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					            Thunder In The Heavens 2001              1
                        94 pages

FADE IN*

1   INTERIOR. HOSPITAL ROOM, ROME, ITALY --
DAYTIME

We see a window that has partially drawn
blinds. The sound of a life support
ventilator fades in as the CREDITS BEGIN
with the title of the Film.

           THUNDER IN THE HEAVENS


A life support machine is pumping away. MORE
CREDITS APPEAR. CAMERA CLOSES IN on hospital
bed enclosed by an oxygen tent. MORE CREDITS
APPEAR.

A hazy outline of a person in bed bandaged
up with various tubes fitted to him.

                                          DISSOLVE-TO*

2   EXTERIOR ROME, ITALY -- DAYTIME

Different prominent features of Rome are
seen. The final feature is the roof top of
the Sistine chapel. A fanfare of church
bells rings out. The sound of the bells is
FADED-OUT with the FADE-IN of a car changing
gear and accelerating.

                                          DISSOLVE-TO

3   INT. MOVING CAR, RURAL AREA, ROME, ITALY
-- DAYTIME

A man is sitting in the rear of a car on the
left-hand side. FATHER FRANK WILLIAMS is a
formidable looking Roman Catholic high
ranking priest in his later years with white
thinning hair, his face is unlined with age
and he has quite a stocky appearance. He
speaks with an Irish accent.

There is another priest sitting beside him.
He has a drawn pock faced complexion.

We have a rear side view of a priest driving
and of another man in a priest's attire in
the front passenger seat.

BEAT*



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The priest, who is driving, physically loses control of the car.

                                                          CUT-TO*

4    EXT. ROAD JUNCTION, RURAL AREA, ROME, ITALY
-- DAYTIME

A dark colored car comes round a sharp corner and collides with a
car that has had an accident with a carthorse. In slow motion, the
car comes to an impact, MOS*.

A shot from directly in front of the bonnet. We see the shocked
expression seen momentarily through the windscreen of the priest
driving the car. This disappears as the glass shatters ANOTHER
ANGLE and a man from the passenger side of the car in real time
comes through the windscreen head first, landing on the bonnet.

BEAT: The flapping of a single set of great feathered wings, that
get louder are HEARD simultaneously as A single flow of blood
runs down the bonnet of the car from the head injuries the man
has sustained. The sound of the wings stops as the shot pulls back.
The shadow of a great pair of wings that is seen near-by this
changes to that of the outline of a man.

                                                            CUT-TO

As we see ANOTHER ANGLE* of a pair of arms being crossed
in front of a human form. The hands of these arms are powerful
looking and heavily weathered with unusual human claw like
brown fingernails. A guttural sinister laugh is heard.

In normal time the rear door of the crashed car opens, SOUND
resumes -- we HEAR the car horn blowing, and Father Frank
stumbles out.

4a    INT. THE LONDON FASHION SHOW, LONDON

We HEAR the electric clicks of dozens of cameras over the
soundtrack of Sandy Nelson’s ‘Let There be Drums’. Various
naked angles are seen walking upon a catwalk. Close traveling
shot of SIMONE SAINT RANDLE an 'American Type Super-
model.'

ANOTHER ANGLE as she struts around a catwalk in time to the
music. We have various shots mixing live action with the occasion
still shot of Simone that is held for a moment as the live action
moves along. A female V.O.* that cuts-in over the soundtrack.

The female commentator behind the voice comes into frame.


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                        COMMENTATOR

           Good afternoon, we are live once again from
           the London fashion show and just coming off the
           catwalk is that American super model
           Simone Saint Randle who has agreed to talk to us

Simone comes into frame.

                        COMMENTATOR
                          (Continuing)

           Hello Simone, what a fabulous show it is this
           year.

                             SIMONE

           It certainly is

                        COMMENTATOR

           Now you’ve lived here for quite some
           time. Is England still treating you well?

                             SIMONE

           Yes it’s great, it’s a lot less violent than New
           York

                        COMMENTATOR
                          (Interjecting)

           And it’s illegal to carry handguns here

                             SIMONE

           That probably why it feels so relaxed

Simone nods and turns away.

                        COMMENTATOR

           Thank you Simone and hopefully we will be
           able to get a full interview later


Simone comes walking through a busy backstage area where there


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are many people undressing and getting ready to go on stage. We
see a man carrying a clipboard approach Simone.
                              MAN

            That’s you finished for the day Simone,
            your first call for tomorrow is 10 o’clock

Simone is tapped on the shoulder and we see PALITINO
STRATUS; he is an older man. His appearance is very suave he
speaks with a slight accent. A Mafia type boss that hides behind
being a low profile business man. Simone turns round and reacts
with a dramatic change in attitude.

                            SIMONE
                  (To the man with the clipboard)

            How did he get here? I thought we had security?

The man with the clipboard rolls his eyes and shrinks away.
Palitino has two other well-dressed menacing looking men with
him. He nods to them and they disappear out of view.

                             PALITINO

            My dear, it is so nice to see you.


5   EXT. STREET, KENSINGTON, LONDON -- EARLY
EVENING

CAMERA COMES DOWN from sign that reads Kensington as
we see three cars pull-up, on a cobbled quiet street, at the side of
the road. The middle car is a stretched limousine and the other
two are BMW's.

The cars come to a stand still. Four heavyset men in suites get out
of the front car and stand either side of the car. Simultaneously
four men get out of the rear BMW and do the same.

6     INT. LIMOUSINE

Simone is sitting on the rear seat.

Sitting beside her on her left-hand side is Palitino.

                              SIMONE

            Leave me alone!......You're ruining my life.



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                            PALITINO

            You will change your mind one day and
            you will marry me

                            SIMONE
                        (Shaking her head)

            NEVER! EVER!

Simone goes to leave the car but Palitino stops her.

                            PALITINO

            You will come round to my way of thinking
            one day

                             SIMONE

            It's been over for a long time I never loved
            you......or ever could

7     EXT. LIMOUSINE

The rear passenger door opens onto the pavement, a pair of legs
appear, then Simone steps out onto the pavement slamming the
door behind her. She crosses the pavement opening a small purse
to remove her house keys.

8   INT. SIMONE'S HOUSE, KENSINGTON, LONDON --
EARLY EVENING

A lavishly furnished living room; there is a large window that
looks onto a private garden, in one corner of the room is a large
gilded harp. There is a large pale yellow comfortable looking
three piece suite situated in the center of the room so that you can
sit down and look out onto a garden. The room is filled with
plants. On one side of the room, there is a large shelf system that
covers the entire wall; the shelves are filled with books, a
television and audio system, and a variety of ornaments and
personal effects that we have a CLOSE UPS off. Simone enters
the room, through a door that is directly opposite the large bay
windows, kicking her shoes off and throwing her coat onto a
comfortable chair.

Simone throws her self on to the sofa and stretches out. She is
shaking her head from side to side.


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She reaches out her arm and with a finger presses a button on a
telephone answer machine that is positioned on a near-by table.
Various messages are HEARD:

                         FIRST MANS V.O.

            I think you know why I can't see you any
            more

                        SECOND MANS V.O.

            Hello it's Tom. I can’t make that date I think
            you know..

                       THIRD MANS V.O.
                     (Heavy Jamaican accent)

            It's no good Simone that dude sent his muscle
            around to.... give me some advice

                          PALITINO V.O.

            I will be picking you up next Wednesday
            for dinner at 8 o'clock

                            MAX’S V.O.
            It's Max, we've a four-week assignment on location
            starting on Tuesday the pay's not what your
            used to but... let me know if you're interested

                             SIMONE

            I sure am

9   EXT. BUSY SIDE STREET, LONDON, JUST OFF
OXFORD STREET -- MIDDAY

A P.O.V. SHOT* of a person walking along a narrow cobbled
stoned street that has many restaurants and cafes each having
groups of tables and chairs situated outside on the pavement. The
person is carrying various containers of take-away Chinese food.
The person stops at the side of the road as a car passes by then
crosses over to the other side of the street.

The P.O.V. changes as the rear of a female, who comes into frame
and enters a building that has a large glass door entrance.

On the glass door, a title can be read which reads in large black


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letters MAX CUTTER’S PHOTOGRAPHY: OXFORD STREET:
LONDON. The letters go out of focus as the camera focuses in on
the rear of a person who has previously entered the building as she
walks up a staircase.

10 INT. MAX CUTTER’S PHOTOGRAPHIC STUDIO,
LONDON -- MIDDAY

A large studio area is laid out in an open plan intonation. In one
corner of this huge room is a glass conservatory construction that
separates a small office area from the rest of the studio. The
remainder of the studio has clearly marked out zones: changing
rooms, toilets, a large stage area that has its own lighting rig in
one corner of the studio; diagonally opposite the office. There is
prep. areas for make-up, a clothes rail system and a segregated
area next to the office that is furnished with comfortable chairs,
sofas, coffee tables and a drink-dispensing machine. The near-by
walls here are plastered with photos and posters of various people
etc. The whole studio is occupied with a number of people doing
various activities

From outside the glass conservatory we see MAX CUTTER who
is sitting down in front of a desk speaking on the telephone. He
speaks with an American accent.

SHIRLEY MAKEPIECE enters the studio from a door near the
office. She is carrying containers of Chinese take-away food. She
enters the conservatory office.

11    INT. GLASS OFFICE

As Shirley enters the office, another telephone rings, Max
indicating to her to answer it. Simultaneously she places the food
down on the desk, sits on the corner of it, facing inwards towards
Max, and picks the telephone up. She speaks with an American
Accent

Shirley and Max both speaking on two different telephones at the
same time.

                            SHIRLEY

            Hello Max Cutter's office

                              MAX

            What do you mean notice

                            SHIRLEY


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            HELLO SAINTIE!.....
                         MAX

            OK..... you've got 3 days.. I need a bloc
            booking for 35 for 3-4 weeks

                             SHIRLEY

            I won't come round while that shits still on
            the scene

                               MAX

            Height of the season, so what!

                             SHIRLEY

            Simone he scares me

                               MAX

            A camp site!

Max pulls the telephone away from the side of his head and looks
at it for a moment then places it down.

                             SHIRLEY

            He won't be able to pay........ ow great I
            tell him

Shirley puts the telephone down.

                    MAX AND SHIRLEY
             (Spoken at the same time to each other)

           I can't get any where to stay    (desperately)

            Simon wants to work with us         (happily)

BEAT

12 INT. TEWKESBURY CATHEDRAL,
GLOUCESTERSHIRE, ENGLAND -- MIDDAY

A fantastic ecclesiastical painting on a vaulted ceiling that is
illuminated brightly. The lights go off and as the lights slowly dim
the camera travels down to a slot machine fixed to the wall with a


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sign indicating 50 pence for 90 seconds.

Father Frank and CARDINAL WILSON who are gazing up at the
roof, they change their gazes and sigh as if amazed by the beauty
they have witnessed.

                       CARDINAL WILSON
                (Still in owe of the previous sight)

           Tewkesbury was one of the bloodiest battle sites in
           In history of medieval England there are people
           Buried all around this place -- all in the name of
           Religion.

           It marvelous to be able to travel as we do..... a
           privilege in these times of financial restraint.

                         FATHER FRANK
                         (Nodding his head)

           Yes, indeed Cardinal

They slowly turn from where they are standing and walk down the
main aisle of the church.

                         FATHER FRANK

           It seems that the young priest has suffered
           a near total memory failure and has decided
           to...

BEAT

                     CARDINAL WILSON
                        (Interjecting)

           We have to do everything we can to keep
           Father Paul within the church...

The Cardinal stops and shakes his head.

                      CARDINAL WILSON

           The dark forces that are at play here

They carry on walking.

                         FATHER FRANK



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            I just can't see how we can... if he has decided to
            leave
                       CARDINAL WILSON
                             (Interjecting)

When a man has been blessed with such a
          ..healing power in his soul as Father Paul.

                         FATHER FRANK
                           (Interrupting)

            It quite amazing that the church has been
            able to keep it under raps, well for as long
            as we have, sure I know that...

Both priests fall into silence as they walk down the aisle till they
reach the altar.

From over the shoulders of Cardinal Wilson and Father Frank, we
see the front of the Cathedral.

Cardinal Wilson turns in towards Father Frank.

                      CARDINAL WILSON

            This man is blessed with the same priesthood as..
Beat
            The big question is what is he here to do or start.

BEAT

            The church is willing to stretch out far beyond
            Anything we have done in the past to protect him
            ...and that comes from the very top.

A perplexed look smites Father Frank’s face.

                         FATHER FRANK

            ...why's he with us?

                       CARDINAL WILSON

            Who else on this earth would have the power
            to protect him.

12A INT. DARK DUNGEON OLD BRICK LINED ROOM

deleted


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13 INT. MAX CUTTER’S PHOTOGRAPHY STUDIO,
LONDON -- MIDDAY

The whole studio is occupied with about twenty female models
that are sitting around drinking tea and reading magazines. Large
piles of suite cases are positioned beside the door and a couple of
large mobile rails with dozens of Garment hanging from them.
There is a lot of noise.

