Excerpt From ‘The Local’ Draft 1: A Screenplay By Peter Boydell

This screenplay is a ‘rite of passage’ or ‘institutionalised’ type of story where our young hero, ‘PETE’ and his friends: DUNC, GRIFF and PODGE get themselves involved in something unexpectedly dark when they skip school.  The story is a tragic-comedy, set over just three days in a Northern town.  The screenplay carries themes and motifs of a small town culture, racism, the effects of alcoholism, broken family and hope.

In ACT 1 we have seen the boys innocently playing in the woods on their bikes, singing songs and talking about chips.  PAUL (PETE’s older brother) has had a confrontation with SID, owner of THE OLIVE TREE, a local kebab shop.  The boys have been drinking under-age in the local pub, under the wing and omniscient eye of JOHN, the Irish landlord.  They have skipped school and watched brutal gangster movies which has inspired them to dig a hole in the woods.  PAUL has had a racially triggering confrontation with a Indian shop-keeper whilst fitting a roller shutter, which has resulted in tension at work. DUNC’s cheeky ways have caught the eye of BIGGS, a local gangster.  PETE and PAUL’s mum, MARY has enough on her plate keeping PETE and PAUL in line.  She has a full time job and is running a home alone after the father has disappeared.

Whilst showing off to BIGGS, DUNC smashes the window of THE OLIVE TREE at pub last orders, concluding ACT 1.  This short excerpt appears in ACT 2.  It’s the day after.  PETE and MARY had a nice breakfast together.  SID has attempted to confront PETE at the fruit shop where he works before school, wielding a big knife.  PAUL appears to be turning over a new leaf at work but his boss GLEN is keeping an eye on him.  DUNC hasn’t been seen.

 



WHITE VAN. INSIDE.

PAUL is looking fresh and gets inside. He completes the job sheet in the van and dials the office from his Nokia 3110.

PAUL

Glen, please Sharon.

CUT TO

SHARON

She is marking off the ‘Firemen of Ashton’ calendar.

Putting you through. Transfers.

CUT TO

GLEN’S OFFICE

GLEN

Madhouse.

CUT TO

WHITE VAN

PAUL

Hi Glen, it’s Paul. I’ve finished up early here. What do you want me to do?

CUT TO

GLEN’S OFFICE

Brilliant. Buzz back here. We’ve got a job to measure.

CUT TO

MATHS CLASS

PODGE and GRIFF are sat together at the back of the class. There are two seats empty next to them. The class has started and everyone is copying algebra from the board. PETE arrives late. Quietly. MISS OSBOURNE is a real snotty cow with silly little glasses with a string perched on the end of her sizeable, upturned conk. MISS OSBOURNE reacts to PETE’s arrival as one might react to watching facial surgery. PETE has a letter in his hand, which he passes to MISS OSBOURNE. It is signed by MR CARTER and excuses his late arrival. MISS OSBOURNE hates that PETE has a valid reason for being late to class. PETE sits in one of the empty chairs next to GRIFF.

PETE

under breath.
Where’s Dunc?

CUT TO

NOISY DODGY CAR WORKSHOP

BIGGS has delivered an Audi A4. MICK a rough mechanic is having a walk round of the vehicle checking basics.

BIGGS

It can’t be trace-able.

MICK continues to inspect the vehicle. Glove box. Under seats. Boot. Quick torch under chassis.

MICK Moves towards his office.   BIGGS follows.

BIGGS closes the door behind them and twists the blinds. Silence.

MICK opens a filing cabinet.

MICK

Did you sort that thing?

BIGGS

It’s done.

MICK pulls out a thick envelope and places it on the table.

CUT TO

SCHOOL. BREAK TIME.


PETE, GRIFF and PODGE are in the corridor.

PETE

I’m telling you he was fucking mental.

PODGE

What kind of knife was it?

PETE

Big one.

PODGE

Maybe Dunc did something after we left?

GRIFF

Gotta be.

PETE

Shit.

The boys run through the corridor. Out of the door and out of the school gates down the street.

CUT TO

DUNC’S HOUSE

House phone is ringing. A series of still shots show the scene. Fridge door is open. Food on the kitchen floor. The place is a bomb site.   Everything strewn. TV on with DVD home screen of Goodfellas. Fag tray knocked over. Drinks spilt. Looks like it has been burgled. No Dunc.

The phone rings out….

