Ballykissangel Episode 6.2
"DRINK"
Written by Kieran Prendiville
Transcribed by Margaret Pattison

SCENE: Daytime (perhaps dusk), overcast. Country road.

Vincent's car drives into view towards the camera, passes the camera.

CUT TO: Vincent's car interior.

Vincent is driving. He reaches over and adjusts the radio.

Vincent smiles: Oh yeah.

"Boys are Back in Town" plays on the radio.

CUT TO: Country road.

Vincent's car speeds past the garda car lying in wait. The sirens come on and the car takes up pursuit.

CUT TO: Vincent's car interior.

Vincent sings along with the radio: Boys are back in town...

CUT TO: Country road.

Sound of sirens. The back of Vincent's car recedes from view as it goes around a curve. Garda car follows.

CUT TO: Vincent's car interior.

Vincent looks at his rear-view mirror.

CUT TO: Rear-view mirror.

Shot of garda car with sirens flashing.

CUT TO: Country road.

Vincent's car slows down and stops in the middle of a bridge. The garda car stops behind it.

CUT TO: Driver's side of Vincent's car exterior.

Frankie's shadow appears reflected in the driver's side window. Vincent looks up at her through the window. Frankie looks reproachfully at Vincent. He rolls the window down.

Vincent looks up at Frankie, friendly: How's it going, gard?

Frankie leans over, seriously: You in a hurry, Father?

Vincent looks out at the road: I'm sorry, was I thrashing it?

Frankie: Step out of the car please.
She steps back slightly and gestures for Vincent to exit the vehicle. Vincent opens his door, glances up at Frankie, slightly annoyed, steps out, and stands to face her.

Frankie: Have you been drinking, Father?

Vincent: I'm an alcoholic.

Frankie: You won't mind blowing into this then.
She whips out a Breathalyzer and holds it directly in front of Vincent's mouth.

Vincent looks down at the instrument: It's a terrible thing to doubt the word of a priest.

Frankie looks Vincent in the eye, retorts: It's a sin to tell a lie.
She holds the straw up to Vincent again, commands: Blow.

Vincent clamps his lips over the straw, exhales, one cheek fills out, then the other, he looks down at the instrument. Frankie makes an "O" with her lips and watches the indicator. Vincent finishes blowing.

Frankie holds the Breathalyzer up, frowns slightly, turns to Vincent and says, in a way that indicates she is secretly pleased and that her suspicions have been confirmed: Oh dear.

Vincent looks at the Breathalyzer in consternation, then at Frankie.
Frankie looks back at the Breathalyzer and admires the result.

ROLL TITLES

SCENE: Night. BallyK garda station exterior.

CUT TO: Garda station interior.

Dr. Ryan is taking a blood sample from Fr Vincent's arm. Frankie is standing at a file cabinet, writing something.

Vincent reacts to Dr. Ryan's needle, winces: Oh.

Dr. Ryan glances up at Vincent, then looks back down at the needle in Vincent's arm, murmurs: Sorry.

Frankie looks over at Dr. Ryan and Vincent, sarcastically: I thought alcohol was anaesthetizing.
She turns back to her paperwork.

Vincent: I haven't had any alcohol.

Frankie: I was forgetting.

Dr. Ryan finishes taking the blood sample, steps over to the file cabinet, asks Vincent: So it's uh...it's true that you own Fitzgerald's?

Vincent tends to his arm where the blood was taken from: It's a dirty job, Doc Ryan.

Frankie walks over to the desk, passes behind Vincent, accusingly: And the Dooleys have to do it.

Vincent, defensively: It's better than seeing them kicked out.

Frankie sits down at the desk, says to Dr. Ryan, snippily: Why don't you ask him where he got the money?

Dr. Ryan frowns slightly, looks at Vincent. Vincent looks across the desk at Frankie: Oh is that a police matter now?

Frankie glances over at Vincent, then back at her papers.

Dr. Ryan turns, steps over to the desk with two vials in his hand, and places one vial on the desk: Now. One for you...
He turns to Vincent, holds out the second vial: And one for you.

Vincent shakes his head.

Dr. Ryan nods his head: I'll hang on to it.
He turns to Frankie: There's no need for Father Mac to hear about this is there?

Frankie shakes her head, looks down at her papers: Won't get it from me.
She looks at Vincent, adds: Unless he asks.
She looks back down at her papers.

Vincent glances at Frankie, then finishes fixing his sleeve: You know it might come as a surprise to you, gard, but I don't believe in drink driving.

Frankie feigns surprise: Really. I thought it was your national sport.

Vincent looks at Frankie, dryly: That's good coming from you.

Dr. Ryan clears his throat: I'm uh...out of here.
He smiles slightly at Vincent, raises his eyebrows at him, opens the door, leaves, closing the door behind him.

Vincent looks back at Frankie. Frankie looks back down at her paperwork.

SCENE: Fitzgerald's interior.

Paul is accompanying a customer to the door.

Paul: Right. Good night ??

Man: Good night.

Paul: Night.
He makes a shooing gesture to get the man to leave quickly. The man exits. Paul closes the door.

Paul: Right. Another satisfied customer.
He picks up two empty glasses from a nearby table. He walks behind the bar, picking up another glass and pushing a chair in on the way.

Oonagh, with a pen in her mouth, sits down at the end of the bar, puts a pile of papers down next to her.

Paul puts down the glasses behind the bar. He picks up a clean glass. He sighs in a tired way and walks to the ice box, mutters to himself: What's the point.
He throws some ice cubes into his glass.

Oonagh watches him sympathetically, takes a sip from her glass.

Paul sighs in an exasperated way, sets his glass down hard on top of the bar, gets out a lemon wedge, throws it in on top of the ice, mutters something.

Oonagh: Now Paul...

Paul picks up his glass, turns to the liquor on the back wall, snaps: What?

Oonagh sorts through the pile of papers next to her: Get used to it.
She opens her eyes wide and looks at Paul: Would you rather we were
out in the street?

Paul finishes pouring his drink: No, but I would rather we weren't paying
our rent to Crocodile Dundee.

Oonagh looks at Paul in a reproachful way: He's a Catholic priest.

Paul: And who ran the Inquisition, the Spice Girls?

Oonagh smiles at that.

Paul: Look, we're still beholden, he can still throw us out.

Oonagh: Why would he do that?

Paul: Aacchh. Turn Protestant.
He goes to get something else.

Oonagh: Oh really. Wouldn't you have to turn religious first?

Paul scoffs: Pfff.
He returns.

Oonagh: Better him than the bank.

Paul: Yes. And better us than Ireland.

Oonagh, reproachfully: Oh Paul.

Paul: I know, I know, I know.
He pauses, shuts his eyes, sighs, then looks at Oonagh again: I just
don't like him having a lock on us.
He takes a sip of his drink.

SCENE: Morning. Partly sunny. Liam's house exterior.

Liam exits the house, struggling to get into his jacket. A young woman
exits after him, starts down the path beside the house, looks back and
sees Liam.

Woman, annoyed: Oh for God's sake Liam.
She walks back to him: What age are you?
She pulls his sleeve the right way out, puts his arm into it, straightens his
jacket, frowning, irritated: Come on.
She turns and starts walking down the path again.

Liam pulls a bundle of keys out of his pocket, starts fumbling with them.

Woman, impatient: Ah, Liam...
She comes back.

Liam, defensively: I'm late too, you know.

Woman, angrily: And what's the worst that can happen to you?

Liam: Now will you calm down, you're making me--

The woman grabs the keys from Liam's hand: Will you give me that!
She goes to the house, closes and locks the door.

Liam sighs, looks defeated.

The woman returns, hands Liam the bundle of keys with one key sticking
out: Now that's the key for the truck. Now come on!
She turns and walks quickly toward the path again.

Liam sighs, frustrated: All right, all right, all right.
He shakes his head, starts down the path also.

CUT TO: Street in front of Liam's house.

The woman comes down the path to the street, looking behind her,
impatiently: Come on!
She opens the gate leading onto the street, waits for Liam.

Liam approaches: All right, all right, all right.
He goes through the gate.

The woman says: You weren't so slow last night.
She follows Liam and closes the gate behind herself.

Liam: Jeez, it's not as if we were--
He stops, looks at the woman.

The woman stops, looks at Liam, confused: What?
Both of them stride to the truck.

SCENE: Morning. Partly sunny. BallyK street.

Edso's tow truck drives down the street straight toward the camera. We
can see into the cab. Edso is driving, a blonde woman is sitting
immediately next to him.

Edso: So I woke up the next morning, right, absolutely bald as an egg.

The blonde woman leans over and hugs Edso.

CUT TO: Edso's truck interior.

The blonde woman kisses Edso on the cheek. Edso is driving too fast
and not paying proper attention to the road. He takes a curve a little too
fast.

Edso: Whoa!

Blonde woman sits back, braces herself: Whoa!

CUT TO: BallyK street.

Shot of Edso's truck driving too fast around a curve.

Edso: Whoa-ho-ho-ho-ho!

CUT TO: Edso's truck interior.

Edso, laughing: Edso Knievel! Ha ha ha ha!

The blonde woman laughs appreciatively, leans over and puts her arms
around Edso's neck, kisses him on the cheek.

CUT TO: Liam's truck interior.

Liam is driving. The woman from before is sitting on the passenger's
side. Both of them look peeved.

CUT TO: Street.

Liam's truck comes quickly down the street. Camera swings to show
Edso's truck coming quickly down a parallel street, approaching Liam's
truck.

CUT TO: Edso's truck interior.

Edso: So when you looked at him the first time, did it hurt?

Blonde woman: No, not ??

CUT TO: Street.

Shot of intersection. Liam's and Edso's trucks are both barrelling along
full speed toward the intersection. Edso's truck gets there first, Liam
slams on the brakes to avoid a collision. Edso stops his truck, too.

CUT TO: Edso's truck interior.