Max followed by Shirley, who is carrying a clipboard, comes out
of the office. Max BLOWS ON A WHISTLE that is around his
neck to get everybody's attention.

                               MAX

            OK..... everybody starts loading up the transport
            and lets get out of here

Max and Shirley


                             SHIRLEY

            The Lake District here we come

14    EXT. LONDON ENGLAND -- MIDDAY

ANGLE ON the roof of Westminster Cathedral, we HEAR a choir
of voices singing.

15 INT. WESTMINSTER CATHEDRAL, LONDON --
MIDDAY

PAUL DANIEL RIVERS is a slight and slender person who has
noticeable facial scars. He comes across as a gentle spoken
person. Standing beside him is Father Frank. They are positioned
just before the altar. In the background, a choir practice is in
progress. Paul has a rucksack on his back.

                        FATHER FRANK

            Where will you go

                               PAUL

            I think I'll do a bit of hill walking in The Lake
            District first....then



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                        FATHER FRANK
                        (Nodding his head)

           Why hill walking and why there?

Paul shrugs his shoulders and Father Frank appearing to be at a
total loss about what to say.

                               PAUL

           I don’t know but it’s all I can think about

                        FATHER FRANK

           Do you know where it is?

                               PAUL

           North West of England

Father Frank takes a deep breath.

                        FATHER FRANK

           I'll always be here for you if.....

Father Frank touches Paul on the arm reassuringly.

                        FATHER FRANK

           I wish I could think of something to say

                               PAUL

           I have to go, I can no longer stay with
           the church.

Paul looks around the church momentarily and shrugs his
shoulders; he turns around and walks down the main aisle of the
church.

                        FATHER FRANK
                        (Shaking his head)

           The Lake District.

15a EXT. FACTORY AND WAREHOUSE, THAMES RIVER,


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LONDON -- EARLY EVENING

Various shots of the whole site in particular a small quayside,
where a couple of small ocean going ships are being unloaded.

Main gate of factory.

A sign on the main gate reads ‘Status Fine Furnishings Imports
and Exports’

16 INT. DARK DUNGEON, OLD BRICK LINED ROOM,
FACTORY

We follow a couple of wires along a bare stone floor past a table
leg.

CAMERA STOPS and then widens its view. Two naked feet and
legs up to the calf muscles of a person can be seen. The person is
sat on a wooden chair.

CAMERA looks up to show a shot of these naked legs. We see the
wires disappear over the edge of the chair between the person
knees.

                                                           CUT-TO

FRONT SHOT of the previously seen naked person sat on the
chair. The man’s arms are tied behind his back and fastened to the
chair. His gaze snaps from a front gaze to a gaze down towards his
groin.

From behind the naked prisoner, two men enter the room through
a door. One is tall, ugly and heavy set called SAMMI. The other is
short; slender with a dark complexion called JED. Jed lays out a
lavish meal on a table, 8-10 feet in front of the prisoner. Palitino
enters the room and sits down at the table; a glass of wine is
poured for him by Jed as he starts to eat the meal that has been
laid out. Palitino nods to Sammi. Sammi pulls out a gadget from a
bag that is powered by a large hand held battery. He then goes on
to connect it to a couple of loose wires that are on the tabletop.

                           PALITINO
                         (To the prisoner)

            Well, what have you got to say for yourself?

                            PRISONER

            I don’t know what you're talking about


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                          PALITINO
                (Laughing and talking to his men)

            Can you believe this guy; we’ve just executed
            the rest of his team and he still playing that. ‘I don’t
            know what your talking about song.'

Prisoner’s P.O.V as a bucket of water is thrown over him.

The prisoner reacts with a shudder as he looses his breath.

Palitino nods to Sammi as Sammi winds a small handle that is part
of the gadget he is holding. The prisoner shakes and screams, the
chair falls out of view.

Palitino, Sammi, and Jed react with a round of child like chuckles
as all of them are smacked with a wave of excitement.

                             PALITINO
                            (Full of glee)
            Fantastic!

                                JED
                               (Eager)
            Give me ago

Palitino motions to Sammi to bring the gadget over to him.

                            PALITINO

            Brilliant!

Palitino hands it back to Sammi.

Sammi goes across to where the prisoner has toppled over and tips
the chair and prisoner upright. He trips over the wires that are
connected to the prisoner on returning. We HEAR a yelp from the
prisoner. Sammi stops in his tracks returning to the prisoner to
reattach the two tiger clips.

CLOSE ON the jaws of the clips that are attached to the ends of
the wires. They seem to sparkle with malice.

CLOSE ON prisoner as a multitude of feeling pour through him;
almost cartoon comic to observe.

SAMMI attaches the clips to the prisoner’s genitals. The prisoner


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gives out two consecutive YELPS. The prisoner starts to pant
shallow breaths.
                           PALITINO

            Well my friend this could be the longest day in
            you're short life.

Palitino takes a bite of what he is eating.

                             PALITINO
                            (Continuing)

            This gadget is like a good hooker,
            all things to all men. It is transforming
            a small electrical impulse into.....?

                               SAMMI
                            (Interjecting)

            2000 volts boss

                             PALITINO
                            (Incredulous)

            2000 volts?! Will that not kill him?

Sammi signals no.

                              PALITINO

            Are you sure?

Palitino takes another bite of his food.

                             PALITINO
                            (Continuing)

            It just feels like its going to and the beauty of
            it is, we can play around with the settings, well
            so I’m informed

Sammi signals silently to Palitino that assurance

                              PALITINO

            ...Isn’t that great?
*
Palitino nods to Sammi and we see him wind the machine up
enthusiastically.


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                                                            CUT-TO

The prisoner’s mask of confusion turns to a shocked screaming
expression as he pogo around the room on the chair.

Various shaky shots of the room, Palitino, Sammi and Jed are seen
from the viewpoint of the prisoner. This changes as the chair falls
back so we have a shot of the ceiling, all the time we HEAR the
prisoner letting out a wailing sustained yell.

Palitino, Sammi and Jed are in hysterics, they think it is so
entertaining.

                            PALITINO
                          (Still laughing)

            Magnificent

                              SAMMI

            It last longer than a chain-saw

                                 JED

            We should sell tickets for this, we’d make
            a mint.

17    EXT. LAKE DISTRICT, ENGLAND -- EARLY EVENING

Various shots of the Lake District: rolling countryside, mountains,
lakes and waterfalls. To include Keswick village centre.

18 INT. TRAVELING CAMPERS ON THE ROAD, LAKE
DISTRICT

Ten female models are stretched out asleep and involved in
various activities to pass the time away whilst traveling.

Max is driving the camper.

Max sees a camper in front indicate to turn right and slows
down.

19    INT. CAMPER IN FRONT OF MAX

Shirley is driving the camper.

                             SHIRLEY



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            Yea this is the turn off

Simone as she is sitting in the passenger seat.

Simone’s sees a road side sign indicating Patterdale 27 miles and
another indicating a different direction and destination -- Keswick
35 miles.

Shirley, as she steers the camper onto the road to Patterdale

                             SHIRLEY

            Half an hour and we'll be in Patterdale

Ten female models are sitting around watching a video.

20 EXT. FACTORY AND WAREHOUSE, THAMES RIVER,
LONDON -- EARLY EVENING --Deleted

21 INT. DARK DUNGEON, OLD BRICK LINED ROOM,
FACTORY

Palitino, Sammi, and Jed are all sat, each eagerly clutching a wind
up electrical gadget that is wired up to a comically petrified
prisoner.

                            PALITINO

            Music mystro.

Jed presses a mobile music machine and we HEAR The Waltz of
the Flowers by Tchaikovsky.

Various shots as all three men who start winding up, stopping then
nodding at each other. The actions of Palitino, Sammi and Jed are
synchronized to the music.

The prisoner is on a differently designed chair that can’t fall over
easily and seems to have some kind of spring system under it so it
pogos around easier.

                                                      DISSOLVE-TO

We HEAR wild hoots and almost child like bickering between
Palitino, Sammi and Jed through a fog of laughter and hysteria.

SAME SCENE

The prisoner has toppled over to a general disapproval from his


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audience. Sammi places the prisoner’s chair up right whilst Jed
wheels into the room a TV, positioning it next to the prisoner.
                               JED
                 (Taking into a mobile telephone)

           Okay boys

                            PALITINO

           We found your wife and child, they kindly
           agreed to come back from their ...holiday
           abroad

                            PRISONER

           You're lying

The TV blinks on and near bold muscle bound guy appears on the
screen.

                              MAN

           Are you getting this

                                JED
                       (In to the telephone)

           Yep, of you go

We HEAR at first, a frightened female voice and the ripping of
clothes.

                            PRISONER

           You bastards, leave her alone

We HEAR a zip come down.

                            MALE V.O.

           Spread them little lady

Palitino looks on with a superior air, which is supported by Sammi
and Jed.

                          FEMALE V.O.

           Please don’t....ow! ow?... your a big boy!?



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Palitino, surprised, sits forward.

                           FEMALE V.O.

            Oooh, Aaaah

We HEAR female groans and deep breathing.

                           FEMALE V.O.
                            (Continuing)

            Yes, yes, harder, harder, harder!!!

Palitino rolls her eyes as we HEAR various excited male voices.

                       ANOTHER MALE V.O.

            I’m next

We HEAR a number of trouser zips being pulled down.

                          FEMALE V.O.
                        (Gulping something)

            Mmm. I love it, love it

                             PRISONER

            You slut!! I stole the diamonds for you

22 EXT. STICK'S PASS, LAKE DISTRICT -- EARLY
EVENING

A man is seen with a rucksack on his back walking up and over
the crest of the pass at around 500 feet.

The same person, again from the rear, walking up a mountain path
from Lower Man to the peak of Hellvelyn Mountain. We are at
about 900 feet above sea level with fabulous panoramic scenery.

Paul is now clearly seen standing on the summit of Hellvelyn. The
last of the sunset can be seen over the mountain tops to the West.
Paul stays in CENTER FRAME as the CAMERA MOVES
CLOCKWISE 180 degrees. To the East, the weather is starting to
close in with the start of drizzle.[Check with special effects]

23 EXT. HELLVELYN YOUTH HOSTEL, LAKE DISTRICT
-- EARLY EVENING



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A two storey natural stone building sits idyllically beside a small
river, at the head of a valley that looks down upon Lake Ullswater.
Two campers can be seen winding their way up a narrow valley
road; both campers have their lights on that are just starting to
pierce the encroaching evening. They pull of the road to park at
the side of the hostel. People start to exit the vehicles.

Max walks around the front of the campers as Shirley approaches
from his left-hand side.

Max looks upon a large sign that says ‘Hellvelyn Youth Hostel.’

                                    MAX

            A youth hostel? ...SHIRLEY!

                              SHIRLEY

            It's all I could get.

She links her arms with Max and starts to walk.

                              SHIRLEY
                             (Continuing)

            and any way we've got the whole place to ourselves

There is a thunder and the drizzle threatens to turn to heavy rain.

24 EXT. RED TARN, BOTTOM OF STRIDEN EDGE
MOUNTAIN PASS -- DARKNESS, HEAVY RAIN

The outline of Paul walking at the side of the lake in heavy rain.
The lake is a black silky mirror that reflects lightening flashes that
light the sky in league with thunder that threatens to crack the
mountain-side.

We have a POV from a bird like creature as it comes to rest
nearby, the wings change as we see a powerful pair of arms being
crossed in front of a human form. A guttural laugh is heard

                                    V.O.

            What a wonderful night in paradise

SEQUENCE OF 3*

24a INT. HELLVELYN YOUTH HOSTEL, COMMON ROOM
-- LATE EVENING


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There are numerous women engaged in different activities:
playing trivial pursuit, reading and a small group vigorously
debating a topic of conversation.

INT. DINING ROOM (2)

Max and Shirley are sitting down eating biscuits and drinking
cocoa there are piles of paperwork beside them. Max stands up
and pins a timetable on the wall.

INT. ACCOMMODATION WING, CORRIDOR (3)

The accommodation is very basic so there are girls walking
around to and from a common wash room, preparing for bedtime.

24b EXT. RED TARN BECK, LAKE DISTRICT --
DARKNESS, HEAVY RAIN

Paul falls over and slides down the side of the hill giving us an
almost cartoon comic perspective of his continuous fall as we
HEAR an exasperated continuous whine for help.[Romancing the
Stone shot]

We see a river, as Paul comes sliding of the side of the hill and
falls some distance through the air landing in a river.
Simultaneously letting out a WAIL OF A SCREAM.

A stumbling whining Paul scrambles on to the riverbank. In the
background, a dimly lit building that is Hellvelyn youth hostel can
be seen.

25 EXT. HELLVELYN YOUTH HOSTEL -- LATE
EVENING

We look upon a sign that reads, ‘General Manager,’ an arm
reaches out and presses a doorbell.

CUT-TO
25A INT. HELLVELYN YOUTH HOSTEL -- LATE EVENING

The general manager is awoken in his bed as we HEAR the bell
being rang a number of times.

CUT-TO
25B EXT. HELLVELYN YOUTH HOSTEL -- LATE
EVENING

The light comes on and a sleepy looking man comes to the door.


