HUSSY

Beaty is a prostitute working at a London cabaret where Emory is a sound/lighting technician. They begin an affair encumbered by Beaty's job as a call girl. They fall in love but predictably he grows increasingly uncomfortable with her line of work. Emory has a bit of a dark secret from his past involving the accidental death of his wife. To further complicate things, Beaty has shared custody of a young son. Eventually a pair of unsavory characters from each of the lovers' pasts shows up and further endangers their love.

Emory's gay friend Max arrives and wants to cut Emory in on a drug deal. He is foppish, arrogant and abrasive. Beaty's abusive former lover, the father of her son and possibly her pimp is Alex, a strong-arm gorilla type, recently released from prison also arrives, needing a place to stay. Alex is clearly a brutish psychopath who threatens Beaty and Emory's future. Emory and Beaty's two past companions could not be more different. Max is sophisticated, articulate, stylish and outspoken. Alex is a working class English thug, quiet, simple and burning with violent rage. Beaty rebuffs Alex's desire to rekindle whatever they had and this enrages him. He does agree to be part of Max and Emory's caper (believing it to be gun smuggling).

On the day of the caper, Max, Emory and Alex end up in a car together with Max continuously taunting Alex. Alex finally has enough and shoots Max dead in the car. Emory and Alex dispose of the body and it becomes apparent that Alex is aware of Emory's intention to take Beaty and her son away. He is resigned to this and insists that Emory take some surplus cash found on Max's body. Emory drops Alex off with the smuggled drugs where Alex promises to 'take care of' (kill) the drugs' intended recipients to keep them from bothering Alex, Emory or Beaty.

When Emory and Beaty first reunite, she refuses to leave the country with him, citing a concern about her son, clearly having trouble uprooting and letting go of her past even though with the proceeds from the smuggling, they will be well set up and she will never have to work at her past profession again. The end shows Emory, Beaty and her child racing to catch a plane, free of their past encumbrances.

After a deadly confrontation with figures from their past, Beaty and Emory gather her child and leave for the airport, now free from past dangers and burdens.

The ending sees Beaty and Emory physically and emotionally cut loose from the threats hanging over them, as they set off for a new start with her child. By choosing escape over retaliation or resignation, the film underlines the possibility—but not the certainty—of redemption, even for those tangled in crime and heartache. It's a cautiously optimistic finale that doesn't ignore the scars of the past but suggests a future beyond them.