2b9fe583527a8ceb95eea02144cd628a961c2ad4
movie
http://www.imsdb.com/scripts/Crying-Game.html
if ( window
FADE OUT .
 At a fairground in rural Northern Ireland, Provisional IRA volunteer Fergus (Stephen Rea) and a unit of other IRA members, including a woman named Jude (Miranda Richardson) and led by Maguire (Adrian Dunbar), kidnap Jody (Forest Whitaker), a black British soldier, after Jude lures him to a secluded area with the promise of sex. The IRA demands the release of jailed IRA members, threatening to execute Jody in three days if their demands are not met. Fergus is tasked to guard Jody and develops a bond with the prisoner, much to the chagrin of the other IRA men. During this time, Jody tells Fergus the story of the Scorpion and the Frog.
Jody persuades Fergus to promise to seek out his girlfriend Dil (Jaye Davidson) in London should Jody be killed. The deadline set by Jody's captors passes and with none of the IRA's demands being met, Jody is to be executed. When Fergus takes him into the woods to carry out the sentence, Jody makes a break for it. Fergus cannot bring himself to shoot the fleeing Jody in the back, but Jody is accidentally run over and killed by a British Saracen armoured personnel carrier as they move in to assault the IRA safe-house. With his IRA companions seemingly dead after the attack, Fergus flees to London, where he takes a job as a day labourer, using the alias "Jimmy". A few months later, Fergus finds Dil at a hair salon. Later they talk in a bar, where he sees her singing "The Crying Game".
Fergus suffers from guilt about Jody's death and sees him in his dreams bowling a cricket ball to him. He pursues Dil, protecting her from an obsessive suitor and falling in love with her. Later, when he is about to make love to her in her apartment, he discovers that she is transgender. His initial reaction is of revulsion. Rushing to the bathroom to throw up, he accidentally hits Dil in the face. A few days later, he leaves her a note and the two make up. Despite everything, Fergus is still attracted to Dil. Around the same time, Jude unexpectedly reappears in Fergus' apartment. She tells him that the IRA tried and convicted him in absentia, and she forces him to agree to help with a new mission to aid in assassinating a judge. She also mentions that she knows about Fergus and Dil, warning him that the IRA will kill her if Fergus does not co-operate.
Fergus, unable to overcome his feelings for Dil, continues to woo her. To shield her from possible retribution, he gives her a haircut and menswear as a disguise. The night before the IRA mission is to be carried out, Dil gets heavily drunk and Fergus escorts her to her apartment, where she asks him to stay with her. Fergus complies, then admits he had an indirect hand in Jody's death. Dil, drunk, appears not to understand, but in the morning, before Fergus wakes up, Dil ties him to the bed. She unwittingly prevents Fergus from joining the other IRA members and completing the planned assassination. Holding Fergus at gunpoint, Dil forces him to tell her that he loves her and will never leave her. She unties him, saying that, even if he is lying, it is nice to hear his words. Dil then breaks down in tears.
Meanwhile, Jude and Maguire gun the judge down, but Maguire is shot dead by one of the bodyguards. A vengeful Jude enters Dil's flat with a gun, seeking to kill Fergus for missing the assassination. Dil takes several shots at Jude, hitting her, whilst stating that she is aware that Jude was complicit in Jody's death and that Jude used her sexuality to trick him. Dil finally kills Jude with a shot in the neck. She then points the gun at Fergus but lowers her hand, saying that she cannot kill him, because Jody will not allow her to. Fergus prevents Dil from shooting herself and tells her to hide out in the club for a while. When she is gone, he wipes her fingerprints off the gun (replacing them with his own), and allows himself to be arrested in her place.
A few months later, Dil visits Fergus in prison where he is serving six years. After discussing his post-release plans, she asks why he took the fall for her, and he responds, "As a man once said, it's in my nature." He then tells her the story of the Scorpion and the Frog.
At a fairground in rural Northern Ireland , Provisional IRA volunteer Fergus ( Stephen Rea ) and a unit of other IRA members , including a woman named Jude ( Miranda Richardson ) and led by Maguire ( Adrian Dunbar ) , kidnap Jody ( Forest Whitaker ) , a black British soldier , after Jude lures him to a secluded area with the promise of sex . The IRA demands the release of jailed IRA members , threatening to execute Jody in three days if their demands are not met . Fergus is tasked to guard Jody and develops a bond with the prisoner , much to the chagrin of the other IRA men . During this time , Jody tells Fergus the story of the Scorpion and the Frog . Jody persuades Fergus to promise to seek out his girlfriend Dil ( Jaye Davidson ) in London should Jody be killed . The deadline set by Jody s captors passes and with none of the IRA s demands being met , Jody is to be executed . When Fergus takes him into the woods to carry out the sentence , Jody makes a break for it . Fergus can not bring himself to shoot the fleeing Jody in the back , but Jody is accidentally run over and killed by a British Saracen armoured personnel carrier as they move in to assault the IRA safe-house . With his IRA companions seemingly dead after the attack , Fergus flees to London , where he takes a job as a day labourer , using the alias Jimmy . A few months later , Fergus finds Dil at a hair salon . Later they talk in a bar , where he sees her singing The Crying Game . Fergus suffers from guilt about Jody s death and sees him in his dreams bowling a cricket ball to him . He pursues Dil , protecting her from an obsessive suitor and falling in love with her . Later , when he is about to make love to her in her apartment , he discovers that she is transgender . His initial reaction is of revulsion . Rushing to the bathroom to throw up , he accidentally hits Dil in the face . A few days later , he leaves her a note and the two make up . Despite everything , Fergus is still attracted to Dil . Around the same time , Jude unexpectedly reappears in Fergus ' apartment . She tells him that the IRA tried and convicted him in absentia , and she forces him to agree to help with a new mission to aid in assassinating a judge . She also mentions that she knows about Fergus and Dil , warning him that the IRA will kill her if Fergus does not co-operate . Fergus , unable to overcome his feelings for Dil , continues to woo her . To shield her from possible retribution , he gives her a haircut and menswear as a disguise . The night before the IRA mission is to be carried out , Dil gets heavily drunk and Fergus escorts her to her apartment , where she asks him to stay with her . Fergus complies , then admits he had an indirect hand in Jody s death . Dil , drunk , appears not to understand , but in the morning , before Fergus wakes up , Dil ties him to the bed . She unwittingly prevents Fergus from joining the other IRA members and completing the planned assassination . Holding Fergus at gunpoint , Dil forces him to tell her that he loves her and will never leave her . She unties him , saying that , even if he is lying , it is nice to hear his words . Dil then breaks down in tears . Meanwhile , Jude and Maguire gun the judge down , but Maguire is shot dead by one of the bodyguards . A vengeful Jude enters Dil s flat with a gun , seeking to kill Fergus for missing the assassination . Dil takes several shots at Jude , hitting her , whilst stating that she is aware that Jude was complicit in Jody s death and that Jude used her sexuality to trick him . Dil finally kills Jude with a shot in the neck . She then points the gun at Fergus but lowers her hand , saying that she can not kill him , because Jody will not allow her to . Fergus prevents Dil from shooting herself and tells her to hide out in the club for a while . When she is gone , he wipes her fingerprints off the gun ( replacing them with his own ) , and allows himself to be arrested in her place . A few months later , Dil visits Fergus in prison where he is serving six years . After discussing his post-release plans , she asks why he took the fall for her , and he responds , As a man once said , it s in my nature . He then tells her the story of the Scorpion and the Frog .
http://en.wikipedia.org/wiki/The_Crying_Game
The Crying Game
<html>
<head><title>Crying Game Script at IMSDb.</title>
<meta name="description" content="Crying Game script at the Internet Movie Script Database.">
<meta name="keywords" content="Crying Game script, Crying Game movie script, Crying Game film script">
<meta name="viewport" content="width=device-width, initial-scale=1" />
<meta name="HandheldFriendly" content="true">
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta http-equiv="Content-Language" content="EN">

<meta name=objecttype CONTENT=Document>
<meta name=ROBOTS CONTENT="INDEX, FOLLOW">
<meta name=Subject CONTENT="Movie scripts, Film scripts">
<meta name=rating CONTENT=General>
<meta name=distribution content=Global>
<meta name=revisit-after CONTENT="2 days">

<link href="/style.css" rel="stylesheet" type="text/css">

<script type="text/javascript">
  var _gaq = _gaq || [];
  _gaq.push(['_setAccount', 'UA-3785444-3']);
  _gaq.push(['_trackPageview']);

  (function() {
    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;
    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';
    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);
  })();
</script>

</head>

<body topmargin="0" bottommargin="0" id="mainbody">

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
    <td valign="bottom" bgcolor="#FF0000"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_top.gif" border="0"></a></td>
    <td bgcolor="#FF0000">
	<center>
	    <font color="#FFFFFF"><h1>The Internet Movie Script Database (IMSDb)</h1></font>
</center>
  <tr> 
    <td background="/images/reel.gif" height="13" colspan="2"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_middle.gif" border="0"></a></td>
  <tr> 
    <td width="170" valign="top" class="smalltxt"> <a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_bottom.gif" width="170" border="0"></a> 
      <br>
	<center><span class="smalltxt">The web's largest <br>movie script resource!</span></center>
	</td>
    <td>	
    <script type="text/javascript"><!--
	 e9 = new Object();
     e9.size = "728x90";
     //--></script>
    <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
   </td>
  </tr>
</table>


<br>
<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
   
    <td width="180" valign="top">

<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
          <td colspan="2" class=heading>Search IMSDb<tr>
<form method="post" action="/search.php">
            <td width="180"> <div align="center">
                <input type="text" name="search_query" maxlength="255" size="15">
                <input type="submit" value="Go!" name="submit">
              </div></td>
</form>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=9 class=heading>Alphabetical
<tr align="center">
        <td><a href="/alphabetical/0">#</a> 
        <td><a href="/alphabetical/A">A</a>
        <td><a href="/alphabetical/B">B</a>
        <td><a href="/alphabetical/C">C</a>
        <td><a href="/alphabetical/D">D</a>
        <td><a href="/alphabetical/E">E</a>
        <td><a href="/alphabetical/F">F</a>
        <td><a href="/alphabetical/G">G</a>
        <td><a href="/alphabetical/H">H</a><tr align="center"> 
        <td><a href="/alphabetical/I">I</a>
        <td><a href="/alphabetical/J">J</a>
        <td><a href="/alphabetical/K">K</a>
        <td><a href="/alphabetical/L">L</a>
        <td><a href="/alphabetical/M">M</a>
        <td><a href="/alphabetical/N">N</a>
        <td><a href="/alphabetical/O">O</a>
        <td><a href="/alphabetical/P">P</a>
        <td><a href="/alphabetical/Q">Q</a><tr align="center"> 
        <td><a href="/alphabetical/R">R</a>
        <td><a href="/alphabetical/S">S</a>
        <td><a href="/alphabetical/T">T</a>
        <td><a href="/alphabetical/U">U</a>
        <td><a href="/alphabetical/V">V</a>
        <td><a href="/alphabetical/W">W</a>
        <td><a href="/alphabetical/X">X</a>
        <td><a href="/alphabetical/Y">Y</a>
        <td><a href="/alphabetical/Z">Z</a>
</table>
<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Genre
<tr> 
	<td><a href="/genre/Action">Action</a>
	<td><a href="/genre/Adventure">Adventure</a>
	<td><a href="/genre/Animation">Animation</a><tr>
	<td><a href="/genre/Comedy">Comedy</a>
	<td><a href="/genre/Crime">Crime</a>
	<td><a href="/genre/Drama">Drama</a><tr>
	<td><a href="/genre/Family">Family</a>
	<td><a href="/genre/Fantasy">Fantasy</a>
	<td><a href="/genre/Film-Noir">Film-Noir</a><tr>
	<td><a href="/genre/Horror">Horror</a>
	<td><a href="/genre/Musical">Musical</a>
	<td><a href="/genre/Mystery">Mystery</a><tr>
	<td><a href="/genre/Romance">Romance</a>
	<td><a href="/genre/Sci-Fi">Sci-Fi</a>
	<td><a href="/genre/Short">Short</a><tr>
	<td><a href="/genre/Thriller">Thriller</a>
	<td><a href="/genre/War">War</a>
	<td><a href="/genre/Western">Western</a>
</table>

