterior. Not here at least.
ELLIOT
Dad, it’s me.
CHARLIE (60s) sits, leg propped up on a reclining sofa chair.

A two seater sofa that has only ever been sat in by ELLIOT,
makes up the rest of the room.
CHARLIE
Elliot?
ELLIOT
Just a second Dad, make you tea
first.
ELLIOT bee-lines for the kitchen.
CHARLIE
Carer made me a fresh one ‘fore she
left.
ELLIOT looks at a cold cup of tea sitting on the side.
ELLIOT
When did she leave? Last month?
It’s got more skin than Auntie
Jean.
CHARLIE laughs.
As ELLIOT tosses the old tea into the sink, he looks back
through the crack in the door - CHARLIE back to him is more
focused on his game show.
On a cabinet just behind the television is a photograph

concealed in the shadows, barely visible - strain and you
might just see the shape of ELLIOT, a woman and a child.
ELLIOT pops open an airing cupboard door - stuck to the

inside is an old boxing poster, CHARLIE in his youth,
healthier days - the last fight he didn’t throw.
He takes out the cash he skimmed from the drain pipe earlier,
counts it, then pulls a wad of notes from inside a shoebox
stuffed with money.
CHARLIE (O.S.)
Sally says she might not be able to
come next week. Says its not up to
her.
ELLIOT pops the cash into an envelope, scrawls “Help At Home -

Sep-Oct” on it.
ELLIOT
Don’t you worry about that. She’ll
be here.
He hands the envelope to his father, then turns on an

electric fire nearby. An orange glow bathes the room in
warmth and colour.
Charlie glances into the open envelope and frowns.
Elliot sees the expression, and crouches down in front of his

father.
ELLIOT (CONT’D)
That should cover for a few weeks
in advance.
Charlie’s confused frown deepens.
Elliot stands up, again returns to the heater, turns a knob

absently - anything to avoid eye contact.
ELLIOT (CONT’D)
I may not be able to pop in next
week. Work’s picking up.
CHARLIE
I’m sure a week late is fine, son.
ELLIOT
Yeah, well, just in case. See, I
may not be able to get in for a
little while.
He can feel his fathers hurt expression even with his back
turned.
Poker face back on, he turns to Charlie.
ELLIOT (CONT’D)
You make sure you give her that
tomorrow. Right, let me see em’.
CHARLIE looks embarrassed.
CHARLIE
Elliot...
ELLIOT notices the envelope on Charlie’s lap. Sees the hint

of red on the edge of one of the bills.
ELLIOT
Go on, put them up.
CHARLIE shows him his fists. ELLIOT mimes wrapping them in

tape. Pre-fight rituals.
CHARLIE
Social is fine boy. I’m not
completely incapable you know.
ELLIOT
I know you’re not, Dad. No Sally on
the social though. She’s taken a
real shine to you, am I gonna have
to tell her you wanna break her
heart?
Charlie laughs.
CHARLIE
She’s just a good kid, that girl.
Reminds me of Naomi.
Suddenly, ELLIOT falls quiet. His charismatic, carefree mask

has slipped a little. Just enough to be noticeable.
CHARLIE (CONT’D)
Can’t run from it forever, you know-
ELLIOT stops miming, slaps at the top of his “gloves” -

illusion shattered.
ELLIOT
Right you’re all set. Going down in
the 4th this time?
Now it’s CHARLIE's turn to be hurt.
ELLIOT (CONT’D)
Or is it the 3rd? It was usually
one or the other. Barely broke a
sweat some nights did you, Dad?
CHARLIE cuts the figure of a broken man. A far cry from the
promise of the poster.
ELLIOT (CONT’D)
I’m sorry.
CHARLIE begrudgingly accepts. Stays quiet. Hurt.
ELLIOT (CONT’D)
[I’ll] watch a bit of telly with
you, before you go to bed?
CHARLIE smiles. ELLIOT sits, TV sounding out applause as the

game show continues.
84 INT. THE WALLACE HOUSE, FINNS OFFICE - NIGHT 2 84
SEAN stares at a photo on the wall of the study.
A picture of himself when he was eight. Beaming.
MARIAN enters. SEAN notices.
SEAN
The flowers are filling up the
garage.
MARIAN
They’ll all be rotting soon enough.
He would’ve hated it.
SEAN won’t look round at his mother.

