1 THE GLORY DAYS PART, THE FIRST: PAGE 1: 7 PANEL PAGE with three staggered panels along the

top of the page, a page long panel down the left-hand side of the page two panels slightly staggered (one off-set slightly down from the other) in the middle and a long panel along the bottom of the page. PANEL 1:A young man in mod dress (Fishtail parka, nice tailored suit, button down shirt, thin tie, black and white jam shoes), hunched into his parka walking past a pub door. The sign above the pub read “The Nickel Bag”. It’s a drizzly night and the yellow light from the pub door highlights the dreariness. The Streets are slick with the passed rain, puddles here and there lit by the sodium lamps and the light of the full moon PANEL 2: Mid-range the mod has just passed the door and 3 skinheads are coming out of the pub. PANEL 3:Mid-shot as the skins see the mod. SKIN 1: HEY. POOFTAH! PANEL 4: A long panel down the left hand side of the page. The Mod has stopped and the 3 skins stand bathed in the light of the doorway. MOD:(under breath) Shit SKIN 2 SHAGGED ANY YER NANCY BOY MATES LATELY? PANELS 5/6 The Mod boy turns.(close up) MOD: NO, BUT I FUCKED YER MOTHER -MOD: --AND SHE WAS SHIT! PANEL 7: We see in outline the boy running as the skins come pounding after him. The shop fronts(those not boarded up could be a butcher, a baker’s and a newsagent’s/corner shop) in their muted nighttime lights the background of the chase. MOD: (Shouting)

2 WOOO HOOOOOO -------------------------------------------------------------------------------------------------------------------------------------------------PAGE 2: 10 PANEL chase scene. What’s important that there is a sense of movement from panel to panel. PANEL 1 should be down an alley CAP: (Song lyrics from “Down in the Tube station at Midnight: The Jam) “HEADLINES OF DEATH AND SORROW THEY TELL OF TOMORROW PANEL 2: The MOD is being chased down an alley still, this time seen from the front the mod in front parka flying, three horrible skins faces grimacing. CAPS: MADMEN ON THE RAMPAGE PANEL 3: Back shot of the skins slightly above, we can see the mod in front. We can see he’s approaching a chain link fence. CAPS: BEHIND ME PANEL 4: Here the Mod leaps the fence we can see him in silhouette against the moon (a Batman moment) his parka flapping around him. CAPS: WHISPERS IN THE SHADOWS PANEL 5: He lands on the ground knees bent, then up and running again. CAPS: GRUFF BLAZING VOICES PANEL 6 TO 9: Being chased down a series of streets, the 70s concrete and steel and old car parks. Graffiti on the walls and hoardings, badly drawn swastikas etc.: SHANE LUVS STACEY



The mod eventually takes a wrong turn as he turns into an alley behind a Chinese restaurant blocked by three massive steel rubbish bins. (those wheeled kind, big round fuckers). CAPS ACROSS 6&7: THEY SMELT OF PUBS, AND WORMWOOD SCRUBS AND TOO MANY RIGHT WING MEETINGS.” PANEL 8: The Mod is visibly knackered and he stops facing the rubbish bins. MOD: ( Softly) Fuck! PANEL 9: The three skins coming to a stop at the mouth of the alleyway and they are grinning fiercely. SKIN 1: GOT YER FUCKWIT. PANEL 10: The Mod is seen turning his parka swishing around like a cape ( a batcape? Yes! It’s the second Batman moment) And he stands in a pool of light from an open door, his backdrop is the three rubbish bins and it seems that he is in a circle of light. MOD: (Normal speaking voice) Come on then ya baldy ‘eaded bastards!! -------------------------------------------------------------------------------------------------------------------------------------------------