<br>
<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
 <td colspan="2" class=heading>Sponsor<tr>
 <td width="300" bgcolor="#FFFFFF">
 <script type="text/javascript"><!--
	e9 = new Object();
    e9.size = "300x250";
 //--></script>
 <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
 </td>
</table>


<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>TV Transcripts
<tr> 
	<td><a href="/TV/Futurama.html">Futurama</a><tr>
	<td><a href="/TV/Seinfeld.html">Seinfeld</a><tr>
	<td><a href="/TV/South Park.html">South Park</a><tr>
	<td><a href="/TV/Stargate SG1.html">Stargate SG-1</a><tr>
	<td><a href="/TV/Lost.html">Lost</a><tr>
	<td><a href="/TV/The 4400.html">The 4400</a>
</table>

<br>
<table width="100%" class="body">
<tr>
<td colspan=3 class=heading>International
<tr> 
	<td><a href="/language/French">French scripts</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Software
<tr>
    <td><a href="/out/dvd-ripper"><img src="/images/a/dvd-ripper.jpg" alt="DVD ripper software offer"></a>
<tr>
	<td><a href="/software/rip-from-dvd">Rip from DVD</a>
<tr>
	<td><a href="/software/rip-blu-ray">Rip Blu-Ray</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Latest Comments
<tr>
<td><a href="/Movie Scripts/Star Wars: Revenge of the Sith Script.html">Star Wars: Revenge of the Sith<td>10/10<tr>
<td><a href="/Movie Scripts/Star Wars: The Force Awakens Script.html">Star Wars: The Force Awakens<td>10/10<tr>
<td><a href="/Movie Scripts/Batman Begins Script.html">Batman Begins<td>9/10<tr>
<td><a href="/Movie Scripts/Collateral Script.html">Collateral<td>10/10<tr>
<td><a href="/Movie Scripts/Jackie Brown Script.html">Jackie Brown<td>8/10<tr>
</table>
<br>

<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Chat
<tr> 
<td align="center">
<SCRIPT LANGUAGE="Javascript" TYPE="text/javascript" SRC="https://www.yellbox.com/ybscript_enhanced.js"></SCRIPT>
<iframe class="yellbox" frameborder=0 name="ybframe" height=170 marginwidth=0 marginheight=0 src="https://www.yellbox.com/yellbox.php?name=imsdb">
</iframe>
<form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe" name="yellform"> 
 <input type="hidden" name="sub_username" value="imsdb">
 <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = ''; return;"><br>
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>
 <table><tr><td>
 <button onClick="javascript:makeNewWindow(); return false;"><img src="https://www.yellbox.com/images/smiley.gif" width=16 height=16></button>
 <td><button type="submit" value="Post" onClick="return clearMessageBox();">Yell !</button></table>
</form> 
</table>


<div align="center"><br><br>
      <a href="https://www.imsdb.com/all%20scripts">ALL SCRIPTS</a><br><br>
</div>

<td width="10"></td>
<td valign="top">
<br> <table width="100%"><tr><td class="scrtext">

<pre><b><HTML><HEAD>
</b><script>
<b><!--
</b>if (window!= top)
top.location.href=location.href
<b>// -->
</b></script>
<TITLE>The Crying Game</TITLE>
<b><BODY><PRE>
</b>
The Crying Game


<b>FADE IN:
</b>
<b>EXT. CARNIVAL - DAY
</b>
A loudspeaker playing Percy Sledge's "When a Man Loves a
Woman," as we see a carnival in the distance - with a Ferris
Wheel turning round and round.

A black man is by a stall. On his arm is an Irish girl with
blond hair. The black man is drunk, and is tossing rings
around a bowling pin.

<b>                       JODY
</b>            And that's cricket, hon.

An attendant hands him the teddy bear. It looks ridiculous in
his huge hands. He gives it to the girl.

<b>                       JODY
</b>            You want it?

<b>                       GIRL
</b>            Sure.

<b>                       JODY
</b>            Doesn't matter if you don't.

He puts his arm around her and drags her on.

<b>                       JODY
</b>            Jody won't be offended. Jody's never
            offended. What'd you say your name was?

<b>                       GIRL
</b>            Jude.

<b>                       JODY
</b>            Jude. Suits you, Jude.

<b>                       JUDE
</b>            The teddy bear?

<b>                       JODY
</b>            No, fuck the bear. The name. Jude. And
            it's June. Jude in June.

He comes to a small canvas tent with a sign on it - TOILET.



<b>                                                               2.
</b>


<b>                        JODY
</b>          Gotta piss, Jude.

He holds her hand.

<b>                        JODY
</b>          Don't run off, Jude.

<b>                        JUDE
</b>          You don't know me, do you?

Jody walks inside the canvas flap and vanishes from sight. We
can still see his hand, holding Jude's. She leans against the
canvas, looking bored.

<b>                        JODY
</b>              (inside)
          What if I did?

<b>                        JUDE
</b>          You'd know I wouldn't run off.

She stands there, listening to the sound of him urinate. Her
eyes flick around the carnival. They settle on a tall dark-
haired man in a dark jacket. He nods.

<b>                        JODY
</b>          Never pissed holding a girl's hand, Jude.

<b>                        JUDE
</b>          You didn't?

<b>                        JODY
</b>          And you know what?

<b>                        JUDE
</b>          Tell me, Jody

He staggers out, buttoning up.

<b>                        JODY
</b>          It's nice.

He goes to kiss her. She turns her head away.

<b>                        JUDE
</b>          Not here.

<b>                        JODY
</b>          Who gives a fuck.

<b>                        JUDE
</b>          You never know.



<b>                                                               3.
</b>


She pulls him over toward the water.

<b>                       JODY
</b>             I never know nothing.

<b>                       JUDE
</b>             People. They could be looking.

Jody follows her, as she walks backward, drawing him on. He
moves his hips to a song as Jude leads him over the beach,
under a train trestle.

<b>                       JUDE
</b>             Come and get me, soldier --

<b>                       JODY
</b>             Whatever you say, Jude...

He sinks down on his knees toward her. She wraps her arms
around his neck and kisses him. Jody writhes on top of her,
fumbling with his belt. Jude cocks one eye upward. A shadow
falls across them.

CLOSE ON JODY, kissing her. A gun is put to his head. He
turns around, drunkenly.

<b>                       JODY
</b>             What the fuck --

The gun whacks him across the cheek and he falls sideways.

Jude scrambles to her feet and darts like an animal through a
field.

Jody feels his cheek. He can see her blond head vanishing
among the fields. He looks up and sees a group of men around
him. The tallest of them, Fergus, cocks the gun.

<b>INT. CAR - DAY
</b>
A mini, driving down a country road. Two men in the front,
three in the back.

On the floor of the car Jody lies, with three pairs of feet
on top of him, a black bag over his head and the barrel of a
gun dangling close to his face. Fergus holds the gun. He is
smoking a cigarette. His movements are slow and somewhat
innocent.

<b>                       FERGUS
</b>             So what's your name, soldier?



<b>                                                               4.
</b>


<b>                       JODY
</b>          Fuck you.

<b>                       FERGUS
</b>          Yeah.

<b>EXT. SMALL FARMHOUSE - EVENING.
</b>
<b>INT. FARMHOUSE - NIGHT.
</b>
Jody pulled through and tied to a chair. Maguire, a small
lean man, talks to him through the hood.

<b>                       MAGUIRE
</b>          The situation is simple. You're being
          held hostage by the Irish Republican
          Army. They've got one of our senior
          members under interrogation in
          Castleraigh. We've informed them that if
          they don't release him within three days,
          you'll be shot. You'll be treated as our
          guest until further developments. Have
          you anything to say?

Jody is motionless under the black hood.

<b>                       FERGUS
</b>          Give him a cup of tea.

<b>                       MAGUIRE
</b>          Do you want a cup of tea?

He still says nothing.

<b>                                                       DISSOLVE.
</b>
All the men are drinking tea. The blond woman comes in with a
plate and some food on it.

<b>                       FERGUS
</b>          See does he want some.

<b>                       JUDE
</b>          Do you want some food?

Jody sits as still as a grave, saying nothing.

<b>                                                       DISSOLVE.
</b>
Late at night -- it is dark. The men are sleeping. Fergus is
sitting by a chair, gun in his hand, watching the prisoner.
Jude comes in, with a flashlight.



<b>                                                               5.
</b>


<b>                    FERGUS
</b>          Hey -- what's he like?

<b>                    JUDE
</b>          Horny bastard.

<b>                    FERGUS
</b>          Did you give him it?

<b>                    JUDE
</b>          There are certain things I wouldn't do
          for my country.

<b>                    FERGUS
</b>          Have a look at him.

<b>                    JUDE
</b>          Can't.

<b>                    FERGUS
</b>          Poke him or something. See if he's still
          alive.

<b>                    JUDE
</b>          He's all right.

<b>                    FERGUS
</b>          Hasn't moved for twelve hours. Go on.
          Have a heart.

She moves over to him. She prods him in the legs with her
foot. He doesn't move. Then she lifts the hood ever so
slightly, to peer inside. Suddenly the man moves like
lightning, jerking his head down so the hood comes off,
throwing his body, tied to the chair, over Jude.

<b>                    JODY
</b>          You fucking bitch -- you fucking whore --

He pins her to the ground, his body bent with the chair. He
writhes on top of her in a grotesque parody of love. She is
screaming and the room is alive, each man awake, grabbing
guns, screaming.

<b>                    MAGUIRE
</b>          Turn the fucking thing off --

<b>EXT. FARMHOUSE - NIGHT.
</b>
Fergus follows Jude out a back door, holding her by the arm.

<b>                    FERGUS
</b>          You all right?



<b>                                                               6.
</b>


<b>                        JUDE
</b>          Fucking animal.

She takes in huge gobs of air.

<b>                        FERGUS
</b>          You don't know that.

<b>                        JUDE
</b>          Fucking do. I had him all over me.

He touches her face.

<b>                        FERGUS
</b>          Tough work, that.

<b>                        JUDE
</b>          Someone's got to do it.

She rubs her hand on his chest.

<b>                        JUDE
</b>          Nah, it was a breeze. Just thought of
          you.

She sidles closer, coming on to him.

<b>                        JUDE
</b>          And you know what, Fergus? One of you
          made me want it...

