[Cut to the opening drivvel of Pink Floyd's Dark Side of the Moon:]

EXT - SNIG HILL, SHEFFIELD - NIGHT

On the street-lit wet pavements walk all sorts of people. The Boardwalk is just turning out after a gig.

INT - BABYSHAM'S OFFICE, CORPRATION BUILDINGS - NIGHT

The lights from the busses reflect on the windows of the building we are in.
As we pull back we reveal Guy Pearce sat casually in a swivel chair (with his back to us), wearing a grey PVC jacket and a brown strapped shirt. We focus on his reflection in the office window.

Mix to:

EXT - WOOLLENS SIGNS - NIGHT

We pan along some of the WOOLLENS for SIGNS neon advert.

Cut to:

INT - BABYSHAM'S FLAT - NIGHT

Pookie Quesnel appears from a bathroom into a darkened room illuminated by street-lighting and a television, pulling the cord to turn off the light. She's wearing a classy dressing gown, somewhere between pink and peach in hue, with a large but unobtrusive floral design. She's drying her hair and putting the towel into a turban.

Cut to:

INT - GRAND BLACK-&-WHITE-TILED HALLWAY - DAY

The lighting is very grey as Guy Pearce, in a black woollen trench-coat, begins on a white tile and moves two steps forwards to the next white, and then diagonally to a white ahead of him. Robbie Coltraine is also in shot, near the door.

Mix to:

EXT - CLUB MILL ROAD - DAY

Hugh Hopper and Pookie Quesnel peeking through hedgerows from a muddy riverbank.

Cut to:

EXT - FIELDS ABOVE SKI-CENTRE - NIGHT

Slight drizzel. Car driving across the hillside. It turns the corner and pulls up behind the closed ski-slope making eerie shadows with the play of the headlights on the fencing.

Cut to:

EXT - CLUB MILL ROAD - NIGHT

Hugh and Pookie looking about the place with torches in the rain.

Mix to:

EXT - FIELDS ABOVE SKI-CENTRE - NIGHT

A ski-lift is running across a path. Chairs clatter along the chains overhead. All very eerie. Think the oil pumps in Touch of Evil.

Mix to:

EXT - WOOLLENS SIGNS - NIGHT

We pan along some of the WOOLLENS for SIGNS neon advert. There are sudden sparks, and the screams of the soundtrack lurch violently into the second half of John Craven's  "Smokes" as we cut to:

INT - BABYSHAM'S OFFICE - DAY

Guy shoots the door lock out with some sort of explosive laser gun, and kicks the door open. He manhandles Pookie Quesnel (in some sort of bondage-lite outfit) out of the door.

Mix to:

EXT - WARD'S END CEMETERY - NIGHT

Guy Pearce and Amelia Bullmore (in a big woollen coat) walk slowly past rows of Victorian gravestones as far as the eye can see. It's dark and a little eerie.

Mix to:

EXT - SHEFFIELD CATHEDERAL - DAY

A policeman draws handcuffs and begins to restrain Guy.
Robbie Coltraine headbutts the policeman, who falls to the ground.

Cut to:

EXT - RUSTLINGS RD. / OAKBROOK RD. - DAY

Guy Pearce and Amelia Bullomre going very fast around a hairpin bend in a black Morgan car, passing a bus in the process.
Guy looks back and cringes.

Cut to:

EXT - PARKWOOD SPRINGS - DAY

Hugh and Pookie climbing over an embankment in the mist.

Cut to:

EXT - HOLME LANE - EVENING

Amelia driving the Morgan along the tramlines. She whips off out of the path of an oncoming tram which is ringing its little bell.
Guy has his hands over his eyes and is peering through his fingers.

Cut to:

EXT - DESANCTIFIED CINEMA IN DARNALL - DAY

Over-exposed shot of dwarves leaving the castellated cinema in pairs.

Mix to:

EXT - PARK HILL FLATS - DAY

A low shot of a deck to give us a close horizon. A milkfloat trundles towards us from over the horizon. As it reaches us, we reverse angle and watch the milkfloat carry on along the deck. Helicopter shot of the milkfloat in Park Hill. Shot of the city from the flats.

Cut to:

INT - ANTIQUES SHOP - EVENING

Guy looks to his right; looks at the floor; looks up; rubs his nose bone.

Cut to:

EXT - BABYSHAM'S OFFICE - NIGHT

Guy leaps off the building and into the window of the adjacent police station.

Mix to:

EXT - WARD'S END CEMETERY - NIGHT

Guy and Amelia kissing on a railway bridge in drizzle, with a train rushing beneath.

Cut to:

EXT - WOOLPACK PH - EVENING

Pookie runs away as the burning pub explodes with a brilliant white light.

Mix to:

EXT - WARD'S END CEMETERY - NIGHT

Guy and Amelia making love on a grave.

Cut to:

EXT - DISUSED FACTORIES - DAY

Mel Sterland, in a 1986 Sheffield Wednesday shirt, floats above a road with his toes pointing down.

Mix to:

INT - UNDERGROUND RIVER - DARK

Guy, Robbie, Pookie and Hugh can be seen running through water. All bar Robbie carry flaming torches.

Mix to:

EXT - PARKWOOD SPRINGS - DAY

Guy sat meditating in a concrete circle. As the camera closes in on him, he opens his eyes and looks straight at us, all a bit scary like.

Mix to:

INT - BABYSHAM'S OFFICE - DAY

The office door unlocks, and the police enter. Neil Dudgeon looks about. In dispair, he flings his arms and sighs.
We hear Robbie howling over, through to the end.

EXT - QUARRY - NIGHT

Guy urinating against a nearby tree in a qaurried-out gulch. From behind comes Martin Clunes brandishing a shovel. He whacks Guy around the head, and Guy collapses to the floor.

Comp-gen animation of the Town Hall Extension exploding into the word "BABYSHAM". Mix to: "SATURDAY, 9:15pm, ATV 1".