Cherry Tree Lane Page #4

Synopsis: Prosperous professional couple Mike and Christine are settling in for a standard evening of wine, TV and low-level marital hostility when a ring on their doorbell changes everything. Turns out their son Sebastian is in a little trouble with some local boys, who are quite prepared to camp out and wait for him to get home... The resulting culture-clash chamber drama is raw, revealing and nerve-splittingly tense.
Genre: Horror, Thriller
Production: Steel Mill Pictures
 
IMDB:
5.0
Rotten Tomatoes:
63%
NOT RATED
Year:
2010
77 min
100 Views


Your phone was ringing.

Where is it?

l don't know.

Where you were sat.

Hey, ring it again.

- What are you doing?

- Just ring it.

l have. It's got to connect.

Stop staring at my arse, f*ggot.

What's she f***ing

want with it?

Hey? Do you wanna go in there?

No, man.

What the f*** are you phoning me

for? You know where l f***ing am.

- l thought you was at home.

- One second.

Where the f***

do you think you're going?

lt's alright, man.

You can chill it for a bit.

l don't cy, man.

Not through pain or anything, anyway.

And l've been stabbed.

ln my chest, in my leg.

Didn't cy then.

l had stitches.

l've felt sad and things.

- Like when l did something to my mum.

Not hurt her or anything,

but just like when she starts cying.

F***, man.

She shouldn't be doing that.

You must be hurting bad, though, man,

cos you got beat down.

ls that what it is?

ls that the thing right now?

Or is it because your lady's in there,

in the other room?

There's no point in doing that, man.

You ain't gonna get free.

lt's the tape.

You're iust gonna wear yourself out.

Do your f***ing head in.

Listen, l'll be finished this in a bit.

l'll give you some.

Chill you out a bit.

F***, man.

lf it wasn't for weed,

l'd be popping myself.

lt's about the one thing

that keeps me calm.

You know when you're out with

your friends or your peoples, girls...

Head iust starts going crazy.

You need to keep it from blowing up

with a joint or something.

You get me?

See, you're all about your bottles,

your wine.

What year and sh*t.

No, f*** it.

When l'm older and l've got a family

and kids and sh*t,

l'll be on the good wine, too.

Still be smoking my weed, though.

Can't get by without it. You get me?

F***. It's not nine yet.

- Bring a knife.

- What, is that him?

What? l can see through walls?

Come on, quick.

- He's early.

- Got your blade?

l'm gonna open the door.

You're gonna do it, yeah?

But it's your f***ing deal! You do it.

No, man. You. It's gotta be you.

Quick, come on. Don't f***ing drop it.

- It's your cousin.

- Just get yourself ready, man.

Don't p*ssy out.

Why can't you?

l said just do it, man.

Stick it in here first.

ln his side. You the boy.

F***ing kids, man.

F***ing school kids.

l shouldn't be nowhere near you.

What the f*** did you get them

to come for, bro?

Oscar, look at the television.

What's going on?

Payback. The boy here was bad.

- Who?

- Oscar, telly.

You his dad?

Oi, that's mine.

F***ing ask me.

Don't speak to her like that.

F*** off! You shouldn't even be here.

What you brought your little brother

for? This is no place for a kid.

You know what's gonna happen.

What are you telling me?

He ain't even your f***ing brother.

Oscar.

Go and sit in the kitchen, will you?

You shouldn't be looking at that man.

l'll iust watch TV.

Go and sit in the kitchen

and do as you're told.

What?

Don't be f***ing telling me

how to deal with him again.

F*** off, skank.

Yo, yo, little man.

Bruv, what's up?

Gotta sit in here.

- Who said that?

- Sister.

Aw, sh*t, man.

Gotta do what the lady says.

l'll bring you in a little something.

Just stay there, alright?

- What the f***?

- It ain't yours.

lt's not yours either,

you weren't in here.

Hey, what are they doing here, man?

It's f***ing stupid.

Oi.

