Play for Today (1970–1984): Season 10, Episode 7 - A Hole in Babylon - full transcript

(TRAIN RUMBLES)

Yes, but the plane
leaves in a few hours.

(SHE SNIFFS)

Look, I'll write.

- I will, I promise.
- Come on, man.

Look, I'm coming, I'm coming.

(HE SIGHS)
Look... listen.

- I gotta go now.
- (SHE SOBS)

I'm gonna miss you a whole lot.

Bye.

(MUSIC: "NO WOMAN, NO CRY"
BY BOB MARLEY & THE WAILERS)



♪ No woman, no cry ♪

(COUPLE ARGUE INDISTINCTLY)

♪ No woman, no cry ♪

- ♪ No woman, no cry ♪
- FRANK: Knightsbridge.

- TAXI DRIVER: Uh, Knightsbridge?
- FRANK: Yeah, I'll tell you where to stop.

♪ No woman, no cry ♪

(MEN CHATTER INDISTINCTLY)

Signori, good evening!

(MEN CLAMOUR)

MAN:
Giovanni! Come va?

Eh. Too much work, not enough, uh...

- Can I have a glass of wine?
- Si, si.

- Eh! Va presto, eh?
- Si.

Allora, salute, signori.



MEN:
Salute.

Don't stop now, man. Come on.

(THEY CHATTER IN ITALIAN)

- Domani?
- Domani.

(MAN MUTTERS IN ITALIAN)

FRANK:
This is a hold-up.

We want the money.

(MAN MUTTERS IN ITALIAN)

- OLIVELLI: There's no money here! No money!
- Watch the door.

Move! Move!

Down the stairs!

Move!

(MAN WHISPERS IN ITALIAN)

HE WHISPERS:
Scape! Scape! Scape!

- You!
- Io?

Yes, you.

Come upstairs with me.

(HE PANTS)

WESLEY:
Take your jackets off.

Take everything out your pockets
and put it on the counter.

Move!

Come on, come on, come on, come on!

Come on, come on!

Quick! Quick! Ring the police!

There's a robbery at the
Spaghetti House! They've got guns!

(SIREN BLARES)

ROSCELLI:
Yes!

(COINS CLATTER)

Is this all?

ROSCELLI:
Si, si. All the rest is in the bank.

(TYRES SCREECH)

(SIREN BLARES)

Quick, quick. Downstairs.

- (TYRES SCREECH)
- (GLASS SHATTERS)

(SIREN BLARES)

- What the hell's going on up there?
- Babylon, come on.

Is there another way out?

That way.

No! In there!

- What we gonna do?
- You go upstairs, you are dead!

We've got to take these hostages!

- We will be better to split.
- You do as I tell you!

- BONSU: Come on! Move it!
- FRANK: Go on, in there! Get in!

(MEN CLAMOUR)

Stay calm, stay calm.

FRANK: Come on, you get in.
Come on, get in.

Come on, get over there.

- (TYRES SCREECH)
- (SIREN BLARES)

- Please, there's a robbery...
- Get back.

But my friends are in there.

There's an armed robbery going in there,
now get back out of the way.

- Do you wanna get killed?
- But I...

- But I made the phone call.
- Now get back out of the way!

(DOGS GROWL)

I'm from the Spaghetti House!

(DOG BARKS)

(GLASS CLATTERS)

Shoot the gun,
show them we mean business.

(GUN CLICKS)

(DOG WHINES)

(DOG BARKS)

Hey, pig, if you don't call the dog
back, I will blow his brains out.

(DOG BARKS)

POLICEMAN:
We are armed police officers.

Come out now with your hands up.

- What rank are you?
- Deputy commissioner.

He's lying.

I am a major. I outrank you.

(HE SPEAKS ITALIAN)

Down!

(MUSIC: "A HOLE IN BABYLON"
BY SAMMY ABU AND HORACE OVE)

♪ Free, free again now ♪

♪ Free, free again now ♪

♪ Out of the homeland ♪

♪ Back into Babylon ♪

♪ A world without heart and song ♪

♪ Out of the homeland ♪

♪ Back into Babylon ♪

♪ Seeking love and peace ♪

♪ How long will it be, yeah ♪

♪ Before my freedom is
taken away from me ♪

♪ I seem to leave ♪

♪ There's no together without
my home country ♪

♪ There is a hole in Babylon ♪

♪ A dreadful hole in Babylon ♪

♪ I am not trying to make a stand ♪

♪ But pressure's up
there like quicksand ♪

♪ There is a hole in Babylon ♪

♪ A dreadful hole in Babylon ♪

♪ Forward from this wicked land ♪

♪ To where men walk free in the sun ♪

♪ Try, try, and try ♪

♪ Lord knows I try... ♪

Hello, look who's here.

Frankie boy, when'd you get out?

Today, today.

That's terrific.
It's really good to see ya.

We'll have to have a celebration.

(HE CHUCKLES)

You're really looking great,
you know that?

You know me,
always try to keep myself fit.

Yeah, right.
You got somewhere to stay?

Well, maybe.
You see, I have a woman.

And she has been coming
to the nick to visit me.

And we have been corresponding.

Yeah... 'Ere, what a boy this Frank is,

straight out and straight up,
he's even pulling birds from the nick.

'Ere, when Costas was inside,
he did a lot of pulling,

- but it wasn't birds.
- (PUNTERS LAUGH)

Hey, Frank. Come here.