She puts her lips to his neck.

<b>                        FERGUS
</b>          Which one?

She doesn't answer. They embrace.

<b>EXT. FARMHOUSE - MORNING.
</b>
A hot summer's day. There are tall hedges all around the
house. Fergus leads Jody, still bound and hooded, over toward
a greenhouse.

<b>INT. GREENHOUSE - DAY
</b>
Dusty tomato plants and vines everywhere. Broken glass. The
sun pouring through. Fergus leads Jody over to a wrought iron
chair and sits him in it. He sits opposite, gun on his lap.
Fergus takes some sandwiches out of a brown paper bag. He
holds one out toward him.



<b>                                                               7.
</b>


<b>                     FERGUS
</b>           Eat something, would you?

<b>                     JODY
</b>           Can't.

<b>                     FERGUS
</b>           What do you mean you can't?

<b>                     JODY
</b>           Can't eat through a canvas bag.

Fergus walks over to him, lifts the hood up so his mouth is
revealed, and pushes the sandwich toward his lips. Jody eats,
slowly.

<b>                     JODY
</b>           This is a farce, man.

<b>                     FERGUS
</b>           How is it a farce?

<b>                     JODY
</b>           I seen your fucking face.

<b>                     FERGUS
</b>           So, what do I look like?

<b>                     JODY
</b>           You're the one about five ten with the
           killer smile and the baby face.

<b>                     FERGUS
</b>           Am I?

<b>                     JODY
</b>           Yeah. And the brown eyes.

Fergus pushes the last crumbs of the sandwich toward Jody's
mouth.

<b>                     JODY
</b>           You're the handsome one.

Jody eats the last bits.

<b>                     JODY
</b>           Thank you, handsome.

<b>                     FERGUS
</b>           My pleasure.



<b>                                                               8.
</b>


<b>EXT. FARMHOUSE - DAY
</b>
Jude makes her way from the door toward the greenhouse. She
is carrying a pot of tea and two cups.

<b>INT. GREENHOUSE - DAY
</b>
It is sweltering now in the greenhouse. CLOSE ON JODY'S
COWLED HEAD. The hood is drenched with sweat.

<b>                        JODY
</b>          I can't fucking breathe, man. Be a
          Christian, will you?

Jude comes into view.

<b>                        JODY
</b>          Tell him to take the hood off, honey...

Jude says nothing. Lays the tea on the ground.

<b>                        FERGUS
</b>          How did you know it was her?

<b>                        JODY
</b>          I can smell her perfume.

Jude pours out the tea.

<b>                        JUDE
</b>          See, if we took the hood off, we'd have
          to shoot you. As it is, you've got a
          fifty-fifty chance.

<b>                        JODY
</b>          Thought you liked me, bitch.

<b>                        JUDE
</b>          It was fun while it lasted.

<b>                        JODY
</b>          Nice lady.

His breathing becomes labored.

<b>                        JODY
</b>          Please, man, I'm suffocating in here.

<b>                        FERGUS
</b>          Can't we take it off?

<b>                        JUDE
</b>          Have to check with himself.



<b>                                                             9.
</b>


Fergus gives her the gun.

<b>                        FERGUS
</b>          You look after him.

Jody's head follows Fergus while he leaves.

<b>                        JODY
</b>          Don't leave me with her, man. She's
          dangerous...

Jude smiles, holding the gun on her lap.

<b>INT. FARMHOUSE - DAY
</b>
Fergus enters. Maguire and the others. Maguire has a
newspaper, which has a headline regarding the kidnapping.

<b>                        MAGUIRE
</b>          Made the front page. They'll move now,
          the fuckers.

<b>                        FERGUS
</b>          Request permission to take the hood off,
          Tommy.

<b>                        MAGUIRE
</b>          Why would you do that?

<b>                        FERGUS
</b>          The poor whore's suffocating in the heat.

<b>                        MAGUIRE
</b>          So?

<b>                        FERGUS
</b>          And anyway, he's seen our faces.

<b>                        MAGUIRE
</b>          You sure?

<b>                        FERGUS
</b>          He described me down to a T. Knows what
          Jude looks like.

Maguire reads the paper.

<b>                        FERGUS
</b>          Tommy --



<b>                                                            10.
</b>


<b>                     MAGUIRE
</b>          You're his keeper. If you don't mind him
          seeing you, I don't mind. But you're the
          only one he looks at.

<b>                     FERGUS
</b>          Thanks.

<b>                     MAGUIRE
</b>          It's your decision.

<b>INT. GREENHOUSE - DAY
</b>
Jude, drinking tea, looking at Jody sweating. Fergus enters.
He puts his arm casually around her.

<b>                     FERGUS
</b>          Leave us, Judie.

<b>                     JUDE
</b>          My pleasure.

She goes. Fergus walks to Jody and slowly takes the hood off.
Jody looks up at him, his face bathed in sweat. He breathes
in mighty gulps of air. He smiles.

<b>                     JODY
</b>          Thank you, soldier.

Fergus smiles.

<b>                     JODY
</b>          Never thought fresh air would taste this
          good.

Fergus pours out a cup of tea and brings it to his lips.

<b>                     JODY
</b>          Now, if you took the ropes off, I'd be
          able to feed myself.

<b>                     FERGUS
</b>          No fucking way.

<b>                     JODY
</b>          Only joking.

Fergus drinks.

<b>                     JODY
</b>          You know, I was wrong about one thing.



<b>                                                              11.
</b>


<b>                          FERGUS
</b>            What's that?

<b>                          JODY
</b>            Five ten. Brown eyes. But you're no
            pinup.

<b>                          FERGUS
</b>            No?

<b>                          JODY
</b>            Nope. Not handsome at all.

<b>                          FERGUS
</b>            You trying to hurt my feelings?

<b>                          JODY
</b>            No. It's the truth.

<b>                          FERGUS
</b>            Well, I could say the same about you.

<b>                          JODY
</b>            Could you?

<b>                          FERGUS
</b>            But I won't. We're more polite around
            these parts.

<b>                          JODY
</b>            So I've noticed.

Fergus looks at him. Jody isn't smiling anymore. Fergus goes
back to his seat and drinks his tea. He fingers the gun on
his lap.

<b>                          JODY
</b>            Hey --

<b>                          FERGUS
</b>            What is it now?

<b>                          JODY
</b>            You're going to have to do it, aren't
            you?

<b>                          FERGUS
</b>            Do what?

<b>                          JODY
</b>            Kill me.



<b>                                            12.
</b>


<b>           FERGUS
</b>What makes you think that?

<b>           JODY
</b>They're going to let that guy die. And
you're going to kill me.

<b>           FERGUS
</b>They won't let him die.

<b>           JODY
</b>You want to bet?

<b>           FERGUS
</b>I'm not a gambling man.

<b>           JODY
</b>And even if he doesn't die -- you can't
just let me loose.

<b>           FERGUS
</b>Why can't we?

<b>           JODY
</b>Not in your nature.

<b>           FERGUS
</b>What do you know about my nature?

<b>           JODY
</b>I'm talking about your people, not you.

<b>           FERGUS
</b>What the fuck do you know about my
people?

<b>           JODY
</b>Only that you're all tough undeluded
motherfuckers. And that it's not in your
nature to let me go.

<b>           FERGUS
</b>Shut the fuck up, would you?

<b>           JODY
</b>And you know the funny thing?

<b>           FERGUS
</b>No, what's the funny thing?

<b>           JODY
</b>I didn't even fancy her.



<b>                                                             13.
</b>


<b>                       FERGUS
</b>          Didn't look like that to me...

<b>                       JODY
</b>          She's not my type.

He looks at Fergus.

<b>                       JODY
</b>          C'mere.

<b>                       FERGUS
</b>          No.

<b>                       JODY
</b>          Ah, c'mere. I want to show you something.

<b>                       FERGUS
</b>          What?

<b>                       JODY
</b>          My inside pocket.

Fergus holds the gun to his face. He fishes inside Jody's
inside pocket.

<b>                       JODY
</b>          Take out the wallet.

Fergus's hand emerges with a wallet.

<b>                       JODY
</b>          Open it.

CLOSE ON THE WALLET. Credit cards, army identification
photograph.

<b>                       JODY
</b>          Inside. There's a picture.

Fergus takes out a picture. It is of Jody, in cricket whites,
smiling, holding a bat. Fergus smiles.

<b>                       JODY
</b>          No, not that one. There's another.

Fergus takes out another picture of Jody and of a beautiful
black woman, smiling.

<b>                       JODY
</b>          Now she's my type.



<b>                                                       14.
</b>


<b>                      FERGUS
</b>          She'd be anyone's type.

<b>                      JODY
</b>          Don't you think of it, fucker.

<b>                      FERGUS
</b>          Why not?

<b>                      JODY
</b>          She's mine. Anyway, she wouldn't suit
          you.

<b>                      FERGUS
</b>          No?

<b>                      JODY
</b>          Absolutely not.

<b>                      FERGUS
</b>          She your wife?

<b>                      JODY
</b>          Suppose you could say that.

Jody chuckles.

<b>                      FERGUS
</b>          You make a nice couple.

<b>                      JODY
</b>          Don't I know it.

<b>                      FERGUS
</b>          So what were you fucking around for,
          then?

<b>                      JODY
</b>          You fuckers set me up. That bitch --

<b>                      FERGUS
</b>          She's a friend of mine

<b>                      JODY
</b>          Okay. That nice lady. Meets me in a bar.
          I'm saying what the fuck am I doing here
          anyway. She buys me a drink. She holds my
          hand. I'm looking at her saying I don't
          like you, bitch. But what the fuck. Maybe
          I'll get to understand.

<b>                      FERGUS
</b>          What?



<b>                                             15.
</b>


<b>          JODY
</b>What the fuck am I doing here.

<b>          FERGUS
</b>What the fuck were you doing here?

<b>          JODY
</b>I got sent.

<b>          FERGUS
</b>You could have said no.

<b>          JODY
</b>Can't. Once I signed up.

<b>          FERGUS
</b>Why did you sign up?

<b>          JODY
</b>It was a job. So I get sent to the only
place in the world they call you nigger
to your face.

<b>          FERGUS
</b>Shouldn't take it personally.

<b>          JODY
</b>    (He imitates a Belfast accent)
"Go back to your banana tree, nigger." No
use telling them I came from Tottenham.

<b>          FERGUS
</b>And you play cricket?.

<b>          JODY
</b>Best game in the world.

<b>          FERGUS
</b>Ever see hurling?

<b>          JODY
</b>That game where a bunch of paddies whack
sticks at each other?

<b>          FERGUS
</b>Best game in the world.

<b>          JODY
</b>Never.

<b>          FERGUS
</b>The fastest.



<b>                                                           16.
</b>


<b>                        JODY
</b>          Well, in Antigua cricket's the black
          man's game. The kids play it from the age
          of two. My daddy had me throwing googlies
          from the age of five. Then we moved to
          Tottenham and it was something different.

<b>                        FERGUS
</b>          How different?

<b>                        JODY
</b>          Toffs' game there. But not at home.     .

Fergus looks at him.

<b>                        JODY
</b>          So when you come to shoot me, Paddy,
          remember, you're getting rid of a shit-
          hot bowler.

<b>                        FERGUS
</b>          I'll bear that in mind.

He keeps looking at him.

