SO THIS IS THE SECOND PART OF THIS WEE TALE THOUGH STILL THE FIRST CHAPTER/ISSUE). IN THIS FIRST “CHAPTER” I’M TRYING TO GET A BIT OF A CLAUSTROPHOBIC FEEL TO THE STORY, TO REFLECT THE TOWN AND ITS ‘AMBIENCE’ AT THAT TIME. I DON’T KNOW HOW WELL THAT WORKS, I SHALL PROBABLY GO OVER IT AGAIN, ONCE I REACH A POINT WHERE I FEEL I CAN GO BACK TO THE BEGINNING. THIS GIVES US A FEELING OF THE TRIO’S JOURNEY TO THEIR DESTINATION AND GIVES A BIT MORE DESCRIPTION OF THE FOURTH MAJOR CHARACTER IN THE STORY; THE TOWN ITSELF. BASED LOOSELY ON MY HOMETOWN (LUTON), IT SHOWS AN INDUSTRIALIZED TOWN ON ITS UPPERS. THE MAJOR INDUSTRIES ARE BEGINNING TO MOVE OUT TO CHEAPER CONTINENTAL LOCATIONS AND THE TOWNS-PEOPLE ARE STUCK IN A CONTINUAL HALF-LIFE. NO ONE WANTS TO INVEST TIME AND MONEY IN THE PLACE AND ITS NOT YET SEEN AS A DESIRABLE BEDROOM COMMUNITY TO THE CAPITAL A HALF HOUR’S TRAIN RIDE TO THE SOUTH.
PAGE 9 :
9 PANEL PAGE. The top three panels form one picture but need to be divided, the mid-three panels also form one picture and are broken up by the panel divides. They are the same picture but from two different angles.
Panels 1, 2 and 3 are ALEX in panel 1, JIM in panel 2 and STU in panel 3. We are looking at them from the front and can see them from the waist upwards. They are being lighted from the lamp post, up the slight rise of the hill down which they have walked we can see the dark bulk of the shopping centre on the right on the other side of the road and on the left hand side in PANEL 1 we can see a bit of the low wall of the churchyard and the beginning of the University building (modern design for the 70s/80s:glass steel and purple brick IIRC), with railings (not spiked) curving away to the left following the curve of the road. At the top of the rise in the distance we can see the row of shops and pubs from which the trio have lately walked down from. A clothes shop, a kebab shop, The Cock Pub, and further (this will be seen in the background of PANEL 3) Another Pub (The Brewery Tap I seem to remember) that curves round to the right, in between the aforementioned shop and kebab restaurant, a bike shop, a boarded up shop with a TO LET sign and an estate agent’s.
PANEL 1: A mid range shot of ALEX, his arm drooped over JIM’s shoulder (this carries into PANEL 2) , he is placating JIM an amused look on his face.
C’mon Jimbo, don’t be a tosser. We’re only pulling your leg mate. I think it’s beautiful.
PANEL 2: A mid range shot of JIM an annoyed look on his face, a childish pout to his lips and his forehead creased with a frown. We can see the rest of ALEX’s arm and hand around his shoulder.
PANEL 3: This is STU on the left. Also an amused look on his face, a little more aggressive perhaps but not threatening by a long shot.
Yeah, Jim. Stop fucking about. We’re only having a laugh. No harm done ol’ son.
PANELS 4, 5 and 6 are the same arrangement but from the side perspective. STU is nearer the “camera” and ALEX is in the longer perspective, with JIM in the middle again as the pivot. STU has his back to the camera, though we get to see the left-hand side of his face, and we can see ALEX in full front as he is leaning in front of JIM to speak to him and include STU in the conversation. The background is now different. The dark bulk of the church is now behind them, and also the column of the lamp post can be seen. The circle of light illuminates the low wall of the churchyard and a few of the old gravestones lying higgledy-piggledy in the church yard, maybe the trunks of a couple of the Yew trees can also be seen. Once again the scene is really one but broken into 3 panels.
PANEL 4 : ALEX is really trying to placate JIM and he’s kind of appealing to STU to help him out.
Alright James m’boy. Let’s see if we can’t make things go with a bit more of a swing.
PANEL 5: JIM is obviously beginning to soften a bit. He’s not the kind of bloke to stay pissed off at his mates for too long.
You two are always taking the piss. You’re gonna get yours one day, y’know that?
PANEL 6: STU is helping ALEX out, his sadness of earlier is seeming to dissipate and we can see that he wants to help his old friend out and get the party back into swing.
Are we gonna get to the Blockers tonight or wot? Fuck! If we carry on at this rate we’ll get there for next week’s gig.
PANEL 7: Mid shot of ALEX as he reaches into his Parka.
Right. Let’s get these babies down out gullets and go help Stu pogo a bit.
PANEL 8: This shows ALEX handing out the speed to the other two.
PANEL 9: All three in a kind of semi circle, popping the pills into their mouths at the same time.
PAGE 10 :
6 PANEL page. This is the beginning of the trio’s progress to the Blockers. These are all longish shots,
PANEL 1: The three are cavorting together, we are seeing them from the back and they are crossing the road from the church side on the right to the Shopping centre side on the left, but now they’ve reached level with the multi-storey car park that occupies that side down to the corner, in the distance we can see the main road divided by a median strip (concrete) and on the other side is an industrial estate flush with the pavement. It’s a new construction at this time. There’s a printers (White Crescent Press) and an overlocking firm, that we can see, all this is pretty well lighted by the street lamps.