So, listen, you're all fixed up, then?

Well, no, no, no.
You see, I have to look for her.

I think she changed her address.

Well, then you can stop here
in the meantime.

I got a nice little room in the back,
it'll just do you fine.

Come through,
I'll show you where it is.

(HE SNAPS FINGERS)
Hey.

So, listen, Frank,
could you use a few quid?

Ah, course you could.

Listen...

just between friends,
for old time's sake

no strings, here's a pony.

If you want any more, just ask, alright?

Now, Frank, what about that?
Nice little room, make yourself at home.

Let's get a bit of light on the scene.

Ah!
(HE CLAPS)

Ah, that'll be alright,
you can fix that up.

Your friend's here. Come to collect.

Friday again. Frank, look, I gotta go

but I'll see ya later.
And hey, welcome back.

(WATER DRIPS)

(MAN CHANTS IN FOREIGN LANGUAGE)

(TRAFFIC BLARES)

(MAN CONTINUES CHANTING)

(HE SCREAMS)

(SCREAM ECHOES)

MAN ON RADIO: The, uh, changeover is
at 5 o'clock this morning.

Or rather, tomorrow morning.

(THEY CLAMOUR IN ITALIAN)

Shut up!
I can't hear what they are saying.

I'm telling you again,
we're armed police officers.

Come out with your hands up.

We are armed too, copper.

What arms have you got?

WESLEY:
Mek I tell them.

We got fifty machine guns, tanks,

a hundred grenade launchers,

and a whole heap of rockets.

What group do you represent?

Keep watch on these men.

We are members of the
Black Liberation Army.

I am Franklyn Peter Davies,

- born Nigeria.
- What's going on, man?

What'd you tell 'em that for?

What are the names
of your companions?

You must be joking!

(DOOR SLAMS)

Please, my friend, let us go.

It's nothing to do with us.
We're Italian.

I know what you Italians did
to the Africans in Ethiopia.

A long time ago,
you weren't even born then.

If you were Spanish,
I would shoot you now.

But we're not against you,
we're all the same.

Black, White, Chinese...

No.

We Black people are supermen.

What do you think you're doing, Wesley?

Bejesus, Paddy.

Sure, I be writing a bit of a verse.

Don't be taking the piss out of
me, Wesley.

- Sorry, Massah.
- You've got work to do.

Cool it, man.

It's my lunch break.

Not for another five minutes, it's not.

Come on.

- Five bleedin' minutes!
- It's not your five minutes, y'know?

If you're here, you gotta work.

If you want to sit about all day
and write poetry,

you better get back to the jungle
and find yourself a palm tree.

That's exactly what I'm going to
do, brah.

Me soon come.

Where are you going?

WESLEY:
Jungle!

You should've stayed there!
You wouldn't know a pole from a pumpkin!

I was born here, mate.

You the immigrant.

(ROADWORKS DRILL WHIRS)

(BELL RINGS)

- Is Ram in?
- He's in a meeting.

Alright if I wait around
and look at some books?

Sure. Do you want some coffee?

I was just making some.

Yeah, ta.

- Milk.
- Nah.

No milk in my coffee.

(DISTANT ROADWORKS NOISE)

Hi, Wes. How are you?

Hey.

- How's the job?
- Tsk...

That warehouse is wearing me out, man.

I need some intellectual stimulation.

You've come to the right place.

Why don't you give me a job here?

You know, I could be doing something
for the cause.

And how am I supposed to pay
you, Wesley?

Come off it, Ram.

You must be getting a big fat grant
for this place.

We did get a lot of money
from industry at one time,

- but when you started telling the truth...
- (HE SNAPS FINGERS)

I don't need much.

I'd rather be here helping out.

Cleaning up a bit, writing articles,

bringing Black kids down here.

I left yours downstairs.

Wesley wants to come and work here
so he can spend all day reading books.

(HE TUTS)
He's become a real bookworm.

I've always been a bookworm.

I spent 15 months in the nick...

for thiefing one book out of Foyles.

Soledad Brothers.

POLICEMAN:
I'll try and talk to them.

Why don't you give up

and come out now
before somebody gets hurt?

FRANK: We are never going
to give up the struggle.

What struggle?

WESLEY: The struggle against you
White fascist imperious pigs!

What's that got to do with it?

WESLEY:
Don't be bloody stupid.

POLICEMAN:
Why don't you face the facts?

You tried to pull a robbery.

It failed.

You can't win.

You're going to get nothing out of this.

The longer you stay in there,
the longer you'll spend in prison.

FRANK: If you don't meet our demands,
we will stay in here forever.

POLICEMAN:
What are you demanding?

What do you want?

Can you still hear me?

WESLEY:
Cha! Go away!

We talkin'.

POLICEMAN:
We tried.

What do we do now?

We've got to find out
what's going on up there.

I'll tell you,
more police and more guns.

We got to find out if it's on the news.

There's no point in making a political
demand if they're keeping it all secret.

We've got to find out
how they're using it.

They'll tell us a lotta lies,
that's what they'll do.

We got to know what they're sayin'.

Let's ask for a radio.

Right.

(IN A COCKNEY ACCENT)
Oi! Copper!

POLICEMAN:
Yes?

We want a radio.

POLICEMAN:
I'll pass that on.

And we want it fast! Now!

We've got to work this out properly.

Now, let's go over it.

We started out on a political robbery,

and maybe we were betrayed.

Who could have done that?

