Blood and mercury seep across the screen and congeal in the caption: "INTERMISSION". The white limbo of the background then flares through the lettering and we white out again.

The first ominous thwang of Purcell's Music for the Funeral of Queen Mary, as realised by someone doing a musical impersonation of Wendy Carlos.

STEW and his ten disciples (as listed for the church hall footage), walking along like cocks of the yard, alongside the lake. Up front with STEW are SIMON, JOHN and MATTHEW, with the rest following. The footage is in slow motion. Funeral of Queen Mary plays over the top.

From inside his flowing coat, STEW produces a bike pump, extending it with a deft flick of the wrist. He then wheels around and whacks JOHN with it. JOHN, taken off guard, staggers sideways, and stumbles into the lake.

As this occurs, Purcell lovers will have noticed a subtle divergence in the chords being played, as the tune seamlessly segues into a rendering of the introduction to Abba's "Lay All Your Love On Me".

The music explodes in a shower of glitter, and we are in:

INT - SHEFFIELD ROXY - NIGHT

The Roxy was a big club that was desanctified and turned into a church. We've gone back in and '80sed it up.
A wurlitzer organ rises up the back of the room, being played by SIMON in big hair mode. He wears a glittering '70s disco dress.

The funky pair of phrases between the opening and the first verse allow us time to look around the building.

Then, emerging from behind a pillar, at the top of some stairs: JOHN with red locks, and disco-ed up red biblical robes, plus glittery boots and feather boa.

The whole thing is shot in soft focus with a diffuser.

STEW descends on wires, with the descending tones (and perhaps a little spluttering Tardis). He wears a big white Demis Roussos kaftan thing, and is in full Barry Gibb hair and beard. He holds out his hand to us and sings along with JOHN:

We have a phrase of mild disco-funk, which begins with a DISSOLVE TO:

EXT - RIVER OUSE - EARLY MORNING

Various scenes with MADONNA (Christine Talbot) on a gondola, floating beneath the bridges of York. She wears blue and white biblical robes covering her head. Her face and hands are the only flesh on show. She has a perspex halo. Around her neck she has various beady necklaces, and around her wrists there are simple bangles. Her feet wear chunky Regency ankle boots, and she has white woolly tights beyond them. She gyrates sensuously about the boat, like a belly dancer with an inch she can't reach. The sequence is shot a la Like a Virgin.

MADONNA poledancing. Her outfit is now made out of a glittery blue slinky fabric, with sequins for the white bits.

She slides down the pole with the slide in the music, and passes down to a lower level.
Here are GABRIEL and BHUVANA in racy mini-dresses. GABRIEL's white outfit also has pink fairy-wings. His neon halo flashes pink with the music. BHUVANA's costume is red.

STEW joins the trio. Camera focusses on BHUVANA:

Two phrases lead us to another part of the building, where MARY is sat, tapping her legs with the beat. Her costume is green and trashy. The lighting is largely red. She is seated on a small chair. We track around to the front of her.
She sings to camera, with accompanying disco hand movements.

The hand-jive reaches a turn to the left. We cut as she swivels on her stool.
Cut to MARY wheeling left, on her feet now, with no chair.

She does so more actions, facing us. Another change of direction after four bars.
Cut to the new angle. Behind her now are SIMON, JIMMY, ANDREW, PHILIPPA, NATALIE, TOM, MATTHEW and PEGG. The men are bronzed and oiled in variously coloured croptop string vests and tight trousers. The women are in off-the-shoulder batwing croptops and miniskirts. The men do the hand-jive routine behind MARY, with some more elaborate dancing from the two women.

Turn again. The group is expanded to contain JIM_RG, LEON, IVY, ELSIE, JOHN, GABRIEL, BHUVANA and MADONNA.

After another half-length routine, another turn.

This time mix or cut (whichever is most effective) to a CU shot of MARY. We get to see the immaculate work of the makeup woman who has used half the world's reserves of gold in eye-shadow alone. The lip-gloss is so shiny it glares. The shot is broad enough for lots of arm movements. But there are no dancers, and the set is more confined.

