BALLYKISSANGEL
Episode 3.3
"CHANGING TIMES!"
Written by Rio Fanning
Directed by Paul Harrison
Produced by Chris Griffin
Transcribed by Margaret
Pattison
SCENE
Mountain in distance. Brendan, wearing a hiking hat, walks toward the
mountain. Kevin is behind him.
KEVIN
(looks behind
him, gestures impatiently) Come on lads, keep up.
Five girls follow him.
CUT TO
Wooded area. Brendan is making his way through the woods, bent over
slightly to avoid branches. Kevin is following him.
BRENDAN
Kilnashee. (turns
briefly to Kevin) What does that mean, Kevin?
KEVIN
Uh...Wood of the
fairies.
BRENDAN
Correct. Very good.
(points off into the distance, reverently) And over there...is where the
badgers live.
Shot of several pairs of feet walking through the woods.
BRENDAN
And what do we call
where a badger lives?
CHILDREN
A dest. (??)
There is a single-file line of children following Brendan. Most of them
are girls.
BRENDAN
Well done. Very
good. They'll have cubs down there now.
GIRL
And when were they
born?
CUT TO
Top of a smokestack. An engine starts up. Smoke belches out of the
smokestack.
CUT TO
Woods. Brendan and the children are walking through the woods.
BRENDAN
Well it's April
now. So any time during January and March. (he kneels down to look at a spot
on the ground. The children gather around) Usually March around here.
KEVIN
Can we see them?
BRENDAN
Ah not just yet.
They won't be up for a few weeks yet, until they're eight weeks old.
CUT TO
Caterpillar tracks. A large piece of equipment on caterpillars is
rolling across some grass, leaving tracks. Three pairs of feet follow.
CUT TO
Woods. Brendan looks up, apparently having heard something. He walks
over the crest of the ridge. He sees a bulldozer. He looks concerned. His mouth
hardens. The bulldozer rolls closer. The children gather around Brendan. Most
of them are boys. The bulldozer lowers its shovel. Brian, Liam and Donal emerge
from behind it. Brendan's eyes get big. Liam leans on the shovel and looks
cocky.
ROLL TITLES
SCENE
Peter's bedroom. Focus on crucifix over bed, pan down to the bed. Peter
is lying there with his eyes open, staring up at the ceiling. His bedsheets are
a stripy geometric design in various shades of grey. The church bell starts
ringing. Peter rolls over and stares at the wall. He looks bored. The church
bell continues to ring. Peter frowns. He sits up in bed, throws the cover back
and gets up, panicked. He is wearing a grey T-shirt and what looks for all the
world like baby blue scrubs.
CUT TO
St. Joseph's interior. The church bell is still ringing. A shiny wooden
coffin topped with a bouquet of blue flowers is set up at the front of the
church. Father MacAnally is standing behind it, rocking nervously from one foot
to the other. He is wearing a white vestment with a red stola. He smiles
imperceptibly at the congregation.
CUT TO
Congregation. Five people in dark clothes are sitting in the pews. One
of them blows her nose. Another smiles.
CUT TO
Street outside St. Joseph's. Peter comes tearing up the street. He is
wearing his black uniform. He races in through the gate.
CUT TO
St. Joseph's interior. Another shot of the pews. Three other people are
sitting in those pews. In the background, a door can be heard opening. Fr Mac
looks off to the side, then goes to the vestry.
CUT TO
Vestry. Peter is frantically taking a robe off of a hanger on the back
of the vestry door. The door opens. Fr Mac enters and closes the door quickly.
FR MAC
(livid)
Father this is unforgivable!
Peter fumbles with the robe.
FR MAC
It shows no respect
for the bereaved! Who asked especially for you!
PETER
(trying to find
the opening of the robe, mumbles) I know, I'm sorry, I overslept.
FR MAC
Well that's an
excuse, not a reason!
PETER
(stops fumbling
with the robe, slightly impatiently) Look I'm sorry, I'm sorry.
Fr Mac looks at watch and harrumphs.
SCENE
Field. In the distance is a mountain. Lots of heavy machinery is parked
around the field. Men in hard hats stand around aimlessly. A red truck drives
across the field.
CUT TO
Woods. Michael, Brendan, and Siobhan are standing in front of a fence at
the edge of the woods.
MICHAEL
And so Quigley's
going to cut the road through the middle, is that it?
BRENDAN
Well that's what
they told me, Michael.
SIOBHAN
Well the wood is
too small to take such a fracture. Be the end of the badgers. And the orchids.
(looks seriously from Brendan to Michael, then off into the distance,
presumably at the hardware)
MICHAEL
(takes a couple
of steps away, stops and turns back to Brendan and Siobhan) Does Brian know
about them? The badgers?
Siobhan gives him a look that says what would that matter even if he
did? Brendan looks toward the equipment.
SCENE
Ballykissangel street in front of the garda house. Brian unloads a
monstrosity of a red pram from the back of his car and sets it down heavily on
the street, then reaches back into the car for something else. Niamh is
standing there watching him.
NIAMH
I don't know what
to say Dad.
BRIAN
Well, (unloads a
humongous stuffed panda bear, slightly harried) thanks would do nicely! (plops
the panda down on the pram and exhales hard, pushes the pram toward the house)
Niamh smiles.
CUT TO
Garda house interior. Ambrose comes up the stairs, a consternated
expression on his face. A door closes.
AMBROSE
What's this?
Brian and Niamh are in the entryway. Brian maneuvers the pram into
position. Niamh is carrying the baby. She smiles nervously at Ambrose.
BRIAN
Just a couple of
items for my grandson.
AMBROSE
(shortly) My
mother's already given us a pram.
BRIAN
(still trying to
maneuver the pram into position) Not like this she hasn't.
AMBROSE
(haughtily)
I agree we don't have a pram like that, Brian, but we don't want--
NIAMH
(quickly)
Have you seen the panda, Ambrose?
Brian holds the bear up for appraisal.
AMBROSE
(negatively)
It's too big for the car.
BRIAN
(soothingly)
It stands in the corner of the baby's room.
AMBROSE
It's too big for
the baby's room, give the child nightmares.
NIAMH
No it won't, it's
meant to comfort, to cuddle.
Brian cuddles the panda.
AMBROSE
You'd want to be
Arnold Schwarzenegger to give that a cuddle.
BRIAN
(to Niamh)
You look tired.
NIAMH
The baby was up all
night.
She walks off screen to the left. Brian follows her with the panda.
BRIAN
This woman needs
her rest.
CUT TO
Stairs. Niamh descends, holding the baby. Brian follows her with the
panda. They walk past Ambrose, who stands on the stairs.
BRIAN
She needs time to
recover.
Niamh rolls her eyes. Brian bumps Ambrose with the panda.
NIAMH
I can cope Dad.
BRIAN
I'll arrange for
someone to come in and look after Kieran.
AMBROSE
(gets wide eyes)
No you won't! (goes down the stairs after them)
CUT TO
Kitchen interior. Brian sets the panda down on a chair. Ambrose enters.
AMBROSE
If Niamh wants
help, I'm the one to give it.
BRIAN
I can afford it.
AMBROSE
(getting all
worked up) Niamh's my wife, Kieran's my baby.
Niamh is behind Ambrose, putting Kieran down.
BRIAN
(getting even
more worked up) Niamh's my daughter, Kieran's my grandson.
AMBROSE
No.
BRIAN
You drive me mad
sometimes. (leaves in a huff)
AMBROSE
(exhales,
pinches his lips together, turns around to Niamh) From now on, if the baby
cries in the night, I get up.
NIAMH
You work all day.
AMBROSE
So do you.
NIAMH
You're a policeman.
AMBROSE
You're a housewife.
Niamh looks scornful.
AMBROSE
And I'm not
arguing.
NIAMH
(gives in,
smiles) I love you.
AMBROSE
(trying to
remain firm) Don't change the subject.
NIAMH
I still love you.
AMBROSE
(smiles tenderly)
And I love you.
They kiss. Kieran starts to fuss. They look down at him with regret.
SCENE
Blue truck. Through the back window of a blue truck, we can see two
people necking.
CUT TO
Truck interior. It is Sue Ellen and Donal in the lip lock. Liam is
driving. He looks at them with impatience. They lean toward Liam. He pushes
them back with his elbow. Liam looks fed up. He makes the truck swerve on
purpose.
CUT TO
Road. The blue truck swerves from one side of the road to the other. Sue
Ellen and Donal retain their hold on each other. Liam raises his hands in
surrender.
CUT TO
Truck interior. Sue Ellen and Donal are sucking face.
CUT TO
Back of truck. The truck drives away. Sue Ellen and Donal are still
going at it.