SEAN
Killed - by a couple of kids, mum.
MARIAN considers her son. Pulls his head round so she can see
his eyes.
MARIAN
They won’t go unpunished, Sean. I
know you’ll do right by him.
SEAN
Maybe Ed was right. He knows what’s
best for the company.
MARIAN
Sometimes.
She lets it hang just long enough.
MARIAN (CONT’D)
My beautiful boy. It was always you
that he wanted to lead this
organisation.
Something catches in his throat for a second.
SEAN
I just want him back so much, mum.
She lays a hand softly on his cheek.
MARIAN
I know, my love. But you can do
this- and you’ll always have me
behind you. Every step of the way.
SEAN breathes deep. Taking strength from her.
85 INT. DOSS HOUSE, BEDROOM - NIGHT 2 85
EOIN sits on the floor at the edge of the bed, eyes heavy
through lack of sleep and worry.
Out in the corridor, bodies cover the floor. Junkies propped

up by doorways, sleeping between fixes.
DARREN lays in bed, also sleeping. The silence is deafening.
EOIN carefully gets up, not to disturb anyone - gently steps

towards a window.
As far away from sleeping ears as he can get.
Takes out his phone. Shaking finger presses the CONTACTS

button. “PATRICK” burns bright in the dark.
He dials and lifts the phone to his ear.

Almost immediately...
PATRICK (O.S.)
Eoin? That you?
His voice won’t come.
PATRICK (O.S.) (CONT’D)

Please, Eoin. Where are you boy?
Tears fill his eyes at the sound of a familiar voice.
EOIN
Pat, I’m sorry ‘bout yer car.
PATRICK (O.S.)
(relief, obvious)
Fuck sake forget about the car, ye
useless prick.
EOIN smiles tears.
EOIN
We fucked up.
PATRICK
What were ye thinkin’ boy?
EOIN
We didn’t know, [I] swear. I mean,
we thought it was just a job.
Naeone naebody’d miss like. I saw
him, I tried Patrick, I really did
try to stop it...
EOIN looks back to DARREN. Still asleep. Still unaware.
EOIN (CONT’D)
[The] fuck’re we gonna do, Pat?
Help us, please.
PATRICK
I’ll try. I promise you I will. But
you gotta tell me where you are.
EOIN
Darren says we gotta lay low. Wait
it out.
PATRICK
There’s no layin’ low, man was too
big for that.
(beat)
Please, tell me where ye are. Let
me help you.
EOIN
Saint Ralph’s, by the old train
tracks. Fifth floor.
86 INT. CARAVAN, LIVING ROOM - NIGHT 2 86
PATRICK’s eyes are tear-filled but vacant. Face bruised and

bloody, leg wrapped in a makeshift splint resting on a nearby
crate.
He cradles the phone, we hear the tremble in his voice now.
PATRICK
Good lad. Ye did good there boy.
Now stay put, just wait ‘til I get
there, OK?
EOIN (O.S.)
Please hurry Pat.
PATRICK
Of course I will. I’m already on ma
way.
Now we see the other occupant in the room: KINNEY.
He smells blood.
PATRICK keeps his eyes to the floor. Broken.
EOIN (O.S.)
I love ye Patrick. I’m so sorry.
KINNEY and his MEN brush past him heading for the door.
PATRICK
(voice almost cracking)
S’alright. Stay safe for the now.
87 INT. CHARLIE’S BEDSIT (ELLIOT’S ROOM) - NIGHT 2 87
Dead of night. ELLIOT lays restless, wide awake on his bed.
There’s more character and life in the peeling wallpaper than

in the decor. No photos. No memories. Just a bed and a
cupboard that rests open at all times.
ELLIOT’s mobile phone, lasso’d to the wall socket by the

charger cable grinds against the wooden floorboards.
UNKNOWN NUMBER.
Means enough to force him out of bed. Enough to take the

call.
He doesn’t say a word.

