BALLYKISSANGEL
Episode 6.5 "Paul Dooley Sleeps With the Fishes"
Written by Kieran Prendiville
Transcribed by Margaret Pattison

SCENE: Daytime. It has just rained. BallyK street outside Fitzgerald's.

Liam and Donal are walking toward Fitzgerald's.

Liam: Donal reason gets us nowhere.

Donal: We go up and then we ask politely.

Liam: Might happen here. There's only one language these people understand. The language of the old country.

They reach the entrance to the bar. They stop.

Donal, surprised: This is the old country.

Liam turns to Donal: Yeah but if we were Sicilian...
He turns and enters the bar.

CUT TO: Fitzgerald's interior.

Liam and Donal enter. Donal bolts the door behind them and stands guard there. Liam stands in front of the bar and looks threateningly at Paul. Paul is behind the bar, setting out coasters. He stops when he sees Liam and Donal, squints his eyes at them.

Liam: Hey Paolo. Va bene.

Paul takes a step closer to Liam, leans against the bar, squints his eyes: What?

Liam steps up to the bar, grabs Paul by both shoulders, kisses him firmly on both cheeks.

Paul, disgusted: Aoh! Give over!
He wipes both cheeks off with the palms of his hands, looks at his hands, then at Liam, shocked.

Liam, slowly: We want our money.

Donal points at Paul: Or he'll do that again.

Paul: Told ya. I'm on the case.

Liam, in measured tones: And I'm telling you. You've got one week. I swear.
He adjusts the collar of his jacket and walks back to the door.

Donal walks up to the bar, is about to say something to Paul. Liam tries to open the door but it is still bolted. Donal and Paul look at Liam. Liam looks at Donal. Donal nods ever so slightly to Liam. Liam unbolts the door and exits quickly. Donal turns back to Paul, picks up a coaster from the bar, points it at Paul. Paul looks at him questioningly. Donal flings the coaster at Paul. It hits him on the forehead. Paul winces and frowns. Donal points at Paul and looks like "There, that's what you'll get". Then he turns to leave. Paul looks concerned.

ROLL TITLES

SCENE: Under a sink.

Fr Vincent is working on some pipes under a sink with a wrench. He does something and water sprays out all over.

Fr Vincent: Aaagh!

CUT TO: Priest's kitchen interior.

Fr Vincent, wearing jeans and a dark blue T-shirt, is under the sink. Water is spraying out.

Fr Vincent: Eeaaagh!

CUT TO: Under the sink.

Fr Vincent attempts vainly to get the water to stop spraying.

CUT TO: Kitchen.

Fr Vincent is now soaked. He pulls his head out from under the sink, trying to hold his hand over the leak.

CUT TO: Under the sink.

Fr Vincent holds his hand over the leak, but it doesn't help much. He shouts something like: Crapper!

SCENE: Fitzgerald's kitchen interior.

Paul is sitting at the table, looking at a newspaper. Dermot and Grainne are also at the table, eating breakfast. Oonagh enters, sorting through the post.

Oonagh, fed up: Oh for God's sake.
She shoves all the post into the trash bin.

Dermot turns to Oonagh, protests: Hey you might have won something.

Grainne gets up, goes over to the trash.

Oonagh: I don't think so love. And even if I had it wouldn't have been me.

Dermot and Paul squint their eyes at each other in incomprehension.

Grainne looks at the post: ??, cable TV, credit card special offer?
She looks at Oonagh questioningly.

Oonagh takes the post away from Grainne, throws it away again: Do you mind?

Grainne: They're all to Assumpta Fitzgerald.

Oonagh: My point exactly.

Dermot looks confused: I thought she was dead.

Paul reprimands him: Dermot. There are ways of putting these things.

Dermot, unaware of anything wrong: What?

Oonagh defends Dermot: He's right.

Paul glances at Oonagh, then back at Dermot: Yeah well I just though he could have put it a little more delicately.

Dermot, gamely: OK. How about she's pulling pints with Jesus.
He lowers his voice: Pint of harp please Assumpta.

Grainne and Oonagh giggle.

Paul turns to Oonagh: No don't encourage him. And what are you doing? He turns back to his newspaper: Blaming Assumpta Fitzgerald for our junk mail.

The telephone rings.

Oonagh puts down her coffee cup, goes to answer the phone: No love, I'm blaming us.

The phone rings again. Oonagh picks it up.

Oonagh: Hello?...Hold on.
She covers the mouthpiece with one hand, leans over to Paul, happily: It's Father Sheahan. He needs a plumber.

Paul shrugs and grunts, uninterested.

Oonagh, disbelieving: What?

Paul: I can't do it I have to go to Cilldargan.

Oonagh: What for?

Paul protests: Oonagh!

Oonagh looks shocked: What? You're a plumber we need the money.

Paul: It's business, OK?

Oonagh opens her mouth and stares at Paul until he stands up.

Paul, unwillingly: OK.
He raises his voice, harshly: I'll drop in on the way over!
He leaves.

Oonagh puts the phone back to her ear, politely: He's on his way Father.
She smiles at Fr Vincent's response and hangs up the phone.

We hear a door slam.

CUT TO: Priest's kitchen.

Fr Vincent is sitting next to the sink on the floor, still trying unsuccessfully to cut off the leak. He grunts a couple of times, irritated: Eeagh. Ugh. Come on. Arrgh.

Paul enters, looks detachedly at the situation.

Fr Vincent shouts something that sounds like: Mandrill!

Paul smiles slightly, walks over to the cupboard next to the sink, opens it, kneels down, reaches in, turns a knob. The water stops. Paul chuckles.

Fr Vincent looks at Paul in astonishment.

Paul: I'll be back.
He gets up and leaves.

Fr Vincent wipes his face with his open hand and blows away the water from his lips.

SCENE: BallyK street between Hendley's and Fitzgerald's.

Avril is carrying a box to her car, probably coming out of Hendley's. She leans the box against the side of the car, opens the rear door, and puts the box inside. She closes the door, walks around the front of the car, stops suddenly when she sees something.

CUT TO: Fitzgerald's exterior.

A man comes out of the pub. A woman runs out after him, playfully grabs him from behind. They laugh.

CUT TO: Avril.

Avril ducks down a little, as if she didn't want the two to see her.

CUT TO: The couple.

They kiss.

CUT TO: Avril.

Avril exhales as if someone had punched her in the gut.

CUT TO: Street.

The couple run across the street, hand in hand. They get into a car.

CUT TO: Avril.

Avril puts her hand to her mouth as if she were about to be sick. She looks away, supports herself on the hood of the car, breathing heavily. We hear the couple's car start and drive away.

CUT TO: Hendlay's exterior.

Fr Vincent comes out of the store, a towel over his shouler. He is still wearing his wet clothes. He is carrying a bottle of water, which he opens and takes a drink from. He walks down the steps, closes the bottle. He spots Avril. He wipes off his face with the towel.

CUT TO: Avril.

Avril is leaning against the hood of the car, facing away from Fr Vincent, breathing hard. She runs her hand through her hair.

Fr Vincent (off-screen): Avril?

Avril exhales, doesn't hear him.

Fr Vincent: (off-screen): Avril?

Avril starts, turns around quickly, one hand still in her hair: What?

Fr Vincent: You OK?

Avril glances toward where the couple was, exhales again.

Fr Vincent comes over to Avril, stands in front of her. Avril groans, looks like she's about to faint. Fr Vincent grabs her by the shoulders to steady here, offers her his water: Here.

Avril takes the water bottle, drinks it greedily.

Fr Vincent, concerned: You all right? You're white as a sheet.

Avril drinks some more water.

Fr Vincent: What happened?

Avril wipes her mouth with the back of her hand, looks down, hoarsely: Nothing, it's just uh...
She wipes her nose with the back of her hand: Woozy.

Fr Vincent puts his hand on her shoulder again: Come on let's have the doc take a look at you.

Avril: No...
She brushes his hand away: I'm fine, really.
She touches her forehead with the back of her hand, glances briefly at Fr Vincent: Really.
She nods slightly, turns away. She walks toward the door of the car.

CUT TO: Car interior.

Avril gets into the car. Fr Vincent holds the door for her, closes it, leans against the car and looks in through the open window.

Avril finally notices how he looks: What happened to you?

Fr Vincent smiles: Don't ask.

Avril: OK. She starts the car, drives away.

Fr Vincent stands there and watches the car go.

SCENE: Bank manager's office interior.

Paul is sitting in front of Lucius's desk. Lucius is behind the desk.

Lucius: Can I ask...what it's for?

Paul, enthusiastically: God, yeah.

A silence ensues.