Some of your hood friends, man.

I don't believe it.

They wouldn't do a thing like that.

Why aren't they down here with us, then?

I will not listen to this nonsense.

Anyway, we always wanted
a political platform,

now we've got one.

The whole bloody world's gonna be
listening to what we're asking for.

If we get the radio.

So we must be careful
to ask for the right things.

POLICEMAN:
Frank!

Don't call me "Frank", call me "Major".

POLICEMAN: You can have a radio
in exchange for some hostages.

Eh, there's a chance
that we might get out.

(THEY CLAMOUR IN ITALIAN)

Shut up.

Nobody's going out.

You better give us the radio, or else.

POLICEMAN:
We have someone to talk to you.

Time for talk's finished.

We want some action!

POLICEMAN:
I think you'll want to speak to him.

It's Lord Pitt.

Lord Pitt?

Who the hell is he?

ARCHIVE REPORTER:
Dogs were brought in

and a stretch of Knightsbridge
was sealed off.

Meanwhile, the gunmen,
faced with a robbery gone wrong,

sat tight with their eight hostages.

Lord Pitt, a West Indian
who was last year's chairman of the GLC

arrived to talk to the coloured gunmen.

(THEY CHATTER INDISTINCTLY)

(INDISTINCT CONVERSATION CONTINUES)

MAN:
...what he wants to do.

- Right.
- That's really all I can say.

- Thank you.
- Anyway, I hope I've been some help to you.

- Yes, you have.
- The very best of luck.

- Thank you very much.
- Goodbye.

Bye.

Taxi?

BONSU:
Yep. So how do you like this, brah?

I dig it.

The Lion of Judah.

The King of Africa.

- Cha.
- (BONSU CHUCKLES)

Yeah, well,
this is no palace for a king.

This is a hole in Babylon.

You know, we've got to do something
about this place.

We need some proper
desks, a blackboard...

- And black chalk.
- (THEY LAUGH)

Are you two helping out in this school,
or you gonna stand there rappin' all day?

Soon come, sis.

Look, we've got some bread soon
coming from this grant thing.

Man, I've put all my
money into this school.

I'm scrounging off Sheila.

We'll never get our £20,000, brah.

They just giving us beads, man.

They'll give us just
enough money to fail.

Don't talk like that, man.
I'm in debt up to my ears,

and the school is still a mess.

WESLEY: If the mountain
doesn't go to Mohammed...

then you know what Mohammed got to do?

No, what?

We just go out there
and rip off what we need.

Nope.

The brothers and sisters won't like that

and they're a bit uptight.

It'll give the place a bad name.

So what?

We just go back on our knees
to the White man

and beg for another token handout, soon?

(MUSIC: "OLD MARCUS GARVEY"
BY BURNING SPEAR)

This looks like the place, love.

♪ A true black Lou I ♪

♪ A hatred scatter... ♪

♪ ...even melt before
the fire light go out ♪

♪ No one remember old Marcus Garvey ♪

♪ No one remember old Marcus Garvey ♪

♪ Children, children ♪

♪ Children, children ♪

So, what we're going
to do today is this.

First, I'm going to take you for English
for about an hour,

then Brother Tony is going to give you some
helpful hints for your maths problems.

Then, Brother Wesley is going to talk
about his experiences in Tanzania.

- Jambo.
- ALL: Jambo!

You already spent some time there?

Then, Brother Winston is going to
teach you African music.

So this is where you're hanging around.

Why aren't you at the university?

- Answer me!
- Bonsu, who this woman?

This "woman" is Anthony's mother.

You don't have to shout,
you're interrupting the class.

You call this a class?

This slum?

I've just been to a real class
at a real university

where you're supposed to be,

and they tell me you've dropped out
of your course!

Come on, um, everybody out.

MRS MONROE:
Did you put him up to this?

I think Bonsu did enough
to make his own decisions, Mrs Monroe.

I see.

A grown-up woman like you.

What does that mean?

Whoring with my son!

What?

Now listen, Miss Thing,

I got husband. I'm a married woman.

Does he know what you're up to?

Come on, Ma, just cool it, huh?

- What kinda skank you pulling off here?
- Skank?

Don't talk to me in that gutter slang!

I pay out all that money
to give you a proper education

and you... you turn your back on it and
come down here in this stinking slum?

- With those filthy kids...
- Shut up, Ma!

Don't tell me to shut up!

Did you fly all the way from
Queensland, Guyana just to be abusive?

Coming here acting stupid
and insulting my friends?

If you really were his friends,

you tell him to stay
on at the university

instead of coming down here
wasting his time!

How do you know he's wasting his time?

- Well, just look at it!
- Look...

- These kids, they really need us!
- More than they need a doctor?

- At this moment, yes.
- Oh, don't talk rubbish!

These kids have got an illness,
it's called being young and Black

and living in a White racist society.

- Hey, listen, Ma...
- (SHE SOBS)

Look...

I'm sorry,

but you've got to understand.

I just couldn't carry on
in that rich college after I discovered

what Black kids were going through
in this country.

That's why I've applied for a place
in a Black university.

What Black university?

Ibadan. I've got a place there
to carry on with medicine.

I'm just waiting to hear
about the grant now.

You alright?

Heavy scene, boy.

Boy, you're braver than me
still, y'know.

I couldn't talk to my mother like that.

She'd kill me.

She'd beat the shit outta me.

Yeah.

