Grease (5)
Here, let me help you. She walks over to him, and stands behind him, putting her arms around his and holding the IRON BAR. CLOSE ON BARRY’S FACE as she presses against him, a look of utter lust fills his face. BACK TO SCENE LEYLA Ready? barry (garbled) Yeah, anything you say . . . They heave at the GATE, and, little-by-little, it begins to budge. Finally, after much pulling, they’ve opened a small space just big enough for someone to slip through. LEYLA stands away from BARRY, who is now trying his hardest to hide an erection, by standing at angle. COLIN We did it. LEYLA See, told you it could work, it just need abit of thrust. BARRY (mumbled) God god . . . He turns away. COLIN Baz, you alright, mate? He doesn’t turn around. barry (Shakey) Yeah, yeah, I’m fine. Just fancied looking at the hole abit. (mumbled) I might go over to those bushes for a second, if no-body minds? Without asking them again, he breaks into a run, jumping the small barrier at the side of the MOTORWAY, and disappearing into the thick bushes and trees. COLIN and LEYLA watch him go. LEYLA Is he always this . . . weird? COLIN Mostly. It comes from living with Pauline; she’s sent him potty. ext – ROAD BLOCK – NIGHT LATER COLIN is stood at the VAN, having a cigarette. There is no sign of BARRY. BARRY comes thrashing through the bushes, dripping wet, but with a contented smile on his face. He ambles over to his best friend, looking around for LEYLA. BARRY Alright? COLIN Good wank? BARRY Abit wet, but, god, I needed that. Did you see her, Col? Did you see her with her, her, her breasts pressed against my back? colin She really is a looker, mate. barry A looker? I’ve never seen a girl so pretty. I think she’s an sex beast under it all, you know. colin How can you tell? BARRY I’m guessing. COLIN Oh, I see. BARRY looks around. BARRY Speaking of Leyla, where is she? COLIN points to the hole in the gate. BARRY (shocked) What? You let her go through the fucking gate on her own? We don’t know what’s behind there! colin Well, I couldn’t go, could I? I’ve got a bad leg. Besides, apart from me, she’s the only other person who could fit through there. BARRY Fuck. How long has she been gone? COLIN Ten minutes, maybe abit longer. BARRY Then she’s dead, isn’t she? COLIN I wouldn’t say that . . . BARRY You knew there might be fucking danger behind there. Why didn’t you send Pauline? Even if you had to push her through by punting her with the van, you should’ve done it. Now we’ve lost the most beautiful creature on the face of the earth. Because, you do realise, that we might be the only people left alive, don’t you? We might have to re-populate the entire fucking world. Do you want to do that with Pauline? They stand in silence, letting the new relation sink in. COLIN runs to the ROAD BLOCK and starts banging on it. COLIN Leyla! Leyla where the fuck are you? cut to: EXT – CAMP – DAY LELYA is alive and well. Behind the ROAD BLOCK is a small camp, obviously set up by the army, to monitor the situation. Whatever happened, it’s deserted now. She walks past tents and trucks, but there’s no sign of life. LEYLA Hello? No answer. There isn’t a soul in sight. She heads towards a TENT, which is emanating a soft orange glow. leyla Hello? cut to: int – tent – night It’s a large, green CANVAS TENT, kitted out with the latest in army gadgets. There’s a RADIO, a large T.V. (which flickers static and nothing else) and some portable LISTENING DEVICES; which have all been scattered out on a table in the center of the TENT. And there are DEAD BODIES everywhere. Each of them is dressed in blood splattered green army uniforms. Uniforms which are peppered with bullet holes. LEYLA enters the tent, looking around. RAIN can be HEARD hitting the canvas, and it fills the scene with a rhythmic drumming. She see’s the BODIES and holds back the gag reflex. There’s nothing in here, it’s been trashed. There’s bullet holes in the canvas in places, and it looks like the scene of a battle. She turns to go, only to find herself face to face with the barrel of a RIFFLE. cut to: ext – ROAD BLOCK – NIGHT COLIN is still pounding on the ROAD BLOCK, getting no response. barry Face it, man, we’ve lost her. There’s god knows how many zombies behind there. She’s history. It’s just you, me, and Pauline again. COLIN starts pounding at the BLOCK even harder than before. From the VAN, PAULINE stirs, opening her eyes and staring out at them. pauline What’s all the fucking noise about? Some of us were trying to sleep. barry Colin has let Leyla go through the road block by herself. I couldn’t stop him . . . I was doing something else. pauline Let her stew, then. Turn this van around; we can go back the other way. barry What? You’d be prepared to leave her here? We don’t know that she isn’t dead! pauline And we don’t know that she’s safe. Either way, I’m not prepared to risk it. (beat) Come on, Colin, love, get back into the van, we’re off. COLIN doesn’t move, and continues to stare at the ROAD BLOCK. He’s soaked through to the skin, and still the rain lashes down. Suddenly, a GUNSHOT rings out. barry What the . . . ? COLIN runs back to the BLOCK, dropping to his knees and trying to see through the gap. colin (shouts) Leyla! cut to: int – tent – night CLOSE ON HOLE there’s a smoking bullet hole at the back of the tent. BACK TO SCENE LEYLA is stood exactly where she was in the previous scene. The RIFFLE hasn’t moved, nor has the man who’s holding it. He’s a tall, thin man, with a rat’s face and a skin-head hair style. He stares at her, smiling. thug Well, what do we have here. A little girlie, out all by herself. Fancied taking a look around, did you? LEYLA doesn’t answer. thug There’s