Edso has his arm across the blonde woman's chest to stop her from
flying forward, due to the sudden braking maneuver. They both look
back.

Edso frets: Mmmm.

Blonde woman, regretfully: Oh.

CUT TO: Liam's truck interior.

Liam grimly shifts his truck into gear.

CUT TO: Street.

Liam's truck pulls forward, stops immediately behind Edso's truck.

CUT TO: Liam's truck interior.

Liam stops the truck, pulls the hand brake, turns off the engine.

CUT TO: Street.

Liam gets out of his truck, slams the door, stands next to it.

Edso gets out of his truck, looks apologetic: I know, I know--

Liam approaches Edso, perturbed: Are you out of your mind? What, are
we driving on the right now?

Edso, apologetically: I know, Liam, I'm sorry.

Liam: Sorry? You'll know what sorry is now if you put a mark on my
flatbed.
He points toward his truck.

Edso, reasonably: But I didn't put a mark on your flatbed, did I?

The woman from Liam's truck approaches slowly, stops a couple of
meters away and watches Liam and Edso.

Liam: No thanks to you. I swear to God, Edso--

Edso: Look Liam, no one got hurt. What say we just go on to work.

Liam: I swear, Edso, if I didn't--
He shuts his mouth and presses his lips together, looks at Edso
threateningly.

The woman from Liam's truck looks at her watch: Liam...

Liam turns to look at the woman. She tosses her head at him, indicating
he should get back in the truck. Liam gets back in the truck. The woman
smiles at Edso. Edso smiles back. Then they both grin broadly. The
woman goes to get back into Liam's truck. Edso gets back into his truck.

CUT TO: Edso's truck interior.

Edso, still smiling, looks at the blonde woman, who is sitting in the
passenger's seat looking daggers at Edso. She gives him the cold
shoulder.

Edso, clueless: What?

The blonde woman arches her back, pushing out her shapely bosom,
adjusts her position on the seat, looks forward. Edso shakes his head,
still smiling, and starts his truck.

SCENE: Daytime. Overcast. Practice track.

Three horses are running a practice race: two brown ones and a dappled
gray. Avril, sitting astride a horse, watches them from a distance. Avril
narrows her eyes. She sees a black figure standing on the hill in the
distance, watching the racetrack through binoculars. It is much too far
away to see who it is.

CUT TO: Hillside.

Closeup of Fr Vincent looking through a pair of binoculars.

CUT TO: Binocular view.

Shot of the horses as seen through the binoculars.

CUT TO: Hillside.

Shot of Fr Vincent looking through binoculars.

CUT TO: Avril.

She frowns, watching Fr Vincent and wondering who it is. The race
finishes, the gray is in the lead.

SCENE: Siobhan's house exterior.

Liam's truck pulls up outside Siobhan's house.

Siobhan comes out of her house in a big hurry, carrying a big cardboard
box in both arms, looks over at Aisling, who is sitting on the ground,
commands: Aisling, take that stone out of your mouth now!
She turns and sees Liam's truck.

The woman from before gets out of Liam's truck, walks toward Siobhan.
She pauses, looks back at Liam. Liam waves to her. She makes a slight
gesture toward him, then continues toward Siobhan. Siobhan, having
deposited her box in her van, stops in the middle of the yard, waits for
the woman to approach.

Siobhan: That's a funny lookin Sharon.

Woman frowns: What.
She looks behind her: Liam?
She looks back at Siobhan: Yeah, right. The thing is, um.
She pauses, wrings her hands, trying to think of an explanation, then
says: The differential head gasket on Sharon's car--

Siobhan, sharply: I spoke to her mother. You did not stay at Sharon's last
night.

The woman looks caught.

Siobhan continues: I wouldn't mind, but you spent the night with Liam?!

Woman turns to look behind her, aghast: HIM?
She turns back to Siobhan, explains: Nooo, not like that, anyway. A few
of us just ended up back there. He was in no state to drive me home.

Siobhan presses her lips together, walks away.

The woman follows her, pleads: I swear, Auntie Siobhan, nothing
happened.
She leans over to pick up Siobhan's vet's bag: We've just met, that's all.

Siobhan picks up another cardboard box: With Liam.

Niece: ?? fell over.

Siobhan: He must like you.

They both put their things in the back of the van.

Niece: Why are men so useless?

Siobhan: Are you only finding that out now?

The niece leans back against the van, smiles at Siobhan: Mmm. Brendan
excepted, obviously.

Siobhan mutters: Brendan excepted obviously: are you out of your mind?
She jabs her finger in the direction of Aisling, yells: Now would you go
and get that child! We're late for work.
She closes the back door of the van.

The niece goes to get Aisling. She picks her up.

SCENE: Daytime. Overcast. Street (in Cilldargan?).

Paul's car is parked on the side of the street. Some men are loading the
back with some supplies. Paul pays one of the men. The men leave. Paul
walks over to the driver's side and is about to get in when he sees
something that catches his attention. He walks over to the building next
to where his car is parked. It is a real estate agent's. There are pictures of
houses posted in the glass window front. Paul looks at one of them in
particular. He puts his fists on his waist and hunches over a bit to read
the posting: A color photo of a dilapidated old stone shack, below that
the words: "ENCHANTING RUSTIC COTTAGE IN IDYLLIC SETTING.
FULL OF CHARACTER OF 5 ACRES. EXCEPTIONAL VIEW OF THE
SURROUNDING COUNTRYSIDE FROM THIS SUPERB MOUNTAIN
TOP LOCATION. GET AWAY FROM IT ALL IN THIS TRANQUIL
RETREAT. FANTASTIC POTENTIAL." Paul furrows his brow and looks
like he is thinking of a plan. Just at this moment, someone inside the
office pulls the flyer off the window. Paul stands up, looks indignant,
then scheming. He shifts his eyes around, then opens the door to the
office and enters.

CUT TO: Estate agent's office interior.

Paul enters and closes the door. There is a man in a suit standing around
browsing the postings on the walls. One young man in a dark suit and tie
is talking to a young woman in a blue suit. (According to the end credits,
one of the suited men is named Carney, and the other one Kelleher, but
their names are never mentioned out loud.)

First Man: Not the price. The height.

Woman: Of the house?

First Man: No, not the-- Not the house. The mountain.

Paul walks over to a pile of prospects and picks one up, looks around
nonchalantly.

Woman, incredulously: The mountain?

The other suited man turns away from the postings on the wall and walks
over to join the first man and the woman. Paul pretends to be interested
in the postings on the wall.

First Man: Yeah, I mean, we're still interested, we just need to know these
things.

The second man takes a paper from the first man's hand and looks at it,
then looks at the woman.

Second man: (My VCR messed up here, so I don't know what he says,
but it must be something about putting up an antenna)

Woman: Up there? You're conning me.

Paul looks thoughtful.

SCENE: Daytime. Partly sunny. Stables exterior.

Donal is stenciling The Cat's name on the door to her stable box. Avril
and three other riders (maybe those from the earlier practice race)
approach on their horses.

Avril: Donal!

Donal looks up.

Avril: Did I ask you to do that?

A handler approaches on foot to take over Avril's horse.

Donal: It's only six letters.

Avril: And she can read them, can she?

The handler holds the horse's bridle while Avril dismounts.

Donal looks disappointed, removes the stencil he was using, turns away.

Avril, in full riding gear, approaches on foot: Look, Donal, I'm sorry, it's
just the last thing I needed to see right now.
She opens The Cat's box.

Donal: Don't tell me. You're going to call her The Dog?
He raises his eyebrows.

Avril, confused: What?

Donal raises his eyebrows further.

Avril, disgusted: No.

The Cat walks into her box.

Avril watches the horse: I'm going to have to get rid of her.

Donal lowers his eyebrows: You're joking.

Avril: Wish I was. This is a racing stables. Catching pigeons at home is
no use if you're not doing them on the track.
She takes off her helmet.

Donal: Sorry to hear that.
Something catches his eye.

Avril looks down: Me too.

Liam's truck pulls up.

Avril, still looking down: But still. Can't afford passengers.

Donal, staring at Liam's truck, flatly: Me neither.

Liam jumps down from his truck cab. He reaches back in and pulls out
two cans of paint. He jogs over to Donal and Avril, cheerfully: All right
here.
He puts down the cans of paint: Bit shaken.

Donal, pointedly: Doesn't it travel?

Liam, confused: What?

Avril: Nice perfume.
She leaves.

Liam turns to watch Avril leave, looks indignant and confused: What??
He turns back to Donal, who gives him a serious look. Donal picks up
both cans of paint and leaves.

SCENE: Daytime. Overcast. Country road.

Liam's truck is driving along the road toward the camera. In the cab we
can see Liam driving and Donal on the passenger's seat.

Donal: So? Who is she then?

Liam: What? Ah, an old friend.

CUT TO: Liam's truck interior.

Liam: Siobhan's niece. Vet student. Ah, she's only down for a few days.

Donal deadpans: Needs an animal to practice on, does she?

Liam chews around on his tongue.

CUT TO: Country road.

Rear shot of Liam's truck driving past.

Donal: What's the perfume?

Liam: It's not perfume. It's cologne. ?? in the day... ?? Murphy

Donal: Cilldargan market?

Liam laughs: Ha ha ha. Yeah. But she doesn't know that. Ha ha.

SCENE: BallyK church interior.

Fr Mac emerges from the sacristy, closely followed by Fr Vincent.

Fr Vincent: No, Father, I'm not making a penny out of it, I'm not doing it
to make money.

Fr Mac: I see, so Fitzgerald's are giving away drink, is that it?
He genuflects before the altar.

Fr Vincent genuflects also: No, I've set up a trust...
He steps away from the altar and stands at the end of the middle aisle:
Dooley's rent doesn't come to me, it goes to the trust, they spread the
cash around half a dozen local charities.

Fr Mac, voice dripping with sarcasm: Really. Well the Cilldargan parish
roof committee will be most grateful.

