The Gatekeeper
written by
Stuart Thorne
Address
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E-mail
CLUB INFERNO.
Bass thuds through brick walls.
Laughter spills out, already half-
drunk.
EXT. CLUB INFERNO – CONTINUOUS
JAMES THOMPSON (early 50s) stands at the door.
Big. Still solid. Not flashy. A face that’s taken punishment
— flattened nose, cauliflower ears — and learnt from it.
He checks IDs with minimal effort. A nod here. A shake of the
head there. No drama.
The queue is a mix of lads, girls, regulars, and first-
timers. James clocks them all without staring. Instinct more
than thought.
Genres:
["Drama","Crime"]
Ratings
Scene
2 -
Calm in the Chaos
INT. CLUB INFERNO – FOYER – CONTINUOUS
Music hits harder inside.
A bored young WOMAN takes cash at a battered counter. James
stands nearby, silent, watching bodies flow past him.
Some get a nod.
Some get sized up.
One or two get a longer look.
Everyone feels it — this is his space.
INT. CLUB INFERNO – MAIN ROOM – CONTINUOUS
The club opens up — rough around the edges.
Peeling wallpaper. Scuffed floors. Old arcade machines
blinking in the dark. A packed dance floor heaving to the
beat.
James moves through it easily, like he knows where every
loose floorboard is.
A couple of REGULARS catch his eye. A nod. A half-smile.
He keeps moving.
Sweat. Alcohol. Noise.
James is calm at the centre of it all.
As James reaches the bar, a THUG (30s), drunk and
belligerent, stumbles into him — beer sloshing over James’s
sleeve.
THUG
Oi— watch it, arsehole.
James looks at the spill. Then at the man.
Calm. Measured.
He takes the thug by the arm and guides him firmly onto a
barstool — not rough, not gentle. Just final.
JAMES
Easy. No one’s having a bad night.
The thug tries to pull free. He doesn’t get far.
James applies pressure — precise, practised. The fight drains
out of the thug immediately.
Around them, the bar goes quiet.
James releases him. The thug slumps on the stool, embarrassed
more than hurt.
Noise slowly creeps back in.
James catches the eye of MARIO, the bartender and manager
(50s). Mario gives him a grateful nod and carries on wiping
the bar.
James takes a seat.
JAMES (CONT'D)
Whisky, please, Mario.
Mario pours.
James leans back, scanning the room — already clocking the
next problem before it starts.
JAMES (CONT'D)
Busy one tonight, Mario.
Mario leans in close, shouting over the music.
MARIO
Yeah. Still early though. Not too
many dickheads yet.
James smirks.
JAMES
Give it time.
James takes a sip — then his eyes shift.
Across the dance floor, the same THUG from earlier crowds two
YOUNG WOMEN. Too close. Too familiar. They edge away. He
doesn’t take the hint.
James sets his glass down.
He moves through the crowd — steady, deliberate — gently
guiding bodies aside without breaking stride.
James stops beside the women.
JAMES (CONT'D)
Are you alright?
They nod — quick, relieved.
James turns to the thug. Calm. Certain.
JAMES (CONT'D)
Night’s over. Let’s go.
The thug doesn’t move.
Instead, he steps closer—right into James’s space. Smiling.
Testing.
THUG
What, are you serious?
What you gonna do about it?
James looks at him for a beat. Almost amused.
JAMES
You didn’t learn much, did you?
James takes hold of the thug’s shoulder, firm but measured,
trying to turn him away.
The thug jerks free — panics — and swings.
James slips the punch without effort.
One short, brutal shot to the body.
The thug folds instantly, dropping to his knees, air gone. He
claws at nothing, gasping.
James crouches beside him.
JAMES (CONT'D)
Slow it down.
In through your nose. Out through your mouth.
The thug nods, still choking, but listening now.
James helps him up.
They move through the crowd together — no resistance now —
bodies parting as they head for the door.
Genres:
["Drama","Thriller"]
Ratings
Scene
3 -
Aftermath at Club Inferno
EXT. CLUB INFERNO – ENTRANCE – NIGHT
They step out into the cool night air. The club’s bass thuds
behind them, muffled now.
Two other BOUNCERS stand watch — big, immovable. They clock
the situation instantly.
James releases the thug.
JAMES
Go home. Sleep it off.
The thug nods, still winded. He lifts a hand in half-apology,
half-surrender, then shuffles off down the street without
looking back.
James turns to the bouncers.
JAMES (CONT'D)
They never learn.
One of them smirks.
BOUNCER
If they did, we’d be out of a job.
James gives him a light pat on the shoulder and heads back
inside.
Genres:
["Drama","Action"]
Ratings
Scene
4 -
Flirtations in the Night
INT. CLUB INFERNO – MAIN ROOM – CONTINUOUS
The noise swallows him whole again.
Music pounding. Bodies packed tight. The night was rolling on
like nothing happened.
James weaves through the crowd, unhurried, heading for the
bar.
Behind it, MARIO works flat out — pouring, shaking, and
sliding glasses down the counter with muscle memory
precision.
James reaches his usual spot.
James takes a sip of his drink. Across the bar, an ATTRACTIVE
WOMAN catches his eye.
A small smile.
She returns it.
James gives a modest grin — then looks away.
Genres:
["Drama","Thriller"]
Ratings
Scene
5 -
Morning Run
INT. JAMES’S FLAT – BEDROOM – MORNING
Early morning light leaks through thin curtains.
A small East End bedroom. Tight. Functional. Lived-in.
Old boxing gloves hang from a nail. A few battered trophies
on a shelf. Faded fight posters curling at the edges.
James lies sprawled across the bed, snoring softly.
An alarm BUZZES on the bedside table.
James groans, reaches out, and kills it.
He sits up slowly, blinking against the light. Age makes
itself known — but so does discipline.
He swings his legs out of bed, rubs his eyes, then reaches
beneath a chair piled with clothes.
Worn running shoes.
EXT. JAMES’S FLAT – MORNING
James steps out of a low-rise East End block, dressed in a
faded tracksuit, cap pulled low.
The street is quiet.
Bins out.
Delivery vans idling.
A couple of early commuters heading for the Tube.
He pauses. Breathes in the cold morning air.
Then starts jogging.
James runs through back streets and estates — concrete,
brick, shuttered shops.
Past canal paths slick with dew.
Under railway bridges rattling overhead.
Along empty stretches of road just waking up.
A few people clock him. Most don’t.
He keeps a steady pace. Controlled. Purposeful.
EXT. EAST LONDON PARK / CANAL PATH – MORNING
James pushes harder now.
Joggers appear. Dog walkers. Cyclists cutting past.
His breathing deepens. Sweat beads at his temples.
Despite the years, his movement is economical — trained.
Efficient.
Muscles complain. He ignores them.
Genres:
["Drama","Action"]
Ratings
Scene
6 -
Morning Reflections on East London High Street
EXT. EAST LONDON HIGH STREET – MORNING
James slows to a jog.
The city is coming alive — shop shutters lifting, buses
rolling in, and neon signs flickering off after a long night.
He stops.
Hands on hips. Breathing heavily but measuredly.
James takes it all in for a moment — the noise, the motion,
the weight of another day starting.
Then he turns and heads back the way he came.
A faint smile tugs at the corner of James’s mouth —
satisfaction, brief but real.
He checks his watch.
Time.
James turns and jogs back the way he came, swallowed by the
waking streets of East London.
Genres:
["Drama","Character Study"]
Ratings
Scene
7 -
Evening Routine
INT. JAMES’S FLAT – EVENING
Evening settles in.
James stands in his small kitchen—cluttered with dirty
plates, empty containers, and evidence of nights spent alone.
He slides a frozen meal into the microwave. Hits START.
The machine HUMS.
James waits. Silent. Still.
The microwave PINGS.
He plates the food and carries it through to the living room.
James drops onto a worn sofa, the meal balanced on his knees.
The TV is already on.
A NEWS ANCHOR rattles through headlines — politics, crime,
rising costs.
Then—
SPORTS.
ON TV – A BOXING HIGHLIGHT PACKAGE
Crowds roaring. Lights flashing. A YOUNG BOXER celebrates in
the ring, soaking it in.
The commentator talks him up — social media star turned
headline fighter. Undefeated. Controversial. Everywhere.
James’s attention locks in.
The boxer basks in the noise — confidence bordering on
arrogance.
The segment cuts between knockouts, press conferences,
designer tracksuits, and flash cameras.
James watches, unimpressed.
JAMES
(practically to himself)
Twat.
He switches the TV off.
Silence returns.
James eats alone.
EXT. JAMES’S FLAT – EVENING
Early evening.
James comes down the steps of his run-down East End block and
heads for his battered car parked at the kerb.
He gets in and turns the key.
Nothing.
He tries again.
The engine coughs — then catches.
James pulls away, merging into traffic as the streets fill
with buses, delivery vans, and commuters heading home.
Genres:
["Drama","Sports"]
Ratings
Scene
8 -
A Warm Welcome at Rosewood House
EXT. CARE HOME – EVENING
James’s car slows outside a well-kept residential care home
tucked away on a quiet East London street.
Warm light spills from the windows.
The building is modest but cared for — a two-storey place
with flower pots by the door, a wheelchair ramp leading up to
the entrance, and neatly kept grounds.
James parks in the visitors’ bay and steps out.
He approaches the door. A sign above it reads:
ROSEWOOD HOUSE.
James presses the buzzer.
A FEMALE CARE WORKER appears on the intercom screen and
buzzes him in.
INT. CARE HOME – RECEPTION – EVENING
James steps inside.
A FEMALE SUPPORT WORKER behind the desk looks up and smiles.
FEMALE SUPPORT WORKER
Evening, Jimmy. Jack’s in the
communal room.
JAMES
Cheers.
James heads down the corridor.
Children’s paintings and craft projects line the walls —
colourful, uneven, and full of effort.
Genres:
["Drama"]
Ratings
Scene
9 -
A Game of Friendship
INT. CARE HOME – COMMUNAL AREA – EVENING
The room is warm and busy.
Residents are spread out—some playing board games, others
chatting, and a few focused on puzzles.
Staff move calmly between them, patient, attentive, and
practised.
James pauses for a moment, taking it all in — then spots
Jack.
INT. ROSEWOOD CARE HOME – COMMUNAL AREA – EVENING
The room is warm and busy.
Residents are gathered around tables — board games in
progress, puzzles half-finished, quiet conversations
overlapping.
Staff move calmly between them, used to the rhythm.
James scans the room.
He spots JACK (40s), slim, anxious, hunched slightly forward,
deep in concentration over a game of Connect Four.
Sitting opposite him is GARY (40s), cheerful, loud, wearing a
claret-and-blue WEST HAM FOOTBALL SHIRT.
James smiles as he approaches.
JAMES
Jack! There you are.
Jack looks up, his face lighting instantly.
JACK
Jimmy!
James pulls up a chair.
JAMES
So… who’s winning?
Gary grins, puffing his chest out.
GARY
Me. I’m the best Connect Four
player in the whole of East London.
Jack scowls, focused. He drops a counter — misses.
Jack’s frustration bubbles over. He knocks the game, sending
counters skittering across the table and floor.
A SUPPORT WORKER, SARAH (30s), warm but firm, steps in.
SARAH
Jack. That’s not fair. You know the
rules.
Jack looks ashamed immediately.
JACK
Sorry, Gary. Friends?
Gary considers this for a beat — then nods.
GARY
Friends.