“He’s a boy, he’s very thin–
PANEL 2: Once again we see the three larking about as they are walking. They have turned the corner and we can see the arse end of the shopping centre and the entrance to the car park. There’s some big industrial waste skips out side the dark cavern of the trade entrance to the shopping centre. Also the back end of some old buildings that haven’t been torn down yet, rubbish is blowing around the damp streets.
–until tomorrow took heroin,
PANEL 3: Here we come past the end of the old buildings and there’s a street that leads out from on the left, which the old buildings are on one side, on the other is a pub in an oasis of light ( The Melson Arms) its entrance in the road that decants into the main road. It’s mostly white but the trim of the door and the windows is a dark colour (maroon I should imagine). The boys walk past still joshing each other.
Don’t like himself very much.
PANEL 4: Now the boys are walking past the entrance of the bus station. Garishly lit by the orange sodium bulbs of the street lamps and the light within its cavernous interior, we can see a couple of double-deckers within a couple of single-deckers too in the bays. We can see part of an iron railway bridge graffittied with the words LTFC.
‘Cause he has set to self-destruct—
PANEL 5: We can now see the boys from the back and the iron railway bridge which spans the road,.LTFC is there and IRA is written on the other span. The boys are walking into darkness as they pass below the bridge. We can see the road going up an incline old houses and shops. We can see the entrance to a shunting yard on the left hand side of the road, weed specked and a dilapidated stone building, which was obviously the office for the yard.
Just up from the bridge on the right-hand side is a turning, an old auction house on the far corner.
–destroy it, enjoy it.
Destroy it, enjoy it.
Destroy it, enjoy it.
PANEL 6: The boys are now at the corner and looking up a thin road, old industrial units on the left hand side (Midland Road from Church Street) the railway embankment on the right hand side, a thin tarmac pavement to the granite kerb, punctuated by trees going on up the slight hill (beeches I think).Parked cars making the already narrow road even narrower, once again intermittently illuminated by street lights, the full moon now fully risen up in a clear February sky, ragged tatters of clouds like whisps of dirty gossamer, we see the boys from the waist up and the back as they contemplate the walk up the hill.
I could hate you anytime.
I could hate you anytime.
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5 PANEL PAGE: one panel running the width of the page, panels 2, 3 and 4 in the middle tier and panel 5 running the width of the bottom of the page. There’s a general air of neglect through all these scenes. Rubbish being blown around the streets etc. chip papers, fag packets. The town is generally being run down and this part of the town more than most.
PANEL 1: The trio have now reached the top of the hill, this is a panoramic shot of the top of the hill, on the right we can see the entrance/exit of the bridge that leads to the train station ( we know this because there’s a British Rail sign and a sign saying “footbridge to Station”. There’s a white building set a little back from the other side of the bridge entrance, it’s a white building with a grey slate roof. Two windows, one above the other, punctuate the whiteness of the end wall of the building there’s a sign a little to the right of the top window says “Lawton Solicitors”.
There’s a pedestrian crossing from the entrance to the footbridge, to the right hand side of the road, on this side of the road set back a bit is another pub “The Railway Tavern” all this leads to a cross roads with Midland Road carrying on down the hill and the road to the right is High Town Road. (It would be nice to have a few street name signs here, the old ones). In the middle of the crossroads is a traffic island. On the corner in front of the pub is a red phone box, our boys can be seen disappearing round the corner to go up High Town road.
He is set to self destruct.
He is set to self destruct.
PANEL 2: Close up on JIM who’s really buzzing now as the speed is kicking in. Behind him is a corner shop grocer’s cum off-license, big white sign with black lettering across the store front above the shop window and door “Redrup & Starkings LTD” in the window the usual detritus of grocer’s cum off-licenses fag ads, for sale notices, beer ads, pussy missing notices (Have you seen twinkles, he is all black with one white paw left paw front.)
Fuck Alex! This stuff really is the dog’s bollocks.
PANEL3: Close up of STU looking across the other side of the road we can see a newsagents (Express News), an Indian restaurant and the Brickmaker’s Arms. Plus an assorted oddment of other little shops, a barber’s and a Hair Salon.
Come on you dozy tossers. I need to POGO!!!!
PANEL 4: A shot from the back of ALEX as he’s walking on. Up the road we can see a light that seems to be shining brighter than the others, a bright oasis amongst the shadows cast by the orange sodium street lights. (Obviously this is the Blockers, use the lighting to make it stand out from the rest of the lighting).
Well? Come on then, we ain’t got all frigging night, have we?
PANEL 5: This takes up the width across the bottom of the page. A shot from the right-hand side of the road looking across at the frontis of the pub, there’s a big window on the left hand side of a pair of the big pub double doors, we see our three “heroes” walking to the entrance from the side on. The big window is opaque you can’t see in, but we can see flashing lights, each side of the pub there are buildings, on the left-hand side a junk shop (Standbridge & Sons, Antiques bought and sold) and the Scandinavia Café (this will be important later in the story as it’s going to have it’s massive plate window stove in during the riots) on the right-hand side a used book shop, a boarded up shop front and an estate agent’s. There’s an overspill from the pub outside on the pavement, to the left-hand side of the window, a punk couple are “necking” there’s a couple of punks and skins passing around a fag. On the right-hand side of the doors there’s a gaggle of underage punks generally pushing each other around. Across the front of the pub above the double door is writ “The Blockers” on the wall there’s posters for past bands and future attractions A Big one announcing “TONITE: UK Decay”.
Above the first floor we can see a series of three window, all blacked out.
Running fighting down the street
Ain’t got no money but I don’t cry
We’re the people you don’t wanna know
We come from places you don’t wanna go
Angels with dirty faces
Angels from nowhere places
Kids like me and you