Hot Fuzz: Part 4

EXT. BRANNIGAN’S FARM – MORNING
We see the ’WELCOME TO SANDFORD’ sign. It’s morning outside JAMES REAPER’s farm. His GREEN 4X4 pulls over to the roadside. He gets out and walks to some horses at a gate. They snort, restless. REAPER looks behind him. The ASTRA is sitting right in the middle of the road.
REAPER
Danny?
REAPER squints. It’s not DANNY. Sitting behind the wheel, wearing shades and revving the engine, is ANGEL. Reaper runs to his 4X4...ANGEL screams towards him...Reaper grabs his car radio.. SMASH. ANGEL crashes his car directly into the 4X4...REAPER is left clutching the radio and snapped cable...ANGEL springs from the ASTRA and charges towards REAPER.
REAPER
(cont’d) Mum!!!
ANGEL punches REAPER out cold. BANG...Buckshot rips into the 4X4 next to ANGEL’s head... REAPER’S MUM brandishes a shotgun from the other side of the gate. She breaks the shotgun and goes to reload. ANGEL runs towards the gate, jumps into the air and launches into a flying kick. REAPER’S MUM snaps the shotgun shut, ANGEL lands on her, with maximum force.
EXT. BRANNIGAN’S FARM - MORNING
JAMES REAPER and his MUM are tied to the fence.
REAPER
What are you going to do? Just walk in and arrest the whole village?
ANGEL
Not exactly.
INT. SANDFORD STATION - MORNING
ANGEL glides through the quiet front office, past the straight haired DESK SERGEANT who barely looks up.
INT. LOCKER ROOM - MORNING
ANGEL glides through the locker room. No-one spots him. He opens his locker, and retrieves a uniform and a stab vest.
INT/EXT. EVIDENCE ROOM - MORNING
’999’ is punched into the keypad. The door opens on the arsenal of weaponry. ANGEL grabs all he can carry. RIFLES and SHOTGUNS round his shoulders, PISTOLS in his belt. The room is now completely empty, save for the sea mine.
INT. FRANK’S OFFICE - MORNING
FRANK looks at paperwork and eats ice cream. In the outer office ANGEL stands looking in. FRANK becomes aware of someone watching. He looks up but ANGEL has gone.
INT. STATION - MORNING
ANGEL glides past the DESK SERGEANT, who finally pipes up.
DESK SERGEANT
Oh Sergeant Angel? Someone from London called for you.
ANGEL scowls back at him, chewing gum, armed to the teeth.
DESK SERGEANT (cont’d)
I’ll tell them you’ll ring ’em back.
ANGEL nods and walks out. The DESK SERGEANT watches him go.
DESK SERGEANT (cont’d)
That’s funny.
VOICE (O.S.}
What’s that?
DESK SERGEANT
I didn’t know we had a mounted division.
The voice’s owner joins DESK SERGEANT in peering after ANGEL. It’s his curly haired twin brother.
THE OTHER DESK SERGEANT
Nobody tells me nothing.
EXT. STREET - MORNING
An armed ANGEL trots down the street on a FUCKING HORSE. He rides past a bus shelter where GABRIEL WEAVER and the HOODIES sit in their usual formation, albeit in school uniform. They stare at ANGEL, their young mouths agape.
ANGEL
Wanna do something useful?
ANGEL throws a holdall to GABRIEL. It’s full of spray cans.
INT. STATION/CCTV OFFICE - MORNING
WEAVER reads the paper and daintily eats ice cream. He does not see the CCTV screens slowly turn black behind him.
EXT. HIGH STREET - MORNING
Sandford. As it was that first morning. Idyllic, bustling, happy. Among the morning folk we see smiling NWA members going about their business as if nothing has happened. We see WORKMEN putting up a banner across the middle of the street reading ’GOOD LUCK SANDFORD: VILLAGE OE THE YEAR’. ANNETTE ROPER is putting out a display in front of her shop. Her walkie-talkie crackles to life.
RADIO VOICE
Annette, that new policeman’s back. Check out his horse!