Fr Vincent looks at his watch, distractedly: Um...

Fr Mac, harshly: I didn't think so.

Fr Vincent points at his watch: Excuse me, I have to um...
He gestures toward the door, then walks away.

Fr Mac follows him, angrily: Did it not occur to you to consider MY
position before you bought a PUBLIC HOUSE?!

Fr Vincent stops, turns to Fr Mac, repeats, in a neutral tone: Your
position.

Fr Mac shouts: You're my curate!

Fr Vincent, with a straight face: You'll always be welcome, Father.

Fr Mac exhales in blind fury.

SCENE: Daytime. Partly sunny. Street outside Fitzgerald's.

Paul's car pull up in front of Fitzgerald's. Paul turns the car off, gets out,
closes the driver's door, goes around to the back, opens the hatch.
Something catches his eye.

A poster is hanging next to the door of Fitzgeralds: "COMING SOON:
MID-WICKLOW CABLE - ON YOUR SCREEN - AND IN YOUR FACE -
QUALITY TV AT YOUR FINGERTIPS - UP TO DATE AHEAD OF THE
REST - TUNE IN ON VHF 39B - ON AIR JULY 17TH -
WWW.MIDWICKLOWCABLE.IE"

Paul removes his sunglasses, walks thoughtfully over to the poster.

CUT TO: Closeup of poster.

"COMING SOON: MID-WICKLOW CABLE - ON YOUR SCREEN - AND
IN YOUR FACE"

SCENE: Daytime. Overcast. Street outside BallyK church.

Fr Mac and Fr Vincent are walking down the street, approaching
Vincent's car parked on the side of the street in front of the curate's
house.

Fr Mac berates Fr Vincent: And I don't suppose before you splashed out
on Fitzgerald's that you gave any thought to your own house.

Fr Vincent, disinterestedly: Father, I don't care who owns my house.

Fr Mac grabs Fr Vincent's arm, makes him stop just next to the boot of Fr
Vincent's car: What? Father, do you understand the words Grace and
Favor?

Fr Vincent, tiredly: Yes, of course I do.

Fr Mac, sarcastically: Of course. The conditions under which Brian
Quigley generously allowed the curate to live rent-free.

Fr Vincent, tediously: Yes. And...?
He looks down the street, rubs his hands together.

Fr Mac: And as we know, Brian Quigley doesn't own that house anymore.
He gestures toward the house, starts walking toward it.

Fr Vincent turns to Fr Mac: Right.

Fr Mac stops, turns back toward Fr Vincent: The Credit Bank of Ireland
does.

Fr Vincent shakes his head slightly: Well...?
He smiles disarmingly.

Fr Mac approaches Fr Vincent: Father, do you know what an oxymoron
is?

Fr Vincent looks around: Um...
He looks at a loss.

Fr Mac: "Credit Bank" is an oxymoron. The words contradict each other.

Fr Vincent looks like he's trying hard to follow Fr Mac's explanation.

Fr Mac delivers his punch line sotto voce: And I can assure you, Father.
That the words Grace and Favor don't sit easily with the advertising or
the black heart of the Credit Bank of Ireland.

Fr Vincent frowns, looks up at the curate's house. Realization seems to
dawn on him. He looks back at Fr Mac, points over his shoulder to
indicate he really must be going. Then he strides away.

Fr Mac runs after him: Father!

SCENE: Fitzgerald's interior.

Oonagh is behind the bar, carrying a cup and a sandwich, brightly: I
don't think I'd bother.
She sets them down in front of Edso, who is sitting at the bar.

Edso swallows: Well I think I would.
He sets his empty glass down on the bar. I don't over like the idea of
them diggin up the street but what can you do?

Paul enters through the hotel door with a bag slung over his shoulder,
picks up another bag from the floor, walks toward the kitchen: Well,
better than satellite dishes on people's houses if you ask me.
He goes into the kitchen. We hear Paul call from the kitchen: That's the
last of it now, love.

Oonagh pulls a pint, calls over: Thanks Paul.

Edso swings his spoon around: Yeah but you're still going to have to get
the signal onto cable in the first place, aren't you?

Paul, from kitchen: What?

Oonagh looks thoughtful.

Edso: There's no way they're going to lay a cable from Cilldargan, are
they?

Paul comes out of the kitchen and joins Oonagh behind the bar. He
removes his sunglasses and props them up on his forehead: Edso, who
cares.

Edso: You would if they stuck a ?? right on top of your house.

Paul: Well they wouldn't would they? They'll stick it up on the mountain.
He takes a swig of water from a bottle: Mm. Build some class of house for
the electrics. That's far up above sea level.
He looks up. He pauses and looks thoughtful. Oonagh looks at Paul.
Paul thinks out loud: Guess they could.

Oonagh: Paul...?

Paul looks at Oonagh, still lost in thought, then snaps out of it: What's
that, love?

Oonagh gives him a warning look. Paul looks innocently at Oonagh.

SCENE: Stables interior.

Siobhan is checking over a horse. A male handler is holding the horse's
nose. Avril is standing just outside the stable box, watching. We hear
Aisling cry. Everybody looks outside. Shot of Siobhan's car.

Siobhan's niece calls from inside the car: It's OK. I've got her.

Siobhan steps out of the box and looks over at the car.

Avril: You wanna go and check on her?

Siobhan: Which one?
She nods toward the car, looks at Avril, explains: My niece.

The niece gets out of the car, walks around to the back, opens the rear
door.

Siobhan: Probably just woken up.

The niece calls over to Siobhan: It's all right. I'll handle it.

Siobhan, to Avril: Don't ask.
She walks to the next stable box, carrying her vet bag. She pauses, looks
back at the car: There you go.
She continues walking. Avril follows her.

Avril gestures over her shoulder with her thumb: Erm...what about my
horse?

Siobhan stops in front of the next box, sets her bag down on the ground:
Oh God, yeah, um...fine. Bit of soreness, but uh, she'll be able ?? in a
couple of days.

Avril looks relieved, folds her arms: Right.

The Cat whinnies.

Siobhan looks up at The Cat: How's this fella?

Avril looks up at The Cat too: He's a she.

Siobhan: I know, but uh...we're very unsentimental about those kind of
things.

Avril: Wish I was.

Siobhan: What's wrong with her?

Avril: What, apart from needing a shrink?

Siobhan, slightly embarrassed: Did I say that?

Avril: Well we both heard you.

Siobhan, tentatively: Was I in a mood?

Avril: Maybe...bish??

Siobhan presses her lips together seriously. We hear Aisling crying.

Siobhan: Uh-oh.

CUT TO: Siobhan's car.

The niece is carrying a crying Aisling, bouncing her in an attempt to calm
her, looks helplessly over at Siobhan and Avril.

CUT TO: Stables exterior.

Siobhan, looking over at her niece and Aisling: Were you never tempted?

Avril jokes: Not with Brendan.

Siobhan laughs. Avril smiles.

We hear Aisling crying again.

Siobhan suddenly leans over to pick up her vet bag: Oh do you know
something?
She stands up, says determinedly: This isn't right!
She walks toward the car.

SCENE: Daytime. Overcast. Street between Fitzgerald's and the garda
station.

Fr Vincent is walking quickly down the street toward the garda station. Fr
Mac is running to keep up.

Fr Vincent: OK Father I'll uh, I'll think on it.

Fr Mac, running: What?

Fr Vincent: Um...don't let me keep you.

Fr Mac: You're not keeping me.

Fr Vincent: Well I uh...I just have to...pop into the uh...
They arrive at the door to the garda station. Fr Vincent points at the door.

Fr Mac, graciously: Oh well don't let me keep you.
He opens the door for Fr Vincent.

Fr Vincent enters the station house, followed by Fr Mac.

SCENE: Garda station interior.

Inside Frankie's office. Frankie is filing something. A buzzer rings.
Frankie looks up at the service window. She closes the file drawer, steps
over to the window, opens it.

CUT TO: Room interior.

The service window folds open. Frankie leans over, places her arms on
the counter.

Fr Vincent and Fr Mac turn around from where they have been perusing
the wall. Standing next to each other like that, they look like they are in a
line-up.

Frankie, sarcastically: Marvelous. A line-up.

Fr Mac: What?

Frankie: Cop joke.

Fr Vincent approaches, takes some papers from his inner jacket pocket,
hands them to Frankie, says confidentially: These are my documents.

Frankie looks up at Fr Vincent, takes the papers: Mm-hm.

Fr Mac comes over, looks over Fr Vincent's shoulder, frowns: What?

Frankie cups her hand to her mouth in a drinking gesture.

Fr Vincent looks at Frankie in surprise and indignation: Thanks a lot.

Frankie, triumphantly: Cheers yourself.

SCENE: Daytime. Sunny. Street outside Fitzgeralds.

Siobhan is pushing Aisling in her pram, followed by Brendan, followed
by the niece.

Brendan, indignantly: What do you mean? Since when have I never
sprung for our daughter?

Siobhan, over her shoulder, incensed: I'm not talking about money, you
clot. I'm talking about work, I'm talking about time...
She turns the pram around and pulls it into Fitzgerald's behind her:
Talking about giving!

SCENE: Fitzgerald's interior.

Edso is sitting at the bar. Oonagh and Paul are behind the bar, their
backs to the door. When they hear Siobhan ranting, they turn around.

Siobhan: If it was left to you, this child would have to raise herself.

CUT TO: Hotel entrance interior.

Siobhan enters, pulling the pram in after her. She turns the pram again to
push it in front of her: She's called Aisling by the way... Daddy!

Brendan enters, defensively: You only have her cause you want to.

Siobhan: Cause I want to?

CUT TO: End of bar.

Siobhan sits down at the bar: I have no choice!

Brendan and the niece walk around behind Siobhan to stand at the far
end.

Siobhan: You never offer!

Brendan, reasonably: You never ask.