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The sleepy looking man rapidly comes to his senses as he looks
upon what presents itself before him. POV At first, a pair of feet
is seen standing in a puddle of water. Slowly the whole of Paul
comes into frame; he is completely wet through and covered from
head to toe in moss and mud.

                                PAUL

            Are you the manager?

                           MANAGER
                        (Nodding his head)

            Bloody hell!

                                PAUL

            Can you help me..? I need
                          MANAGER

            We're full but...

The manager is shocked at the state of Paul but starts to
smile

                     MANAGER Continuing
                    (Half laughing to himself)

            What the blazes happened to you

26 INT. SMALL EATING QUARTERS IN A MONASTERY,
LONDON -- EVENING

SHOT ON crucifix of Jesus Christ EXTREME CLOSE-UP

Beat

As the camera pulls back to reveal several priests sitting around a
wooden table that is situated in the center of a room. The room is
dimly lit, very plain with white washed walls and bare wooden
furniture.

                        FATHER FRANK

            I would like everybody to keep Father Paul in
            your daily prays as he struggles to regain the
            memory of his faith



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The other priests react to this statement.
Father Frank's aid who is sitting at the end of the table with a
stained glass window in the background.

                              PRIEST

            I'm sure the lord will be watching his every
            step

                         FATHER FRANK
                          (Nodding yes)

            Hallelujah! Praise the lord,... Praise the lord!!!

We HEAR many of the priests' comment. They all join in with
Father Frank to repeat the INCANTATIONS of ‘Praise the Lord.’

SEQUENCE OF 14

27 INT. DRYING ROOM, HELLVELYN YOUTH HOSTEL,
LAKE DISTRICT -- EARLY MORNING

Paul is stretched out on the floor asleep in a sleeping bag, around
him hanging up is an array of different items of clothing.

Paul slowly becomes conscious and opens his eyes.

INT. MAX'S BEDROOM, Y.H. EARLY MORNING (2)

Max is sitting on a chair beside a single bed, tying his shoes as he
yawns and stands up.

INT. MEN’S WASH ROOM (3)

Paul comes into the wash room with a towel wrapped around his
waist with a wash bag under his arm.

INT. CORRIDOR, ACCOMMODATION WING (4)

Max walks down a long corridor knocking on doors, opening
them, stepping in, and turning on lights.

                               MAX

            Wakey! wakey! everybody

Max walks along the length of the corridor opening a door.

INT. DORMITORY BEDROOM (5)


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Max enters a room that has two double bunk beds, asleep on the
top of one is Shirley, and on top of the other is Simone. The other
beds are piled high with clothing and personal items

                                MAX

            Come on honeys, time to rise and shine

Shirley, as she sits up all sleepy

Simone, who looks wide awake

                              SIMONE

            It must be the air but I've been awake for ages

INT. CORRIDOR (6)

Max walks back along the corridor; women are appearing from
their dormitories wearing dressing gowns' etc, and carrying
washing bags.

                                MAX

            Everybody remember you've got the use of
            all the showers facilities even the mens'
            downstairs,..breakfast at 0830

INT. MAN’S WASH ROOM (7)

Paul, who is shaving in the mirror.

INT. SMALL CONNECTING LANDING BETWEEN TWO
CORRIDORS (8)

Several girls come on to the landing from the left-hand side by a
door and several girls come onto the landing from the right hand
side. This has the effect of causing a jam. A black girl starts to
walk down a staircase-well glancing back.

                           BLACK GIRL

            There's apparently a wash room downstairs
            some-where

She disappears out of view and after a brief pause the rest of girls
follow, including Shirley and Simone.



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INT. MEN’S WASH ROOM (9)

Paul is putting his shaving and wash stuff in his bag. He pulls out
a bottle of shampoo from his bag, places the bag down on the
floor out of the way, walks over to a door, and enters it.

(10) DELETED

INT. SHOWER ROOM (11)

Paul enters a small communal shower room that has several
separate shower units that have no doors. There is a chair at the
end of a narrow walkway, which runs parallel to the showers, with
various hanging pegs above the chair.

Paul removes an over long pair of boxer shorts and places them on
a peg with his towel then disappears in the end shower cubicle
next to the chair and his towel.

INT. MEN’S WASH ROOM (12)

The wash room fills up with a troupe of women who start to
undress down to their bras and knickers.

                             MODEL 1

            Well I’ll think I'll start on my face first

                              SIMONE

            It's got to be my teeth

                            SHIRLEY
                        (Giggling to herself)

            Shave my mustache off and tattoo removable.

                           BLACK GIRL

            It's a shower for me

The girl opens the shower room door allowing the escape of lots
of steam as she steps in.

                           BLACK GIRL

            And I thought I was fast of the mark!?

INT. SHOWER CUBICLE (13)


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It is very steamy. Paul has his arms stretch-up leaning on the wall.

                               PAUL
                       (Said under his breath)

            I need this

Numerous pairs of ankles enter the cubicles and the relative
showers are turned on.

Paul stretches out an arm to pick up a bottle of shampoo. We
notice several towels hanging on the wall pegs.

Paul starts to shampoo his hair, shoulder and arms.

Paul's ankles are seen as blobs of soap drop down to the shower
floor. The next cubicle as a pair of legs from below the knees is
seen leaving the shower and so on, till only a black pair remain at
the opposite end to where Paul is.

INT. WASH ROOM (14)

Simone is brushes her teeth and along side, her Shirley is rinsing
her face.

                              SHIRLEY

            Max has bitten of more than he can chew with
            this job, it's just as well the clothing will sell it's
            self.

We HEAR a male voice singing.

                             MALE V.O.

            Wise men say only fools rush in

Every body turns around in the direction of the voice.

Paul's upper body, as we see him come out of the shower room
with a towel over his head drying his hair.

                               PAUL.
                             (Continuing)

            For I can't stop falling in love with you

Paul stops toweling his hair and looks up.


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Paul sees about ten women scantily dressed in bras and knickers
etc.

Shirley and Simone as Simone looks at Shirley.

Shirley, shrugging her shoulders.

Simone.

SIMONE P.O.V. as we see Paul's feet, then an extra long pair of
boxer shorts that has a line of buttons down one side and finally
the shocked expression of Paul. Paul leaps back and SCREAMS;
he is backed up to the wall to the right hand side of the shower
door trying desperately to be modest.

PAUL'S P.O.V. All the girls react to his modesty with giggles and
start to laugh.

BEAT

Paul is standing in shock to the right hand-side of the shower door
as it opens and a semi naked black girl appears.

                          BLACK GIRL

            You've got my towel

Paul looks at the towel then up to the black girl's face then down
at her naked breasts. We see her react by pulling the towel away
from Paul. Paul lets out a SCREAM and runs off, out of the wash
room trying to cover him self up with his spread hands. There is a
roar of laughter.

                            MODEL 1

            Who was that!

                            SIMONE

            Who was that? What was that!

                            SHIRLEY

            Poor man

28 EXT. FACTORY AND WAREHOUSE, THAMES RIVER,
LONDON -- MIDDAY



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Sign on main gate. The sign reads, ‘Status Fine Furnishings
Imports and Exports.’

29    INT. FACTORY, LAVISH OFFICE

A single hand rhythmically drums its fingers on the top of the
desk. The hand is finely manicured, has an ornate ring on one of
its fingers and a designer watch on its wrist. We HEAR somebody
knocking on a door and the hand pats on the table

Palitino is sitting behind at a lavish leather laid-in antique office
table the office is very expensively furnished and paneled with
dark wood throughout.

                             PALITINO

            Enter

Sammi and Jed enter the room.

                             PALITINO

            Well

                               SAMMI

            Emm

                                JED
                             (To Sammi)

            You dope head

Sammi goes to say something but is silenced by Jed.

                                   JED

            Shut the fuck up. I told you not to wire him
            up to the mains

Palitino squirms with distaste.

                               SAMMI

            He had a heart attack boss.

Palitino rolls his eyes upwards.




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                              PALITINO

            What about his wife?

                                SAMMI

            She took six blokes and was still asking
            for more after four hours

                              PALITINO

            You idiots!! The fucking diamonds, does
            she know where the diamonds are?

Jed and Sammi look at each other.

                              PALITINO
                             (Standing-up)

            Find me those diamonds, or I fucking wire you’s
            bastards up to the mains

30 INT. RECEPTION DESK, HELLVELYN Y.H. LAKE
DISTRICT -- MORNING

Max is speaking on the telephone across the reception counter.
We HEAR a large gong ring out and a male voice over booms out.

                                 V.O.

            Breakfast ready.

                                 MAX

            That’s all just great!

Max hands the telephone back to the reception and a number of
girls file past him including Simone and Shirley.

                                 MAX

            Shirley

Shirley reappears.

                                 MAX

            Emmm....


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                              SHIRLEY

            What is it now

                                MAX

            The three carriers we hired for the shoot

                               SHIRLEY
                             (Interjecting)

            You hired for the shoot

                                MAX
                             (Grimacing)

            They aren't coming

BEAT

                              SHIRLEY

            We're going to have to work our butts of till we
            get some then....aren't we?

Shirley walks away leaving Max standing on his own.

                        SHIRLEY’S V.O.

            Just great Max, just great.

Max lets out a deep sigh and bites his bottom lip.

31 EXT. GRASSED AREA, CAR PARK, AREA FORCE,
LAKE DISTRICT -- EARLY MORNING

Paul is sitting down against a tree in front of a small camping gas
fire, boiling some water. His rucksack and various small
containers and other utensils are on the grass near-by.

Paul is kept in the center of the picture as the camera moves anti-
clockwise around him. A single storey building appears in the
background.

Paul goes out of the picture as our view closes in on the car park.
A sign indicating toilets is momentarily IN FOCUS before we see
two campers pull up in the car park.



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Shirley gets out of the driver's side of one camper and Max gets
out of the other, followed by about 2O models.

                                MAX

            OK then lets shake a leg

Max looks up at the sky.

                               MAX.
                            (Continuing)

            Lights good

Paul is sat eating his breakfast as Shirley comes out of the toilet
block.

Shirley stops and looks over towards where Paul is sitting.

Shirley as she tips her head to one side and half smiles to herself.

Shirley walks over to where Paul is sat eating. Paul looks up at
her.

                              SHIRLEY

            Hello

                                PAUL

            A good morning to you

                              SHIRLEY

            Wasn't you that man that was in our shower
            room this morning at the youth hostel

BEAT
                             PAUL
                (Looking shocked and embarrassed)

            Ah... well I just don't Know how that happened, I
            mean... I'm not in the habit of....,well if you know
            what I...It did say men’s room and

                             SHIRLEY
                         (Cutting him short)

            It's all right..., best laugh I've had in a long time


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Paul shakes his head and carries on eating.

                               SHIRLEY
                            (Tongue in cheek)

            Having some breakfast

                                 PAUL

            Mmm.

                                SHIRLEY

            Baked beans...my favorite

                                 PAUL

            Mine too...would you like some

                                SHIRLEY

            Could you use some work? We’re hiring carriers

                                 PAUL

            Well actually....

                                SHIRLEY
                              (Interjecting)

            £50/Day.....and not a penny more

                                 PAUL
                           (Sounding surprised)

            £50...a day!?

Shirley as she nods

                                 PAUL
                              (Continuing)

            Is it legal?

                               SHIRLEY
                               (Laughing)

            Yea! ofcourse


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Max comes into the picture.

                                MAX

            Shirley we've got us a busy day ahead of us!..

Turning away from where Paul is sitting.

Continuing...

                              MAX
                      (Said under his breath)

            Meet the locals later

                               SHIRLEY
                               (To Max)

            Max this is....

Paul stands up and moves forward shaking hands with Max.

                                PAUL

            Paul Daniel Rivers at your service

                               SHIRLEY

            I've just hired us a carrier

                              MAX
                    (Looking suddenly pleased)

            Well-done Shirley...OK let's get down to it
            whilst the lights good

Max walks off.

Shirley gives a nod to Paul.

***********No 32 moved

33    EXT. LAKE DISTRICT, AREA FORCE -- MORNING

Paul stands before Max nodding as Max explains something,
animating his speech with his hands. No dialogue can be heard
only a MUSIC TRACK of a classical guitar setting the mood.
Max points over to a peculiar shaped tree and holds up his thumb


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towards Paul. The whole location is built up in quick time as if
watching a flower bud as we HEAR A MUSIC TRACK of a

Spanish Flamenco classical guitarist reflecting passion and
energy.

We return to ORDINARY TIME SHOOT as Max works his
models and enthusiastically takes photo shot. With the aid of
effects it changes to imitate a bullfighter, bull and a crowd
reaction, Max being the bullfighter and crowd. In slow time with
special effects we see the snorting and hoof scraping of the
models with the associate action of Max against the trumpets and
Flamenco style music.

BACK TO QUICK TIME as the models move away to change in
the trailers and the equipment and props are moved around. We
see Paul enter one of the trailers.

CUT-TO INTERIOR TRAILER, CLOSE ON PAUL as we see his
surprise.

Paul’s P.O.V. in ORDINARY TIME as he sees near naked and
naked women changing clothes.