A man’s voice pours through. Not one we would recognise.
VOICE (O.S.)
St Raphael’s, Stratford. Room 518.
Click.
ELLIOT rushes to the cupboard. A nearby bag resting at the

bottom - rips open the zip, grabs at a handgun before he
reaches for his clothing.
Checks the chamber. Fully loaded.
Elliot looks through the ajar door out into the lounge - sees
Charlie passed out on the sofa chair - TV light flickering at
him.
Another secret. Looks to the gun in his hand.
Closes it. Pop. Click.
88 INT/EXT. CHARLIE’S BEDSIT/CAR - NIGHT 2 88
Beep-click.
ELLIOT steps inside, drives down the empty early morning

street as the rest of the world sleeps.
All except for...
89 INT. DOSS HOUSE, CORRIDOR - NIGHT 2 89
KINNEY leads. A group of EIGHT, PATRICK included.
Footsteps pound hard against paper thin, cheap carpet as they

near the door to DARREN and EOIN’s room.
90 INT. DOSS HOUSE, BEDROOM - NIGHT 2 90
There’s a knock at the door.
DARREN, on alert looks straight to EOIN.
DARREN
Shhhhh...
But EOIN’s head already hangs low - the knock at the door is
no surprise to him.
DARREN looks through the peep hole in the door.
EOIN
I’m sorry Daz...
DARREN almost collapses at the sight of him.

KINNEY (O.S.)
Open the fuckin’ door boy.
91 INT. ELLIOT’S CAR - NIGHT 2 91
Racing through traffic.
ELLIOT turns into a narrow street, DOSS HOUSE up ahead.
Screams up to the pavement, exits the vehicle leaving the

engine running.
92 EXT. STREETS - NIGHT 2 92
Moving towards the DOSS HOUSE, Elliot checks, cocks, recoils

his gun. Stops.
Throws his body against a doorway as a fleet of cars scream

out from around the corner.
Sees KINNEY riding up front, DARREN behind - face shell

shocked, pale, sick with fear.
As the fleet of cars disappear, ELLIOT rushes to the corner.
Spots one remaining car, parked. Engine running. Guarded.
ELLIOT moves for the DOSS HOUSE. Steps inside.
93 INT. DOSS HOUSE, CORRIDOR - NIGHT 2 93
Music rings out into the corridor, as ELLIOT steps carefully

towards what used to be DARREN and EOIN’s room - voices
creeping through the wall of sound.
ELLIOT brandishes his gun. There’s something about the way he

carries it. Something in the way he approaches the room.
Cautious. Considered. Trained.
We follow, step by step as he walks past an adjacent open

door, the source of the music - a room inhabited by stoners
sprawled out unconscious. Not a threat.
As he nears the next door, voices echo out a little clearer.
VOICE (O.S.)
Would ye shut your mouth wi’ ya
crying. Fuck sake Patrick, he did
it to himself...
PATRICK
SAVED HIS OWN THO’ DIDN’T HE?!
ELLIOT peeks around the door, into the ROOM.

94 INT. DOSS HOUSE, BEDROOM/BATHROOM - NIGHT 2 94
PATRICK sits propped up in a heap against the foot of the

bed, a look of defiance in his blood shot eyes.
VOICE
Blood’s blood.
PATRICK
Aye, so’s mine.
Streaks of blood like a trail of emergency lights lead the