Broader shot, with JOHN and MADONNA flanking her. Big arm-based dance moves will culminate in suitably sweeping final gesture.

Wibbly Bohemian Rhapsody effect and MIX TO:
The massed ranks of this scene's cast (minus SIMON) perform a choreographed routine. STEW, BHUVANA, JOHN and MARY take centre-stage.

Another 90° turn. We cut with them. We are now shooting from 180° to our initial shot, past SIMON on the keyboard. Because of their turns, the chorus are still facing us, but we concentrate more on SIMON. The ensemble repeat the chorus. We do not move with them on their next turn but instead begin to crane away. We mix and crane out of:

EXT - ROXY - DAWN

As a belated establish shot.

FX:

Blood and mercury seep across the screen and congeal in the caption: "ANS Y". The white limbo of the background then flares through the lettering and we white out again.

NOTE: The intermission sequence above is omitted from those syndicated broadcasts that require ad breaks.

[TIME: c.37']

The limbo set is full of smoke. This is noticeable only in as much as it obscures the cast as they appear.

JIM_DT wafts his way through, spluttering. He hits an unseen wall.
 

TOP LEFT	BOTTOM LEFT	BOTTOM RIGHT	TOP RIGHT
			The top right frame garage-doors into blackness. JIM_DT should be positioned so as not to be occluded by this.
CUT TO: INT - GRAVES ART GALLERY ZOE and JOE step from the Tardis, coughing through the haze. BLEACH OUT.	CUT TO: EXT - ARUNDEL GATE, SHEFFIELD - DAWN The Wedding Cake comes spinning uncontrollably through an overcast sky. The overcast is such that we don't really notice the shift until the Wedding Cake starts to appear.		Pull out to expose the shot as: EXT - MAGNA - DAY We are outside the black-walled Templeborough Steelworks turned Magna centre.
EXT - MULTISTOREY CARPARK OFF THE MOOR - DAWN It's overcast and we're on the roof. We 're a POV shot of the sky and then of the horizon of Sheffield.	It spins about in a crash-dive, and then lodges itself firmly into the aperture of the roundabout at Furnival Square (pre in-fill).		As we pull out further we reveal a stainless steel bison stationed in a square before the main entrance.
CUT TO: PICHOLL with binoculars, looking across towards Furnival Square.	Great wads of filth are ejected with the impact, and the small amount of traffic does the obligatory haywire.		Our view is obscured by a bus pulling up. As we pull out further we see it is the same bus that ran over BESSY earlier on.
He lowers his binoculars, only to be swooped at by a great stainless-steel bird. He fends it off, and it flaps away.			After a few moments the bus pulls away again, and we are left with our view of the square and the statue of the bison.
The bird comes back for another go, and PICHOLL legs it back to the stairs.	Crane up.	MIX TO: EXT - CONISBROUGH VIADUCT - DAWN A shot of the viaduct past the castle and a medievalised town, by way of establish.	Suddenly, the public begin to flee the scene. As in bounds BESSY, a little bloodied for her adventure so far. She charges about and then spies the bison.
INT - MULTISTOREY STAIRWELL - CONT. PICHOLL slams the door behind him.  MIX TO:	MIX TO:	MIX TO: The viaduct itself. ATOO whirrs over the rickety structure only to bump into two pairs of legs. Reveal these to be UTU and INANNA.	She rounds it a couple of times and then comes up behind and mounts it like she were a bull.
The LEFT frames combine for: EXT - MIDDLEWOOD HOSPITAL - DAWN Establish.		OMRA approaches from behind ATOO. OMRA Ahoy!	She moos. More worryingly, the bison snorts. MIX or WIPE TO:
Trolley-cam along a series of run-down corridors.		UTU We understand you are a herder of livestock. OMRA This is correct. INANNA I have lost my cow. UTU She has lost her cow. ALEX approaches. ALEX Hello. INANNA (enamoured) Hello! OMRA We will find your cow. INANNA I'm very grateful.	EXT - McARTHUR GLEN RETAIL OUTLET, YORK - DAY MARY appears in a doorway, clutching two large shopping bags. She steps out into the carpark, and makes her way across. We make use of a more distant position. As MARY reaches about half way, we pan left to reveal, one by one, the other disciples queuing at a bus stop. They are, in order of reveal (and greatest distance from stop sign):  PEGG, MATTHEW, TOM, NATALIE, PHILIPPA, ANDREW, JIMMY, SIMON, LEON and STEW.