CUT-TO EXTERIOR TRAILER, QUICK TIME as Paul backs
out of the trailer stumbling backwards landing on his behind.
Shirley comes to his side, helps him up, and seems to be waving
her clipboard around pointing to the trailer and frog marches him
back into the trailer. CUT-TO INTERIOR, TRAILER as Paul
shields his eyes, averts his gaze stumbling around, and picks up a
large duffel bag. CUT-TO EXTERIOR, TRAILER as Paul comes
out the trailer with a large duffel bag on his shoulders, shortly
followed by a number of models that are smiling and shaking their
heads.

Simone and Shirley as they laugh and shrug their shoulders.

CLOSE ON Max as he looks up at the sky, we see a SPECIAL
EFFECT of the clouds drifting by in quick time, and the sun
simultaneously moves across the sky to near sun set.

Max in real time blows a whistle that is around his neck.

                               MAX

            OK, that’s it for the day

From a HIGH ANGLE SHOT IN QUICK TIME the whole
location is packed away and the two trailers drive away leaving


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Paul standing alone in the car park. The rear of the second trailer
reverses back. The rear door opens and Paul is comically pulled in
side. The trailers drive off.

34    INT. OFFICE, LONDON -- MIDDAY

A large diamond ring sits a small individual display box. For a
moment, it fills the screen.

Jed is standing before a desk holding the box as he hands it over
to Palitino who is sat on the other side of the desk.

                                 JED

            It's one hell of a ring

                             PALITINO

            Simone will make me a good wife

                                 JED

            I never realized that......

Jed sits down in a near-by easy chair.

                             PALITINO

            Women, ha! she'll come round to my way of
            thinking...eventually

We HEAR a knock at the office door and Sammi enters the office
and sits down.

                               SAMMI

            Apparently, she's been in the Lake District
            working and she'll be back in the next couple
            of days.

                             PALITINO

            Have a car sent round her place and bring her
            to me the moment she returns.

Sammi nods his head. Jed goes to say something but stops
himself.




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                                   PALITINO

            What?

                                     JED

            It's just that......

Jed hesitates before he speaks.

                                  JED
                           (Catching himself)

            Women sometimes like flowers boss

                                   PALITINO

            Yes, quite...Sammi get her a dozen orchids

Palitino leans back in his chair and looks up at the ceiling.

35 INT. BEDROOM, YOUTH HOSTEL, LAKE DISTRICT --
LATE EVENING

The contour of a naked female is seen from a very close
perspective. We see from the rear a naked pair of angles, the legs,
the arch of the back. The perspective pulls back as the torso turns
slowly round, a naked breast is just about to come into view as a
night dress falls over the body.

Simone turns into the camera for a full frontal view. There are
various garments hanging around the room.(Workshop dialogue)

                                   SIMONE

            Can you believe that we've been here nearly
            three weeks

Shirley is sat on a near-by chair wearing pajamas with her feet up
on a lower bunk bed, that is piled high with all kinds of junk.
Simone picks up two large mugs of cocoa that are positioned on a
large deep window shelf behind Shirley and sits down in a near-by
chair taken a sip of one and giving the other to Shirley.

                                   SHIRLEY

            Yea, it's gone better than I thought



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                  SIMONE

Paul is a peculiar man isn't he?
                 SHIRLEY

I can't suss him out...A nice guy but a mysterious
one

                  SIMONE

Them facial scars

                 SHIRLEY

They're from a car crash apparently

                  SIMONE

You don't think he's on the run from the police
...he could be a very famous writer who is
traveling under an assumed character....a prince
traveling...under a curse if he does not
find...OR A

                  SHIRLEY
                (Interjecting)

Out of work librarian that is on the run from his
divorced wife and three kids......A prince
traveling under a la la, la la, la la lar...lar! lar!
land where pixies fairies and Simone Saint
Randles live

                  SIMONE
                 (Grinning)

He's never tried to hit on any of the girls
has he?

                 SHIRLEY
                 (Nodding)

But they've tried to hit on him, not that they've
got any where with him.




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                             SIMONE

            Really

                             SHIRLEY

            In a odd kind of way, he's kind of a handsome
            little fellow

                             SIMONE

            Its those eyes, their so sensitive and yet

They both start to laugh.

                             SHIRLEY

            What the hell are we going on about

                             SIMONE

            Yea, men, they either want to possess you or
            bonk the ass off you and have nothing to do
            with you afterwards

                             SHIRLEY

            You'd be so lucky to have a choice.... Bonk?
            that a feathered low flying creature of the same
            family as the haggis isn't it?

Both start to laugh.

36 EXT. AREA FORCE, WATER FALL, TOP BRIDGE,
LAKE DISTRICT -- MID AFTERNOON

An out-door photography shoot is all set-up, beside a small
footbridge that over looks a valley where a water fall flows.
Various models are taking poses as Max photographs their efforts.

                               MAX

            OK every body take five minutes

Max starts to reload his camera with film.

Simone moves over towards the footbridge where Shirley is
standing holding a clipboard CAMERA TIGHTENS TO A TWO


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SHOT.
                            SHIRLEY

            This is going well, a few more hours and we'll
            be all finished

Simone turns into face Shirley and together they lean back on the
brickwork of the bridge both simultaneously looking over the
bridge. Their P.O.V.as Paul walks over another foot bridge that is
50 yards below them. He is trying to fish something out of a pool
of water that has been created by the water fall that converts into
another water fall but 25 yards on. A couple of tourist, one male
and the other female, wearing rucksacks come walking on to the
bridge below. They stop, start to talk to each other and the female
tourist walks over to where Paul is. Simone and Shirley cannot
hear anything over the sound of the waterfalls.

Paul turns around and the female tourist comes into frame, in the
background we see and HEAR the waterfall. She kneels down
before Paul and kisses his hand.

                             WOMAN
                           (Standing up)

            Father, it is Father Rivers..... we heard about
            your, accident...it’s so nice to see you

Paul displays a mute surprise.

The male tourist comes into frame and kisses Paul's hand after
kneeling.

                               MAN
                           (Standing up)

            You christened our son Father

                             WOMAN

            Are you on holiday?

Shirley and Simone, as they turn into each other.

                            SHIRLEY

            What was all that about?

                             SIMONE



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         Strange
36a INT. DINING ROOM, YOUTH HOSTEL, LAKE
DISTRICT -- EARLY EVENING

The whole dining room is full with Max's complete team most of
them are sat eating. Two models are just sitting themselves down
to eat.

A model who is sat eating and speaking her thoughts out aloud. IN
FRAME*at further down the table is Shirley, Simone and Paul.

                              MODEL

            You know it's been three years, three years
            and he still phones me and asks for a second
            chance

The model looks around, as every body is eating not paying much
attention. She looks directly at Paul who is sat adjacent to her.

Paul, as he finishes his meal and looks up.

The model warms to Paul’s attention as nobody is really listening.

                              MODEL
                            (Continuing)

            If I don't forgive him how can I expect to ask
            for a second chance if I make a mistake,
            I mean we're not perfect are we?

Paul stands up and goes to leave the table.

                               PAUL

            May it be as you have said. Forgive him.

A black model who is sitting at the end of the table interjects.

                         BLACK MODEL

            Tell him to get lost!

Paul stops in his tracks with his plate in his hands and reacts to
that statement..

                               PAUL

            Is he of sound mind?


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                              MODEL

            I guess so; he never stops telling me he loves
            me

                         BLACK MODEL

            Don’t let your head rule your heart, tell him
            to get lost!
                              PAUL

            Your mind and heart are not two separate things
            to consider love they should work together

He pauses for a moment.

The model becomes absorbed with what Paul has just said.

SPECIAL EFFECT: We have a folding of two frames. As Paul is
standing speaking, we go from talking in the dinning room to
talking from a pulpit of a church. We see a host of 3 angels gather
in the background when Paul is speaking from the pulpit. The
camera will slowly close in on him till we have a full frame of
Paul’s head. When he is finished speaking, we are placed back in
the dinning room of the youth hostel in the Lake District England.

                              PAUL
                           (Continuing)

            Love is the most powerful modeling tool
            God...., that if you believe in God, uses to forge
            and test human beings./

            Nothing can prepare you for it when it arrives
            and nothing can help you but yourself, if you
            have to survive the ravages of loosing it or
            not having it returned

            Love will grow as reasons for love are discovered.
            In a relationship, the other person is never perfect

            Love will find away even for those who have to
            suffer loosing it. It is a power that has the ability to
            inspire even the worst of us to become better people.

Paul turns around and leaves the table.

Every body has stopped eating having listened intently.


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Shirley and Simone, as they turn to each other and raise their
eyebrows.

Max raises his hand to cradle his chin between the thumb and
finger.
                             MODEL

            Wow that man really knows

37 INT. STAIRCASE, YOUTH HOSTEL -- EARLY
EVENING

Max and Paul are sat on the bottom of the stairs, putting their
boots on.

                                 MAX

            So how about it

                                 PAUL

            It's a great offer

                                 MAX

            This time of year I tend to get a lot of work

                                 PAUL

            Its just that

                                 MAX
                             (Interjecting)

            Look I can tell when a man is down on his luck....
            the job offers there if you want it

                                 PAUL

            I'll take, I'll have it...Yes

SEQUENCE OF 4

38 INT. PUBLIC BAR, PATTERDALE, LAKE DISTRICT --
EARLY EVENING

The Public Bar is one and a half times in length its width. The bar
being positioned along three-quarters of the width of one wall.


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There are no windows as the bar is in the basement of a hotel.
Numerous round and square tables with respective stools and
comfortable chairs cover the carpeted floor. In the far corner, a
number of tables have been grouped together and sitting down
around them are a number of women including Shirley and
Simone. In the other corner adjacent is a small stage that is raised
one step above the main floor. Max and Paul enter the Public bar
from a glass door that is positioned to the front right hand side of
the main Bar.

                             BAR MAN

            What will it be lads

The bar man is momentarily interrupted as another man
approaches the bar.

                             BAR MAN
                             (Pointing)

            Put the karaoke over in the corner

There is a man sat down looking over the top of a magazine he is
reading.

                                                           CUT-TO
MAX AND PAUL

                                MAX

            I'll have a pint of bitter please

                                PAUL

            I'll have to go to toilet

Max goes to ask Paul what he wants to drink as Paul walks off.

                                MAX

            Make that two mate

CLOSE-UP of a press clipping that is being held in a hand behind
a magazine. The press clipping is a photograph of Paul as a Priest
and the heading is "FAITH HEALING." The press clipping is in a
foreign language and a sub-title delivers the information. We
HEAR a female V.O.




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                            FEMALE V.O.

            Are you finished, are you finished Sir!

MAN’S P.O.V. as the woman who is collecting glasses taps on
the top of the magazine. She is seen in silence as she mouths,
‘ARE YOU FINISHED WITH THE GLASS,’ holding up a near
empty glass.

The man takes the near empty glass, finishes it, and stands up.
The man expresses himself as a deaf person would with a slurred
voice and sign language.

                         DEAF PERSON*

            Yes, tank too

39    INT. PUBLIC BAR, MAN’S TOILETS (2)

The deaf man enters the toilets and looks around; he walks past a
block of three toilet doors. We HEAR the flush of a toilet as Paul
comes out of one of them and goes to a sink to wash his hands. In
the left-hand side of the frame the deaf man turns around and
moves to confront Paul, who is drying his hands, with the press
clipping as previously seen. The deaf man expressing his
disposition to Paul.

                               PAUL

            Yes that’s me but, I am no longer a priest
            anymore

The deaf man becomes a little frantic and we HEAR him speak
incoherently.

                            DEAF MAN*

            Can't you do something to help me

                               PAUL

            I'm sorry, I really am

The man becomes frantic going down on both knees before Paul
clutching Paul’s hands with his own and placing them on his
silent ears.




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                           DEAF MAN*

            Please ! please! , just try

BEAT

                               PAUL

            I'm sorry I can't help you

Max enters the toilets and stops dead in his tracks.

The deaf man gets up and walks out.

Max approaches Paul and puts his arm around him.

                                MAX

            Naughty, naughty, naughty, you can't get away
            with behavior like that here in the sticks

Max turns towards Paul head to head.

                               MAX
                            (Continuing)

            Us gays have got to stick together

Max taps Paul on the shoulder and turns around to have a pee.

                               PAUL

            Gays

40    INT. PUBLIC BAR (3)

Max and Paul leave the bar carrying pints of beer.

Max and Paul walk by the camera leaving in frame the deaf man
sat down at a small table on his own staring in to the center of the
table whilst clutching a glass of beer.

Shot of the deaf man.

                                                           CUT-TO

Paul and Max approach a table that is surrounded by models
including Shirley and Simone. The women start to shuffle around


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and Paul sits down next to Simone, Max sitting down with his
back to the rest of the bar.

                                                   DISSOLVE-TO

41 INT. PUBLIC BAR, PATTERDALE, LAKE DISTRICT --
EVENING (4)

SAME SET-UP AS PREVIOUS SCENE. Every body is more the
merrier for drink and they are singing along with the Karaoke.
Max is on the Karaoke singing; he finishes the song and comes of
the stage to a round of applause. He sits at the table with every
body.