Shut up. Who are you calling?

l'm calling my mum

so l can take Oscar back.

- Did you bring it?

- Here, aren't l?

- What time is he coming?

- Soon. And l want you gone.

Why? l know what you're gonna do.

Yeah, that's it. That'll do it.

What are you gonna do?

Cut his head off?

Don't know, man.

Jamal's in jail, you know?

How many times l gotta tell you,

gangster?

Don't f***ing look back at me.

Don't want him seeing myface, either.

F*** off home, then.

He's seen myface.

F*** it. Ain't he been through enough?

What is your problem?

l ain't got a problem.

l just wanna do it and then go.

Gotta get him in here yet.

Yeah, l know. Shouldn't have

done it in this house, neither.

He's looking.

- What are you gonna do?

- Rian!

You're lucky this ain't in

your f***ing back, blood.

How many times?

Don't f***ing look back at me.

l'll shove it in your spine next time.

That's good, man.

l didn't even swing it hard

and it went into the floor deep.

Can l have the rest of that blunt,

Rian?

Don't you have anything

of your f***ing own, Charman?

F***ing poor sket.

Better start using that p*ssy of yours.

lt's the last of it. l f***ing

had enough and l split it with you.

F***. This is real.

She ain't had anything like that.

Could be dog piss

and you wouldn't know.

l'm gonna open it.

- Tell her, man.

- She can do what she wants.

F*** it, l'll drink a bit.

Yeah. Shut it, Aswad.

We're gonna need some ice.

This bottle is really warm.

Oscar, get some ice

from the fridge in there!

Shut the f*** up, Charman, man.

- F***'s sake. It's Ted.

Pick it up, then.

There might be people next door.

Did you think of that?

Yeah, Ted, where are you?

Keep it f***ing down, yeah?

What, do you want the police

to come over?

Idiot girls showing up, innit?

All of it.

What? Don't do that, man.

Don't be thick, man.

lt ain't worth it.

Alright, l'll wait by the door.

He's coming up the road now.

- Ted is? Did he get all the money?

- l think so.

F***, yeah, man. That's f***ing it.

You getting that for your sister?

l'll give you money for helping her.

20, yeah?

Yeah?

What did you do, man?

l ain't do nothing.

What do you think l did?

l don't know, bruv.

There's a line, you know?

F*** your line, Asad.

My cousin's in jail, do you get me?

Gonna be in there a long time.

What are you gonna do about that?

He was your kin too, ain't that true?

- Yeah, but...

- But, but, but, but what?

Come on.

You ain't gonna say nothing?

That's because you know l'm right,

innit?

No need to know what l did

cos it ain't important to you.

What is important

is that you don't go in there

cos you've got f*** all to do with it.

That's big sh*t, man.

- It's dark, you know?

- F*** off, will you?

Who are you, man?

l do know you

and l know what you've done, man.

F*** it. If you wanna p*ssy out,

l'll get f***ing Oscar.

Oi, Oscar.

You ain't a pussyhole, are you?

No, you ain't, bruv.

You should be talking to my cousin here

so he can get his priorities straight.

Go and take that ice to your sister,

little man.

- Asad. Open the door.

Yo, f***ing deal with it.

We got over a G coming.

Me and you look after each other.

lnnit?

You know what l'm saying?

Just keep it going

and don't p*ssy out.

Teddy, you on your own?

Course l am, man.

Open the door.

What are you doing, man?

Seb could have come home.

What's the matter?

l was on my own out there.

- Shut up. Did you get the money?

- Yeah, l got it.

Hang back here a second, man.

l don't want eveybody knowing

my business. Let me see it.

Get receipts?

What for?

l got out all l could, didn't l?

- 1500 here, yeah?

- l told you.

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Paul Andrew Williams

Paul Andrew Williams is a British film writer and director, born in Portsmouth, England in 1973. He won the New Director's Award for his film London to Brighton in the 2006 Edinburgh International Film Festival. more…

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Submitted on August 05, 2018

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