The trolley stops outside cell 666. A hand reaches out. Its ultimate sleeve is a lab-coat, but beneath is a frilly cuff. In the hand is a sonic tyre-pressure gauge. It lights up blue at the end and after a beat  the door flies open.		She offers her hand to be kissed by ALEX. ALEX looks at her hand and nods. ALEX Very nice.	As MARY reaches the queue, a bus hisses into shot, obscuring the cast as it comes to a halt.
Reveal beyond, LUCY, rocking in her straight-jacket.		OMRA My lady, we shall return forthwith, with news of your cow.
Reverse angle to reveal JIM_SP smiling a vacuous grin. WIPE TO:		He courtesies and retreats backwards along the bridge.	INT - 403 BUS - DAY STEW exchanges pensive but knowing looks with the driver, CHRIS (Christian Slater).
EXT - MATILDA WAY, SHEFFIELD - DAWN Shot past a garage door covered in runic graffiti (right), towards the exit to the multistorey (left).	EXT - CENTRAL HALL IN CROISSANT - OVERCAST DAY Establish the seat of power. Surrounding it, ruined buildings and sheep.	INANNA looks at UTU. ALEX turns and follows the prostrating retreat of OMRA.  ATOO begins to exercise a three point turn.	STEW and his posse board the bus.
A Citroën 2CV exits the car-park, and heads towards us. It contains PICHOLL.	After a beat or two a couple of the sheep ignite into flames and then explode.	We MIX away to:
We ride with PICHOLL, paying little heed to local traffic systems.	INT - THRONE ROOM - DAY CHE_F is sat in a comfy chair by the door; his gun over his shoulder. He's cleaning his nails.	EXT - SNIG HILL, SHEFFIELD - DAWN Establish the "Babysham" view of the Corporation Buildings, the Police Station and the brick steelworker.	EXT - McCARTHUR GLEN - DAY We see the bus pulling away. The destination, on a matrix sign, reads: 403 JERUSALEM.
EXT - ARUNDEL GATE - DAWN As the car pulls out onto the gently chaotic Arundel, it's attacked by the metal bird, which swoops about like a pterodactyl.	The door zjungs open and in scrapes the meek SIMON.  SIMON The delegation from the Pantheon Tosh. He scrapes to the side to allow the delegation to enter:	We zoom in on the Corporation Buildings, home to Babysham's office.	INT - 403 BUS - DAY STEW is sat at the centre of the back seat, flanked by LEON (on his right) and MARY (on his left). NATALIE sits next to Mary, then PHILIPPA. TOM sits next to Leon, then MATTHEW.  SIMON, ANDREW, PEGG and JIMMY sit on benches facing the back seat. With their backs to us, they are arranged thus, L to R. Directly in front of them are seated: Left of the aisle: OLD WOMAN 1 (Glenda Jackson) and OLD WOMAN 2 (Helen Atkinson Wood). Right of the aisle: JIM_RG and ANNA (Daniel Radcliffe). ANDREW pulls out his mobile phone and prods it a bit.
The car veers about, trying to shake off the bird. It heads off in the direction of Castle Square, where the double helix from "Babysham" is clearly visible. Intercut with interior shots of PICHOLL looking through his windows and in his mirrors as he zig-zags along the road.	Two HORSE GUARDS in jackboots and tailed helmets, followed by MEADOWS (Simon Rouse) - a senior police officer in full dress uniform with braid and epaulettes. At the rear, two standard senior police officers (MONROE (Colin Tarrant) and CONWAY (Ben Roberts)) without the same dress affectations, and then a further HORSE GUARD. They approach a large desk at which is sat GABRIEL flanked by two of the angels from the earlier scene: MICHAEL (Mike Read) and RAPHAEL (Bruno Brookes). All three wear golden dresses and much improved halos: translucent discs of shimmering gold-tinged light. These are full dress halos and are very Carravagian. Furthermore, the trio's wings are looking a lot less pathetic before. They're not the great wings of legend, but they are pretty impressive swan wings all the same.	A light switches on in said office, beyond the round window. We zoom in towards the window. A MASKED LUMBERJACK in yellow bib and helmet is walking towards us. He pulls a blind down over our window.	A tinny Pinky & Perky version of Toto's Rosanna begins to emanate from it. LEON whispers something to STEW.
	Behind the desk, the benched thrones have been moved to more prominent positions flanking the desk. Seven ANGELS sit on the left bench, and seven on the right.	INT - BABYSHAM'S OFFICE - DAWN We view from within the window, as the thick-set figure, with noticeably ginger hair, walks over to the other window at the far side. A crossbow hangs from his left arm.
