Heartless Page #3

Synopsis: Jamie Morgan, a young man with a large heart-shaped birthmark on his face, discovers that there are demons on the streets of East London.
Genre: Drama, Fantasy, Horror
Director(s): Philip Ridley
Production: Lionsgate
  6 wins & 1 nomination.
 
IMDB:
6.0
Metacritic:
58
Rotten Tomatoes:
76%
Year:
2009
114 min
$2,033
Website
159 Views


I think the silly sod's got himself

mixed up in some gang stuff...

Typical! My own f***ing dad's against me!

No one wants to help.

Why is that? Huh? No one wants to lift

a little f***ing finger to help!

Look, Lee. Lee...

- F*** off!

- Lee!

A father

and his ten-year-old son...

made a gruesome discovery here

yesterday morning,

when they found a human arm

in a place where children sometimes play.

According to police, the wounds

on the severed limb are so savage

it's as if a wild animal did it.

Various other body parts

have been found further along the river,

but with the head still missing

the police are requesting...

if anyone recognises...

- this distinctive crocodile tattoo...

- AJ...

found on the victim's

left upper arm,

they should contact

the police immediately...

A photograph has been released

of the suspected gang leader,

Shevannal Maze,

known in the criminal underworld as "She".

- damaged his right hand...

- AJ.

while making a bomb

at the age of 14...

and is now reported to wear

a baroque-bladed weapon...

Hello, Jamie.

Who is this?

You know where this is, don't you?

Cendrillon house?

I'm waiting for you. Also...

remember what your dad

used to say.

"We only regret the things

we don't do".

Hello, Jamie. Come in.

He's expecting you.

Papa B...

The world...

don't make sense to you

does it, old son?

No.

What if I can show you

the world does make sense?

Sit, Jamie. Sit.

Question. When is man most alive?

When is man most creative?

I will explain.

Belle...

Close your eyes. Relax.

Is man most creative

in a time of peace and calm?

I don't think so.

Give mankind nothing but calm and order,

and mankind's nothing but a zombie,

a grazing cow.

Man needs the unpredictable

to feel truly alive.

To progress. To create.

Mother Nature knows this.

That's why she gives us

cyclones, tsunamis.

Sometimes, just sometimes,

Mother Nature, she can't do it all.

So what happens then?

I help.

Enough!

Don't! Stop! Stop it!

Say someone comes to me and they

want money, or fame, a second chance.

I say, "I will give you that.

Just give me a splinter of chaos

in return".

It can be big or small.

Dribbling bleach on a baby

or flying planes into nuclear reactors.

Mankind needs atrocity like this.

Think about it, old son.

What triggers have always

shot mankind forward?

Violence.

That's the engine of progress.

That's what blasts man

into the orbit of a new age...

and the more random

and horrific the better.

Jack the Ripper heralded

the coming of the twentieth century,

not Florence f***ing Nightingale.

It's atrocity that marks the birth

of a new era.

Gas chambers...

Hiroshima... 9/11...

And I, in my humble way,

contribute to the process.

I'm like... the patron saint

of random violence.

The demons?

All mine.

And my mum? My mum?!

No! Jamie, don't!

Feel better, Jamie?

Belle?

Come on, Jamie. Come on.

It's all right.

I'm sorry about your mother

but her death was necessary.

- Why?

- To make you ready, old son.

To bring you to me.

I've been watching you, Jamie.

I thought you might be ready

for making a deal.

A deal?

What's your wish, Jamie?

You can have anything.

You can have what you've always wanted.

I'll get rid of this.

I'll make you... beautiful.

F*** you! F*** you!

Jamie, stop!

- I don't want anything to do with him.

- Your mum. It's what she wanted.

Remember what she said.

She wanted you

to find someone to love.

Have a family.

Like your brother.

It'll be okay.

- So what would I have to do?

- Chaos, Jamie. You contribute.

You help my world evolve.

Yeah? Well how, exactly?

- Graffiti.

- What? Graffiti?

Really, Papa?

Yeah, why not?

Make it easy on the boy.

That sound all right, does it, Jamie?

Once every few months you just scrawl

on a wall, "God is a stupid f***!"

- What, and that's it?

- That's it.

So we have a deal.

Yeah.

Belle... the cocktail cabinet.

How many, Papa?

Just the one.

What's this?

The lighter, Belle.

- What am I supposed to do with this?

- Light it, old son.

The fire will burn away the old.

You'll arise anew.

It won't hurt for long, Jamie.

I promise.

Let it go, old son.

Let it go, Jamie.

Let the fire burn

away the old.

Arise anew.

