REDEMPTION

REDEMPTION

SCREENPLAY BY

Darrel Draper

All rights reserved to writer of Screenplay.

[email protected]

1. EXT. OPEN STREET. NIGHT. 1

Opening shot of a narrow pitch black alley which seems to go on forever. A woman in her mid twenties dressed in late 1950's vintage clothing stands and stares into the black abyss of the alley. she has a frightened expression. There is an unsettling silence as she stares into the darkness, followed by the haunting sound of a faint howling wind. The woman turns away from the blackness. Snap to complete black. Fade up title of the film 'Redemption', then fade out after a few seconds.

CUT TO:

2. INT. BEDROOM. MORNING. 2

CLARE, an elderly woman in her late 60's awakes. She lays for a moment, contemplating with an air of regret. She looks over at one of the knobs of her headboard, where a necklace with a Jesus on the cross pendant hangs. She lets out a slight sigh before rolling out of bed and placing the necklace back around her neck. She stands to her feet and parts her curtains letting in light, light which ricochets off an open old vintage pocket mirror on her bedside table and causes a glare in her eyes. Her attention is drawn to it. She looks down at herself in the open pocket mirror with a look of guilt and lets out another sigh as she subconsciously strokes the pendant on her necklace.

CUT TO:

3. EXT. DESERTED PLAYGROUND. MIDDAY. 3

Three teenagers, REECE, TOM and FREDDIE, 16-17 years old, are out of breath as they have just been running and have come to a stopping point. Tom collapses on a roundabout and Reece takes a load off on a small child’s rocker. Freddie is slightly behind the other two so is still trying to catch up, his movement is quite peculiar and it looks as if he's walking with a limp/pulled muscle, something is definitely restricting/impacting his ability to walk and run. Tom looks on and laughs at Freddie, as does Reece.

TOM

You actually s**t ya-self?

FREDDIE

                      Nah.

TOM

(Noticing a big bulge down one

of Freddie's tracksuit legs)

                        What's dat den?

Freddie unzips his tracksuit to reveal a large French Baguette stuffed down his bottoms. He pulls it out triumphantly and raises it in the air as if a mighty sword.

FREDDIE

                    Victory!

Tom and Reece laugh mockingly.

REECE

                        Twat.

TOM

                      Bun dat!

FREDDIE

What? We said biggest thing.

TOM

As in, most expensive. Like........

(Revealing his item which is a blu-

ray DVD box set. He grins smugly)

REECE

                       Nice.

FREDDIE

                   And I'm da twat.

(Grabs the box set from him and opens

the case to reveal no disks. Tom looks

deflated) You aint stole s**t.

TOM

(Huffs)

Balls! I forgot dey keep em behind

               da counter!

Freddie and Reece laugh. Freddie gives Tom a playful spin on the roundabout. Both Tom and Freddie then look towards Reece, waiting for him to reveal his hand, but Reece is reluctant.

FREDDIE

                  C'mon den, show us ya cards.

Reece reluctantly reveals a small key ring with his name on. Both Tom and Freddie shake their heads, disappointed by his efforts.

TOM

Think it's safe to say you lose dis one.

REECE

F**k it, I didn't wanna get nicked for

Stealing a bloody baguette or empty

DVD case. Imagine dat on ya criminal

record (Sniggers). Nah, least wid dis,

if dey wudda stopped me I wudda said

it's mine, look, got my name on, init.

(Laughs to himself)

FREDDIE

(Almost approves)

                   Fair.

TOM

(To Fred)

What ya gonna do wid dat ting?

FREDDIE

                Dispose of da evidence.

(Goes to take a big bite out of the giant

baguette but it's too hard) F**k dat.

Rock solid.

All three laugh.

CUT TO:

4. INT. SUBWAY/UNDERWALK. AFTERNOON. 4

A homeless man sits cross legged on top of a sleeping bag, he has a makeshift sign and hat laid out on the floor with some loose change in. From a low shot we see several feet/legs pass hurriedly, a brief pause in action, and then a baguette suddenly dropped in the homeless man's lap. The homeless man looks stunned, he glances up to see the three teens stroll past, Tom and Freddie are smirking, Reece does not look amused.

HOMELESS MAN

(Agitated)

The f**k am I supposed to do with that!

