Coast to Coast 1987

In Liverpool, John Carloff, a White American soul aficionado, touches down with a towering five-foot stack of original soul singles, answering a help ad placed by Ritchie Lee, a black Liverpudlian who has converted an old ice-cream van into what he calls “the Popemobile with attitude” and packed it with disco gear. The two unlikely allies bond over their shared love of music and the thrill of starting something new, each convinced they have something special to offer the other. The collaboration feels inevitable: a world‑weary outsider and a local with grit and swagger, chasing a dream of bringing soul to the streets.

Their optimism meets immediate trouble when they are mistakenly booked for a geriatrics’ evening entertainment. “How was I supposed to know? The bloke just asked if we were a ’60s disco’…” becomes a running joke that masks the growing tension of their situation. Still, they cling to the hope that their next booking will be something grand—perhaps a posh house party in a Wirral mansion. Instead, the assignment lands them at a wedding reception in a Kirkby pub, where Ritchie predicts trouble and warns that weddings in Kirkby are notorious for turning into disasters. When they arrive, the night spirals into a chaotic fight, and as they attempt a hurried exit, the van breaks down, forcing them to confront the fragility of their plan.

The turning point arrives when Kecks McGuinness, a British Rail buffet car attendant with big ambitions who once sold them the van, reappears with a questionable scheme. After a quick drink and a dig at life’s absurdities, Kecks hints that there might be a path to something bigger, telling them to take the van to a contact in the morning and offering a little paid work in the meantime. Moments later, a set of odd parcels arrives at Kecks’s lock‑up, and Kecks quietly ushers the lads inside, then heads out, locking the door behind him. He slips a parcel into the freezer and hands them a wary £20 before slipping away, leaving them to wonder what they’ve walked into.

Back in the pub, the mood darkens when they discover the £20 note is fake. A sharp realization follows: Kecks is involved in something far larger and more dangerous than they imagined. They hurry to Kecks’s flat, only to confront him as he returns, wearing a flimsy disguise and trying to slip away. He confesses that he has stolen printing plates for counterfeit £20 notes from a London villain and plans to vanish with them, hiding the plates in the van for a later drop to a contact in Parkestone. He explains that the boys will need to sit on the plates for a few days while the scheme unfolds, and he offers a hefty incentive—£1,000 upfront for delivery and another £1,000 upon arrival.

Reluctantly, the pair agree to the plan, but when they glimpse two men on the stairs with cockney accents—clearly trouble—they cut their losses and head toward Parkestone. The pair soon discovers that the two men are Johnny Shannon’s cockney gangster and his enforcer The Chiropodist, who have followed them. In a tense sequence, the duo accelerates away only to witness the criminals moving up toward Kecks’s hideout, where they kill him in a calculated blow.

With Kecks dead, John and Richie decide to improvise, taking a zig‑zag route to avoid both the cockney gangsters and the police who are already on the lookout for Kecks’s murder. Their route brings them to a small hotel managed by a racist landlord [Tim Barker], complete with a llama as a bizarre backdrop to the drama. There, the pair cross paths with Susan, the landlord’s daughter, played by [Cherie Lunghi]. Richie’s rapid-fire nerves and bravado collide with John’s guarded nerves, and the two men share a charged moment as Susan becomes a catalyst for a new dynamic between them. Although Richie teases that they are musicians traveling with Earth, Wind & Fire, it’s John who shares a more intimate truth about his past: he is an AWOL pilot with the United States Air Force.

When they push on, Curtis Duchamps, an American soldier played by [Al Matthews], offers them a lift to a base, where his car has broken down and he needs a ride to a U.S. base. John’s sense of danger spikes as Curtis invites them to perform at the soldiers’ canteen. Richie’s enthusiasm soars at the chance to perform live, while John wrestles with his fear and the possibility of exposure. Ultimately, Richie takes the stage with him, delivering a soulful rendition of “Knock on Wood,” and the duo then teams up to perform “Drift Away” for a crowd of servicemen. A soldier recognizes John, confirming that their past is not easily left behind.

Their detours continue as they press toward Parkestone, only to learn that the cockney gangsters have arrived first and murdered the intended recipient of the drop. Threatened with a sawn‑off shotgun, the two friends cling to their nerve as Richie, in a moment of peril, inadvertently activates a lever that plunges the criminals into a grain‑filled vat, where they perish in a suffocating escape from danger. The police arrive on the scene, and Richie realizes that their pursuit has now shifted toward them, especially as military personnel emerge from a police car.

John is spirited away in a police car, leaving Richie to shoulder the weight of what just happened and to keep an eye on the hidden plates—plates that Kecks hid at his flat. The film then jumps months forward to an austere Military Detention Centre in Massachusetts, where John has completed his sentence and encounters a very different world. In a twist that strains friendship and fate, Richie appears in a white suit behind the wheel of a massive American car, hinting at a windfall and a future gig in Pasadena. The two men exchange a glance that says everything and nothing at once, as the car pulls away into the distance and the credits roll.

This journey is a disorienting blend of music, crime, and camaraderie, anchored by the magnetic pull of soul and the stubborn hope that friendship can survive even when plans derail, fortunes flip, and loyalties are tested in a landscape that runs on rhythm, danger, and the relentless pursuit of something bigger than themselves.