40. INT. NIGHT. CORRIDOR FIRST FLOOR

 

ELIJAH stands embracing the TUBA; playing the solo piece carnival of Venice

 

The door to room 40 opens; CLEM stands in the doorway, hood up, fists clenched.

 

CLEM

            You looked in the fucking bag didn’t you!

            Is that it! Is that what you aspire to be

            is that your dream ! A fucking tuba solo in

            the corridor of a resettlement hostel !

 

ROOM 40

 

RADIO ANNOUNCER

(Heard only)

            Clem Conti is a free man! Clem Conti

            Is innocent!

 

Confused, frustrated and angry CLEM takes the radio from his pocket which is switched off and throws it against the wall; it smashes into pieces. He looks around the room then tips his bed

 

CLEM

           You wholesome…prick, pure…do good’er…shut up!

 

ELIJAH enters the room still playing the tuba.

 

 

41 INT. NIGHT. RECEPTION AREA

 

The sound of the door being furiously rattled kicked

 

TELEVISON ROOM

 

MUSTAFA drops to his knees in frustration at the giggling BAG ED and WESLEY

 

MUSTAFA

           Allah Akbar! Allah Akbar! Allah Akbar!

 

BAG ED Draws his knees up and clutches WESLEY

 

BAG ED

           What’s he on about?

 

WESLEY

(Laughing)

           I think he said open sesame !

 

 

RECEPTION AREA

 

The door bursts open and the dishevelled DOC appears; his face and suit blooded and dirty.

 

TELEVISON ROOM

 

MUSTAFA rises to his feet arms outstretched.

 

BAG ED and WESLEY are taken aback looking decisively worried and confused; they edge past MUSTAFA and exit the room.

                                                                              MUSTAFA 

                   Allah Akbar! Allah Akbar! Allah Akbar !

                   God is great!  God is great! God is great!

  

RECEPTION AREA

 

There is a loud noise of glass smashing

 

42. EXT. NIGHT. SALVATION HOUSE

 

The yellow chair is projected through the air; splintered glass scatters into the night

 

 

43. INT. RECEPTION AREA

 

The attention of WESLEY, BAG ED, DOC and the POLICE OFFICER is drawn to the glass stairwell; they stare open mouthed.

 

ELIJAH is making his way down the stairs playing his tuba; the solo piece carnival of Venice

 

44. EXT. NIGHT. GRASS VERGE. SALVATION HOUSE

 

The broken yellow chair is abandoned on the grass verge surrounded by shards of glass.

 

 

45. INT. NIGHT ROOM 40 SALVATION HOUSE

 

CLEM sits on the floor, head bowed, hood up, fists clenched.

 

He takes his hood down.

 

CLEM

           Fuck it…

 

Finally he lays flat on his back and exhales reaching out he unclenches his fists and flexes his hands

 

CLEM

           Let go.

 

46. INT. NIGHT. RECEPTION AREA

 

ELIJAH stands playing his TUBA, DOC, BAG HEAD, MUSTAFA WESLEY and the POLICE OFFICER are gathered around watching and listening.

 

ELIJAH stops playing, looking satisfied, smiling, he walks off to the reception.

 

RECEPTION

 

ELIJAH places the tuba into the case.

 

RECEPTION AREA

 

The group disperse

 

BAG HEAD Coheres WESLEY and they make their way up the stairs.

 

MUSTAFA

            What the fucking hell was that all about.

 

The POLICE OFFICER shakes his head places his note book into his pocket.

 

MUSTAFA

            Don’t you want my statement?

 

POLICE OFFICER

            No, no I’ve heard enough.

 

The POLICE OFFICER leaves the building

 

MUSTAFA

            Raciest!

 

MUSTAFA makes his way upstairs.

 

DOC stands at the reception window and holds out his hand.

 

DOC

          Can I have my medication please Elijah?

 

47. EXT. DAY. GARDEN-SALVATION HOUSE

 

The skip stands at the rear of the garden, it’s full of broken furniture; wardrobes, bed frames, mattresses and chairs.

 

A side door opens; DOC appears, in his worn three piece suit, he looks at his fob watch; noticeable is his swollen lip and black eye; he begins his routine of pacing around in circular cycle.

 

 

48. INT. DAY. TELEVISON ROOM-SALVATION HOUSE

 

ELIJAH looks on; he is joined by CLEM who is wearing a

shirt and is clean shaven.

 

CLEM                   

            It didn’t work for him, did it?

                                                                               

                                                                                  ELIJAH

            Oh I don’t know. For a couple of hours

           there, he was the man he was forty years ago.

 

CLEM

            I suppose when you look in the bag, it

            depends on the man, his dreams and

            aspirations...and what you aspire to be.

 

ELIJAH

            Yes, I suppose right, it does. So…what did

            you do with the bag?

 

 

49. EXT. DAY. GARDEN-SALVATION HOUSE

 

SKIP

 

An old stained mattress is pushed aside; DEWI slides his body from underneath. He sits up and peers over the side of the skip and surveys the garden.

 

DOC walks around the garden

 

DEWI slips back into the skip; directly to his front secreted into a broken chair is the BROWN PAPER BAG.

 

DEWI loosens it from the chair, sighs heavily with anticipation and licks his lips he then carefully opens the bag and looks in.

 

A chink of light emulates from the BROWN PAPER BAG; DEWI’S face lights up, wide eyed and displaying his toothless grin.

 

Music of fat Larry’s band and the record ZOOM echoes around. DEWI begins to dance around with his young bride in her wedding dress; he is dressed in top and tails unshaven, holding a bottle of cider.

 

FAT LARRYS BAND

(Heard only)

             Zoom, just one look and then my heart went boom 
             Suddenly and we were on the moon 
            Flying high on the neon sky, oh 

            Bang, just one touch and 
            All the church bells rang 
           Heaven called and all the angel sang 
           Sunrise shine in the morning sky, oh 

           Zoom, you chase the day away 
           High noon, the moon 
          And stars came out to play 
          Then my whole wide world went zoom 
          (I passed the rainbow as it went flying by 
          Faster and faster we were higher than high) 
           For once in my lifetime I was finally free 
           And you came back to me 

          Oh, zoom you chase the day away High noon 
         The moon and stars came out to play 
         Then my whole world went zoom 

         Moonbeams dancing in the afternoon 
         Shadows blowing as the roses bloom 
         Looking down on a wonderland, oh 

        Smack, just one kiss and I was outta whack 
        All at once there was no turnin' back 
        Oh so far above the brightest star, oh

 

 

            

Fade out