SCENE
Eamonn's farm. Eamonn is sitting on an upturned bucket outside his
house.
CUT TO
Farm yard. The blue truck drives into the yard. Sue Ellen and Donal are
still kissing. Liam stops the truck and looks down. He sees Eamonn sitting on
the bucket with his back to him. Eamonn doesn't move. Liam looks mischievous.
He laughs. He taps Donal on the shoulder.
LIAM
Donal, Donal.
Liam laughs and nods out the window at Eamonn's back. Donal and Sue
Ellen break for air. They turn around to see what Liam is laughing at.
DONAL
(calls through
the window to Eamonn) Why are you sitting on a bucket?
LIAM
The toilet's
cracked up! (laughs hard)
SUE ELLEN
(whacks Liam in
the arm, reproachfully) Liam!
Donal climbs down from the truck.
LIAM
What?
Sue Ellen gets out, too.
DONAL
(walks around
the front of the truck, goes over to Eamonn) You all right, Eamonn?
LIAM
(gets out of the
truck, slams the door) Donal, we have a window to fix, we haven't got all
day.
Donal puts his hands in his pockets.
EAMONN
(dolefully)
That house is trying to kill me.
DONAL
It's only a bit of
damp in the windowsill we'll have it fixed in no time.
EAMONN
(keeps his gaze
fixed on the house) It's like a morgue.
Donal leans in.
EAMONN
(raises his
finger in challenge to the house) And I'm not dead yet.
Liam shakes his head and taps his head with his index finger, indicating
that Eamonn is off his rocker. He goes back to the truck.
SUE ELLEN
Has his head gone?
LIAM
Nah, he was never
on a full shilling. (chortles and opens the truck door)
Sue Ellen walks over to Eamonn, morbidly curious.
DONAL
Come on Eamonn,
what's the matter?
Sue Ellen leans over behind Eamonn.
EAMONN
I prefer to live in
the barn. At least I'd have the pigs to keep me company.
Donal hangs his head. Sue Ellen pulls him towards her by his collar. She
whispers in Donal's ear. It looks like she whispers, "He's crazy."
DONAL
(amused) God
you might be right.
LIAM
(rejoins the
group) What?
Donal whispers in Liam's ear. It looks like he whispers something else
entirely. Liam smiles broadly.
LIAM
Ho ho, yeah! (walks
away)
DONAL
(kneels down in
front of Eamonn) You know what your trouble is Eamonn? (flicks a glance
at Sue Ellen, then back to Eamonn) You need a woman.
EAMONN
(squeaks)
Wha--?
Donal nods seriously. Eamonn turns around to look at Sue Ellen.
SCENE
Fitzgerald's interior. Assumpta, behind the bar, is carrying a sandwich
and a bowl of soup to Padraig, who is sitting at the end of the bar.
MICHAEL
(off-screen,
reasonably) Brian, you could always put the road round the woods.
Assumpta sets the sandwich down in front of Padraig.
PADRAIG
Thank you Assumpta.
ASSUMPTA
That's OK. (sets
the soup bowl down, too)
BRIAN
(off-screen)
Thousands upon thousands of pounds more.
CUT TO
Tables. Brian is sitting at a table by the window. Michael is standing
next to the table, leaning against it with both hands. Brendan is walking
around behind Brian, his hat in one hand and his coat slung over his arm.
BRENDAN
Brian, you can
always make money. But you cannot make a tree.
CUT TO
Pub entrance. Peter enters and closes the door. He sees the men. He
walks over to the bar and takes a seat in the middle.
BRENDAN
(off-screen)
And you cannot make an orchid. And you cannot make the badger.
PETER
(to Assumpta)
What's going on?
ASSUMPTA
Och, Quigley wants
to build a road through Kilnashee.
CUT TO
Tables. Siobhan and Michael are taking seats at Brian's table. Brendan
is perched on a seat to the side.
BRIAN
An orchid, a
badger. And for that you're going to risk the prosperity of the district?
PADRAIG
I could do with
some continual prosperity.
ASSUMPTA
Mm-hm, you're right
there Padraig.
BRIAN
You've had enough
prosperity out of me, O'Kelley.
ASSUMPTA
Look, speaking for
myself, I just--
MICHAEL
(interrupts)
Father Clifford, what do you say?
PETER
Michael, I don't
want to get involved.
BRIAN
Sound man, stay out
of it.
Assumpta walks away. Peter looks annoyed at Brian's comment, but keeps
his mouth shut and looks away.
SIOBHAN
Well have an
opinion at least.
PETER
(sighs, looks
put upon) If I must.
Assumpta returns with a pot of coffee and a mug. She pours coffee into
the mug.
PETER
Why don't you put
the road round the wood.
MICHAEL
My words precisely.
BRIAN
No.
PETER
Fine.
BRENDAN
Gonna leave it at
that then Peter?
PETER
I gave my opinion,
he's not interested.
Assumpta sets the coffee mug down in front of Peter.
BRIAN
Well I tell you
what I'll do then. To save Father Clifford's face here. I won't rush at the
wood. I'll think about it.
MICHAEL
That's not good
enough.
BRIAN
It's all you'll get
and take it or leave it.
Brendan, Siobhan, and Michael look at each other helplessly.
BRENDAN
Well we'll take it for
the minute then. But we'll be watching
you Brian.
BRIAN
Sure I'm used to
that. (stands) Come on. I'll buy you a drink.
Brendan, Siobhan, and Michael look at each other, somewhat pleased. They
all move to get up.
SCENE
Garda house exterior. Night. Through the window, we can see Ambrose
caring for Kieran, who is fussing.
CUT TO
Hallway interior. Niamh, wearing a bathrobe, is walking down the hallway
carrying a bottle of milk. We can hear Kieran fussing.
CUT TO
Egans' kitchen interior. Ambrose, also wearing a robe, is holding
Kieran. Ambrose looks beat.
NIAMH
Ambrose, it's
nearly daylight. Let me take over.
AMBROSE
Go back to bed.
NIAMH
Will you get some
sleep. (puts the bottle down on the counter)
AMBROSE
I'm dealing with
it. (puts Kieran down in a bassinet)
NIAMH
Ambrose don't be so
stubborn. You're doing more than your fair share.
AMBROSE
(turns to Niamh
urgently, sotto voce) Niamh!
NIAMH
It's all right. (casts
an eye on Kieran, leaves)
AMROSE
(turns to look
at Kieran, who is now asleep) He's sleeping!
NIAMH
(out in the
hall, turns and whispers) Then bring him up to bed.
AMBROSE
(nods, turns to
Kieran, stops) Niamh?
NIAMH
(whispers)
What?
AMBROSE
(turns to Niamh)
He's stopped breathing.
NIAMH
(hurries back
into the kitchen) What? (goes over to the bassinet and looks at Kieran)
AMBROSE
Is he breathing?
NIAMH
(pulls her hair
back from her face, leans over, panicky) Oh I can't tell!
AMBROSE
I can't see any
movement, can you?
NIAMH
No.
AMBROSE
Kieran...
Kieran cries.
NIAMH
(sighs in
relief, to Ambrose) Oh you big eejit!
Ambrose heaves a sigh, too. Niamh leaves. Ambrose runs his hand over his
head. Kieran cries.
SCENE
Irish scenery. A mountain is in the distance. Mists blow lightly across
the fields. A truck drives along a dirt road.
SCENE
Office interior. Eamonn is standing on a chair, wearing a suit. His hair
is slicked down, and he has a red kerchief in his breast pocket. Sue Ellen is
kneeling down, pulling cobwebs off Eamonn's pants legs. Donal slowly turns
Eamonn around on the chair.
DONAL
Be counting on
every eligible woman from here to Belfast sniffing round your ankles.
SUE ELLEN
How can you sniff
it, you smell of torf food. (stands)
EAMONN
(turns to Sue
Ellen, defensively) What's wrong with that?
SUE ELLEN
No woman wants to
be reminded of cooking.
Liam is standing to the side, leaning against a file cabinet. He rolls
his eyes and looks impatient.
SUE ELLEN
They like a nice
clean smell on a man. (sprays Eamonn from head to foot with an aerosol spray)
Eamonn tries to ward off the spray with his hands.
DONAL
She's right there.
They have noses like dogs, women. (closes his eyes against the spray)
BRIAN
(enters, wearing
a red hard hat and carrying a box with rolls of paper sticking out) What's
going on? No civilians on the work site-- What...? (gapes at Eamonn)
Sue Ellen, Donal, and Eamonn look like they've been caught red-handed.
BRIAN
Out you go the both
of you. (walks over to Liam and hands him the box)
LIAM
I told them, Mr.