They begin picking up the counters.
James looks to Sarah.
JAMES
Sorry about that. He gets wound up
sometimes.
SARAH
(smiling)
You should see him at bingo.
James watches Jack and Gary reset the board.
JAMES
Jack — you alright if I borrow
Sarah for a minute?
Jack nods.
JACK
Yeah. Go on.
Jack leans toward Gary, whispering.
JACK (CONT'D)
(grinning)
Gary, I think Jimmy likes Sarah.
They snigger like schoolkids.
James shakes his head, embarrassed, then turns to Sarah.
JAMES
How’s he been?
SARAH
Good, mostly. He and Gary are
inseparable.
James notices something in her expression.
JAMES
You okay?
SARAH
…Not really.
JAMES
Fancy some air?
Sarah nods.
Genres:
["Drama","Character Study"]
Ratings
Scene
10 -
A Looming Closure
EXT. ROSEWOOD CARE HOME – EVENING
They step outside into the cooling East London air.
SARAH
This stays between us.
James nods.
JAMES
Of course.
SARAH
Rosewood’s in trouble. Funding’s
being pulled.
James absorbs that.
JAMES
What does that mean?
SARAH
It means the home could close by
the end of the year.
James looks back through the window — at Jack.
The weight lands.
SARAH (CONT'D)
(sighs)
You know Maria Sanchez — she
founded Rosewood. She passed away
six months ago.
James nods.
JAMES
Cancer.
A beat.
JAMES (CONT'D)
Took my mum. Six years back.
Sarah gathers herself.
SARAH
She left everything to her son.
Eddie.
You’ve probably heard of him—owns a fair bit of property
round here.
James leans in.
JAMES
What does that mean for the people
here?
Sarah meets his eyes. Steady. Honest.
SARAH
It means the home can’t keep going
as it is. We will close in eight
months without the funding.
The weight of it hits James.
He looks back through the window — at Jack, laughing with
Gary.
Then back to Sarah.
JAMES
So we’ve got… What?
Eight months?
SARAH
(nods)
At best.
The official announcement’s next week.
James exhales slowly. The ground shifting beneath him.
JAMES
Is there anything we can do?
Sarah hesitates.
SARAH
I don’t think so.
There’s talk Eddie’s inherited a lot of debt.
Bad investments his mum made — ones he didn’t know about.
James processes that.
JAMES
Has anyone spoken to him?
Told him what this place means?
What it meant to his mum?
Sarah shakes her head.
SARAH
Only a handful of us even know
what’s coming.
Until it’s official, we can’t approach him.
James goes quiet.
His jaw tightens. Hands clench, then relax. He paces — trying
to burn off the surge of anger before it spills out.
JAMES
It’s not right.
People live here. This is their home.
Jack’s home.
He stops pacing. Faces Sarah.
JAMES (CONT'D)
I’ll speak to Eddie once it’s
official.
Face to face.
Sarah studies him.
JAMES (CONT'D)
I’ve crossed paths with him before
— at fights.
He came back to the dressing room once or twice.
Congratulated me.
Sarah exhales, choosing her words carefully.
SARAH
I admire that you want to try.
But Eddie lives in a very different world.
This will be a long shot.
James squares his shoulders. Decision made.
JAMES
Then it’s a long shot I take.
Sarah softens. A small, genuine smile.
SARAH
You’re a good man, James.
Whatever happens — you try.
James nods.
JAMES
I’ll go to his office.
If nothing else, I’ll make him listen.
James shakes Sarah’s hand — firm, grateful — then turns back
inside.
Genres:
["Drama"]
Ratings
Scene
11 -
A Game of Connect Four
INT. ROSEWOOD CARE HOME – COMMUNAL AREA – EVENING
James crosses the room.
Residents are absorbed in crafts, board games, quiet chats.
Laughter drifts. A place doing what it’s meant to do.
James clocks it all — the normality, the care — and it steels
him.
He reaches Jack and Gary, now mid-rematch at the Connect Four
table.
James pulls up a chair and sits.
JAMES
So… how you been, Jack?
JACK
Hold on, Jimmy. Gotta concentrate.
Jack drops a yellow counter.
CLACK.
JACK
(excited)
Four in a row!
I did it!
Gary slaps his forehead, devastated.
GARY
Ahh… no!
Jack jumps up, punching the air. He turns to James, beaming.
JACK
Did you see that?
I beat him!
Gary smiles at Jack and reaches across the table, shaking his
hand.
GARY
Good game.
You win. First time.
Jack grins — proud.
Gary stands.
GARY (CONT'D)
I go to my room for a bit.
You and Jimmy can chit-chat.
Bye, Jimmy.
Friend, yeah?
James looks up at him, genuinely touched.
JAMES
Always, mate.
You take care.
I’ll see you soon.
Gary nods, satisfied, and heads for the door.
James and Jack watch him go.
A beat.
James turns back to his brother.
JAMES (CONT'D)
So… how you been this week?
Jack drops his gaze. Starts rubbing his hair — a familiar
tell.
JACK
I been alright.
My head hurts sometimes.
You know.
James softens.
JAMES
I know.
You still taking your tablets?
Jack begins to rock slightly in his chair, then looks up at
James.
JACK
Yeah.
I still take the medicine.
Helps with the pain in my head.
James studies his brother — says nothing. The weight of it
sits between them.
Genres:
["Drama"]
Ratings
Scene
12 -
Responsibilities and Resentments
INT. JAMES’S CHILDHOOD HOME – BEDROOM – DAY – FLASHBACK –
A small East End bedroom, bursting at the seams.
Old BOXING NEWS magazines are stacked by the bed. Signed
gloves hang from a shelf. Faded posters of FRANK BRUNO and
NIGEL BENN peel from the walls.
Sixteen-year-old JAMES sits at his desk, buried in homework.
A Walkman on his ears, rock music bleeding faintly through
the headphones.
The bedroom door creaks open.
James’s MOTHER steps inside — early 40s. Tired but resilient.
Hair neatly pinned back. Glasses slipping slightly down her
nose.
She watches him for a moment, gathering herself.
MOTHER
Jimmy… I’ve been called into work.
The restaurant’s short-staffed.
I need you to look after Jack tonight, yeah?
James doesn’t hear her — still nodding along to the music.
His mother sighs. Crosses the room. Gently lifts the
headphones from his ears.
MOTHER (CONT'D)
Jimmy. I’ve got to go to work.
James swivels around in his chair, irritation flashing across
his face.
JAMES
(annoyed)
Again? Why?
You know my coursework is due by the end of the week. I—
His mother cuts in, gentle but firm.
MOTHER
(overlapping)
I know, Jimmy. I do.
But the bills don’t stop.
Tony’s paying me a full shift even though I’m only doing
eight hours.
We need it.
James slumps back in his chair, frustrated.
JAMES
It’s not just that, Mum.
I was meant to meet Lenny later — down the park.
Just have a kickabout.
A flicker of irritation crosses his mother’s face.
MOTHER
I don’t want you running around
with Lenny.
He’s always in some kind of trouble.
and it rubs off.
James turns away, trying to disappear back into his work.
His mother sighs — deep, tired — and sits on the edge of the
bed behind him.
MOTHER (CONT'D)
I know it’s been hard.
James stiffens.
MOTHER (CONT'D)
He cleaned out the account.
Left us with nothing.
He went off to start a new life with his secretary.
The words hang in the air.
James slowly turns in his chair, troubled. He meets his
mother’s eyes.
Silence hangs between them — heavy, unresolved.
JAMES
(angry)
Mum, I get it.
But I had plans.
Everyone’s going to be down the park, and instead I’m stuck
here looking after Jack.
It’s not fair.
His mother stands. Walks over to him.
MOTHER
That’s enough.
I don’t want to hear any more.
She softens — just slightly.
MOTHER (CONT'D)
I have to go to work.
We need the money.
There’s food in the fridge — sort something out for you and
Jack.
Now I have to get ready.
I’ll be back after ten.
She turns and leaves.
The door SLAMS.
END FLASHBACK
Genres:
["Drama"]
Ratings
Scene
13 -
Evening Reflections at Rosewood
INT. ROSEWOOD CARE HOME – COMMUNAL AREA – EVENING – PRESENT
DAY
JACK
(concerned)
You alright, Jimmy?
James blinks — back in the room.
JAMES
Yeah.
Just tired. Work, that’s all.
JACK
You should sleep more.
Being tired makes you ill.
JAMES
(smiles)
I can’t get ill, Jack.
Sarah wouldn’t let me in.
Jack looks up at him, fidgeting, ruffling his hair — trying
not to laugh.
JACK
Gary says…
(beat)
You like Sarah.
James laughs, leaning back.
JAMES
I do like Sarah.
She looks after you lot.
She works hard—
JACK
(overlapping)
You should make her your
girlfriend.
James shifts in his chair, uncomfortable.
JAMES
I don’t think that’s a great idea.
Look at me.
You reckon she wants to be seen with this?
He gestures to the scar through his eyebrow. Then his crooked
nose.
JAMES (CONT'D)
Anyway — enough matchmaking.
I’ve got to get back to work.
Jack’s smile fades.
JACK
(upset)
You’ve only been here a little
while.
You stay longer tomorrow?
James stands, moves closer, rests a hand on Jack’s shoulder.
JAMES
You’ve forgotten about tomorrow
night, haven’t you?
Jack looks up, confused, ruffling his hair.
JACK
Tomorrow?
James kneels so they’re eye to eye.
JAMES
You know tomorrow night?
West Ham.
Jack’s face lights up — then falters.
JACK
(confused, excited)
They playing here?
In the park?
JAMES
(smiling, overlapping)
No, no — not here.
At the stadium.
Where West Ham play.
I got us decent seats.
Jack still looks a little lost — but the smile stays.
JACK
West Ham… stadium.
Tomorrow?
JAMES
Tomorrow.
I’ll pick you up; Gary's coming too. Yeah?
JACK
Yeah.
Tomorrow.
Football.
Bye, Jimmy.
James stands, giving Jack’s shoulder a squeeze, then heads
for the exit.
Concern lingers on his face.
He nods to the receptionist on the way out.
EXT. ROSEWOOD CARE HOME – NIGHT
James exhales as he reaches his car.
He gets in, closes the door, and leans his head back against
the headrest.
A beat.
He starts the engine. Local radio hums quietly.
James stares through the windscreen, lost in thought.
Genres:
["Drama","Family"]
Ratings
Scene
14 -
A Day of Babysitting
INT. JAMES’S CHILDHOOD HOME – LOUNGE – DAY – FLASHBACK – 1989
The lounge is worn but homely.
A frayed sofa sags in one corner, one leg propped up with an
old paperback. A battered coffee table bears ring marks from
countless mugs and forgotten spills.
Late afternoon light filters through thin curtains, bathing
the room in a soft glow. Dust hangs in the air.
An old TV flickers in the corner, playing children’s
cartoons.
On the threadbare carpet sits JACK, around five years old,
dark hair falling into his eyes. He’s cross-legged,
completely absorbed by the screen. The colours dance across
his face.
A voice breaks the quiet.
MOTHER (O.S.)
Jack, sweetheart—
Jack turns, beaming.
His MOTHER stands in the doorway, tired but warm, coat
already on.
MOTHER (CONT'D)
Mummy has to go to work.
Jimmy’s going to look after you and make you some dinner
later, alright?
Jack stands and toddles over, wrapping his arms around her
waist.
JACK
Alright, Mum.
I love you.