INT. CCTV ROOM - MORNING
WEAVER hears this RADIO message and finally realises that all his precious CCTV cameras have been sprayed black.
INT. SURGERY - MORNING
DR. HATCHER peers through his surgery window, his eyes wide. ANGEL is reflected passing on horse back.
EXT. STREET - MORNING
JOYCE COOPER waters the hanging baskets outside the hotel, she spots ANGEL riding up the middle of the high street. The PORTERS peer out of the Crown, mouths agape. REV. SHOOTER is talking to the understudies GREG and SHEREE. All three stop and stare. AMANDA PAVER skids to a stop on her bicycle and gawps. MR. TREACHER in his heavy coat looks on in terror. SKINNER and his staff stare from the window of SOMERFIELD. DANNY is sat in the squad car in the usual parking spot. He sees ANGEL and is terrified, not knowing what to do.
INT. STATION - MORNING
WEAVER bursts into FRANK’s office, panic stricken. FRANK looks up. His cheery expression dissipates immediately. FRANK Angel.
EXT. SQUARE - MORNING
The village has come to a stop. The NWA watch as ANGEL dismounts. Beads of sweat glisten. Eyes flick this way and that. The ordinary folk are unnerved by the hush. ANGEL Morning. MR. TREACHER flings open his winter coat revealing a shot gun. ANGEL dives behind the fountain just as he fires. The village erupts into chaos. The innocent run for cover. The NWA mobilise. The PORTERS scurry inside. DR. HATCHER emerges from his surgery with a number of guns. ANNETTE ROPER runs into her shop. Moments later an upper window smashes and the barrel of a gun protrudes. DANNY sits in the car, his face a mixture of awe and panic. ANGEL takes a look at MR. TREACHER’s position. He is standing next to a truck loaded with BEER BARRELS. ANGEL jumps up and fires blasting the catch holding the BEER BARRELS in place. They tumble off the back of the truck, knocking TREACHER off his feet. ANGEL is pinned down by fire from ANNETTE ROPER. He looks up to see ROPER’S gun poking out of her shop. ANGEL sees the HOODIES hiding behind a car. He motions to the newsagent. The HOODIES stampede into the shop. The door slams. We see the notice; "ONLY ONE CHILD AT ANY TIME". In the window, ROPER’S gun is suddenly yanked backwards. We hear muffied screams and blows. Shots ring out, a hail of bullets narrowly missing ANGEL. Pedalling towards him on her cycle, firing a rifle is AMANDA PAVER. ANGEL dives out of the line of fire. DANNY sees AMANDA PAVER in his wing mirror. His face hardens. He flings the door wide open and sends AMANDA PAVER flying through the air into a crumpled heap. DANNY runs over to join ANGEL. ANGEL throws him a shotgun. DANNY catches it in mid air.
ANGEL (cont’d)
That’s what I’m talking about.
Shots ricochet off the fountain. GREG and SHEREE reign fire on the two officers. ANGEL and DANNY, without a moments pause, return fire, shooting GREG in his gun hand and SHERRE in the shoulder. Both fall dramatically.
JOYCE COOPER
Fascist!
JOYCE COOPER opens fire with an antique Winchester. DANNY dives for cover. ANGEL rolls across the floor, pulling two pistols from his belt, still rolling he fires at JOYCE. One of JOYCE’s hanging baskets drops directly on her head.
ANGEL
Hag!
There’s a piercing yell. ANGEL turns to see BERNARD baring down fast with the ORNAMENTAL SWORD. ANGEL barely manages to draw his baton to block the attack. BERNARD swipes, slicing the baton in half. ANGEL takes out BERNARD’s legs with a foot sweep. BERNARD crashes down. Then from behind ANGEL.
REV. SHOOTER
STOP! STOP THIS! Please. Let us put down our guns. Nicholas, my son, you may not be a man of god but surely you’re a man of peace.
ANGEL
Reverend I may not be convinced about the existence of God but I know good and evil and I have the grace to know which is which.
REV. SHOOTER
Oh fuck off Grasshopper!