<b>                        FERGUS
</b>          And by the way, it's not Paddy. It's
          Fergus.

Jody smiles.

<b>                        JODY
</b>          Nice to meet you, Fergus.

<b>                        FERGUS
</b>          My pleasure, Jody

<b>EXT. GREENHOUSE - NIGHT.
</b>
Fergus leads Jody outside, holding the gun against him.

<b>                        FERGUS
</b>          Take it easy, now. Just go slow. Down by
          that tree.

<b>                        JODY
</b>          Tree.

He walks toward it, breathing heavily.

<b>                        JODY
</b>          You've got to loosen my hands.



<b>                                                           17.
</b>


<b>                       FERGUS
</b>          Can't.

<b>                       JODY
</b>          Well then, you're going to have to take
          my dick out for me, aren t you?

Fergus, in the dark, stands motionless, looking at him.

<b>                       JODY
</b>          Come on, man, I'm going to wet my pants!

Fergus turns him around and unzips his fly.

<b>                       JODY
</b>          Take the fucker out, man, I'm dying --

Fergus takes Jody's penis out.

Jody takes two steps toward the wall.

<b>                       JODY
</b>          I gotta lean forward or I'll dribble all
          over myself. Will you hold my hands for
          me.

Fergus holds his hands from behind, so Jody can lean forward.
Jody now pisses with immense relief

<b>                       JODY
</b>          Now, that was worth waiting for.

<b>                       FERGUS
</b>          Hurry up, would you?

<b>                       JODY
</b>          These things take time, Fergus.

He shakes his body.

<b>                       JODY
</b>          It's amazing how these small details take
          on such importance...

He steps back.

<b>                       JODY
</b>          Now put it back in.

<b>                       FERGUS
</b>          Give us a break.



<b>                                                            18.
</b>


<b>                          JODY
</b>             I can't do it! It's only a piece of meat.
             For fuck's sake, it's got no major
             diseases.

Fergus puts Jody's penis back in his pants and zips him up.

<b>                          JODY
</b>             Thank you. I had a case of the clap two
             years ago. Crabs in Ulster. But all in
             all it's served me well.

<b>                          FERGUS
</b>             Shut up, would you?

<b>                          JODY
</b>             I'm sorry. Didn't mean to offend you,
             Fergus.

Fergus leads him hack toward the greenhouse.

<b>INT. GREENHOUSE - NIGHT.
</b>
Fergus leads Jody back to his chair.

<b>                          JODY
</b>             Fergus?

<b>                          FERGUS
</b>             Yeah?

<b>                          JODY
</b>             Thanks. I know that wasn't easy for you.

He begins to laugh.

<b>                          FERGUS
</b>             The pleasure was all mine.

Fergus begins to laugh, without knowing why.

<b>EXT. FARMHOUSE - NIGHT.
</b>
Maguire, walking out of the house, woken by the sound of
laughter.

<b>INT. GREENHOUSE - NIGHT.
</b>
Jody, still laughing. Suddenly the hood is slammed back over
his head.

Maguire, standing there in the dark, looking at Fergus.



<b>                                                              19.
</b>


<b>                    MAGUIRE
</b>          What the fuck is this?

<b>                    FERGUS
</b>          It's nothing. He's just got a sense of
          humor, that's all.

<b>                    MAGUIRE
</b>          You're on duty. Keep your fucking mouth
          shut. Go in and get some sleep.

Fergus gets up slowly, walks toward the door.

<b>                    JODY
</b>          Yeah. Get some sleep.

<b>EXT. FARMHOUSE - NIGHT.
</b>
Fergus, walking toward the house. He looks back and sees the
figures of Maguire and Jody in the dark, in absolute silence.

<b>INT. FARMHOUSE - NIGHT.
</b>
Fergus sleeping.

<b>INT. GREENHOUSE - NIGHT.
</b>
Jody sleeping. Maguire sitting with an Armalite in his hands,
watching him.

<b>EXT. FARMHOUSE AND FIELDS - DAY
</b>
The sun coming up over the low hills around the farmhouse.

<b>INT. GREENHOUSE - DAY
</b>
Fergus enters, with a tray and some breakfast. Maguire is
sitting where he sat before, stock-still.

<b>                    FERGUS
</b>          Did he talk?

Maguire shakes his head.

<b>                    FERGUS
</b>          Didn't make you laugh?

Maguire shakes his head.

<b>                    FERGUS
</b>          Here. Have some breakfast.

He hands Maguire a plate. Jody stirs.



<b>                                                              20.
</b>


<b>                    JODY
</b>          Good morning, Fergus?

Maguire looks hard at him.

<b>                    MAGUIRE
</b>          So he knows your name?

<b>                    FERGUS
</b>          I told him.

<b>                    MAGUIRE
</b>          Are you all there?

He rises, and drags Fergus out the door.

<b>                    FERGUS
</b>          Back in a minute, Jody

<b>EXT. GREENHOUSE - DAY
</b>
<b>                    MAGUIRE
</b>          You'll have minimal contact with the
          prisoner, do you hear me?

<b>                    FERGUS
</b>          Yes.

<b>                    MAGUIRE
</b>          And do you know why?

<b>                    FERGUS
</b>          Why?

<b>                    MAGUIRE
</b>          Because tomorrow we might have to shoot
          him, that's why.

Maguire goes back to the house.

<b>INT. GREENHOUSE - DAY
</b>
Jody sitting with the hood on again. Fergus enters.

<b>                    JODY
</b>          They giving you trouble, Fergus?

Fergus says nothing. He takes a plate and brings it toward
Jody



<b>                                                           21.
</b>


<b>                         JODY
</b>             It happens. Y'see, there's two kinds of
             people. Those who give and those who
             take.

Fergus lifts up Jody's hood to expose his mouth and begins to
feed him.

<b>                         JODY
</b>             Ah, take the thing off, man.

Fergus says nothing and keeps feeding him.

<b>                         JODY
</b>             It's okay. I understand. Don't mind if I
             prattle on, do you?

Fergus shakes his head and says nothing.

<b>                         JODY
</b>             I will take it by your silence that you
             don't.

He eats. Fergus feeds himself, then feeds more to Jody.

<b>                         JODY
</b>             Two types, Fergus. The scorpion and the
             frog. Ever heard of them?

Fergus says nothing.

<b>                         JODY
</b>             Scorpion wants to cross a river, but he
             can't swim. Goes to the frog, who can,
             and asks for a ride. Frog says, "If I
             give you a ride on my back, you'll go and
             sting me." Scorpion replies, "It would
             not be in my interest to sting you since
             as I'll be on your back we both would
             drown." Frog thinks about this logic for
             a while and accepts the deal. Takes the
             scorpion on his back. Braves the waters.
             Halfway over feels a burning spear in his
             side and realizes the scorpion has stung
             him after all. And as they both sink
             beneath the waves the frog cries out,
             "Why did you sting me, Mr. Scorpion, for
             now we both will drown?" Scorpion
             replies, "I can't help it, it's in my
             nature."

Jody chuckles under his hood.



<b>                                                           22.
</b>


<b>                            FERGUS
</b>              So what's that supposed to mean?

<b>                            JODY
</b>              Means what it says. The scorpion does
              what is in his nature. Take off the hood,
              man.

<b>                            FERGUS
</b>              Why?

<b>                            JODY
</b>              'Cause you're kind. It's in your nature.

Fergus walks toward him and pulls off the hood. Jody smiles
up at him.

<b>                            JODY
</b>              See? I was right about you.

<b>                            FERGUS
</b>              Don't be so sure.

<b>                            JODY
</b>              Jody's always right.

<b>INT. GREENHOUSE - LATE AFTERNOON.
</b>
Both men dozing in the heat.

<b>                            JODY
</b>              Where would you most like to be now, man?

<b>                            FERGUS
</b>              Doesn't matter where.

<b>                            JODY
</b>              Come on, man. If this shit was all over.

<b>                            FERGUS
</b>              Having a pint in the Rock.

<b>                            JODY
</b>              You lack imagination, Fergus. Think of
              something more alluring.

<b>                            FERGUS
</b>              Like what?

<b>                            JODY
</b>              Like having a pint in the Metro --

Fergus laughs.



<b>                                             23.
</b>


<b>              FERGUS
</b>Having two pints in the Rock.

<b>              JODY
</b>Having a pint in the Metro, and Dil's
having a margarita.

<b>              FERGUS
</b>Who's Dil?

<b>              JODY
</b>My special friend.

<b>              FERGUS
</b>Oh, yeah.

<b>              JODY
</b>We got simple tastes, you and me.

<b>              FERGUS
</b>The best.

<b>              JODY
</b>But you fellas never get a break, do you?

<b>              FERGUS
</b>Do you?

<b>              JODY
</b>Oh, yes. We do a tour of duty and we're
finished. But you guys are never
finished, are you?

<b>              FERGUS
</b>We don't look on it like that.

<b>              JODY
</b>I've often wondered how you do it.

<b>              FERGUS
</b>Depends on what you believe in.

<b>              JODY
</b>What do you believe in?

<b>              FERGUS
</b>That you guys shouldn't be here.

<b>              JODY
</b>It's as simple as that?

<b>              FERGUS
</b>Yes.



<b>                                                            24.
</b>


Jude enters.

<b>                        JUDE
</b>          Put that thing back on him, Fergus.

<b>                        FERGUS
</b>          He's hot.

<b>                        JUDE
</b>          Doesn't matter if he's hot. Just cover
          the fucker up.

<b>                        JODY
</b>          Have you no feelings, woman?

<b>                        JUDE
</b>          You shut your face --

She pulls the hood down over him.

<b>                        JUDE
</b>          You're heading for trouble, Fergus --

<b>                        JODY
</b>          He's a good soldier, Jude.

She whacks him with a pistol.

<b>                        JUDE
</b>          I said shut the fuck up --

<b>                        JODY
</b>          He believes in the future --

<b>INT. GREENHOUSE - NIGHT.
</b>
Jody, sitting in the hood. Fergus lifts it a bit; Jody's
mouth, with blood now in his lips.

<b>                        FERGUS
</b>          Is it bad?

<b>                        JODY
</b>          No. Not bad. Women are trouble, you know
          that, Fergus?

<b>                        FERGUS
</b>          I didn't.

<b>                        JODY
</b>          Some kinds of women are...



<b>                                                          25.
</b>


<b>                      FERGUS
</b>            She can't help it.

<b>                      JODY
</b>            Dil wasn't trouble. No trouble at all.

<b>                      FERGUS
</b>            You liked her?

<b>                      JODY
</b>            Present tense, please. Love her. Whatever
            she is. I'm thinking of her now, Fergus.
            Will you think of her too?

<b>                      FERGUS
</b>            Don't know her.

<b>                      JODY
</b>            Want you to do something, Fergus.

<b>                      FERGUS
</b>            What?

<b>                      JODY
</b>            If they kill me --

<b>                      FERGUS
</b>            Don't think that way.

<b>                      JODY
</b>            But they will. As sure as night follows
            day. They have to. I want you to find her
            out. Tell her I was thinking of her.

Fergus is moved. He can't reply.

<b>                      JODY
</b>            See if she's all right.

<b>                      FERGUS
</b>            I don't know her.

<b>                      JODY
</b>            Take her picture. C'mere.

Fergus walks toward him.