	MEADOWS and his two subordinate officers are invited to sit in lesser chairs facing the three principal angels. They sit.	The LUMBERJACK puts the crossbow down as he struggles with the window.	STEW raises his hand in LEON's direction to quell him.
PICHOLL puts his foot down and the car goes at pace past the Crucible.	SIMON brings out a formal looking new scroll of paper dripping with seals and caveats.	The window opens. The LUMBERJACK clambers out with crossbow.	The other disciples chatter loudly and uncouthly, ad lib. The four other non-extras are clearly a little annoyed by the noise.
At the far side of Castle Square is a terrace of steps on which sit a selection of decent disc jockeys, such as Kershaw, Wogan, Verity Sharp, Mark Radcliffe etc... They all wear Nuclear Test goggles. PICHOLL takes the Castle Square corner at speed, and zooms up High Street, out of shot.	He places it on the desk, wheeling it around to face MEADOWS.  MEADOWS looks at the paper resignedly.	EXT - BABYSHAM'S OFFICE - DAWN We're looking across the grassy ruined floor of the bombed out section of the building. The LUMBERJACK, who we can probably recognise as JOHN now if we've anything about us, drops down onto the floor, then steadily and stealthily approaches the corner nearest the adjacent police station.	JIM_RG turns towards ANDREW. JIM_RG Excuse me, Could you... STEW Jim.
The metal bird's momentum guides the creature straight on into the double helix sculpture. There is a blue flash of energy that is sent spiralling around the helix and up into the sky, while the bird itself is vapourised by the impact.	GABRIEL plucks a feather from RAPHAEL's near wing, and offers it to MEADOWS.	Wider angle of the scene, ideally with a sign saying "police" in shot, or at least some parked panda cars or something. Above the police station is a sizable radio mast.	JIM_RG Stew? I didn't recognise... Your mum's worried sick. You should call her.
The energy broadcasts into the sky like some Teslatastic lightning storm. We crane and track around the scene.  Gradually, the electrical storm dissipates.  At no point should the assembled DJs react. Their presence should scarcely be aknowledged.	MEADOWS refuses it, as he is passed a pheasant quill by MONROE. He pauses over the contract for a beat or two, but it is apparent that this is in the interests of form rather than thoroughness.	JOHN pulls a small, sharpened, bloodstained wooden bolt from his tabard, and lines it up in the crossbow. Blue lighting effects. Wider shot as the radio mast is struck by a burst of lateral blue lightening with an appropriate shower of sparks. Any lighting in the building goes off. JOHN continues with no regard to the fireworks.	STEW That fucking witch? Don't think so. JIM_RG (shaking his head) Are you alright? STEW So so. JIM_RG (to ANDREW) Can you turn that off, please?
We are now looking past the helix, back up Arundel.  We track at pace along Arundel to Furnival Square, where the crashlanded Wedding Cake is still lodged in its hole.	CONWAY flicks open a ceremonial pocket-knife. He makes a small incision in his wrist. Blue blood oozes from the wound.	POV down the crossbow, to a window through which can be seen the seated figure of the un-blindfolded BABYSHAM. The bolt is fired. The window smashes.	SIMON flicks open a knife. STEW I think you'd better leave it, Jim. JIM_RG, clearly annoyed and disappointed, looks at STEW.
	He offers his wrist to MEADOWS who dips his pen in.	RAPID CUT TO: INT - INTERVIEW ROOM - DAWN The window smashing behind the slumping form of BABYSHAM.	STEW shows no emotion. JIM_RG Just give her a ring.
From the left side, climbing up from an aperture made by the entrance to the Wedding Cake is BOND. He scrambles out onto the traffic island, wearing a wedding suit covered in concrete dust.	MEADOWS takes one more resigned look at the paper, and then signs it with a flourish.  MIX TO:	ALAN leaps up followed by MOODY. Silver blood is seeping onto the desk from BABYSHAM's neck.	He turns back, shaking his head. ANNA is in tears. He comforts her. At the same time: STEW That's it. Turn the other cheek. (to his gang) He's getting it.