She smiles, bends down, kisses his forehead.
MOTHER
I love you too.
Be good for your brother.
Jack nods and returns to his spot in front of the TV.
His mother watches him for a moment — then turns and leaves
through the front door.
James enters the lounge and drops onto the sofa.
JAMES
(muttering)
Bloody babysitting.
Jack glances over at his brother — then turns back to the
cartoons.
The DOORBELL RINGS.
James sighs, gets up, and heads to the front door. He peers
through the peephole.
LENNY and two mates stand outside.
Genres:
["Drama"]
Ratings
Scene
15 -
Peer Pressure at the Doorstep
EXT. JAMES’S CHILDHOOD HOME – FRONT DOOR – DAY
LENNY (16), tall for his age, confident, hair braided tight
to his scalp, stands front and centre.
Beside him, BRYAN (16), shorter, stocky, ginger-haired, eyes
always looking for trouble.
MIKE (16), lean and sharp-faced, watches everything quietly,
arms folded.
The three of them — restless, buzzing with energy.
LENNY
You coming down the park or what?
James leans against the door frame, already knowing the
answer.
JAMES
Nah.
Mum’s gone to work.
I’ve got to stay in with Jack.
Lenny smirks, not surprised.
LENNY
Yeah, I know.
Saw her drive past when we were coming down the road.
Come on, Jimmy — you’ve got to come.
MIKE
Bring your little brother.
He can mess about on the swings, the climbing frame,
while we have a kickabout.
James hesitates. Glances back into the lounge.
Jack sits cross-legged, lost in his cartoons.
JAMES
I don’t know.
How am I meant to play and keep an eye on him?
Lenny and Bryan exchange a look — they’ve got him.
LENNY
(grinning)
Bring him with us.
He’ll love it.
A beat.
LENNY (CONT'D)
And anyway…
You know who’s going to be there.
James frowns.
JAMES
What do you mean?
Who?
The three boys grin in unison.
ALL THREE
Maddison.
James freezes — then tries to hide it.
Too late.
His face colours. Heart racing.
BRYAN
(teasing)
So what is it?
Coming with us —
or staying in and playing mum’s helper?
James hesitates — torn.
JAMES
Alright.
Give me a minute.
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
16 -
A Day at the Park
INT. JAMES’S CHILDHOOD HOME – LOUNGE – DAY
James steps back inside.
He pauses in the doorway — doubt flickering — then commits.
JAMES
(gently)
Jack.
Come on — we’re going to the park.
Jack doesn’t respond. Still glued to the TV.
JAMES (CONT'D)
(firmer)
Jack.
Shoes on. We’re going now.
No movement.
James strides over and switches the TV OFF.
The screen goes dark.
Jack spins around, furious.
JACK
(shouting)
Hey!
I was watching that!
I don’t want to go to the park!
James helps Jack to his feet — firm but gentle.
JAMES
Listen.
We’re going to the park.
You can have a go on the swings,
and they’ve got a great climbing frame.
You’ll have fun. I promise.
Jack hesitates — still upset — but lets himself be led.
END FLASHBACK
Genres:
["Drama"]
Ratings
Scene
17 -
Business Decisions and Personal Burdens
INT. EDDIE SANCHEZ’S OFFICE – CANARY WHARF – DAY – PRESENT
DAY
High above London’s Docklands, EDDIE SANCHEZ (mid-40s) stands
at the floor-to-ceiling window of a sleek Canary Wharf
office.
Glass. Steel. Order.
Below, the Thames cuts through the city. Trains slide in and
out. Suits move with purpose.
Eddie wears a tailored designer suit — understated but
expensive. Every detail deliberate. A luxury watch catches
the light as he adjusts his cuff.
There’s strength in his build, but it’s controlled.
Disciplined. The kind earned in private.
A sharp KNOCK breaks the silence.
EDDIE
Come in.
The door opens.
MELISA (late 20s), poised and efficient, steps inside. Her
red hair falls neatly onto her shoulders, her look sharp and
professional — perfectly matched to the room.
Eddie turns from the window, meeting her gaze.
EDDIE (CONT'D)
Ah, Melisa.
Please — sit.
Melisa takes the chair opposite him.
Eddie settles into his leather seat behind a pristine oak
desk. Minimalist. A desktop monitor. Nothing personal.
He leans back.
EDDIE (CONT'D)
So,
What’s on the agenda?
Melisa glances down at her notes.
MELISA
It’s fairly light.
There’s a meeting in half an hour regarding the Rosewood
project.
Assuming you’re still proceeding?
Eddie leans forward.
His hands clasp on the desk — tight. Controlled.
EDDIE
And why wouldn’t I be?
Melisa shifts slightly, then steadies herself.
MELISA
I just thought—
I mean—
EDDIE
(interrupting)
You thought what?
Melisa’s eyes drop. The question weighs on her.
MELISA
But what about the residents?
Where are they meant to go?
Eddie doesn’t hesitate.
EDDIE
Melisa, I do understand the
concern.
But this is a business.
He gestures, matter-of-fact.
EDDIE (CONT'D)
The property’s valued at just over
half a million pounds.
Selling it keeps the company solvent.
That’s my responsibility — to the shareholders.
Melisa absorbs that.
EDDIE (CONT'D)
What you may not know is my mother
had money tied up in a number of
ventures.
Ones I wasn’t aware of.
They took a serious hit during the pandemic.
He exhales.
EDDIE (CONT'D)
There’s also a sizeable tax bill
due before the end of the year.
Put it all together and…
we don’t have many options.
Melisa straightens, chastened.
MELISA
I’m sorry, Mr. Sanchez.
I didn’t realise the full situation.
Eddie leans back, rubbing his face.
EDDIE
People think I’m cold.
Heartless.
A beat.
EDDIE (CONT'D)
Business does harden you —
but I’m not doing this lightly.
If I don’t act now, I lose everything.
And that includes other people’s jobs.
He meets her eyes.
EDDIE (CONT'D)
I’m cornered.
MELISA
Is there any way the residents
could buy the building from you?
Eddie shakes his head.
EDDIE
Unless they can raise half a
million pounds by the end of the
year —
and cover the ongoing costs —
then yes, it’s possible.
Melisa’s interest sharpens.
MELISA
Have you told them?
Isn’t it worth giving them the chance?
At least let them try to save their home.
Eddie exhales, tired.
EDDIE
I haven’t told everyone.
But I’ve quietly let a few key people know the funding’s
being withdrawn.
He pauses.
EDDIE (CONT'D)
The official announcement’s next
week.
After that, senior staff will be informed.
They can explore a purchase —
or, if they’re able, find an investor to take over the home.
Melisa nods, relieved.
MELISA
At least you’re giving them a
chance.
Eddie allows himself a small smile.
EDDIE
My mum would’ve wanted that.
We didn’t always agree.
but Rosewood — and the people there —
meant a great deal to her.
MELISA
I’m sure it did.
Anything else?
Eddie stands and turns back to the window.
Beyond the glass, Canary Wharf stretches out —
steel, glass, money in motion.
EDDIE
That’ll be all.
Melisa gathers her files and stands. She reaches the door —
EDDIE (CONT'D)
Melisa.
One more thing.
She turns back.
EDDIE (CONT'D)
Cancel the eleven-thirty.
It can wait.
Make something up.
Melisa nods, unfazed.
MELISA
Of course.
Oh — nearly forgot.
She flicks through her folder and pulls out an envelope.
MELISA (CONT'D)
Your West Ham ticket arrived.
Tonight.
She crosses the room and hands it to him.
Eddie takes the ticket and glances at it.
A flicker of something — anticipation, nostalgia — then it’s
gone.
EDDIE
Thanks.
Might be a welcome distraction.
Melisa smiles, exits, and closes the door softly behind her.
Eddie looks down at the ticket in his hand.
He sits, opens a desk drawer, and places the ticket inside —
beside a framed photograph of his mother.
He hesitates.
Then picks up the photo. Studies it.
EDDIE (CONT'D)
Mum…
What a mess you’ve left me with.
He drops the photo back into the drawer.
Closes it.
Genres:
["Drama","Character Study"]
Ratings
Scene
18 -
Fractured Pride
INT. TYLER REID’S HOME – BEVERLY HILLS – NIGHT
An opulent lounge inside an eighteen-million-dollar mansion.
TYLER REID lounges in a plush recliner, designer tracksuit
on, feet up, fully at ease in his excess.
A phone VIBRATES on the armrest.
CALLER ID: MARCUS CHAMBERS.
Tyler answers.
TYLER
What’s good, man?
MARCUS (V.O.)
You watching Sports News right now?
TYLER
No. Why?
MARCUS (V.O.)
You should be.
Tyler grabs the remote and switches channels.
ON TV – SPORTS STUDIO
Two PUNDITS face off.
PUNDIT 1
Look, what Tyler Reid’s done for
boxing financially is undeniable.
Record pay-per-views. Sold-out
arenas.
But let’s be honest — he’s not a
boxer.
PUNDIT 2
Come on. The guy trains hard, steps
in the ring, and puts gloves on.
What else do you call that?
PUNDIT 1
I call that entertainment.
Seven fights. Seven knockouts.
All against ex-MMA guys who’ve
never boxed professionally.
Until he fights an actual boxer,
he’s not one — not to me.
Tyler’s jaw tightens.
He kills the TV.
The REMOTE sails across the room — SHATTERS on impact.
MARCUS (V.O.)
You good?
TYLER
(losing it)
These guys are clowns.
I’ve reached out — nobody wants it.
They’re scared I’ll make them look
stupid.
MARCUS (V.O.)
So what’s the play?
Tyler stands, pacing, agitation barely contained.
He stops at the window, staring out at the sprawl of L.A.
below.
TYLER
We get the team together.
We find a name — someone legit.
I need one real fight.
Then they have to respect me.
MARCUS (V.O.)
Ty… you’re rich.
You’re set for life.
You don’t need this.
TYLER
(snaps)
That’s the problem.
I don’t want to be a gimmick.
I want them to know I can fight.
(MORE)
TYLER (CONT'D)
I want to shut them up.
(A beat.)
MARCUS (V.O.)
Alright.
Let’s meet tomorrow.
Get everyone in a room.
Talk options.
Tyler exhales. The anger drains — barely.
He drops back into the chair.
TYLER
Yeah.
Sorry, man.
Didn’t mean to blow up on you.
MARCUS (V.O.)
You’re good.
I’ll bring coffee.
You try and relax.
TYLER
Alright.
Later.
He hangs up.
Tyler looks around, spots the broken remote on the floor —
beside a pile of YouTube awards.
TYLER (CONT'D)
Ah, fuck.
Genres:
["Drama","Sports"]
Ratings
Scene
19 -
A Heavy Heart at Club Inferno
EXT. CLUB INFERNO – REAR CAR PARK – NIGHT
James pulls into the secluded car park behind Club Inferno.
He cuts the engine.
For a moment, he just sits there — hands on the wheel — the
weight of Sarah’s news pressing down.
Then he gets out.
INT. CLUB INFERNO – BAR – NIGHT
The club is quiet. Pre-opening calm.
MARIO, the Italian-British bartender (50s), is mid-routine —
polishing glasses, checking bottles.
James enters. Earlier than usual.
Mario looks up, surprised — then grins.
MARIO
You’re two hours early, Jimmy.
James nods, distracted.
Mario clocks it immediately.
MARIO (CONT'D)
Alright?
You don’t look it.
James takes his usual stool.