Quigley.
Brian takes a roll of paper out of the box.
SUE ELLEN
Come on, Eamonn.
Sue Ellen and Donal help Eamonn down off the chair. Sue Ellen leads him
to the door. They leave.
BRIAN
And you two. The
survey's nearly finished. (takes another roll of paper out of the box)
Get ready to doze down that wood this afternoon.
SCENE
Fitzgerald's interior. Padraig and Brendan are sitting at the end of the
bar. Padraig looks bored. Brendan is reading the newspaper. Assumpta is fixing
the coffee maker with a screwdriver. It is deathly still.
PADRAIG
(to Brendan)
Did you see the pram that Quigley bought the kid?
BRENDAN
(raises one
eyebrow, looks at Padraig, slightly annoyed that he has interrupted his
newspaper reading to ask that question) Not yet.
The phone rings. Assumpta jumps to answer it. She runs over to the
B&B desk. A fire is burning in the fireplace.
ASSUMPTA
Fitzgerald's?
Brendan takes a sip of his stout.
PADRAIG
I mean, luxury
isn't the word for it. It's got four wheel drive and a chauffeur.
BRENDAN
(not taking his
eyes from his paper) Ah well. That's Mr Quigley for you.
ASSUMPTA
Brendan? (leans
around the glass partition holding the telephone receiver) Siobhan.
BRENDAN
(folds up his
newspaper, pleased) Ah. (tosses newspaper onto the counter, stands up
and walks toward the back)
The pub door opens.
BRENDAN
Good afternoon
Peter.
The pub door closes. Peter enters.
PETER
Hiya Brendan. (walks
over to the bar, carrying a stuffed badger, sets the toy down on the bar and
takes a seat) So. I think Quigley's cutting down the wood after all.
ASSUMPTA
Is he?
PADRAIG
So he thought of
everything.
PETER
Looks like it.
BRENDAN
(from behind the
glass partition, hangs up the phone, distressed) Quigley's gonna never (??)
the wood!
PETER
(calmly)
I've just said.
BRENDAN
(walks quickly
back to the end of the bar) I'm going down there. Siobhan and Michael are
on their way. (to Padraig) Are you coming?
PADRAIG
I never imagined
I'd hear myself say this.
Brendan squeezes his eyes shut.
PADRAIG
But prosperity is a
hell of a sight more important than a few lousy orchids.
BRENDAN
(puts on his
coat) Am I hearing this or am I dreaming?
PADRAIG
Just because we're
friends doesn't mean I have to go along with everything you say and do, I have
a mind of my own, I have needs of my own.
BRENDAN
Nobody says you
haven't.
PADRAIG
So I have to face
poverty, and you have a monthly wage and a pension? Now, that is not
friendship. That is selfishness.
BRENDAN
(appeals to
Peter and Assumpta) Where has he gotten now? (to Padraig) I haven't
time for this Padraig. (turns and grabs his newspaper from the bar) I'm
out of here. (leaves)
PETER
(to Assumpta)
What about you?
ASSUMPTA
Oh I'm with
Padraig. (removes top of coffee maker, carries it over to the bar) I'm
on Quigley's side. And you? So how are you taking it?
PETER
I'm taking...this (picks
up toy badger) over to the new baby. (stands and leaves)
Padraig and Assumpta look at each other uncertainly.
SCENE
Road. An ancient yellow mini is driving along the road.
EAMONN
If only I
knew...who am I going to see?
CUT TO
Car interior. Eamonn is driving. Sue Ellen is in the passenger seat, trying
to put on the seat belt.
SUE ELLEN
The ideal woman. (pulls
on seat belt, but it seems to be too short)
EAMONN
Who, though?
SUE ELLEN
Just wait and see.
(pulls on seat belt some more)
EAMONN
I'm frightened out
of me wits.
SUE ELLEN
(inspects belt
buckle) I know exactly what I'm doing Eamonn. Come from a long line of
matchmakers. (manages to get the belt to buckle, but just barely)
SCENE
Another road. A black car and a blue jeep tear along the road.
CUT TO
Construction site. The black car and the blue jeep roar across the
field, past some equipment. They stop in front of a big yellow bulldozer. Brian
is standing next to the bulldozer, wearing a red hard hat. Siobhan gets out of
the jeep.
SIOBHAN
(angrily)
You broke your word Brian.
BRIAN
I said I'd think
about it.
Siobhan is now flanked by Michael and Brendan.
BRENDAN
(points his
finger at Brian) You led us to believe something different Brian.
Donal is standing up on the bulldozer, next to the cab.
BRIAN
That's your
problem. Now get off my land or I'll have the law on you.
Liam comes out of the cab of the bulldozer, stands on the opposite side
from Donal.
MICHAEL
We shall not be
moved.
BRIAN
We'll see about
that. (walks away)
LIAM
Look we can throw them
off, Mr. Quigley. (jumps down off the bulldozer, follows Brian)
BRIAN
No, that'll be what
they want. (walks across the field, pulls out a mobile phone) We must
keep this quiet. If the news spreads we'll have green bandits and environmental
leprechauns coming at us from all sides. Worse, we'll have the press. (puts
the phone to his ear) Come on answer, why don't you?
In the background, a blue dump truck drives across the field. Some men
in hard hats are standing around.
SCENE
Ambrose's office interior. Ambrose is sound asleep across his desk. The
phone is ringing. Ambrose is unmoved.
CUT TO
Hallway. Niamh walks into the hall from the kitchen and peeks in
Ambrose's door. The phone is still ringing inside. Upstairs, someone taps at
the door. Niamh goes upstairs.
CUT TO
Door. The phone is still ringing downstairs. Niamh opens the door. It is
Peter.
NIAMH
Father. (her
gaze goes to the toy badger. She looks less than pleased)
PETER
Niamh. (holds up
the toy badger) I've come to see the baby.
NIAMH
(smiles,
relieved) Oh. Well come in.
Peter enters.
NIAMH
Go on into the
kitchen. I'll be with you in a minute.
The phone is still ringing. Niamh closes the door.
CUT TO
Ambrose's office interior. Ambrose is still sound asleep on his
desk. The phone is still ringing. Niamh
opens the door. The phone stops ringing.
NIAMH
Ambrose!
AMBROSE
(stirs, sits up,
sleepily) Hm. What.
NIAMH
The phone.
AMBROSE
What about it?
NIAMH
It's ringing.
AMBROSE
(puzzled) No
it's not.
NIAMH
You were asleep.
AMBROSE
No I wasn't.
Niamh leaves, looking troubled. She closes the door. Ambrose sniffs and
rubs his nose with his thumb. His elbow slips off the table. He groans and rubs
his face with the palm of his hand.
SCENE
Construction site. The place is busy. Trucks drive around, men in hard
hats swing tools. Brian is walking with Liam.
BRIAN
Keep an eye on
them. Don't let them get up to mischief. (takes off hard hat and tosses it
to Liam)
LIAM
(catches hard
hat) Right Mr. Quigley. (goes back)
Brian gets into his car. A billboard behind him announces, "QUIGLEY
DEVELOPMENTS -- WAHDONG" with a picture of three men in hard hats
(possibly Brian and two Koreans) looking at a blueprint, behind them an
artist's rendering of an office complex. Some Chinese characters float in the
air over the building (I know Brian's supposed to be doing this deal with some
Koreans, but I know what Korean looks like, and that ain't it!) Brian starts
the engine and backs up.
SCENE
SUE ELLEN
(smiling)
Here we are.
Eamonn, standing behind Sue Ellen, looks shocked. They are standing in
front of Hendley's.
EAMONN
Kathleen?! (he
tries to make a break for it)
SUE ELLEN
(grabs Eamonn's
arm) She won't bite you! (pulls him up the steps)
EAMONN
No!
Sue Ellen opens the door and pushes Eamonn in.
CUT TO
Hendley's interior. Eamonn enters, having been pushed by Sue Ellen. Sue
Ellen runs away down the steps. Eamonn timidly looks toward the back of the
store.
EAMONN
Hello?
Kathleen comes in from the back of the store. She is carrying a yellow
box. The door chime tinkles. The door closes. Kathleen sees Eamonn, frowns,
goes behind the counter.
KATHLEEN
You're all dressed
up like a dog's dinner. (starts re-stocking a shelf behind the cash register
with items from the box in her hand)
EAMONN
And I had a bath
this morning.
KATHLEEN
I'm sure it's not
before time.
EAMONN
I usually have it
of a Saturday night.
KATHLEEN
Do you?
EAMONN
(nods, adds)
If I have one at all.
Kathleen gives him a look, continues stocking her shelf.