4 PAGE 3: 7 PANEL PAGE A PUB INTERIOR: PANEL 1: Two young men sitting at a pub table, we can see part of a fireplace behind them, there is a collection of pint glasses before them and an overflowing ashtray, crisp packets and assorted pub debris in front of them including a newspaper. The punk (Stuart) is dressed in punk attire per the period: black leather jacket across the back of his chair, “Never Mind the Bollocks” T-shirt, black jeans and boots, short, spiky, black hair. He looks down in the dumps, and there are more than pint glasses in front of him, a couple of short glasses as well. The other boy(Jim) is smartly dressed with a Fred Perry shirt, jeans and D(oc)M(artin)s, his hair is short, but not a skinhead, he is wearing a trilby and dark glasses. PANEL 2: A POV down the pub looking from a high vantage point showing the length of the bar up to the front door ( if Paul is drawing this, remember The Cock’s front bar, long and thin?) PANEL 3: Close up, we can see that STU is really sad, and pretty drunk. PANEL 4: Close up on JIM, he’s looking over his glasses. JIM: C’mon Stu. D’ya want another pint? PANEL 5 : (close up) STU looks daggers at his friend. STU: Course I want anuvver fuckin’ pint. PANEL 6: JIM sits back in his chair, hands up in a placating gesture. JIM: Cha guy! Chill, I’ll get you your pint. PANEL 7: this is a snapshot of the table, strewn with debris, cigarette packets, lighters beer mugs and a newspaper. The Sun 3rd February 1979. The headline is: SID VICIOUS DEAD ; Punk Star Killed by Overdose. -------------------------------------------------------------------------------------------------------------------------------------------------PAGE 4:

5 PANEL 1: JIM is at the bar, he catches the attention of the barmaid. PANEL 2: JIM is leaning against the bar as the barmaid asks him. BARMAID: What can I get you, duck? JIM: Two Snakebites love…dry cider. PANEL 3: The barmaid puts down 2 pints BARMAID: Your mate looks a bit miserable. PANEL 4: (mid-shot) JIM and Barmaid as he’s picking up the pints. JIM: Yeah, well…he got a bit of bad news today. BARMAID: Oh dear. Well…tell ‘im that worse things ‘ave happened at sea. That’ll be one fifty-eight luvvy. Ta. PANEL 5: JIM turns and sees a figure standing in front of him, he looks shocked. JIM: FUUUUUUUCCKKK!!! PANEL 6: SPLASH FRAME A shot of ALEX (the Mod), his hair is disheveled, his Parka is torn in several places, his tie is awry and there’s blood coming from his nose ( think of Otter’s entrance into Delta house after he was been up by Greggy and Dougie and the rest of the welcoming committee in the hotel room from Animal House). He’s framed by the doorway, on either side of which is a window alcove with a table and a seats, people are sat there ALEX is kind of in the doorway propping himself up on the frame like William Hurt when he was going through the final change in that scene in Altered States. The patrons in the pub that are near him are visibly shocked. They are a mixture of (mostly) males of varying ages, a couple of women, one who is about 30-ish. All are dressed in the clothes of the time. --------------------------------------------------------------------------------------------------------------------------------------------------

6 PAGE 5: SIX PANELS BACK AT THE TABLE. PANEL 1: ALEX has obviously cleaned himself up a bit. His nose is no longer bleeding and his tie is straight. JIM: So what the fuck happened, guy? ALEX: Three Boneheads decided that they wanted to play kiss-chase with yours truly. PANEL 2: STU’s problems have disappeared for the nonce. STU: Well let’s get the fuckers then. PANEL 3: ALEX looks at his mates. ALEX: Nah. Let it go, I managed to hurt a couple of them with my face anyway. JIM: (Burst) SHIT! PANEL 4: Mid-shot of the three, ALEX is lighting a cigarette. ALEX: So…we still on for the Blockers tonight then? JIM: Yeah, if dopey bollocks here is still interested. STU: Fuck off! PANEL 5: Close up on STU and ALEX, ALEX looks with sympathy at his friend. ALEX: Yeah. I heard it on the telly. Sorry mate.