                              PAUL

           You're good

                             Simone
                           (To Shirley)

           That's the first time I've heard him sing

Shirley nodding and we HEAR a V.O. of someone on the Karaoke
asking for volunteers in the back ground as the conversation
continues.

                            SHIRLEY

           You'll enjoy London, Paul.

                            SIMONE

           Where do you come from and what kind of work
           have you done in the past.

                              PAUL

           Well

                          MALE V.O.

           And yes folks we have another volunteer Paul
           Rivers...come on where is Paul...get him out
           here

                              MAX
                          (Standing up)



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             He's here
Paul is helped up and we HEAR Simone and Shirley and all the
other girls cheering him on.

                               PAUL

            But what shall I....

Paul gets up on the small stage and we HEAR the opening bar of
'KING OF THE ROAD.' At first, Paul is a little unsure then starts
to get into it.

Simone and Shirley nod to each other in reaction to how well Paul
is singing.

The deaf man is sat down. His P.O.V. as we see in silence
everybody singing along and snapping their fingers. Paul is
standing with the mike singing.

BEAT

Slowly Paul's voice IS FADED in with the rest of the music and
noise from the bar. Paul comes to the end of the song.

                               PAUL

            ...king of the road, King of the road

We HEAR a round of applause as the crowd reacts favorably. The
deaf man jumps to his feet so fast he knocks his table over, the
man is clutching both ears.

                            DEAF MAN

            I ca ca can heer hear mi my sf sefself myself
            myself! myself!!!!!

Paul comes off the stage and the "deaf man" throws himself at
Paul and starts to kiss him and hug him so enthusiastically. Paul
nearly falls over.

Simone, Shirley and Max.

                             SHIRLEY

            WOW!

                                   MAX



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           My god!
Max intervenes, to help Paul.

                                MAX

           Now just control your self-man

Max and Paul return to the table.
                            SHIRLEY

           What was that all about!

The "deaf man" comes to side of the table.

                         "DEAF MAN"
                           (In tears)

           Thank you, thank you

The man goes down on one knee and kisses Paul on the hand and
walks of.

                            SHIRLEY
                    (Half laughing to herself)

           Well I thought you sang a good song but

                            SIMONE

           I would like to know why...

                              MAX
                          (Interjecting)

           OK I think another round of drinks are in order,
           Paul you can come to the bar with me.

Paul and Max stand up. Leaving a puzzled Simone and Shirley.

42   INT. PALITINO'S OFFICE, LONDON -- MIDDAY

Palitino is sat behind a desk. Jed is sat opposite him in a plush
comfortable chair on the other side of the desk. Sammi enters the
room holding Simone by the upper arm releasing her as he closes
the door behind him. As he does so, she turns around, kicks him
between the legs, doubling him up, and approaches the desk that
Palitino is sat at. Palitino and Jed react comically to Sammi’s
plight.



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                            PALITINO
                             (To Jed)

            You don’t often see somebody do that to
            Sammi



                                JED
                           (Interjecting)

            And get away with it

                             SIMONE

            What’s the meaning of this

                            PALITINO

            It's so nice to see my princess

Jed looks over to where Sammi is trying to recover.

Sammi tries to stand up straight.

Simone looks over towards Jed.

                               JED
                             (Humbly)

            Hello Simone

She turns back to Palitino and leans across the desk.

                             SIMONE

            OK what’s this all about

Palitino signals to Jed to leave the room, which he does. He is
followed by a limping Sammi.

                             SIMONE

            I'm waiting for an explanation

Palitino pulls out a small ring case from a draw and slides it over
the desk towards Simone.



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                            PALITINO
                          (Half laughing)

            You're so fiery sometimes, that's why I love you

                             SIMONE

            What’s this

Simone picks up the small ring case and opens it, to reveal a large
diamond ring.

                             SIMONE

            Explain

                            PALITINO

            We are engaged

BEAT

Simone throws the ring and box at Palitino missing him, as it hits
the window that is behind him.

                             SIMONE

            You keep away from me from now on otherwise
            I’ll call the police

Palitino looks on as Simone turns around and walks out the office.

                                                          CUT-TO

43    INT. CORRIDOR, OUTSIDE PALITINO'S OFFICE

Jed is listening at the door but moves away swiftly to the other
side of the corridor as Simone comes out of the office slamming
the door behind her. There is a pause as they both look at each
other and Jed shrugs his shoulders.

                                                          CUT-TO

44    INT. PALITINO'S OFFICE

                            PALITINO

            If I don't have her, nobody else will


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                             (Shouting)

            Sammi! Get in here

45 EXT. WESTMINSTER CATHEDRAL, LONDON --
DAYTIME

Westminster Cathedral.

46    INT. SMALL OFFICE -- DAYTIME

Father Frank is sat in a sparsely equipped office behind a desk.
Paul is sat on the other side of the desk. They both stand up,
Father Frank coming round the side of the table and putting his
arm on Paul’s shoulder.

                         FATHER FRANK

            Paul I'm glad to hear things are working out all
            right for you.
Paul leaves the room and Father Frank closes the door behind
him. The TELEPHONE RINGS.

                         FATHER FRANK

            Hello Father Frank Williams speaking ...hello
            Cardinal...as matter of fast he's just left the office
            ...still no improvement...yes he got a job in a
            photography studio....no he's been give
            temporary accommodation at the studio ...yea
            ....I can do that.

Father Frank places the telephone down.

47    INT. LONDON TAXI, LONDON -- NIGHT TIME

Simone and Shirley are sitting in the back of a London taxi. The
taxi draws to a halt and Max gets in. The Taxi drives off.

                             SHIRLEY

            Where's Paul?

                                MAX

            He's going to meet us there

                              SIMONE



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            You did tell him not to go in with out us?
Beat
            And he know why!!!


                                  MAX

            Well..., I told him to wait for us outside.

Reaction shot from Simone.

48     EXT. NIGHT CLUB, LONDON -- NIGHT TIME

Paul is standing on the edge of the pavement IN FRAME* a
brightly lit door way can be seen, that has two smartly dressed
door men standing just inside the door. ANOTHER ANGLE of
Paul as he sighs and looks at his watch.

Paul enters the club. One of the doormen scans him with a hand
held radar security device.

                            DOOR MAN

            Sir, sign in please

Paul pays some money to the receptionist and then signs a book
on a separate desk fixed to the near-by wall.

Sign, above the table. The sign reads, "Unescorted individuals
enter at their own risk"

49     INT. NIGHT CLUB, LONDON -- NIGHT

There is a large area that is sparsely furnished with a square mud-
wrestling ring in the middle that acts as the focal point of the club.
The ring is filled with mud eighteen inches deep. Above the ring
on one side is a DJ/commentary box. The whole place is dimly lit
except for the ring, the place is filled with people, and DISCO
MUSIC IS BOOMING OUT. Paul approaches the bar that is
positioned along one side of the club.

                             BAR GIRL

            Are you on your own Sir?

Paul turns around and then looks back at the girl.

                                  PAUL



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            Me... em... yes
                              BAR GIRL

            Would you accept a complimentary drink?
            on behalf of the management.

Paul sits himself at the bar on a barstool.

                               PAUL

            Ow, that very kind. Yes please

The bargirl pushes over a pint of lager to Paul.

                               PAUL

            Thank you

                                                           CUT-TO

50    EXT. NIGHT CLUB, STREET, LONDON -- NIGHT

A taxi pulls up with Max, Shirley and Simone. The taxi pulls off
after Max pays the taxi driver.

                              SIMONE

            Well where is he

                                MAX

            I told him to meet us here

                                                           CUT-TO

51    INT. NIGHT CLUB, LONDON -- NIGHT TIME

Paul is sat on the same bar stool just finishing his pint of beer.
Three women dressed in bright leotards come to the bar, one of
them turning to Paul to speak.

                              WOMAN

            Sir, would you like to join us in the ring?

As the woman stands there before Paul, he looks over to the
wrestling ring as the lights come on around the ring illuminating it
fully.



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                            PAUL
                      (Nervously laughing)

            No....your joking aren't you, just a moment

Paul turns towards the bar.

                                 PAUL
                              (Continuing)

            Another glass of beer please...Ah!!!!

Paul is heaved out of his chair with his arm twisted up behind his
back and frog marched away.
The man who is sat down in the DJ stand leans across to speak in
a microphone.

                                  DJ

            Yes indeedee! ladies and gentleman and
            here we have our first volunteer to
            participate in our mud wrestling bought

                                                          CUT-TO

Sign (again) that reads, "Unescorted individuals enter at their own
risk."

                                                          CUT-TO

52    INT. NIGHT CLUB, LONDON -- NIGHT TIME

Paul with his arm twisted up behind his back is frog marched to
the side of the wrestling ring.

                             PAUL
                          (Defensively)

            My dear you must be mistaken

53    EXT. NIGHT CLUB, LONDON -- NIGHT TIME

                               SIMONE

            Come on we can leave a message at the door

Simone and Shirley.



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                              SHIRLEY

            Yea, lets go in

Max, Simone and Shirley walk off the pavement and into the club.

                                                            CUT-TO

54    INT. NIGHT CLUB, LONDON -- NIGHT TIME

A YELLING Paul is thrown over the ropes and lands face down in
the mud momentarily totally disappearing. The sound track
'Whole lot-Ta Shaking Going On' by Jerry Lee Lewis should be
appropriated mixed in with the roar of the crowd as Paul enters
the ring.

                                                            CUT-TO

Max, Shirley and Simone enter the club through double doors and
make their way to the bar.

                              DJ’S V.O.

            And yes our first wrestling bought is of to a
            roaring start.

MAX is at the bar ordering some drinks with Simone and Shirley
near-by who are looking over towards the wrestling ring.

ANOTHER ANGLE. In the center of the ring is an
indistinguishable person covered with mud, which is Paul, being
set upon by three women wrestlers. They proceed to strip him of
his clothes leaving only his boxer shorts on.

Simone as she is stood by Shirley raises her fist and whirls it
around American style in small circles.

                              SIMONE

            Way to go

Paul is clinging to the ropes with both hands as he is being pulled
by one of the wrestlers, whilst the other two are standing against
the ropes out side the ring looking on.

                               PAUL

            Help!.Help!..Im in a MAD HOUSE. Somebody


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            help me

Max passes drinks to Simone and Shirley.

                              SIMONE
                             (To Shirley)

            Don't you just love this place

                              DJ'S V.O.

            And yes we can confirm that the volunteer is
            English as I can hear him shouting "help I’m in
            a mad house"

Simone starts to laugh.

ANOTHER ANGLE Paul is clinging to the corner post of the ring
with both hands as the wrestler grabs a hold of him.

CLOSE ON Paul

                                PAUL

            Help! Help!.. call the police

Paul is pulled away from the corner and slung across the women's
shoulders as she moves into the center of the ring and starts to
spin around.

                              DJ'S V.O.

            Yes indeedee Magi the man eater is revving
            up for one of her wave slam-dunks.

The crowd reacts by chanting.

                          CROWD’S V.O.

            Dunk! Dunk! Dunk!

PAUL'S P.O.V. as we see the swirling lights.

                             PAUL'S V.O.

            Ah!!!!!!!!!!!!

The wrestler stops and jerks Paul above her head and slams Paul
into the mud.


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Max, Shirley and Paul join in with the roar of the crowd.

                               SIMONE

            Whey to go

                                MAX

            I wish Paul was here to see this

                               SHIRLEY

            Yea he'd love it

Paul is face down in the mud and hardly moving; he slowly sits up
A BELL RINGS OUT.

                               DJ'S V.O.

            Well, that’s time out for thirty seconds folks.

The two other female wrestlers help Paul up setting him down on
a stool in the corner of the ring. They throw a bucket of water over
him washing the mud of revealing the Paul’s features.

Simone turns away from the bar and looks over towards the ring

BEAT

Simone

                               SIMONE

            What?!

Max and Shirley follow her gaze to where Paul is sat.

Max, Shirley and Simone look at each other, then start to laugh

                               SHIRLEY

            Well I've seen it all now

CLOSE ON Paul as we HEAR the bell ring out.

                               DJ'S V.O.

            And we're off again


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Paul sees a female wrestler come rushing out of a corner towards
him.

CLOSE ON Paul.

                               PAUL

            Ah!!!!!!!!

Paul scrambles to escape through the ropes but is grabbed by the
angles and dragged back in to the ring. The wrestler then goes on
to whirl Paul around the ring by the feet.

Paul’s PO.V. as we see the swirling lights and HEAR Paul
yelling.

                           PAUL'S V.O.

            Help!!!!!!

Max, Shirley and Simone who are laughing their socks of at Paul's
plight.

                                                    DISSOLVE-TO


Paul is sat on a stool at the bar. He is covered in mud. A bargirl
places a drink on the counter.

                            BAR GIRL

            On the house sir

CAMERA PULLS BACK and Max, Shirley and Simone come
into frame. All three of them are desperately trying not to laugh.

                               MAX

            You should be proud of your self

Max stops to look at Simone and Shirley to try to stifle the hoots
and giggles that are breaking out.