BOND straightens himself up and dusts himself off.  He looks about the place.	EXT - WALMGATE BARBICAN, YORK - DAY Shooting from within the city, looking up Walmgate to the bar. A cherry-picker is parked at the side of the road, and is lopping branches off trees by the road. Many of the branches and leaves are spilling into the road. There is a shower of arboreal debris, which is rather pretty.	MARTY bursts in, but the scene is increasingly bleached... light is beginning to spill out from every possible aperture of BABYSHAM's body. Some form of transfiguration is occurring.  ALAN, MOODY and MARTY recoil from light and from smell. We can see through the radiant light that BABYSHAM's flesh and clothes are smouldering.	EXT - WALMGATE BARBICAN, YORK - DAY Shooting from outside the city, we follow the bus, with the city wall in the background, panning as it approaches the barbican of Walmgate Bar.  The bus enters the barbican and we fade.
Straightening his cufflinks, BOND casually picks his way right through the traffic chaos he's caused. FADE.	Into this debris drives the 403 bus, as it appears from beneath the bar. The bus crunches over the foliage and past camera. FADE.	Suddenly, BABYSHAM's body springs backwards, arms flailing out, and lands in an upright cruciform position. At the same moment he bursts into flames. The others recoil and edge out of the room.	FADE UP ON: INT - POLICE CORRIDOR - DAWN A view of the top right of a corridor; perhaps with some transom windows or something.
INT - POLICE CORRIDOR - DAWN All frames are combined, to reveal the other three quarters of the picture initiated in TOP RIGHT. MARTY pulls himself up the now closed door of an interview room, to look through an observation hole. ALAN is quivering beyond, with MOODY looking profoundly concerned.  INT - INTERVIEW ROOM - DAWN Spyhole fish-eye POV of the cruciform BABYSHAM, covered in clean pink flame. An eerie squeal is muffled by the door. Slowly the flame burns out to reveal a sleek clean stainless steel robot: BABYSHAM's inner gubbins. To avoid confusion, we shall call him ROBOSHAM. He looks like a smoother version of the Vulcan on the side of the Co-op, only somewhat smaller. We CUT back before the process is complete. INT - POLICE CORRIDOR MARTY Somebody find that sniper! HELEN (Rachel Friend) The power's dead. We've got no radio. The screen splits down the middle into two shots of the corridor:
MARTY looks up in the direction of an out-of-shot SPILLAINE.     MARTY turns to ALAN. MARTY You know what happened there? ALAN I don't even begin to understand. ALAN (A) looks up to see ALAN B (out of shot).  ALAN A crumples with a degree of shock, understanding and despair.		SPILLAINE pokes his head round from an interview room around the corner. He addresses an out of shot MARTY. SPILLAINE What's going on, boss? There's a scrabbling from SPILLAINE's end. A second ALAN (ALAN B) pushes his way into the corridor.   ALAN B Oh no. Not again. CUT AWAY TO:
The BOTTOM cuts away leaving the top - ALAN A should fall out of shot as a result. MARTY Oh yeah, and why the fuck are there two of you?	CUT AWAY TO: EXT - MOORHEAD, SHEFFIELD - MORNING PICHOLL in his 2CV, waiting at the pedestrian crossing parallel to Furnival Square.	A third angle, looking from behind MARTY, along the corridor towards SPILLAINE. SPILLAINE struggles to hold ALAN B back.	EXT - DEV GREEN - MORNING The crowd has dispersed from the scene of God's assassination. The street is crawling with police, some of whom are questioning small groups of witnesses. General crime-scene atmosphere. Beyond the tape are journalists, but only a handful because the rain is bucketing down. Police are flash photographing the 2CV. We view through the pack of journalists who are mainly silhouettes.
MARTY doubletakes in a moment of realisation, leaps into action and runs to check SPILLAINE's room.	Across the crossing walks BOND. PICHOLL thinks he recognises him. He leans over to pick up Caroline's file from the passenger seat, and in so doing leans against the horn: PEEP.	MARTY doubletakes in a moment of realisation, leaps into action and runs to check SPILLAINE's room.
INT - OTHER INTERVIEW ROOM BABYSHAM, en blindfold, sat at the table.	BOND turns and looks; sees PICHOLL as he sits up again. Eye contact.	ALAN B escapes SPILLAINE's half hearted efforts and leans against the wall opposite the door to the interview room. He taps his shoes against the skirting board and watches MARTY.
MARTY launches around the door jamb.	Another pap of a different horn. The lights have changed.	MARTY launches around the door jamb.