7 STU: Fucking wankers killed him… PANEL 6: Close up of STU draining his pint. PANEL 7: STU looking into his empty pint pot. STU: …cunts fitted him up. -------------------------------------------------------------------------------------------------------------------------------------------------PAGE 6: PAGE 6: 8 Panels reading linearly PANEL 1: Close up on JIM beer glass half-way to his lips. JIM: So, you got the gear then? PANEL 2: ALEX reaching into his parka, looking around shiftily. ALEX: Course I did. I toldchya there wouldn’t be no problem.. PANELS 3/4/5 ARE THE THINNER PANELS. Each panel shows a close up of ALEX’s hand, in the first he’s showing some little pills, in the second it’s a foil twist of hash and in the third one is Stu and Jim looking at the stuff as if it were candy. PANEL 3 ALEX (OP): This is some wicked speed. Georgie told me it was the dog’s bollocks. PANEL 4 CAPS: “The public gets what the public wants,” PANEL 5 JIM(OP):

8 Put that shit away Guy! PANEL 6: A mid-shot of ALEX smirking and shrugging into his parks. ALEX: Right. I’m off to the bog for a slash, then we’ll be off then,eh? PANEL 7: A shot of STU and JIM from ALEX’s POV. STU/JIM (both): YEAH. PANEL 8: We see ALEX’s back as he’s disappearing towards the toilet through the crowd, there’s the big RAF roundel on the back of his parka, there’s a crowd of people all around him which seems to part as he walks his way through the crowd. ------------------------------------------------------------------------------------------------------------------------------------------------PAGE 7: 10 PANELS: PANEL 1: A long shot from the door of the pub, we can see the glass and steel windows of the tech college on the other side of the road to the left and on the right, the depressingly large bulk of the Arndale Centre rising in all of it’s early 70s monstrosity. PANEL 2: Another long shot as we see the lads disappear down the hill and around the corner. PANEL 3: A mid range shot front on of our three heroes, not exactly laughing and joking, it’s too wet and cold for that, but ALEX is skinning up. ALEX: So what you up to this weekend then Stu? STU: Well I get me dole on Friday so me an’ Mark an’ Chris are off down to the Smoke. Prob’bly end up at the Roxy PANEL 4: This is the long panel in the middle of the page, once again a long shot side on of the boys as they walk past the church. We can see the yew trees and the flint wall around the front of the church, behind which lie the remaining gravestones, the church is in darkness but the wall of dark is punctuated by the dim outlines of the stained glass windows that are illumned by the street lights coming from behind them, relieving the

9 blackness. Clouds of smoke billow from the three boys smoking. This panel is the width of the page. STU: What you up to Jim? JIM: (mumbling) Going….Cinderella’s….Dunstable….Sunday ALEX: What? PANEL 5: A close-up of JIM looking a bit lary, shame-faced, not really wanting to repeat what he said. JIM: I said, “I’m goin’ to Cinderella’s in Dunstable on Sunday PANEL 6: A mid range of STU, his head thrown back in laughter. STU: HAHAHAHAHA…Jim’s goin’ to the kiddie disco…HAHAHAHAHAHA PANEL 7: Mid-range shot, JIM is in STU’s face, a wee bit aggressive . JIM: Shut the fuck up. It’s fuckin’ got good Ska and 2-Tone there, most of the lads is goin’, so just shut the fuck up. It’s under-18s don’t mean it’s a kiddie disco. STU: (appeasing hands up) Calm down you knob-head…I mean if you wanna go kiddie-diddling… PANEL 8 Mid-range shot side on. JIM is advancing on STU his fist raised, arm cocked back. JIM: Shut your gob you cunt! I’ll fuckin’ deck yer. PANEL 9: Long shot of JIM and STU squaring up on each other JIM has STU’s leather jacket lapels in his hands. STU has JIM by the lapels as well. This is going to kick off. PANEL 10: Close up of the two lads, growling into each other’s faces.