REV. SHOOTER pulls a pistol from his cassock and fires. The bullet takes ANGEL by surprise, hitting his chest.
DANNY
Nooooooooo!
DANNY returns fire at SHOOTER hitting him in the shoulder.
REV. SHOOTER
Jesus Christ!!!
DANNY runs over to ANGEL who is lying winded in the road. The slugs have been stopped by his bulletproof vest.
ANGEL
Still feel like you’re missing out?
CLICK. They turn to see DR. HATCHER pointing a shotgun.
DR. HATCHER
Drop your weapons.
DANNY
Dr. Hatcher wait.
DR. HATCHER
Shut up Danny. I brought you into this world, it’s rather fitting I should be the one to take you out of it. You and your interfering little friend. Now drop them!
DANNY does so. His shotgun hits the floor. BLAM! It fires into HATCHER’s leg. His knee explodes in a shower of blood. DR. HATCHER clutches his knee, wailing in pain.
ANGEL
You’re a doctor, deal with it...motherfucker. Danny, let’s go.
DANNY
What are you thinking exactly?
A shot blasts from the windows of THE CROWN.
ANGEL
Pub?
ANGEL eyes the board outside the pub; reading ’COME ON IN!’
INT/EXT. THE CROWN - MORNING
SMASH. The pub board comes smashing through the window. The PORTERS fire wildly from behind the bar, before a sign reading ’TWO SHOOTERS FOR THE PRICE OF ONE’. They stop. Then - the pub doors fly open. DANNY and ANGEL burst in, jumping through the air whilst both firing two guns. They land and roll, grabbing tables to form a barricade. The PORTERS open fire again. Tables and chairs splinter. ANGEL pops up and fires at a bear trap on the wall. It falls and clamps its jaws around ROY PORTER’s head.
MARY PORTER
Roy! Somebody call the police!
FRANK (O.S.}
Reach!
The entire Sandford police burst in, wearing RIOT GEAR and clutching batons. WALKER holds a growling SAXON on a leash. FRANK leads them, aiming his ANTIQUE PISTOLS at ANGEL.
FRANK (CONT’D}
Officers, arrest that man. Danny, step away from the Sergeant.
DANNY
No, Dad.
FRANK
Danny, you’ll do as you’re told.
DANNY
No, I’m not taking orders from you any more.
FRANK
Officers, arrest these men!
ANGEL
You can arrest us if you want. You can throw us in prison and go back to being blind, submissive slaves.
CARTWRIGHT
What the fuck is he on about?
WAINWRIGHT
What the fuck are you on about?
ANGEL
Have you ever wondered why the crime rate in Sandford is so low and the accident rate so high?
FISHER
No. Yes. What?
ANGEL
You’ve been brain washed Sergeant into naivety by an old man with a murderous obsession and it’s time you opened your eyes to the truth.
FRANK
This is ridiculous.
DANNY
No, it’s not Dad. It’s very unridiculous. And it’s only now that I’m starting to realise how unridiculous it all is.
FRANK
Silence Danny! Think of your mother.
DANNY
Mum’s dead and for the first time in my life, I’m glad. Because even though she loved this village more than anything if she could see what you’ve become, she’d kill herself all over again.
DORIS THATCHER
Sorry, I’m completely lost.
ANGEL
Sandford is a lie Doris.
For the last twenty years the village has been controlled by Frank and the NWA. They’ve lulled you into thinking this is a perfect village by killing anyone who threatened to change that. SAXON stops growling. BOB WALKER pipes up.
WALKER
Recconneeegottsumadere.
DANNY
He says he ’reckons you got something there’.
ANGEL
I know. Thanks.
WALKER/DANNY
S’alroight.
FRANK rounds on the officers, raising his pistols at them.
FRANK
You’re not seriously going to believe this man are you? Are you?! He’s not even from round here.
The officers look on in confused disbelief at the manic FRANK, who realises he is brandishing his weapons.
WAINWRIGHT
Maybe it’s time to give it up sir.
FRANK
You ignorant flatfoots!