                              MAX
                           (Continuing)

            Three rounds not bad



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At this Max, Simone and Shirley fall about laughing.

Paul, who is sat down not finding anything funny at all

Simone wipes a tear away from her eye and stops laughing.

                             SIMONE

            Come on lets all go back to my place.

Paul looks up.

55 INT. LIVING ROOM, SIMONE'S HOUSE, LONDON --
NIGHT TIME

Paul is asleep on a comfortable chair wearing a woman’s dressing
gown. Max and Shirley are sitting on a near-by settee. Simone
enters the room as Max goes to wake Paul up.

                             SIMONE

            Just leave him there he can sleep in the spare
            room when he wakes up.

                              MAX

            Yea

Max picks up a drink from a near-by table and finishes it.

                               MAX
                           (Standing up)

            We've got a shoot tomorrow starting at
            seven in the morning

Shirley half smiles to herself and raises an eyebrow.

56    EXT. SIMONE'S HOUSE, LONDON -- NIGHT TIME

Max and Shirley leave Simone's house.

ANGLE ON a car that is parked a little distance away JED is sat
in the driver's side of the car looking on.

56a INT. CAR, LONDON -- NIGHT TIME

Jed looks at his watch.



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Jed’s P.O.V. as Max and Shirley are getting in a London taxi.

57    INT. SIMONE'S HOUSE, LONDON -- NIGHT TIME

Through a stained glass door, Simone is seen having a shower.

58 INT. LIVING ROOM, SIMONE'S HOUSE -- NIGHT
TIME

Paul is asleep on the couch, CAMERA SLOWLY MOVES
CLOSER.

                                                         FADE OUT

DREAM SEQUENCE

FADE IN

Father Frank and Paul are both wearing Priests attire.

                               PAUL

            I just can't remember! I just can't
            remember! I just can't. I can’t

                                                           CUT-TO

Head on collision with another car.

Paul’s P.O.V as we go through the windscreen headfirst. Special
effects will show in slow motion the tearing of his flesh with
blurred sound.

                                                           CUT-TO

Paul wakes up with a jolt, stark shock and disarray the mask on
his face.

BEAT

Paul recovers from the shock as he takes in the surrounding room.
He slumps forward rubbing his face with the palms of his hands.

Simone enters the room and sits down near-by.

                             SIMONE

            They've gone



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Paul sits back in the chair.
                                 SIMONE
                               (Continuing)

            You can stop in the spare room, by the
            morning your clothes will be washed and dried.

59    INT. LONDON TAXI, LONDON -- NIGHT TIME

                                SHIRLEY

            I think Simone is attracted to Paul in an odd
            sort of a way

                                  MAX

            Really

                                SHIRLEY

            I know Simone and I know what kind of look
            that was back there

                                  MAX

            You women think you've got it all worked
            out don't you

The taxi comes to a stop.

                      TAXI DRIVER’S V.O.

            Melvern street

                                SHIRLEY

            You coming up for a coffee

                                  MAX

            Er, no I see you in the studio tomorrow

60 EXT. LONDON TAXI, MELVERN STREET, LONDON --
NIGHT TIME

Shirley gets out the taxi and the taxi drives off leaving Shirley
standing alone.




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                              SHIRLEY
                             (To herself)

            He doesn't even know I exist outside work

Shirley takes in a deep breath and lets it out.

60a INT. BEDROOM, SIMONE'S HOUSE, LONDON --
NIGHT TIME

Paul is in bed asleep, the room is softly lit from a near-by
lampshade. We HEAR a low deep rumbling growl.

We have a shot of the window.

                                                               CUT-TO

60b EXT. LONDON -- NIGHT TIME

We see from the darkness of various parts of the city a single
entity come together we HEAR FADED-IN the remixed base line
of 'Disco inferno' that sounds not unlike a heart beat. The entity
flys over various rooftops and down a number of streets. A sinister
whisper of a single voice is HEARD calling out that varies as the
its fight moves along which is joined by various other separate
flying [ BASE LINE TO THE SOUNDTRACK INTENSIFYING]
entities, that we see originate from other dark corners and ominous
places. The whisper multiplies as we get the impression of dozens
of entities flying side by side.

We have a sudden change of view-point as the entities drops to the
ground level at a much faster pace on to the street where Simone
lives.

The full sound track is mixed in with the live action as we see
burst forward five characters who are very beautiful . They appear
like a set of bowling-pins, the leading one we know to be the main
dark sinister entity then two beauty sexy women either side then
two very sexy men who are slender but muscular and stripped to
the waist. All characters are dressed in fabulous leather outfits.
They walk abreast for a short distance as the lyrics 'Burn Baby
Burn' can be clearly heard from the mix.

We see close ups of sexy legs, a muscular waist round to a rear of
man's behind, a lovely cleavage then to the FRONT SHOT of all
five entities as the camera swings to the right letting the entities
walk past as they stop and look up to the window which is one
floor up and to the left of them. The sound track picks up a beat.


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The dark entity's forms momentarily change to gross
disfigurements as they look up to the window of Simone's house.
The entities splinter into dust whirling up and disappearing as
their POV travels up to the window, we share their view points of
the window as it looks in on Paul who is asleep in a room that is
lit by a bedside light.

60c INT. SIMONE’S HOUSE, PAUL’S BEDROOM,
LONDON -- NIGHT TIME

The soundtrack FADES- DOWN. Paul is asleep in bed as the
camera tightens in on him dropping down to his face level with
the widow of the room in the background. Paul flinches. The
soundtrack is now back to the base line as the camera looks up
over his body to the window that frames the dark night as like
lights blinking on, one at a time, five pairs of eyes light up as each
open with a dim scorching fuse. MOS.

60d INT. HOUSE, SIMONE’S BEDROOM, LONDON --
NIGHT TIME

Simone's bedroom is bathed in light darkness, she is only party
covered with a sheet and we see the beautiful curves of her body.
We see a naked breast with a nipple that goes from being soft to
that of being hard, the flesh become goose pimply

BEAT

Simone's eyes snap open her eye lush limpid pools of warmth

60e INT. PAUL’S ROOM, SIMONE’S HOUSE, LONDON --
NIGHTTIME.

We are looking down upon where Paul is asleep; he is trapped in a
nightmare. The ghost of his soul superimposed upon his flinching
body as it is being feasted upon by dark oily figures. Paul is
wearing nothing but a pair of boxer shorts; the color of his soul is
golden blue with deep visages of silvery white. The points where
the dark beasts are feasting upon him are coloring black as we see
light from his soul seem to conflict with the darkness.

                                                            CUT-TO

60f   INT. SIMONE’S BEDROOM -- NIGHT TIME

Simon glances across to a clock that reads 0400hrs. Simone puts a
light on by pulling a near-by drawstring and we faintly HEAR low
moan.


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Simone drowsily sits up.

                                                            CUT-TO

60g INT. PAUL’S ROOM

A fusion of light at the end of Paul’s bed appears as we HEAR the
sound of Paul’s torment against the hideous whispering of his
tormentors.

60h EXT. SPECIAL EFFECT

We are in what seem like a huge cathedral of ice and light. It
whirls around into a tornado busting forward with an avalanche of
lights and music to a high speed POINT OF VIEW. We pass
through star systems, clouds, an aerial shot of the lights of a great
city is seen as the shot slows down arriving at the roof of
Simone’s house.

60i   INT. PAUL’S BEDROOM

The fusion of light at the bottom of Paul’s bed busts open as the
music builds. Figures bust forward to the right and left-hand side
of the bottom of the bed they look, as if seen through mist, well-
armed futuristic soldiers that radiate an energy presence. A space
is left at the foot of the bed as an extra bust of energy that is
colored differently to the rest starts to form.

P.O.V. shot of an entity that comes out of some type of warp
drive. With a bust of light that makes all the dark entities flinch
and momentarily fall back. Two hands extend and slowly part in
front of that entity of light. The room has largely disappeared and
in the middle of the space is Paul’s bed. At the head of the bed and
round the near sides is a coliseum of dark figures that are the
legions of darkness. Behind them, we see trapped souls thrusting
their arms out and begging for help.

One dark manly type comes forward before the main entity's
P.O.V and addresses that figure of light.

                           DARK ENTITY

            How fucking dramatic. Well we are privileged
            today aren’t we

A single spot-like light-source from one of the other entities hits
him appears upon the DARK ENTITY'S forehead and we see him
flinch. Other lights appear each striking with effect. The Dark


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Entity roars and his shape changes to that of half a dozen beasts
each replacing one with another as the roar explodes out.

ANOTHER ANGLE as we see the "Angels" fall back in to an
arrow head formation with only the central figure at point not
moving.

                               DEVIL

            Ha!, ha!, ha,ha,ha Tell your laps dogs to
            behave or I'll...

BEAT

The dark entity starts to rave, turn towards the 'fourth wall', and
address the audience with a strong eye line contact as we see once
again an array of different light source strike the dark entity as the
"Angels" move from an arrow head to a reversed arrow head
formation.

60j   INT. SIMONE’S BEDROOM

Simone has gotten out of bed. She enters the corridor following
the direction of where the moans are coming from.

60k INT. PAUL’S ROOM

                          DARK ENTITY

            Did you really think that you'd be able to
            Hide him away from me forever!?

The Dark Entity spins around extending his arm in the direction of
the leader of the "Angels" as the legions of darkness pore through
him.

We see two pierced hands extend out as we have a P.O.V shot of a
thousand fierce creatures stampeding head long trying the savage
what stands behind the pieced hands that are acting like a guard.

We see the "Angels" of light thrust back wards up into the
heavens, as the creature fade away, at the last moment we see a
spark of light fall back to earth.

                                                             CUT-TO

60l INT. CORRIDOR, SIMONE'S HOUSE, LONDON --
NIGHT TIME



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Simone approaches the door to Paul’s room, we know she can
hear something that is propelling her along the corridor but we can
not hear what she hears. She opens the door.

A dimly lit bedroom can be seen where Paul is asleep but still in
the clutches of a receding nightmare.

61 INT. BEDROOM, SIMONE'S HOUSE, LONDON --
NIGHT TIME

Simone enters the room and approaches the bed taking hold of
Paul's hand.

Paul snaps out of his sleep to look up to see Simone staring down
at him. We notice Simone's breast, from behind her loosely tied
dressing gown.

Simone blinks and in slow motion as her eyes open we HEAR and
see two twinkles of light that appear and dissolve in her eyes, she
takes in a breath and sighs and try to catch her breath.

Simone sits on the side of the bed still holding Paul's hand.

                                SIMONE

            You woke me up, you were...

                                  PAUL

            I am sorry; I was having a bad...

                                SIMONE
                              (Interjecting)

            It's all right

Simone changes position and cradles Paul's hand in both of hers.

                                SIMONE

            Do you want me to fix you some cocoa or..

                                  PAUL

            No I'll be fine

                                SIMONE
                             (Sure of herself)



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            Do you think I'm beautiful Paul?
                             PAUL

            The skin is merely the clothes of the soul

Simone sits back from Paul and crosses her arms.

Paul sits up and forward towards Simone.

                              PAUL

            I am attracted to you though

Simone smiles.

Simone kisses Paul gently on the cheek then puts her hand on the
back of his head and kisses him on the lips then takes another kiss
and pulls back.

                             SIMONE

            Let me in

She takes another kiss. Paul's jaw line changes and we see his
suprise as we understand from this that Simone is giving Paul a
French kiss. They fall out of FRAME as the CAMERA looks
upon a window. The darkness of the evening changes to the
lightness of day.

Simone and Paul are lying in the center of the bed snuggled up to
each other.

62 INT. KITCHEN DINING ROOM, SIMONE'S HOUSE --
EARLY MORNING

Paul is sat at a small dining table fully dressed with Simone sat
near to him wearing a dressing gown. Both are eating breakfast
and drinking coffee.

                             SIMONE

            Paul you haven't said much since you got out
            of bed this morning

                             SIMONE
                           (Continuing)

            I mean....was last night OK



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            Most men throw me around the bed as
            though I'm some rag doll but you...

                               PAUL

            Most men.

                              SIMONE

            Oh,here we go....Well I haven't lived a
            monk’s life you know and any way who
            does these days.

                               PAUL

            Em...Well

We HEAR a knock at the door.

                              SIMONE

            That'll be the taxi for you

63 EXT. SIMONE'S HOUSE, LONDON -- EARLY
MORNING

From the inside of a parked car, Paul is seen getting into a taxi
after leaving Simone's house.

                                                            CUT-TO

64 INT. PARKED CAR, KENSINGTON, LONDON --
EARLY MORNING

Jed is sat in the driver's seat; he looks unshaven and tired.


                                JED

            He's just going to love this

65 INT. KITCHEN, SIMONE'S HOUSE, LONDON --
EARLY MORNING

Simone is sitting at a small round pine kitchen dining table deep
in thought.