10 ALEX (OP): Jim’s got another reason for going, don’t you Jim?. -------------------------------------------------------------------------------------------------------------------------------------------------PAGE 8: 10 PANEL PAGE: I’ll have to explain the layout a little. Panels 1 to 6 are normal comic book layout, but panel 10 will occupy the bottom left hand corner of the page, a triangular panel. Panel 7 to 9 occupying the space on the right hand space. 7 and 8 on one row and panel 9 on its own at the bottom half of the right hand side “triangle” of panels. PANEL 1: Long shot, we see ALEX leaning against a lamp post smoking the joint, an amused smile on his lips. ALEX: What’s the “reason’s” name Jimmy boy? PANEL 2: Close up of JIM and STU again, still with each other’s lapels in their hands, but JIM’s face is now uncertain, a little abashed. JIM: Jane PANEL 3: Mid range of STU now a little calmer, an amused smile playing around his lips. STU: Bollocks mate. Why didn’t you say so. JIM (OP): You din’t give me a chance you prick. PANEL 4: STU puts a magnanimous arm around JIM’s shoulder. STU: Well, now. Everything is dif’rent,innit? Changes everything, does a bint. JIM:

11 She ain’t a bint! PANEL 5: A shot of ALEX as he pushes away from the lamp post and hands the joint to STU. ALEX: Leave the poor sod alone Stu. PANEL 6: A shot over a little above of ALEX We can see his top half and half his face as he’s speaking to JIM, We can see JIM front on and STU off to one side, puffing on the wacky-baccy. ALEX: Come on then Jimbo. What’s so special about this un? JIM: Well, she really nice PANEL 7: We see JIM, he’s got a happy little smile on his face as he’s explaining about his passion. JIM: She’s kind, and brainy. She loves music…an’ she’s pretty…an’ she cool…an’ … Panel 8: The same shot of JIM but something has deflated him a little. Perhaps the thought of what he’s going to say next, and he knows what the reaction of his mates will be. JIM (in a quiet voice): …she plays the cello. PANEL 9: A mid shot front on of ALEX and STU as they look at each other in amazement at what they just heard from their friend. PANEL 10: A full length shot of STU and ALEX in the circle of light cast by the street lamp, heads thrown back in laughter. STU’s right leg is up of the floor he’s laughing so hard tears flying from his face, mouth open. ALEX is almost bent double with mirth, hanging onto STU’s arm to keep from falling down in amusement. Obviously the hash has something to do with this. SFX: BWAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

12 PAGE 9 : 9 PANEL PAGE. The top three panels form one picture but need to be divided, the midthree panels also form one picture and are broken up by the panel divides. They are the same picture but from two different angles. Panels 1, 2 and 3 are ALEX in panel 1, JIM in panel 2 and STU in panel 3. We are looking at them from the front and can see them from the waist upwards. They are being lighted from the lamp post, up the slight rise of the hill down which they have walked we can see the dark bulk of the shopping centre on the right on the other side of the road and on the left hand side in PANEL 1 we can see a bit of the low wall of the churchyard and the beginning of the University building (modern design for the 70s/80s:glass steel and purple brick IIRC), with railings (not spiked) curving away to the left following the curve of the road. At the top of the rise in the distance we can see the row of shops and pubs from which the trio have lately walked down from. A clothes shop, a kebab shop, The Cock Pub, and further (this will be seen in the background of PANEL 3) Another Pub (The Brewery Tap I seem to remember) that curves round to the right, in between the aforementioned shop and kebab restaurant, a bike shop, a boarded up shop with a TO LET sign and an estate agent’s. PANEL 1: A mid range shot of ALEX, his arm drooped over JIM’s shoulder (this carries into PANEL 2) , he is placating JIM an amused look on his face. ALEX: C’mon Jimbo, don’t be a tosser. We’re only pulling your leg mate. I think it’s beautiful. PANEL 2: A mid range shot of JIM an annoyed look on his face, a childish pout to his lips and his forehead creased with a frown. We can see the rest of ALEX’s arm and hand around his shoulder. PANEL 3: This is STU on the left. Also an amused look on his face, a little more aggressive perhaps but not threatening by a long shot. STU: Yeah, Jim. Stop fucking about. We’re only having a laugh. No harm done ol’ son. PANELS 4, 5 and 6 are the same arrangement but from the side perspective. STU is nearer the “camera” and ALEX is in the longer perspective, with JIM in the middle again as the pivot. STU has his back to the camera, though we get to see the left-hand side of his face, and we can see ALEX in full front as he is leaning in front of JIM to speak to him and include STU in the conversation. The background is now different. The dark bulk of the church is now behind them, and also the column of the lamp post can be seen. The circle of light illuminates the low wall of the churchyard and a few of the old gravestones lying higgledy-piggledy in the church yard, maybe the trunks of a couple of the Yew trees can also be seen. Once again the scene is really one but broken into 3 panels.