Lucius prompts: What?

Paul lies: Oh ah...plumbing utensils.

Lucius doesn't believe him: Twenty thousand punts for plumbing utensils. That's a long rod.

Paul chuckles appreciatively: That's very good Mr. Cattermole.

Lucius: It's a lot of money too. Which, given the bank is already lending on your only real asset...the curate's house in BallyK...I don't see how I can agree.

Paul blinks, looks like that what's he expected to hear.

Lucius leans forward, explains: Paul...that house is the only reason you were extended. Sell it, I'll lend you the twenty thousand tomorrow.

Paul: Not a chance.

Lucius looks like "Have it your way".

Paul looks disconsolate.

SCENE: Fitzgerald's exterior.

Oonagh is removing the Fitzgerald's sign over the pub, using a blowtorch and a paint scraper. She looks like she is enjoying herself thoroughly.

CUT TO: Paul's car interior.

Paul is driving his car speedily along a street. He sees something ahead, takes off his sunglasses, peers through the front windscreen.

CUT TO: BallyK street exterior.

Shot along the street ending at the pub. Oonagh is visible, up on a ladder, removing the paint.

CUT TO: Paul's car interior.

Paul frowns, mouths "Oh my God," puts his sunglasses back on.

CUT TO: BallyK street outside the pub.

Paul's car pulls up in front of the pub. Paul gets out. He slams the car door, whips off his sunglasses, and walks over to where Oonagh is still hard at work scraping the sign paint off.

Paul demands: Oonagh, what are you doing?

Oonagh turns to look down at Paul from atop the ladder, gestures toward the ground, politely: Pass me that scraper would you love?

Paul bends over, picks up a paint scraper, hands it to Oonagh. She hands him the one she had in her hand.

Paul, bewildered: Oonagh...

Oonagh turns off the blowtorch, sighs in a satisfied manner, pleased with herself: What do you think?

Paul: I don't know.
He looks up at the sign: Who's Gerald?

Oonagh: Good point.
She waves the paint scraper around: Who's FITZgerald while we're at it?

Paul warns her: Oonagh...

Oonagh: I'm serious we run this pub that's what it should be called.

Paul: What, Dooley's?

Oonagh, somewhat unsure: Oonagh Dooley's.

Paul chortles, scoffs: Oh, right. Run that past the padre.

Oonagh looks at the sign: Well it's finished.
She looks down at Paul: Did you sort him out?

Paul: I showed him where the stopcock was.

Oonagh, reproachfully: Paul!

Paul, soothingly: I'm going over there now love. Never mind that. Gently: Look. What do you know about blowtorches.

Oonagh looks at the blowtorch in her hand.

Paul: At least ask the lads to--

Oonagh, surprised:Liam and Donal?

Paul looks down, mutters: Yeah.

Oonagh, sharply: I did. They turned me down flat. Said you'd know why.

Paul looks innocent, smiles: They're just messing.
He puts his sunglasses back on.

Oonagh, archly: Hmmm?

Paul, embarrassed, mumbles: Right.
He leaves.

SCENE: Stable yard.

Grainne is brushing a brown horse. She pats him on the side. He snorts. She turns around and puts the brush back in the grooming case and is about to close the lid.

Avril comes suddenly out of a door, rushes over to Grainne, hisses at her through clenched teeth: Grainne! For God's sake how much times have I told you, you have to clean these brushes after grooming.
She grabs the brush out of the case and throws it down.

Grainne looks like she's about to cry.

Avril puts her hands on her hips, yells: What's the matter with you?

Grainne starts to cry.

Avril puts her arms around Grainne, suddenly remorseful: Oh Grainne, I'm so sorry. I'm sorry, I didn't mean it, really I didn't. I'm just having a really bad day.
She holds onto Grainne's shoulders, tries to look at her face: You all right?

Grainne nods slightly, looks off to the side.

SCENE: Priest's house exterior.

Paul is coming out of the priest's house. He is carrying a plumber's kit and fumbling with a pad of paper. He has a pen tucked behind his ear. Fr Vincent is close behind him.

Paul: Here you go Father.
He rips the top paper off the pad, hands it to Fr Vincent: Cash'd be good.
He nods at the paper.

Fr Vincent takes the paper, looks Paul, then examines the paper. Paul pulls the pen out from behind his ear, closes the pad of paper, and looks over at the paper in Fr Vincent's hands.

Fr Vincent sees the bottom line on the paper: You can't be serious.

Paul: What.

Fr Vincent looks at Paul, slowly turns the paper around and holds it up to show him: This.

Paul: Right then if you want to pay a V.A.T. that's up to yourself.
He takes the paper and writes something on it.

Fr Vincent: No, no. I do not want to pay V.A.T. I don't want to pay anything.

Paul: Oh I see. And my reward is in the next life, is that it Father?

Fr Vincent: Paul, you're my landlord.

Paul: I know. I've been thrice blessed. But you see, I have to look after my livelihood in order to pay my landlord, which is--
He pretends to just realize this: Wh-- you!
He gives Fr Vincent a tight smile.

Fr Vincent: Paul. A burst pipe is your responsibility.

Paul: Not, if you burst it.

Fr Vincent: I was trying to fix it.

Paul: No. You should have called a plumber Father.
He walks away. At the end of the path, he turns around, puts his plumber's kit down on the ground: Tell you what.
He waves the paper: I'll leave it here.
He lifts a rock on the wall, puts the paper underneath it.
He bends over, picks up his plumber's kit again, nods at Fr Vincent: Good luck.
He leaves.

Fr Vincent stares after him with his mouth open.

SCENE: Daytime. Sunny. Lakeside.

Donal and Liam are lying on their backs on the beach next to the lake.

Liam: What are you going to do with your money.

Donal: Count it.

Liam, confidently: You will get it.

Donal: Or else.

Liam, self-assured: Exactly.

Donal hesitates a moment, then asks: Or else what?

Liam: Or else he'll find himself living in a real life Mario Lanza novel.

Donal, after a moment's reflection: Mario Puzo wrote The Godfather.

Liam: I'm just saying.

Donal sighs.

SCENE: Daytime. Overcast. Fitzgerald's exterior.

Oonagh is up on the ladder with the blowtorch and paint scraper again. Fr Vincent, Paul, and Brendan are standing on the ground watching her.

Oonagh: Brendan, Fitzgerald's was then. Dooley's is now.
She turns to look at Brendan: And with all due respect. I don't think it had to do with you anyway.

Brendan: Oh is that right. I'm only your best customer.

Oonagh: No Brendan. You just spend more time over a pint than anyone else.

Fr Vincent smirks. Brendan's jaw drops open at her impudence.

Paul: Oonagh...put the blowtorch down.

Oonagh: What?

Paul jerks his head in the direction of Fr Vincent. Oonagh turns off the blowtorch.

Paul turns to Brendan: She is right you know.

Oonagh looks vindicated.

Fr Vincent: You know I could make you call it Sheahan's. After me.

Oonagh, politely: Is that what you'd like, Father.

Fr Vincent, quickly: No. No. Might have been nice if you'd run it past me first though.

Oonagh rolls her eyes.

Brendan glances over to Fr Vincent: Vincent, you're not going to let her away with this are you?

Fr Vincent: She does run the pub, Brendan.

Oonagh smiles triumphantly.

Fr Vincent holds up his finger: But.

Oonagh's smile fades.

Fr Vincent: Fitzgerald's is also a social service. Which means Oonagh, if you want to get rid of the name fine, that's up to you. But what you replace it with, that's up to us.
He raises his eyebrows: All of us who use it.

Brendan, darkly: You don't drink anything anyway.

Fr Vincent, defensively: I eat most of my meals there.
He looks up at Oonagh: Oonagh, lay off your blowtorch, will you?

In the distance, Avril is visible walking toward Fitzgerald's. Oonagh sighs, shakes her head resignedly, puts the blowtorch down. Avril enters Fitzgerald's through the hotel entrance.

CUT TO: Fitzgerald's interior.

Avril enters through the hotel door. The place is completely empty. She walks over to the front desk, lays her keys and a small envelope on the desk, and reaches for the guest register. She opens it and starts leafing through it.

CUT TO: Kitchen.

Dermot is sitting at the table. He leans back to see who is out there, frowns, calls out: Hey!

CUT TO: Front desk.

Avril, startled, lets go of the register. She looks at Dermot, who enters from the kitchen, calmly: Hey. How's it going.

Dermot, casually: Ah, you know. He leans against the front desk.

Avril: Will your Mammy be long?

Dermot glances toward the bar entrance: She's blowtorching.

Avril, confused: What?

Dermot: Can I help?