others out there, behind the road block. How many? I heard them earlier. Still she doesn’t answer. THUG closes the gap between them, raising the RIFFLE. He brings it down, connecting with the side of her face. LEYLA is knocked to the ground. Her face is bleeding. thug We can do this the easy way, or the hard way. (beat) How many of you bastards are there? leyla Three, four with . . . with me. thug There, that wasn’t so hard, was it? He kicks her in the ribs, knocking her back. cut to: ext – road block – night pauline Get in the van! She’s dead, can’t you see that? You two are like dogs sniffing around a bitch. Get in the fucking van! BARRY and COLIN ignore her completely. barry What’re we gonna do? Pauline might be right. colin Leyla can’t be dead. She’s gorgeous. BARRY Well, yeah, but that didn’t stop Marilyn Monroe, did it? She still died. colin Good point. But, if she’s still alive, Baz, we have to try and . . . Before he can finish, BULLETS rip through the BLOCK, peppering the air with white-hot smoke trails. Stunned, COLIN and BARRY drive to the grounds, as yet more BULLETS rip through the metal above their heads. The BULLETS connect with the VAN, ripping into it. PAULINE screams, unable to do anything while the barrage of white hot lead punches smoking holes into the VAN, all around her. The onslaught dies down, and BULLETS cease. Silence. BARRY and COLIN are too scared to get off the damp floor, unable to move with terror. In the VAN, PAULINE whimpers. ext – road block – night ANOTHER ANGLE RAIN is the only sound. Parts of the ROAD are smoking, where hot BULLETS have hit the wet ground. thug (O.O.S. mocking) Hello? Is there anybody there? BARRY raises his head from the ground. barry (whispers to COLIN) I think we’ve got a fruit bat here, mate. colin (whispers to BARRY) Oh, what gave you that idea? As they watch, THUG pushes himself through the gap they’ve made in the BLOCK. He stands to his full height, soaking wet, a vision of terror which just happens to be holding a smoking RIFFLE. He sneers at them, taking in the scene before him. thug Evening, ladies. He storms over to BARRY, pulling him from the floor violently. He pulls him almost face to face and stares at him. BARRY is shaking all over. thug (shouts) Name? BARRY (quickly) Ba . . . Barry . . . Quimley. THUG Good. Like to know who I’m going to kill . . . BARRY whimpers. COLIN, bolder than his friend, climbs to his feet. colin Where’s the girl? There was a girl. She went behind the road block. THUG I know. I saw her. She’s fine. She’s . . . sleeping. COLIN (shouts) You’ve killed her, you bastard! He breaks into a run, headed straight for THUG. THUG swings the RIFFLE around causally, and shoots off four ROUNDS. The first two miss COLIN by a wide margin, but the second two are alittle closer. His left arm explodes, as the BULLET lodges in his shoulder. He has barely a second to register, before the next BULLET hits his stomach. His shirt is instantly stained dark red, and he buckles over, hitting the ground once again. BARRY screams. He tries to rush to COLIN’S side, but THUG aims the gun straight at him, directly at his head. thug You’re going no where, fuck face. BARRY But . . . thug Are you deaf? If you move a fucking inch, I’ll blow you’re fucking brains out. BARRY stays put, never taking his eyes off the unmoving COLIN. Where COLIN has landed, there is an ever-widening pool of blood. It doesn’t look good. cut to: int – tent – night LEYLA opens an eye, and winces in pain. The entire right side of her face is covered in blood, which has ran from a deep gash on her forehead. She tries to stand, but the pain is intense. leyla (to herself) Come on, you soft bitch. She grits her teeth, and climbs to her feet. Holding her ribs, she staggers out of the TENT and out into the rain once again. cut to: ext – road block – night THUG walks to the VAN. PAULINE is still inside, trying hard not to be. She’s curled herself up into a ball, but her size just makes her look even bigger. He throws the door open, and stands looking at her. thug Jesus. (child’s voice) I’ve got me a blubber tank, daddy. From behind him, BARRY protests. THUG What was that, Barry old mate? BARRY I said leave her alone. Haven’t you done enough damage . . . thug Shut it, ok? You have no fucking idea how much damage I can cause. He reaches into the VAN and drags the huge shape of PAULINE out onto the ROAD. She’s soaked through to nothing, her DRESSING GOWN no match for the storm which rages over-head. She lays where she’s been dropped, crying. THUG trails the gun at her head, and laughs. THUg (child’s voice) Look at the blubber wobble, daddy! (pause) Get the fuck up, you fat bitch. I ain’t got time for this. He drags her to her feet, and heads back towards BARRY. cut to: ext – camp – night LEYLA is peering through the gap in the BLOCK, watching the action unfold. LEYLA’S POV THUG is pulling PAULINE back towards the BLOCK. BARRY is terrified, torn between helping his wife and seeing if his best friend is ok. BACK TO SCENE FOOTSTEPS can he heard out of shot. LEYLA doesn’t take much notice of them, and continues to peer through the gap. CLOSE ON GREY HAND which shoots into shot, inches from LEYLA’S head. BACK TO SCENE CUT TO: EXT – ROAD BLOCK – NIGHT THUG Come on, both of you. BARRY (pointing to COLIN) What . . . what about him? THUG glances at the BODY. THUG Leave him, twat. BARRY But . . . he might still be alive . . . he might . . . THUG sighs. He turns and aims the RIFFLE directly at COLIN’S head. He lets off a BLAST at the stricken man’s skull. It explodes in a bright red mess. THUG turns and walks away. thug Happy now, Barry?
Copyright © 2002 Mark Timothy Dickson |