EAMONN
Women's nose, eh?
KATHLEEN
What's up with my
nose?
EAMONN
It's more sensitive
than a man's.
Kathleen looks at Eamonn, puzzled.
EAMONN
Smell that. (he
is not in the shot, so it's unclear what he wants Kathleen to smell)
KATHLEEN
I think that bath
has softened your brain.
EAMONN
(holds his hand
out toward Kathleen) Sniff.
Kathleen looks unwilling, but gingerly approaches Eamonn and sniffs in
his general direction.
KATHLEEN
Turf smoke.
EAMONN
(crestfallen)
Oh. (lifts his hand to his nose and takes a tentative whiff)
KATHLEEN
Eamonn, what's
going on?
The door chime tinkles.
KATHLEEN
You're making me
nervous.
FR MAC
Nervous? (stands
behind Eamonn) Is everything all right?
Kathleen looks at Eamonn.
EAMONN
(holds his hand
up to his face so that Fr Mac cannot see him) Oh chilly mac! (??) (leaves)
SCENE
Egans' kitchen interior. Kieran is lying in his bassinet. He is wearing
a blue knit outfit and looks extremely cute. He has his fist around Peter's
pinky. The stuffed badger is lying in the bassinet next to Kieran.
NIAMH
Say thank you to
Uncle Peter. (coaxes) Go on, give Uncle Peter a big smile.
PETER
(looks at Niamh
skeptically) Uncle Peter?
NIAMH
(confidentially)
It might confuse him if I keep calling you Father.
PETER
(amused yet
enlightened) I hadn't thought of that.
NIAMH
Till he learns the
difference. You don't mind, do you?
PETER
I shall quite enjoy
being his uncle.
NIAMH
(cooing at
Kieran) Lovely cuddly badger, eh, Kieran? When you're old enough, we'll
bring you up to see the real ones in Kilnashee.
A door opens. Niamh and Peter turn around.
CUT TO
Hallway. Brian enters from outside. He slams the door and walks quickly
toward the kitchen.
CUT TO
Kitchen.
PETER
I wouldn't bank on
it.
CUT TO
Hallway. Brian takes off his hat and walks into the kitchen.
BRIAN
(impatiently)
Where's Ambrose?
CUT TO
Kitchen.
NIAMH
What's the matter?
BRIAN
I've been ringing,
where is he?
NIAMH
He's in the office.
Brian walks out the other door toward the office. Niamh follows him.
CUT TO
Ambrose's office interior. The door opens. Brian enters, followed by
Niamh. Ambrose is zonked out again on the desk.
BRIAN
Look at this. Our
safety in his hands.
NIAMH
(sympathetically)
Ambrose... (walks over to him)
BRIAN
While this man is
on duty, do we need to lock our doors?
NIAMH
(shakes
Ambrose's shoulder gently, whispers) Ambrose...
AMBROSE
(sits up,
sleepily) What? Time to get up?
BRIAN
(demands) I
want you up at the site at once.
Peter walks up behind Brian and hangs out in the doorway, eavesdropping.
AMBROSE
(thickly)
What for?
BRIAN
(disdainfully)
A bunch of eejits trespassing trying to stop the work.
PETER
You said you
wouldn't touch the wood.
BRIAN
(turns to Peter)
I said I'd think about it, I thought about it, (turns back to Ambrose)
I'm cutting it down.
PETER
No wonder they're
protesting then.
BRIAN
(turning from
Peter to Niamh) We can't have frogs and toads, and hooting bloody owls
dictating how we earn a living.
NIAMH
(pleads) Put
the road round the wood, Dad.
BRIAN
This is nothing got
to do with you. Either of you.
NIAMH
(glancing at
Peter, offended at Brian's rudeness to the priest) Dad!
PETER
No no, he's right.
It's nothing to do with me.
NIAMH
Father please...
PETER
No no. It's all
right. (leaves)
Brian nods, as if to say, "Right so."
NIAMH
(reproachfully)
Dad...
BRIAN
(innocently)
What?
A door closes.
SCENE
Fitzgerald's interior. Assumpta is taking off the top of the coffee
maker again. She has a screwdriver poking out of her back pocket. She sighs.
Eamonn and Sue Ellen are sitting at a corner table.
EAMONN
(scoffs)
Long line of matchmakers. How could you do that to me? (loosens his tie)
SUE ELLEN
I know what's right
for you Eamonn.
EAMONN
I'm frightened of
the woman at the best of times. (unbuttons the top button of his shirt)
SUE ELLEN
Everything'll come
right, I promise you. But you must persevere.
Some metal parts from the coffee maker fall down, making a loud crash.
Assumpta looks frustrated.
SCENE
Construction site. Brendan's and Siobhan's cars are parked between the
bulldozer and the woods. Siobhan is leaning on the bulldozer. Brendan and
Michael are standing next to it. Opposite them is Ambrose, backed up by Donal,
Liam, and Brian.
AMBROSE
Gentlemen, Siobhan,
you know you're trespassing.
BRENDAN
Yes we do.
AMBROSE
In that case you
know it's my duty to advise you to leave this piece of land at once.
BRENDAN
Yes.
AMBROSE
Are you going to
take that advice?
BRENDAN
No.
BRIAN
Just get them off
the site.
AMBROSE
(over his
shoulder) If you don't mind, sir.
BRIAN
Throw them off if
necessary.
AMBROSE
(over his
shoulder) We'll have no violence, sir.
BRIAN
(walks up to
Ambrose, confidentially) Why do you keep calling me sir?
AMBROSE
I'm on duty.
BRIAN
(irritated)
Well get on with it then!
Ambrose smiles, walks over to the three disorderlies.
BRENDAN
We're not leaving,
Ambrose.
AMBROSE
Just to be clear,
you're gonna have to come off sometime, you are breaking the law.
MICHAEL
We'll face that
moment when we come to it.
AMBROSE
Good luck then. (turns
and walks back to Brian and his cohorts)
Brendan, Siobhan, and Michael look at each other, pleased.
BRIAN
Well?
AMBROSE
I'll have to call
in reinforcements, sir, and have them removed.
BRIAN
How long is that
gonna take?
AMBROSE
A few days, sir.
BRIAN
Are you joking me?
AMBROSE
(straight-faced)
Why would I do that, sir?
BRIAN
(exasperated)
Stop calling me sir!
SCENE
Construction site. Night. Brendan, Michael, and Siobhan have got a fire
going in an old oil drum. Michael drops a log in. Sparks fly up. Siobhan is
pacing around. Brendan is warming his hands over the fire. An owl hoots.
Siobhan sees something in the distance.
SIOBHAN
(warily)
Watch it...
The three of them hurry up onto the bulldozer. Headlights approach. The
headlights are so bright that the three on the bulldozer cannot see who it is.
It is Peter in a red car. He gets out and raises his hands over his head. He is
holding a brown leather backpack. He lowers his hands and leans on the car
door.
PETER
Brought you some
soup, some tea and some sandwiches.
The three protesters laugh.
BRENDAN
Good man yourself.
Peter turns off the headlights.
SIOBHAN
Thanks Father.
They climb down off the bulldozer.
PETER
How long do you
intend to keep this up then? (rests the backpack on the hood/bonnet of the
car and rummages around in it)
BRENDAN
(stops at the
oil drum and warms his hands) Till Doomsday if we have to.
SIOBHAN
(puts her hands
in her pockets) I have a problem tomorrow. I have a lot of calls to make.
MICHAEL
(puts his hands
in his pockets) Yeah so do I.
BRENDAN
What are we going
to do then?
All of them look at Peter.
SIOBHAN
You wouldn't like
to sign in for us, Father?
Peter gives them a look that says, "You've got to be joking."
He has unpacked the backpack. There are sandwiches and thermoses/flasks on the
hood/bonnet of the car.
MICHAEL
(alarmed)
Who's this? (looks into the distance, grabs Siobhan's arm)
Apparently another vehicle is approaching. Michael and Siobhan make a
dash for the bulldozer, followed by Brendan. Peter hurries to join them, then
stops halfway.
PETER
(annoyed) Oh
what am I doing? I'm not part of this. (stands and puts his hands in his
pockets)
Assumpta drives up in her van. Again, the headlights are so bright that
the three up on the bulldozer cannot see who it is. Assumpta stops and opens
her door, leans out.
ASSUMPTA
Uff! Better
business out here than I've had in the pub all night. (shuts off headlights,
ducks back into the van)
BRENDAN
I thought you were
against us.
ASSUMPTA
And so I am. On a
purely material basis. (pulls a basket out of the van) I'm with youse in
spirit, though. (closes door) So I brought you a few sandwiches and some
drinks.