Think Phoenix!

- Can I come in, Jamie?

- Yeah, come in.

Some new clothes for you.

Thank you.

Papa B says

you're to wait for Weapons Man.

- Weapons Man?

- Yeah.

He'll help you

with your part of the deal.

Don't worry.

Some people wait over 60 years for him.

Hey, what's wrong?

You okay?

Yeah, I'm fine, maybe you should go

before Papa B gets back.

He gets angry sometimes.

Oi, look who it is.

It's the elephant man.

Come here!

- Come here!

- Ah, he's hiding!

- What!

- What?

What you laughing at?

What are you laughing at?

Hello?

Hello?

Is it Temple Buildings?

Yeah. No, it is.

- Room, 27?

- Yeah, just that one there.

Oh, thanks,

I've been walking up and down for ages.

Delivery! Please be in.

Is that for AJ?

Andy Jeffries. Sounds like an AJ to me.

Yeah, it's just I know he's gone away,

so he's not in.

- Can I ask you a favour?

- Yeah.

Could you sign for this?

Well, I...

I don't think I should.

Okay.

Are you sure you're all right?

You don't want to sit down?

No, I'll get fired.

- All right.

- Okay.

Whoa, whoa. Let me take that.

All right, let me take that.

Are you sure you don't want to

just sit down for five minutes?

I'll get you a glass of water.

- There you go.

- Thanks.

I have a feeling...

That we've met before?

- Yes.

- Yes. No, no, we have.

We did. When I met you I had...

I had a...

Well, it's actually quite difficult

to explain.

Ah, perhaps don't explain.

The past, we'll wipe it clean.

My name is Tia.

I'm Jamie.

- What is this?

- What's that?

- It's a magical tree.

- No, it's Victoria Park actually.

It's beautiful.

That's me sitting there. My dad took that.

You were cute!

Yeah, well, I think he might have got

my good side.

Your dad was

a professional photographer?

Yeah, he was. Yeah.

I'm interested

in photography too.

- You're kidding, are you?

- Yes. I never go anywhere without this.

It's not very good.

No, no, it's great.

At least it's a film camera.

Of course. Digital!

Digital!

Oh, man, digital is like a rough sketch.

You know, whereas film's... Film's like...

Caravaggio...

Exactly!

Hey, look.

Let me show you something.

This... This is the first camera

my Dad bought me.

You can see I'm holding it

in that picture there.

This is without doubt, right,

without doubt my favourite camera.

You know, if you want, we could go out

and I could show you how to use it.

Okay.

Tia, look...

Look, we have met before.

But I was different then.

You know, I used to have this birthmark

right across the side of my face.

I can't explain what happened.

But it just went.

Just disappeared, you know.

It was like magic.

Look. I can show you, look.

It's right on this picture here.

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Philip Ridley

Philip Ridley (born 1964 in East London) is an English storyteller working in a wide range of artistic media. In the visual arts he has been cited as a contemporary to the 'Young British Artists', and had his artwork exhibited internationally.As a novelist he has created fiction for both children and adults, and has had particular success and recognition as a children's author.In the field of cinema he is perhaps best known for his award-winning screenplay for the 1990 film The Krays (1990), a biopic about the Kray twins which was directed by Peter Medak. As a film-maker in his own right he is recognised for creating a loose trilogy of horror films; The Reflecting Skin (1990), The Passion of Darkly Noon (1995) and Heartless (2009) for which he has acquired a cult following.As a playwright he has been cited as a pioneer of 'In-yer-face theatre', with his debut play The Pitchfork Disney (1991) considered by many to be a seminal work in the development of the style, with one critic even dubbing it "the key play" of the 1990s. A great number of his plays for adults have been perceived as controversial, being met with both condemnation and high acclaim upon their initial reception. As a writer for the stage he is also recognised for creating an ongoing series of plays for young people (The Storyteller Sequence) and has written theatrical works for children and family audiences.As a songwriter he has created songs for his cinematic and theatrical works, frequently collaborating with composer Nick Bicât. He and Bicât have also formed a music group called Dreamskin Cradle with singer Mary Leay. Ridley has also written songs for composer Anna Meredith, particularly operatic work.Ridley is also a poet, photographer, and performance artist and has written drama for radio.Although Ridley creates stories through a wide range of media he dislikes his work being categorised by the medium in which it is told, often referring to them belonging to each other as "different peaks of the same mountain." more…

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Submitted on August 05, 2018

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    "Heartless" Scripts.com. STANDS4 LLC, 2024. Web. 5 Jul 2024. <https://www.scripts.com/script/heartless_9758>.

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