CUT TO

RED PHONE BOX

PETE, PODGE and GRIFF are crammed in the phone box. PETE removes the phone from his ear.

PODGE

He’s not there?

PETE

We’ve got to go and find him.

CUT TO

WHITE VAN

GLEN is in the passenger seat as PAUL drives. Radio is on. GLEN knocks off some empty coffee cups and begins leafing through the tits in PAUL’s dashboard collection of Daily Sports.

GLEN

It’s a fucking dump in ‘ere. I don’t know how you can work like this. Get Stretch to clean it out when we get back.

GLEN kicks the cup into the footwell amongst empty packets of sausage rolls and take away containers to make space for his feet.

PAUL

I don’t know what you’re on about. This is clean.

GLEN

Cops baffled. Three ton goldfish eats burglars.

PAUL

I like to keep abreast of current affairs, Glen.

GLEN

Jesus. Depraved Bono…

PAUL

interjects. Wanker.

GLEN

re-setting himself…Depraved Bono begged for sex in mysterious ways.

To be fair, he is a pervert, that lad.

PAUL

Yeah he’s like Sting.

GLEN

Oh yeah he’s desperate. Like a sex-zombie, that lad. Into real weird stuff. Him and that Hugh Grant.

Carly. 21. Brighton.

PAUL

Yeeeeaaaaaasssss. Rubs knees referencing Vic Reeves, ‘Shooting Stars’.

JOHN

Commenting on the recent acquisition of Rolls Royce by German car manufacturer BMW, Carly says…

PAUL

Oh right yeah!

JOHN
Hans off! It’s a shame to see yet another quintessentially British brand being driven out of the UK. I have painted the Union Jack on my pert 34C breasts in support of UK manufacturing.

PAUL

Hear hear!

JOHN

Looking out of the window. This is your stomping ground isn’t it?

PAUL

Yeah what’s the address?

GLEN

Erm…It’s called…checks phone…The Olive Tree.

CUT TO

DUNC’S HOUSE

PETE, PODGE and GRIFF are at the front door. PETE is ringing the bell. GRIFF Has nicked a milk bottle off the doorstep and is drinking it. PODGE has his hands and head to the front window glass trying to peer through the net curtains.

PODGE

It’s a right mess in there.

PETE

Can you see Dunc?

PODGE

No.

The boys wait for a few moments. PETE looks through the letter box. Mail on the floor. Shoes that are usually organised in pair in the hallway have been displaced.

PETE

Let’s go round the back.

The boys walk down along the row of houses and down a ginnel to the back of the houses.
PETE reached over DUNC’S back fence and opens the gate from the inside.

A chair has been knocked over in the back garden.   PETE picks it up and sets it up by the garden table. PODGE looks through the window again.

PODGE

TV’s on.

PETE

trying door. Door’s open. ALL look concerned.

The boys tip toe inside.

calling out. Dunc?

A large knife is missing from knife block on the kitchen table.

GRIFF

Looking at the mess. Fuckin’ell.

Moving through the lounge.

PODGE

Jesus, what happened in ‘ere?

PETE

Dunc?

CUT TO

THE OLIVE TREE

Two glass fitters are at the scene cleaning up broken glass and taking out larger pieces of the unbroken glass from the top corners of the frame. A lady in a hair net is working inside the take-away cleaning glass from the inside of the shop and from the equipment inside.

A dithering old man shuffles past.

CUT TO

WHITE VAN

PAUL

I can’t go in there, Glen.

GLEN

What’s up ya puff?

PAUL

The owner, Sid. He hates me.

GLEN

What have you done to him?

PAUL

Sighs. He’s just a nob. If I go in there it will be a load of trouble.

GLEN

Is there anyone you don’t fuckin’ upset? Who’s gonna hold my tape measure?

PAUL

I’m sorry, Glen. I’ll wait ‘ere ‘til you’re done.

GLEN

Fuckin’ell. I might as well’ve come on mi own. Useless bastard. Grabs a clipboard and steps out of van. You stay in here and wank. Slams door.

CUT TO

KING’S ARMS FRONT DOOR

Audible Match cut. Door slam to SID’s heavy knocking. He waits. Knocks again. Louder. JOHN’S dog barks inside. From the outside of the door you can hear….

JOHN

Tessa. Over ‘ere ya twat. Tessa. Down.

