The Selfish Giant Page #4

Synopsis: An official selection at the Cannes Film Festival, The Selfish Giant is a contemporary fable about 13 year old Arbor (Conner Chapman) and his best friend Swifty (Shaun Thomas). Excluded from school and outsiders in their own neighborhood, the two boys meet Kitten (Sean Gilder), a local scrap dealer. Wandering their town with just a horse and a cart, they begin collecting scrap metal for him. Swifty has a natural gift with horses while Arbor emulates Kitten - keen to impress him and make some money. However, Kitten favors Swifty, leaving Arbor feeling hurt and excluded, driving a wedge between the boys. As Arbor becomes increasingly greedy and exploitative, tensions build, leading to a tragic event that transforms them all.
Genre: Drama
Director(s): Clio Barnard
Production: Sundance Selects
  12 wins & 18 nominations.
 
IMDB:
7.3
Metacritic:
83
Rotten Tomatoes:
97%
NOT RATED
Year:
2013
91 min
$12,189
Website
462 Views


- No, I'm off to drive

Kitten's horse

this morning, aren't I?

- What for?

- Arbor!

Where's your kiddie coke?

Where's your f***ing pills?

- Oh, sh*t. What's he doing?

- Get the f*** off!

- Where's your money?

You got money?

Give me your f***ing money!

- Get the f*** off him!

- Give me!

Get off!

Get the f*** off me, Swifty!

Please, mate, please!

They're gonna do me

if I don't pay 'em back.

- I hate you.

I hate you!

F***ing prick!

- F*** off, then!

- Who invited you?

- Are you gonna let Swifty drive

in the race for you?

Well, are you?

How do you make money

from a race?

How much is Diesel worth,

then, eh?

1 OK?

20K?

If he wins in race,

he increases in value.

Bet you could sell Diesel

for thousands, isn't it?

- Shut the f*** up.

He's good.

He's focused.

- I could do that.

- Oh, could you, heck?

Takes skill, that.

- Whoa, boy.

- Whoa, whoa.

- You done good, Swifty.

You done good.

Handled him well.

- Can't half boogie, can he?

- Aye, he can boogie.

You had a good feel for him.

- Yeah, I thought it

were gonna be a bit hard,

but it came back quite nicely.

- Hey, Diesel, good lad.

- Give us a bit of this.

Well, open it, then!

- Hey, what are you, his dosser?

You shouldn't be drinking that

shite anyway.

You're hyper enough as it is.

You need tranquilizers.

Bugger off.

How were his mouth?

All right?

- Yeah, thought it was gonna be

a bit hard,

but he's easily pulled back,

isn't he?

- Aye.

His girth all right,

not too tight?

- Yeah, he can breathe.

- Hey! Where are you going?

Where the f*** are you going?

Come back here now!

F***ing get down there!

Come back!

- Steady.

- Arbor!

Whoa, Diesel, whoa.

Steady, lad.

- Stay away from my horse!

Turn him round.

15 grand's worth of horse.

F***ing idiot.

- F***!

- Yah!

- Mum?

- They were looking for Martin

'cause he's been

nicking off people.

- Every time I try to get us

out of trouble,

he just gets us deeper in it.

Where is he?

- Laying low.

His dad's, I think.

- I'll sort it, Mum.

- How can you sort it, love?

- Make some money.

Pay off his debts.

- No, Arbor, you're a kid.

- Come here, Mum.

- Bastards.

I'm having that.

Ah, just got electric shock.

I'll bench you above me head.

- Ah!

- Watch yourself.

Whoa, watch it.

You nearly took me arm off.

Don't mess about there now.

- I'm not messing about.

- Go to sleep.

- No way.

Get away.

Not hard enough, mate.

- Yeah, I am.

- You're not.

- Come here.

- Don't-

- Give you a little dig with it.

- You wouldn't dare.

Let me give you a little dig

with it.

- No.

- Here are, then.

Just in your arm.

- No.

- Don't be tight.

- Don't be tight?

Let me give you a dig

in the head.

- Give me a dig in arm

if I can give you a dig in arm

with it.

- No, 'cause your digs-Ah!

You're crushing my foot!

- Don't try and test me.

You can't test me.

- Stop squashing me foot, then.

Mum, bizzies.

- F***'s sake.

I'm sick of lying for him.

They'll raid his dad's flat.

He'll kick him out.

He'll come back here.

And I'll get me windows

put through again.

I've had enough now.

Maybe a spell in jail

will do him good,

sort him out.

He can detox and all.

- Can still get it inside, Mum.

- How do you know that?

- Everyone knows that.

- He ain't here.

I've kicked him out.