Siobhan, incensed: I shouldn't have to!

Oonagh puts an open bottle of water and a half-full glass in front of
Siobhan: Drink that.

Brendan, calmly: All you have to do...is ask.

Siobhan: And you'll take her.

Brendan looks down: Of course I would.

Siobhan: Right.
She gets off the stool, pushes the pram over next to Brendan, turns and
walks toward the door.

Brendan: I didn't mean now!

Siobhan leaves wordlessly.

Edso: Good man, Brendan.

Paul watches Siobhan leave: Yup.
He glances at Brendan: You told her.
He looks back at the door Siobhan left through, turns away with a slight
smile. Oonagh watches him, smiling.

Niece looks at Brendan sympathetically, taps him on the arm: Do you
want me to babysit?

Brendan looks at the niece, hopefully: Would you?

The door opens again, Siobhan sticks her head in, yells: Elaine!
She slams the door shut again.

Edso frowns. Elaine (finally, we have a name! Whoo-hoo!) frowns,
bunches up the baby blanket she is holding.

Brendan: This is your holiday?

Elaine, resignedly: Work experience.
She walks to the door.

Brendan: I don't believe that.

Elaine, at the door: Here.
She throws the blanket to Brendan and opens the door.

Brendan catches the blanket a little clumsily. Aisling coos. Edso looks at
the baby, with a look that says "I'm glad it's not me." Elaine leaves,
closing the door behind her.

Oonagh leans over toward Brendan: Brendan, when was the last time
you changed a nappy?

Brendan: I'll bring them back if there's anything wrong with them.
He looks intently at Oonagh: A pint.

Oonagh turns away, smiling.

SCENE: BallyK house exterior.

Dr. Ryan comes out of a house (his own?), carrying a big black bag, and
walks to his car.

Fr Vincent comes around the corner of the house, spots Dr. Ryan, calls:
Doc!

Dr. Ryan opens the door of his car.

Fr Vincent approaches: Doc, you got a minute?

Dr. Ryan turns toward Fr Vincent: I'm a bit pushed, Father.
He puts his bag in the rear seat, closes the door.

Fr Vincent: Sure yeah look it'll only take a second.

Dr. Ryan opens the driver's door, gets into the car, closes the door. The
driver's window is open.

Fr Vincent arrives at the car: You know that sample you took for me.
He leans over to look at Dr. Ryan in the car.

Dr. Ryan: The one I kept?
He pulls his seat belt over.

Fr Vincent leans his hand against the door frame: Yeah, uh...could you
get it analyzed?

Dr. Ryan buckles up: Sure.

Fr Vincent: Just in case.

Dr. Ryan: In case of what?

Fr Vincent stands up, looks out into the distance with a half smile, then
back at Dr. Ryan: Keep her honest.

Dr. Ryan: Oh no, Frankie's not that type of guard.

Fr Vincent looks down, nods: Yes and uh...
He looks back at Dr. Ryan: I'm not her type of priest. And I gotta say,
Doc, I didn't feel too good this morning.

Dr. Ryan looks grim, thinks for a moment, then reaches for his ignition,
looks back at Fr Vincent: Right well then can I give you a lift?

Fr Vincent: Ah, thank you, fresh air'll do me good.

Dr. Ryan nods, starts his car, waves to Fr Vincent, drives away. Fr
Vincent stands there with his hands in his pockets for a moment, then
looks at his watch and starts to walk the same direction Dr. Ryan drove
away in.

SCENE: Daytime. Sunny. Cilldargan street.

Fr Mac walks around the corner and into a big building with a sign over
the door: "CREDIT BANK OF IRELAND"

SCENE: Bank manager's office interior.

The bank manager is sitting at his desk, reading something. A knock
sounds at the door.

The bank manager looks up, lays the paper down that he was reading:
Come in.

CUT TO: Door.

The door opens, a woman leans in: Sir?
On the door is painted: "MANAGER - Lucius Cattermole"

Fr Mac enters.

Lucius stands: Ah. Father Macanally.
He walks around his desk to greet Fr Mac: It's been too long.
He holds out his hand and Fr Mac clasps it with both his hands.

Fr Mac: You could always come to church, Lucius.

Lucius waggles his finger at Fr Mac, laughs, goodnaturedly: Ah, ha ha
ha. Sit down.
He gestures toward the chair in front of the desk, then walks back toward
his chair: Now. What can I do for you?

Fr Mac takes a seat.

Lucius: Has Annunciata offered you a coffee?

Fr Mac: Annunciata has, yes. I wanted to talk to you about my curate.

Lucius folds his hands on his desk in front of him: You want to talk to
me?

Fr Mac: He has nowhere to live.

Lucius looks somewhere in the vicinity of Fr Mac's heart: I have the
wife's mother in the spare room.
He looks at Fr Mac with a twinkle in his eye.

Fr Mac: I'm not asking you to take him into your house, I'm asking your
bank to do the decent thing about his house.

Lucius is confused: What?

Fr Mac, insistently: You own it.

Realization dawns on Lucius: Oh of course!
He smiles broadly: Decent thing...?

Fr Mac: I want to buy the house, at a reasonable price.

Lucius counters: We want to sell it. At a reasonable price.

Fr Mac, pedantically: No Lucius. You want to sell it, at an extortionate
price.

Lucius agrees with a smile: Exactly. Reasonable.
His smile fades: I understand your position, Father, I think it's...
He searches for the word, then continues: ...undignified the curate in
BallyK should be without a home.

Fr Mac smiles slightly: I'm glad we agree.

Lucius looks down, looks concerned: There's only one problem.
He pauses for dramatic effect, then looks at Fr Mac, dead serious: The
Mormons have already made an offer.
He and Fr Mac stare at each other, poker-faced, then Lucius breaks down
in laughter: I'm sorry, I'm sorry, Father, my little joke.

Fr Mac does not look amused.

Lucius calms down: I take it, we're talking about a mortgage.

Fr Mac: Large one.

Lucius: Which the church would guarantee...?

Fr Mac, emphatically: Which I will guarantee.

SCENE: Daytime. Sunny. Hillside.

Paul's car is parked on a hillside. Paul gets out, walks up toward a stone
hut.

CUT TO: Louis's hut exterior.
(Note: Louis's character is meant to have an incomprehensible accent.
And I sure as heck can't comprehend him!)

Paul walks up to the hut, leans against it, folds his arms, takes in the
view. He suddenly realizes Louis is sitting next to him.

Paul, in surprise: Louis!

Louis, looking up at Paul: ??

Paul: How's it going?

Louis looks down:  ?? keeping sheep. ??
He takes a sip from his cup.

Paul clearly didn't completely understand him: Yeah.
He gestures behind him: Just passed them.

Paul and Louis look out at the field with the sheep.

Paul straightens up, takes a step forward, puts his hands on his hips:
How are the sheep?

Louis: Ha ha. ??
He throws out the rest of what is in his cup, dries it out with a rag.

Paul: They'll be better off out here anyway, hm? I mean with the new
place. This is no place--
Louis hands Paul the cup, Paul takes it: Oh. No place for a man to live.

Louis: Oh, ?? fifty year.
He pours something from his thermos into the cup Paul is holding: ?? the
place.

Paul: Although I've got to say...
He looks up at the hut: With a bit of work...

Louis looks up at Paul: Bit of work?

Louis and Paul watch the sheep again.

Paul: So. Have you had any offers?

Louis grunts, spits on the sheep dog sitting next to him. Then he
gestures that Paul should drink up.

Paul: Oh, cheers then.
He hesitantly takes a sip. It clearly tastes awful, whatever it is. Paul
covers his mouth with his fingers, but manages to swallow: It's just that
ahm...
He clears his throat: I'd be interested.

Louis looks up at Paul.

Paul: Better than a blow-in, eh?

Louis laughs: You are a blow-in.

Paul, indignantly: Me?

Louis grunts.

Paul: Louis. I'm part of the fabric.

Both regard the sheep.

SCENE: Daytime. Sunny. BallyK churchyard exterior.

Fr Vincent is painting over the sign announcing hours for taking
confessions. It used to say 2-4.

CUT TO: BallyK street.

Shot of Avril's car driving along the street.

CUT TO: Avril's car interior.

Avril is driving her car. She sees Fr Vincent through the windscreen,
slows down.

CUT TO: BallyK churchyard exterior.

Avril stops her car next to Fr Vincent: That is a novel approach.

Fr Vincent looks over at Avril, straightens up, starts walking toward
Avril, paint brush in one hand, paint pot in the other.

Avril, with a sly smile: Glossing over sin.

Fr Vincent: I'd shake hands, but I'm uh...
He indicates the paint brush and pot in his hands.

Avril: No problem.

Fr Vincent stands next to Avril's car. Avril reaches her hand out the open
window: I'm Avril Burke.

Fr Vincent shakes her hand: Vincent Sheahan. I saw you up on the
gallops this morning.

Avril: Oh it was you, was it. I can smell binoculars a mile away.
She musters Fr Vincent: You a racing man?

Fr Vincent: I'm afraid so. Not much of a judge, though.

Avril: Not much to see this morning.

Fr Vincent: Oh I don't know. Quite liked the gray.

Avril: The Cat? You might be right.
She eyes Fr Vincent again: You're not much of a judge.
She reaches down and starts her car.

SCENE: Daytime. Overcast. Woods.

Donal is clearing underbrush with a power tool. He is wearing a full
protective suit and a helmet with a mask like a beekeeper. Paul
approaches and taps him on the shoulder. Donal turns around, looks at
Paul through his mask.

Paul shouts to be heard over the noise of the motor: Donal!
He lifts Donal's mask: How's it going?

Donal turns off the machine: I settled up with Oonagh.
He walks away.

Paul: Huh? No no no no ah-- I have a proposition for you.

Donal stops and turns around: A proposition?

Paul nods.

Donal: Mr. Quigley would sometimes say that.