13 PANEL 4 : ALEX is really trying to placate JIM and he’s kind of appealing to STU to help him out. ALEX: Alright James m’boy. Let’s see if we can’t make things go with a bit more of a swing. PANEL 5: JIM is obviously beginning to soften a bit. He’s not the kind of bloke to stay pissed off at his mates for too long. JIM: You two are always taking the piss. You’re gonna get yours one day, y’know that? PANEL 6: STU is helping ALEX out, his sadness of earlier is seeming to dissipate and we can see that he wants to help his old friend out and get the party back into swing. STU: Are we gonna get to the Blockers tonight or wot? Fuck! If we carry on at this rate we’ll get there for next week’s gig. PANEL 7: Mid shot of ALEX as he reaches into his Parka. ALEX: Right. Let’s get these babies down out gullets and go help Stu pogo a bit. PANEL 8: This shows ALEX handing out the speed to the other two. JIM: Yum Yum. STU: Fuckin’ ACE! PANEL 9: All three in a kind of semi circle, popping the pills into their mouths at the same time. -------------------------------------------------------------------------------------------------------------------------------------------------PAGE 10 : 6 PANEL page. This is the beginning of the trio’s progress to the Blockers. These are all longish shots,

14 PANEL 1: The three are cavorting together, we are seeing them from the back and they are crossing the road from the church side on the right to the Shopping centre side on the left, but now they’ve reached level with the multi-storey car park that occupies that side down to the corner, in the distance we can see the main road divided by a median strip (concrete) and on the other side is an industrial estate flush with the pavement. It’s a new construction at this time. There’s a printers (White Crescent Press) and an overlocking firm, that we can see, all this is pretty well lighted by the street lamps. CAPS: “He’s a boy, he’s very thin-PANEL 2: Once again we see the three larking about as they are walking. They have turned the corner and we can see the arse end of the shopping centre and the entrance to the car park. There’s some big industrial waste skips out side the dark cavern of the trade entrance to the shopping centre. Also the back end of some old buildings that haven’t been torn down yet, rubbish is blowing around the damp streets. CAPS: --until tomorrow took heroin, PANEL 3: Here we come past the end of the old buildings and there’s a street that leads out from on the left, which the old buildings are on one side, on the other is a pub in an oasis of light ( The Melson Arms) its entrance in the road that decants into the main road. It’s mostly white but the trim of the door and the windows is a dark colour (maroon I should imagine). The boys walk past still joshing each other. CAPS: Don’t like himself very much. PANEL 4: Now the boys are walking past the entrance of the bus station. Garishly lit by the orange sodium bulbs of the street lamps and the light within its cavernous interior, we can see a couple of double-deckers within a couple of single-deckers too in the bays. We can see part of an iron railway bridge graffittied with the words LTFC. CAPS: ‘Cause he has set to self-destruct— PANEL 5: We can now see the boys from the back and the iron railway bridge which spans the road,.LTFC is there and IRA is written on the other span. The boys are walking into darkness as they pass below the bridge. We can see the road going up an incline old houses and shops. We can see the entrance to a shunting yard on the left hand side of the road, weed specked and a dilapidated stone building, which was obviously the office for the yard. Just up from the bridge on the right-hand side is a turning, an old auction house on the far corner.