SIOBHAN, BRENDAN, MICHAEL
(pleased)
Oh, thanks. (jump down from the bulldozer)
MICHAEL
We're being well
looked after.
ASSUMPTA
I'm surprised to
see you here, Father.
PETER
Well like you, I'm
on an errand of mercy. (indicates the foodstuffs on his car)
ASSUMPTA
Ah ha. (puts her
basket down on the hood/bonnet of Peter's car) You do know, don't you, that
the three of you aren't gonna make much of a difference in the long run.
SIOBHAN
Well the numbers
aren't everything Assumpta. Remember the Alamo.
BRENDAN
Oy, it was warmer
at the Alamo.
Assumpta unscrews the lid of a red thermos/flask.
PETER
As I was driving
here, I was remembering when I was at university, and we were protesting to
stop a car park being built.
ASSUMPTA
Ah, so you were a
man of action once, were you? (opens thermos/flask)
SIOBHAN
Now would you leave
the poor man alone?
PETER
Thank you Siobhan.
Anyway. Some of the kids from the archaeology department sowed the site with
artifacts. You know, arrowheads, bones, that sort of thing. Held the work up
for months. I just offer you that thought.
MICHAEL
(holding cup)
You know, I've got a few souvenirs from medical college at home. Should be just
the thing. (pushes past Brendan and leaves)
SIOBHAN
(also holding
cup) I'll come with you Michael. Get some warmer clothes. (leaves)
BRENDAN
Here, I-- I'll come
too, (runs to car) hold the fort for us, will you, Father, we won't be
long.
They get into their cars and start the engines.
PETER
(weakly
protesting to empty air) No-- no, hang on a minute! (engines rev) No
wait!
They drive away. An owl hoots. Assumpta smiles to herself. Peter looks
at Assumpta helplessly.
ASSUMPTA
(amused) God
if you're frightened of the dark I'll stay with you. (puts lid back on
thermos/flask)
PETER
(looks
uncertain, looks very uncertain, accepts) Thanks.
SCENE
Egans' kitchen exterior. Night. Through the window, we can see Ambrose
cradling Kieran in his arms. Kieran is making little baby sounds.
AMBROSE
(sings)
Sweetest little fella. Everybody knows. Don't know what to call him but he's
mighty like a rose.
CUT TO
Kitchen interior. Kieran cries.
AMBROSE
(sings)
Looking at his Daddy...
Kieran cries.
AMBROSE
(sings) With
eyes so shiny blue. Make you think that heaven is coming close to you.
The giant stuffed panda is sitting on a counter, staring at the camera.
SCENE
Peter's car. Night. Through the steamed up windshield, we can see Peter
and Assumpta sitting in his car. Peter wipes the windshield with his sleeve. It
squeaks. There are sandwiches and thermoses/flasks on the hood/bonnet of the
car. Peter sighs and looks out the window. An owl hoots.
PETER
An owl?
ASSUMPTA
(seductively)
I know.
Peter almost looks at her, but doesn't, focuses on looking out the front
window. Assumpta sighs. They are silent for a few moments. Assumpta looks out
her window.
ASSUMPTA
And all that work
out there...
PETER
Yeah.
ASSUMPTA
Money's gonna gush
up through the floor, Quigley says. Fine. But what's the cost?
PETER
(grimly)
Nothing's ever simple, is it.
ASSUMPTA
No.
They are silent again for a moment.
ASSUMPTA
We don't really
have a lot to say to each other, do we.
PETER
Do we?
ASSUMPTA
No.
An owl hoots.
ASSUMPTA
The owl's quite
chatty, though.
Peter smiles a little. Assumpta laughs to herself.
PETER
(turns to her)
What.
ASSUMPTA
Oh. I'm just
thinking back to when I was sixteen, there was this uh...priest in the parish
who used to sneak up on parked cars and shine a torch through the window. (smiles
at Peter knowingly)
PETER
(naively)
Looking for...?
ASSUMPTA
What do you think.
PETER
(embarrassed)
Ah, yeah. (looks out the front window again)
Assumpta watches Peter. He turns toward her.
PETER
What?
ASSUMPTA
(shrugs slightly)
Just thinking.
PETER
(naively)
What?
ASSUMPTA
What would you do
if Father Mac shone a light through our window?
PETER
Tell him to mind
his own business.
ASSUMPTA
You surprise me.
PETER
Do I?
ASSUMPTA
Constantly. (looks
out the front window and sighs)
PETER
You cold? (takes
her hand)
ASSUMPTA
Yeah-- no...
PETER
(holds her hand
in his, lifts it) You feel cold.
ASSUMPTA
(watches her
hand nervously) No.
Peter bows his head and holds her hand to his forehead. He suddenly
turns and looks behind them. A car engine can be heard. Peter lets go of her
hand.
CUT TO
Car exterior. The windows are steamed up again. Peter gets out.
MICHAEL
(calls) Any
problems?
PETER
Was all quiet. (crosses
his arms across his chest)
Assumpta gets out.
Michael, Siobhan, and Brendan get out of the black car.
BRENDAN
I hope you were
paying attention, Father. (puts on his hat)
PETER
Yes, I was.
ASSUMPTA
(calls) I'm
off home. (packs up some things back into her basket)
MICHAEL
You can go home
too, Peter.
PETER
Thanks.
BRENDAN
No. Thank you.
Assumpta picks up her basket and walks to her van. Peter closes his car
door and follows her. He looks back to see if the others are watching them.
PETER
Assumpta...
Brendan, Siobhan, and Michael are walking to the construction site.
Michael is carrying some long tools over his shoulder.
ASSUMPTA
(whispers)
Good night. (moves to get into her van)
Peter stops her, wants to say something. She pulls the hair back out of
her face. Peter gets very close to her, struggles for words.
PETER
I'm a priest.
ASSUMPTA
That's fine. Be a
priest. (gets into her van, closes the door)
Peter stands there, looking self-reproachful. Assumpta starts the
engine.
SCENE
Ballykissangel street. Early morning. A delivery truck from "RYAN'S
BAKERY" is parked in front of Hendley's. Assumpta's van is parked in front
of the pub. A driver gets out of the bread truck and walks around to the back.
SCENE
Egans' kitchen interior. Niamh, in a bathrobe, enters the kitchen
looking fresh and chipper.
NIAMH
Ambrose! (looks
around, doesn't see anyone, checks the bassinet, finds it empty, goes out the
other door)
CUT TO
Living room interior. Niamh opens the door.
NIAMH
Ambrose?
Niamh is about to say "Ambrose" again, but then she sees
Ambrose and Kieran curled up together, asleep on the couch/sofa/settee. Kieran
moves a little. Niamh smiles.
SCENE
River Angel. Under the bridge. Peter is sitting on a pile of rocks,
tossing stones into the stream. He looks frustrated and angry. He tosses a rock
at a Coke can. He knocks the can off into the water. He looks around, as if
searching for answers.
SCENE
St. Joseph's interior. Eamonn, still wearing his suit, is on his knees
in a pew in prayer.
EAMONN
Oh God, why am I
doing this? (looks up, clasps his hands together) Oh God, give me the
courage to go through with it. At the very least, don't let Kathleen laugh at
me. Or sneer at me. Or hit me with a floor brush.
A door opens. Eamonn looks around. It is Kathleen. She walks over to
Eamonn. Eamonn looks away and gulps.
KATHLEEN
What are you doing
here?
EAMONN
(squeaks)
I-- (blinks, swallows hard)
KATHLEEN
(frowns)
I've never seen you in church at this hour before.
Eamonn has a coughing fit.
KATHLEEN
Are you all right?
EAMONN
Just getting the
lungs up and running.
KATHLEEN
I'd slow them down
to a walk, if I were you. (unbuttons her coat)
Eamonn watches her.
KATHLEEN
What?
EAMONN
(picks up
something from the pew next to him, holds it out to Kathleen) Have a
flower. Flowers. (closes his eyes) They're for you. (pokes a bouquet
of flowers still wrapped in paper toward Kathleen)
KATHLEEN
What do I want
flowers for?
EAMONN
(desperately)
I was told to give them to you.
KATHLEEN
Told?
EAMONN
Uh uh no, sorry.
Please take them. They're sagging in the middle I kept them so long for you.
KATHLEEN
(pleased)
My. All right then. (walks closer to Eamonn, points at the flowers) This
isn't really the place.
Eamonn hands her the flowers. They are bent in the middle. He leans over
close to her.
KATHLEEN
Thank you.
Peter enters from the sacristy.
PETER
Morning Kathleen.
KATHLEEN
(gasps) Oh.
PETER
Eamonn.