TOM

(As their walking away)

Shove it up ya a*s when ya get lonely!

(Him and Freddie laugh again)

REECE

               Man dat's cold.

FREDDIE

Nah, he's obviously not dat hungry den.

They walk on, Tom and Freddie are passing what looks like a joint between them, it's eventually passed to Reece, who is slightly hesitant in taking it. Reece does not look overly comfortable with it in his hand.

CUT TO:

5. EXT. OPEN STREET. LATE AFTERNOON. 5

The boys are continually their stroll through town, however look a little more lighter on their feet after smoking some cannabis. They are passing a residential area.

FREDDIE

(Laughing)

                I'm serious.

TOM

            Nah, I don't believe ya.

FREDDIE

             It's da truth!

TOM

(Laughs)

            Nah Fred. Reece, truth or dare?

REECE

               Truth. (Tom pretends to snore mockingly)

I done enough stupid s**t for today.

TOM

Ite. (Thinking, he comes across a loose

brick in the paving, picks it up) Are ya

too p***y to throw dis brick through dat

window? (Looking towards a random house window)

REECE

(Rolls eyes. BEAT) No.(Tom holds out the brick)

Tom. I aint doing it man.

TOM

Den you lied fam!

FREDDIE

(Sniggers)

Owwwww, he's kinda got ya dere.

TOM

(Still holding out the brick, mutters)

P***y hole.

Freddie lets out a cackle as Reece looks back and forth between the brick in Tom's hand and the window of the house, contemplating. The house looks already pretty run down and worn out.

REECE

Man I gotta walk down dis street almost

every day. (Looking around him paranoid)

FREDDIE

(Sniggering)

Shittin a brick over throwin a brick!

Reece contemplates for a moment longer. In an impulsive irrational act Reece grabs the brick from Tom's hand and throws it at the window. Before the brick has even left Reece's hand the other two have already begun to leg it with yells of “S**t” and “F**k”. The window is not seen breaking on camera but the sound of glass shattering is heard and the boys reactions to it as they bolt it from the scene of the crime all with fairly shocked expressions, including Reece who cannot quite believe what he's done. However there is an element of excitement and an adrenaline rush amongst them as they scurry off.

CUT TO:

6. EXT. ANOTHER RESIDENTIAL AREA. LATER IN THE AFTERNOON. 6

The boys are once more out of breath as they have reached a safe distance from the scene of the crime and are now in a much nicer area of the neighbourhood, as they walk down a row of reasonably priced houses. There's a joyful bounce in each of their step.

FREDDIE

(On a high)

Dat was cray cray!

TOM

Boi stepped it up! (Giving Reece

a playful dig in his arm, Reece is beaming)

They come to a gradual stop outside a particular house.

CUT TO:

7. INT. LUXURIOUS HOUSE. LIVING ROOM. LATER IN THE AFTERNOON. 7

There is a POV shot of someone inside looking out a window at the boys stood outside the house. We see and hear everything in the next scene from that shot/persons perspective. Therefore sound is slightly muffled through the glass. Reece is stood in the gateway slightly up the path to the house and the other two are stood on the pavement on the outside of the gate/front brick wall.

REECE

Right boys, dis is where I get off. Been enough excitement for one day.

TOM

Cool fam, catch you around.

(Shakes Reece's hand)

FREDDIE

Lay low for a bit.

(Shakes Reece's hand)

REECE

(Sniggers)

Yeah, laters. (Takes out some front

door keys and turns down the pathway)

The camera pans out to reveal JOSEPHINE peering through the curtains, Reece's mother, early forties, a well to do looking woman. Seeing Reece approach she sits down on the sofa and pretends to be watching the television, masking the fact she was being nosey. She hears Reece's key turn in the door and him enter, he goes to bolt straight up stairs but she stops him in his tracks.

JOSEPHINE

Err Reece!

REECE

(Poking his head round the living

room door) What?

JOSEPHINE

I take it you're in tonight then?

REECE

Yeah, why?

JOSEPHINE

(She stands and moves closer to Reece)

Was just thinking about what

to do for dinner. Dad should be

home tonight as well. Enthuses

on the word SHOULD. (Mutters)

Never know with his work.

REECE

(Sniggers, mutters)

Yeah, work.