                                                         FADE-OUT



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DAY DREAM SEQUENCE (Three scenes)
FADE-IN

66 EXT. AREA FORCE, WATER FALL, TOP BRIDGE,
LAKE DISTRICT -- MID AFTERNOON(1)

Simone turns into face Shirley and Together With Shirley, they
lean back on the brickwork of the bridge both simultaneously
looking over the bridge. Their P.O.V.as Paul walks over another
foot bridge that is 50 yards below them. He is trying to fish
something out of a pool of water that has been created by the
water fall that converts into another water fall but 25 yards on. A
couple of tourist, one male, and the other female, wearing
rucksacks come walking on to the bridge below. They stop, start
to talk to each other and the female tourist walks over to where
Paul is. Simone and Shirley cannot hear anything over the sound
of the waterfalls.

Paul turns around and the female tourist comes into frame, in the
background we see and HEAR the waterfall. She kneels down
before Paul and kisses his hand.

The male tourist comes into view momentarily kneeling down on
one leg and kisses Paul's hand.

                                                    DISSOLVE-TO

67 INT. DINING ROOM, YOUTH HOSTEL, LAKE
DISTRICT -- EARLY EVENING (2)

                             MODEL

            I guess so, he never stops telling me he loves
            me

                         BLACK MODEL
            Don’t let your head rule your heart, tell him
            to get lost!
                              PAUL

            Your mind and heart are not two separate things
            to consider love they should work together


He pauses for a moment.

The model becomes absorbed with what Paul has just said.




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                               PAUL
                            (Continuing)

            Love is the most powerful modeling tool
            God...., that if you believe in God uses to forge
            and test human beings. Nothing can prepare
            you for it when it arrives and nothing can help
            you but yourself, if you have to survive the
            ravages of loosing it or not having it returned

                                                     DISSOLVE-TO

68 INT. BEDROOM, SIMONE'S HOUSE -- NIGHT
TIME (3)

We see in slow motion Simone, lying on her back, having
intercourse with Paul who is on top supporting himself without
stretched arms. CAMERA TIGHTENS ON Simone's face as the
explosion of an orgasm racks her body.

                                                            CUT-TO

CLOSE ON of Paul's face as his world melts into a flame of
ecstasy collapsing into Simone’s arms.

END OF DREAM SEQUENCE

                                                     DISSOLVE-TO

69 INT. SIMONE'S KITCHEN, LONDON -- EARLY
MORNING

Simone is still sat at the kitchen table; her eyes closed as she takes
in a deep breath and lets out a sigh.

70 INT. MAX'S PHOTOGRAPHY STUDIO, LONDON --
MIDDAY

Simone enters the studio just as Max is finishing a shoot. Shirley
walks over to Simone leaving Max and Paul moving some props.

                              SIMONE

            Did Paul seem tired this morning?

                             SHIRLEY

            Not particularly ...Ah I see


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Shirley tilts her head to one side and smiles.

Simone

Shirley

                              SHIRLEY

            I see

Paul and Max finish what they are doing and come across to join
them.

                               SIMONE

            Any one coming for lunch

                                MAX

            Yea, I'm starved

                                PAUL

            Me too

                              SHIRLEY

            Max have you forgot that you've got a lunch
            appointment with Kay's catalogue

                                MAX

            Have I

Shirley links in with Max and steers him away as their
conversation continues.

                               SIMONE

            So, its just us two for lunch then

                                PAUL

            Yep!

Both go to speak at the same time but then stop




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                                   PAUL

            Go on, what were you about to say

                                 SIMONE

            No you first

71 INT. RESTAURANT, LONDON -- LUNCH TIME
(Audition piece)

Paul and Simone are sat at a table that is made up with cutlery.

                                 SIMONE

            Normally after an all nighter I feel dead..but
            instead

                                    PAUL
                                (Interjecting)

            Do you feel all refreshed and wonderful inside

                                 SIMONE

            I'm not trying to sell you a line, I do

                                   PAUL

            Emm well.

                                  SIMONE
                                (Interjecting)

            Stop saying emmm and well all the time and say
            what you think.



                                   PAUL

            It's just that...

                                 SIMONE

            It's just that!? ..yea well that great

Simone stands up and walks off out of frame


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                        SIMONE'S V.O.

           I don't know why I bother, ‘Its just that?’...hu!

Paul is sat masked in confusion.

                             PAUL
                          (To himself)

           It’s just that I don’t know really what to say

71a INT. MAX'S STUDIO -- NIGHT

We see various shots of eye lashes being groomed and finger nails
being painted. We see the back of what appears to be the rear of
two woman sat down as a couple of make-up artistes stand- back
in front of them admiring their work. The women stand up and we
see that they are Max and Paul. Paul is dressed in an
Bangladeshi/Indian type outfit with a face vale that partly covers
his badly scarred face.

                              MAX

     God I'm gorgeous...this party tonight is just going
     To rock.

Paul stands looking uncomfortably in a mirror, completely at a
loss. Both men have wigs and are very convincing.

                            MAX
                     (The make-up artistes)

     I appreciate this girls, Mums the word though

                              PAUL

     We're not walking through the streets like...

                              MAX

     Of course not, these shoes cost nearly £300
72   INT. NIGHT CLUB, LONDON -- NIGHT

CAMERA follows Max and Paul who are making their way
through a busy nightclub.

Max and Paul approach a small bar area.



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                                MAX

            Two black Russians please

Max and Paul sit on two bar stool chairs that are at the bar.

                                MAX
                              (To Paul)

            Out of all of the bars in here this is always
            the quietest.

Paul looks around as the bar man who is wearing a skintight
leotard, knee length boots and facial make up that promotes
femininity, places two drinks down on the bar. Max pays for the
drinks.

                               MAX
                       (Picking up the drink)

            Here

Indicating to the bar man.

                                MAX
                             (Continuing)

            He's lovely isn't he

                              PAUL
                     (Taken a sip of his drink)

           Emmm, well
Two very large men dressed in Rugby strips including shorts and
socks approach Paul and Max. Both are wearing leather padded
head guards as worn by prop forwards.

                           GAY MEN
                     (Spoken simultaneously)

            Want a dance

Paul nearly chokes on his drink with shock.

                                MAX

            May be later chaps.



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Paul looks around at various scenes that identify the club as a gay
nightspot.

Paul wears an open-mouthed expression as he turns slowly
towards the bar and places his drink down.

BEAT

                                                            CUT-TO

A transsexual approaches Max and Paul.

                        TRANSSEXUAL
                           (To Max)

            Hello sweetie

Kissing Max on the cheek.

                               MAX

            Georgina! hello!, how the devil are you .. ow
            this is my friend and new addition to my firm
            Paul

The transsexual leans across to try to kiss Paul on the cheek but
Paul leans back shocked, grabbing a hold of his hand and shakes
it.
                              PAUL

            Hell...Hel.lo

                        TRANSSEXUAL

            How sweet

                               MAX

            Well, the last time I spoke to you was .... you'd
            just started your hormone tablets

                        TRANSSEXUAL

            Ah yes that's right, well I'm on my second course
            now

                               MAX

            Has it been that long


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                         TRANSSEXUAL

           Yes, I'm having my operation next month
           coming for a dance

Paul, confused and shocked, watches Max go for a dance.

                               PAUL

           Operation?

73   EXT. SIMONE'S HOUSE, LONDON -- MIDNIGHT

Paul rings the doorbell at Simone's front door. A moment goes by
and he rings it again. Simone's sleepy voice crackles into action
on an intercom.
                          SIMONE'S V.O.

           Yes, who is it

                            PAUL. V.O

           It’s Paul

We see Simone and HEAR Paul's V.O.

                             SIMONE

           Paul?

                               PAUL

           Yes, I work for Max

                              SIMONE
                            (Interjecting)

           Yes I know!....look at the time...how do you
           know I haven't got anybody with me.

                               PAUL

           Ow I’m sorry, I’ll go

Paul goes to turn around.

                             SIMONE



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            I haven't!...give me five minutes and I'll open
            the door

73a INT. SIMONE'S HOUSE, FRONT DOOR, LONDON --
MIDNIGHT

Simone is wearing a dressing gown as she opens the door. Paul
steps in still dressed as women.

Beat

                             SIMONE

            What the hell!!....

                              PAUL
                           (Defensively)

            I don't normally dress like this

Beat


            You shagg the but off me as if you've been
            in jail all your life then its emm, well, emm
            emm, well! -- no phone call! or flowers! or anything!

            And on top off all of that you come round here
            Looking like that...

            I can have any man I want in the world and I have to
            deal with this shit.

            Whatever you have to say it better be good!

                                  PAUL

            Simone, my feet are killing me

74 INT. SIMONE'S HOUSE, LIVING ROOM, LONDON --
MIDNIGHT

Simone is sat on a chair with Paul sat opposite on another chair.

                             SIMONE

            What do you want?




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                                PAUL

            Em, well

                              SIMONE

            Don't start all that em, er stuff. Well!

                                PAUL

            Well actually

                              SIMONE
                     (Interjecting, standing up)

            Well actually, I couldn't pick up a piece of ass to
            have when I was out with Max, where ever he took
            you to! so you thought you'd come round here and
            have a piece of mine.

                               PAUL
                           (Spoken gently)

            I love you Simone

                            SIMONE
                   (Continuing as if not hearing)

            Well, you can't. I'm not a piece of meat

BEAT

                              SIMONE

            What did you say?

                                PAUL

            I thought about it and you're all I can think off

BEAT

                              SIMONE

            If you're trying to talk your way in to my bed......

Paul is sat nervously biting his lip.



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                               PAUL

            I never felt like this before

                              SIMONE

            You really mean it don't you

Simone comes towards Paul taking his hand and kneels down
before him, as he sits up on the edge of the chair, looking up into
his face. Simone extends her hand out to touch him on his cheek.

                             SIMONE
                          (Spoken gently)

            Don't play with me Paul

                              PAUL
                         (Shaking his head)

            What you mean

                              SIMONE

            No, you're not the type are you.

                              PAUL
                 (Apologetic about how he looks)

            Max took me to this dreadful place tonight.

75    INT. NATIONAL GALLERY, LONDON -- DAYTIME

Simone is explaining and indicating towards a group of paintings,
which they are standing before, as Paul stands near-by to her
nodding his head. The paintings are by Vincent Van Gough.

76    INT. SIMONE'S LIVING ROOM, LONDON -- DAYTIME

Simone is sitting at her harp and Paul is sat on a stool before a
music stand that has a songbook on it as he plays a guitar. They
are playing HOTEL CALIFORNIA by the EAGLES

                               PAUL

            Warm smell of ciliates rising up through
            the air. Up ahead in the distance....



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77 INT. SHOWER UNIT, SIMONE'S HOUSE, LONDON --
EVENING

The wet head and face of Simone as the water pours down on her.

CAMERA moves to the left of Simone as water cascades down.

(BEAT)

CAMERA looks down and we see the wet head and face of Paul.

ANOTHER ANGLE as Simone dabs Paul on the nose with a
soapy sponge then turns him around and starts to sponge his back.

77a EXT. SIMONE'S HOME LONDON -- DAYTIME

Sammi is sat inside a car looking on at Simone's front door as
Paul leaves and gets in a taxi.

78    INT. MAX'S PHOTOGRAPHIC STUDIO -- DAYTIME

The studio is very busy. Max is engaged in a photography shoot of
about a dozen South American Rain forest Indians that are
wearing tribal animal skins, hunting spears and native battle dress.
There are various props on stage making the whole place look like
a jungle environment.

Max and Shirley are standing beside a camera on a tripod. Max
indicates with out-stretched arms to bunch closer together. The
Indians mimic Max by stretching their arms out doing the same.

                                MAX

            No, no!!!!!!!!

                             INDIANS
                  (Still mimicking Max in action)

            Noo, Nooooo.

                                MAX
                             (To Shirley)

            Get onto that agency and tell them the Indian
            interpreter went for lunch and never came back.

One of the Indians has a pee of the side of the stage.




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                              MAX
                      (Continuing, perplexed)

            And that these boso's are pissing and crapping
            all over the place.

                              MAX
          (Speaking to himself as he focuses the camera)

            Save the bloody rain forest? They needed a cattle
            prodder to get the buggers on the plane. Then the pilot
            nearly crashed the plane when some fucking spider
            the witch doctor had apparently sneaked on the plane
            bit him -- sending him to sleep. Then soon as they
            touch down they brought them here. I tell you I want
to
            be that fly on the wall when they sit down with...

Max looks up to see another having a Pee

                                MAX

            Smashing perhaps you like to curl a solid down.
            Yes when the Queen has lunch with you’s lot I’d give
            my soul to be there.

Shirley is just about to enter the conservatory office.

                              MAX
                     (Continuing, raised voice)

            And tell them we haven't seen the office cat
            since lunch time.

Paul enters the studio and goes across to Max.

The Indians start to stomp around in a ritual type of dance and
start to chant.

                              MAX
                 (As Paul looks on at the Indians)

            Don't get too close to these mothers I think they’ve
            eaten the cat. Did you get lucky last night?

Shirley approaches Max and Paul.




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                             MAX
                          (To Shirley)

           See if you can quiet them down Shirl

                             PAUL

           We've got to talk Max

                             MAX
                 (Steering Paul into the office)

           Was you with one of those Rugby players

79 INT. CONSERVATORY OFFICE, STUDIO, LONDON --
DAYTIME

                             PAUL

           Max, I'm in love with Simone and I want to
           marry her.