FRANK snaps, shooting his pistols up in the air. He hits a rustic light fitting, which crashes to the ground. ANGEL and the other officers dive out of the way, as glass explodes across the main bar. Everyone scatters. In the confusion, FRANK makes a bid for freedom through the back of the pub. ANGEL jumps up. The other officers stare after FRANK, then look to ANGEL, their new leader.
ANGEL
Let’s go.
DANNY
Aren’t we gonna go after dad?
ANGEL
He’ll come round again.
DANNY
Well, who else is there?
ANGEL
Want anything from the shop?
FLASHCUTS; the police tool up, cuff people. PC WALKER and SAXON guard the already incapacitated NWA members. ROY PORTER still has the bear trap on his head.
EXT. SOMERFIELD - MORNING
ANGEL leads his new recruits as they approach the car park. They take cover behind recycling bins, armed and ready.
DANNY
What you thinking?
Before Angel can answer…
FISHER
We should strike now while we have the element of surprise, the longer we wait the more time they have to mobilise. I say we go in through the front entrance and take the place aisle by aisle. They won’t be expecting that.
ANGEL
Very good. What he said.
INT. SOMERFIELD - MORNING
A grim SKINNER and his gormless minions watch the CCTV.
SKINNER
My, my. Here come the fuzz.
EXT. SOMERFIELD - MORNING
The Sandford police gather near the entrance.
WAINWRIGHT
Maybe they’re not in.
ANGEL
Wait here.
ANGEL goes into SOMERFIELD through the automatic door.
DORIS THATCHER
We can’t let him go in on his own.
DANNY
He knows what he’s doing. KRAAASSSHHHH! ANGEL comes flying through the front window of the shop and lands in a heap on the ground. He gets up.
ANGEL
They’re in. You take the shop. I’ll deal with the trolley boy.
WAINWRIGHT & CARTWRIGHT
Eh?
LURCH strides out of the shop.
WAINWRIGHT & CARTWRIGHT
Oh.
DANNY leads the officers in, as ANGEL faces up to LURCH.
ANGEL
We don’t have to do this Michael. Is this what you really want?
LURCH
Yarp.
ANGEL
Suit yourself.
ANGEL runs at LUNCH and headbutts him in the face.
INT. SUMMRAISLES - MORNING
The OFFICERS make their way through the supermarket aisles. WAINWRIGHT peers round a corner. One of the GRUFF BUTCHERS throws a large meat cleaver. It shatters a tomato sauce jar next to his head. CARTWRIGHT shrieks, assuming it’s blood.
CARTWRIGHT
Andy!
Meanwhile ANGEL is being swung around by LURCH, his arms clamped tightly around LURCH’s neck. ANGEL flailing legs knock produce off shelves as he clings on tight. LURCH begins to lose consciousness. He staggers past a ’WET FLOOR’ sign, slips and both fall hard into a chest freezer. ANGEL scrambles out covered in frost. LURCH is out cold. ANGEL joins the other officers, who crouch behind shelves as they shoot at the two GRUFF BUTCHERS.
DANNY
Where’s Lurch?
ANGEL
He’s unconscious in the freezer.
DANNY
Did you say ’cool off’?
ANGEL
No I didn’t say anything.
DANNY
Oh shame.
ANGEL
But you missed a bit earlier when I distracted him with the monkey, said ’Playtime’s over’ and hit him with the Peace Lily.
DANNY
You’re off the fucking chain! Another cleaver whizzes by, smashing more sauce bottles.
ANGEL
What’s the situation?
WAINWRIGHT
Two blokes and a lot of cutlery. What do you reckon?
The two GRUFF BUTCHERS wait, knives drawn, ready to throw. Suddenly a terrific clattering rumble fills the store. A battering ram comprised of several trollies handcuffed together bursts into view, hurtling toward the GRUFF BUTCHERS. The ANDES ride the front of the trolley-ram, yelling like Vikings. The trollies crash into the meat counter, knocking the GRUFF BUTCHERS to the floor. The ANDES leap off the makeshift battering ram and deck the floored bad guys. A PIERCING SCREAM. The officers turn to see the sluttish CHECKOUT GIRL running towards them. DORIS THATCHER grabs the ’WET FLOOR’ sign and slams it into the CHECKOUT GIRL’s face. She slides across the floor.