Mario moves to the other side of the bar.
MARIO (CONT'D)
You want to talk?
I’m a good listener.
Well… my ex-wife wouldn’t agree,
but still.
That gets a faint smile out of James.
JAMES
Yeah… I bet.
It’s Rosewood.
Jack’s care home.
Mario pours a whisky on the rocks and slides it over.
MARIO
Jack loves it there.
Good place.
Good people.
I couldn’t do that job — takes a
special kind of patience.
James takes a sip. Stares into the glass.
JAMES
I got some bad news today.
The owner passed away a few months
back.
Left things messier than anyone
knew.
Mario frowns.
JAMES (CONT'D)
The home’s in trouble.
Mario shakes his head.
MARIO
That’s shit news.
Those residents — that’s their
home.
They’re like family in there.
Splitting them up would destroy
some of them.
James takes another slow sip.
JAMES
Six months.
That’s all they’ve got —
unless we can find eight hundred
thousand pounds.
Mario freezes.
MARIO
Eight hundred…
(thinks)
I don’t think my tips would cover
that —
not even in five hundred years.
He leans closer.
MARIO (CONT'D)
If I had it, Jimmy…
You know I’d give it to you.
James finishes the drink and sets the glass down carefully.
JAMES
There’s a small chance.
Either we find another investor —
or we raise it ourselves somehow.
(A beat.)
JAMES (CONT'D)
But both take time.
And time’s the one thing we don’t
have.
Mario exhales, trying to process it.
MARIO
So…
There is still a chance?
Genres:
["Drama"]
Ratings
Scene
20 -
Facing the Giants
EXT. CANARY WHARF – OFFICE COMPLEX – DAY
Rain lashes down.
James steps out of a black cab, hands the driver a note, and
barely notices the change.
He looks up.
A towering glass-and-steel complex rises above him — cold,
imposing, untouchable.
James straightens his tie. Draws a breath.
Then heads inside.
INT. CANARY WHARF – OFFICE FOYER – DAY
James pushes through a revolving door.
Instantly overwhelmed.
The foyer is vast — marble floors, soaring ceilings, muted
conversations echoing through the space. Suits glide past
with purpose. Heels click. Phones buzz.
This is money. Power. Distance.
James hesitates — a knot forming in his stomach — then
commits.
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
Urgent Request
INT. OFFICE FOYER – RECEPTION DESK – DAY
A RECEPTIONIST (40s) types briskly behind the desk.
James waits.
She looks up, a professional smile fixed in place.
RECEPTIONIST
Good morning. How can I help?
JAMES
Morning.
I’m here to see Mr Sanchez.
She pauses.
RECEPTIONIST
Do you have an appointment, Mr… ?
JAMES
Thompson.
James Thompson.
(A beat.)
JAMES (CONT'D)
No.
I don’t have an appointment.
The receptionist’s smile tightens.
RECEPTIONIST
I’m afraid Mr Sanchez is extremely
busy.
Without an appointment, I don’t
believe—
JAMES
(interrupting, calm)
I just need five minutes.
It’s urgent.
She studies him — soaked coat, nervous resolve.
RECEPTIONIST
I can’t promise anything.
But I’ll make a call.
She picks up the phone.
Genres:
["Drama","Thriller"]
Ratings
Scene
22 -
Urgent Matters at Rosewood
INT. BARBARA’S OFFICE – CONTINUOUS
The phone RINGS.
BARBARA SIMPSON (late 50s), sharp, composed, and surrounded
by organised chaos, answers without looking up.
BARBARA
Yes.
She switches the call to speaker, continuing to work.
RECEPTIONIST (V.O.)
Sorry to bother you, Miss Simpson.
There’s a gentleman here asking to
see Mr Sanchez.
BARBARA
Eddie isn’t seeing anyone right
now.
His schedule’s on hold.
RECEPTIONIST (V.O.)
I understand.
But he says it’s urgent.
It concerns his brother’s care home
—
Rosewood.
Barbara stops typing.
That lands.
BARBARA
What’s his name?
INT. OFFICE FOYER – RECEPTION DESK – DAY
The receptionist looks at James.
RECEPTIONIST
Mr Thompson?
James Thompson.
INT. BARBARA’S OFFICE – DAY
Barbara leans back slightly.
BARBARA
(calm)
Send him up.
INT. OFFICE FOYER – RECEPTION DESK – DAY
The receptionist hangs up, surprised.
RECEPTIONIST
Please take the lift on the right.
Top floor.
James exhales — barely holding it together.
JAMES
Thank you.
He heads for the lifts.
The doors CLOSE.
Genres:
["Drama","Family"]
Ratings
Scene
23 -
First Impressions at Canary Wharf
INT. CANARY WHARF – EXECUTIVE FLOOR – DAY
DING.
The lift doors slide open.
JAMES steps out—big man, broad shoulders—but the moment he’s
here, he feels it.
Glass. Silence. Soft carpet. People moving with purpose.
He adjusts his tie, swallowing nerves he doesn’t want anyone
to see.
At a nearby desk sits a YOUNG ASSISTANT (20s), sharp and
polished. She looks up with a professional smile.
ASSISTANT
Can I help you?
James hesitates a fraction — like he’s stepped into someone
else’s world.
JAMES
Er… James Thompson. I was told to
come up.
The assistant checks the screen, then nods.
ASSISTANT
Of course.
One moment.
She picks up the phone, calm and efficient.
ASSISTANT (CONT'D)
Barbara? He’s here.
James waits, hands clasped in front of him. He watches people
pass — confident, unhurried — and feels himself shrink inside
his own skin.
A door opens.
BARBARA SIMPSON (late 60s) steps out.
Bright red hair, immaculate. Not flashy — just certain. The
kind of woman who’s been in these rooms for decades and never
once asked permission.
Her eyes find James immediately.
BARBARA
Mr. Thompson.
James straightens instinctively.
JAMES
Yes. That’s me.
Barbara studies him — soaked coat, tired face, nerves under
control.
BARBARA
Come with me.
Genres:
["Drama","Character Study"]
Ratings
Scene
24 -
A Plea for Rosewood
INT. BARBARA’S OFFICE – CANARY
WHARF – DAY
Barbara’s office is understated but powerful. Floor-to-
ceiling windows. Clean lines. No clutter.
James steps inside, taking it in.
BARBARA (CONT'D)
Please — sit.
She gestures to a chair, then moves behind her desk.
BARBARA (CONT'D)
Can I get you something?
Water? Tea?
JAMES
No, thank you.
I’m alright.
Barbara nods — respectful, not offended.
She sits and folds her hands.
BARBARA
So,
What can I do for you, Mr.
Thompson?
(A beat.)
BARBARA (CONT'D)
I understand this is about
Rosewood.
James exhales. This is it.
JAMES
Yes.
My brother lives there.
It’s… it’s his home.
Barbara listens. Really listens.
JAMES (CONT'D)
They’ve told us the funding’s being
pulled.
That the place will close unless
the money’s raised.
I’m just trying to understand if
there’s any way—
any way at all—
to stop that happening.
Barbara leans back slightly.
BARBARA
I worked with Maria for over twenty
years.
Before Eddie.
Before most of the board.
That lands.
BARBARA (CONT'D)
She wasn’t just my employer.
She was my friend.
James nods. Careful.
BARBARA (CONT'D)
Eddie technically outranks me.
On paper.
A small, knowing smile.
BARBARA (CONT'D)
But I’ve been part of this company
a very long time.
And yes — I do have his ear.
James’s hope flickers.
Then Barbara pauses.
Studies him again.
BARBARA (CONT'D)
Thompson…
James Thompson…
A beat.
BARBARA (CONT'D)
You boxed, didn’t you?
James blinks — surprised.
JAMES
I did.
A long time ago.
BARBARA
(smiles)
I’m a fan.
Or at least I was.
My husband dragged me to enough
fights over the years.
James allows a small smile. Then reins it in.
BARBARA (CONT'D)
Eddie is prepared to sell.
That much is true.
James leans forward.
BARBARA (CONT'D)
But the timeframe won’t change.
Six months.
That’s non-negotiable.
The air goes out of the room.
James absorbs it. Nods once.
JAMES
I understand.
Barbara watches him — the acceptance, not defeat.
BARBARA
I will speak to Eddie.
I can’t promise outcomes —
But I can promise he’ll listen.
She softens, just slightly.
BARBARA (CONT'D)
Rosewood mattered deeply to Maria.
Very deeply.
James stands.
JAMES
Thank you.
For hearing me out.
Barbara nods.
BARBARA
Of course.
Genres:
["Drama"]
Ratings
Scene
25 -
A Moment of Reflection
INT. BARBARA’S OFFICE – CANARY
WHARF – DAY
James turns to leave.
BARBARA (CONT'D)
Mr. Thompson.
James stops.
BARBARA (CONT'D)
I’ll see if I can buy you some more
time.
It may not be much —
but I’ll speak to Eddie.
See if he’s willing to stall it.
James meets her eyes. Gratitude, not hope.
JAMES
Thank you.
That means a lot.
Barbara nods once.
James exits.
INT. CANARY WHARF – LIFT – DAY
James steps into the lift.
The doors slide shut.
He exhales — long, heavy.
The lift begins its descent.
James stares at his reflection in the mirrored wall.
The hum of the lift FADES.
Genres:
["Drama"]
Ratings
Scene
26 -
Echoes of the Past
FLASHBACK – EXT. LOCAL PARK – DAY – 1989
Bright daylight.
A younger JAMES (late teens) boots a football back and forth
with a couple of lads.
LAUGHTER. SHOUTS.
Nearby, JACK (5) swings happily on a set of swings.
James glances over.
Jack’s still there.
James plays on.
Another kick.
Another glance.
Jack laughs, pumping his legs higher.
James relaxes. Smiles.
Then—
SCREECHING BRAKES.
A sickening sound.
James freezes.
We DO NOT see the impact.
Only James’s face —
the colour draining from it.
The football rolls out of frame.
FLASHBACK – INT. HOSPITAL WAITING AREA – DAY – 1989
James sits bolt upright in a plastic chair.
Blood on his hands.
His MOTHER stands nearby, speaking in hushed tones with a
DOCTOR.
We don’t hear everything.
DOCTOR
…head trauma…
…too early to say…
…we’ll know more in time…
James stares ahead.
Broken.
Silent.
BACK TO PRESENT – INT. LIFT – DAY
DING.
The lift jolts slightly as it reaches the ground floor.
James blinks.
He’s back.
The doors slide open.
EXT. CANARY WHARF – DAY
James steps out into the rain.
He doesn’t hesitate.
He raises a hand.
A black cab pulls in.
James climbs inside.
Genres:
["Drama","Family"]
Ratings
Scene
27 -
Old Friends in the Ring
INT. EAST END BOXING GYM – DAY
The gym is old-school. Brick walls. Peeling paint. The smell
of sweat and leather.
In the ring, TWO YOUNG BOXERS spar — gloves thudding, feet
scraping canvas.
Standing on the apron, barking instructions, is MOSES (70s),
Caribbean descent, compact, sharp-eyed. Wears a faded,
ancient training top.
MOSES
Hands up!
Don’t admire your work — move!
The fighters circle.
James’s voice cuts in —
JAMES (O.S.)
You still wearing that old training
top, Moses?
Moses freezes.
Turns slowly.
Sees JAMES standing near the ropes.
A beat.
MOSES
It’s been washed, Jimmy.
James smiles.
Moses nods to his ASSISTANT.