Yeah, let's get this stinking slum
fixed up real good, huh?

I'm sorry about all that, Winston.

That's alright, man.

I'm just keeping a low profile.

We gonna get you that piano.

- Eh!
- You been cravin' so long.

Music man.

(WINSTON PLAYS JAZZY TUNE ON PIANO)

Even your old lady would
dig this place now!

Where did you get all this stuff from?

Good, eh?

Where'd you get it from?

We had a sponsored walk.

(BONSU LAUGHS)

(JAZZY TUNE CONTINUES)

(CAR HORN HONKS)

(BABY COOS)

(BABY BABBLES)

Hey, can I help you?

I'm looking for some brothers,
Peter and Rabby.

He said I should check in here.

Yeah? And what is your name, then?

Frank Davies.

Well, he's in a meeting
downstairs, y'know.

I'll wait.

Hold on, ah soon come.

(BABY CONTINUES BABBLING)

BABY:
Ba, ba-ba.

Here, come, come.

PETER:
I think we should move it to this week.

WESLEY:
Nah, man.

And I use this one about Soweto.

We'll pass the vials
for the community, y'know?

PETER: Yes,
but this one involves the community.

Peter.

PETER:
Hey, Frank!

When did they let you out?

Couple of weeks ago.

This is the brother I been telling
you all about that I met in prison.

Aight.

Aight.

Boy... it's a long time, eh?

What you been doin'
these last two weeks, man?

Why you didn't come straight up here?

I been staying with some
old friends in Soho.

But I do not want
to stay with those guys anymore.

You know what I mean.

I do not want to drink
any more porridge.

Mek, I give you some curry goat, brah.

Man, that food
in the nick is like boiled vomit.

Look, cool it, man. I'm trying to eat.

Rabby, you think
we could squeeze Frank in here?

Boy, me would like to, y'know,
but me not sure.

I'm still fixin' up the place

and that little boy
just take the room upstairs.

His mother put him out, man,
because he mek a likkle girl pregnant.

(THEY CHUCKLE)

Peter is negotiating for another place
in a couple of weeks.

That's nice.

I think I can hang out
a little bit longer in Soho.

Seen, seen. Me go see about your man.

You sure you'll be alright, Frank?

It's a drag but I will manage.

Seein' you bring back all dem horrors
from dat prison.

These likkle youts and dem don't know
wha gwan in dem place, y'know.

Speak for yourself, mate.

You remember that little old screw?

Ah, which one do you mean?

The one that looked
like an old white prune.

You know the one I mean, man.

The one with the big National
Front badge on him chest.

- Motorbikes!
- (THEY LAUGH)

Hey, hey.

Man give Black man a lotta horrors.

- I understand you've been complaining.
- That's correct.

Keep it short.

There's a very disturbing rise in
racialist provocation from the officers.

Provocation to what?

PETER: The Black prisoners in this jail had
as much racialist abuse as they can take.

There could be a riot
unless you discipline your staff.

Are you threatening me with a riot?

I'm just trying to
point out the dangers.

If there is a riot,

you will be held responsible.

Lord Jesus.

That's not fair.

Look, there are officers in this prison
wearing National Front badges.

Are you a member
of the National Front, Officer?

And have you or any other
officer made abusive remarks

about these gentlemen's colour
or racial origins?

- Complaint dismissed.
- Ah.

You see, I told you complaining
was a waste of time.

So, as far as you're concerned,
your officers are always right.

If this officer came to me,

and told me that you were riding a
motorbike up and down the landing

and flying through the air,

I'd believe him.

(DOOR SLAMS)

(RADIO CHATTERS IN FRENCH)

(RADIO CRACKLES)

- (STATIC HISSES)
- (RADIO TUNES)

(HE GROANS)

(THEY MUMBLE IN ITALIAN)

Please, my friend... very sick.

Raasclaat. Don't try that.

Shh! I am trying to tune the radio.

(RADIO CHATTERS)

Ah, I think
they are playing some tricks on us.

They have taken out Radio Four.

- What's the time?
- Six o'clock in the bloody mornin'.

FRANK:
There should be a news on Radio Four.

Hey, pig, what you do to this radio?

- POLICEMAN: What's wrong with it?
- Don't be a smartarse.

I cannot get Radio Four.

POLICEMAN:
It doesn't start for another two hours.

Don't tell me any of your piggy lies.

I listen to it every morning.

POLICEMAN:
It's Sunday.

Doesn't start until eight.

Oh.

ARCHIVE REPORTER: The police say
they received an emergency 999 call

from the Spaghetti
House in Knightsbridge

at a quarter to two this morning.

When the first police car arrived,

the officers found that eight men
of the Italian restaurant's staff

had been taken hostage

and were being held by
two or three armed men

(CONTINUES OVER RADIO)
in a locked storeroom in the basement.

A ninth would-be hostage had escaped
to raise the alarm.

Though this kind of siege is unusual
for London,

I understand that Scotland Yard...

Now I will give you all a number.

We will pick two.

One to set you free,

one to shoot, if we have to show them
that we are serious.

The numbers are four and eight.

(THEY CLAMOUR IN ITALIAN)

Scusi.

They have agreed. I will go out
and explain to them what you want.

Write it down, write it down.

Right. Watch them.

"Release..."

"the two brothers from prison".

"Plane..."

"money..."

"and a full report in the newspaper".

You out there, are you listening?

POLICEMAN:
We're listening.

Somebody is coming out.