Avril considers: Er...yeah. Why not. Do you have a Mr. Garrett Burridge staying here?

Dermot: No idea.

Avril: Well if you just looked in the book.

Oonagh is visible entering the pub through the far door.

Dermot: No I mean I don't know his name. But he's the only guest we have.

Oonagh closes the door.

Dermot, proudly: Me and Grainne call him Wandering Palms!

Oonagh walks toward Avril.

Avril squints, distastefully: Wandering Palms?

Dermot explains: Can't keep his hands off the brunette. She's staying too.

Oonagh, from over Avril's shoulder: Dermot...

Avril turns around to see Oonagh.

Dermot pretends to be serious: No Ma. Not the blowtorch. Please!

Oonagh: On your bike.
She turns her attention to Avril, smiles: Avril, sorry.

Avril turns around, picks up her keys and the envelope: No problem. Er, listen, Oonagh. Would you ever give that to uh...Mr. Burridge. I believe he's staying here.
She holds out the envelope to Oonagh.

Oonagh takes the envelope, friendly: I will of course. Will you not stay for some lunch? They said they'd be back.

Avril: No, no, I'd better get off.
She glances at the envelope, then back at Oonagh: Thanks, Oonagh. See ya.
She glances at the door, then back at Oonagh: See ya.
She heads for the door.

Oonagh watches her go, then looks at the envelope.

SCENE: BallyK church interior.

Fr Vincent and Fr Mac are walking up the center aisle.

Fr Mac: What business is it of yours anyway?

Fr Vincent: Well if you remember Father I own the place.
He clasps his hands behind his back.

Fr Mac, disapprovingly: I remember very well. I also recall that a trust was formed specifically, to deal with these matters so that you wouldn't have to.

Fr Vincent: Uh...there is no trust.

Fr Mac: Very little, I would say.

Fr Vincent: I wound it up.
He touches Fr Mac on the back to signal him to stop: Uh, I believe that passing difficult decisions on to someone else is appalling.

Avril passes them, walking toward the front of the church.

Fr Mac sighs: So. Renaming Fitzgerald's and calling it Sheahan's Bar is a difficult decision.

They start walking again toward the rear.

Fr Vincent: I'm not calling it Sheahan's Bar Father.

Fr Mac, with total lack of conviction: Oh but you must. And as you're at it, why not Sheahan's Catholic Bar and Grill.
He stalks away.

Fr Vincent watches him go. Then he turns toward Avril, who is sitting in one of the front pews. He slowly walks toward her. She is holding her keys in her fist, her fist covering her mouth, staring off to the side. He sits down next to her, looks up at the altar. Then he looks at her, but she makes no sign that she has noticed his presence.

Fr Vincent looks up at the altar again, then down, quietly: Do you want me to go away?

Avril blinks several times: Shouldn't have to.

Fr Vincent gets up, genuflects toward the altar and crosses himself: Making some coffee in the sacristy.
He walks away.

Avril watches him go.

CUT TO: Sacristy interior.

Fr Vincent is pouring hot coffee from a coffee pot into a cup. A light knock sounds at the door. Fr Vincent looks up. Avril enters hesitantly.

Fr Vincent: Hey.

Avril puts her hands in her pockets, walks toward Fr Vincent, looks off to the side, coldly: Can we just get...something straight, Father. I came into church because I needed to sit down.

Fr Vincent: You OK?

Avril looks at Fr Vincent: Yeah.
She glances at the window: It's hot outside.

Fr Vincent nods, looks at the coffee, smiles: How do you like your coffee?

Avril looks at Fr Vincent, flatly: At home.
She turns to leave.

Fr Vincent offers: I'd love to help if I could.

Avril stops at the door, turns to Fr Vincent, condescendingly: Father, what could you possibly do for me?

Fr Vincent stares at her with his mouth slightly open. Avril leaves. Fr Vincent looks like he's thinking hard.

SCENE: Fitzgerald's interior.

Siobhan, Brendan, Liam, Donal, and Edso are sitting at the bar. Oonagh is behind the bar.

Brendan, to Liam, Donal and Edso: Just a moment now, I personally don't see why they have to change the name at all.

Oonagh places a bottle on the bar in front of Siobhan.

Brendan gestures with his open hands, looks at Oonagh: Fitzgerald's was good enough for Assumpta.--

Siobhan turns to Brendan, indignantly: What do you mean good enough for Assumpta? She WAS a Fitzgerald. She inherited it from her parents--

Brendan: Yes, but--

Siobhan: So what's she going to call it, Bernstein's?

Louis stands up from the table at the side where he'd been sitting, raises his glass, and says something that sounds totally reasonable, if only one could make out what the heck it was he'd said. Brendan nods in agreement. Edso stares at him with a pleasant yet blank look on his face. Liam and Donal frown in uncomprehension, then stand up and walk away from the bar.

Edso turns to Oonagh: Well I like the name Fitzgerald's.

Oonagh, reasonably: There's nothing against the name Fitzgerald's Edso, it just doesn't happen to be mine.
She tries to get Liam and Donal's attention: Er, boys?

Liam and Donal are at the door, about to leave the pub.

Oonagh reminds them: Your lunch?

Liam and Donal pause, look at Oonagh.

Oonagh prompts: Soup and sandwiches?

Liam and Donal look at each other, then back at Oonagh.

Liam: Ah no, that's already taken care of.

Oonagh crosses her arms: Liam, I'd have remembered.

Donal leans toward Oonagh: Your husband has the money. Ask him.
They both grin, chuckle, and leave.

Brendan watches them leave, casually: Oonagh, can I have another pint.
Quietly, chidingly: I'm not going too quickly, am I?

Oonagh gives him a look that says, "Ha ha, very funny buster."

SCENE: Avril's apartment interior.

Avril enters, throws her keys on the table, strides over to the cupboard, opens it, grabs a glass, slams the cupboard shut, puts the glass on the counter, opens a box of apple juice which is conveniently standing on the counter, fills the glass halfway, and drinks greedily. We hear a horse whinny. Avril lowers the glass, wipes her mouth with the back of her hand. She drinks some more, puts the glass down, and leans on the counter. She exhales hard several times, steps over to the window and looks out.

SCENE: Fitzgerald's interior.

Garrett and the woman he was with before are sitting at a table. Oonagh is clearing away the dishes.

Oonagh: So, you go up the mountain?

Woman chuckles: All of them.

Garrett, indignantly: What's the matter with you?

Woman, to Oonagh: He won't accept middle age.

Garrett playfully hits her on the arm.

Woman: Me, I embrace it.

Oonagh smiles appreciatively, walks away with the dishes.

The woman stands up, walks around behind Garrett, puts her hand on the back of his neck: Which explains why I need to get my head down for an hour. Do you mind?

Garrett looks up at her: Go for it.

She leans over and kisses him quickly on the lips, then walks toward the stairs.

Garrett, meaningfully: I won't be long myself.

The woman stops, turns, jokes: Don't you dare wake me up.
She goes up the stairs.

Oonagh returns with an envelope in her hand: I meant to give you this when you came in.
She hands the envelope to Garrett, then walks away.

Garrett: Thanks.
He opens the envelope, takes out the paper inside, and reads it. He looks like he is thinking.

SCENE: Daytime. Sunny. Lake.

Sound of horse's hooves. A horse gallops through the shallow water from left to right.

CUT TO: Beach.

Avril is riding the horse. It gallops along the beach.

CUT TO: Long shot of beach.

The horse is visible galloping toward a stone cottage near the shore. Garrett comes out of the cottage. He sees Avril approaching and walks toward her.

CUT TO: Beach.

Garrett and Avril meet on the beach. Garrett looks stony-faced. Avril looks hostile and reproachful.

Garrett: Do you mean it?

Avril: What.

Garrett pulls an envelope from his back pocket, holds it up to Avril: Leave town.

Avril, hostilely: Didn't say it like that.

Garrett: Not far off.
He replaces the envelope in his pocket.

Avril: Bit of shock.
She looks down: Seeing you. Had a rush of blood.

Garrett nods slightly, looks out across the lake. He looks slowly back up at Avril: When you did see me, your letter didn't mention it. I'm with my girlfriend.

Avril, as if she didn't care: Oh?
She dismounts: She pretty?

Garrett murmurs: Didn't want to hurt you.

Avril pats the horse's flank, lashes out: She special?

Garrett: Thought you were still in England.

Avril throws back at him: I thought you were in Dublin.

Garrett: Only down for the weekend.

Avril pats the horse again, looks out at the lake: How'd you know I'd be here?