KATHLEEN
Good morning
Father.
SCENE
Egans' kitchen interior. Ambrose, in uniform, is drinking from a cup.
Kieran is lying in his bassinet, waving his arms about helplessly and looking
cute.
AMBROSE
Listen, young man,
I had very dark thoughts about you last night, so don't push your luck.
KIERAN
Huh-uh.
AMBROSE
It's broad
daylight, time to go to sleep.
BRIAN
(leaning in the
doorway) If you weren't so stubborn, you'd accept my offer of help.
AMBROSE
(coldly)
What do you want?
BRIAN
I've come to see my
grandson. (nods toward Kieran)
AMBROSE
(snippily)
There he is. (puts his cup down and goes out the door toward his office)
BRIAN
(walks over to
Kieran) Hallo hallo hallo hallo hallo wee fella. And how are we today, huh?
Isn't he beautiful? Little hands. Little handy-pandies. You could eat those so
you could. (makes shushing sounds) Oh. (removes hat, sits down)
Have you given any thought, to what you're going to be when you grow up? (leans
on bassinet) Well I'll tell you what you're gonna be. You're gonna be the
chairman of a world-wide company. The chairman of Quigley Incorporated. The
boss of Quigley In-- (looks up, stops suddenly)
Ambrose, Liam, and Donal are standing there watching Brian.
AMBROSE
Liam and Donal.
BRIAN
What are you two
doing here?
LIAM
Oh we've just been
over to the site Mr. Quigley and the fellas they found some uh,
whatchamacallits.
Donal nods.
BRIAN
Speak English.
DONAL
History Mr.
Quigley. Ancient parties living in the woods.
LIAM
Yeah. Leaving
behind them bones and arrowheads and bits of pots and...things like that.
AMBROSE
An archaeological
site, is that it?
DONAL
That's the yolk.
BRIAN
I don't believe it.
Get out there and clear away any of that stuff, immediately.
AMBROSE
Such finds have to
be reported to the appropriate authorities and all work suspended immediately.
BRIAN
Just forget about
it for a couple of hours, all right?
AMBROSE
And in the
circumstances, sir, I am the appropriate authority. Therefore, it now becomes
my duty, sir, to--
BRIAN
(rolls his eyes)
Oh don't start all that again. (leaves)
Ambrose smiles to himself. Liam and Donal leave.
AMBROSE
(gloats to
Kieran) That got up his nose, didn't it?
SCENE
Father Mac's office interior. Father Mac enters, followed by Kathleen.
FR MAC
I haven't got long,
Kathleen. (closes the door) What is it?
Kathleen walks over and stands next to the desk.
FR MAC
(walks past her,
indicates a chair) Oh sit down please.
KATHLEEN
Eamonn Byrne.
FR MAC
(takes a seat at
his desk, troubled) Has he been bothering you again?
KATHLEEN
The thing is
Father, I think...I'm frightened. He's going to ask me to marry him.
FR MAC
Are you sure about
this?
KATHLEEN
I'm sure as I can
be.
FR MAC
Has he spoken of
it?
KATHLEEN
Not yet. But,
that's what's on his mind.
FR MAC
(cheerfully)
Well if it is, where's the harm in that? It would be a marriage made in heaven.
You'd be great company for each other.
KATHLEEN
Company is one
thing Father.
FR MAC
Yes... (looks
down)
KATHLEEN
But...if we do...he
might want to...
FR MAC
(soberly)
Indeed he might...and as his wife it would be your duty.
KATHLEEN
Yes Father I accept
that.
FR MAC
(stands, walks
around the desk) But since you would be married then there would be no sin
attached to it so...
KATHLEEN
(stands)
I've put all those thoughts from my mind long ago Father. Not that I've ever
suffered from any such thoughts.
FR MAC
(quickly) Of
course not. (puts his hand on Kathleen's shoulder) Marry him Kathleen.
It would be the best thing for both of you. (walks to the door) As long
of course as I can still rely on your help around the church. (opens door)
KATHLEEN
(walks out,
stops, leans back in) I'd never deprive you of that Father. (leaves)
FR MAC
Thank you Kathleen.
(closes door)
SCENE
Egans' kitchen interior. Ambrose is sitting at the table, holding a cup
of coffee. He nearly nods off, tipping the cup of coffee. Niamh grabs it just
in time.
NIAMH
Ambrose...You can't
go on like this.
AMBROSE
Like what?
NIAMH
You've got to get
some sleep.
AMBROSE
I can manage. (picks
up jacket from chair, puts it on)
NIAMH
At least take up my
Dad's offer, get somebody in. (dumps coffee down the drain)
AMBROSE
Leave your Dad out
of it, I run this family.
NIAMH
Well if you do run
this family as you say, you're not running it very well. Not if you make
yourself sick.
AMBROSE
(buttons up his
jacket) Will you leave me alone, please. (picks up his hat, leaves, goes
upstairs)
NIAMH
Ah Ambrose... (follows
him)
CUT TO
Garda house exterior. Assumpta has just knocked on the door. Ambrose
opens the door on his way out.
ASSUMPTA
(surprised)
Ambrose!
AMBROSE
Oh. Assumpta.
ASSUMPTA
(cryptically)
A nurse is a fox. (enters, stops at the top of the stairs, turns around,
whispers) I've come to see the baby. (beckons to Ambrose, goes downstairs)
AMBROSE
Right. (follows
her, leaving the door open)
CUT TO
Stairs. Ambrose is going down the stairs.
AMBROSE
Now. What was I--
Oh yes. (puts on his hat, goes back upstairs)
CUT TO
Downstairs hallway. The door closes upstairs. Assumpta and Niamh watch
Ambrose, give each other a look. Niamh is holding Kieran, who is sound asleep.
ASSUMPTA
Is he all right?
NIAMH
(shakes her head)
He's out on his feet, he's punch drunk. He's getting hardly any sleep. (leans
over Kieran, whispers) Seems this little rascal has it in for him.
ASSUMPTA
(leans over
Kieran, whispers) Hey, he's not a rascal, he's beautiful isn't he, isn't he
the most beautiful baby in the world.
NIAMH
(whispers)
Don't wake him up. (cradles him, carries him into the kitchen)
ASSUMPTA
(whispers)
Oh I'm sorry yeah come on I'll put the kettle on. (follows Niamh)
SCENE
Peter's living room interior. Peter dials the phone, picks up the phone
and carries it with him a few steps, receiver to his ear, waiting for an
answer. He looks upstairs.
PETER
(into phone)
Father Mac? It's Peter Clifford here. Yeah. When might you next be in Ballykay?
Oh it's nothing really er, just a chat I suppose. Tomorrow? Fine, thank you. (hangs
up quickly, sighs)
SCENE
Hendley's interior. Eamonn enters very very slowly. He is still wearing
his suit. He walks up to the counter in slow motion. Kathleen watches him
approach.
KATHLEEN
Well?
EAMONN
(holds out a box
of Black Magic chocolates) I want you to have these.
KATHLEEN
What do you hope to
gain by this?
EAMONN
(tremulously)
I don't know?
KATHLEEN
(kindly)
Well that's all right then. Thanks a million. (takes the chocolates)
Eamonn watches her.
KATHLEEN
Well.
EAMONN
Then...goodbye. (turns
to go, looks up, sees a much larger box of Black Magic chocolates on the shelf,
looks back at the box he gave Kathleen)
SCENE
Garda car. Ambrose is sound asleep behind the wheel. Luckily, the car is
parked. Peter opens the driver's door.
PETER
Are you all right?
AMBROSE
(gets out of the
car) I suppose I'm in luck you're not an officer or an intendant.
PETER
Just checking.
AMBROSE
Checking what,
Father?
PETER
Just making sure
you were all right.
AMBROSE
(snaps) Well
I'm fine, I don't need you--
PETER
No. No you're
right. (walks away)
SCENE
Sacristy interior. Peter enters from outside. As he goes past the door
leading into the church, he sees someone up at the altar making off with a
candlestick. Peter dashes into the church.
PETER
Hey!
The would-be thief tosses the candlestick to his accomplice, who catches
it and sticks it into a brown leather bag. They make a break for it with Peter
in hot pursuit. The thief with the bag gets the bag caught on the end of a pew
and drops the bag. Peter stops to check inside the bag, then takes off after the
thieves.
CUT TO
St. Joseph's exterior. The two thieves run out of the church. Peter is a
couple of seconds behind them. He runs to the fence.
PETER
(shouts)
Ambrose! Ambrose stop those two!
CUT TO
Garda car. Ambrose is napping again. He sits up in his seat when he
hears Peter.
CUT TO
Street. The two thieves run onto the street, where they have a getaway
car parked.