JOSEPHINE

Something you want to say?

REECE

Nah. I'm hungry now actually.

Starving. What we got? (Josephine

moves suspiciously close to him,

almost trying to smell his clothing,

Reece backs up feeling uncomfortable)

What you doin?

JOSEPHINE

What have you been up to today then?

REECE

Nothing.

JOSEPHINE

Nothing? You mean to tell me that in

the space of four hours you've done

absolutely....

REECE

I'm tired, gonna go lay down for a bit.

(Walks away)

JOSEPHINE

(Following, insinuating)

Don't you mean lay low?

REECE

(Playing coy)

Huh? What you on about?

JOSEPHINE

(BEAT)

Reece, this really needs to stop.

REECE

(Tuts)

What you banging on about woman!

(Gets halfway up the stairs)

JOSEPHINE

(From the bottom steps)

Just think about what Kathy would say

if she was...

REECE

(Snaps, angrily)

Well she isn't! Is she! So f**k it!

Josephine lets Reece storm off as she contemplates herself and returns to the living room.

CUT TO:

8. INT. REECE'S ROOM. EVENING. 8

Reece is laid out on his bed chilling with his headphones in listening to music. He is on Whatsapp to Tom and Freddie, 'Fred' sends him a message which reads, “Mate you might wanna get some new boxer shorts coz your balls defo got bigga” followed by two grapefruit emojis. Reece laughs, he then gets a message from Tom, who is also part of the conversation, which reads, “Need to take this game to the next level!”, Reece replies, “You mean MY level! Just call me Donkey Kong b***h!”, Reece laughs to himself. The focus of the camera is drawn to a picture frame Reece has on his bedside table, in the frame is an old photo of him and his mum stood either side of an elderly woman who looks fairly frail yet still wears a gentle and warming smile. Both Reece and Josephine look happier in the photo and appear more as a family with the elderly woman connecting them. Reece is younger in the photo and looks a lot different to what he does now in the present day/time. In the photo his whole demeanour and dress sense/appearance is in contrast to who he is now.

CUT TO:

9. EXT. OPEN STREET. MIDDAY. 9

Reece is walking cautiously down the same row of houses where he put the brick through the window. He's on the opposite side of the street, he is nearing the house, he puts his hood up to conceal his face. The house window has been boarded up with some cardboard and duct tape. Reece passes the house and lets out a sigh of relief as he walks further into the distance. Clare is walking towards Reece on the opposite side of the road, she is stumbling along with two bags of shopping in her hand, struggling slightly. Reece passes her, but as he does he hears a loud groan and the sound of objects scattering, he turns back round to see Clare stood holding a ripped shopping bag and staring down at loose objects on the floor, as she holds the other bag in hand. She goes to bend down to pick the items up but looks like she's in quite a lot of pain/discomfort doing so. Reece decides to step forward and lend a hand, so approaches Clare, who in seeing him approach with his hood up looks a little concerned. Reading Clare's body language Reece drops the hood and picks up the object which has rolled closest to him.

CLARE

Thank you. (Reece hands her one of

her items with a smile, she places

it in the bag which isn't ripped. Beat)

Supposed to be a bag for life.

(Sniggers, Reece smirks)

REECE

(Holding an assortment of items in his arms)

Um....Where shall I......

CLARE

(Seeing the other bags full)

I really need to get one of those old-biddy trolleys.

(Beat) I only live up here if you

wouldn't mind.....

REECE

Nah it's cool.

CLARE

Thank you. That's very kind of you young man.

REECE

No worries.

They walk side by side in an awkward silence for a moment. Reece notices he's heading back towards the window he broke, his relaxed demeanour turns to being uptight again, as he puts his hood back up.

CLARE

(Chuckles)

Sorry If I'm ruining your street-cred.

(Reece lets out a slight smirk. Beat)

It's not far up here.

Gradually they draw closer and closer to the house with the broken window, as they do Reece grows more nervous and uptight.

CLARE

Here we are.

Clare stops at the same house that Reece put the brick through the window, by this point his heart is racing as she leads up the pathway and Reece is brought closer to the destruction he caused. Reece can't help but stare.

CLARE

(Noticing Reece's gaze)

I almost had a heart attack. Was just sat

watching my soaps and then, BANG! Out of

nowhere.