BABYSHAM Hello? Is everyone still there? What's going on?	PICHOLL's car pulls away and bares left up past Debenhams. This is the direction BOND is heading.	ALAN A strolls up towards ALAN B.	Two plain-clothed officers in suits, JUNE (Trudie Goodwin) and GINA (Roberta Taylor) step out of the Green Room bar, shepherding STEW between them.
MIX TO: EXT - MAGNA - DAY A corner of the square. BESSY is as curled up as it is possible for a cow to be, sleeping in a triangle of shade.	Being in a car, PICHOLL passes BOND, rubber-necking him as he does so.  He turns left at the top of the hill and falls out of view.	SPILLAINE Er... boss... MARTY pulls his head back into the corridor. At the same moment, ALAN A stands in front of ALAN B and then carefully but confidently leans back onto the wall. The two ALANs merge into each other.	The unidentified journalists chatter. We overhear the following amongst the hubbub. JOURNALIST 1 Is he really going back there? The officers put up black brollies, partly obscuring STEW. STEW is wearing a grey pack-a-mac.
We notice a small wire coming out from between her legs.	BOND scurries across the pedestrian crossing to the front of Debenhams.	The remaining ALAN shivers as if someone has walked over his grave. MARTY just stands there, twisted around the doorway. Mix to:	JOURNALIST 2 Well there he is, Let's ask him.
The camera follows the wire away from BESSY. The wire is very long.  We see people's legs walking over it	He looks down the hill and we establish the view to the Manpower ziggurat.	EXT - ATKINSONS CAR PARK - MORNING PICHOLL's 2CV pulls off Charter Row and up the ramp to the car park. As he drives, he flicks through the (undisclosed) pages of Caroline's folder.	STEW is clearly distraught. The officers are doing their best to support him. An NME JOURNO (Paul Morley) breaks the barrier to rush him. NME JOURNO Stew! Is that Lammo's mac you're wearing? STEW shies away from the flash photography. A black car is waiting nearby and the police are herding STEW to it.
	FADE OUT.		JUNE Please; there will be no interviewing him until after Saturday.
Some distance away, we find the end of the wire: a big wooden box with a plunger sticking out of the top.	EXT - HUMBER BRIDGE - MORNING Establish.		NME JOURNO By the way, Where'd you meet him?
Over it are stood ALEX and OMRA.  They're looking pretty smug with themselves.	It is a quiet morning, with the early sun glowing through yellowish clouds. The traffic is slight and calm. We crane across the scene.	PICHOLL spots something in the folder. Rather than parking up, he turns around the car.	They're just pushing him into the car, when STEW leaps up with instrumental backing: STEW I met him in Division Street, He took it off and passed it me. Someone brazenly takes a photo right in front of STEW.
ALEX slowly mouths out: 1, 2, 3.			STEW You get the picture? JUNE This way, please.
ALEX and OMRA push the plunger together. The camera races along the cable.			STEW That's when I first saw the DJ Steve Lamacq.
The unsuspecting BESSY explodes, but she awakes for a split second before, and looks at us askance. She also lets out a plaintive moooOOO! in the same key as the song in TOP RIGHT.	TARDIS materialistation noises in the mix, as a white K6 phonebox materialises in one of the lanes of traffic.	PICHOLL zooms off down the ramp.	STEW is dragged into the car which pulls away with a broooooooom.   [TIME: c.42']
Beef rains down. MIX TO:	Cars are forced to swerve past the impromptu kiosk.	MIX TO:	INT - BLACK POLICE CAR - MORNING Windscreen wipers going. The driver, CATO (Philip Whitchurch), looks up at his rear view mirror to see STEW sat between the two officers in the back seat. MIX TO:
EXT - MOORFOOT - MORNING Establish, crane-shot, around the sculpture at Moorfoot, with Manpower in the background. It is beginning to rain.	The door opens and LUCY stumbles out, looking very cold in a red tabard mini-dress of the usual spiritual design. Her hair and make-up has been expertly done, but her face seems vacant. JIM_SP squeezes out behind her, pushing her forwards into the road.	EXT - SHEFFIELD RD, TEMPLEBOROUGH - MORNING Beef stew is raining across the busy road as cars swerve about.	INT - BUS - MORNING STEW between MARY and LEON. MARY My folks were always putting Him down. LEON & STEW Down, Down.