way to LEN (40s) who crouches in the bathroom, meat cleaver
in hand, above a bathtub full of body parts that used to
belong to EOIN.
LEN
You gawna take on Kinney now kid?
(beat)
Didn’t think so. Your da would beat
ya worse than he did, hear ye
talkin’ like that. Bag the money
for us, have to burn it else they
tie it tae us...
PATRICK
My da? He’s no my father no more.
No da would let him do that...
LEN
You’d do right to be glad he let
you live.
PATRICK crumbles once more.
LEN (CONT’D)
Now bag that money.
PATRICK is too far gone to process the request.
LEN crawls out from the bathroom and grabs a handful of black
bin liners, as he does he spots something in the corner of
his eye.
ELLIOT.
LEN on reflex tosses the black bag of money in ELLIOT’s

direction.
Notes billow out floating in the air, providing enough cover

to make a clean shot anything other than a sure thing.
A bullet tears through the bag, embeds itself deep into the
wall leaving LEN unscathed.
LEN lunges at ELLIOT with the meat cleaver in hand.

Catches him. Not enough to take his hand, but enough to make
him drop the gun.
They clash.
What follows is savage, brutal, raw energy. A unrelenting

storm of pain and bloodshed.
A mess of bodies, swings and wild lunges, furniture crashing

around them as they tumble around the room.
ELLIOT is hurled back, hits his head hard against a wall,

eyes momentarily roll. Time slows. Dazed.
LEN rushes in, lashing out wildly with the meat cleaver, but
ELLIOT regains composure enough to duck away from its path.
Plaster board splinters as the cleaver buries deep sideways

into a bracing beam. Lodged in tight.
Now evenly matched, hand to hand.
But it’s where LEN thrives, thick knuckles, swollen from

years of use - tenderising ELLIOT’s body with blow after blow
- skin beneath his eye socket opens apart, widens with each
hit.
LEN capitalises, places ELLIOT into a head lock.
ELLIOT struggles to breathe, arms not strong enough to open

LEN’s tight grip.
Desperate, he reaches, grabs the back of LEN’s head, pulls it

hard and drives them in the direction of the meat cleaver.
Stumbling feet, stumbling closer.
LEN’s outstretched hand slams against the wall, keeping the

edge of the blade at scratching distance from his throat.
ELLIOT grinds LEN’s throat against the cleaver’s blade.
Skin fraying. Len carpaccio.
But LEN keeps his grip on ELLIOT’s neck, eyes glass over,
face flushed red.
ELLIOT throws elbows into his rib cage, weakening the

strength of his legs.
A slight wobble. Opens enough for...
Elbows drive into LEN’s head, nudging him closer and closer
to the meat cleaver until it buries deep into his throat -
blood gushes from the wound, bathing ELLIOT’s face.
LEN’s grip of ELLIOT slackens as his mouth fills with blood.

ELLIOT’s lungs scream in as he catches his breath. Then...
Sees PATRICK stood there, holding ELLIOT’s gun in his hands.

Aimed right at him.
Elliot doesn’t blink.
ELLIOT
Where are they taking him?
PATRICK’s broken smile pushes the tears out from his eyes.
PATRICK
I’d never know.
Puts the gun to his own head. BANG!
His body drops to a heap on the floor.
As the shot rings out, the sound of police sirens nears.
ELLIOT, rushes in, grabs the gun from PATRICK’s hand. Scoops
up the bag of Finn’s money, notices the foreign currency.
Wraps up the bag of money, tucks it inside his jacket.
Stops. For the first time, he sees EOIN, mauled in the

bathtub.
Swallows deep. Knows this will stay with him.
Leaves the room.
95 EXT. COUNTRY ROAD - MORNING 3 95
A shower of fine rain twists in the wind.
A convoy of cars traverses along country roads, miles away

from the city - a stretch of landscape around them vast and
wide.
They come to a stop in a lay-by. Indicators clicking.
96 INT. KINNEY’S CAR - MORNING 3 96
DARREN sits in the back, forlorn, unresponsive, head resting