REECE

(Trying to play it off)

S**t. That sucks.

CLARE

Sucks indeed. Was supposed to have a

repair man come out this morning, but,

no sign of him.

Reece suddenly notices the Jesus on the cross pendant around Clare's neck. Adding to his guilty face. Clare opens her door and places her shopping bag inside before turning around and gesturing for Reece to hand her the other items of shopping he is holding. Reece does not initially clock on as he is in a daze, but eventually snaps to and hands her the items. She then places those items on the floor inside her doorway.

CLARE

Well thank you for restoring my

faith in humanity young man. Much

appreciated. (She goes to reach inside

her purse and take out some money)

REECE

(Stepping back)

Nah it's OK. I don't want that.

CLARE

No please you......

REECE

(Taking another step back)

Honestly, it's fine. Have a good day.

(Heads off in a hurry)

CLARE

You too! Thank you! Bye!

Clare returns inside and closes the door as Reece bolts it down the road. He looks extremely guilty and is having an attack of conscience.

REECE

(As he's bolting it down the road, under his breath)

F**k. S**t, s**t, s**t.

CUT TO:

10. EXT. DESERTED PLAYGROUND. AFTERNOON. 10

Tom and Freddie are loitering in the playground.

TOM

Man's taking long. Oi, whatsapp him.

Freddie sends a message to Reece via whatsaap, he writes, “Where u at?”. Shortly after he gets a reply from Reece which reads, “Soz bruv, something came up”.

FREDDIE

Something came up apparently.

TOM

Like what? (Freddie shrugs) Den ask him!

Geez.

Freddie begins writing another message.

CUT TO:

11. INT. REECE'S ROOM. AFTERNOON. 11

Reece is sat on his bed, staring into the distance, still in a daze and feeling overwhelmed with guilt. He receives another message from Freddie, which reads. “What's up?”, he chooses to ignore it and not reply, but shortly after receives yet another message from Freddie which reads, “Oi!!!! Answer me!!!”. Reece ignores that one as well and tosses his phone to the side. His eye line is drawn over to the photo frame on his bedside table. He suddenly hears an echo of a memory as he looks at the picture in the frame. The final words he shared with his grandmother.

ELDERLY WOMANS VOICE

(Voice over, frail sounding)

You look after your mum for me, yeah?

And you promise to always be a good boy,

alright? Don't let me down.

Reece takes the photo from on top of his bedside table and places it in a draw out of sight.

CUT TO:

12. INT. CLARE'S LIVING ROOM. NIGHT. 12

Clare is sat watching television. She is continually distracted by the howling of wind and the sound of the cardboard flapping around her window. Each time it flaps she looks increasingly worried/frightened. She can't help but stare at it, anticipating it giving way. There's a sudden loud bang from the television which makes Clare jump out of her skin, as she lets out a yelp of fear.

CUT TO:

13. INT. REECE'S ROOM. NIGHT. 13

Reece's eyes open, having just awoken from a dream. The dream being the previous scene. He lays awake with a look of guilt.

CUT TO:

MORNING.

Reece lays in bed in the same position as when he awoke, eyes wide open, heavy bags and dark rings under his eyes to imply a sleepless night. Still deep in contemplation. He is struck by an idea. He gets out of bed and takes out a note book which he uses to write lyrics in. He turns to an empty page and grabs a pen, he sits with the pen poised over the paper, deep in though. He begins writing and then immediately second guesses what he has written, tearing the page out and starting over. While he is doing this his phone vibrates several times, whatsapp notifications flash up from both Tom and Fred, messages along the lines of, “You coming out 2day?”, Reece tries his hardest to ignore the messages and focus on what he is trying to write. He is struggling to get the words out.

CUT TO:

MIDDAY.

Time has passed and Reece has managed to write one paragraph of what looks like an apology letter, but is still finding it difficult to express how he feels on paper. There are now several notifications racked up on his phone.

CUT TO:

14. INT. REECE'S HOME. DOWNSTAIRS. EVENING.

Reece's mum Josephine is in the living room watching television. Reece tries to sneak down the stairs and out the front door undetected. He goes to open the door but realises the chub lock has been placed on, he swears under his breath and then tries to unlock the door as quietly as possible, but Josephine over hears and makes her way out into the hallway where she catches Reece. She stands between him and the door.