Paul takes off his sunglasses, walks over to Donal: It's Quigley's money
bought the pub. You know that, don't you?

Donal shrugs: I thought it was the priest.

Paul: With Quigley's money, though, wouldn't you say?

Donal shrugs.

Paul: Through Niamh maybe?
He makes a facial expression that says "Well, it doesn't matter one way
or the other", then says out loud: It's his dinero, all the same.

Donal removes his helmet, walks toward his house.

Paul calls after him: And it set me thinking. Whatever the old crook was
up to, he'd see his boys were right. No way would he leave them in the
lurch.

Donal puts his helmet into the house, turns around and comes back out,
takes his wool hat out of his pocket and puts it on.

Paul: So how much did he give you?

Donal laughs and makes a dismissive gesture with his hand, then puts
both hands in his trouser pockets. Paul laughs, too. Paul walks toward
Donal. Donal's smile dissolves.

SCENE: Daytime. Overcast. Country road.

Liam's truck is parked somewhere. Liam lifts the cab of his truck to get at
the engine: You did what?!

Donal is standing next to the cab, shrugs, matter-of-factly: I had to. He
knew anyway.

Liam walks around to the back of the cab to get some tools: How did he
know?

Donal leans around the cab to look at Liam: Guess.

Liam looks at Donal: And you had to tell him he was right.

Donal: He had a proposition.

Liam: Proposition? Now why does that remind me of Quigley.

Donal looks bleak.

SCENE: Daytime. Sunny. BallyK churchyard.

Fr Vincent is putting the finishing touches on his repainting of the sign.
It now says "CONFESSIONS 3-4"

Fr Vincent straightens up: Mrs. Hendley, I'm not getting rid of
confession.

Kathleen is standing just behind Fr Vincent, incredulous: You're just
cutting down the time it's available.
She nods at the sign.

Fr Vincent, conciliatory: No no no, in an emergency--
He shuts his mouth as Kathleen interrupts him.

Kathleen: With the time you've left, it's always going to be an emergency.

Fr Vincent tries to reason with her: Mrs. Hendley, I'm just trying to make
better use of my time.

Kathleen smiles sarcastically: Ah yes. Time just gallops by, doesn't it.
She turns on her heel and leaves quickly.

SCENE: Fitzgerald's interior.

Paul is behind the bar. Liam and Donal are at the end of the bar.

Paul: The thing is, at some point, you're going to have to cash those
cheques.

Liam takes a sip of beer from the bottle in front of him: No we don't.
He puts the bottle down again.

Paul: All right then, you put 'em into your bank account.

Donal: No we don't.

Paul: Well then what are you going to do with them otherwise? Donal.

Liam looks at Donal: Well we're not going to put them in the bank.
He looks back at Paul.

Paul: Well of course not. Ten K each in Rials.
He laughs: No offense, Liam, but if I were a bank manager--

Liam interrupts tiredly: Paul, what's your point.

Paul eyes Liam and Donal carefully: I can cash them for you. No
questions asked. Punts in your hand.

Donal looks at Liam as if he wants to say something.

Liam looks at Paul, asks quietly: How can you do that?

Paul looks down modestly: I know people.

Donal looks at Paul, challenges him: Why would you want to?

Paul: I need the money.

Liam snorts, Donal giggles nervously.

Paul: No just for a couple of days. I need to show security for a loan.

Liam: Ooooooh.

Paul, reassuringly: No listen, it's OK. I'm trying to avoid an interest
charge. One service for another?

Liam: And uh...what's our guarantee?

Paul: You know where I live.

Liam stares at Paul, open-mouthed. Then he takes a sip of beer and looks
at Donal. Donal looks around the pub.

SCENE: Fr Mac's office in Cilldargan interior.

Kathleen is sitting in front of the desk, Fr Mac is behind it.

Kathleen: I mean, you know me, Father.
She gestures helplessly with her hands: I-- I try to be obedient. And of
course I recognize that church business isn't my business.

Fr Mac, gently: Kathleen, I have to allow a certain latitude.

Kathleen, sarcastically: Oh, right. Holy Mass once a month?

Fr Mac, suggestively: I didn't say there was nothing we could do.
Nothing YOU could do...

Kathleen frowns thoughtfully.

SCENE: Daytime. Sunny. BallyK street.

Frankie is walking along the street. She sees something and slows down.

CUT TO: Schoolyard exterior.

The children are on a break. Brendan is kneeling in the grass, holding
Aisling. A few children are playing with her.

Frankie approaches: Is she a prodigy or just very young-looking?

Brendan looks over at Frankie, greets her: Frankie!
He stands up, comes over to the wall to talk to her, gestures back toward
the children: This is my beautiful daughter Aisling who has been cruelly
abandoned by her mother.

Frankie: Wants you to pull your weight, eh?

Brendan: Yes.

A boy approaches Frankie and Brendan: Mr. Kearney.

Brendan: Yes, Liam.

Liam (the boy): You have a phone call, sir.

Brendan frowns: Who's it from?

Liam: Text book suppliers, sir.

Brendan: Thank you.
He looks at Frankie.

Frankie looks at Brendan, offers: I'll watch her.
She climbs over the school yard wall.

Brendan: You're very good.
He hurries off toward the school building.

Frankie calls after him: Don't be long.
She goes over to where Aisling is sitting.

SCENE: Cilldargan street.

Paul is walking along the street toward the estate agent's office. He goes
in.

CUT TO: Estate agent's office interior.

The woman in the blue suit is replacing one of the postings on the wall:
That's a very generous offer, sir, but I can't accept it.

Paul, challenging: Yeah well why not?

Woman: It's going to auction. I'm sorry, those are my instructions.
She walks away.

Paul looks thwarted. He shoves his sunglasses onto his face, turns and
leaves.

SCENE: School yard.

Frankie is sitting with Aisling on the grass.

Frankie points toward something: Look, where'd he go?

The school bell rings. Frankie looks around. All the children go back into
the building. Frankie stands up and looks around, holding Aisling by the
hand.

SCENE: BallyK church interior.

Kathleen is sitting alone in a pew in front of the confessional box. The
light on the confessional box is on. It goes off. Kathleen stands up,
walks out of the pew, genuflects in the aisle, walks toward the
confessional box.

CUT TO: Confessional interior.

Fr Vincent is sitting in the confessional.

Kathleen's face appears in the window: Bless me, Father. It's seven days
since my last confession.

SCENE: School yard.

The last pupil enters the school and closes the door behind himself.
Frankie is standing in the yard, holding Aisling by the hand.

CUT TO: School window interior.

Through the window we can see Frankie peering in from the outside.

CUT TO: School window exterior.

Through the window we can see the pupils taking their seats and
Brendan walking among the desks.

Brendan: Right settle down now, come on, break time's over.

CUT TO: Window interior.

Frankie watches Brendan through the window.

CUT TO: School yard.

Frankie is carrying Aisling, leaving the school yard. (The sign in front of
the school reads "SCOIL NAISIUNTA BAILE COISC AINGEAL --
BALLYKISSANGEL NATIONAL SCHOOL".)

CUT TO: Street in front of the school.

Shot of Siobhan's car driving past.

CUT TO: School yard.

Frankie is holding Aisling, sees Siobhan driving past.

Siobhan (voice off-camera): I'd know that child anywhere.

CUT TO: Street.

Siobhan gets out of her car, closes the door. She walks toward Frankie.

CUT TO: School yard.

Frankie, holding Aisling, half smiles: Siobhan.

CUT TO: Street.

Siobhan: Is she under arrest?

CUT TO: Classroom interior.

Brendan is standing before the class, giving a geometry lesson. A
playpen is visible in the corner.

Brendan: You may think that this...
He picks up a cylinder: Is just a cylinder. But it's not.

The door slams open. All the pupils turn their heads toward the door.
Siobhan enters, carrying Aisling.

Brendan: In fact, this cylinder--

Siobhan strides to the front of the class and faces the pupils: This is not
the first time that I've stood before you.
The pupils look at her curiously.
Siobhan demands: You do know who I am.

Brendan leans on his desk, quietly: Siobhan...

Siobhan, lightly: OK. It's no problem.
She struggles to control her temper: I'll give you a clue, shall I.
She lifts Aisling up a little higher: Do you see this beautiful child here.

A boy raises his hand.

Siobhan turns to him: Yes.

Boy: You're the vet.

Siobhan nods.

Brendan looks at Siobhan, warningly: Siobhan...

Siobhan ignores Brendan: I am the vet, yes.

Brendan, slightly louder: Siobhan...

Siobhan: And I'm also this child's mother.

Brendan walks out from behind his desk.

Siobhan: Your teacher, Mr. Kearney, is the father. And I'm sure if you ask
him nicely...
Brendan comes over to stand next to Siobhan. Siobhan hands Aisling to
him: He'll explain to you how being a father involves slightly more than
just--
She looks out at the sea of faces.

The pupils look at Siobhan expectantly.

Siobhan turns to Brendan: Have you done that part yet?

A boy says (off camera): Someone has.

Siobhan gives Brendan a look, then turns and leaves. She goes out the
door, closing it firmly behind her.

Brendan is left in front of the class, holding Aisling: Erm...

SCENE: Liam's truck exterior.

Through the front windscreen we can see Liam and Elaine necking in the
cab. They are making heavy breathing noises.

CUT TO: Liam's truck interior.

Liam and Elaine are kissing. Elaine pushes Liam off with some difficulty.

Liam: Come on, let's go inside.

Elaine frowns: Hm? Go inside, what d'you take me for?
She wipes off her mouth with the back of her hand.

Liam: No, I'm just saying that...well, it'll be more comfortable.

Elaine looks at Liam's lips: For what?
She looks at his eyes.

Liam: For comfort.
He leans in and kisses her gently on the lips.

Elaine looks up at Liam's cap: Can you take that cap off?

Liam: Weddings and funerals.
He pauses, then says hopefully: Can make an exception.