<b>                      JODY
</b>            Take it. In the inside pocket.

Their faces, close to each other as Fergus searches out her
picture.



<b>                                                             26.
</b>


<b>                        JODY
</b>          Take the whole lot. I won't need it.

<b>                        FERGUS
</b>          I told you not to talk that way --

<b>                        JODY
</b>          Go to Millie's Hair Salon in
          Spitalfields. Take her to the Metro for a
          margarita. Don't have to tell her who you
          are. Just tell her Jody was thinking --

<b>                        FERGUS
</b>          Stop it --

The door opens. Maguire is there, with another.

<b>                        MAGUIRE
</b>          Volunteer?

Fergus turns toward him.

<b>                        MAGUIRE
</b>          We need you inside.

Fergus walks toward Maguire and the other man walks forward,
takes his seat. Fergus, unseen by Maguire, puts the wallet in
his pocket.

<b>INT. FARMHOUSE - NIGHT.
</b>
Maguire, Jude, Fergus, and the others.

<b>                        MAGUIRE
</b>          We've had word. They've used every trick
          in the book on him. He's starting to
          talk. You're going to have to do it in
          the morning.

Maguire lights a cigarette. Fergus looks at him and nods.

<b>                        MAGUIRE
</b>          You OK about that?

<b>                        FERGUS
</b>          I'm a volunteer, am n't I?

<b>                        MAGUIRE
</b>          Good. I was beginning to have my doubts
          about you for the last few days.

<b>                        JUDE
</b>          Not the only one --



<b>                                                          27.
</b>


<b>                            MAGUIRE
</b>              Shut up, Jude. You best get some sleep
              tonight, Fergus.

<b>                            FERGUS
</b>              Peter.

<b>                            MAGUIRE
</b>              What?

<b>                            FERGUS
</b>              Request permission to guard the prisoner
              tonight --

<b>                            JUDE
</b>              You're crazy. Don't let him, Peter.

<b>                            MAGUIRE
</b>              Shut the fuck up, Jude.

He turns back to Fergus. He puts his arm on Fergus's
shoulder.

<b>                            MAGUIRE
</b>              Why do you want to do that for?

<b>                            FERGUS
</b>              Would make me feel better about it.

<b>                            MAGUIRE
</b>              You sure about that?

<b>                            FERGUS
</b>              I'm sure.

<b>                            MAGUIRE
</b>              Okay. You're a good man, Fergus.

Fergus leaves.

<b>INT. GREENHOUSE - NIGHT.
</b>
Fergus takes his place in the chair beside Jody.

Jody begins to laugh under the hood. It turns into the sound
of crying.

<b>                            FERGUS
</b>              Don't.

<b>                            JODY
</b>              I'm sorry.



<b>                                                              28.
</b>


The crying stops.

<b>                        JODY
</b>          Help me.

<b>                        FERGUS
</b>          How can I?

<b>                        JODY
</b>          I don't know. Just help me. Give me a
          cigarette.

Fergus takes out a cigarette, lights it, and lifts up Jody's
hood so he can smoke.

<b>                        JODY
</b>          Don't even smoke, you know that? It just
          seemed the right thing to do.

Fergus watches him puff the cigarette, the hood just above
his lips. Jody coughs, but keeps the cigarette in his lips.
Fergus gently takes the cigarette from his mouth.

<b>                        FERGUS
</b>          Go to sleep now.

<b>                        JODY
</b>          I don't want to sleep. Tell me something.

<b>                        FERGUS
</b>          What?

<b>                        JODY
</b>          A story.

<b>                        FERGUS
</b>          Like the one about the frog?

<b>                        JODY
</b>          And the scorpion. No. Tell me anything.

<b>                        FERGUS
</b>          When I was a child...

<b>                        JODY
</b>          Yeah?

<b>                        FERGUS
</b>          I thought as a child. But when I became a
          man I put away childish things...

<b>                        JODY
</b>          What does that mean?



<b>                                                             29.
</b>


<b>                       FERGUS
</b>          Nothing.

<b>                       JODY
</b>          Tell me something, anything.

Fergus is silent; his eyes wet.

<b>                       JODY
</b>          Not a lot of use, are you, Fergus?

<b>                       FERGUS
</b>          Me? No, I'm not good for much...

<b>EXT. FIELDS - MORNING.
</b>
The farmhouse covered in mist. The sun coming through it.

<b>EXT. GREENHOUSE - MORNING.
</b>
Maguire opens the door to the greenhouse and clicks the
chamber of his gun. Fergus has a gun in his hand. He checks
the chamber.

Fergus takes Jody, whose hands are still tied behind his
back, by the elbow.

<b>                       FERGUS
</b>          Stand up, now --

Jody rises. Fergus leads him through the door, past Maguire.

<b>                       MAGUIRE
</b>          I wish to say on behalf of the Irish
          Republican Army --

Fergus turns with sudden fierceness.

<b>                       FERGUS
</b>          Leave him be --

He pulls Jody through the fields.

<b>EXT. TREES - MORNING.
</b>
Fergus pushing Jody through a copse of trees, the gun at his
back.

<b>                       JODY
</b>          Take the hood off, Fergus --

<b>                       FERGUS
</b>          No.



<b>                                                              30.
</b>


<b>                     JODY
</b>          I want to see a bit. Please, please.
          Don't make me die like an animal.

Fergus pulls the hood off. Jody looks around him. He has a
cut lip where Jude struck him.

Fergus prods him on with the gun. Jody stumbles forward.
Fergus is all cold and businesslike.

<b>                     JODY
</b>          I'm glad you're doing it, do you know
          that, Fergus?

<b>                     FERGUS
</b>          Why?

<b>                     JODY
</b>          Cause you're my friend. And I want you to
          go to the Metro --

<b>                     FERGUS
</b>          Stop that talk now --

<b>                     JODY
</b>          Hurling's a fast game, isn't it, Fergus?

<b>                     FERGUS
</b>          The fastest.

<b>                     JODY
</b>          Faster than cricket?

<b>                     FERGUS
</b>          Cricket's in the halfpenny place.

<b>                     JODY
</b>          So if I ran now, there's no way I'd beat
          you, is there?

<b>                     FERGUS
</b>          You won't run.

<b>                     JODY
</b>          But if I did... you wouldn't shoot a
          brother in the back --

Jody suddenly sprints, and, loosening the ties on his hands,
then freeing them, he is off like a hare. Fergus screams in
fury after him.

<b>                     FERGUS
</b><b>          JODY!!!
</b>


<b>                                                              31.
</b>


Fergus aims, then changes his mind and runs.

<b>                            FERGUS
</b>              You stupid bastard --

<b>                            JODY
</b>              What you say, faster?

<b>                            FERGUS
</b>              I said you bastard -- stop --

<b>                            JODY
</b>              Got to catch me first --

Fergus gains on him -- stretches his arm out -- but Jody
sprints ahead again -- as if he has been playing with him. He
laughs in exhilaration. Fergus pants behind him, wheezing,
almost laughing.

<b>                            JODY
</b>              Used to run the mile, you know -- four
              times round the cricket pitch -- what was
              that game called?

<b>                            FERGUS
</b>              Hurling --

<b>                            JODY
</b>              What?

<b>                            FERGUS
</b>              Hurling --

Jody runs, whipping through the trees -- always ahead of him.

<b>                            JODY
</b>              Come on, Fergie -- you can do it -- a bit
              more wind --

Fergus grabs his shoulder and Jody shrugs it off, gaining on
him again.

<b>                            JODY
</b>              Bit of fun, Fergus, eh?

And suddenly the trees give way. Jody turns, laughing, to
Fergus.

<b>                            JODY
</b>              Told you I was fast --

Fergus is panting, pointing the gun at Jody



<b>                                                             32.
</b>


<b>                        JODY
</b>             Don't do it.

And suddenly a Saracen tank whips around the corner, hits
Jody with the full of its fender. His body flies in the air
and bounces forward as another tank tries to grind to a halt
and the huge wheels grind over him.

Fergus, screaming, "No-!" He almost moves forward, then sees
soldiers spilling from the tank around the body. Fergus turns
and runs.

<b>EXT. TREES - DAY
</b>
Fergus whipping through the trees, his body crouched low as
he runs.

<b>INT. GREENHOUSE - DAY
</b>
Tinker sitting in the greenhouse. A helicopter screams into
view through the panes and automatic fire comes from it,
shattering every pane in seconds and tearing Tinker to bits.

<b>INT. FARMHOUSE - DAY
</b>
Bullets whipping through every window, taking chunks from the
masonry, tearing the walls apart. Maguire, Jude, and the
others on the floor, scrambling for weapons.

<b>EXT. TREES - DAY
</b>
Fergus, hearing the gunfire, runs through overhanging
branches till eventually he is hidden from sight.

<b>EXT. CARNIVAL ON THE MONAGHAN BORDER - DAWN.
</b>
A forlorn-looking building over nondescript fields.

An old man wheels a bicycle slowly toward it; a rusty car
appears; and Fergus gets out of it.

<b>                        TOMMY
</b>             Fergus!

<b>                        FERGUS
</b>             You're back in the pink, Tommy? How're
             you keeping?

<b>INT. CARAVAN - DAY
</b>
The old man pouring whiskey into a teacup.



<b>                                                                33.
</b>


<b>                        TOMMY
</b>             You'll notice I've asked you nothing.

<b>                        FERGUS
</b>             That's wise, Tommy.

<b>                        TOMMY
</b>             All right, then. I like to be wise.

He pours Fergus more whiskey.

<b>                        TOMMY
</b>             So what do you need, Fergus?

<b>                        FERGUS
</b>             Need to go across the water.

<b>                        TOMMY
</b>             Do you now.

<b>                        FERGUS
</b>             Need to lose myself awhile.

<b>                        TOMMY
</b>             Aha.

He looks at Fergus and lights a cigarette.

He puffs.

<b>                        TOMMY
</b>             There's a man I know ships cattle to
             London.

<b>EXT. DUBLIN BAY - EVENING.
</b>
The ferry, churning into the sunset.

<b>                                                      FADE TO BLACK.
</b>
<b>INT. BUILDING SITE - DAY
</b>
FADE UP into an elegant, empty Georgian room, covered in
clouds of dust. A figure among the clouds of dust, hacking at
a wall with a sledgehammer. It is Fergus, dressed in
laborer's overalls, covered in dust. He is knocking the
bricks from an outer wall. He works furiously and
relentlessly, like a machine.

We see the wall, with the hammer striking it. One brick falls
away, then another. Daylight pours through the clouds of dust
and the growing hole.



<b>                                                              34.
</b>


Fergus's face, as he works.

The hole. More bricks falling away. Through the clouds of
dust and the streams of daylight we now see a patch of green.

Fergus's face, working. His rhythm slows.

The hole. More bricks fall away. Then the hammer stops. The
dust begins to clear.

His face.

The jagged hole. The dust drifts across it, revealing a
cricket pitch, with tiny sticklike figures running on the
green.

<b>EXT. HOSTEL - DAY
</b>
Fergus, returning from work, crosses the street, and enters
through a white door.

<b>INT. HOSTEL - DAY
</b>
Fergus dressing. He puts on a cheap suit, like any country
boy in a big city. He takes Jody's wallet from the trousers
of his overalls. He flips it open, sees the picture of the
soldier and Dil. He puts it in the pocket of his suit.