JOSEPHINE

Reece. It's almost nine.

REECE

(Tuts)

I know that.

JOSEPHINE

Then where you going at this time?

REECE

Just down the road, I won't be long.

JOSEPHINE

(Sniggers)

Down the road to do what exactly?

REECE

(Huffs)

I'll be back in ten minutes, tops!

JOSEPHINE

You're going to pick up drugs, aren't you?

REECE

No! For Christ......

JOSEPHINE

Then what Reece!

REECE

I've got to go!

Reece barges past his mum and out the door. Josephine shouts after him.

15. EXT. OPEN STREET. EVENING. 15

Reece is walking towards Clare's house with a nervous expression, as he draws closer he puts his hood up, still wary of being seen in the local area. From his pocket he pulls out a folded piece of paper, he is breathing rather heavy as he approaches the house, the window at this point has been fixed. He quickly dashes up the pathway to the door and goes to place the piece of folded paper through the letterbox as quickly and quietly as possible, but is having some trouble as the letter box is bristled. A NEIGHBOUR walking their dog passes by and catches Reece with his hand in Clare's letterbox looking suspicious with his hood up. Reece manages to get the letter through.

NEIGHBOUR

Can I help you?

REECE

(Slightly stunned by the voice

turns around sheepishly, removing his hood)

Nah. I'm cool.

NEIGHBOUR

What were you doing with your hand

through that letterbox?

REECE

Nothing.

NEIGHBOUR

Maybe you'd like to tell that to

the police. Yeah?

REECE

(Kissing his teeth)

Call them then init.

NEIGHBOUR

OK then. (Takes out phone)

Clare hearing the commotion opens the door. Seeing Clare stood over the letter on her hallway floor shakes Reece, as she looks at him and her neighbour with a look of confusion.

CLARE

What's happening?

NEIGHBOUR

Don't worry Clare luv, I was just

about to ring the police.

CLARE

Why? I know this young man.

NEIGHBOUR

Oh, right, I wasn't sure whether.......

CLARE

He's a very fine gentleman.

So there's no need for that.

Clare steps out of her doorway, over the letter she hasn't seen yet, Reece second guesses his decision and grabs the letter when she's not looking and shoves it back in his pocket.

NEIGHBOUR

oh, OK, sorry, sorry to have disturbed

you. (To the dog, pulling at the

leash) C'mon. (Quickly walks away

embarassed)

As the neighbour walks off Reece gestures 'Wanker'.

CLARE

(In reference to Reece's gesture)

I just said you were a gentleman.

(Beat) So what brings you to my

humble abode at this time?

REECE

(Briefly lost for words) Um......

I was just having a stroll and thought...

Thought I'd um......Doesn't matter

now...Have a nice evening. Maybe catch

you around.

Reece hurriedly walks away leaving Clare stumped. But he suddenly stops in his tracks, second guessing his actions once more. He takes in a deep breath and turns back around, causing Clare further confusion. Reece decides to bite the bullet. He takes out the hand written letter.

REECE

I came to give you this.

CLARE

(Taking the letter, still perplexed)

What is it dear?

REECE

Just read it init. I don't know what

I was thinking that day. Sorry. Like

genuinely.

Reece hurriedly walks away again, but this time doesn't stop. Clare is left with the letter in hand as she looks down at it

 with curiosity and bewilderment.

16. INT. CLARE'S LIVING ROOM. NIGHT. 16.

Clare sits in an armchair in front of the television reading the letter that was given to her by Reece. There's a close up of some of Reece's writing, which offers a sincere apology, expressing genuine regret and guilt.

CUT TO:

17. EXT. DESERTED PLAYGROUND. AFTERNOON. MIDDAY. 17

Tom and Freddie are sat chilling. In amidst conversation.

FREDDIE

(Laughing)

S**t man, really?

TOM

Yeah, trust, she was all over my.....

(Tom's train of thought is broken as he

looks up and sees a familiar face

approaching) Hold up, blast from da past.

FREEDIE

(Looks up, sees Reece approaching, pretends

to be shocked in a mocking manner)

Geez! It's a ghost!

REECE

Ite guys.

FREDDIE

It speaks!