against the window.
KINNEY turns to the driver of the car, MAL (40s).
KINNEY
(to MAL)
Head west. To Evie. She’ll have a
boat for ye once they get tired of
tracking ‘im.
MAL nods. KINNEY looks over his shoulder, at DARREN, his son.
His gaze lays elsewhere, anywhere other than his father.
It weighs heavy on KINNEY, takes a breath to steady himself.
KINNEY (CONT’D)
(to DARREN)
I’m not sorry. Cos I’m not the one
who should be. Some day you’ll
understand. Say nothing. To no-one.
Ye hear?
(to MAL)
Watch over him Mal... for me.
MAL
Of course.
KINNEY steps out.
97 EXT. COUNTRY ROAD - MORNING 3 97
KINNEY walks through the rain, gets into a car behind.
The convoy separates.
The main fleet of KINNEY and his men head back to the city as
DARREN, the involuntary passenger and MAL, his protector,
head west.
Carving through the rain swept country roads journeying long

and far. Out of sight.
98 EXT. STREETS - MORNING 3 98
ELLIOT steps out from the DOSS HOUSE, out onto the street.
Police sirens ring out in the distance.
He stops suddenly, blood soaked face aghast - his car is

nowhere to be seen.
Panic sets in, he scans the area as the sirens grow louder.
Suddenly, a flash of light draws his attention. He turns,

looks down a nearby alleyway.
In the distance, hidden in the shadows - a set of headlights

flash at him.
Follows.
99 EXT. ALLEYWAY - MORNING 3 99
The distant sound of police sirens are just audible, sounding

out then fading into echoes as ELLIOT walks down the dark
alleyway.
As he reaches the car, it becomes clear it is his.
Moved by the person currently stepping out of the driver’s

seat.
NISHA - who we last saw moving amongst the mourners at the

funeral.
She freezes, eyes widening as ELLIOT moves into the lights of

the car, and she sees him - haunted, bathed in blood.
She moves quickly back to the front door of the car and leans
in. The headlights extinguish, and a moment later she emerges
with a bottle of water.
ELLIOT takes it from her slightly trembling hand.
ELLIOT
I needed that address.
NISHA
And we got it to you.
ELLIOT
I needed it sooner.
NISHA looks down as he washes the blood from his hands.
NISHA
What have you done?
ELLIOT
I had no choice. I was too late to
help him. They took the other kid
before I got here.
ELLIOT senses her doubt.
ELLIOT (CONT’D)
Two years undercover - Have I ever
fucked you over?
NISHA knows he hasn’t. Until now.
ELLIOT (CONT’D)
We have an opportunity here. In the
space of a day I’ve gone from being
a nobody outside that church to
being invited into their home.
There is desperation in ELLIOT’s eyes. He wants to convince

her. Needs to.
ELLIOT (CONT’D)
No more bullshit stings, no more
small tip off’s Nisha. You saw it
yourself, the people at that
church. The power there! I can be
on the inside of all of it. Real
progress. Really make a difference.
NISHA watches as he scrubs harder at his hands. The blood has

long vanished.
He reaches into his pocket, hands her the black bag of money.
ELLIOT (CONT’D)
Found this up there - Belize
dollars, fucking ton of it - way
more than anyone would pay them.
May be nothing. May be something.
NISHA looks at it, struggling to piece together the flood of

seemingly disconnected evidence Elliot is throwing at her.
ELLIOT sensing she’s starting to take an interest...
ELLIOT (CONT’D)
You know I need this...
NISHA
Stop.
Plastic crackles as he grips the water bottle.
ELLIOT
We both need this.
NISHA
It’s too late - every day I’m
fighting off the inevitable. They
want you out, and I’ve run out of
ways to keep you in.
(stops herself)
We haven’t delivered, Elliot.
ELLIOT looks up at her, eyes unwavering.
ELLIOT
(softens)
But now we can. Don’t let this all
be for nothing, Nisha. Please.
The sirens are close now.
She shakes her head - takes the bottle of water from his
hands.
NISHA
They’re clean.
Consciously or not, she steps aside - clears a path to the

car.
Elliot walks past her, and gets in.
ELLIOT
Thank you.
And with that, he drives away.
NISHA watches as his car inconspicuously rejoins traffic,