<b>EXT. STREET - DAY
</b>
Fergus walking down a street looking for an address. Some
distance down the street is a sign -- MILLIE'S UNISEX HAIR
<b>SALON.
</b>
<b>EXT. STREET - DAY
</b>
Fergus, standing as the crowds go by him, looking in the
window. He has the picture in his hand. We see Dil from his
point of view, then Fergus walks inside.

<b>INT. HAIR SALON - DAY
</b>
Fergus enters. The door gives a loud ping.

<b>                       A GIRL
</b>             We're closing. I'll see you tomorrow, Dil

She leaves the salon.

<b>                       DIL
</b>             You want something in particular?



<b>                                                              35.
</b>


<b>                        FERGUS
</b>          Just a bit of a trim...

Dil checks her watch and stubs out a cigarette.

<b>                        DIL
</b>          Come on...

She gestures toward a chair. Fergus sits down. She comes
toward him and fiddles with his hair.

She pushes his head back into a basin behind him. She begins
to knead his hair in hot water and shampoo.

<b>                        DIL
</b>          Someone recommend you?

<b>                        FERGUS
</b>          In a way.

<b>                        DIL
</b>          Who?

<b>                        FERGUS
</b>          Guy I work with.

<b>                        DIL
</b>          What's his name?

Fergus can't think of an answer. The hands with the purple
nails run over his scalp.

<b>                        FERGUS
</b>          Doesn't the water get to your nails?

<b>                        DIL
</b>          What's it to you?

<b>                        FERGUS
</b>          Nothing.

Fergus, sitting up. She begins to cut.

<b>                        DIL
</b>          You American?

<b>                        FERGUS
</b>          No.

<b>                        DIL
</b>          Not English.



<b>                                                              36.
</b>


<b>                           FERGUS
</b>             No.

<b>                           DIL
</b>             Scottish?

<b>                           FERGUS
</b>             How'd you guess?

<b>                           DIL
</b>             The accent, I suppose.

<b>                           FERGUS
</b>             And what's it like?

<b>                           DIL
</b>             Like treacle.

She imitates his accent saying it. Fergus laughs.

<b>                           DIL
</b>             Nice laugh.

Dil raises Fergus's head up, with his new-cut hair and holds
a mirror up behind his head so he can see the back. He looks
like a young London stockbroker. The hair salon around them
is empty.

<b>                           DIL
</b>             That should make her happy.

<b>                           FERGUS
</b>             Who's she?

<b>                           DIL
</b>             Don't know. Who is she?

<b>EXT. HAIR SALON - EVENING.
</b>
Fergus emerges from the shop. He takes one last look through
the window where Dil is taking off her smock, touching up her
hair, etc. It is as if she has forgotten all about him. He
walks off through the crowds and then ducks into a doorway.

The doorway of the shop. Dil comes out, dressed in a pair of
high heels, a very short skirt, different, more raunchy
clothes on her than we saw inside. She locks the glass door
and walks down the street, across the road, and into a pub
called the Metro. Fergus follows.



<b>                                                             37.
</b>


<b>INT. METRO - EVENING.
</b>
Half full, with an after-work crowd. Dil makes her way
through it.

<b>                        BARMAN
</b>          Hi, Dil

<b>                        DIL
</b>          Hiya, hon.

She sits down at the bar. Fergus comes toward the bar and
takes a seat.

<b>                        BARMAN
</b>          What'll it be?

<b>                        FERGUS
</b>          A bottle of Guinness.

Dil, looking at Fergus.

<b>                        DIL
</b>          See that, Col?

<b>                        COL
</b>          See what, Dil?

<b>                        DIL
</b>          He gave me a look.

<b>                        COL
</b>          Did he?

Fergus blushes. He buries himself in his drink.

<b>                        DIL
</b>          Just cut his hair, you know.

<b>                        COL
</b>          Yeah?

<b>                        DIL
</b>          What you think?

<b>                        COL
</b>          Nice.

Fergus throws his eyes toward her again. She has her face
turned away, but sees him in the mirror.

<b>                        DIL
</b>          There, he did it again.



<b>                                                             38.
</b>


<b>                           COL
</b>              Saw that one.

<b>                           DIL
</b>              What would you call it?

<b>                           COL
</b>              Now, that was a look.

She eyes Fergus in the mirror.

<b>                           DIL
</b>              Ask him to ask me what I'm drinking.

The barman, with infinite weariness, approaches Fergus.

<b>                           COL
</b>              She wants to know do you want to know
              what she's drinking.

Fergus is about to talk when she pipes up.

<b>                           DIL
</b>              A margarita.

The barman mixes it. She stares at the mirror, staring at
Fergus, who is trying to avoid her eyes. The barman hands her
the drink.

<b>                           DIL
</b>              Now he can look.... Ask him does he like
              his hair, Col.

<b>                           COL
</b>              She wants to know, sir, do you like your
              hair.

<b>                           FERGUS
</b>              Tell her I'm very happy with it.

<b>                           DIL
</b>              He's Scottish, Col.

<b>                           COL
</b>              Scottish?

<b>                           FERGUS
</b>              Yeah.

<b>                           DIL
</b>              What'd he say, Col?



<b>                                                              39.
</b>


<b>                         COL
</b>           He agreed that he was.

<b>                         DIL
</b>           What do you think his name is?

<b>                         COL
</b>           I've no thoughts on the subject.

<b>                         FERGUS
</b>           Jimmy.

<b>                         DIL
</b>           Jimmy?

<b>                         COL
</b>           That's what he said. Jimmy.

<b>                         DIL
</b>           Hi, Jimmy.

<b>                         FERGUS
</b>           Hiya, Dil

A burly man sits down beside her. He puts his hand on her
knee.

<b>                         MAN
</b>           Sing the song, Dil --

She slaps the hand away.

<b>                         DIL
</b>           Fuck off, Dave.

<b>                         DAVE
</b>           C'mon, babe! You know what I like...
           Easy!

She turns back to Fergus and finds his seat empty.

<b>EXT. METRO - NIGHT.
</b>
Fergus, standing across the road from the pub. He is
sweating. Dil comes out of the pub. She looks this way and
that, as if searching for Fergus. Fergus stands back into a
shadow.

Dave, the burly man, comes out. He grabs her by the elbow.
She shrugs him off. She walks off. Dave follows, grabs her by
the elbow again. The sense of an old argument. Dave suddenly
strikes her across the face with his open palm.



<b>                                                              40.
</b>

She leans her head against a wall. Dave then puts his arms
around her, consoles her.

<b>EXT. STREET - NIGHT.
</b>
Dave walking, holding Dil by the arm. The street is
dilapidated, full of squats. They stop outside a door. Dil
opens the door with a key from her purse and they both walk
inside.

Fergus stands there, observing.

A light comes on in an upstairs room. Dil enters; we see her
shadow in silhouette behind the curtain and the shadow of
Dave coming in behind her. He begins to remove her blouse.
She stands absolutely still as he does so.

Fergus backs away, then walks off.

<b>INT. HOSTEL - NIGHT.
</b>
Fergus, in bed. Fade to black as we see Jody as a bowler,
running in slow motion, toward the camera. He releases the
ball; we see Fergus in bed, breathing heavily.

<b>INT. SITE - NEXT DAY
</b>
Fergus takes a break and watches the batsman hit a ball. He
imitates the batsman's motion with his sledgehammer. Then a
voice interrupts him.

<b>                        DEVEROUX
</b>           So Pat's a cricket fan, eh?

Fergus turns. We see Tristram Deveroux, a young Sloane type
in a three-piece suit, whose house it is. Beside him is
Franknum, the cockney foreman.

<b>                        FERGUS
</b>           It's not Pat. It's Jim.

<b>                        DEVEROUX
</b>           Jim, Pat, Mick, what the fuck. Long as
           you remember you're not at Lords.

Fergus resumes work.

<b>INT. METRO - NIGHT.
</b>
It is now crowded with people, black, white, punky and street
chic, a lot of leather All the women are heavily made-up.
Someone is singing from the tiny stage and rows of cheap
colored bulbs are flashing around it.



<b>                                                              41.
</b>


From the way Fergus walks through, it is obvious he has never
been here at night. He seems most out of place in his cheap
suit, making his way through the crowd to the bar.

<b>AT THE BAR.
</b>
Fergus looks through the odd crowd, but can't find Dil. Col,
the barman, sees him and smiles.

<b>                     COL
</b>          So can we consider you a regular, sir?

<b>                     FERGUS
</b>          Is that good or bad?

<b>                     COL
</b>          Well, you get to say, The usual, Col.
          Things like that.

Col pushes a colored cocktail with one of those Japanese
umbrellas toward him.

<b>                     COL
</b>          So let's call this the usual.

<b>                     FERGUS
</b>          Thanks.

Fergus reaches for his wallet to pay, but Col interrupts.

<b>                     COL
</b>          No, no. It's on me.

Fergus tries to pretend he's familiar with the drink, and by
implication, whatever are the norms of the place. He lifts
the glass to his mouth, but the umbrella keeps getting in the
way.

<b>                     COL
</b>          Take it out, if you want.

Fergus takes out the umbrella. He holds it in one hand and
drinks with the other.

<b>                     COL
</b>          You came to see her, didn't you?

Fergus shrugs. He takes out a cigarette. A guy in leather to
his left smiles at him.

<b>                     COL
</b>          Something I should tell you. She's --



<b>                                                              42.
</b>


<b>                       FERGUS
</b>          She's what?

The barman looks up toward the stage.

<b>                       COL
</b>          She's on.

<b>THE JUKEBOX.
</b>
A hand presses a button. The needle selects a disk. A song by
Dave Berry, "The Crying Game."

<b>AT THE BAR.
</b>
Fergus looks up. Close-up of Dil's hand, as music begins,
making movements to the music. We see Dil, standing on a
stage, swaying slightly. She seems a little drunk. She mimes
to the song. She mouths the words so perfectly and the voice
on the song is so feminine that there is no way of knowing
who is doing the singing. She does all sorts of strange
movements, as if she is drawing moonbeams with her hands.

The crowd seems to know this act. They cheer, whether out of
approval or derision we can't be sure.

Fergus watching.

Dil singing, noticing him. She comes to the end of the song.
The crowd cheers.

Fergus, watching her make her way through the crowded bar,
toward him.

<b>                       DIL
</b>          He's still looking, Col.

<b>                       COL
</b>          Persistent.

<b>                       DIL
</b>          Good thing in a man.

<b>                       COL
</b>          An excellent quality.

<b>                       DIL
</b>          Maybe he wants something.

<b>                       COL
</b>          I would expect he does.



<b>                                                             43.
</b>


<b>                      DIL
</b>          Ask him.

<b>                      COL
</b>          Ask him yourself.

She looks at Fergus directly, sits down next to him.

<b>                      DIL
</b>          So tell me.

Fergus says nothing. He shrugs.

<b>                      DIL
</b>          Everybody wants something.

<b>                      FERGUS
</b>          Not me.

<b>                      DIL
</b>          Not you. How quaint. How old-fashioned
          and quaint. Isn't it, Col?

Col shrugs.

<b>                      DIL
</b>          You old-fashioned?

<b>                      FERGUS
</b>          Must be.

The burly man comes up to her.