WAINWRIGHT
Nice one Doris.
DORIS THATCHER
Nothing like a bit of girl on girl.
SPLAT! The officers duck for cover. Gangly SHELF STACKERS appear, throwing a volley of melons and pineapples.
ANGEL
Can you handle this sergeant? We’re going after the big boss.
FISHER
We’re on it, Sergeant.
ANGEL
Danny, let’s roll.
WAINWRIGHT
Angel! Don’t go being a twat now.
ANGEL
I wouldn’t give you the satisfaction.
ANGEL and DANNY burst in. The office is deserted, the window open. They see SKINNER in the car park climbing into a SQUAD CAR, driven by FRANK.
ANGEL
Let’s get down there.
DANNY
How?
ANGEL
Skip.
ANGEL and DANNY jump through the open window and land in a skip full of cardboard boxes, as FRANK’s car peels off.
ANGEL
Head ’em off?
DANNY
Fuck yeah.
ANGEL and DANNY sprint down an alley, burst back into the square and race towards DANNY’s SQUAD CAR.
DANNY
I’ll drive.
ANGEL
Shotgun!
ANGEL slides over the bonnet to the passenger side. FRANK’s car screams past. DANNY gets in and flicks on the siren.
ANGEL
Punch that shit!
They screech off. Behind them we see the once picturesque square bullet riddled and blood splattered. The banner reading ’Village of the Year’ flutters to the ground. Three official looking types holding clipboards stand gobsmacked amid the debris.
EXT. SANDFORD STREETS – DAY
FRANK’s car races past a ’KILL YOUR SPEED’ sign. Behind, ANGEL and DANNY gain on them. They take turns shooting at FRANK’s car as they go. It’s COP ON COP. FRANK’s car hits the brow of a hill at 100mph and gets air. As it hits the road again, SKINNER spots something.
SKINNER
Swan!
FRANK panics. Swerves. Big mistake. The car careers off the road and smashes right into a sign for the ’MODEL VILLAGE’.
EXT. MODEL VILLAGE - DAY
A beautiful blue sky. The sun beams down on a perfect vista of Sandford. The idyllic shot is quickly ruined however as A GIGANTIC SQUAD CAR flies over what we reveal to be a miniature version of Sandford. A small GINGER HAIRED KID stares in awe as the SQUAD CAR briefly blocks out the sun.
EXT. ROAD - DAY
ANGEL and DANNY’s SQUAD CAR reaches the brow of the hill. ANGEL Swan. DANNY brakes with expert timing. They screech to a stop by the waddling SWAN. ANGEL opens the door and grabs the SWAN.
EXT. MODEL VILLAGE - DAY
The SWAN now sat in the back seat, DANNY takes the SQUAD CAR into the Model Village. Ahead is a scene of devastation. FRANK’s SQUAD CAR lies upturned in a water feature, a damaged sprinkler rains water down onto the model village. FRANK is motionless at the wheel. SKINNER limps away from the crash. ANGEL jumps from the car and runs toward him. DANNY runs over to his injured father. SKINNER swipes up the GINGER HAIRED KID and holds a pistol to his head. ANGEL freezes, stopping dead in his tracks. SKTNNER Stay back or the ginger nut gets it! The KID thinks fast, sinking his teeth into SKINNER’s hand. SKINNER Ow you little fucker! SKINNER drops the kid. Before he has a chance to recover, ANGEL pounces and they both crash down into the tiny village. SKINNER’s pistol skitters down a miniature street. ANGEL and SKINNER spring back up. The sprinkler rains down as they trade blows. The low angle in the model village makes them look like GODZILLA and KING KONG. ANGEL hits SKINNER twice hard in the face. Reaching out SKINNER grabs ANGELS’s hand. ANGEL winces in pain. SKINNER sees he has discovered a weakness and exploits it. He twists ANGEL’s hand whilst raining blows down on his face.