One of the hostages is coming out.

POLICEMAN:
Come out with your hands up.

Keep your hands up and turn right.

And don't try your funny stuff,

or we will shoot one of the others.

POLICEMAN: Do as we say and
there'll be no shooting.

Give this to the police.

Don't give them this one.

Give it to the journalists.

The newspaper men.

- Do you understand?
- I understand.

(MEN CHATTER IN ITALIAN)

He's coming out.

Keep away or we will shoot.

POLICEMAN:
We're moving back now.

I can't get out.
The barrel's in the way.

Push!

Eh, spingi!

Eh!

ARCHIVE REPORTER: Suddenly, one hostage
was released as a good will gesture.

Alfredo Olivelli,
one of the restaurant group's managers,

walked out unharmed.

Olivelli was able to give the police
some useful information

as Deputy Assistant Commissioner
Wilfred Gibson told me...

GIBSON: Well, at the moment,
so far, the condition of the hostages

is, as we understand it, quite good.

Uh, no one is suffering unduly.

Uh, beyond that, we can't,
for obvious reasons...

- (JOURNALISTS CLAMOUR)
- JOURNALIST: How many gunmen are there?

We now... we now can confirm
that there are in fact three gunmen

and uh, this is what
we suspected all along,

and they have between them three
weapons, a shotgun and two pistols.

JOURNALIST: This means
they have asked for the release

of people now in prison.

They have in fact asked
for the release of, uh,

two prisoners
who have completed their sentences.

JOURNALIST: These people are not in
prison at the moment, is that right?

(JOURNALISTS LAUGH)

MAN: You can see, as we said earlier,
the demands...

But it is right to say that that is only
one of their demands

and their demands are very confusing.

(MAN GROANS)

(CRACKING NOISE)

What's that?

Eh, I bet it's a bloody microphone.

Don't try that police skank, copper!

D'you hear me?

Pull your raasclaat microphone up!

(HE MUMBLES)

I hope that's sizzling
your earholes off, pig.

MAININI: Roast pork.
(HE LAUGHS)

Hold this.

(WESLEY SHOUTS)
Right, right!

Don't try that again!

(MAN COUGHS)

He's going blue.

FRANK:
Is he alright?

Not too good.

FRANK:
Maybe we better send him out.

Si.

Not till we get some of our demands.

(MUSIC: "MILITANT SALUTE"
BY THE AGGROVATORS)

Hey, Bonsu!

Lay some skin on de I, man!

Yeah, well,
mek I and I move forward, nah?

Seen.

Top rankin' DJ in town tonight
for the Blues, y'know?

Seen?

Name dat man...

- Seen.
- Strictly roots, ah yah.

Well, that sounds irie.

Seen.

Don't forget we have to meet Frank
to take him to Norma's.

I and I will pick him up at Ladbroke
Grove station, that cool, alright?

WESLEY: You want to bring Norma
along to the Blues?

I will try to bring her along

but I believe she'd prefer
to be with me alone.

We have not met for a long time.

There is no bar to keep us apart.

Well, um, I think this is the one.

I hope everything turns out OK for you.

OK?

WESLEY:
Sight.

(DOORBELL RINGS)

Sheila coming to the Blues?

What? Far too risky
(HE CHUCKLES)

Oh, she loves creating a scene.

She's jealous of my own shadow.

Well, I, man, I looking forward
to pull I-self

nice likkle sista.

You know what I mean?

FRANK:
How can you do it?

You wrote to me,
and you come to visit me in hell,

you make me believe that you love me,

and now you are trying to say that I
cannot stay here with you. I must go.

You're taking kindness for love.

Are you trying to say it was because of
charity, that's why you come to see me?

It was my job!

I was your job?

In Black Liberation,
we all have our own task to do.

One of mine was visiting prisoners.

Woman!

I love you.

I have a very jealous husband.

He couldn't touch you,
I will rip him apart!

Please, go.

(BABY SQUEALS)

(DRINKS TROLLEY CLATTERS)

♪ Go where the feeling will take me ♪

♪ And it don't take an expert to see ♪

♪ That love's like a... ♪

(MUSIC CONTINUES, MUFFLED)

What do you mean you can't pay,
you skinny wop!

Please... you give me time.

I'll give you five seconds
to produce 500 quid.

You know I'll pay up...

(GLASSES CLINK)

You'll pay up now,
or I shall cut your bollocks off

- and stuff 'em down your ear'oles!
- No, no, please!

- No, please, no more.
- What's your name?

Termine.

Lillo Termine.

Well, you shouldn't gamble
if you've got no bread.

Now, what do you do
for a living, wop?

I'm a barber.

Very appropriate because I've got you
by the short and curlies.

Please, I got a wife and children!

Well, they're not gonna like it when we
smash your little shop up then, are they?

(TERMINE GRUNTS)

No, stop. Stop!

Listen,

I know where you can get
maybe forty grand.

£40,000.

GAMBLER: What are you taking me for?
Some sort of mug?

- TERMINE: It's the truth.
- Alright, go on. Try me.

Knightsbridge Spaghetti House.

Every Saturday night, the... the
managers gather there with the takings

from all the restaurants.

It's a lot of money.

No security.

Money in bags. You run in, hold it up...

simple.

If it's so simple, why don't you do it?

They... They know me.

Oh, well, that's a good reason

but they might not know you much longer.

I'm telling you the truth.

That information is
worth more than £500.

You could be fitting me up.