They kiss again. Then Elaine pushes Liam away again and shakes her
head: Mm-mm. Too much too soon.
She smooths her hair and sits up straight.

Liam protests: But you're only staying a week.

Elaine: Yeah and I'm babysitting.

Liam: What, tonight?

Elaine: Yeah, have to go home and have me tea and wash me hair, get
changed.
She smooths her hair again.

Liam: Pretty picky baby.
He leans over and kisses her again.

Elaine pushes him away again: Go on go on go on.

Liam lands heavily on the driver's seat.

SCENE: Confessional interior.

Fr Vincent is still listening to Kathleen's confession.

Kathleen whispers: I was serving a customer. And I was very short with
Mrs. Whelan(?). Who didn't realize you see. And it was hardly her fault.
And even if it was, there was no call to be rude.
She pauses, raises her eyebrows, looks intently through the window at
Fr Vincent: Do you understand what I'm saying?

Fr Vincent looks incredibly bored: Mm-hm.

Kathleen continues: And then there was the time, Father...

SCENE: Fitzgerald's kitchen interior.

Oonagh is setting the table. Grainne and Dermot are sitting at the table
doing school work. Paul is leaning in the doorway.

Oonagh: And how are you going to do that? Borrow the money, I
suppose.
She puts some plates onto the table.

Paul: Well of course I'm going to borrow it.

Oonagh: From who, if you don't mind me asking?
She goes to the sideboard to get the toast out of the toaster.

Grainne: From WHOM.

Paul: From the bank of course.

Oonagh: And they're just going to lend it to you, without any collateral.
She brings the toast to the table and puts it onto the plates.

Paul: I have collateral. Maybe they trust me. Unlike my family.

Grainne: We trust you Dad.

Dermot looks at Grainne: Do we?

Paul, to Oonagh: Only this is a holiday home. How d'you think Brian
Quigley made his money?

Oonagh, sarcastically: Oh, before he lost it?

Paul looks away, disgusted: Ach.

Oonagh: I don't know. But I do know we're not talking about a holiday
home here.

Dermot, to Paul: It's a hovel!

Paul: Did I ask your opinion?

Dermot looks down at his school work again.

Oonagh: He's right. Why d'you think old Louis's selling it in the first
place.

Paul: Well maybe he doesn't see its potential.

Dermot: Yeah. Maybe you should get one of them codes to go and live
up there.

Oonagh: Shrine of the Holy Chancer.
She turns to Dermot: What do you think?

Dermot smiles slightly, turns back to his school work.

Paul, disgusted: Well I know where to come now if I need any further
advice.

Dermot: Hey no problem. Just have your people call Ma.
He winks at Paul, returns to his school work.

SCENE: Confessional interior.

Fr Vincent is still hearing Kathleen's confession. He looks around the
inside of the confessional absent-mindedly.

Kathleen whispers: Not that I would ever say such a thing, Father. But.
The thought crossed my mind. And I'd say it took root long enough for
sin to have been committed. Or, if not committed, then as close to have
been committed--

Fr Vincent interrupts her: All right, all right, Kathleen. You win.

Kathleen pretends not to understand: I'm sorry, Father.

Fr Vincent: You win. I'll reconsider.

Kathleen: I'm sure I don't understand what you mean, Father.

Fr Vincent, emotionless: It's a sin to tell a lie, Kathleen.

Kathleen is silent for a moment, then whispers: Good luck with your
blood test.

Fr Vincent frowns. Kathleen leaves the confessional.

SCENE: Garda station interior.

Fr Vincent pushes the outer door open, strides down the hall, opens the
door to the office, finds it empty, looks around, is about to leave when
Frankie appears in the service window: Can I help you?

Fr Vincent comes back in, puts his hands on his hips, accuses Frankie:
What are you doing telling Kathleen Hendley about my blood test?

Frankie, sharply: Are you worried about your image, Father.
She disappears from the window.

Fr Vincent calls after her: I'm not worried about my--
He looks to see where she went, walks out the door into the hall: Of
course I am.

CUT TO: Hall

Fr Vincent and Frankie meet in the hall.

Fr Vincent: I've only been here two weeks.

Frankie: Can't do the time, don't do the crime.
She walks into the room.

Fr Vincent follows her, emphatically: I have not committed a crime and
that is not the issue.

Frankie: I'm sorry, Father, what was the issue?

Fr Vincent points at her: You can do better, guard.
He turns and goes out the door.

Frankie: Whoa, hold on there, buster.

Fr Vincent puts his head back in the room: Buster?

Frankie: I never told Kathleen Hendley anything.

Fr Vincent: No. I'm sure. It was the dog.

Frankie: No.
She leans over to pick up a newspaper: It was in the paper.
She holds the paper out to Fr Vincent: Freedom of the press. Don't you
just love it?

Fr Vincent comes back into the room, peers at the paper.

Frankie: It was probably some leak from the laboratory.

CUT TO: Newspaper.

Closeup of newspaper. It reads "Local priest breathalyzed. Fr Vincent
Sheahan, was making his way home yesterday when he was
apprehended by Garda Francine Sullivan of Ballykissangel Garda Station.
Fr Sheahan was driving carelessly along...Termon Road...currently being
processed and a final analysis of the result is yet to be acquired. Garda
Sullivan is sure of a conviction in the case. Fr. Sheahan denies drinking
and driving and has made no further comment. This is yet another
embarrassment for local clergy..."

CUT TO: Room.

Frankie: I'm sure there was a better way of putting that.

Fr Vincent takes the newspaper. Frankie tries to suppress a smile. Fr
Vincent leaves with the newspaper.

SCENE: Elaine's car interior.

Elaine is driving along a country road. Her car makes a creaking sound
and slowly jerks to a halt. Elaine looks puzzled. She tries to start the car
again: Come on, come on.
She gives up, picks up her mobile phone from the dashboard, and dials.

CUT TO: Brendan's house interior.

Brendan is coming down the stairs, rubbing his head and ears with a
towel. His shirt is open: No, no, it's OK, stay where you are...Huh?...No,
I'll I'll I'll call Edso...Yeah, yeah, I'm sure you are.
He arrives in the kitchen, where Aisling is sitting in her feeding chair. He
picks up a spoonful of food and offers it to Aisling.

SCENE: Priest's house interior.

A man in a suit is walking through the house with a clipboard. Fr Vincent
walks past him, carrying two mugs. He exits the house. (According to the
credits, this strange man is named Lawlor, but again nobody ever says it.)

CUT TO: Priest's house exterior.

Fr Vincent comes out of the house carrying two mugs. Dr. Ryan is
standing outside.

Fr Vincent hands one mug to Dr. Ryan: So uh, what's up, Doc?

Both laugh at his little joke.

Dr. Ryan gestures toward the house, indicating he'd like to go in.

Fr Vincent takes his arm: Come on, sit down.
He leads him to a little table in the garden next to the house. They both
sit. Fr Vincent blows on the contents of him mug and takes a sip. He
looks at Dr. Ryan: Come on, Michael. I do guilt for a living.

Dr. Ryan puts his mug down on the table, leans over toward Fr Vincent,
confidentially: What happened last night.

Fr Vincent: The Breathalyzer?

Dr. Ryan: No before that, round at my place.

Fr Vincent: Well it was a good night. Your cousin's home brew was
pretty spectacular.

Dr. Ryan: Uh-huh.

Fr Vincent looks for confirmation: The non-alcoholic beer.

Dr. Ryan, grimly: Yes.

Fr Vincent: It wasn't, was it?

Dr. Ryan shakes his head regretfully: Well I swear I didn't know.

Fr Vincent looks sheepish.

Dr. Ryan: My cousin called this evening, said he screwed up the labeling
or something like that I-- I don't know, um...What can I say?

Fr Vincent: What are my chances?

Dr. Ryan: Oh, good. You didn't have much.

Fr Vincent: How strong is that stuff?

Dr. Ryan: You didn't have much.

Fr Vincent looks down.

SCENE: Late afternoon. Overcast. Country road.

Elaine is sitting on a fence. Edso is across the road, under the hood of
her car. His truck is parked in front of her car.

Elaine calls across the road: So what's the story?

Edso looks out from under the hood of the car: You want the good news
or the bad news?

Elaine: Good.

Edso steps away from the car, throws a tool into the tool box at his feet: I
was afraid you'd say that.

Elaine: There isn't any good news, is there?

Edso closes the hood of the car: Hey. It's not raining.

Elaine, unenthusiastically: Ha ha.
She looks off down the road.

Edso walks across the street to Elaine: Fuel pump. Gonna have to tow it
back to the garage. Sorry.

Elaine hops down off the fence.

Edso: Hey. Come on. It's a fine evening. Birds are singing.

Elaine looks around, unconvinced.

Edso: You're gorgeous. Hah.

Elaine looks at him, starting to get convinced.

Edso: And what's a stupid car beside that? Come on, I'll drop you off.

Elaine looks impressed.

Edso walks away toward his truck, both hands in his trouser pockets. He
urges her over his shoulder: Come on.

Elaine looks intrigued, follows him.

SCENE: Priest's house interior.

Fr Vincent enters the house, carrying two empty mugs in one hand. He
looks around, then steps into the kitchen.

CUT TO: Kitchen.

Fr Vincent enters.

The man from before (Lawlor) holds up a fork and a knife: Do these
belong to you, Father?

Fr Vincent, conversationally: Enjoy your work?
He walks over to the sink and puts the mugs down.

The man drops the fork and knife onto the table: I know how you feel,
Father, but the bank has to get its money back somehow.
He write something on his clipboard.

Fr Vincent: By selling my knife and fork no they...don't belong to me.
He leans against the sink: Toilet roll does.

Man: Well I'll bear that in mind Father.
He continues to write things on his clipboard: We'll just need to know
what comes with the house.

Fr Vincent folds his arms: Yes I know. So what will you get for it?
He looks at the man.