                             MAX

           Which one of those Rugby players was
           called Simone? His real name is probably
           Simon

                             PAUL

           Simone Saint Randle.

                             MAX

           Simone Saint Randle, Simone! the...I don't
           understand does she know that you're bisexual

                             PAUL

           I'm not... whatever and I'm not gay

80   INT. PALITINO'S OFFICE, LONDON -- DAYTIME

Sammi and Jed are sat on two comfortable chairs. The perspective
pulls back slowly till we have a view from behind where Palitino
is sat behind his desk.

FULL FRAME FRONT SHOT of Palitino sat down.


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                            PALITINO

            Simone will have to be made to understand.
            We’ll have to sort this bum out, that she is so
            attached to

                               JED

            Boss I think this guys a member of the Roman
            Catholic church

Palitino turns back towards where Sammi and Jed are sat.

                            PALITINO
                           (Interjecting)

            So what I don’t pay you to think. Just do as you are
            told

                               JED

            But Boss a Priest, I'm not going to mess with...

                            PALITINO

            You will do what you are told.

Palitino nods at Sammi, which primes him for action against Jed

                               JED

            Boss you can have any woman you want
            Why this one.

                            PALITINO
                            (Snarling)

            Whoever this bum is, smash him to pieces.

80a Budget permitting:
                              -----
We have on screen a collage of different scenes:

Father Franks get a telephone call in his office which we see him
react to in a near almost a panic manner.

Sammi starts to prepare his electrical gadgets in the torture
chamber of Palitino's river side warehouse whist the dark entity


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dance sings in the shadows.
A telephone call is received from Father Frank at the Vatican.

We see a number of men dressed as priest checking weapons on a
private plane as we cut to a news Flash on TV as it is announce
that the Pope with his entourage is making a surprise visit to
England

We see the weapon on the plane being packed away on the plane
in to boxes that are labeled as religious artifacts free from
customs.

We see Sammi put the finishing touches to the torture chamber as
the dark entity struts around spouting in a near frenzy phrases that
indicating a forth coming disaster

We see the Plane touch down at the airport.

We see a vehicle driven by Sammi that has four other solid
looking men in side driving along a street.

                                ----

81 INT. MAX'S STUDIO, CONSERVATORY OFFICE,
LONDON -- DAYTIME

Max and Paul are both sat on the edge of the desk.

                               MAX

            I work with beautiful women all the time and
            they don't do anything for me so I must be....

                               PAUL

            The physical beauty of a person has got nothing
            to do with love

                               MAX

            I used to be attracted to women but..


                               PAUL
                           (Standing-up)

            Its the essence of that person's soul that you
            connect with...once you've done that...



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Max sits forward in his chair as he listens to Paul.

                               PAUL
                            (Continuing)

            Sex, lust ....are just secondary things

                               MAX

            I've never had a relationship...

                               PAUL

            It comes down to who you feel really
      `     secure and comfortable with.

Shirley comes into the conservatory. There is a pause as Shirley
realizes she has interrupted something very heavy.

SHIRLEY'S P.O.V. -- Paul and Max.

BEAT

Max looks at Paul then at Shirley taking in every detail of her
from her feet up to her face.

BEAT

Shirley changes her position slightly as she feels Max’s gaze.

                            SHIRLEY
                    (Her eye contact switching
                from Max and Paul and back again)

                          (Spoken slowly)

            The interpreter is back

                                                       DISSOLVE-TO

82    INT. MAX'S STUDIO, LONDON -- DAYTIME

Deleted

83 INT. CONSERVATORY OFFICE, LONDON --
DAYTIME

Deleted



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84    INT. MAX'S STUDIO, LONDON -- EARLY EVENING

The studio is empty. Shirley is just putting her coat on as Max is
locking up the conservatory office door.

                               SHIRLEY

            Well it's been one hell of a day

                                MAX

            Its been one hello off a week

                               SHIRLEY

            Full of surprises. Would you like to come
            round for dinner tonight

BEAT

                                MAX

            Yea......why not

                               SHIRLEY

            Fine, well have a nice weekend and I'll see
            you on Monday

Shirley leaves the studio.

Max raises his eyebrows and takes in a slow breath.

Shirley comes back into the studio

                               SHIRLEY

            Yes, did you say yes?

                                MAX

            Yes....and yes

                               SHIRLEY

            Great... em..7,30 OK

85    INT. ITALIAN CAFE, LONDON -- MIDDAY



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Simone and Shirley are sat at a small table. A waiter brings a
couple of plates of food to the table and places them in front of the
girls.

                             SHIRLEY

            Yea you could've knocked me down with
            a rubber band

                             SIMONE

            So what happened

                             SHIRLEY

            Well it was just a lovely evening, I'm still in
            shock ..really

                             SIMONE

            Max is a dark horse

                             SHIRLEY

            Talking about dark horses how are you and
            Paul getting on

                             SIMONE

            After that first night together...The next day, I
            felt as if my soul had been put through a
            washing machine

BEAT

                             SIMONE
                           (Continuing)

            I'm going to ask him to marry me

                             SHIRLEY

            Wow!!!

Simone hangs her head and looks rather worried.

                             SHIRLEY

            What, what is it?


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                               SIMONE

             Since...

Simone indicates with a nervous single hand to her stomach.



                               SIMONE
                             (Continuing)

             You know, the thought of never being able
             to have children has never bother me but its
             all I can think of

                              SHIRLEY

             You never had a choice Sainty

Shirley takes Simone’s hand across the table.

                              SHIRLEY
                             (Continuing)

             It was either that or your life

                               SIMONE

             I know but if Paul wants children, I won’t
             be able to...

Shirley reaches out to comfort her.

86 Deleted

87    EXT. STREET, LONDON -- EARLY MORNING

A car driving along a deserted street.

The car makes a sharp right turn..

                                                            CUT-TO

88    INT. MOVING CAR, REAR SEAT

Sammi opens a door and throws Paul out the back.

Paul comes tumbling out the car in slow motion whilst the car is


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                   Thunder In The Heavens 2001                        89
                                  94 pages

still moving.

Paul rolls over unconscious exposing a bruised face.

89 INT. CORRIDOR, HOSPITAL, LONDON -- LATE
MORNING

Max, Shirley and Simone are walking abreast along a corridor.
They turn corners and pass through doors. In the background as
they walk we see nurses and people being pushed on trolleys.

They come to a stand still outside a door and Max looks at a piece
of paper he is holding.

BEAT

He nods to Simone and Shirley and they enter the door.

                                                           CUT-TO

90    INT. HOSPITAL ROOM, LONDON -- LATE MORNING

Simone, Shirley and Max enter the room and stop in their tracks.

Paul is in bed. Father Frank is sat on the other side of the bed. A
window behind Father Frank has blinds fitted to it that create
shafts of light that pierce the somber hue of the room.

Max, Shirley and Simone

                             SIMONE

            Ow my god

Max, Shirley and Simone approach the bed.

                             SIMONE

            Is he going to die?

BEAT

Father Frank looks very drawn, plagued with concern.

                        FATHER FRANK

            I'm a friend of Paul’s. He’s... he’s suffered a
            Terrible beating, he got rope burns around his
            wrists where he’s been...his head is


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                   Thunder In The Heavens 2001                       90
                                94 pages



Father Frank leans on the bed.
                        FATHER FRANK
                         (Almost in tears)

            His chances are slim

                                                     DISSOLVE-TO
SAME SCENE -- NIGHT TIME

Simone is at Paul’s bedside. The room is dark with a few small
warm lights as moonlight bathes the room, from a clear window,
in a silvery moon-glow. Simone bends down towards Paul the
camera tightens in as she takes up a bruised and battered hand.
She looks pale and drawn.

                             SIMONE
                     (Gently shaking her head)

            I don't know if anybody is listening, this world
            so fucked up sometimes but God if you do exist don't
            let him...


            My love... my sweet love...please don’t die,
            please!

Simone lifts up Paul’s hand and kisses it, there are tears rolling
down her cheeks

91 EXT. WESTMINSTER CATHEDRAL, LONDON --
DAYTIME

Delted

92 INT. WESTMINSTER CATHEDRAL, OFFICE, LONDON
-- DAYTIME

A scrapbook is open; we see various obscure press clippings that
relate to Paul as a priest and his healing powers. CAMERA
PULLS BACK SLOWLY as the scrapbook is closed.

Simone, Shirley and Max are sat down. Simone hands over the
scrapbook to Father Frank.

                         FATHER FRANK

            Even with all the power the church could wield
            we could not sit on everything


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                  Thunder In The Heavens 2001                       91
                                94 pages



There is a moment when they all look around at each other.
                          SIMONE

            My sweet Paul


                        FATHER FRANK

            We had to hide him away as best we could
            till we could become organized enough to
            be able to cope with whatever he was sent here
            to do

BEAT

Max, Shirley and Simone look around at each other questioningly

                        FATHER FRANK

            You see everybody has a destiny and mission
            Whilst they are here and part of the challenge of
            This life is to find it and fulfil it...for some that
            Mission is smaller than others but just as important
            ...the greater the mission the more life will try to pull
            you to pieces because of it

                             SHIRLEY

            What happens if ...whoever did this tries it
            again

Beat.

                        FATHER FRANK

            They won’t...

                                                             CUT-TO

93      DELTED

94 INT. DARK DUNGEON, OLD BRICK LINED ROOM,
FACTORY

Various wires snake along the floor then split-up are seen.

Palitino and Sammi are near naked looking very wet, tied to two
wooden chairs. The chairs having been slightly modified so that


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                   Thunder In The Heavens 2001                    92
                                 94 pages

they can not easily fall over.

Two pairs of hands are seen winding up electrical gadgets that are
attached to large batteries.

Palitino and Sammi poko around on chairs screaming.

95 INT. FACTORY AND WAREHOUSE, CORRIDOR
THAMES RIVER, LONDON -- EARLY EVENING

Out side in a corridor the screaming and whaling of Palitino and
Sammi continue as they beg for mercy, the camera falls on Jed
who is standing there smoking a cigar. The screaming comes to an
end as two gunshots ring out which jolts Jed.

96 INT. WESTMINSTER CATHEDRAL, OFFICE, LONDON
-- DAYTIME

Simone, Shirley and Max are still sat down. They all stand up and
go to leave the room.

                                 MAX

            What are the chances of him recovering?

                         FATHER FRANK
                      (Coming round the table)

            Well, the specialists say...they just don't know...

97 INT. WESTMINSTER CATHEDRAL, LONDON --
DAYTIME

Simone and Shirley are standing at the front of the church near the
altar

                             SHIRLEY

            What you going to do Simone

98    Deleted



The base line of Billy Idols 'White Wedding'
is FADED-IN.

                           SIMONE
                      (Meekly smiling)



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            Thunder In The Heavens 2001       93
                        94 pages



        I've missed another period Shirl

Shirley links in with Simone as they walk
down the Isle together.

                     SHIRLEY

        Wow! .

Billy Idol's 'White Wedding' Booms out.
Shirley and Simone walk towards the camera
and out of frame as the camera tilts up.

Numerous camera clicks as if the sounds of
dozens of cameras are being used around a
catwalk are mixed with soundtrack as we CUT-
TO various scenes that combine live action
with still camera photos:

Paul and Simone being married.

Paul, Simone and a newborn child.

Paul standing along side a hospital bed
holding a small child as Simone is cradling
another. The soundtrack reaches its fullest
as we DISSOVLE

 (Script length in Courier 12 is 102 pages)




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                         Thunder In The Heavens 2001                                      94
                                          94 pages

INDEX
PAGE 1          FADE-IN       Every Film opens with a FADE-IN, the screen going
from black to action. A FADE is the opposite.

PAGE 1          DISSOLVE         Is an optical effect in which a fade is superimposed over
a fadeout so that one shot replaces the other.

PAGE 1           BEAT A monetary, predesignated pause in an actors action or delivery/
or creating a filmatic moment in the action.

PAGE 2          CUT-TO           Instantaneous change from one shot to another.

PAGE 2          MOS              Mit out sound. The sound stops till further notice.

PAGE 2           CAMERA ANGLE/SHOT                The point of view from which the
camera surveys a subject. Thus ‘high angle’ means that the camera is looking down on
its subject; ‘low angle’ that is looking up, and so on. ‘ANOTHER ANGLE’ means
simply that the camera continues to film a given action, but from a different position.

PAGE 2          V.O.     Voice over.

PAGE 6           P.O.V. SHOT. A shot in which the camera’s position approximates that
of a particular character and the audience sees what said character would have seen.

PAGE 11          CLOSE ON/CLOSE UP                 Is a loose description that normally
indicates attention to detail or facial expressions.

PAGE 21         SEQUENCE         A related series of shots, unified by some common
element.

PAGE 40          IN FRAME                Just means that in the same picture cam be seen
-- whatever is indicated.

PAGE 52          CAMERA TIGHTENS                  Is a camera description of the view point
closing in on its subject. Often used to bring an extra piece of drama to the scene or
event.


PAGE 52                  ONE SHOT        Normally associated with seeing just the one
person.




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