One of the tiled walls of the Manpower block begins to lower into the floor.  As it does so, it slowly reveals a racing green Aston Martin Vanquish.	He takes off his cape and wraps it around LUCY. He fixes his Robin Hood hat, and then marches LUCY forwards up the road towards the Kingston side.	To make matters worse, a stainless steel bison is charging up and down the road, butting cars, and toppling some.  General chaos. Eventually the bison charges us, and we MIX TO:	MARY They said that He came  from the wrong side of town. SIMON, ANDREW, PEGG & JIMMY What you mean When you say that He came From the wrong side of town? MARY They told me He was bad, But I knew that He was sad; That's why I fell for The leader of the pack.
The wall is fully dropped, and the indicators of the car flash. BOND walks casually into shot and towards the driver's side.	INT - PICHOLL'S 2CV - MORNING The two BOTTOM frames are combined. PICHOLL's parked up outside Atkinsons on Fitzwilliam Gate, looking towards Moorfoot. His wipers are on as the rain gains strength. PICHOLL takes a swig from a bottle of Jack Daniels as he watches BOND walking across Moorfoot.		MIX BACK TO: INT - UNMARKED POLICE CAR - MORNING STEW One day my dad said: 'Find someone new'; I had to tell my Johnny We're through. JUNE & GINA What He mean  When He said That you better go  Find somebody new?
BOND in the car. The headlights come on.	PICHOLL turns the ignition.		STEW He stood there And asked me why, But all I could do was lie.
The car pulls out of the garage and onto the street, towards Eyre Street.	BOND's Aston can be seen pulling onto the street. PICHOLL enters a discrete pursuit.		JUNE & GINA He sought to usurp you, The leader of the pack.
There now follows a chase sequence, using all the frames except TOP RIGHT. Timing this to the song will be tricky given the greater restraint of physical distance. This section of script offers a rough guide. Locations for each shot will be determined in the editing room. BOND crosses Eyre Street and on to Jessop Street.  PICHOLL in pursuit. On to Sylvester Street.			INT - BUS The disciples are quietly doo-dooing. LEON I'm set to smile And kiss him goodbye. His fear is beginning to show.
Sidney Street. It is now raining quite hard.			STEW As we drive away On that rainy day, I beg them to go slow;
On to Brown Street.			INT - POLICE CAR STEW (vo) Whether he heard me, I'll never know. The car is heading down Furnival Street to the junction with Brown Street.
BOND slices nicely onto Brown Street, passing the Rutland Arms.			BOND's Aston whooshes past. JUNE & GINA No no no no No no no...
As PICHOLL pursues, he narrowly misses a collision with the unmarked black police car from TOP RIGHT. Fortunately, the police car brakes in time to avoid the collision with PICHOLL who zaps off in pursuit up Brown Street.			PICHOLL's 2CV crosses their path. STEW Look out! Look out! Look out! Look out! Braking hard to miss the collision.
BOND heads up Paternoster Row, past the Showroom Cinema which is advertising the cinematic release of ANSX. The temporary traffic lights set up for the elaborate roadworks at Sheaf Square change to red, and Bond is forced to stop. This allows PICHOLL and the police car to catch up, and all three are sat in a row. We hear the eek eek of windscreen wipers.			INT - BUS STEW I feel so helpless; What can I do? Remembering all the things We've been through.
Amber.  Bond gets ready to go. Green. He whizzes off round the roundabout...			LEON The fools, They won't understand The role that I'll play In the masterplan; I'll never betray him; The leader of the pack.
BOND and hence PICHOLL head up Pond Street. The police car carries on to Sheaf Street and off our radar. BOND is taking us down the canyon between the bus station and the city campus of Sheffield Hallam.			SIMON, ANDREW, PEG & JIMMY Ooh. Ooh-ooh-ooh ooh. NATALIE, PHILIPPA, TOM & MATTHEW The leader of the pack, And now he's come. STEW Yeah yeah yeah Yeah yeah yeah.
BOND pulls into the NCP multi-storey opposite the bus station. Here begins the Epic aspect of our chase, and once the TOP RIGHT shot fades out, we're able to go with a fully dynamic four corner split-screen riot of fun, thrills and adventure, like as if we were Thomas Crown or 24 or something. Whee.			EXT - YORK MINSTER - DAY The bus pulls up outside the cathedral as the music repeats and fades out. FADE.