SKINNER (cont’d)
GET OUT OF MY VILLAGE!
ANGEL straightens himself like T2 and shakes his head.
ANGEL
It’s not your village any more.
WHAM. ANGEL flattens SKINNER with one punch. SKINNER sprawls across a mini village sguare. ANGEL looks over to the GINGER KID, who is agog at the coolness of events.
ANGEL
Well done son. What’s your name?
GINGER HAIRED KID
Aaron A. Aaronson.
ANGEL
I’m sorry?
The KID’s eyes go wide. ANGEL spins around. Behind is a maniacal SKINNER, holding a box cutter knife and running full pelt at ANGEL through the tiny streets.
SKINNER
Annnnnnnnnnnnnngelllllllll!
SKINNER trips on a model Someraisles truck. His legs slip from under him, sending him flying. He spins in the air. SPLAT. SKINNER falls hard onto the miniature church roof. A model turret has embedded itself beneath SKINNER’s chin and protrudes through his mouth. ANGEL looks to DANNY who pulls FRANK from the SQUAD CAR. ANGEL Danny. It’s over.
SKINNER (0.S.}
Ooowwww.
SKINNER is not actually dead. He speaks, even though his lower jaw and tongue are now pierced by the turret.
SKINNER
Goooow, thith weally hurth. I can’t feel my thongue. I’m going to need thome ice cream.
ANGEL
There’s plenty of ice cream back at the station. Isn’t there?
ANGEL turns to see FRANK holding a gun to DANNY’s head.
ANGEL (cont’d)
Oh pack it in Frank, you silly bastard!
FRANK
Now, now Sergeant. We don’t want any more bloodshed.
DANNY
Dad, don’t do this!
ANGEL
Frank, this whole thing started because you lost someone you loved. Don’t expect me to believe you’d let it end the same way.
FRANK
I’ll tell you how this is going to end!
He points his gun at ANGEL. DANNY leaps on FRANK wrestling the gun from him. FRANK sprints off towards ANGEL’s car. DANNY aims the gun at him and is about to pull the trigger. He can’t. Instead he points the gun in the air and fires.
DANNY
Aaaaargh!
FRANK jumps in the car and peels off, wheels screeching.
INT. CAR - CONTINUOUS
FRANK looks in his rear view. No one pursues him. However he is not alone in the car. Behind, the long slender neck of THE SWAN rears up. FRANK turns. It pounces.
EXT. ROAD - MORNING
ANGEL and DANNY watch as the CAR veers wildly and crashes into a tree. We hear the sound of distant swan battle.
ANGEL
I feel like I should say something smart.
DANNY
You don’t have to say anything at all.
Behind them cars screech up and the rest of the Sandford police run over. The two officers look up to see a METROPOLITAN POLICE HELICOPTER coming to land in a field.
EXT. ROAD - LATER
FRANK sits handcuffed in the back of an ambulance, wearing a neckbrace. SKINNER is carried through shot on a stretcher, the model church spire still sticking through his face. The HOODIES record this sight on their mobiles.
SKINNER
Ow ow ow ow ow ow ow.
We see the Swan cuffed to a car door by the neck. The OLD MAN IN A CAP approaches to retrieve him. ANGEL and DANNY sit with blankets around them. They are addressed by the three officers from the start of the film.
CHIEF INSPECTOR
What do you say Nicholas?
INSPECTOR
We’ve been trying to reach you for days.
ANGEL
Well I’ve been kind of busy.
SERGEANT
We need you back. The figures have gone a little squiffy in your absence, it has to be said.
CHIEF INSPECTOR
Come back to London. Sandford’s hardly fitting for such an exceptional officer.
ANGEL looks to DANNY, then back at the model Sandford.
ANGEL
Yes, but the thing is sir. I like it here. Now, if you’ll excuse me, we have to do a considerable amount of paperwork.
INT/EXT. STATION - DAY
FASTCUTS of forms being filled, various NWA members processed; prints, mug shots etc. ROY PORTER still has the bear trap on his head. He is measured as 7 feet 5 inches.