I swear on my life!

Alright, you got two weeks
to pay what you owe.

Oh, that's not fair.

(HE GRUNTS)

One week.

Spaghetti, me arse.

Maybe he's telling the truth.

If you wanna go and do it, Frank,
you go and do it.

(ROOTS REGGAE MUSIC PLAYS)

Your tunes and sounds called up
to all them in town

to sounds the songs of now
and the sounds of ever!

Yeah!

Huh!

Here I come with a song called
"Jah Love Forever", deh.

WESLEY (VO): Pretty girl
slowly rocks her head in recognition

to the start of her favourite tune.

Jah Love!

Forever!

WESLEY (VO):
And as if to confirm her belief

she beautifully smiled at her friend
and playfully whispered in her ear.

Wah, baby!

This beautiful sound...

WESLEY (VO):
Don't be rude, get in the groove,

and make a move, yeah.

DJ: And baby,
you've got on your dancing shoes?

So come and join I and I and boogaloo.

WESLEY (VO): Ooh, sweet Miss.
Pretty dancing girlis out on her own

free in the world of
ecstatic locomotion,

a sensual paradise.

DJ:
Yo...

Jah Love forever, baby,
got to be clever.

Till the twelfth of
never, I and I gonna say,

ah jah work, sire.

Can't say you gotta
feel it out and say...

Jah Rastafari, Earth rightful roller.

You know what the dreads say.

One love, not hurt, me bredrin'.

(DOOR CREAKS)

(DOOR SHUTS)

(HE EXHALES HEAVILY)

What the hell are you doing?

Getting a drink of water.

After three days, you just turn up here
and drink my water?

Come off my back, will ya?

I've had a bad scene tonight.

Anyway, all you care about is if I've
been with some other chick, right?

You bastard!

Take it easy, huh?

Anyway, I could smell them all over you!

(GLASS SHATTERS)

You can take all your things,
you can take all your papers

that I typed for you like an idiot,
and piss off!

Come on, Sheila, that's enough now.
Let's keep it mellow, huh?

- Look at all the school papers all over...
- Screw the school!

- I've had it up to here!
- Don't spoil it, you spent hours typing it.

You don't have to tell me!

- I typed it!
- Leave it!

(SHE GROANS)

BONSU:
You OK, baby?

You alright?

Look, I'm sorry, I'm sorry.

I'm sorry.

I was at a party with Wesley.

Everybody was having a good time.

Then the police raided the place.

Why?

The usual crap.

Noise, drugs, selling beer.

Well, you know that sister?

June, about seven months pregnant?

SHEILA:
Yeah.

BONSU: She got into a whole tug of war
with the door.

And the police, they just
knocked the door down on top of her.

SHEILA:
Oh...

Trod right over her.

She lost her bloody baby.

Oh, no.

- Bastards.
- Oh, god.

I didn't do anything.

All I did was to stop Wesley
from attacking the police.

I never seen him so mad.

You're too English, too well brought up.

I can always depend on you
for the harsh truth.

Right now you depend
on me for a lot, baby.

Look, I know, I know.

But what can I do?

- I've put all my money into that school.
- And some of mine, darling.

I'll pay you back.

When? When cock get teeth?

(HE SIGHS)
When we get the £20,000

for community relations.

Oh, I forgot, there's a letter for you.

- What, from CRC?
- I think it must be.

Why didn't you tell me?

If you want your post fresh,
come home more often.

- Where is it?
- Finish your food first.

God, I wish you were
that anxious for me.

Hey, Sheila, Du Du Darling,

just give me the letter, huh?

(SHE TUTS)

(HE SIGHS)

Bastards.

(HE PANTS)

(HE BREATHES HEAVILY)

(HE SOBS)

What actions?

(IN A COCKNEY ACCENT)
I can't see any actions at all.

(IN NORMAL VOICE)
All I can see is talk, talk, talk,

while Black kids get
shit all their lives.

And Black sister got a door on
her stomach and lost a baby.

Look, we've had this
all out before, Wes,

we all angry and we all frustrated,

but you got to realise that at
this moment, they have the power.

Well, I and I have to grab some power
of our own.

You can't just grab power, man,
you have to build it.

They have been building it
for hundreds of years.

With our sweat and blood, man. Tsk.

Raas, man! Why you not watch
where you goin', man?

You people always bouncin' into I and I.

Come along, Wes.
Cool it, man, cool it, man. Come on.

You think you and I could just go out
and grab the schools

and the police and the courts
and the armed forces

and the building societies
and parliament?

All you and I could do on our own,

in this second, is to go out,

and get our arses kicked in.

WESLEY (VO):
Silence

Silence. Sense dulling silence

Silence that is so noisy

That you beg the silent to be silent

Silence which cuts into
your brain so sharply

It overcomes your ability to even think

It deadens the faculties
of rationalisation

Silence so maddening

That it makes you want to scream

A loud, frightening scream

(HE BREATHES HEAVILY)

That shatter the silence
Into a million of ultra-small pieces

And you're glad because you want noise

Where noise is good, noise is sane

So you scream and shout and bang

(HE YELLS)
You throw a chair and kick a door

And jump up and down

- You make as much noise as possible
- (GLASS SHATTERS)

Because noise is good, noise is sane

So you shout and scream some more

You bang, crash, thrash around

Yes, you want noise

Suddenly, you stop

You think. Hold on

I'm crackin' up

If I carry on this rate

I'll end up in a mental home

A madhouse.