Up the car park, which is the same car park we were in at the end of Take a Chance; plenty of dizziness-inducing rises to new levels; the occasional near miss of other traffic and pedestrians.

Out the top, and onto Arundel (again), past the Odeon on our left and the Lyceum on our right. Arundel is still lightly chaotic following its encounter with a spaceship, but that makes it all the more weave-inducing. Not least because our cars cross into oncoming traffic and then dip into the Novotel's underground carpark. Note that the THX is digitally replaced to our left.

Once in the Novotel carpark, we weave around pillars, and finally come up for air along a ramp and into Tudor Square. The ramp is now infilled, but we bagged sufficient shots to do it in a computer.

Through Tudor Square, displacing huge crowds (again) and knocking over cafe tables. Along Tudor Way; all the time the 2CV is just managing to keep up.

Left onto Norfolk Street. BOND puts his foot down as he heads straight for a large stainless steel bollard with red lights blinking at the top of it. Green neon flashes at the bottom of his Aston. As the car approaches the flyover between the two town hall buildings, sparks fly and the Aston disappears. PICHOLL's 2CV skids to a halt, scraping against the curb and nearly tottering over.

PICHOLL pulls himself out of his 2CV, and looks about. He kicks the shimmering bollard, which hurts him. The red lights twinkle against his leg (in the BOTTOM LEFT of the shot).

All frames converge:

ROBOSHAM stands there facing STEW.

STEW approaches.

ROBOSHAM prostates itself before STEW, albeit still hovering 2" off the floor.

STEW puts out his hand and touches ROBOSHAM's head.

STEW closes his eyes. He screws up his face; angered and tearful.

A sound like a burst of energy.

STEW's screwed up face falls forward out of shot while patterns of red light dance off everything.

New angle to reveal BABYSHAM stood at the end of the corridor, clutching his bandage in his right hand. His left arm is held out with a metal spike extending from the wrist. His eye is spilling laser light all over the place.

MOODY, JADE, ALAN and SPILLAINE catch up with BABYSHAM and are bemused by the scene.

STEW lies dead, with a metal rod through his chest. ROBOSHAM clutches him in his arms like Michelangelo's Pietà. The rod is hissing, and as it does so, it melts and drips into a pool of mercury. ROBOSHAM holds his head against STEW and wails.

BABYSHAM grins a slightly evil grin. He relaxes his arm, and the spike retracts into it.

White out.

FX:

Blood and mercury seep across the screen and congeal in the caption: "ANS X". The white limbo of the background then flares through the lettering and we white out again.