MOSES (CONT'D)
You take them.
Three more rounds.
The assistant climbs onto the apron.
Moses steps down.
He and James meet.
They hug — brief, solid, unshowy.
MOSES (CONT'D)
Look at you.
Still taking up too much space.
JAMES
Still shouting at kids half your
age.
MOSES
Someone has to.
They share a smile.
MOSES (CONT'D)
So,
What brings you here?
You looking for work?
I need someone to mop floors.
Clean the toilets.
JAMES
(smiles)
I’ll pass.
Moses studies him now. Properly.
MOSES
Come on.
Genres:
["Drama","Sports"]
Ratings
Scene
28 -
Desperate Measures
INT. MOSES’S OFFICE – CONTINUOUS
Small. Functional. Old fight posters on the wall. No glamour.
They sit.
Moses waits. Doesn’t rush him.
James exhales.
JAMES
My brother lives in a care home.
Rosewood.
Moses nods. Listens.
JAMES (CONT'D)
They’re pulling the funding.
Six months.
(A beat.)
JAMES (CONT'D)
I’ve tried everything else.
There’s no more time.
He looks Moses in the eye.
JAMES (CONT'D)
I need to fight again.
Silence.
Moses doesn’t react.
Doesn’t smile.
Doesn’t argue.
He just looks at James.
Really looks.
Genres:
["Drama","Sports"]
Ratings
Scene
29 -
A Desperate Plea
INT. MOSES’S OFFICE – DAY
Moses leans back in his chair, arms folded.
Studies James.
MOSES
You haven’t fought in fifteen
years.
You got more rust on you than the
Tin Man.
James says nothing.
MOSES (CONT'D)
Your body was breaking down even
back then.
Your last fight —
your shoulder went.
James looks away.
MOSES (CONT'D)
“Dislocated”, they called it.
You retired.
(A beat.)
MOSES (CONT'D)
You were this close, Jimmy.
One fight away from a world title
shot.
Moses taps the desk.
MOSES (CONT'D)
But that was the past.
What’s this gonna prove now?
James finally speaks.
JAMES
I’m not doing it for me.
I’m doing it for Jack.
For Rosewood.
Moses exhales through his nose.
MOSES
You’re still in shape.
I’ll give you that.
He gestures at James’s body.
MOSES (CONT'D)
But you’re not fighting shape.
There’s a difference.
James leans forward.
JAMES
Please, Moses.
I need this.
His voice tightens.
JAMES (CONT'D)
I need you by my side.
Silence.
Moses thinks.
Then—
MOSES
I can make some calls.
I know people.
James looks up — hope flickers.
MOSES (CONT'D)
But let’s be honest.
Most of them will see it as a joke.
That lands.
MOSES (CONT'D)
You ain’t no circus act, Jimmy.
I won’t have people pointing and
staring.
James absorbs it.
Doesn’t argue.
Doesn’t defend himself.
Just waits.
Moses watches him — the resolve, the fear, the weight.
MOSES (CONT'D)
(low)
This game doesn’t forgive.
Not twice.
Moses exhales, rubbing a hand over his face.
MOSES (CONT'D)
I can make a few calls.
There are promoters I know —
young fighters coming up.
They might like having your name on
their résumé.
James nods. He understands what that means.
MOSES (CONT'D)
But listen to me.
Two fights. Three at a push.
That won’t be enough to save
Rosewood.
James absorbs it.
JAMES
I know.
(A beat.)
JAMES (CONT'D)
But it’s something.
And it’s something I have to try.
Moses studies him.
MOSES
I’ll see what I can do.
James stands.
JAMES
Thank you.
Moses doesn’t answer — just nods.
James exits.
Genres:
["Drama","Sports"]
Ratings
Scene
30 -
Unexpected Changes at Rosewood
EXT. ROSEWOOD CARE HOME – AFTERNOON
James’s car pulls up.
He steps out, straightens his jacket, and heads inside.
INT. ROSEWOOD – COMMUNAL AREA – AFTERNOON
The room hums with quiet activity.
JACK stands near the door, coat on, buzzing with
anticipation.
JAMES
(smiling)
You ready?
JACK
(grinning)
I been ready all day.
James’s smile widens.
He looks around.
GARY sits nearby, focused on his iPad, still in his chair. No
coat. No rush.
JAMES
Gary?
You ready to go?
Gary doesn’t look up.
GARY
I don’t feel too good.
My head hurts.
James frowns — concerned.
Before he can respond, SARAH steps out of her office,
slipping on her coat.
SARAH
Sorry, James.
Won’t be a minute.
James pauses.
Something doesn’t quite add up.
Gary finally looks up at James.
GARY
I told Sarah you said
She can have my ticket.
(A beat.)
James looks at Gary.
Gary gives him a small shrug.
Almost innocent.
James clocks it.
Then he looks at Sarah —
already heading back toward him.
James understands exactly what’s happened.
He considers correcting it.
Considers escaping.
Instead —
JAMES
It’s fine.
Sarah smiles — relieved, grateful — but doesn’t make a thing
of it.
JACK
(excited)
We all going now?
James nods.
JAMES
Yeah.
We’re going.
He opens the door.
They head out together.
Genres:
["Drama"]
Ratings
Scene
31 -
Halftime Shield
INT. LONDON STADIUM – STANDS – NIGHT
The crowd ROARS.
Floodlights blaze.
JACK sits between JAMES and SARAH, oversized ear defenders
clamped over his ears. The halftime music thumps — too loud,
too much.
Jack fidgets.
James notices immediately.
JAMES
You alright, mate?
Jack nods, but leans closer to James.
JACK
It’s loud.
JAMES
I know.
James shifts, shielding Jack slightly with his body. Sarah
notices. Watches him do it without thinking.
The music fades as the halftime break settles.
A quiet pocket forms around them.
James’s phone VIBRATES.
He glances at the screen.
UNKNOWN CALLER.
He hesitates — then answers.
JAMES (CONT'D)
Hello?
INTERCUT WITH:
Genres:
["Drama","Sports"]
Ratings
Scene
32 -
A Small Step Forward
INT. BARBARA’S OFFICE – NIGHT
BARBARA
It’s Barbara.
James straightens.
JAMES
Yes.
BARBARA (V.O.)
I spoke with Eddie.
He’s willing to reduce the asking
price.
James closes his eyes.
JAMES
How much?
BARBARA (V.O.)
Seven hundred thousand.
It’s not a lot —
but it’s movement.
James swallows.
JAMES
Thank you.
Really.
BARBARA (V.O.)
I thought you should know.
Enjoy the match.
The line goes dead.
James lowers the phone.
For a moment, he just sits there.
Sarah studies him.
SARAH
Good news?
James nods — barely holding it together.
JAMES
He’s dropped the price.
Not by much.
But… it’s something.
Sarah processes that.
SARAH
That matters.
James exhales — the first real breath he’s taken all night.
JAMES
Yeah.
It does.
They sit in silence.
Not awkward.
Not forced.
Jack leans forward, focused on the pitch.
Sarah turns slightly toward James.
SARAH
You don’t ever stop, do you?
James gives a small, tired smile.
JAMES
Wouldn’t know how.
She nods — understanding more than he’s said.
SARAH
You don’t have to do all of it on
your own.
James looks at her.
Not surprised.
Not defensive.
Just… present.
JAMES
I know.
A beat.
The crowd begins to rise as players re-emerge.
Jack removes one ear defender, grinning.
JACK
Second half!
James smiles.
SARAH
(smiles too)
Come on then.
They all turn back to the pitch.
James doesn’t move away from Sarah.
She doesn’t move away from him.
That’s enough.
Genres:
["Drama"]
Ratings
Scene
33 -
A Fight Opportunity in London
INT. TYLER REID’S BEVERLY HILLS HOME – NIGHT
Tyler sits barefoot on the edge of his kitchen island, ice
pack pressed to his jaw from a hard spar earlier that day.
The door BUZZES.
He taps his phone.
The door unlocks.
MARCUS CHAMBERS (40s) steps in—sharp, confident, always
thinking two moves ahead.
MARCUS
You look like hell.
TYLER
You should see the other guy.
Marcus drops onto a stool, already pulling out his phone.
MARCUS
I got something.
That gets Tyler’s attention.
TYLER
What kind of something?
MARCUS
UK something.
Tyler frowns.
MARCUS (CONT'D)
A source I trust says a former
contender’s mounting a comeback.
Guy hasn’t fought in fifteen years
—
but he’s a name over there.
Proper one.
Tyler leans back, listening now.
MARCUS (CONT'D)
Solid record.
World-ranked once.
East End of London.
Old-school.
TYLER
(smiles)
That sounds familiar.
Marcus nods.
MARCUS
James Thompson.
Tyler considers the name.
TYLER
Yeah.
I know him.
MARCUS
Here’s the play.
Marcus swipes on his phone — pulls up footage.
MARCUS (CONT'D)
We take it to London.
Big venue.
London Stadium.
Tyler raises an eyebrow.
MARCUS (CONT'D)
He’s East End.
That place fills itself.
You’ve got a massive UK YouTube
base already.
Tyler watches the clips — James in his prime.
MARCUS (CONT'D)
Pay-per-view numbers would be
insane.
Stateside and overseas.
Tyler nods slowly.
MARCUS (CONT'D)
And here’s the angle —
you step out of your comfort zone.
No more “He only fights in the
States.”
You beat a legitimate, experienced
veteran.
MARCUS (CONT'D)
Ten rounds.
No gimmicks.
Tyler turns the phone off.
Stands.
TYLER
I beat him —
properly —
People stop talking.
MARCUS
Your profile goes through the roof.
Real credibility.
(A beat.)
TYLER
And if he can’t hang?
MARCUS
Then you retire him for good.
Tyler smiles.
Not cruel.
Focused.
TYLER
Make the call.
Marcus grins.
MARCUS
I already did.
Tyler exhales — excited now.
TYLER
Let’s do it.
London.
Make it big.
Genres:
["Drama","Sports"]
Ratings
Scene
34 -
The Weight of Commitment
INT. EAST END BOXING GYM – MOSES’S
OFFICE – DAY
Moses hangs up the phone.
James watches him — reading his face.
MOSES
It’s real.
James straightens.
MOSES (CONT'D)
London Stadium.
Ten rounds.
Proper money.
A beat.
MOSES (CONT'D)
Enough to buy Rosewood outright.
James exhales — relief flashes, then fades.
JAMES
And the running costs?
Moses shakes his head.
MOSES
Not long-term.
Silence.
James thinks for half a second.
JAMES
I’ll take it.
Moses studies him.
MOSES
Once you sign, there’s no turning
back.
JAMES
I know.
Moses nods.
MOSES
Then we do it properly.
James extends his hand.
Moses takes it.
Firm.
---
Genres:
["Drama","Sports"]
Ratings
Scene
35 -
A Risky Confession
INT. ROSEWOOD – SARAH’S OFFICE – EVENING
James sits opposite SARAH.
He tells her everything — simply.
SARAH
London Stadium?
JAMES
Yeah.
SARAH
Ten rounds.
James nods.
SARAH (CONT'D)
You could get hurt.
JAMES
I know.
A beat.
SARAH
But I also know why you’re doing
this.
James looks at her — grateful.
SARAH (CONT'D)
I don’t like it.
But I understand it.
She reaches across the desk and rests a hand on his.
SARAH (CONT'D)
Just come back in one piece.
James nods smiles.