CUT TO
Garda car. Ambrose gets out of the car and puts on his hat. He closes
the door and looks this way and that, then dashes across the street.
CUT TO
Street. The thieves have gotten into their car. Ambrose is in hot
pursuit on foot. The thieves' car pulls into the street. Ambrose jumps for it.
He gets his hand in the window and hangs on. Peter runs out onto the street,
looks on in horror as Ambrose is dragged along by the moving car. One thief
opens the door that Ambrose is hanging on to, knocking him off onto the
pavement. Peter runs over to him. The car gets away.
PETER
(panicked)
Ambrose?
Peter turns the unconscious Ambrose over. Ambrose's face is scraped and
bloody. Peter mumbles something and looks up and down the street frantically. A
man comes running past.
PETER
Look can you call a
doctor please! (holds his hand up) Look just-- just just just stay back.
(sits back, watches Ambrose, puts his hand to his mouth)
A woman walks up and stands next to Ambrose and Peter.
SCENE
Egans' kitchen. Niamh is holding a sleeping Kieran. Assumpta is sitting
next to her.
ASSUMPTA
I'll miss him.
NIAMH
(amused,
thinking Assumpta is talking about Kieran) Where would you miss him?
Assumpta doesn't answer.
NIAMH
(looks at
Assumpta, her smile fades) Who were you talking about?
ASSUMPTA
Oh that's what I've
come over here to tell you. I made up my mind.
NIAMH
What about?
Someone bangs at a door. Niamh and Assumpta look around. The banging
continues. Niamh stands, carrying Kieran.
NIAMH
For God's sake
what's that.
Assumpta stays seated, rubs her hand over her face. The banging
continues.
SCENE
Hospital. Through a window, we can see Michael consulting with another
doctor. A sign points to "INTENSIVE CARE--X-RAY--ST. BRIDGET'S WARD--ST.
JOSEPH'S WARD". Peter and Niamh with Kieran are sitting in the waiting
room. Brian is standing next to Peter, holding the stuffed badger. Brian walks
away.
PETER
I feel so responsible.
NIAMH
Why?
PETER
Well if I hadn't
yelled at him...
NIAMH
He's a policeman,
Father. You mustn't blame yourself.
Niamh and Peter look up as the door opens. Michael enters, closes the
door.
NIAMH
How is he Doctor?
MICHAEL
He's hurt Niamh,
I'm not going to pretend otherwise, but I've been told it's not as bad as it
seemed at first.
NIAMH
Can I see him?
MICHAEL
Well he's not
really conscious yet.
NIAMH
(begs)
Please.
MICHAEL
I'll have a word.
The door opens. Presumably Michael leaves.
BRIAN
(puts his hand
on Niamh's back) Don't worry, he'll be all right.
Kieran gurgles.
NIAMH
He's hurt his head.
BRIAN
Oh you won't notice
the difference.
Niamh looks despondent. The door opens again. Michael enters.
MICHAEL
Eh Niamh, you can
come in now.
NIAMH
(walks over to
Peter) Will you hold the baby please Father? (hands Kieran to Peter)
Kieran burbles and coos.
BRIAN
Me too. (puts
the stuffed badger on Peter's shoulder)
Peter holds Kieran and the badger. The door closes.
PETER
Oh come on Kieran.
Kieran cries.
PETER
You heard what Doc
Ryan said. Anyway. Your Uncle Peter's in control now. Well. Almost.
SCENE
St. Joseph's interior. Peter is sitting in a pew on the right side of
the church, contemplating the blue virgin. Father Mac enters from the sacristy.
He walks across in front of the altar, genuflects, then walks over to Peter.
FR MAC
(cheerfully)
How's Ambrose?
PETER
Oh I...haven't
spoken to Niamh today, but last night he was as well as can be expected.
FR MAC
(leans against
the railing) Good. You want to see me?
PETER
Yes. (gestures
to the pew next to him for Fr Mac to sit) I need your advice.
FR MAC
Advice from me?
Then I'd better sit down. (he does) Advice about what, Father?
PETER
Um...
FR MAC
Or would you rather
I guess?
Peter looks down.
FR MAC
I'd quite enjoy
that.
PETER
No.
FR MAC
Then, what do you
want to talk about?
PETER
About being a
priest, I suppose.
FR MAC
Oh you surprise me.
A crisis of faith. Not what I'd expected.
PETER
What did you
expect?
FR MAC
You tell me.
PETER
It's not a question
of faith, Father, I've no doubt in my faith, it's it's just...What am I doing
as a priest? I mean, what does it mean to be a priest?
FR MAC
To serve God.
PETER
I can serve God
without being a priest.
FR MAC
Serve your
community, your congregation--
PETER
And if they don't
need me?
FR MAC
They always need
you.
PETER
Do they? I say
Mass, I hear confession, I officiate at weddings, christening, and funerals,
then what.
FR MAC
Good works?
PETER
Visiting the poor
and preaching about rich men, camels with humps and needles with eyes. (looks
down)
FR MAC
What have you been
reading?
PETER
(somewhat
surprised at the question) The New Testament.
FR MAC
Oh very clever
Father. (pauses) But you don't fool me. Shall I tell you what the
problem is?
PETER
Sorry?
FR MAC
Assumpta
Fitzgerald.
PETER
(looks very
uncertain as to what his reaction should be, weakly) What?
FR MAC
We live in a very
small community, Father.
PETER
(swallows and
looks down) Well I hope you don't think that-- (pauses)
Nothing's...happened.
FR MAC
Is something likely
to happen?
PETER
No.
FR MAC
Can you stand
before that altar, and tell God that nothing is likely to happen?
Peter looks up at the altar, licks his lower lip, looks away.
FR MAC
And that is your
problem, Father. That is why you are dissatisfied with your vocation.
Peter stares at Father Mac.
FR MAC
I understand. The
temptation, the pain, the anguish. But most priests...most serious
priests...use these temptations as a means to temper their mettle. And that is
the test, Father. Have you got the mettle to be a real priest.
PETER
I hope...(licks
his lips) I pray, I'm a real priest.
FR MAC
Then you have a
simple choice. Scrub this woman from your mind forever. Or leave the parish.
PETER
(rubs his upper
lip with his finger) I don't want to leave the parish.
FR MAC
Then you need help.
I suggest you go on retreat. That's the place to be. Touch base again. Feel
your vocation again.
PETER
Maybe you're right.
Yes. Yes I will. When should I go?
FR MAC
Oh I think as soon
as possible.
Peter nods stoically.
SCENE
Hendley's interior. Kathleen is handing change to a customer.
KATHLEEN
Thank you.
The door chimes. Eamonn enters. The customer leaves. Eamonn has back on
his old clothes.
KATHLEEN
Well?
EAMONN
Well...
KATHLEEN
Is that all you
have to say?
EAMONN
I've not a lot of
words in me today.
KATHLEEN
(sympathetically)
I know how you feel. It's terrible about Ambrose, isn't it.
EAMONN
Makes you think.
Life could be a lot worse.
KATHLEEN
Indeed.
EAMONN
(leans in close)
Makes you think. What have we got to complain about?
KATHLEEN
(confidentially)
There comes a time, when it's better to stick to the road you know.
EAMONN
(nods) I
agree with you.
KATHLEEN
You do?
EAMONN
I do. I do indeed.
I do!
KATHLEEN
Well then.
EAMONN
(straightens up)
??
KATHLEEN
Goodbye.
Eamonn looks like he might like to say something else, but doesn't.
Leaves, somewhat melancholy.
SCENE
Woods. Someone has attached a cardboard sign to a tree. The sign says
"KEEP AWAY! SITE OF HISTORICAL INTEREST! COUNCIL ??"
Liam, Donal, and Brian are digging around in the dirt.
DONAL
Should we be doing
this?
LIAM
Ah they've notified
the council.
Brian gives Liam a withering look, then continues digging.
SCENE
Fitzgerald's interior. Assumpta is preparing a cup of coffee. The
machine is making fizzing noises. Padraig is sitting at the end of the bar, a
bowl of soup and a sandwich in front of him. He takes a bite of soup, then
turns his attention to the newspaper folded up on the bar top.
ASSUMPTA
Oh please, please,
come on don't do this to me. (hits the coffee machine several times on its
side, clicks her tongue, turns around as the pub door opens)
Niamh enters, carrying Kieran wrapped up in a blanket.
PADRAIG
Niamh.
Niamh closes the door, walks over to Padraig.
PADRAIG
How's Ambrose?
NIAMH
(in hushed tones)
He's fine thanks. (walks around behind the bar)
ASSUMPTA
(reaches out and
puts her arm on Niamh's shoulder) Are you all right?