<b>                      MAN
</b>          Got the money, Dil?

<b>                      DIL
</b>          Fuck off, Dave.

<b>                      DAVE
</b>          You fucking promised.

<b>                      DIL
</b>          Did I?

<b>                      DAVE
</b>          You fucking did.

He suddenly jerks her roughly off the stool, spilling her
drink.

<b>                      DAVE
</b>          Didn't you? Well, come on!



<b>                                                              44.
</b>


He drags her through the crowd. In the mirror, Fergus watches
them go. The barman eyes him.

<b>                        COL
</b>              It takes all types.

<b>                        FERGUS
</b>              So who's he?

<b>                        COL
</b>              He's what she should run a mile from.

<b>                        FERGUS
</b>              Then why doesn't she?

<b>                        COL
</b>              Who knows the secrets of the human heart.

Fergus suddenly stands and makes his way to the door.

<b>EXT. PUB - NIGHT.
</b>
Fergus comes out. A black bouncer is there, but there is no
sign of Dil. He walks a few yards and hears voices down an
alley. He looks up it.

<b>P0V - ALLEY.
</b>
We see Dil pushing Dave away. He grabs her, turns her
roughly.

<b>                        DAVE
</b>              Don't be like that --

<b>                        DIL
</b>              You heard me --

She beats his arms away. Money falls on the ground. She
staggers away from him. He picks up the money, then runs
after her.

<b>                        DAVE
</b>              Got very fucking grand, haven't we --

He tries to pull her back.

<b>                        DAVE
</b>              Talk to me, you stupid bitch --

They both bump into Fergus, who just stands there and doesn't
move an inch. She smiles.



<b>                                                             45.
</b>


<b>                        DIL
</b>          Hi.

<b>                        FERGUS
</b>          Hi. You forgot your bag.

He holds it up to show her.

<b>                        DIL
</b>          Thank you.

<b>                        DAVE
</b>          Who the fuck is he?

<b>                        DIL
</b>          Jimmy.

<b>                        DAVE
</b>          It's him, isn't it?

<b>                        DIL
</b>          Maybe.

Dave eyes Fergus. Fergus grabs his wrists and upends him on
the ground.

<b>                        DIL
</b>          See, they get the wrong idea.

<b>                        DAVE
</b>                 (from the ground)
          Cunt.

Fergus puts his foot on Dave's neck.

<b>                        FERGUS
</b>          What was that?

<b>                        DIL
</b>          They all get the wrong idea.

<b>                        DAVE
</b>          Cunt. Scrag-eyed dyke cunt.

<b>                        DIL
</b>          Charming.

Dave grabs for her ankle. She kicks his hand away. Fergus
presses down his foot. He looks to Dil.

<b>                        FERGUS
</b>          What'll I do?



<b>                                                          46.
</b>


<b>                          DIL
</b>            Break his neck.

Fergus presses his foot.

<b>                          DIL
</b>            No, don't.

She bends low to Dave.

<b>                          DIL
</b>            He's going to take his foot off slowly,
            David. Then you're to go home, like a
            good boy. You hear me?

<b>                          DAVE
</b>            Cunt.

But his voice is softer. Fergus removes his foot. Dil grabs
his arm.

<b>                          DIL
</b>            Come on, honey.

She draws him away.

<b>EXT. METRO - NIGHT.
</b>
They walk out of the alley.

<b>                          FERGUS
</b>            You all right?

<b>                          DIL
</b>            Yes, thank you.

<b>                          FERGUS
</b>            What was that all about?

<b>                          DIL
</b>            He wants me to perform for him.

<b>                          FERGUS
</b>            Perform?

<b>                          DIL
</b>            You know.

<b>                          FERGUS
</b>            You on the game?

<b>                          DIL
</b>            God no. I'm a hairdresser.



<b>                                                              47.
</b>


Fergus looks back. Dave is rising.

<b>                     FERGUS
</b>          He's getting up.

<b>                     DIL
</b>          You can't leave me then, can you?

<b>EXT. STAIRCASE OUTSIDE DIL'S FLAT
</b>
Fergus and Dil climb slowly upstairs.

<b>                     DIL
</b>          You want me to ask you in, right?

<b>                     FERGUS
</b>          No, I didn't --

<b>                     DIL
</b>          But I'm not cheap, you know that? Loud,
          but never cheap.

There is a movement lower down the staircase. We see Dave,
holding his neck.

<b>                     DAVE
</b>          Fucking dumb dyke carrot cunt.

Dil leans close to Fergus.

<b>                     DIL
</b>          If you kissed me, it would really get his
          goat.

She tilts up her face. Fergus kisses her, tenderly.

<b>                     DIL
</b>          Now, if you asked me to meet you
          tomorrow, it would really drive him
          insane.

<b>                     FERGUS
</b>          Where?

<b>                     DIL
</b>          Half-five. At Millie's.

She goes in and closes the door. Fergus stands and looks down
at Dave, who turns to leave.

<b>EXT. HAIR SALON - DAY
</b>
Dil walks out of the salon, smiling, and walks toward Fergus.



<b>                                                             48.
</b>


<b>                        DIL
</b>          Give me that look again.

<b>                        FERGUS
</b>          What look?

<b>                        DIL
</b>          The one you gave me in the Metro.

Fergus takes a bunch of flowers from behind his back. She
holds them, with theatrical feeling.

<b>                        DIL
</b>          Darling, you shouldn't have.

She laughs and leans toward him and kisses him in a
classically old-fashioned way. The girls inside the salon
pull back a curtain, and they all clap.

<b>                        FERGUS
</b>          What's that about?

<b>                        DIL
</b>          They're jealous.

<b>                        FERGUS
</b>          Why?

<b>                        DIL
</b>          I wonder.

She takes his arm and walks off with him.

<b>INT. INDIAN RESTAURANT - NIGHT.
</b>
Fergus and Dil looking at their menus. A waiter places drinks
on their table, then leaves.

<b>                        DIL
</b>          Now's the time you're meant to do
          something, isn't it?

<b>                        FERGUS
</b>          Like what?

<b>                        DIL
</b>          Make a pass or something. Isn't that the
          way it goes?

<b>                        FERGUS
</b>          Must be.



<b>                                                              49.
</b>


<b>EXT. STREET - NIGHT.
</b>
They are walking in an alleyway toward her house.

<b>                        DIL
</b>          You got a special friend, Jimmy?

<b>                        FERGUS
</b>          How special?

<b>                        DIL
</b>          You want one?

And suddenly a car drives very fast toward them, headlights
on. Fergus pulls her into a doorway to avoid it.

<b>                        FERGUS
</b>          Jesus Christ!

<b>                        DIL
</b>          Jesus.

The car continues down the road, stops, and then screeches
off.

<b>                        FERGUS
</b>          That Dave?

<b>                        DIL
</b>          The things a girl has to put up with.

She looks down toward where the car has pulled away.

<b>                        DIL
</b>          I'm frightened, Jimmy. That's not like
          him.

<b>EXT. DIL'S FLAT.
</b>
A car pulls up behind Dil and Fergus.

<b>                        DIL
</b>          Piss off, Dave!

<b>                        FERGUS
</b>          Tough guy, huh? Are you going to be all
          right on your own?

<b>                        DIL
</b>          I'm not on my own, am I?

She touches his cheek.



<b>                                                             50.
</b>


<b>                        DIL
</b>          Come on up, would you?

<b>INT. DIL'S FLAT - NIGHT.
</b>
Dil comes in in the darkness. Fergus stands like a shadow in
the doorway. The light comes on; she takes off her raincoat.

<b>                        DIL
</b>          Won't hurt you to come in.

Fergus enters slowly. He looks around the room; there is an
exaggerated femininity about everything in it.

<b>                        DIL
</b>          Would you like a drink?

<b>                        FERGUS
</b>          Yes, please.

<b>                        DIL
</b>          What'll it be?

<b>                        FERGUS
</b>          Whiskey.

She goes into a small kitchen. Fergus looks at the
mantelpiece and sees a picture of Jody. The camera tracks
into the soldier's smiling face. Then into Fergus's face. His
reverie is broken by the sound of a voice outside -- Dave's.

She comes through with two drinks.

<b>                        FERGUS
</b>          Someone out there.

<b>                        DIL
</b>          Jesus fucking Christ.

She opens the window door, and we see Dave on the street, in
a neck brace.

<b>                        DIL
</b>          Hey, Stirling fucking Moss --

<b>                        DAVE
</b>          It's Dave.

She goes back into the room and begins taking things up.

<b>                        DAVE
</b>          Talk to me, Dil --



<b>                                                              51.
</b>


<b>                        DIL
</b>           Sure, Dave --

<b>                        DAVE
</b>           Please, Dil --

She flings things down: men's clothes, leather trousers, a
suitcase, a teddy bear.

<b>                        DIL
</b>           Take your clothes.

<b>                        DAVE
</b>           Don't throw my clothes out the window!

<b>                        DIL
</b>           Fuck off back to Essex!

<b>                        DAVE
</b>           Fucking mad!

Fergus looks to the man down in the street, a parody of
rejection with his things in his arms.

<b>                        DAVE
</b>           Don't chuck my clothes out!

<b>                        DIL
</b>           Take your fucking goldfish, too!

Dil grabs a large goldfish bowl and flings it down. The bowl
breaks to bits on the pavement. Goldfish thrash around in the
street.

<b>                        DAVE
</b>           You fucking bitch!

He tries to pick up the flapping fish in his hands.

<b>                        DAVE
</b>           Murderer!

Upstairs, Dil closes the window shut.

<b>                        DIL
</b>           Sorry. How'd he drive with his neck in a
           brace?

<b>                        FERGUS
</b>           Must be in love to manage that.

<b>                        DIL
</b>           Doesn't know the meaning of the word.



<b>                                                              52.
</b>


Fergus stands as Dil hands him a glass.

<b>                       FERGUS
</b>          He lived here with you?

<b>                       DIL
</b>          Tried to. Sit down, will you?

Fergus walks past the photograph and sits down. He looks from
her to the picture.

<b>                       FERGUS
</b>          What about him?

He nods toward the picture. She looks down into her drink.

<b>                       DIL
</b>          He was different.

<b>                       FERGUS
</b>          How different?

<b>                       DIL
</b>          As different as it's possible to be.

<b>                       FERGUS
</b>          Tell me about him.

<b>                       DIL
</b>          No.

<b>                       FERGUS
</b>          Shouldn't I go?

<b>                       DIL
</b>          Yes.

And they fall into one another's arms. She stretches up with
her whole body over him. They grow suddenly and violently
passionate.

They fall into the cushions of the couch onto the floor. The
photograph above them seems to smile. He draws up her dress
with his hands. She suddenly pulls away.

<b>                       DIL
</b>          No --

<b>                       FERGUS
</b>          Did you do that to him?

She comes up toward him once more. She puts her mouth close
to his ear.



<b>                                                              53.
</b>


<b>                        DIL
</b>          You want to know how I kissed him?

<b>                        FERGUS
</b>          Yes...

<b>                        DIL
</b>          Are you jealous of him?

<b>                        FERGUS
</b>          Maybe.

<b>                        DIL
</b>          That's good...

