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Original quality photos and more test shots here.

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Green and tungsten colour palette. Pub counter shooting from behind it and from the sides.

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For Scene 43 the script only mentions briefly the characters are drinking. The Wellington is a pub just across the street from Victoria Pier (avoiding relocating the crew) and would thus provide a convenient place for shooting this scene.
Further clarification is needed regarding the time of the day of this scene, my suggestion would be, however, to shoot it at nighttime highlighting the tungsten balanced lights.
I envision this scene with the two characters sitting at the bar counter in bar stools lit by multiple tungsten lights.
There aren't any special concerns with this location.

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Blue/Tungsten Contrast. Silhouetting in the sunset and blue hour. Repeating streetlamps aligned creating a perspective escape line.

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The script describes this location as "MUNDANE BUT SOMEHOW DRAMATIC IN THE FADING LIGHT". This location meets the criteria perfectly. It is itself a very regular pier without much  special. During sunset, however, the sky turns more dramatic and the pier's structure casts some interesting shadows. These lines also give some complexity to the shot and can be aligned in interesting ways playing with perspective.

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Amenities
The Pier is right next to the Square Tower which is bookable for events and may be booked to provide support facilities for the cast & crew. (Contact Details). There's also Parking less than 100m away and bigger Parking facilities within 300m.

Logistical Concerns
The Pier has limited space to move. The platform is only 3m wide and crew would have to clear frame behind the walls. Therefore a smaller crew would be preferable.
The changing tide might be important to consider. While the shooting area isn't affected by the rising water it does provide changes in the look of the scene. A lower tide exposes more of the pier's structure making shots more complex and interesting with more architectural lines exposed; therefore it might be preferable to a higher tide.

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Lighting, Art Dep. and Elec. Dep. Suggestions

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Lighting, Art Dep. and Elec. Dep. Suggestions

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For this scene, I'm looking for naturally motivated lights to provide a Tungsten/Blue colour pallet (complementary colours). Contrasting the deep blues of the Blue hour and the warm orange from tungsten balanced street lights. (see mood-board above)
These lights were once present on the pier but some have been removed, as per the Location Recce. I would like to have the Art Department create additional street lights and disguise the structure on the right of the pier as one and, have the Electrical Department rig them with practical tungsten balanced battery powered lights. Additionally, other lights may be placed off-screen to support the practical lights.

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These are my suggestions for Rose's and Pinkie's clothing.
The two contrasting tones provide insight into their own personality: dark and light; as it is described in the original novel Brighton Rock. According to the book, Rose is an innocent girl while Pinkie a sociopathic teenage boy.

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This shotlist is describes the shots marked on the script.
The shots get progressively tighter with the intensity of the dialogue.

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Sony PXW-FS7 and Samyang Cine Primes

The Sony FS7 is a very popular camera among film crews even years after its launch. It provides several advantages for this shoot. Its high popularity will mean crews are familiar with it and therefore it will provide a smoother shooting process. It features a high native ISO of 2000 and therefore has a good low-light performance. (key feature for Scene 47's lighting situation) The built-in ND filters and the 14 stop dynamic range means it will be easier to shoot in fast-changing and dramatic/harsh light. It shoots S-Log providing better flexibility for colour grading the footage. The lens mount is Sony's E-mount easily adaptable to Canon EF which is one of the mounts with the most amount of compatible lenses. The Sony FS7 is also able to shoot 4K and is Netflix approved which could be a key selling point for distribution of this project.

The Samyang Cinema Primes are inexpensive but capable lenses. The 5 lens kit features the key focal lenses from 14mm to 85mm and most have a very wide aperture with a 1.5 T-stop providing a very shallow depth of the field.

This kit can be hired for £429.00 [Source] per day and it includes:

Sony PXW-FS7 Camera Body (with viewfinder, 2x 128GB 400MB/s XQD card, 15mm rails, CamRade wetsuit rain cover & case, Follow focus & marking ring, XDCA extension unit, Matte box, Metabones Sony-E to Canon EF mount adapter)

Samyang Cinema Primes (EF mount) (including: T3.1 14mm ED AS IF UMC II,  T1.5 24mm ED AS IF UMC II,  T1.5 35mm AS UMC II,  T1.5 50mm AS UMC II,  T1.5 85mm AS IF UMC II)

Tripod legs, head and quick release plate

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In both shots I call for simple tungsten balanced lighting. This could be better achieved in our location's conditions through battery powered bi-colour LED panels such as the  LISHUAI LED508ASK and the Blind Spot Gear Tile Light Duo (with CTO gel).

The pier has limited space for crew and equipment and difficult power availability as well. This can be addressed by using lights  that, by running on batteries, are contained units. Being LED these lights should run cool to the touch allowing it to be held by crew members it there isn't enough space for light stands. Small lights like the Blind Spot Gear Tile Light Duo can also be used to provide the practical lighting by placing them inside the streetlamps.

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To accomplish the shots detailed a track would be required as well as a tripod (this one is already included in the camera kit)

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We will be able to shoot in HD: 1920x1080 progressive (1080p) or 4K: 3840x2160 progressive (2160p) at 25 frames per second with an appropriate shutter speed of 180º or 1/50th of a second and encoded in XAVC-I. It will be shot in S-Log for better colour grading flexibility. The media used by the Sony FS7 is XQD cards.
LUTs for on-set preview can be made from the mood board's colour palettes.