Man: Not much, it needs work. I think they just want to get shut of it.
Why you thinking of making an offer?

Fr Vincent: Me? No I'm pot with money.

Man: Really? I heard you own the pub.
He walks into the next room.

Fr Vincent calls after him: The money doesn't come to me.

The man sticks his head back into the kitchen: It's a roof over your head
though isn't it?

SCENE: Fitzgerald's interior.

Siobhan and Dr. Ryan are sitting at the end of the bar. An older man puts
on his cap and steps to the door. Oonagh is standing next to the door,
cleaning up.

The man greets Oonagh: Good night.
He opens the door.

Oonagh: Ah, good luck, Paddy.

The man leaves. Oonagh looks over at the hotel entrance.

CUT TO: Hotel entrance interior.

Brendan enters, wearing a nice suit.

Oonagh exclaims: Well!

Brendan raises his arm in salute.

CUT TO: Bar.

Siobhan and Brendan look over at Brendan.

Oonagh: Excuse me, Sir, if you're looking for the Ritz.

CUT TO: Hotel entrance.

Brendan lowers his arm, enters, closes the door behind him.

CUT TO: Bar.

Brendan walks past Oonagh to the bar. Oonagh beams at him. Brendan is
carrying a large bouquet of flowers. The telephone rings.

Dr. Ryan looks at Brendan: Reminds me of someone, but who?

Paul, from the kitchen: I'll get it.
He picks up the phone.

Siobhan accuses Brendan: Who's looking after my child?

Brendan stands a few steps away from Siobhan with the flowers behind
his back, gently: Elaine is looking after OUR child.
He holds the flowers out to Siobhan: Happy Anniversary.

Siobhan looks mistrustful, looks at the flowers, then back at Brendan,
states: We're not married.

Brendan: Of Aisling.

Siobhan: What?

Brendan gives Siobhan a meaningful stare.

Siobhan smiles, looks down demurely: Oh.
She reaches out, takes the flowers. She is clearly pleased. She steals a
glance at Oonagh, then at Dr. Ryan.

Oonagh steps behind Brendan, pats him on the shoulder: Better.

CUT TO: Phone.

Paul, into phone: Whoa whoa whoa whoa whoa no, look.
He holds up his hand: Now, say that again, Louis.

CUT TO: Louis's house exterior.

Through a window we can see Louis standing in his house, talking into
the phone: ??
He appears to be agitated.

CUT TO: Fitzgerald's phone.

Paul tries to calm Louis: No, no, slowly, Louis. Yeah, remember. I'm a
blow-in.

SCENE: Brendan's house interior.

In an upstairs bedroom. Elaine is settling Aisling into her cot. She turns
on the baby monitor, then looks out the window.

CUT TO: Shot from window.

Down below, we can see Edso get out of his truck. He has brought
Elaine's car.

CUT TO: House interior.

Elaine looks pleased. She puts her fingers to her lips and tiptoes out of
the room. She goes downstairs, feeling her hair. She leaves the house.

CUT TO: Dusk. House exterior.

Edso is up on his truck, unwinding the winch. He is wearing a black
leather jacket. Elaine comes out of the house, calls up to him: Edso!

Edso, proudly: All done.

Elaine, surprised: Already?

Edso: Was only a fuel pump.

Elaine, smiling: There was no need.

Edso: You have to get home, don't you?

Elaine: Honest to God.

Edso jumps down off the truck.

Elaine: What's the damage?

Edso looks around, thinks: Ah...We'll settle up tomorrow.

Elaine: Sure hold on, you're here now--

Aisling screams. Elaine looks frustrated. She gestures back toward the
house, goes back. Edso follows her.

SCENE: Louis's house exterior. (A house in town, not the hut on the
mountain)

Paul's car pulls up next to the house.

CUT TO: Louis's house interior.

Paul and Louis are sitting at a table, looking over some documents. They
exchange documents. Louis hands Paul a pen.

Paul: Thank you.
He puts the pen into his shirt pocket.

Louis clears his throat, spits into his palm, holds his hand out for Paul to
shake. Paul hesitates, then spits into his own palm and shakes Louis's
hand.

Paul picks up the document in front of him: Can I ask you something,
Louis?

Louis looks at him expectantly.

Paul: What made you change your mind?

Louis stares at Paul.

Paul: About the auction, I mean.

Louis raises his eyebrows, stares off into space.

Paul: Ah.
He folds his document.

SCENE: Night. Street.

Liam's truck drives slowly along the street.

Donal: Liam, I'm not saying that. Of course she's a good looking woman.

Liam: Then what are you saying?

Donal: I'm just saying, in a couple of days, she'll be...a good looking
woman, somewhere else.

Liam stops the truck.

CUT TO: Liam's truck exterior.

Through the driver's side window we can see Liam and Donal in the cab.

Liam: You've got to face it, Donal. You and me...

Donal blinks at Liam in confusion.

Liam: It'll never work.
He laughs uproariously.

Donal stares straight ahead, puts his hand at the side of his head.

Liam: I'm going to ask her to come back.
He starts up the truck again.

They drive on in silence, then Liam suddenly slams on the brakes. He
looks furious.

CUT TO: Street.

Liam sees Elaine's car still attached to Edso's tow truck. He opens the
door and gets out of the truck.

Donal calls after him: Liam!

Liam slams the truck door and strides over to Elaine's car. Donal gets out,
too, and runs after him: Liam!

Liam walks past the car and on to the house.

Donal shouts: Liam! What are you doing?

CUT TO: Brendan's kitchen interior.

Elaine picks up a coffee pot, carries it to the table: Here you go.
She pours a cup for Edso, who is sitting at the table.

Edso smiles at Elaine. We hear pounding on the door. Edso's smile
disappears. He stands up: I'll get it.

Elaine: Thanks.

The pounding continues.

CUT TO: Brendan's house door interior.

Edso arrives at the door, unbolts it.

Liam kicks the door in, follows Edso who is backing down the hall: I
might have guessed!

CUT TO: Kitchen.

Liam pushes Edso backwards into the kitchen. Liam takes a swing at
Edso but hits Elaine instead. Elaine shrieks. Donal comes in, jumps on
Liam's back, shouts: Liam!

Donal, Liam, and Edso roll around on the floor. Elaine watches in shock.
Liam ends up on his back on the floor, with Donal sitting on top of him
and Edso leaning over him.

Edso shouts: I only brought her car back!

Liam shouts: Yeah right!

Elaine holds her hand to her cheek where Liam hit her, shouts: He did, it
broke down, he fixed it!

Liam shouts: Oh yeah and he brings everyone's mended car back in the
middle of the night, does he!

Elaine, still holding her cheek: What middle of the night?

Edso: She's a student, taxis cost money--

Elaine (to Edso): Come on, you don't have to explain anything.
(To Liam): How dare you come in here like you own the place? Like you
own me!

Aisling starts to cry. Elaine looks frustrated.

Shot of baby monitor. We hear Aisling cry again.

Donal sighs.

Elaine picks up the baby monitor, angrily: Now look what you've done.

Edso: Liam. It's not what you think.

Donal: I'd say he's right, Liam.

Liam relents: Yeah OK.

Donal: Is it all right to get up?

Liam: I said OK, OK?

Donal gets up from the floor, helps Liam up, brushes off Liam's jacket.
Liam brushes off Donal's jacket in a hostile way then leaves the house.
Donal slowly follows him.

Donal stops, looks at Elaine: So you off back to Dublin?

Elaine nods, pouts, holds her cheek: Saturday.

Donal looks at Edso: What's your excuse?
He leaves.

CUT TO: Liam's truck exterior.

Liam climbs into his truck cab. He is still angry. He waits for Donal. Donal
arrives, shrugs his arms in a gesture of helplessness. Donal gets into the
truck, looks at Liam silently.

Liam looks at Donal, wipes his mouth: Ach. Never liked her anyway.
He starts the engine.

Donal nods. Liam's truck drives away.

SCENE: Fitzgerald's interior.

Paul and Oonagh are cleaning up.

Oonagh: ...I mind about a derelict shack. No. I mind very much that you
bought a USELESS derelict shack.

Paul: Oonagh, I didn't--

Oonagh: And the fact that you used Liam and Donal's money to do it!

Paul: They'll get their money back. And with any luck cleaner than the
dineros they gave me.

Oonagh, incredulous: What?!

Paul: Never mind that. Oonagh. Just think of the profit we're gonna make
when I sell this place off.

Oonagh: To who?

Paul: Are you ready for this? Mid-Wicklow Cable.

Oonagh stares at him, disbelieving: What.

Paul nods, eagerly: I have the inside track on this.

Oonagh: To buy Louis's old cottage.

Paul: Yes.

Oonagh: They told you this.

Paul: Well no, but--

Oonagh: Obviously they didn't tell Louis--

Paul shouts: Well of course they didn't tell Louis! D'you think he was
going to sell it to me?

Oonagh is beside herself. She slams a bucket down on the floor.

Paul: What?

Oonagh: You do that to a neighbor.

Paul, defensively: Do what to a neighbor? He wanted to sell it, I bought
it. And he's not a neighbor, he lives five miles away.

Oonagh stares at Paul with wide eyes, through clenched teeth: Not
impressed, Paul.

Paul: Right.
He leaves.

SCENE: Morning. Siobhan's house exterior.

Elaine is loading a big cardboard box into the back of Siobhan's car. We
hear a car drive up. Elaine looks to see who it is. A taxi pulls up. Siobhan
gets out.

Siobhan: Elaine, I am so sorry. I know I said I'd be back.

Elaine: It's OK, ?? . There's fresh coffee made.

Siobhan: There isn't.

Elaine: It'd only go to waste. Differential head gasket, was it?

Siobhan: No, he wanted to take me home on his bike.

They both go into Siobhan's house.

SCENE: BallyK church interior.

Fr Vincent is standing up at the pulpit, working on a sermon. We hear
someone enter.