disappearing out of sight.
She stands a moment, feeling every bit of the cold morning

air, then steps back and disappears into the shadows.
100 INT. ELLIOT’S CAR - MORNING 3 100
ELLIOT drives down the busy street.
POLICE CARS pass by, flashing red and blue lights paint the
side of his face.
As he blends back in with the real world. That look in his

eyes.
If only they knew.
101 EXT. HILLTOP OVERLOOKING DOCKS - MORNING 3 101
Parked at the top of a hill, LALE walks from her car to join
HAKAN.
They speak quietly in Kurdish.
HAKAN
There’s nothing I can do, they’re
too afraid to cross the Wallaces. I
can’t get any of our shipments out.
LALE
Then why drag me here, Hakan.
HAKAN
You need to see who can...
They look down from their vantage point: ALEXANDER and NASIR
stand with a CUSTOMS OFFICIAL, as a series of container
trucks drive past them and out through the gates.
HAKAN (CONT’D)
For Nasir and his father, it seems
the gates aren’t closed. Business
as usual...
LALE watches with a burning anger in her eyes.

LALE
I want my girls ready.
102 EXT. THE WALLACE HOUSE - MORNING 3 102
As dawn is breaking, ED looks around the deathly quiet street

and walks to his car.
Unseen, in the window at the front of the house, MARIAN

watches him.
As he reaches the car, ED pulls out his buzzing phone. The

screen reads: LUAN. He frowns, slips the still ringing phone
in his pocket, gets in the car and drives away.
103 INT. TOWER BLOCK - MORNING 3 103
LUAN looks down at his phone, as it continues to call “E.H.”.

He sighs and hangs up.
He stands alone in the corridor of the Albanian tower block.

Police tape hanging from the door handle. His face framed as
he looks towards the frayed, splintered bullet hole.
Caused by...
104 EXT. UNFINISHED HIGH RISE - MORNING 3 104
...the bullet that rolls between SEAN’s fingertips.
He stands at the top of an unfinished high rise, the same

building where he set light to the street kid.
SEAN looks across at an “F. WALLACE CONSTRUCTION” sign. It

hangs loose off a nearby chainlink fence. Dusty. Beaten.
Tattered.
Then out at the red blinking dots in the London skyline,

this, all this, maybe he could make this city his now...
Makes a fist around the bullet, squeezes hard.
105 INT. JACK’S APARTMENT - MORNING 3 105
JACK stirs...
Sounds invading his room.
A whir, then a click and the sound of bubbling water.
He looks from his bed, to see a shadow stood by the open plan
kitchen - pours a kettle of boiling water into a mug.
JACK
Who...
The figure turns around. It’s ED.
ED
Good to have you back with us,
Jack.
JACK
Jesus, Ed - I thought...
ED walks towards his bed, a mug in each hand.
ED
They found money on him. On his
body.
JACK
He had a bag of it...
ED
I’m tired Jack. Tired of being the
one holding all of this together.
Hands him a mug. JACK takes it, has a sip.
ED rests his on the floor by his side.
JACK
Ed, sooner or later - they’re gonna
find out. About her. About...
ED hangs his head.
ED
Jack...
JACK
(sincere)
They won’t hear it from me, you
have my word - but when they do
know, they’ll wanna know why I
didn’t tell them. Look, I guess I
just want to be in the clear here.
ED
Where were you taking him? Later?
What was the plan?
JACK
I don’t know.
ED
Yeah. You do.
JACK
Ed, - I took a fucking car to my
body. I didn’t do nothing wrong.
JACK coughs. Painfully. It hurts.
ED
No one is gonna think that. No one.
Trust me.
Suddenly...
JACK
Ed, I can’t feel my arms.
ED
I know.
Not the answer he wanted.
JACK panics. Struggles to swallow, paralysis coursing through

his body.
JACK
Wait...
ED takes out a razor blade, places it in JACK’s limp hand.
A weak JACK can only watch with pleading eyes, gurgling a