REECE

Soz, I've had some bullshit to take care of.

TOM

What kind of bullshit?

REECE

Nothing major, it's done now.

TOM

(Receiving a message, reads it and tells Freddie

He says da park in half an hour.

FREDDIE

Cool.

REECE

What's dat?

TOM

Someone hooked me up with someone

who's got stronger s**t. You down?

FREDDIE

Stupid question.

REECE

I'll come with, but I aint taking

nothing.

TOM

Ite. More for us init.

CUT TO:

18. EXT. PARK. AFTERNOON. 18

A smartly dressed HIPSTER sits on a park bench holding a bouquet of flowers. The three boys stare from a slight distance towards him.

FREEDIE

You sure dis isn't some Grinder date?

TOM

F*****g hope not. (Beat) Ay, kick back.

But watch out, yeah?

Freddie and Reece stand back as Tom goes and sits next to the hipster cautiously. Tom looks very uncomfortable sat next to him. They never make eye contact.

HISPTER

(Low volume)

Take the money out, discreetly.

Pretend to bend down and tie your

shoe, place the money under your

shoe and slide it over to my shoe.

You got that?

TOM

Cool.

Tom follows the hipsters directions. He passes the money from under his shoe to under the hipsters shoe. The hipster then takes a casual look around to see if it's all clear, quickly grabs a small bag from the bouquet of flowers and replaces the money with it under his shoe, he then slides the bag over to Tom who quickly grabs it and shoves it in his pocket.

TOM

What now?

HIPSTER

You and your friends f**k off. And

next time make sure they're not

standing there looking suss.

Tom gets up and rejoins the other boys. The hipster stays.

TOM

Dat was like some f*****g, SAS, sting

operation.

CUT TO:

Shots of Freddie and Tom sniffing some cocaine in some remote part of the park as Reece looks on with disapproving eyes.

CUT TO:

19. EXT. TOWN CENTRE. LATER IN THE AFTERNOON. 19

The boys are strolling through town. Freddie and Tom are highly intoxicated, Reece is completely of sound mind. Reece looks very uncomfortable being with them at this point.

TOM

(Laughing)

Ite, ite, ite. Truth or dare?

FREDDIE

What? Me or you?

REECE

Nah guys, let's not....

TOM

Ere, slap dat guy on his bald head.

FREDDIE

Oh snap.

REECE

Nah Fred don't.

TOM

Ah man, both you p*****s. Look.

Tom casually walks over to a big bald man who is minding his own business and slaps him on the top of the head with a giant smirk, suddenly the big bald man explodes and lashes out at Tom, grabbing him and screaming profanities. Freddie rushes in and Reece rushes in after Freddie trying to stop him from intervening. Suddenly a couple of other bald men appear from a pub.

CUT TO:

20. INT. REECE'S HOME. KITCHEN. CLOSE TO EVENING. 20

Josephine is doing some ironing in the kitchen, she has her eyes fixed on a clock as she watches the time, clearly concerned about Reece's whereabouts. She receives a home telephone call. She stops the ironing and answers it. The camera stays in the kitchen and we hear Reece's mum off screen.

JOSEPHINE

Hello? (Pause) What? (Pause)

There is a sudden loud scream. Snap to black. FADE UP CAPTION: 'A week later'. FADE DOWN.

21. EXT. OUTSIDE NEWSAGENTS. MORNING. 21

There's a close up of a newspaper rack outside a newsagents. The local paper displays the front page headline, 'Teenage Gang Attack Goes Wrong'. The front page displays a picture of a younger Reece, who is labelled as deceased. A distraught and bedraggled Josephine exits the newsagents with a small bag and sees the papers in the paper rack. In an emotional fuelled outburst she rips the papers from the rack and throws them in a near by bin.

CUT TO:

22. INT. CLARE'S HOME. MIDDAY. 22

Clare is sat reading the same paper. The story paints Reece as a thug. She reads it with disconcerting eyes. She flips to the back of the paper where it has a phone number and email for people who wish to contact the paper regarding stories. She phones the number provided.

CLARE

Hello? Hi? I'm just ringing in regards

to a recent story you've published

on a young man named Reece Willats.

Yes. I'd like to contribute something.