Fr Vincent looks up: Hey Doc. How's it going.

Dr. Ryan walks down the center aisle, solemnly: Father. I uh...
He clears his throat: I don't know how to say this.

Fr Vincent makes a note: Best just to say it, Michael.
He smiles and looks back down at his work.

Dr. Ryan looks up at Fr Vincent: I put a hurry on your blood test.
He raises his eyebrows: It's positive. It was...
He holds his thumb and forefinger just millimeters apart: So close, Father,
but you were over the limit.

Fr Vincent glances at Dr. Ryan, then looks back at his work.

Dr. Ryan: If I'd had any idea...

Fr Vincent: I know. Don't worry about it.

Dr. Ryan: I'll talk to Frankie. Garda Sullivan.

Fr Vincent: Oh you'll make her day. How about that.

Dr. Ryan: Father, they'll hang you out to dry.

Fr Vincent: They'll do it anyway, Doc.
He puts his pen down, looks at Dr. Ryan, cheerfully: Fancy a cup of tea?

Dr. Ryan accepts: Thank you.

SCENE: Fitzgerald's kitchen exterior.

Paul is on the phone: Yeah, I-- I'll hold on, yeah. No, no, I don't mind
holding on...
He listens, then gets agitated: Oh no, not voice mail again, no-- aargp--
He hangs up the phone.

Oonagh enters the kitchen, carrying a laundry basket: That the cable TV?
She sets the basket down on the floor: Inside track?
She leaves.

Paul sighs, thinks for a minute, gets an idea, quickly leaves the pub
through the hotel entrance.

SCENE: Daytime. Sunny. Street outside the church in BallyK.

Long shot of the street. Fr Vincent is leaning over the driver's side door
of his car, which is parked in front of the curate's house. He stands,
walks around to the front of the car and raises the hood. Paul approaches
on foot.

Paul: How's it going, Father.

Fr Vincent: Hey, Paul.

Paul: Have you got a moment?

CUT TO: Street in front of the curate's house.

Fr Vincent props the hood open. Paul stands in front of the car with his
hands in his pockets.

Fr Vincent: Talking God...or Mammon?
He starts working on the car engine.

Paul: We're talking one of the great virtues, Father, we're talking
generosity.

Fr Vincent: Whose generosity exactly?

Paul: Well, that would be yours.

Fr Vincent: Not one of the great virtues, Paul. Chastity, honor...that's
more your virtue territory.
He stands up and looks at Paul: You talking about the rent?

Paul: Well now if I only had your insight, Father.

Fr Vincent looks back at his engine: Yeah I know it's scary isn't it. What's
the story, Paul?

Paul: I just need a couple of more days.

Fr Vincent: Paul, I don't want your money.
He looks at Paul: Speak to the trust.

Paul practically begs him: You could put in a word.

Fr Vincent: Speak to the trust.

Paul leaves, seething. Fr Vincent blows on his air filter.

SCENE: Daytime. Street outside Fitzgerald's.

Paul walks down the street towards Fitzgerald's. He looks angry. He
opens the hotel entrance.

CUT TO: Fitzgerald's interior.

Oonagh is serving Louis at a table. Two men in suits are seated at the
bar. They are the same ones Paul saw in the estate agent's office earlier
(Carney and Kelleher). Siobhan and Brendan are also at the end of the
bar. Donal and Liam are in the far corner, quietly playing cards.

Louis hands a bowl to Oonagh, says something incomprehensible.
Oonagh looks up, sees Paul.

CUT TO: Hotel entrance interior.

Paul, looking beaten, enters, closes the door.

CUT TO: Fitzgerald's interior.

Oonagh walks behind the bar, carrying the bowl: Don't go love. We want
your opinion.

Paul mutters to himself: Innocence and purity.

Oonagh walks over to Paul, hisses: What.

Paul, quietly: Nothing.
Then louder: What can I tell you.

The two men in suits look over at Paul. The first man asks: What do you
think about cable TV?

Paul perks up: Pardon me?

Oonagh, smoothly: These men are from Mid-Wicklow Cable.

Paul: Really? Do we have to decide now?

First Man: No of course you don't.

Oonagh: They were just saying though you wouldn't believe the
problems they had trying to get a signal up here.

Paul: That right?

Louis: Hah! Yeah yeah oh yeah.

The two men look at Louis in wonder.

Oonagh: Get this. At one point they were thinking of sticking a great big
dish on top of Louis's old derelict cottage.

Brendan looks over the top of his newspaper: What and running the
cable all the way from the dish into town?

Louis, Liam and Donal laugh heartily.

Paul: Imagine.

Louis gives Paul a wide grin.

First Man smiles: No that's too far it's not practical.

Oonagh and Paul look at each other.

Paul: Excuse me.
He goes into the kitchen and beats his head against the refrigerator.

Everybody looks at Paul. Louis laughs with Schadenfreude. Paul walks
away from the refrigerator holding his forehead.

Brendan: Oonagh, is he all right?

Oonagh walks out from behind the bar, carrying two open bottles of
beer, leans over, says to Brendan as she passes him: For now.

First Man: You see we couldn't have done it anyway even if it was the
most perfect spot on earth.
He finishes his drink.

The second man turns around, drops a small book into his briefcase,
which is lying open on the next barstool: Which, in another way it is.
According to the guy who owns our company.
He closes his briefcase.

First Man: He said if we'd bought it he'd buy it off us. Now I wish he had.
He starts walking toward the door.

Second Man picks up his briefcase: He wants to turn it into a holiday
cottage.

First Man walks out the door. Second Man walks to the door, pauses by
Louis: Stay by the phone, Louis.
He exits, too.

Louis looks despondent.

SCENE: Daytime. Overcast. Forest glade.

Closeup shot of the Virgin Mary statue. Then wide shot of Fr Vincent
sitting next to her in the glade.

CUT TO: Street next to the glade.

Frankie's car pulls up behind Fr Vincent's, which is parked on the street.
Frankie gets out, puts on her hat.

CUT TO: Glade.

Fr Vincent greets Frankie: Hey.

CUT TO: Street.

Frankie approaches, friendly: Hey.

CUT TO: Glade.

Fr Vincent looks up at the statue: How long has this been here?

CUT TO: Street.

Frankie makes her way through the undergrowth: Since I've been here.
Doesn't move, apparently.

CUT TO: Glade.

Fr Vincent stands up, looks off toward the road: Respect.

Frankie: What kind of a priest are you?

Fr Vincent turns to face Frankie: Are you asking me as a cop or as a
Catholic? I mean I haven't seen you at Mass.

Frankie: That's a fair question. I'll have to think about that.

Fr Vincent: Why don't you like me?

Frankie: I could always deny that.

Fr Vincent: Think I'm a bit sure of myself sometimes.

Frankie: Those times when you're not?

Fr Vincent: I'll let you know.

Frankie: I've got your blood test results.

Fr Vincent: I know.

Frankie: And it's--

Fr Vincent: Please.

Frankie: Indulge me.

Fr Vincent: You know what it is.

Frankie: I know what our laboratory says, yeah.

They look at each other, each trying to gauge the other's thoughts.

Frankie: Two samples, one for you, one for me, that's the law.

Fr Vincent: And...?

Frankie pauses, looks Vincent in the eye: You're in the clear. By a
cigarette paper. You really shouldn't drink and drive, you know.

Fr Vincent, stunned: I know.

Frankie walks away: Didn't look too sure of yourself there.
She smiles to herself.

Fr Vincent is left standing alone in the glade. He looks up at the statue.
He looks out at Frankie.

SCENE: Daytime. Overcast. Credit Bank of Ireland exterior.

Fr Mac, incensed (voice off-screen): You promised!

CUT TO: Bank manager's office interior.

Lucius is sitting at his desk. Fr Mac is standing in front of it.

Lucius, calmly: I did not promise, I said I'd think about it.

Fr Mac looks at Lucius.

Lucius, reasonably: What am I supposed to do? Turn down a cash offer?

Fr Mac narrows his eyes.

SCENE: Daytime. Sunny. BallyK street exterior.

Fr Vincent's car is driving down the street. He pulls up in front of the
curate's house. Liam's truck is already parked there. Donal is up on a ladder,
measuring something above the door. Liam is holding the ladder with one hand.
Paul is watching them, clipboard in hand.

CUT TO: Fr Vincent's car exterior.

Fr Vincent leans out of his car: What's going on?

CUT TO: Curate's house exterior.

Paul looks over: Oh Father be with you in a second.
He makes a note on the clipboard he is holding: What's that one, Donal?

Donal looks at the part above the door, waves his tape measure: Uh one seven
by
six four.
He climbs down off the ladder.

Paul writes something on his clipboard, mumbles: Six four.
He turns to Fr Vincent: Yeah I thought you could do with a coat of paint, you
know, keep out the damp.
He gestures with his thumb toward the priest's house as he walks toward Fr
Vincent.

Fr Vincent gets out of his car, walks over toward Paul, looks up at the house:
What did I do to uh--

Paul writes something on his clipboard: Well a good landlord looks after his
tenants, Father.

Fr Vincent looks at Paul: Does he.

Paul looks at Fr Vincent, smiles: This one does.

Fr Vincent laughs silently.

Paul: Look. I heard the bank were on your case, so I bought the house.

Fr Vincent cocks his head, looks like he's waiting for an explanation.

Paul: Came into a bit of money. I've set up a trust fund, so any problems, you
know...

Fr Vincent: Right.

Paul and Fr Vincent eye each other, both smiling.

Paul grins: Well that's a lie. There's no trust fund. But sure wouldn't you
prefer the human face.

Fr Vincent grins: You're a class act, Paul.

Paul: We'll talk about the rent later. Enjoy.
He smiles and walks over to Liam's truck, where Liam and Donal are
securing the ladder to the flat bed.

Paul: All right, lads.

Fr Vincent watches them, smiling.

ROLL CREDITS