Garrett smiles, gently: I have a good memory.
He looks away, admits sheepishly: They told me at the yard.
He looks behind Avril, laughs, moves toward her: Oh my God--

Avril backs quickly away, grabs the saddle: It's just a saddle.

Garrett stops, looks away, quietly: I'm sorry you feel like that.

Avril, hurtfully: Is it sacred is it?

Garrett: This isn't like you.

Avril looks at the horse, adjusts the saddle. She won't look at him.

Garret takes a few steps away from her: The man at the pub told me. What you've done with Matt Devlin's old yard. Don't want to sound presumptuous. Sincerely: I'm really proud of you.

Avril stares balefully at Garrett.

Garrett, warmly: You look fantastic.
He takes a step toward Avril again.

Avril takes a step back. Garrett stops, looks thwarted.

Garrett: Do you mind me asking?

Avril, challengingly: Three years. I haven't touched a drop. In three years.

Garrett nods and smiles slightly.

Avril looks spiteful.

SCENE: Fitzgerald's kitchen interior.

Paul is sitting at the table eating a sandwich. Oonagh is pacing around the kitchen.

Oonagh, all worked up: And the look on Liam's face when he said, it's all taken care of, as if I was some silly little bar maid.
She stops right in front of Paul, gestures toward herself.

Paul, calmly: No, it's not, I'll talk to them.

Oonagh leans over the table, bristling: You will, and you'll talk to me, too. What's going on?

Paul, innocently: Nothing. You know. Between me and the boys.
He takes a bit of his sandwich.

Oonagh raises her eyebrows, looks at him intently.

Paul squirms, chews, admits with his mouth full: I owe them a few quid.

Oonagh, evenly: What do you mean a few quid?

Paul stops chewing, offhandedly: Twenty thousand.

Oonagh, incredulously: Twenty thousand pounds?

Paul raises a finger, corrects her: Punts.

Oonagh can hardly find the words: You owe Liam and Donal twenty thousand punts?

Paul yells: Well not each, obviously.

Oonagh's mouth opens even wider in horror.

Paul explains: It was the money Quigley left.

Oonagh prompts: Yes?

Paul: They lent it to me for a deposit on Louis's cottage.

Oonagh: Yes you told me but you gave it back you told me.

Paul chews, swallows, looks down.

Oonagh, reproachfully: Oh Paul--

Paul: Well I couldn't. What with the mortgage and the expenses--

Oonagh stands up, puts her hand to her forehead in worry.

Paul gestures with his thumb over his shoulder: I-- you know your man wants his plumbing done for free.
He cleans his teeth with his tongue.

Oonagh: Enough. That's it, Paul.
She sits down opposite Paul, orders him: Sell the house.

Paul shakes his head: No way.

Oonagh: What use is it to us, sell it!

Paul: And how long then before he decides to sell the pub? No, his house is our security.

Oonagh: What do you mean, sell the pub? He only bought the place so we would be secure.

Paul: So long as we use someone else's name.

Oonagh throws up her hands, sarcastically: Oh now you care!
She slams her hands down on the table.

They stare at each other across the table.

Paul picks up his cup: I'll get the money.
He takes a sip, puts the cup down.

Oonagh throws up her hands again, rolls her eyes in exasperation.

SCENE: Daytime. Overcast. Stable yard.

Liam is shoveling sand into a cement mixer. The mixer is turning, it is pretty loud. Paul's car drives into the yard. Donal, perched atop a pile of sand bags on the back of Liam's truck, lowers his newspaper to watch the car. Paul parks his car next to the cement mixer, gets out, slams the door, and walks quickly over to Liam.

Paul shouts: How dare you talk to my wife like that!

Liam shouts: Like what?

Paul: She has no part in this, and when you buy drinks at our pub, you pay for them.
He points at Donal: Don't tell me you don't have money for drink. I know you're both ??

Liam turns off the cement mixer, turns to Donal, shouts: Would you listen--
The sound from the cement mixer ceases, Liam continues: Would you listen to this for moxy, Donal, wouldya?

Paul steps over to Liam: It's not about money.
He leans over, says into Liam's face: It's about manners.

Donal, from atop the truck, coolly: Here well I'll tell you what Paul. Twenty thousand buys an awful lot of manners.

Liam: Yeah. Keep you going for the week.

Paul, weakly: I'm warning you. The pair of you.

Liam raises his voice: You're warning us.

Donal folds his newspaper, puts his hands in his trouser pockets.

Liam repeats, slightly louder: You're warning us, what are you on, magic mushrooms? You owe us, capisce?
Liam and Paul stare each other down until Paul turns and leaves.

Donal picks up his newspaper again and looks at it.

Paul gets into his car, starts the engine.

Liam looks at Donal.

Donal looks past his newspaper: Love the capisce.

Liam winks at Donal.

SCENE: Hendley's interior.

Oonagh puts something onto the counter, where Kathleen is ringing up her purchases.

Oonagh walks over to another shelf, picks up a few candy bars, casually: Kathleen, what do you think of Fitzgerald's?

Kathleen inquires: As an institution or...just the name?

Oonagh: Just the name, Kathleen.

Kathleen: Public house by any other name would...smell as...

Oonagh suggests: Noxious?

Kathleen looks at Oonagh approvingly: Good choice.

Oonagh puts the candy bars back on the shelf, walks over to the counter, picks up the box with her purchases: Sorry I asked.
She walks toward the door.

Kathleen: Not at all.
She continues to work her cash register, calls after Oonagh: Will that go in the book?

The door closes behind Oonagh.

SCENE: Daytime. Overcast. Stable yard.

Garrett and Avril are walking through the yard. Avril refuses to look at him.

Garrett: I never asked you. Anyone in your life?

Avril, curtly: The Cat.
They walk a few more steps, then Avril elaborates, coldly: She's a horse, I know what you meant.

Garrett smirks to himself.

Avril, shortly: Around here.

They stop walking. There is an awkward silence.

Garrett: Look it was really good to see you.

Avril's mouth looks pinched. Garrett makes a move as if to embrace Avril or kiss her (in a purely platonic way), but Avril jerks backward and turns her head away.

Garrett: That hurt.

Avril stares daggers at Garrett, walks away. Garrett takes a couple of steps, turns around to watch Avril leave.

SCENE: Fitzgerald's interior.

Oonagh enters through the hotel entrance, carrying the box from Hendley's.

Paul is at the bar, reading something: I'll...give you a hand there love.
He comes out from behind the bar, walks toward her.

Oonagh, shortly: I'm fine.
She closes the door firmly.

Paul, disappointed: Wha--?

Oonagh needles him: Have you got their money yet?
She walks toward the kitchen.

Paul stands there without an answer, looks down.

SCENE: Avril's apartment.

Avril is standing at a desk in the corner of the room. She closes a binder impatiently, tosses it down onto the desk, turns and walks over to the sink. She picks up the coffee maker, fills it with water. A knock sounds at the door. She looks around, surprised.

CUT TO: Door.

Fr Vincent opens the door slowly, sticks his head in gingerly and smiles tentatively.

CUT TO: Avril.

Avril sighs in disgust.

CUT TO: Door.

Fr Vincent tries to remain friendly: What was that one of a hundred thousand welcomes?

CUT TO: Avril.

Avril puts the coffee maker down on its hot plate, doesn't turn around, shortly: Father.

Fr Vincent enters: I know I know you're busy...making coffee.
He walks toward Avril, looks around at the walls, which are covered with ribbons and medals.

Avril still doesn't turn around, short-tempered: Don't you ever give up?

Fr Vincent, lightly: On you? Ages ago.
He examines the ribbons on the wall with some interest: No I saw you had something running at Leopardstown next week and um...just wondered what the chances are.
He smiles at Avril.

Avril turns to face him, fist on her hip, incensed: What are you, Father? Transparent or just plain shallow?

Fr Vincent's smile fades, he hesitates: What?

Avril flares her nostrils: Nothing.
She turns away.

Fr Vincent, quietly, intently: What did you say?

Avril busies herself with her coffee maker: Nothing that we can just--
drop it.

Fr Vincent, hurt: Transparent or just plain shallow? Gee thanks. What have I ever done to you?

Avril turns around, walks away from the sink and past Fr Vincent without looking at him. She looks hurt and angry.

Fr Vincent turns to follow her: I mean what is your problem with me? Is it the suit?

CUT TO: Yard exterior.

Avril walks quickly out of the apartment into the yard.

Fr Vincent follows her: I'd really like to know cause I don't remember trying to shove religion down your throat.

Avril stands in the yard, her hand to her forehead: Father--

Fr Vincent reaches her, all worked up: What is it? Me? Have I behaved inappropriately? Have I uh...tried to come on to you and somehow I don't remember? I don't think so.