INT. STATION - DUSK
The entire Sandford force, including both DESK SERGEANTS sit guietly scribbling away. DANNY is particularly hard at work, the Peace Lily now has pride of place on his desk.
WAINWRIGHT
Fucking hell Nick, this is going to take ages.
CARTWRIGHT
Yeah, we’re gonna be here all night.
FISHER
Good job we’ve got the manpower isn’t it Andy?
DANNY
Actually, official vocab guidelines state that we say ’stafflng’, not ’manpower’. ’Manpower’s sexist.
ANGEL
You don’t mind a bit of manpower do you Doris?
DORIS THATCHER
Dirty bastard!
Everyone laughs. Whoops and catcalls fill the office. ANGEL is for once the office joker. A WASTEPAPER BASKET hits him hard on the head. ANGEL Hey you cheeky fucker! Another huge laugh. ANGEL grins at DANNY, who appears suddenly grave. He follows DANNY’s gaze to see TOM WEAVER. Aiming a BLUNDERBUSS at ANGEL, his face full of hate. WEAVER You know what you are? A bloody busy-body! WEAVER fires. DANNY lunges at ANGEL, pushing him off his chair and taking full force of WEAVER’s blast in the chest. With lightning speed ANGEL slips his feet into a wastepaper basket and kicks it at WEAVER’s face. WEAVER staggers back into the evidence ream. He hits the back shelf. The sea mine teeters, rolls forward and drops between WEAVER’s legs, narrowly missing his crotch. One of the mine’s contact horns collapses.
WEAVER
Oh, God, no!

KA-BOOM. The sea mine goes off. The evidence room door blasts outwards. ANGEL flies backwards through the air. SANDFORD POLICE STATION EXPLODES. In the clearing smoke, paperwork flutters to the fioor. From under the rubble, we see movement. A hedgehog crawls out, blinking in the light. Then the Sandford Police Service, blackened but intact, miraoulcusly get to their feet. A frantic ANGEL hurries over to find DANNY who lies among the debris, barely alive.
ANGEL
Hold on Danny. Everything’s alright.
The officers gather round ANGEL cradling DANNY in his arms.
ANGEL (cont’d)
Everything’s gonna be just fine.
EXT. SANDFORD/VARIOUS - DAY
CAPTION - ’One Year Later’. We see ANGEL leaving a cottage and walk by a garden yath. We see ANGEL, now an Inspector, suiting up at the station. His uniform is different however. It’s more modern. Cooler. He is else armed with an automatic revolver. ANGEL strolls down a station corridor. Familiar looking brightly coloured notices are pinned all around the walls. ANGEL walks out of the newly built station, and gets into his new SQUAD CAR. It’s mere modern. Cooler. ANGEL drives along, his passenger seat conspicuously empty. He passes a skate yark where GABRIEL WEAVER and friends congregate, their heeds down. His mobile rings. He answers.
ANGEL Okay. Give me a minute.
ANGEL comes out of the florists, now called LESLIE’S GARDEN, with a bouquet of flowers and gets into his car. He walks through the graveyard to a single headstone. We see that it reads BUTTERMAN.
ANGEL
Are these okay?
VOICE (O.S.)
Yeah they’re lovely.
DANNY is revealed, standing next to ANGEL. He kneels down and places the flowers on a grave. ANGEL steps back, revealing the full headstone. It reads, ’IRENE BUTTERMAN’.
INT/EXT. SQUAD CAR – DAY
DANNY and ANGEL are in their car. The radio crackles.
DORIS THATCHER (0.S.)
Any officers near the church?
ANGEL
Go ahead Doris.
DORIS THATCHER (0.S.)
Chief, we’ve had a report of some hippy types messin’ with the recycle bins at the supermarket.
ANGEL
Leave it with us. Sergeant Butterman. Little hand says it’s time to rock and roll.
DANNY
Bring the noise.
We cut to the exterior of the SQUAD CAR. ANGEL pulls a spectacular handbrake turn, spinning the car 180 degrees. Accelerating with a roar, the car hurtles towards us, filling the frame.
CRASH TO BLACK