And don't ask me where he is,

'cause I don't know.

- We've come about Arbor Fenton.

- I don't think so.

- Heard he had a bit of trouble.

- It's all sorted now, thanks.

- You should take

your shoes off.

Shoes off.

- This is a formal interview

under caution.

Do you understand that, Fenton?

Hey, do you understand?

- Yeah.

- A witness saw two youths

burning railway

or communications cable.

- That's nowt to do with him.

- Cable theft is a very serious

crime, Mrs. Fenton.

Trespass on the railway

is 1,000 fine.

- I ain't been on railway.

- Vandalism.

Endangering lives.

Maximum penalty

of life imprisonment.

- He's just a kid.

He ain't nicked no cable.

You're looking at wrong place.

- He is, as you say,

Mrs. Fenton, a minor.

There's unscrupulous people

out there getting kids

to do their dirty work

so they don't get into trouble

with the police themselves.

- I do look out for him.

- Is that it?

Go on, then.

You can put your shoes back on.

- See ya.

- Bye.

- You heard what

that policewoman said.

That Kitten is using you.

I don't want you

going down there no more.

- Mum, I'm gonna make

a lot of money.

- I said I don't want you

going down there no more.

- For God's sake.

- Don't do that.

Can't you see it's pulling

on the corner of his mouth?

How would you like it

if someone did it to you?

- F*** off.

You think you know it all, you.

- Hey, what are you doing here?

I told you,

I don't trust him near Diesel.

Now get back.

Stay back.

Have you yoked him?

- Yeah.

- Right, come on, then.

Bring him round.

It's all right.

All right.

You done?

- Yeah.

- Come here.

You all right?

- Yeah.

- I want you to drive him

in re-match

against Micky's horse.

- Me?

- You can do that?

- Yeah.

- It's a big race, Swifty.

Don't let me down.

Win and Diesel's worth

big bucks.

Lose and he's worth nowt.

Get off my car.

- Get in.

- He'll just keep money

from race, you know.

How's that gonna get

your mum out of debt?

You're just lining his pockets,

you know, Swifty.

He's using you.

We won't be able to move this.

- Course we will.

- Will we f***, man?

Are you mad?

- Right, take some

of that stuff off,

and that, though, gut it out.

- These won't come off.

- What won't, that?

Go on, pull it.

Job's a good one.

See that? It'll be easy.

Go on. Get started.

Let's just keep stripping it,

and we'll be able to do it.

- You don't even know

what you're doing.

- Course I do.

- Daft c*nt.

Be able to get all roof off

and that at this rate.

- How are we gonna put that

on there?

- There's a way.

- Is there, f***.

- I got wheel off.

- What you want me to do?

Sh*t Smarties?

F***ing car!

Pull it, girl.

Pull it. Pull it.

- Get yourself off the field.

You're gonna kill that pony,

lad.

- F*** off

and mind your own business.

- Hey, ya, I need some boys

that'll be able to lift a car

on that cart.

I'll give yous a fiver.

- I'll do it.

But I want a tenner.

- All right, all right, Kevin.

A tenner.

- I'll do it for a fiver.

- You can hardly stand up, mate,

let alone lift a f***ing car.

- Yeah, go on.

I'll give you a lift.

- Go on, now, get out.

- F*** off, you smackheads,

fore I wrap a pool cue

round your head.

F***ing twat.

- Well done, lads.

- Sorted.

- Getting too old for this job,

me.

- Come on! Move over!

- F*** off, wankers!

- Move out the way, you pikeys!

- Wankers!

- Put it by light iron!

- Sweet, Tommy.

Good boy.

- Where you going?

- Pay point.

- You owe me 25 quid

for the hire

of the horse and cart.

Value of burnt-out car?

F*** all.

Now get back out there

and earn it.

- Robbing bastard.

F***ing hurry up!

I want to get out of here!

Rate this script:0.0 / 0 votes

Clio Barnard

Clio Barnard is a British director of documentary and feature films. She won widespread critical acclaim and multiple awards for her debut, The Arbor, an experimental documentary about Bradford playwright Andrea Dunbar. In 2013 she was hailed as a significant new voice in British cinema for her film The Selfish Giant, which premiered in the Director's Fortnight section of the Cannes film festival. more…

All Clio Barnard scripts | Clio Barnard Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Selfish Giant" Scripts.com. STANDS4 LLC, 2024. Web. 4 Oct. 2024. <https://www.scripts.com/script/the_selfish_giant_21279>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Selfish Giant

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the primary purpose of the inciting incident in a screenplay?
    A To establish the setting
    B To provide background information
    C To introduce the main characte
    D To set the story in motion and disrupt the protagonist's life