CUT TO:

23. INT. EVENING. LIVING ROOM. 23

Josephine sits gormless, flicking through channels like a mindless zombie, until something catches her eye, a brief glimpse of a news channel caption which reads, 'Thug? Or misguided youth?', Josephine quickly flicks back to see Clare on screen stood outside her house directing speech to camera as if she's being interviewed. Close up of TV screen.

CLARE

He helped me to my door with my

shopping and seemed like a very

pleasant young man. Was well

mannered and refused to take the

money I offered him. A day later

he turned back up on my door step

to give me this (Takes out letter).

It turns out he was the one

responsible for putting a brick

through my window. In this hand

written letter he apologises

quite sincerely and I'd just like

to read a short passage. “That day

when I left my house I had no

intention of doing what I did,

and I am shocked and ashamed at

what I have done. I feel very

guilty and would offer to pay

for the window but have no money

of my own, I can only apologies

and hope that someday you will

forgive me for this terrible

act, I swear to never do anything

CLARE (CONT'D)

as stupid intentionally again.

I am truly sorry. My sincerest

apologies”. (Beat) It is my

belief that we are all capable

of making mistakes, but part

of that is learning from them.

I do not believe Reece was a

bad human being, I think many

have been quick to judge.

I believe he was a good boy,

with a good heart, and conscience,

who was sadly mislead. To his

friends and family, I wand you

to know, I forgive him. May he

rest in peace.

Tears fall from Josephine's eyes, however these are more joyous tears.

CUT TO:

24. EXT. OPEN STREET. NIGHT. 24

Repeat of opening scene. See '1. EXT. OPEN STREET. NIGHT. 1'.

CUT TO:

25. INT. BEDROOM. MORNING. 25

Clare awakes with a sigh once more. She looks up at her cross dangled above, and then over to the letter Reece gave to her, which she has opened on her bedside table, this relaxes her somewhat. She sits up, puts on her cross and steps out of bed, opening her curtains, letting in light, which once again bounces off the opened pocket mirror. She looks at herself in it.

CUT TO:

26. EXT. OPEN STREET. NIGHT. 26

The young woman in the 1950's clothing is walking cautiously down the dark narrow alley alone, she looks very uptight and wary of her surroundings. She thinks she hears footsteps following behind her. Increasingly worried and nervous she places her hand into her pocket and grasps onto a set of keys. The footsteps seem to be growing faster and nearer. A voice is heard from the darkness.

VOICE

Hey. (The woman’s walking

pace picks up rapidly)

Hey. Miss!

The young woman really begins to panic as a shadowy figure of a man emerges from behind her and places a hand on her shoulder, in a heightened state of fear the young woman turns around and lashes out with her keys, accidentally stabbing a young man in the neck. The young man looks stunned and gasps for air as he begins to rapidly lose blood. The young woman is equally stunned as to what she has just done. The young woman looks down and notices the young man is carrying a pocket mirror in his hand, a pocket mirror she recognises.

CUT TO:

27. EXT. OUTSIDE COMMUNITY HALL. EARLIER IN THE NIGHT. 27

Minutes before the previous scene. The young woman is seen leaving a community hall and is rooting through her bag to find her keys, which she places in her pocket, however in the process her pocket mirror drops from her handbag onto a small patch of grass, she does not notice and continues walking, however a passing gentlemen witnesses this happen and picks up the pocket mirror before pursuing her.

CUT TO:

28. EXT. OPEN STREET. NIGHT. 28.

The young woman now has the pocket mirror in hand and is staring down in shock at the young man who is now bleeding out on the floor, gargling. The young woman is horrified and in tears.

YOUNG WOMAN

(Muttering)

Sorry, so sorry, I didn't mean

to.....Oh god....I'm sorry.

Please, please. Forgive me.

The young woman flees in a panic, not knowing what to do. She reaches the end of the alley way and turns back, looking into the darkness, she can hear the faint gargles from the man, as he takes his last breaths, and then there is a haunting silence, followed by a faint wind.

CUT TO:

29. INT. BEDROOM. MORNING. 29.

Clare is still stood looking down at herself in the pocket mirror, the same pocket mirror that the young woman held. She is subconsciously stroking her cross. She glances over once more at the letter Reece wrote. She contemplates, and then closes the pocket mirror.

THE END.