SID is impatient at the door. Cars passing outside. The pub is not open until lunch so it’s all locked down.

The pub door opens slightly and JOHN’s head peers around.

JOHN

Waddya want?

SID

Angry. I want the CCTV.

JOHN

Ey?

SID

Irate. Your fucking wall. Is in my fucking shop.

JOHN

What are y’an about?

SID points towards the stone wall in the car park and the missing end piece. JOHN sighs.

JOHN

What time did that happen?

SID

You know.

Tessa begins to bark from inside and JOHN’s attention gets pulled inside momentarily.

JOHN

I don’t know anything.

SID

I want the fucking CCTV. Bastard.

Tessa barking more inside. She’s at JOHN’s heels. JOHN has other things he needs to deal with right now.

JOHN

Loud. Tessa. Over there. Go on.

Look. I’m getting this place ready to open ya twat. Now Fuckoff.

SID

I’ll get them. I’ll get the Police. Bastard.

Tessa continues to bark.

JOHN

Get the fucking Police you stupid twat.

Door slams shut.

CUT TO

OLIVE TREE

Glen is measuring up the shop front. It’s a bit of a struggle as the glass people are there too. Tape measure getting in the way and GLEN is looking red-headed. Shaking his head and sweating.

He makes notes on his clipboard from his measurements. He wipes his red forehead with a handkerchief.

SID is striding towards the shop.

GLASS FITTER

Nodding to Glen. Here’s your man.

Glen looks chipper.

GLEN

Hello. Good morning Mr Savvidis I’m Glen from Securi-Door. Extends hand to shake.

SID

shakes hand. Distracted. It’s not good morning for me. Looks at state of shop.

GLEN

Bloody bastards everywhere these days. People don’t know what it’s like for people like me and you doing an honest days work.

SID

Engaging…calmer…Yes. Bastards. Sorry, your name?   SID hears a man talking his language.

GLEN

Glen. Securi-Door. Thank you for the opportunity Mr Savvidis.

SID

I know this name?

SID

Securi Door.

GLEN

Oh you might have seen our vans about. Points to van. As he points….

CUT TO

WHITE VAN

PAUL is just getting back inside after nipping to the newsagent. He has a plastic bag with drinks and crisps in.

CUT TO

OLIVE TREE

SID

Angry. Oh you work with a bastard! SID picks up a bead hammer out of the glass fitters toolbox and head straight for the van.

GLEN

Woahh! Attempts to restrain SID.

CUT TO

WHITE VAN

PAUL seeing SID heading over slides across the front of the van and climbs out of the opposite side putting the van between him and SID.

PAUL

Shit.

SID is at the front of the van and PAUL is stooping at the rear.

SID

You know about this? Bastard. The hammer is raised and there is a real fear for the van.

PAUL

Sid, what the fuck are you doing?

GLEN has both arms out in front of him and is attempting to diffuse the situation.

GLEN

Mr Savvidis.

SID

To GLEN. He knows about this. Bastard. I’ll mark him.

GLEN

Paul, what the fuck did you do you fucking idiot?

PAUL

I haven’t done fuck all.

The two glass fitters have come to the van and now SID is heavily outnumbered by people wanting to diffuse the situation.

GLASS FITTER 1

Mr Saviddis come on. Give me that hammer. Don’t do anything stupid.

A queue of traffic has formed and SID realises he that he has to calm down. His arms drops. GLASS FITTER 1 takes the hammer.

GLASS FITTER 1

Come on, Mr Saviddis. Come away.

SID points back at PAUL.

SID

I’ll fucking mark you. I swear.

SID returns inside the shop. GLASS FITTER is calming SID.

GLASS FITTER 2

I think you’d better clear off boys.

GLEN

To GLASS FITTER 2. Fuckoff you fucking clown.

CUT TO

WHITE VAN. INSIDE.

Doors slam.

GLEN

Well. I think we can fucking write that one off.

CUT TO

CCTV SCREEN. JOHN’S OFFICE ABOVE KING’S ARMS.

DUNC can be seen on the screen clearly picking up the stone from the pub wall.

JOHN is having a coffee whilst Tessa watches on with tongue out.

JOHN

Under breath. Aw ya stupid Twat.

JOHN ejects the tape.


 

Thanks for reading.  I hope that you enjoyed this excerpt. I’m currently writing a new screenplay before I will go back to make modifications and improvements to this one.

Pete

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