plea with a voice that grows fainter with each breath.
JACK (CONT’D)
No, Ed - please...
ED digs the razor into JACK’s wrist. Vein pops.
ED steps back away letting JACK bleed, takes a seat nearby

watching him fade.
ED
Believe me, I take no enjoyment in
this. I wish I didn’t have to. But
I do.
ED breathes heavy, looks at his wrinkled trembling hands.
ED (CONT’D)
Truth is I haven’t had to do this
in years...
Watches as JACK’s tear filled eyes stare hard into his soul.
Fingers stretching as his wrist pulses the very lifeblood out
of him.
ED (CONT’D)
But it’s for the good of the family
Jacky. It really is.
JACK is quieter now. Barely a breath left in him.
The blood has stopped pouring down the side of the bed, it’s
just a drip - drip we hear.
ED stopped being able to watch him fade some time ago, eyes
rooted to the floor.
Watching as the frequency of the drips lessen over time.
ED (CONT’D)
(broken)
And that’s all there is to it.
END OF EPISODE

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Who is Sean Wallace and what is his role?

Who is Sean Wallace and what is his role?

What happened to the victim hanging off the building?

What happened to the victim hanging off the building?

Created by Gareth Evans and Matt Flannery

1 EXT. AERIAL VIEW OF LONDON - DAWN 2 1

In all its glory. Only not.

We travel through low hanging clouds as the glass and chrome

Gliding through this neo-noir vision of the city that is

Through thoroughfares, parks and business districts.

Through public housing projects, rich gated communities,

All manner of life walking the streets.

We come to a stop. The upside down view of the city suddenly

Look up. That’s our POV...

Along our torso, hanging from the edge of a high rise

Rope burning a bruise into our ankle -

Eighteen years old, street thin, face of a hyena, hysterical

SOMEONE reaches down, brushes a handful of burnt out matches

SOMEONE holds a large pack of matches, shakes it. Sounds

SEAN WALLACE, late 20s, some of the victim’s blood flecked on

He gestures with a hand, and a GUARD, till now standing

He’s on the top of an “in construction” sky rise. Red beacon

SEAN strikes a match against the roof, it ignites; shelters

Another incoherent whimper.

Still cradling the match, SEAN slowly lowers his hands

The VICTIM stares up at the match, eyes wide with fear.

SEAN drops the match.

The rope starts to burn, flame travels in an instant to the

The VICTIM screams in agony, bouncing against the building as

The rope finally gives in, snaps -

In all its glory. A city of glass and chrome beasts -

2 EXT. CAMPSITE - NIGHT 1 (ONE WEEK EARLIER) 2

Oil drum bonfires illuminate the crushed grass and puddles of

Dogs sit patiently waiting for scraps.

3 INT. CAMPSITE, CARAVAN - NIGHT 1 3

Sat alone at a table is DARREN, 17 years old.

Mobile phone resting before him.

The party echoes through in muffled tones but he may as well

The phone buzzes, twists around the surface of the table.

Haunted look in his eyes as he picks it up, green light of

4 EXT. CAMPSITE - NIGHT 1 4

DARREN slows until EOIN catches up.

Approaching a rust bucket of a car, a red Vauxhall Nova; the

5 INT/EXT. PATRICK’S CAR/CAMPSITE - NIGHT 1 5

EOIN in the driver’s seat, DARREN passenger.

The car moves off, stretching away into the distance.

6 EXT. TOWER BLOCK - NIGHT 1 6

EOIN kills the engine and the lights.

7 INT. PATRICK’S CAR - NIGHT 1 7

Silence, as they scan the neighbourhood - plenty of shadows,

EOIN reaches into his jacket, pulls out something wrapped in

Unravels it to reveal an old pistol.

DARREN takes the pistol, tucks it in his jacket pocket.

DARREN pauses a moment, hand on the door handle

8 EXT. TOWER BLOCK - NIGHT 1 8

Looks around, sees no-one. Listens, hears only silence.

9 INT. TOWER BLOCK - NIGHT 1 9

Lift doors open.