Avril turns around to face him, confrontational: OK. You really want to know what's bugging me I'll tell ya. My ex-husband is back in town. He didn't tell me he was coming he didn't tell me he was bringing his girlfriend. He's only here for the week-end but you know what, it really unsettles me. You know? Of all the gin joints in all the towns all that stuff. Well it just hurts.

Fr Vincent has listened, concerned. Now he looks down.

Avril turns away again: Happy?

Both of them look around. Horses whinney.

Avril, arms crossed, sideways to Fr Vincent without looking at him, admits: I don't think you're shallow.

Fr Vincent: Obvious difference.

Avril nods. She sighs, calmer: So. You gonna make all this go away?

Fr Vincent offers: Buy you a beer?

Avril scoffs: You've got a real talent for this, haven't you Father? Think I'll pass.
She walks back toward her apartment.

Fr Vincent looks concerned and worried.

CUT TO: Road outside the stables.

Fr Vincent's car is coming out of the yard. He stops to allow a truck to cross the road. It is Edso's truck.

CUT TO: Edso's truck interior.

Edso looks out the window, sees Fr Vincent's car, looks hurt and disbelieving.

SCENE: Fitzgerald's interior.

Oonagh is behind the bar, fussing with a shoebox covered in red paper. It has two signs on it: "RENAME FITZGERALD'S" and "YOUR SUGGESTIONS".

Brendan: Oonagh? Put a head on that for me would you?

Oonagh looks over at Brendan, then puts the box down on top of the bar. She goes over to pull a beer.

Siobhan, Brendan, Dr. Ryan, Liam and Donal are at the bar.

Liam, to Donal: What name was that?

The hotel door opens. Oonagh looks over.

CUT TO: Hotel entrance.

Paul enters, sees Liam and Donal, closes the door behind himself.

CUT TO: Bar.

Liam and Donal see Paul, watch him approach. Paul walks toward the kitchen, pauses to muster Liam and Donal.

Brendan: Paul?

Paul glances over at Brendan, gives Liam and Donal dirty looks: Yeah.
He goes into the kitchen.

Oonagh walks over to Brendan, places his ale in front of him. Dr. Ryan eats a few peanuts.

Brendan: Paul been on one of those courses?

Oonagh, sarcastically: Charm school? Yeah. Really kicking in isn't it.
She leans against the bar, one fist on her hip, looks down.

Siobhan looks at her, concerned: You all right, Oonagh?

Oonagh sighs: Nothing twenty grand wouldn't fix.
She looks at Liam and Donal.

CUT TO: Liam and Donal.

Liam looks toward the kitchen: He's laughing at us.

Donal looks toward the kitchen: Dooley?

CUT TO: Kitchen exterior.

Through the door we can see Paul chopping potatoes at the table.

Donal: Looked a little rattled to me.

CUT TO: Liam and Donal.

Liam, still watching Paul: Yeah. Well we're going to have to rattle him a bit more.

Donal takes a sip from his bottle, puts it down again, frowns, looks at Liam.

Liam looks at Donal: Know what I'm saying? Yeah. I mean really shake him up.

Donal looks over at Paul.

CUT TO: Kitchen.

Paul is still hard at work on the potatoes.

Donal: Like in Sicily?

CUT TO: Liam and Donal.

Liam looks at Donal, confirms: Like in Sicily.

CUT TO: Bar.

Brendan, to Oonagh and Dr. Ryan, pedantically: No no no no. That's what they do in England. The Dog and Duck. The Slug and Spinach.

Dermot enters from the toilet side of the room, Oonagh raises the flap to let him come behind the bar, which he does.

Brendan: These are the names that big breweries give to small local bars just to make them sound authentic.

Dermot places a piece of paper in the box on the bar, announces with a completely straight face: The Guard and Breathalyzer.

Oonagh smiles tightly: Thank you, Dermot.

Siobhan chuckles to herself.

Dermot nods and leaves.

Dr. Ryan: No they don't. They call them Kitty O'Shea's or Scrubby Mulligan's, and pretend they're Irish.

Oonagh, triumphantly: Well there you are. I'll call it Oonagh Dooley's and it really will be Irish.

Brendan, slightly annoyed: Why don't you leave it as Fitzgerald's, then it'd be even more Irish.

Oonagh, indignantly: How can it be MORE Irish?

Brendan: Because it'll have been there longer.

Siobhan nods slightly in agreement, watching Oonagh.

Dr. Ryan laughs: You'll not be shackled by logic, will you Brendan?

Brendan: No.

The pub door opens. Brendan and Dr. Ryan turn to see who is coming in.

CUT TO: Door.

It is Fr Mac. He closes the door behind him, nods toward Brendan and Dr. Ryan.

Brendan: How are you Father?

Fr Mac walks purposefully to the box on the bar, drops in a piece of paper.

Dr. Ryan: Ah. What's your suggestion, Father?

Louis pipes up from his table near the door: ?? not to change it ?? not to change.

Fr Mac considers: Not too far off it Louis.

Oonagh, curious: Well, go on then.

Fr Mac: You wouldn't like it. Too many words.

Oonagh, amused: Try me.

Fr Mac: If it ain't broke, don't fix it.

Brendan and Dr. Ryan raise their eyebrows in acknowledgement.

Fr Mac, politely: May I have the menu please Oonagh?

Oonagh looks around, discomfited, goes to get a menu.

SCENE: Night. Fitzgerald's exterior.

All is quiet.

CUT TO: Fitzgerald's upstairs hallway interior.

Paul exits the bathroom, walks down the hall to his bedroom. Oonagh is coming out of the bedroom, carrying two pillows.

Paul, surprised: Oonagh!

Oonagh, coldly: Excuse me.
She pushes past Paul and walks to the room opposite.

Paul: Oonagh what's going on?

Oonagh pauses at the door to the other room, over her shoulder: I'm sleeping in the spare room.

Paul, innocently: Why?

Oonagh narrows her eyes at Paul: I didn't think you would.

Paul, disbelieving: What?

Oonagh: Pay the boys their money back, Paul. Then we get back to normal.
She opens the door to the spare room, goes in.

Paul walks across the hall to the spare room, but Oonagh slams the door in his face. Paul sighs, walks back to his room and closes the door.

SCENE: Daytime. Sunny. Stable yard exterior.

The police car is parked in the yard. Frankie and Avril are walking past the car.

Avril frowns, apparently echoes Frankie's previous question: How much is it worth? What difference does it make?

Frankie: Avril, I know you're upset, but I have to ask.

Avril, petulantly: Well, I don't know Frankie, you know, not as much as a new one I guess. It's not about that--

Frankie, consolingly: I understand. Sentimental value.

Avril shouts: No!
She walks away, mutters: It was a wedding present.

Frankie looks around.

SCENE: Paul's bedroom interior.

Paul is moving around under the covers, making satisfied noises. He puts his arm around the lump in bed next to him and chuckles. He rubs the lump and pats it. Then he feels it more carefully. He raises his head slightly, whips the covers back, and finds a horse saddle in the bed. He sits up suddenly and screams.

CUT TO: Daytime. Overcast. Fitzgerald's exterior.

Paul's scream echoes down the street.

SCENE: Daytime. Sunny. Liam's truck exterior.

Liam is driving his truck down a country road. Donal is sitting on the passenger seat next to him.

Liam: A horse's saddle? I mean a horse's head I can understand.

CUT TO: Truck interior.

Donal, defensively: It shows him we mean business.

Liam, hotly: Shows him we mean busine-- and what do you want to put in his bed when you really want to wind him up? Blinkers?

Donal, shortly: All right! I like horses, OK? All things being equal I prefer them with their heads on. And even if I didn't. How exactly are we going to do that? He pretends to be talking to Avril, sarcastically: Excuse me, Miss Burke. Do you have the loan of a chain saw? And ?? a horse. What do you want it for? Well now Miss Burke, I just want to sever the head from one of your finest thoroughbreds. Is that right Donal? Good man yourself, tear away, it's in the shed.

Liam listens, open-mouthed, then: Have you finished?

Donal pouts: At least I made the effort.

SCENE: Paul's bedroom interior.

The saddle is lying on the bed. Paul and Frankie are bent over, inspecting it.

Frankie: And when did you first become aware there was something else in bed with you?
She pokes at the saddle with her pen.

Paul: Well when I woke up. Obviously.

Frankie: I see. What did you think it was?

Oonagh enters, carrying two cups.

Paul: Thought it was the wife.

Frankie and Paul straighten up, look at Oonagh guiltily.