Maybe we'll get the aeroplane after all.

And you could be at university
within a day or two.

We can get the plane to stop at Ibadan.

(HE COUGHS)

(HE RETCHES)

(HE SPLUTTERS)

You'll make a good doctor.

I think we better let him go.

Uh-uh.

We need all of them.

They, after a lot of argument,
have agreed

that if we could get a message onto
the, uh, the news programme

that they were listening to,
saying that the Italian ambassador

had telephoned the Home Secretary.

That was all they required to know,

then they would agree
to the release of this hostage.

I spoke to them through
a hole in the wall

of the storeroom.

JOURNALIST:
Is there any panic at all down there?

No, not at all.

No panic whatsoever.

JOURNALIST:
Now, you spoke to one of the gunmen,

what did you say to him
and what did he say to you?

Well, I simply made to him an appeal.

I mean, on behalf of my countrymen,
that they were no use to him

but of course, he thought otherwise.

I think Bonsu is right,
you should let him go.

To show the world you are not...
heartless criminals.

If we lose all our hostages,

how will we get our plane?

What plane? Come on,
you're not going to get a plane.

Why not?

Because they're making promises
they won't be able to keep.

How do you know that?

(HE CHUCKLES)
I know it's the policy in Italy

to give in to kidnappers.

Oh, but you're not in Italy.

(HE STAMMERS)

They can talk and talk and talk.
I know his type.

Look, he can call me...

me, in Italy, Black...

because I come from the south.

The poor part.

Now, friend, I understand you.
Very well.

You are not a Black man,
how can you know about me?

Because I've seen a lot of suffering.

I have seen people make use
of the gun to get a little justice.

Me, I had to leave my wife, children,
come here,

make a bit of money.
Who wants to stay poor?

If you don't have money,
people spit on you.

No good.

It is the same in my country, Nigeria.

I left Kanu to come to
Lagos to earn money.

In Lagos,
you learn to steal from the living

and walk on the dead.

- (MAN SPLUTTERS)
- You'll be walking on him soon.

You better let him go.

Yes.

ARCHIVE REPORTER: The man who was
released shortly after six this evening

is Signor Pasquallo Genicola

the manager of one of the Spaghetti
House restaurants in Goodge Street.

He was taken to St George's Hospital,
a few hundred yards up the road.

BONSU: It's architecturally rather
interesting, in the Moorish style,

but it's not quite Moorish enough,
if you know what I mean.

Yeah, the Britishers were always
very good at going around the world,

handing out Bibles,
stealing minerals and architecture.

Oh, and the walls are painted white.

WINSTON:
They must be in a mess, huh?

BONSU:
Yes, you're right.

This place used to be private.

But there's a stone above the gate
that says, uh,

- the owner gave it to the people of London.
- (WESLEY WHISTLES)

(THEY MOUTH)

Sounds like Wes.

BONSU:
Yeah, you're right.

Uh, just sit here a minute,
will you, Winston?

Yeah.

- OK?
- Yeah.

Good, now, I won't be long.

- WINSTON: OK. Seen, seen.
- Alright.

WESLEY:
'Ere, brah.

We been lookin' for you
all over the place.

Why, what's going on?

Frank's come up with a solution.

To all of our problems.

Hey, don't tell me, don't tell me.

You've won the pools
and Enoch Powell's become a Rasta.

(WESLEY AND BONSU LAUGH)

Ah, it is too many jokes
that keep you West Indians in slavery.

I'm sorry, Frank. I'm sorry.

So, um, what's the magic cure, then?

FRANK:
No magic cure.

We are going to pull off a...
a big robbery.

There is enough money
in the Spaghetti House for all we need.

Bonsu, you will be able
to pay off your debts

and pay for your upkeep in Ibadan.

Wes, you will work
full-time in the school.

Or for the Black welfare...
or even you can go back to Tanzania.

There could be £20,000 left
to give to the Black Liberation.

What about you?

I will go to Zimbabwe,
join the freedom fighters.

I'll be a general.

I thought they said
they didn't want you.

Oh, that is just these fools
in the London office.

Me? When I go back to Africa,
they will be pleased to see me.

Come on, brah.

Let's be realistic.

You got a better plan?

Well, it's a lot of money, alright.

- But no guns.
- Are you mad?

Why are you so worried about guns?

They kill people.

When the White man took your
great-grandfather from Africa

to make him a slave,

what did he use?

The gun. When he came to our land,

what did he use? The gun.

How do Smith and Vorster keep control
over Southern Africa?

With a gun.

When the White man used a gun against
us, they call it "law and order",

when we pick up a gun to take back
what he stole from us,

they call it "terrorism".

We don't have to behave like them.

They stay a slave!

Come on, come on.

Brah, we not gonna use the guns.

We just gonna frighten them with them.

You see, the trouble with you Black
so-called militants in this country

is that you are so much talk
and no action.

You are going to wait
for grants forever.

Do they have to be real guns?

Can you fight a war with toys?

(HE TUTS)

Alright, alright. Listen, hold up, man.

Look, I... I agree.

But where are we gonna find
real guns anyway?

You leave that to me.

Now, listen, mate.

We've done business before.

The guns are alright for the price
you're paying.

FRANK:
Cool it. I think Rabby is coming.

(MEN LAUGH UPROARIOUSLY)

RABBY:
Wesley, is that you?