15 CAPS: --destroy it, enjoy it. Destroy it, enjoy it. Destroy it, enjoy it. PANEL 6: The boys are now at the corner and looking up a thin road, old industrial units on the left hand side (Midland Road from Church Street) the railway embankment on the right hand side, a thin tarmac pavement to the granite kerb, punctuated by trees going on up the slight hill (beeches I think).Parked cars making the already narrow road even narrower, once again intermittently illuminated by street lights, the full moon now fully risen up in a clear February sky, ragged tatters of clouds like whisps of dirty gossamer, we see the boys from the waist up and the back as they contemplate the walk up the hill. CAPS: I could hate you anytime. I could hate you anytime. -------------------------------------------------------------------------------------------------------------------------------------------------PAGE 11 : 5 PANEL PAGE: one panel running the width of the page, panels 2, 3 and 4 in the middle tier and panel 5 running the width of the bottom of the page. There’s a general air of neglect through all these scenes. Rubbish being blown around the streets etc. chip papers, fag packets. The town is generally being run down and this part of the town more than most. PANEL 1: The trio have now reached the top of the hill, this is a panoramic shot of the top of the hill, on the right we can see the entrance/exit of the bridge that leads to the train station ( we know this because there’s a British Rail sign and a sign saying “footbridge to Station”. There’s a white building set a little back from the other side of the bridge entrance, it’s a white building with a grey slate roof. Two windows, one above the other, punctuate the whiteness of the end wall of the building there’s a sign a little to the right of the top window says “Lawton Solicitors”. There’s a pedestrian crossing from the entrance to the footbridge, to the right hand side of the road, on this side of the road set back a bit is another pub “The Railway Tavern” all this leads to a cross roads with Midland Road carrying on down the hill and the road to the right is High Town Road. (It would be nice to have a few street name signs here, the old ones). In the middle of the crossroads is a traffic island. On the corner in front of the pub is a red phone box, our boys can be seen disappearing round the corner to go up High Town road.

16 CAPS: He is set to self destruct. He is set to self destruct. PANEL 2: Close up on JIM who’s really buzzing now as the speed is kicking in. Behind him is a corner shop grocer’s cum off-license, big white sign with black lettering across the store front above the shop window and door “Redrup & Starkings LTD” in the window the usual detritus of grocer’s cum off-licenses fag ads, for sale notices, beer ads, pussy missing notices (Have you seen twinkles, he is all black with one white paw left paw front.) JIM: Fuck Alex! This stuff really is the dog’s bollocks. ALEX (OP): Toldchya PANEL3: Close up of STU looking across the other side of the road we can see a newsagents (Express News), an Indian restaurant and the Brickmaker’s Arms. Plus an assorted oddment of other little shops, a barber’s and a Hair Salon. STU: Come on you dozy tossers. I need to POGO!!!! PANEL 4: A shot from the back of ALEX as he’s walking on. Up the road we can see a light that seems to be shining brighter than the others, a bright oasis amongst the shadows cast by the orange sodium street lights. (Obviously this is the Blockers, use the lighting to make it stand out from the rest of the lighting). ALEX: Well? Come on then, we ain’t got all frigging night, have we? PANEL 5: This takes up the width across the bottom of the page. A shot from the righthand side of the road looking across at the frontis of the pub, there’s a big window on the left hand side of a pair of the big pub double doors, we see our three “heroes” walking to the entrance from the side on. The big window is opaque you can’t see in, but we can see flashing lights, each side of the pub there are buildings, on the left-hand side a junk shop (Standbridge & Sons, Antiques bought and sold) and the Scandinavia Café (this will be important later in the story as it’s going to have it’s massive plate window stove in during the riots) on the right-hand side a used book shop, a boarded up shop front and an estate agent’s. There’s an overspill from the pub outside on the pavement, to the left-hand side of the window, a punk couple are “necking” there’s a couple of punks and skins passing around a fag. On the right-hand side of the doors there’s a gaggle of underage punks generally pushing each other around. Across the

17 front of the pub above the double door is writ “The Blockers” on the wall there’s posters for past bands and future attractions A Big one announcing “TONITE: UK Decay”. Above the first floor we can see a series of three window, all blacked out. CAPS: Running fighting down the street Ain't got no money but I don't cry We're the people you don't wanna know We come from places you don't wanna go CAPS: Angels with dirty faces Angels from nowhere places Kids like me and you

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