---
Genres:
["Drama","Sports"]
Ratings
Scene
36 -
The Battle of Ages: Tension at the Press Conference
INT. PRESS CONFERENCE ROOM – DAY
FLASHES explode.
A long table.
TYLER REID sits relaxed, confident.
JAMES sits beside him — still, unreadable.
MARCUS stands just behind Tyler.
MOSES stands behind James, arms folded.
REPORTERS shout questions.
TYLER
I’m taking this fight seriously.
I hope James is too.
James doesn’t react.
REPORTER
James, why now?
At your age?
Some people are calling this a
joke.
James leans toward the mic —
Before he can speak, Marcus steps in.
MARCUS
This is a battle of the ages.
Old lion versus young lion.
A spectacle the fans deserve.
Moses rolls his eyes slightly.
Unimpressed.
James says nothing.
---
Genres:
["Drama","Sports"]
Ratings
Scene
37 -
Tension at the Press Conference
INT. PRESS CONFERENCE – FACE OFF – CONTINUOUS
James and Tyler stand.
Cameras click.
They step closer.
TYLER
(low, controlled)
I don’t want to hurt you.
This is business.
James meets his eyes.
JAMES
Same.
Tyler scoffs — almost amused.
A look that says:
You really think you can?
They hold the stare.
Flashbulbs POP.
Moses watches.
Concerned.
Proud.
Worried.
James doesn’t blink.
Genres:
["Drama","Sports"]
Ratings
Scene
38 -
Training for Redemption
INT. EAST END BOXING GYM – DAY
James spars with a YOUNG BOXER — fast, sharp, light on his
feet.
James moves to cut the ring.
The kid slips away.
Jabs.
Moves.
Jabs again.
James swings — misses.
His timing is off.
His body knows what to do —
but it won’t obey.
MOSES
Time!
James leans on the ropes, breathing hard.
Moses steps up, calm but firm.
MOSES (CONT'D)
You gotta cut the ring off.
You know this kid’s gonna box you
early.
James nods, frustrated.
MOSES (CONT'D)
He wants you chasing shadows.
Don’t rush it.
Moses taps James’s temple.
MOSES (CONT'D)
Wait for the opening.
You got it?
JAMES
Yeah.
MOSES
Good.
Let’s go again.
They touch gloves.
The round restarts.
James moves smarter now.
Steps laterally.
Cuts angles.
Still rusty —
but better.
Still slow —
but thinking.
Moses watches closely.
---
MONTAGE – TRAINING / CONTRAST
— James SKIPPING rope. Misses a beat. Resets. Keeps going.
— SPEED BAG rattling. Rhythm uneven, then steadier.
— HEAVY BAG. James digs body shots. Thud. Thud. Breath
ragged.
MOSES (O.S.) (CONT'D)
That’s it.
Again.
— Young boxers pause their own training.
Watch.
Curious.
Respectful.
— James pushes a HEAVY TYRE across the gym floor.
Legs shaking.
CUT TO:
Genres:
["Drama","Sports"]
Ratings
Scene
39 -
Training Grounds: Grit and Determination
INT. TYLER REID’S PRIVATE GYM – DAY
State-of-the-art.
Pristine.
Tyler hammers a sparring partner.
Fast.
Explosive.
CUT BACK:
— James runs the streets.
Early morning.
Cold air.
CUT TO:
— Tyler on a TREADMILL.
Speed climbing.
Trainer shouting numbers.
CUT BACK:
— James pulls a MAKESHIFT SLED —
Jack and Gary are sitting on it, laughing, cheering him on.
JACK
Go, Jimmy!
GARY
You can do it, Jimmy!
James grins through the pain.
Keeps pulling.
CUT TO:
Genres:
["Drama","Sports"]
Ratings
Scene
40 -
Contrasting Paths: Luxury vs. Struggle
INT. TYLER’S GYM – DAY
Tyler finishes a round.
Sits.
A PERSONAL MASSEUSE works his shoulders.
A CHEF plates a perfectly balanced meal nearby.
CUT BACK:
— James slams the heavy bag again.
Sweat pouring.
Knuckles sore.
MOSES
Don’t stop.
This is where it starts.
James nods.
Keeps working.
---
END MONTAGE
Genres:
["Drama","Sports"]
Ratings
Scene
41 -
A Moment of Connection
INT. EAST END BOXING GYM – EVENING
Training is done.
The gym is quieter now. Most of the fighters have cleared
out.
James finishes wrapping his hands, sweat-soaked, exhausted.
He looks up.
SARAH stands near the entrance, coat over her arm, taking it
all in.
Not intrusive.
Just there.
JAMES
Didn’t expect to see you here.
SARAH
I was in the area.
Thought I’d check you were still in
one piece.
James smiles — tired, genuine.
JAMES
Depends who you ask.
She steps closer, glances around the gym.
SARAH
So this is where you’ve been
hiding.
JAMES
No hiding.
Just… working.
A beat.
Sarah studies him — bruises forming, shoulders tight.
SARAH
You done for the day?
JAMES
Yeah.
Just finished.
She nods, then—
SARAH
Fancy a walk?
James hesitates — instinctively about to say no.
Stops himself.
JAMES
Yeah.
Alright.
---
Genres:
["Drama"]
Ratings
Scene
42 -
Dusk Delights
EXT. EAST END STREETS – DUSK
They walk side by side.
No rush.
No destination.
The city hums around them — buses, chatter, evening traffic.
They pass a small FOOD STALL.
SARAH
You eaten?
JAMES
Can’t remember.
SARAH
That’s not an answer.
She nods toward the stall.
SARAH (CONT'D)
Hotdog?
Ice cream?
Dealer’s choice.
James considers.
JAMES
Hotdog.
Feels more honest.
She smiles.
---
EXT. STREET FOOD STALL – CONTINUOUS
They stand, waiting.
James watches her, relaxed for the first time in days.
SARAH
You know…
you don’t have to fill every
silence.
James nods.
JAMES
Good.
Because I’m terrible at small talk.
They collect their food.
---
Genres:
["Drama","Romance"]
Ratings
Scene
43 -
Dusk Conversations
EXT. BENCH – DUSK
They sit.
Eat.
Nothing urgent.
Nothing heavy.
Just being.
SARAH
I won’t pretend I’m not worried.
James doesn’t bristle.
Doesn’t defend.
JAMES
I know.
A beat.
SARAH
But I also know you’d never forgive
yourself
if you didn’t try.
James looks at her — surprised by how well she sees him.
JAMES
That about sums it up.
She smiles softly.
SARAH
Then I’m glad you’re not doing this
alone.
James nods.
They sit quietly.
Streetlights flicker on.
James finishes his food, crumples the wrapper.
Doesn’t get up.
Doesn’t pull away.
Neither does she.
---
They don’t touch.
They don’t need to.
The connection is already there.
Genres:
["Drama","Romance"]
Ratings
Scene
44 -
The Weight of Truth
INT. EAST END BOXING GYM – DAY
James spars with the SAME YOUNG BOXER.
They circle.
The kid probes with a jab.
James parries, steps in —
Throws a RIGHT HAND.
But the LEFT doesn’t follow.
Again.
Right hand.
No jab.
No hook.
Moses watches from the apron.
Sees it immediately.
MOSES
Keep your hands busy, Jimmy.
Don’t fall in love with the right.
James nods.
Tries again.
The young boxer jabs.
Moves.
Jabs again.
James shifts his weight, wants to jab —
The left comes out slow.
Half-formed.
Pulled.
The kid slips it easily.
MOSES (CONT'D)
Time!
James steps back, breathing hard.
Moses climbs into the ring.
MOSES (CONT'D)
Why aren’t you jabbing?
JAMES
I am.
Moses shakes his head.
MOSES
No, you’re thinking about it.
That’s not the same thing.
James flexes his left arm.
Winces — just a flicker.
Moses clocks it.
MOSES (CONT'D)
Your shoulder.
James doesn’t answer.
MOSES (CONT'D)
(low)
How long?
JAMES
Since yesterday.
Maybe before.
Moses exhales.
Not angry.
Concerned.
MOSES
That hook’s not there either.
James looks away.
JAMES
It’s stiff.
It’ll loosen up.
Moses reaches out, gently rotates James’s arm.
James tightens — pain flashes across his face.
That tells Moses everything.
MOSES
That shoulder’s talking to you.
JAMES
I’m listening.
I just don’t like what it’s saying.
A beat.
The young boxer waits, unsure.
Moses steps back.
MOSES
Alright.
Out.
JAMES
I can go again.
MOSES
No.
You’re done.
James starts to protest —
Moses cuts him off with a look.
MOSES (CONT'D)
You don’t win this fight today.
You just lose it early.
James nods.
Reluctant.
Resigned.
He steps out of the ring.
Moses watches him carefully.
MOSES (CONT'D)
We’ll work around it.
But you don’t lie to me.
James meets his eyes.
JAMES
I won’t.
But they both know —
he already has.
Genres:
["Drama","Sports"]
Ratings
Scene
45 -
Reflections and Resolutions
INT. EDDIE SANCHEZ’S OFFICE – CANARY WHARF – NIGHT
Eddie stands by the window, jacket off, tie loosened.
London glows below.
Barbara enters quietly.
BARBARA
I spoke to Rosewood today.
Eddie doesn’t turn.
EDDIE
And?
BARBARA
James Thompson’s fighting.
London Stadium.
That gets Eddie’s attention.
He turns.
EDDIE
He’s serious?
BARBARA
He’s risking everything.
Eddie exhales.
EDDIE
For the home.
BARBARA
For his brother.
(A beat.)
EDDIE
My mother would’ve hated this.
BARBARA
No.
She would’ve hated that he had to
do it.
Silence.
EDDIE
Is there anything I can do?
That doesn’t turn this into
charity.
Barbara thinks.
BARBARA
His body’s breaking down.
Shoulder.
Wear and tear.
Eddie nods, already considering.
EDDIE
I’ve got a hotel in Mayfair.
Medical-grade hydrotherapy pool.
Sports rehab wing.
Barbara looks at him.
EDDIE (CONT'D)
No press.
No announcements.
Just access.
BARBARA
That would help.
EDDIE
Then do it.
(A beat.)
EDDIE (CONT'D)
She built that place to give people
dignity.
Not miracles.
Just dignity.
Barbara smiles — sad, grateful.
BARBARA
I’ll let him know.
Eddie turns back to the window.
EDDIE
Tell him…
he doesn’t owe me anything.
Barbara watches him for a moment.
Then leaves.
Eddie remains — alone with the city.
Genres:
["Drama"]
Ratings
Scene
46 -
A Reluctant Acceptance
INT. EAST END BOXING GYM – EVENING
The gym is quieter.
James sits on a bench, left shoulder iced, eyes closed.
Breathing through the ache.
Moses watches him from across the room.
Sarah stands nearby, arms folded — worried, but not hovering.
James opens his eyes.
MOSES
Barbara called.
James looks up.
MOSES (CONT'D)
Eddie’s offered access to a
hydrotherapy pool.
Medical grade.
One of his hotels.
(A beat.)
JAMES
What’s the catch?
MOSES
There isn’t one.
James absorbs that.
JAMES
I don’t want favours.
MOSES
It’s not a favour.
It’s a door being opened.
Sarah steps in.
SARAH
You don’t owe anyone anything for
looking after your body.
James considers that.
Looks down at his shoulder.
Flexes it slightly — pain flashes.
JAMES
Alright.
Moses nods.
MOSES
Good.
Because we’re running out of
options.