Paul smiles at Oonagh, apologetically: At first.

Frankie looks at Paul, dryly: You thought a top-of-the-range saddle from Putterbox (?) in Cilldargan was your wife?

Paul: Frankie don't start.
He smiles angelically at Oonagh.

Frankie: And when did you discover--

Paul: Hm?

Frankie, put off at the thought: I...don't want to hear that.
She turns to Oonagh, businesslike: Oonagh. Do you have any idea how a saddle--

Oonagh shrugs apologetically: I was in the spare room.

Paul, warningly: Oonagh...

Oonagh: The guards might think it was relevant.

Dermot appears in the doorway.

Frankie looks over at Dermot: Dermot. Hold on a sec.
She walks around Paul to Dermot.

Oonagh gives Paul a look that says, "So there."

Frankie, to Dermot: Do you know anything about this saddle?

Dermot: I know what it means.

Paul demands: What?

Dermot, ominously: It means Paul Dooley sleeps with the fishes.

Oonagh: Excuse me?

Frankie: Godfather talk.
She takes a cup from Oonagh.

Dermot nods toward Paul with his chin: He's upset the mob.

Oonagh and Frankie turn toward Paul questioningly. Paul makes a deprecatory face.

Avril calls, from off-camera: Frankie?

Frankie calls: In here Avril.
She takes a sip from the cup.

Avril appears in the doorway, hurriedly enters the room and rushes over to the saddle, incensed: What are you doing with my saddle?

Paul, defensively: Oh right I'm supposed to know it's yours?

Avril turns to Frankie: Where'd you find it Frankie?

Frankie, matter-of-factly: In his bed.

Avril wheels on Paul, beside herself: What have you done with my saddle?

Paul raises his hands in surrender: Oh ho ho no, that's it, I'm out of here.
He walks past Avril toward the door, stops when he reaches Frankie: Oh, thank you Garda Sullivan for your help, I'm sure we can all sleep sounder in our beds now.

Dermot neighs. Paul chases him down the hall. Oonagh and Frankie exchange a long-suffering look. Oonagh shrugs and takes a sip from her cup.

SCENE: Daytime. Sunny. Fitzgerald's exterior.

Avril exits the pub with the saddle. She walks over to her car, which is parked right in front. She opens the rear door, heaves the saddle in, and closes the door. She walks around to the driver's side, pulls her keys out of her pocket. She sees something and stops. Garrett's girlfriend approaches, stops at the car, leans one hand on the hood, smiles uncertainly at Avril.

Girlfriend: Were you not going to say hello?

Avril's nostrils flare. She looks really mad: Excuse me.
She opens the car door and gets in.

The girlfriend looks concerned: Avril.
She walks over to the driver's side, talks to Avril through the open window: What is this?

Avril tosses her head and drives quickly away. The girlfriend stands in the street and watches her go.

CUT TO: Street.

Rear shot of Avril's car driving away.

CUT TO: Fitzgerald's exterior.

Garrett pops his head out the door. The girlfriend walks toward him. She stops, sits down on the blue bench outside the pub. Both she and Garrett look in the direction that Avril took.

Garrett sits down on the arm of the bench next to his girlfriend: It's her choice.
He puts his arm around her shoulder: You OK?

The girlfriend looks like she's going to cry: I want to go home.

Garrett nods, pats her on the shoulder, stands up: Just give me five minutes to pack, settle up.
He looks in the direction that Avril took, then goes back inside.

The girlfriend sits on the bench and looks disconsolate. Then she looks down the street hopefully.

CUT TO: Street.

Avril's car returns. The girlfriend stands up. Avril pulls up in front of Fitzgerald's, stops the car, gets out, strides over to the girlfriend, quietly seething: Fine I'm gonna say hello to you. How could you?

Girlfriend: Avril--

Avril: How could you? How could you?

Girlfriend: I didn't. You don't choose. It just happened.

Avril, sarcastically: You were just a victim?

Girlfriend: No, but I was there.

Avril, insinuatingly: You were there, all right.

Girlfriend: Somebody had to look after him.

Avril: Oh right, because I left him?

Girlfriend: I didn't say that.

Avril: You make it sound like it.

Girlfriend: Well you may as well have done the state you were in.

Avril and the girlfriend stare at each other. The girlfriend softens: I didn't mean that.

Avril backs away from her: No. Let's get it all out now, Rosie. How long.

Rosie: How long?

Avril: You know what I mean, how long?

Rosie hesitates, then: Not while you were together.

Avril: And how long have you been in love with him? Don't lie to me.

Rosie hesitates, looks down, tries to smile at Avril with tears in her eyes: Early on.
She holds Avril's gaze: Long time.

Avril: I thought I could trust you.

Rosie: I never came on to him.

Avril: Put up a fight though did you?

Rosie, honestly: Yes.

Avril, sarcastically: Yeah.

Rosie smiles at Avril: You look well.

Avril, venemously: Well I don't want him back.

Rosie: I wouldn't have thought so.
She looks down: So...I can keep him then?

Avril, virulently: What are sisters for?

Rosie looks overcome with emotion, turns and goes back inside. Avril looks spiteful. She looks across the street.

CUT TO: Hendley's interior.

Fr Vincent is at the counter, jotting some notes into a book, a newspaper open to the racing page spread out in front of him. Kathleen is watching him from the other side of the counter. The door opens. Avril walks in, goes straight to the liquor, grabs a bottle, returns to the counter, slaps a bill down and leaves without comment. Fr Vincent and Kathleen watch her go.

CUT TO: Hendley's exterior.

Avril emerges from the store, liquor bottle in hand. She hurries down the steps. Fr Vincent appears in the doorway, watches her go.

CUT TO: Fitzgerald's exterior.

Avril gets into her car, starts the engine, does a U-turn, runs over the curb opposite, and drives off.

CUT TO: Hendley's exterior.

Fr Vincent watches Avril drive away.

SCENE: Avril's apartment interior.

Avril enters, walks quickly to the kitchen, puts the liquor bottle down on the counter, opens a cabinet, pulls out a glass, puts the glass down on the counter, opens the bottle, and pours herself a big glass full. She raises the glass to her face and smells it. She hesitates, is about to put the glass down, then raises it again and puts it to her lips, tips it up, then startles and turns around suddenly. Fr Vincent is standing there. Avril looks vulnerable. She starts to sob, sits down at the table and puts the glass down. She covers her face with her hands. Fr Vincent steps toward the table, puts down the book he is carrying ("Morning and Evening Prayer"), puts his hands on Avril's shoulders.

Avril starts suddenly: Don't!
She sobs uncontrollably.

Fr Vincent picks up the glass, walks to the sink and pours its contents down the drain. He rinses the glass out and fills it with water. Avril continues to sob. Fr Vincent puts the glass of water down on the table in front of her.

Fr Vincent, quietly: I'll be outside.
He goes to get the bottle on the counter.

Avril orders him: Leave that bottle.

Fr Vincent, gently: I really don't think you should--

Avril screeches: I said leave the bottle!

Fr Vincent walks past Avril and leaves. She resumes crying.

CUT TO: Avril's apartment exterior.

The door opens and Fr Vincent walks out. He closes the door behind himself, stands there and looks around. He looks at his watch. He puts his hands in his pockets and looks up at the sky. He looks around again.

CUT TO: Stables exterior.

The horses are all neatly lines up in their stalls.

CUT TO: Fr Vincent.

Fr Vincent looks more closely at the horses.

CUT TO: The Cat.

The Cat whinnies at Fr Vincent and shows her teeth.

CUT TO: Fr Vincent.

He shakes his head slightly in amusement, fiddles with the zipper on his jacket, looks at the horses again.

CUT TO: Horses.

The horses are all sticking their heads out of their stalls.

CUT TO: Fr Vincent.

He is sitting on the ground in front of Avril's apartment, picking at the gravel. He looks thoughful.

Avril, off-screen, screams: No!

Fr Vincent looks back toward Avril's apartment.

CUT TO: Window.

The bottle comes flying out through the window, breaking the glass.

CUT TO: Ground.

The contents of the bottle spill out all over the ground.

CUT TO: Fr Vincent.

He smiles in satisfaction, glances back toward the window, then looks at the bottle again.

SCENE: Avril's apartment interior.

Avril and Fr Vincent are sitting at the kitchen table. Fr Vincent is examining the bottle.

Fr Vincent: It's good whiskey too.

Avril, subdued: Was it?
She wipes her eye: Never knew.
She sniffles: Spell our whiskey with an e did you know that?

Fr Vincent smiles, puts the bottle down: Why?

Avril takes a sip from her mug: Just to be awkward.