- Wes!
- WES: Yeah, yeah, Rabby, what you want?

Me want de rent, man.
I know you get your dole today.

Wesley?
What's happening here, man?

- Who these men?
- They are alright.

Rest. You rest.

We don't allow people to come in here
because it's private.

It belongs to an organisation.

If people come in here,
we must know who they are.

(RABBY MUTTERS)

- What's going on?
- The man is an idiot!

He's an idiot!

(THEY CHATTER INDISTINCTLY)

(THEY ARGUE INDISTINCTLY)

WESLEY:
Rabby's a bloodclaat, man!

FRANK: Let's go, we can go
to Sheila's, alright, mate?

Cha, go away!

I know some of you think
I've been hard on him,

but I know him.

He's a bad influence.

I don't want him around de place.

It's up to you. Either he go, or I go.

And that's all I got to say,
brothers and sisters.

Come off it, Rabby.

You're getting it out
of proportion, man.

Yeah, you're exaggerating.

I know you

and some of these little sisters think
Frank is some kind of African hero,

but I know Frank,

and Frank's sort better than you do,

and I tell you...

he's going to get you
in a whole heap of trouble.

You two, be careful.

Well, I think we should
reach a decision now.

Frank!

How can you do this to me?

How can you do this to me?

Who are you?
You let me in like a complete stranger.

Who are you? How can you do this to me?

- You! Who are you?
- PETER: Frank.

Stop shouting and listen to me.
We had a meeting

and we decided it was best
you kept away from the Grove

and went up to North London for a bit.

(HE SUCKS HIS TEETH)

We've told them right from the start that
we will not negotiate under these terms.

JOURNALIST: So there is no question
of them walking out there

and going anywhere other than
to a police station,

as far as you're concerned?

We've told them that they can come out
at any time they wish

as long as they put down
their arms first.

We've said before,
they're going nowhere.

Uh, we're not meeting any of
their demands, uh, except...

those that are compatible with their own
wellbeing and the wellbeing of the hostages.

MAN ON RADIO: The two men are Lillo
Termine, 33 years old, an Italian,

- and a 48-year-old German nightclub owner.
- FLIES BUZZ

They'll appear at Bow Street
Magistrates Court tomorrow.

Another man is still being sought.

Today's events confirm
our original belief

that this was an ordinary armed robbery
with no racial or political connotations.

FRANK:
It's all over.

We are wasting our time.

We've still got the hostages.
They have to let us go sooner or later.

Not now.

They will never believe us.

The people will never believe
the politics now.

Not with all these people involved.

They got to take us serious!

We got to carry on!

I've had enough.

So what do you want to do?

Send the hostages out, then we go.

What? Are you mad?

Don't call me mad!

Look, if we go out now,
they'll treat us like common criminals.

I'd rather go out fighting.

There are a lot of them out there.

They will shoot us down like rats.

Me, I know I will get life in prison.

You guys will still be young
when you come out.

You forgettin' what we here for.

I don't mind dying for the cause.

And I want to take one or two Babylon
with me too.

Think of all the Black people
we'll be letting down.

They'll use it as propaganda against
the Black struggle in this country.

We must complete our mission!

Look, I am not arguing!
I am in command here!

Like hell you are.

Look, we are going out.

We are going out!

You want these people to die?

They have all got wives and mothers.

No, we not goin'.

Then I will shoot you.

Put the guns down.

Hey!

We are coming out!

We are coming out now!

POLICEMAN: Let the hostages out first,
do you agree?

Yes.

POLICEMAN: Throw your guns outside the
door and come out with your hands up!

(FLY BUZZES)

(GUNS CLATTER)

FRANK:
Go.

Grazie.

Thank you.

Thank you.

I wish your cause good luck.

I go. Thank you.

Thank you.

(POLICEMAN MUTTERS)

Go. I will cover you.

You dirty sell-out.

POLICEMAN:
OK, let's get them outta there.

Up against the wall.

Come on.

(SIREN BLARES)

POLICEMAN:
It's all over, Frank! Come on out!

(GUNSHOT ECHOES)

(MUSIC: "DREAMLAND" BY THIRD WORLD)

♪ There's a land that
I have heard about ♪

♪ So far across the sea ♪

♪ There's a land that I... ♪

♪ ...heard about ♪

♪ So far across the sea ♪

♪ Whoa, whoa, whoa-oh ♪

♪ To have you there... ♪

♪ ...on my dreamland ♪

♪ Would be like heaven to me ♪

♪ To have you there on my dreamland ♪

♪ Would be like heaven to me ♪

♪ We'll get our
breakfast from the tree ♪

♪ We'll get our honey from the bees ♪

♪ We'll take a ride
Along the waterfalls, yeah ♪

♪ And the glories, glories, glories,
Glories, we'll have them all ♪

♪ We'll live together on my dreamland ♪

♪ And have so much fun ♪

♪ We'll live together... ♪

♪ Yes, we will, yes, we will ♪

♪ ...and have so much fun ♪

♪ Oh, what a time ♪

♪ It's gonna be ♪

♪ I just can't wait ♪

♪ Don't you know that we'll count
each and every star ♪

♪ Way up in the sky, yeah ♪

♪ And surely, surely, surely, surely ♪

♪ Oh, we'll never die ♪

♪ We get to be together ♪

♪ We live forever and ever ♪

♪ Surely, we'll never die ♪

♪ Surely, we'll never die ♪

♪ Surely, we'll never die ♪