---
INT. HOTEL HYDROTHERAPY POOL – NIGHT
Steam hangs in the air.
James lowers himself into the water.
He exhales — long, controlled — as heat and pressure wrap
around his shoulder
Genres:
["Drama","Sports"]
Ratings
Scene
47 -
Tyler Reid's Grand Arrival
EXT. HEATHROW AIRPORT – DAY
A PRIVATE TERMINAL.
Security parts as TYLER REID strides through, flanked by his
ENTOURAGE —
trainers, media handlers, cameras already rolling.
FLASHES pop.
REPORTERS shout questions over one another.
REPORTER
Tyler! How does it feel to be back
in the UK?
TYLER
(smiling, relaxed)
I love it here.
Great fans. Great energy.
He keeps moving.
REPORTER
Any message for James Thompson?
Tyler slows just enough to play to the cameras.
TYLER
I’m excited for the fight.
But let’s be honest —
I’m here to beat up on your man.
A ripple of reaction.
Some laughter.
Some boos.
Tyler shrugs — casual, confident.
TYLER (CONT'D)
That’s boxing.
He disappears into waiting cars.
Genres:
["Drama","Sports"]
Ratings
Scene
48 -
Preparing for Battle
INT. MOSES’S HOUSE – LIVING ROOM – EVENING
The TV flickers.
Tyler’s interview plays on screen.
Moses sits alone in an armchair, watching.
Arms folded.
Jaw tight.
TYLER (ON TV)
I respect James.
But this isn’t nostalgia.
This is business.
Moses snorts quietly.
MOSES
You don’t play boxing.
He shakes his head.
MOSES (CONT'D)
(low, dangerous)
You learn it.
Moses reaches for the remote.
Turns the TV off.
The room falls silent.
Moses sits there a moment longer —
thinking of James.
Thinking of the ring.
Resolve hardens.
This fight just became personal.
MONTAGE – TWO WEEKS TO THE FIGHT
— James runs at dawn.
Every step jars his shoulder.
He grimaces — keeps going.
— Back in the gym.
Pads crack.
James throws combinations —
the left hurts.
He breathes through it.
MOSES (O.S.) (CONT'D)
Again.
Slow it down.
Breathe.
— Rosewood communal room.
James sits with JACK and a small group of RESIDENTS.
Laughter.
A card game.
Normal life.
— Sarah watches James help an elderly RESIDENT with a puzzle.
Sees how naturally he fits here.
— Gym.
James on the HEAVY BAG.
Body shots.
Thud. Thud.
He pauses, arm hanging —
then digs again.
— GARY stands nearby, solemn, holding a water bottle.
Offers it to James.
GARY
Drink.
James smiles, takes it.
— Jack waits with a towel.
James sits.
Jack carefully dabs sweat from his face.
Very serious about it.
JACK
You leaking.
James laughs despite himself.
— Moses watches the scene from across the gym.
Says nothing.
His eyes soften.
— Hydrotherapy pool.
James lowers into the water.
Pain eases — just enough.
Sarah sits nearby, shoes off, feet dangling in the water.
They don’t talk.
They don’t need to.
— Back at Rosewood.
James eats dinner with residents.
Stories overlap.
Someone claps him on the shoulder.
RESIDENT
You’re our champ.
James looks uncomfortable.
Touched.
— Gym.
Residents stand quietly at the back now —
watching James train.
No cheering.
Just presence.
— James struggles through a final round on the pads.
Shoulder screaming.
MOSES
Last one.
James nods.
Pushes.
Finishes.
— Jack runs over with an ice pack.
Presses it to James’s shoulder.
JACK
Better?
James nods.
JAMES
Yeah.
Better.
— Night.
James and Sarah walk Rosewood’s garden.
Lights glowing in windows behind them.
Safe.
Still here.
James stops.
Looks at the building.
SARAH
They’re proud of you.
James swallows.
JAMES
I just don’t want to let them down.
Sarah doesn’t answer.
She simply stays.
— James alone later.
Wrapping his hands.
Careful.
Deliberate.
He looks up.
Moses stands in the doorway.
They share a look.
Ready or not —
time’s up.
END MONTAGE
Genres:
["Drama","Sports"]
Ratings
Scene
49 -
The Weigh-In Showdown
INT. LONDON STADIUM – WEIGH-IN AREA – DAY
A raised stage.
BANNERS. SPONSORS. CAMERAS everywhere.
The place buzzes with anticipation — media, fans, officials
packed in tight.
JAMES steps onto the scale.
Shirt off.
Lean.
Hardened.
The MC leans into the mic.
MC
Two hundred and thirty pounds.
A ripple through the crowd.
James steps down, calm, unreadable.
TYLER REID approaches the scale next — relaxed, confident,
playing to the cameras.
MC (CONT'D)
Two hundred and twenty-five pounds.
Tyler nods, flexes slightly for the photographers.
Flashbulbs explode.
The fighters are called forward.
They meet centre stage.
FACE TO FACE.
James doesn’t blink.
Doesn’t posture.
Doesn’t move.
Just stands there.
Tyler holds the stare — smiling at first.
Then—
Something flickers.
Not fear.
Not panic.
Calculation.
The look in James’s eyes isn’t bravado.
It’s certainty.
Marcus leans into the mic beside them.
MARCUS
Let’s be honest —
this is inspirational and all,
but tomorrow night we’re putting
the old lion out to pasture.
A few LAUGHS ripple through the crowd.
Moses steps forward, unhurried.
MOSES
That’s funny.
Marcus turns — surprised.
MOSES (CONT'D)
Because every young lion I ever
trained
thought the same thing.
The press chuckles.
Moses leans in just enough.
MOSES (CONT'D)
Didn’t end well for most of them.
Laughter builds.
Marcus forces a smile, backs off.
Tyler’s jaw tightens — just a fraction.
He looks back at James.
James doesn’t react.
The STARE continues.
Photographers shout.
OFFICIALS step in, separating them.
Tyler breaks away first.
James stays rooted —
solid as stone.
The crowd BUZZES as they’re led off in opposite directions.
This just got real.
Genres:
["Drama","Sports"]
Ratings
Scene
50 -
Unexpected Visit
INT. HOTEL ROOM – NEAR LONDON STADIUM – NIGHT
The room is neat. Impersonal.
James sits on the edge of the bed, hands wrapped, shoulder
taped.
The sounds of the city hum faintly through the window.
He stares at nothing.
Plays the fight in his head.
Movements.
Counters.
Mistakes.
A KNOCK at the door.
James looks up — surprised.
He stands, opens it.
SARAH stands there.
Coat on.
Nervous, but composed.
JAMES
You didn’t have to—
SARAH
I know.
A beat.
SARAH (CONT'D)
Can I come in?
James steps aside.
Genres:
["Drama"]
Ratings
Scene
51 -
Reassurance and Resolution
INT. HOTEL ROOM – CONTINUOUS
Sarah sits on the chair.
James remains standing.
An awkward pause.
JAMES
I keep thinking…
what if I’ve got this wrong?
Sarah looks at him.
JAMES (CONT'D)
What if I’m just—
too old.
Too slow.
He exhales.
JAMES (CONT'D)
I don’t care about losing.
I care about letting people down.
Jack.
Rosewood.
You.
Sarah stands now.
SARAH
You’re not doing this to prove
anything.
James looks at her.
SARAH (CONT'D)
You’re doing it because you don’t
know how to walk away
when someone needs you.
She steps closer.
SARAH (CONT'D)
That’s not age.
That’s character.
James swallows.
JAMES
Still doesn’t mean I won’t fail.
SARAH
No.
A beat.
SARAH (CONT'D)
But it means whatever happens
tomorrow,
you won’t have failed them.
She reaches out, takes his hand.
Just holds it.
SARAH (CONT'D)
You already showed up.
Silence.
James nods.
Emotion contained, but present.
SARAH (CONT'D)
Try and get some sleep.
She moves toward the door.
Stops.
Steps back.
KISSES HIM ON THE CHEEK.
Not dramatic.
Not lingering.
Just certain.
SARAH (CONT'D)
I’ll be there.
She leaves.
James stands alone again.
But something has shifted.
He sits back on the bed.
Breathes.
For the first time all night —
his mind quiets.
But it loosens.
Just enough.
James closes his eyes.
For the first time in days —
his body isn’t fighting him.
Sarah watches from poolside.
Not intruding.
Just present.
James opens his eyes.
They share a look.
Not gratitude.
Not romance.
Understanding.
James sinks deeper into the water.
The clock is still ticking.
But he’s still in the fight.
Genres:
["Drama","Romance"]
Ratings
Scene
52 -
A Moment of Camaraderie
EXT. HOTEL – NIGHT
A black people carrier idles at the curb.
A few FANS linger behind barriers.
JAMES steps out of the hotel entrance — hood up, cap low.
A small cheer ripples through the crowd.
FAN
Come on, Jimmy!
James gives a brief nod.
No waving.
No show.
He climbs into the vehicle.
INT. PEOPLE CARRIER – NIGHT
MOSES is already inside, seated opposite.
No entourage.
No noise.
The door slides shut.
The vehicle pulls away.
Silence.
Streetlights drift across James’s face as he looks out the
window.
London moving past.
Normal life continuing.
He spots GROUPS OF FANS walking toward the stadium.
Scarves. Shirts. Anticipation.
Moses watches him for a moment.
Then—
MOSES
You remember…
I think it was your tenth fight?
James turns slightly.
JAMES
Maybe.
MOSES
That big lad from Birmingham.
What was his name?
James thinks.
JAMES
Leon…
Leon… God, what was it?
MOSES
Yeah.
Leon Smith.
James nods now.
JAMES
Yeah.
I remember.
MOSES
Veteran.
Fifteen —
maybe twenty years older than you.
James smiles faintly.
JAMES
Yeah.
MOSES
Remember what happened?
James glances at Moses.
JAMES
I knocked him out.
Moses grins.
MOSES
You did.
Body shot so hard the poor lad shit
himself.
James breaks —
a genuine laugh escapes him.
JAMES
In front of how many?
MOSES
Five thousand.
James shakes his head, still smiling.
MOSES (CONT'D)
Now listen to me carefully.
James looks at him.
MOSES (CONT'D)
If Tyler hits you like that…
and you shit yourself…
Moses leans in.
MOSES (CONT'D)
You’re not coming back to my
corner.
James laughs again.
JAMES
Fair enough.
They share a look.
The laughter fades.
But the tension has eased.
The vehicle continues toward the stadium.
Two men.
One last ride.
Genres:
["Drama","Sports"]
Ratings
Scene
53 -
The Calm Before the Storm
INT. LONDON STADIUM – RINGSIDE – NIGHT
SARAH is guided to her seat near the ring.
The arena is alive now — noise rolling in waves.
She sits, scans the crowd, then looks toward the tunnel.
Concern.
Pride.
Hope.
She settles in.
INT. JAMES’S LOCKER ROOM – NIGHT
James works the pads with MOSES.
Thud. Thud. Thud.
Breath controlled.
Focused.
MOSES
Remember the game plan.
James nods, keeps working.
MOSES (CONT'D)
He’s not gonna jump right on you.
He’ll want to put on a show.
Let the crowd have him.
James slips. Counters. Thuds the pad.
MOSES (CONT'D)
Be patient.
The asshole will make a mistake at
some point.
James grunts — agreement.
MOSES (CONT'D)
That’s when you strike.
The muffled sound of the arena swells.