Fr Vincent takes a sip from his mug, watches her intently.

Avril sighs, looks at the table: Anyway. One day, I woke up, he was gone.
She sniffles: He left a note. Said he was sorry but he just couldn't take it anymore.

Fr Vincent: Was that fair?

Avril pauses, then admits grudgingly: Maybe. I guess.
She takes another sip.

Fr Vincent: Did you stop drinking then? Just like that?

Avril looks at Fr Vincent: Make it sound easy.

Fr Vincent: On your own?

Avril squints her eyes at Fr Vincent.

Fr Vincent: I don't mean a priest, I mean some, some sort of support group. Well there's an AA in Cilldargan--

Avril: I know. I went. When I needed it.
She looks at Fr Vincent: Look I'm fine. I'll be fine, I'm OK.

Fr Vincent reaches his hand out to touch hers: Take it easy on yourself Avril. There'll be a next time.

Avril looks at him, looks down. He removes his hand from hers.

SCENE: Daytime. Sunny. Roadside.

Frankie's police car is parked behind Liam's truck. Liam is sitting up on the flatbed, Donal is standing next to him. Frankie is standing before them.

Frankie: There's no point denying it, Donal, your prints are all over it.

Donal, defensively: Well they would be. I took the saddle off the horse.

Frankie, disbelievingly: What?

Donal: I was working at the yard.

Frankie: I know you took it Donal because I know there's something going on between yourselves and Paul Dooley.

Liam looks at Donal sideways.

Frankie: And I'm telling you now it's going to stop.

Liam, cryptically: Paul Dooley sleeps with the fishes.

Frankie: No he doesn't Liam. He doesn't sleep with fishes or horse's heads or fishheads or, saddles. Is that clear.

Donal shrugs petulantly.

Frankie, insistently: Is that clear?

Liam: Si.
He touches his chin with his fingers: Va bene.

Frankie shakes her head at them and walks back to her car. Donal watches her go, then looks at Liam. Liam makes a non-committal face.

SCENE: BallyK street.

Paul is walking down the street. He stops, looks across the street, crosses the street to O'Hare's barber shop. He hesitates a moment, then opens the door and enters. The door closes behind him.

CUT TO: Barber shop interior.

Paul is sitting in a barber's chair, having his face shaved. The man in the chair next to him stands. His barber shakes out the cape.

Customer: Thank you Basilton. You did an excellent job.
He hands Basilton a tip.

Basilton brushes off his shoulders with a little brush.

Customer: Thank you.
He directs his attention to Paul, friendly: Now. Paul. Paul.

Basilton removes himself.

The customer steps over to Paul's chair: How long have we known each other, huh?
He pats Paul's barber's arm and pushes him gently aside. The barber steps back, allows the customer to walk around behind Paul.

Paul: Oh. Hardly any time at all, Mr. Sugrue.

Sugrue: Oh, now now now. You call me Psycho.

Paul: I'd rather not.

Sugrue makes Paul's chair suddenly lean back. He takes the razor from the barber: Thank you.

The barber leaves.

Sugrue: It's what you call me behind my back, isn't it?
He makes as if to shave Paul's neck.

Paul deprecates: No I'd never do that Mr. Sugrue.

Sugrue removes his fingers from Paul's face, holds his hands out to the side.

Paul corrects himself: Well well uh...Psycho.

Sugrue seems satisfied, resumes playing barber: Haven't I always been good to you Paul?

Paul, nervously: Well, you've never set light to the pub.

Sugrue holds his hands loosely out to the sides again, grunts in a way that means, "You see?"

Paul chuckles nervously. Sugrue resumes shaving him.

Sugrue: And in all that time...
He wipes the razor on the towel around Paul's neck: When have you come for me not for a favor...
He pauses, looks off into the distance: Not for a hand-out...
He makes an Italian sort of gesture, touching his fingers to his thumb: But just to pay your respect?

Paul chuckles nervously: Well...well you must have been out.

Sugrue laughs: Very good.

Paul laughs, too.

Sugrue steps around in front of Paul: So. Who do you want me to hurt?

Paul's smile fades: Hurt? Oh no no no no no it's not it's not like that at all. No no...
He swallows and takes a deep breath: I need a loan.

Sugrue's good humour vanishes: A loan. He glances at two thugs standing behind Paul, then back at Paul: You.
He seems amused again: How much?

Paul rolls his eyes around, jokingly: Twenty thousand.

Sugrue looks around at the others. The barbers laugh.

Paul tries to convince him: I I I am good for it, Psycho.

Sugrue gets slightly riled: Yes and I'm not that mad and no you're not.
He raises his voice: You're not even a landlord.

Paul, weakly: I wear the trousers, heh.

Sugrue: You probably rent them.

Paul, quickly: Oh no.

Sugrue laughs. Paul laughs. The thugs laugh. Sugrue plays with the razor near Paul's face.

Paul pleads politely: Please?

Sugrue leans over, puts his ear right next to Paul's mouth.

Paul whispers: Please?

Sugrue taps the razor thrice on Paul's chin, underscoring his words: Twenty, thousand, punts.
He lowers the razor, softly: You just be glad I said no.
He straightens up.

Paul looks disappointed but also like that's what he expected all along that the answer would be.

Sugrue raises Paul's chair again. He whips the towel off from around his neck, cries good-naturedly: Now sir.

Paul pulls off the cape. Sugrue holds out his hand: I'll take that.
He takes the cape.

Paul stands up, looks in the mirror, realizes he still has shave cream all over his face, reaches for the towel. Sugrue holds the towel and cape up, smirks at Paul.

Paul points nervously toward the corner: My coat.
He walks over to the coatrack and takes his coat off the hook.

Sugrue: Hey Paul. One day. And uh, mind you, this day might never come heh heh heh. I'll call in, for a pint.
He nods at Paul in a friendly manner.

Paul smiles, whispers: Right.
He turns to the door, grabs the doorknob: Great.
He opens the door.

Sugrue raises one hand in salute. Paul leaves. Sugrue laughs. The two barbers laugh.

SCENE: Avril's kitchen interior.

Avril is standing at the sink, doing the washing-up. She hears a car or truck honking outside. She turns toward the window, shakes the water off her hands, steps over to the window.

CUT TO: Window.

Through the window, we can see Edso's truck. Edso walks around the front of the truck, waves at Avril, continues walking.

CUT TO: Avril.

Avril bites her lip, looks concerned.

CUT TO: Edso's truck exterior.

Edso opens the rear door of the truck.

CUT TO: Avril's apartment exterior.

Avril opens the door, steps out, protests: I called Foley's in Cilldargan.
She skips down the steps and goes over to Edso.

CUT TO: Edso's truck exterior.

Edso: I'm their local agent.
He pulls a pane of glass covered with newspaper out of the truck.

Avril reaches Edso: Take in laundry as well?

Edso: What?

Avril: Nothing.
She smiles: It's good to see you.

Edso nods. He glances at the window: So what happened?

Avril turns around to look at the window: Oh. The uh...four wheel threw up a stone.

Edso: Uh huh.

Avril: New tires? Back?

Edso: Sure.

Avril cannot hold his gaze, blinks and looks down nervously: Yeah.
She suddenly changes the subject, brightly: Coffee?

Edso: Sounds good. And watch out for glass around the sink, I'm sure you've swept most of it up--

Avril quickly reassures him: Ah no, it was all outside.

Edso, surprised: Really? He jokes: What, you had the four wheel in the kitchen?

Avril realizes her mistake, tries to backtrack: Er no well er not all of it. Some of it. Most of it, obviously.
She reaches up her hand to the back of her neck, looks down nervously.

Edso: Whatever.

Avril changes the subject again: I'll make the coffee.

Edso: Right.

Avril turns toward the building. Edso turns toward his truck. Avril rolls her eyes at her own stupidity.

CUT TO: Avril's apartment interior.

Avril enters quickly, walks into the kitchen.

CUT TO: Avril's kitchen interior.

Avril goes to the sink, picks up the coffee maker, fills it with water.

Edso enters, pulls off one of his gloves: You all right?

Avril turns toward Edso: What?
She turns toward the sink again: Oh, yeah.
She turns off the water, turns toward Edso: Just...little shock that's all you know.

Edso nods understandingly, takes off his other glove. He looks down at the table, drops his gloves on the table and picks up the book that Fr Vincent apparently left there.

Avril: How do you like it?

Edso holds the book in both hands, looks at it then at Avril, curiously: You taken up religion?

Avril whirls around: What?

Edso holds up the book for her to see.

Avril, dismissively: Oh that. God no.

Edso opens the book, looks inside the front cover, exclaims as if that explains everything: Ah.