NIAMH
(smiles wanly)
Yeah sort of.
ASSUMPTA
Go on into the
kitchen, I'll make us a cup of tea.
Niamh goes toward the kitchen.
ASSUMPTA
(turns to
Padraig, sighs) Give us a shout, Padraig. (goes toward the kitchen)
If I ever get another customer.
PADRAIG
(looks around
the otherwise empty pub) Yeah sure.
CUT TO
Fitzgerald's kitchen interior. Niamh is standing next to the stove,
holding Kieran. Assumpta enters.
ASSUMPTA
(indicates a
chair) Please sit down.
Niamh smiles and goes over to the table. Assumpta picks up the kettle
from the stove and goes over to the sink. She fills the kettle with water.
NIAMH
House is so quiet
without Ambrose. (smiles, sits down) Think even Kieran misses him. (looks
down at the little bundle in her arms)
ASSUMPTA
How is Ambrose?
NIAMH
(concerned)
Last night he was quite sick. But he's much better today. His mother's with
him.
Assumpta turns and gives Niamh a grimace. Niamh looks down and looks
like she's fighting back tears. Assumpta turns off the tap and carries the
kettle over to the stove.
NIAMH
(hiding her
face, choking back tears) Anyway. He should be home in a few days.
ASSUMPTA
Oh that's great
news. (goes to the table)
NIAMH
He won't be able to
go back to work for a while though.
ASSUMPTA
(sympathetically)
No I suppose not. (sits down next to Niamh, smiles at her)
NIAMH
Dad wants us to
move in with him.
ASSUMPTA
And will you?
NIAMH
(shakes her head)
Ambrose will never put up with that. Set him back a life term. (??) (giggles)
ASSUMPTA
Suppose it would.
Anyway I'm glad things are looking a bit brighter. (strokes Niamh's arm)
Makes me feel a little less guilty.
NIAMH
Not you as well.
What for?
ASSUMPTA
Well I won't feel
as bad about deserting you.
NIAMH
Deserting?
ASSUMPTA
Niamh I've decided
to leave Ballykay. Just for a while.
NIAMH
You have? At last?
ASSUMPTA
(presses her
thumb) Yup.
NIAMH
Good for you. It's
time you stop dithering.
ASSUMPTA
Oh I know I know.
But it all depends.
NIAMH
On what?
ASSUMPTA
(takes a deep
breath) Do you think you'd be up to looking after the pub for me for a
while?
NIAMH
(considers)
Well if Ambrose was back on his feet...
ASSUMTPA
Well yeah of
course.
NIAMH
Well yes.
ASSUMPTA
Well that's--
that's great.
NIAMH
So? You're off to
Dublin then.
ASSUMPTA
Ah-- no, no. (swallows,
looks down) No London. (looks nervously at Niamh)
NIAMH
(smile fades)
Oh.
CUT TO
Pub. Voices can be heard outside, chattering and laughing. Padraig is
sitting alone at the bar. Brendan, Siobhan, and Michael enter. They stop
talking when they see Padraig. They all go over to his end of the bar. Siobhan
takes a seat. Brendan stands next to Padraig. Michael sits next to Siobhan.
BRENDAN
Hi.
PADRAIG
How're'ya.
Silence.
BRENDAN
Service!
PADRAIG
(knocks on the
bar) 'Sumpta! Customers!
ASSUMPTA
(calls from the
kitchen) Yeah I'll be right with you Padraig!
PADRAIG
Still celebrating.
The rescue of the orchid and the badger. The owl and the pussycat.
SIOBHAN
Come on Padraig.
Putting the road around the wood is not going to make any difference to the
development.
PADRAIG
Remains to be seen.
BRENDAN
Whatever the
outcome...doesn't have to be personal.
Brian enters through the B&B entrance. He is carrying a plastic
shopping bag.
BRIAN
I heard you were
having a little lunchtime celebration. (closes the door) Well I've come
to mess it up for you.
MICHAEL
What do you mean?
BRIAN
You must think I'm
a right eejit. (holds up the plastic bag) You stuck those artifacts up
at the site. And don't pretend you didn't. (sets bag down on table with a
clunk, empties the contents) Look at them. Pathetic. Now these bones
haven't been in the ground for years. (holds up a small bone, sets it down,
picks up an arrowhead) And this arrowhead, it's varnished.
SIOBHAN
Oh. Dear. (looks
at Michael)
Michael shrugs.
BRENDAN
We told the council
though.
BRIAN
I don't care who
you told. (tosses arrowhead onto the table) They'll take one look at
this rubbish and laugh in your faces. So you can say goodbye to your wood. It's
a wake you're having now. You can drink to the corpse. (turns and walks
triumphantly away)
NIAMH
Dad...
BRIAN
(stops, turns
toward the kitchen) Niamh.
Niamh comes out of the kitchen, carrying Kieran, walks over to Brian.
Assumpta comes out of the kitchen, too, but stops in the doorway, her arms
folded.
NIAMH
(to Brian,
confidentially) Do me a favour Dad...
BRIAN
(readily)
Anything.
NIAMH
Put the road round
the wood.
BRIAN
(cannot believe
what he is hearing) Niamh, come on now--
NIAMH
It's not for my
sake, Dad, for Kieran's.
BRIAN
That is just
blackmail.
NIAMH
(in a low voice)
Please Dad.
BRIAN
No way in hell to
let them get away with it!
NIAMH
(presses her
lips together, insists) Dad!
BRIAN
Niamh...(shakes
his head, sighs, leaves, closing the door firmly)
NIAMH
(turns to the
patrons at the end of the bar) He'll do it.
Assumpta looks surprised.
SIOBHAN
Thanks Niamh.
Thanks a lot.
Brendan, Siobhan, and Michael are all smiles.
BRENDAN
Big hand for Niamh.
They applaud.
Peter enters through the B&B entrance.
PETER
(to Niamh)
Your father nearly knocked me down. What's happened? (looks queryingly at
the other patrons)
ASSUMPTA
Niamh persuaded him
to put the road round the wood.
PETER
Oh well done Niamh.
(puts his hand on her shoulder)
Niamh looks subdued.
PETER
So how is Ambrose
today?
NIAMH
(politely)
He's doing very well. They're going to let him home soon.
PETER
Oh I'm glad. Very
glad. (looks over at Assumpta, seems to want to talk to her)
Assumpta looks at her toes.
NIAMH
Right then. I'm
gonna take this fella home to feed him. And change him before you throw him
out. I'll speak to you Assumpta about--
ASSUMPTA
(holds up her
hand to stop Niamh) Yeah.
NIAMH
(to Peter,
confidentially) I hope you've stopped feeling guilty, Father. (leaves)
Peter does not answer, presses his lips together and scratches his
temple, catches Assumpta's eye, points toward the kitchen. The other patrons
start chatting happily amongst themselves. Assumpta starts to go into the
kitchen.
PADRAIG
(calls out)
Assumpta!
ASSUMPTA
(holds up her
hand) Yeah. In a moment. (goes into the kitchen)
CUT TO
Kitchen interior. Assumta enters, closes the door. Peter is there.
PETER
She's taking it
very well.
ASSUMPTA
(clears
something away from the table) Brave woman. (puts two mugs into the sink)
PETER
Father Mac's just
given me a talking to.
ASSUMPTA
(walks over to
the stove, keeping her back to Peter) Nice for you.
PETER
Well I think I
deserved it.
Assumpta turns around to face Peter and leans against the stove.
PETER
Anyway, he's helped
me make up my mind about a couple of things.
ASSUMPTA
Such as?
PETER
One, I've decided
Father Mac is exactly the sort of priest I don't want to be. And two, I've decided
it would do me no harm to be as good a priest as Father Mac.
ASSUMPTA
(breathlessly,
as if she were lightheaded) Still sitting on the fence. (looks down)
PETER
(with
determination) No. I've got off the fence. Father Mac shoved me onto a
ladder.
ASSUMPTA
What sort of
ladder?
Long silence.
PETER
He's ordered me, to
go on retreat.
ASSUMPTA
Oh yeah. When.
PETER
Next week.
ASSUMPTA
That's it, is it?
PETER
Yes. That is...it.
ASSUMPTA
(looks like
she's about to cry, looks down) Well thank you for telling me. At least I
know I've made the right decision. (looks up, crying)
PETER
And what decision?
PADRAIG
(calls from the
pub) Assumpta! Customers!
Peter looks distractedly toward the pub, then back at Assumpta.
ASSUMPTA
(shakes her head)
Scuse me, I've got customers. (leaves, still crying)
Peter looks like he might cry, too.
ROLL CREDITS