Then—
NEIL DIAMOND’S “SWEET CAROLINE” bleeds through the walls.
The crowd ERUPTS.
Moses winces.
MOSES (CONT'D)
Neil Diamond…
He shakes his head.
MOSES (CONT'D)
What’s wrong with a bit of Bob and
the Wailers, eh?
A KNOCK at the door.
MOSES (CONT'D)
Come in.
The door opens.
EDDIE SANCHEZ steps in, followed by BARBARA.
The room stills.
EDDIE
James.
James lowers his hands.
EDDIE (CONT'D)
There’s not much I can say.
Except good luck.
A beat.
EDDIE (CONT'D)
And I’m sorry you’ve had to do
this.
James nods.
JAMES
Thank you.
Eddie shakes hands with Moses, James, and the SECONDS.
Then he leaves.
Barbara watches Eddie go.
She turns back to James.
Steps closer.
Leans in.
BARBARA
(whispering)
Knock that fucking yank’s head off.
James blinks — stunned.
Then smiles.
JAMES
You got it.
Barbara straightens, composed again.
She exits.
A SECURITY OFFICER appears at the door.
SECURITY
James.
It’s time.
James stands.
Moses helps him into his WHITE ROBE.
Across the back, stitched bold:
THUNDER
James breathes once.
Deep.
The team forms up.
They head toward the tunnel —
toward the noise —
toward the ring.
The moment has arrived.
Genres:
["Drama","Sports"]
Ratings
Scene
54 -
The Showdown Begins
INT. LONDON STADIUM – NIGHT
James stands in the ring.
Loose on his feet.
Breathing steady.
Shadowboxing lightly.
Focused.
Ready.
The lights FADE again.
A low rumble runs through the crowd.
The MC steps forward.
MC
And now, ladies and gentlemen…
making his way to the ring…
A beat.
MC (CONT'D)
Tyler…
THE PRINCE…
REED!
A MIXED REACTION —
CHEERS clash with BOOS.
FIREWORKS ERUPT.
The stadium explodes in colour and sound.
Tyler bursts into view, dancing, hyped —
one of his ENTOURAGE rapping into a mic beside him.
Cameras swarm.
Tyler plays to them —
grinning, bouncing, soaking it all in.
CUT TO:
MOSES at ringside.
He watches, unimpressed.
He glances at James.
MOSES
If he fights as well as his friend
sings,
you’re in for an early night.
James smirks — barely.
CUT TO:
Tyler reaches the ring, climbs in, throws his arms up.
The crowd responds — loud, divided.
UK COMMENTATOR (V.O.)
Here he is —
the razzle and dazzle of the social
media star
turned professional boxer.
Tyler shadowboxes theatrically.
UK COMMENTATOR (V.O.) (CONT'D)
They say he hasn’t fought a true
boxer yet…
The camera cuts to James — still, composed.
UK COMMENTATOR (V.O.) (CONT'D)
Well tonight, despite a twenty-six
year age gap,
James Thompson is at least a name.
James locks eyes with Tyler.
UK COMMENTATOR (V.O.) (CONT'D)
A gatekeeper, if you like…
to the world rankings.
The music fades.
The spectacle gives way to silence.
Two fighters.
One ring.
The moment before the storm.
Genres:
["Drama","Sports"]
Ratings
Scene
55 -
Fight for Respect
INT. LONDON STADIUM – NIGHT
The MC raises his hand one final time.
MC
And your referee for this contest…
John Davies.
A polite ripple of applause.
REFEREE JOHN DAVIES steps into the ring.
He gestures for the fighters.
REFEREE
Gentlemen, centre of the ring.
James and Tyler step forward.
They stand inches apart.
REFEREE (CONT'D)
You’ve had your instructions in the
dressing room.
I expect a clean fight.
Protect yourselves at all times.
Any questions?
Before either fighter can answer—
MARCUS stood next to Tyler, loud and grinning.
MARCUS
Yeah, don’t worry, Thunder.
My boy’ll make sure you’re home in
time for bingo.
A few LAUGHS ripple through the crowd.
Before the referee can react—
MOSES steps forward and SHOVES Marcus hard in the chest.
Marcus stumbles backward, caught off guard, nearly going
down.
The crowd GASPS —
then LAUGHS.
MOSES
You talk a lot for someone
who ain’t got the balls
to lace a pair of gloves on.
Security rushes in.
James grabs Moses, pulling him back.
JAMES
I’m the one fighting tonight.
Moses shrugs.
MOSES
Should’ve put me and that dipshit
on the undercard.
James can’t help himself.
JAMES
Maybe next time.
Moses smiles.
The referee restores order, glaring at both corners.
REFEREE
Enough.
Touch gloves.
James and Tyler touch gloves — firm, brief.
They step back to their corners.
UK COMMENTATOR (V.O.)
Well, it appears James Thompson’s
trainer
fancies getting in on the battle of
ages as well.
CO-COMMENTATOR (V.O.)
Why not?
There must be a thirty-year gap
there.
seems fair enough to me.
The referee checks both fighters.
He steps back.
Signals to the timekeeper.
The BELL RINGS.
ROUND ONE.
ROUND ONE – NIGHT
The bell RINGS.
Tyler explodes out fast — light on his feet.
In-and-out. Flashy.
James stays compact.
Guard high.
Patient.
Tyler scores with quick shots.
Nothing heavy.
UK COMMENTATOR (V.O.)
Early signs of ring rust for
Thompson.
Reed’s speed already asking
questions.
James misses with a right.
Tyler smiles.
END ROUND.
ROUND TWO
Same pattern.
Tyler circling.
Talking.
Showboating just enough.
James stalking — cutting the ring, but late.
MOSES
(quiet)
Don’t chase.
Let him come to you.
James nods.
END ROUND.
ROUND THREE
James absorbs a sharp combination.
Steps back.
Bell.
James sits.
Breathing hard.
MOSES (CONT'D)
You alright?
James nods.
MOSES (CONT'D)
Listen.
He’s younger.
He’s faster.
And he’s prettier.
James cracks a smile.
MOSES (CONT'D)
But he’s never been hit like you.
Never felt pain like you.
Never lost like you.
Moses leans in.
MOSES (CONT'D)
Go make him feel it.
James rises.
END ROUND.
ROUND FOUR
James waits.
Tyler steps in —
JUST ONCE TOO CLOSE.
CRACK.
A RIGHT HAND snaps Tyler’s head back.
The crowd ERUPTS.
Tyler stumbles — shocked.
UK COMMENTATOR (V.O.)
That got his attention!
James presses — body shots.
Thud. Thud.
Tyler covers up.
No more smiling.
Bell.
Tyler returns to his corner, breathing heavier now.
ROUNDS FIVE TO EIGHT – MONTAGE
— James digging hard shots to the body
— Tyler’s nose bloodied
— Tyler swinging wider, frustration creeping in
— James eating shots, refusing to back up
UK COMMENTATOR (V.O.) (CONT'D)
This is no longer a showcase.
This is a fight.
CO-COMMENTATOR (V.O.)
And Thompson is dragging Reed into
deep water.
END MONTAGE.
ROUND NINE
Tyler plants his feet.
BOOM.
A brutal shot lands on James’s LEFT SHOULDER.
POP.
James winces.
Arm hangs loose.
He clinches — desperate.
MOSES (V.O.)
Oh no…
James survives the round.
The bell SAVES him.
END ROUND.
CORNER – ROUND NINE
Moses grabs James.
MOSES
Son…
you’ve done enough.
James shakes his head.
JAMES
No.
Not again.
Moses tries the shoulder —
James SCREAMS into his gumshield.
MOSES
I can’t get it back in.
The REF steps over.
REFEREE
You wanna go on?
James doesn’t speak.
He NODS.
Moses locks eyes with him.
No words.
END ROUND.
ROUND TEN
Tyler charges — senses it.
James switches stance.
One arm.
Jabs.
Moves.
Runs the clock.
UK COMMENTATOR (V.O.)
This is dangerous.
Thompson’s corner should stop this.
Tyler swings wild —
James plants.
BOOM.
A MONSTER RIGHT HAND.
Tyler crashes down —
SEATED ON HIS TRUNKS.
The stadium ERUPTS.
Tyler beats the count — barely.
Thirty seconds left.
They trade.
Bombs.
James eats shots —
REFUSES TO FALL.
BELL.
The referee DIVES between them.
AFTERMATH
Both men sag against the ropes.
Exhausted.
Broken.
Standing.
ANNOUNCER (V.O.)
Ladies and gentlemen…
after ten rounds…
CUT TO CARDS —
Wide decision.
ANNOUNCER (V.O.)
…your winner by unanimous decision…
Tyler Reed.
Mixed reaction.
Tyler nods — respectful now.
He crosses the ring.
Grabs James.
TYLER
You’re a tough old bastard.
James smiles through blood.
JAMES
Told you.
They embrace.
The crowd ROARS —
for James.
Not the result.
The man.
SUPER: ONE WEEK LATER
Genres:
["Drama","Sports","Action"]
Ratings
Scene
56 -
A Warm Welcome at Rosewood
EXT. ROSEWOOD CARE HOME – DAY
James walks toward the entrance.
His LEFT ARM is in a sling.
MOSES walks beside him, hands in pockets, proud but quiet.
The doors open.
INT. ROSEWOOD – COMMUNAL AREA – DAY
Residents look up.
A beat —
Then APPLAUSE.
CHEERS.
SARAH steps forward.
She doesn’t hesitate.
She hugs James —
then plants a BIG KISS on his lips.
The room ERUPTS —
giggles, claps, whistles.
James laughs, slightly embarrassed.
JACK steps forward, studies his brother carefully.
JACK
You look like you been hit by a
car.
A beat.
James blinks —
then laughs.
JAMES
Yeah.
Something like that.
Moses hides a smile.
A CARER approaches.
CARER
Jimmy?
There’s someone here to see you.
James frowns — surprised.
Genres:
["Drama","Sports"]
Ratings
Scene
57 -
A Day of Closure and Connection
EXT. ROSEWOOD – DAY
A sleek car sits at the curb.
TYLER REED stands beside it.
MARCUS remains in the driver’s seat.
Moses steps up beside James.
Marcus glances at Moses —
offers a cautious smile.
Moses nods once.
Tyler hands James a folder.
TYLER
Final numbers.
James opens it.
His eyes widen —
just slightly.
He looks up.
Tyler is already stepping back toward the car.
No speeches.
No cameras.
James nods —
a quiet mark of respect.
Tyler nods back.
The car pulls away.
James looks back down at the figures.
Enough.
More than enough.
INT. BOARDROOM – DAY
JAMES signs documents.
EDDIE watches, relieved.
BARBARA stands nearby, arms folded — satisfied.
SARAH sits beside James.
BARBARA
(smiling)
Maria would’ve liked this.
James finishes signing.
He exhales.
Done.
INT. ROSEWOOD – DAY – LATER
James now wears a STAFF BADGE.
He helps set up chairs.
Laughs with residents.
SARAH works beside him —
natural, easy.
JACK watches them from across the room.
Content.
Genres:
["Drama","Sports"]
Ratings
Scene
58 -
A Satisfying Conclusion
INT. TV STUDIO – NIGHT
James sits at a desk —
smartly dressed.
A MONITOR shows fight highlights.
HOST
James Thompson —
great to have you with us.
James smiles —
comfortable.
At ease.
INT. ROSEWOOD – EVENING
James locks up.
Lights glow in windows.
Safe.
Home.