Avril: What do you mean ah?

Edso closes the book: I don't mean anything just ah. I understand, it's the priest's.
He waves the book back and forth.

Avril stops, puts her fist on her hip, suspiciously: Yeah what of it?

Edso protests his innocence: I'm not making nothing of it.

Avril goes on the offensive: You know, Edso, if you've got something to say--

Edso holds up his hands: Whoa whoa Avril, look. Forget the coffee.
He puts the book back on the table: I'll just get on with the window, OK?
He turns to leave.

Avril: Edso...

Edso walks out the door.

Avril looks frustrated.

SCENE: Bank manager's office interior.

Paul and Lucius shake hands.

Lucius: Well under these circumstances Mr. Dooley, I don't see any problem at all.

Paul looks pleased.

Lucius: Bit of paperwork, we're all done.

Paul smiles: Oh good.

SCENE: Donal's house exterior.

Paul walks down the path to Donal's house, a piece of folded paper or possibly an envelope in his hand. He peers through the window and knocks on it.

Paul shouts: Donal!
He looks through the window in the door, knocks on the door. He puts the paper through the letter slot in the door. He turns and leaves.

SCENE: Cilldargan church exterior.

Paul's car drives past the front of the church. Fr Mac is standing in the entryway. He sees the car drive past and steps out to watch it. The car parks next to the church. Paul jogs up to the house next to the church (could be Fr Mac's house?) and puts something in the letter slot. Fr Mac looks displeased.

SCENE: A house exterior.

Paul walks up to the house. There is a metal box on a low wall that says "BREAD". Paul picks it up and turns it around. The other side says "POST". Paul lifts the lid and drops a piece of paper into it, then replaces the lid. He walks away.

SCENE: Priest's house exterior.

Paul slides a piece of paper through the letter slot in the door. He turns around, pulls his coat tighter around himself, and walks away down the street.

SCENE: Fitzgerald's interior.

The clock shows 12:00. Paul is standing alone in the bar, hand on the box with suggestions for renaming Fitzgerald's, tapping it with his fingers. The door opens. Fr Mac enters through the hotel entrance, closes the door behind himself.

Fr Mac greets Paul: Paul.

Paul: Father Mac. What can I get you.

Fr Mac approaches the bar: I'd like to know what I'm doing here.

Paul looks like he's about to speak, then the door opens again. Paul looks up: Ah.

Fr Vincent enters through the hotel entrance: Fr MacAnally.
He closes the door carefully behind himself.

Fr Mac, not too surprised: Father Sheahan.
He turns toward Paul, dryly: Bit early isn't it?

Fr Vincent points at Paul in greeting.

The door opens again. Both Fathers turn around to see who it is. It is Liam and Donal.

Liam: Ah...we'll come back later.
He nods toward the outside.

Paul, firmly: You'll stay where you are.

Edso walks past Donal into the pub.

Paul: I'm sorry Edso. We're closed.

Edso, in disbelief: What?

Paul blinks and makes a face that says, "Go on, you understand," then says: Go on, lock the door.

Edso looks around. Donal shrugs at him. Edso leaves. Donal comes in, is about to close the door when Oonagh tries to enter.

Donal: We're closed.

Oonagh, taken aback: We're what? WE'RE closed?
She looks at Paul in shock.

Paul, calmly: It's OK love. Go on Donal lock it.

Oonagh enters, carrying a plastic bag, walks toward the bar, protests: Paul!

Donal closes the door and bolts it.

Paul: It's OK.

Liam and Donal also walk toward the bar.

Paul leans over behind the bar, straightens up and tosses a packet to Liam: Here. Count it.

Liam catches the packet (it is money) and starts to count it. Donal also catches a packet of money.

Paul: Both of you.
Threateningly: And I don't want to see anything even resembling a horse in my bed again.

Liam looks at Oonagh, then laughs in a horsey way.

Oonagh, to Liam, warningly: Watch it, buster.

Liam gets reason: Right.
He resumes counting his money.

Paul: Now. Father Mac. Is the dignity of your curate still a matter of passing concern? Only, if the church wants his house back, I'm willing to sell it.

Oonagh, breathless: Paul!

Paul looks at Oonagh fondly.

Fr Vincent: Excuse me?

Fr Mac, accommodatingly: I'm sure something can be arranged.

Paul: I want a reasonable price but it won't be extortionate.

Fr Vincent thumps the bar top: Glad to hear it.

Paul: Well you'll pay for it.

Fr Vincent frowns, looks like he's digesting something.

Paul: There's a condition. If you ever sell Fitzgerald's, we get first refusal. And we'd be looking for a good price on that too. Is that agreed?

Fr Mac nods in appreciation of Paul's business acumen.

Fr Vincent, gamely: I've no problem with that.

Paul: Good. And to show there's good will, we'll no longer insist on the name change.

Oonagh protests: Hey!

Paul, gently: No one wanted it changed, love. And it's only a name.

Oonagh, insulted: Oh. She puts her shopping bag down on the stool next to her: And you know what's in that box, do you?
She opens the box on the bar.

Paul: No, but--

Fr Mac: We'll be talking then.

Paul: Oh, great. Thank you, Father.

Fr Mac turns to leave. Fr Vincent raises his eyebrows at Paul, turns to leave, too.

Donal: Thanks for the uh...
He raises the money.

Liam: Yeah. About time.
They both turn to go.

Paul: Yeah well just remember to spend it in here.

Liam and Donal stop, look at Paul. Liam chuckles at Paul's boldness. They walk out, close the door behind themselves.

Paul turns his attention to Oonagh: They all say Fitzgerald's don't they.
He walks down to the other end of the bar.

Oonagh: Nope.
She looks at Paul, darkly: They all say Dooley.

Paul pours himself a drink: Oonagh Dooley.

Oonagh, flatly: No.

Paul looks at her, surprised: Paul Dooley?

Dermot enters.

Oonagh narrows her eyes at Dermot: I want a word with you.

Dermot, desperately: We're not open yet.
He makes a run for it.

Oonagh grinds her teeth. Paul shrugs, amused, takes a sip of his drink.

SCENE: Avril's apartment exterior.

Avril comes out the door. She looks normal until she sees Rosie standing there, then her face gets hard.

Rosie looks nervously hopeful.

Avril, evenly: I thought you'd gone.

Rosie: I came back.

Avril, venemously: You want St. Joseph's. They do forgiveness there.
She walks away toward the stalls.

Rosie follows her: I can only imagine how much you must hate me.

Avril turns to face her, crosses her arms across her chest: You're not even close.

Rosie, gently: Avril, please. Try to understand--

Avril, hatefully: What. How much you must love him.

Rosie, honestly: Yes. I didn't do this to hurt you. Do you not think we talked about this?

Avril, disgusted: Oh please, just stop it. The thought of you, the pair of you together, discussing me.
Sarcastically: The concern, the smugness. God, this is terrible. Poor Avril. How could we do this. God how we fought this but the love is greater than the both of us, hm. Am I right? ?? ending now Rosie.

Rosie looks like she can't believe Avril's hostility. She starts to cry and walks away. Avril looks smug, self-righteous and disgusted. We hear a car door close, then an engine start and the car drive away. Avril wipes her mouth.

SCENE: Daytime. Overcast. Cilldargan street.

Avril's car pulls up at the side of the street. Avril gets out, looks up and down the street. She walks hesitantly a few steps and looks down the walkway. It looks like the side entrance to a church. Avril walks slowly down the path.

CUT TO: Building interior.

Avril opens a door and slips quietly inside.

A man's voice, off camera: And, OK, it's not very long in the scene of things. But it's 27 days longer than I've done before.

A man is standing up in the front of a smoke-filled room before 20-30 people seated on wooden folding chairs.

Man continues: So. Here's to 28.

The others applaud. The man takes a seat among the others. Another man stands up and goes to the front. Avril sits down at the back.

Second man: Good man Harry. OK if I can just get the boring stuff out of the way uh...are we all happy with the new meeting place?

Third man, seated: Better that at Tierce Calhoun's bar.

Everybody chuckles.

Second man: What say so Mark. OK come on then a show of hands for seven thirty.
Several people raise their hands.

Avril looks around at the others. A dark-haired man in a dark sweater toward the front looks familiar.

Second man: Seven thirty it is. Who said youse people couldn't make a decision?

Avril tries to get a glimpse of the dark-haired man again but someone else's head is in the way.

Second man: Kay I'd like to open the meeting.

The dark-haired man speaks: Good evening everyone. He stands: My name is Vincent. I'm an alcoholic.

Avril's mouth drops open.

ROLL CREDITS