She opens the buttons on his shirt and her mouth travels down
his chest. Fergus tries to draw her up toward him, but her
hand reaches up to his mouth and presses his head back while
her other hand undoes his pants. She kisses his stomach; her
mouth moves down his body. Fergus stares at the picture of
Jody. Jody's eyes seem to burn through him. Dil raises her
head and kisses his mouth. There are tears in his eyes.

<b>                        FERGUS
</b>          What would he think?

<b>                        DIL
</b>          Can't think. He's dead. In Ireland. He
          was a soldier. Went there like a fool.

She sits in front of the mirror.

<b>                        FERGUS
</b>          Do you miss him?

<b>                        DIL
</b>          What do you think?

<b>                        FERGUS
</b>          I think you do.

<b>                        DIL
</b>                  (dreamily)
          You say that like a gentleman.

<b>                        FERGUS
</b>          Do I?

<b>                        DIL
</b>          Like you're concerned.

Fergus gets up and stands behind her, gently pushes the hair
from her face.



<b>                                                             54.
</b>


<b>                        DIL
</b>          But you can t stay, you know that?

<b>                        FERGUS
</b>          Didn't think I could.

<b>                        DIL
</b>          A real gentleman...

She embraces him.

<b>                        FERGUS
</b>          Shouldn't you be in mourning?

<b>                        DIL
</b>          I am.

She sits back down in front of the mirror. Fergus leaves. She
reapplies her lipstick.

<b>INT. METRO - NIGHT.
</b>
Singer in a blue dress. Dil and Fergus by the bar. Both
drinking drinks with umbrellas. Dave comes up behind them
with his neck brace.

<b>                        DAVE
</b>          Look, I'm sorry.

<b>                        DIL
</b>          Fuck off, Dave.

<b>                        DAVE
</b>          No, I won't fucking fuck off. Said I'm
          sorry, didn't I?

<b>                        DIL
</b>          Yeah. I heard. You hear, Jimmy?

Fergus nods. He stands. Dave steps two feet back.

<b>                        FERGUS
</b>          I was only going to ask her for a dance.

Fergus takes Dil's arm.

<b>                        FERGUS
</b>          Shall we?

The woman is singing.

As they circle, people begin to look at them admiringly. Dil
holds her cheek close to his.



<b>                                                             55.
</b>


<b>                      FERGUS
</b>          Did he come here too?

<b>                      DIL
</b>          Is this an obsession of yours?

<b>                      FERGUS
</b>          Maybe.

<b>                      DIL
</b>          He did sometimes.

<b>                      FERGUS
</b>          Did he dance with you?

Dil doesn't answer. Looks at him out of the corner of her
eye.

<b>                      DIL
</b>          So what do you want with me, Jimmy?

<b>                      FERGUS
</b>          Want to look after you.

<b>                      DIL
</b>          What does that mean?

<b>                      FERGUS
</b>          Something I heard someone say once.

She draws back and looks at him.

<b>                      DIL
</b>          You mean that?

<b>                      FERGUS
</b>          Yeah.

She dances closer.

<b>                      DIL
</b>          Why?

<b>                      FERGUS
</b>          If I told you, you wouldn't believe me.

In the bar, people singing along with the music. Col sings.
Dave sitting at the bar, sulking.

<b>                      DIL
</b>          You're not having me on, are you? 'Cause
          Dil can't stand that.



<b>                                                             56.
</b>


<b>                     FERGUS
</b>          No.

She puts her cheek against his. Dave, at the bar, slams his
drink down.

<b>                     DIL
</b>          And she does get very upset...

Dave stands up to leave. On the stage the act finishes. Dil
draws Fergus back to the bar.

<b>AT THE BAR.
</b>
Col, the barman, pours her drink.

<b>                     DIL
</b>          One for him, too.

Col pours and smiles.

<b>                     DIL
</b>          Drink.

<b>                     FERGUS
</b>          What is this?

<b>                     DIL
</b>          I'm superstitious. Drink.

He drinks. He grimaces. She throws it back in one.

<b>                     DIL
</b>          Can't leave me now.

<b>                     FERGUS
</b>          Aha.

<b>                     DIL
</b>          The thing is, can you go the distance?

<b>                     FERGUS
</b>          Depends what it is.

<b>                     DIL
</b>          No, depends on nothing.

She takes the bottle herself and fills their glasses. She
slams it back. He sips.

<b>                     DIL
</b>          In one.



<b>                                                              57.
</b>


She tilts his glass back. He swallows it in one.

<b>INT. DIL'S FLAT - NIGHT.
</b>
She enters; Fergus walks in slowly. He looks from the cricket
whites that are hanging up behind a curtain to the
photographs.

<b>                           DIL
</b>              What you thinking of, hon?

<b>                           FERGUS
</b>              I'm thinking of your man.

<b>                           DIL
</b>              Why?

<b>                           FERGUS
</b>              I'm wondering why you keep his things.

<b>                           DIL
</b>              Told you, I'm superstitious.

She turns toward him and undoes her hair. It falls around her
shoulders.

<b>                           FERGUS
</b>              Did he ever tell you you were beautiful?

<b>                           DIL
</b>              All the time.

Fergus runs his hand down her throat.

<b>                           DIL
</b>              Even now.

<b>                           FERGUS
</b>              No...

<b>                           DIL
</b>              He looks after me. He's a gentleman too.

She draws him behind a curtain toward the bed, pulls him
down. They kiss passionately.

<b>                           DIL
</b>              Give me one minute.

She walks into the bathroom. Fergus lies there, looking at
the picture, listening to the sound of running water. She
comes out then, dressed in a silk kimono. She looks
extraordinarily beautiful.



<b>                                                              58.
</b>

He reaches out his hand and grasps hers. He draws her toward
him. He begins to kiss her face and neck.

<b>                            FERGUS
</b>              Would he have minded?

She murmurs no. His hands slip the wrap down from her
shoulders.

CLOSE ON HIS HANDS, traveling down her neck, in the darkness.
Then the hands stop. The kimono falls to the floor gently,
with a whisper. The camera travels with it, and we see, in a
close-up, that she is a man.

Fergus sits there, frozen, staring at her.

<b>                            DIL
</b>              You did know, didn't you?

Fergus says nothing.

<b>                            DIL
</b>              Oh my God.

She gives a strange little laugh, then reaches out to touch
him. Fergus smacks the hand away.

<b>                            FERGUS
</b>              Jesus. I feel sick --

He gets up and runs to the bathroom. She grabs his feet.

<b>                            DIL
</b>              Don't go, Jimmy --

He kicks her away. He runs into the bathroom and vomits into
the tub.

She crouches on the floor.

<b>                            DIL
</b>              I'm sorry. I thought you knew.

He retches again.

<b>                            DIL
</b>              What were you doing in the bar if you
              didn't know -- I'm bleeding...

She lights a cigarette.

Fergus runs the taps. He washes his face, rinses his mouth.



<b>                                                              59.
</b>


<b>                        DIL
</b>          It's all right, Jimmy. I can take it.
          Just not on the face.

Fergus slams the door shut. She is sitting on the couch, the
kimono round her once more, looking very much like a woman. A
trace of blood on her mouth.

<b>                        DIL
</b>          Y'see, I'm not a young thing any
          longer.... Funny the way things go. Don't
          you find that, Jimmy? Never the way you
          expected.

Fergus comes out of the bathroom.

<b>                        FERGUS
</b>          I'm sorry.

She looks up. Some hope in her face.

<b>                        DIL
</b>          You mean that?

And he makes to go. She grabs him to stop him.

<b>                        DIL
</b>          Don't go like that. Say something...

He pulls away from her. She falls to the floor.

<b>                        DIL
</b>          Jesus.

He drags himself away and runs down the stairs.

<b>INT. FERGUS'S FLAT
</b>
Fergus in bed. Flash to shot of blackness, Jody grinning in
cricket whites, throwing the ball up and down in his hand.

<b>INT. METRO - NIGHT.
</b>
The place is hopping. Fergus enters. He now sees it as he
should have seen it the first night -- as a transvestite bar.
He makes his way through the crowds. All the women too-
heavily made-up. Some beautifully sleek young things he looks
at he realizes are young men. He makes his way to the bar
where Dil is sitting, nursing a drink with an umbrella in it.
Her face is bruised. She is wearing dark glasses.

As he walks toward her she sees him in the mirror. She talks
to Col the barman.



<b>                                                          60.
</b>


<b>                          DIL
</b>            He's back, Col

<b>                          COL
</b>            Hi.

<b>                          DIL
</b>            Don't want any of those looks, Col. They
            don't mean much.

<b>                          COL
</b>            Stop it, Dil --

<b>                          DIL
</b>            No. Tell him to go fuck himself.

Fergus sits. Col turns to him.

<b>                          COL
</b>            She wants me to tell you go fuck
            yourself.

<b>                          FERGUS
</b>            I'm sorry.

There is a tear running down her cheek, under the dark
glasses.

<b>                          DIL
</b>            Tell him to stop messing Dil around --

<b>                          FERGUS
</b>            Dil --

<b>                          DIL
</b>            Tell him it hurt --

<b>                          FERGUS
</b>            I have to talk to her, Col --

<b>                          COL
</b>            Says he's got to talk to you --

Fergus touches her arm.

<b>                          FERGUS
</b>            Come on, Dil --

<b>                          DIL
</b>            Where?

She whips her arm away.



<b>                                                              61.
</b>


<b>                        DIL
</b>          Tell him again, Col. Go fuck himself --

She walks into the crowd, toward the door.

Fergus leaves.

<b>EXT. STREET - NIGHT.
</b>
Fergus, walking outside Dil's place. The blinds in her room
are down and the light is on inside. We see her outline,
pacing up and down behind the blinds, smoking a cigarette. We
hear the song "The Crying Game."

Fergus stands beneath her doorway, scribbles a note, and
sticks it in the letter box.

<b>EXT. CRICKET PITCH - DAY
</b>
A man removes a large number six from a huge scoreboard with
a pole and replaces it with a number nine.

Below the scoreboard we can see Dil walking across a lawn
toward the building where Fergus is working.

<b>INT. SITE - DAY
</b>
Fergus, fitting a new window into the finished wall. On the
pitch we see the cricketers, distorted through the moving
glass of the window. Across the pitch Dil walks, with a lunch
basket in her hand, dressed in a very short skirt with high
heels. As she approaches the site a chorus of whistles breaks
out.

Fergus, hearing the whistling, stares out. He sees Dil moving
toward the site. He drops the window and the glass shatters.
As the whistles continue, we see Dil in the site's lift,
which rises up. We see Deveroux and Franknum climbing up a
ladder toward Fergus .

<b>                        DEVEROUX
</b>          How much did that frame cost, Mr.
          Franknum?

<b>                        FRANKNUM
</b>          Two hundred quid, Mr. Deveroux.

<b>                        DEVEROUX
</b>          Your Pat just cost me two hundred quid.

<b>                        FERGUS
</b>          Sorry.



<b>                                                              62.
</b>


<b>                        DEVEROUX
</b>          Sorry won't bring the bloody thing back,
          will it, Mr. Franknum?

<b>                        FRANKNUM
</b>          Not in my experience.

<b>                        DEVEROUX
</b>          Off his wages.

<b>                        FERGUS
</b>          Do you mean that?

<b>                        DEVEROUX
</b>          He wants to know do I mean that.

<b>                        FRANKNUM
</b>          I'm sure you do, Mr. Deveroux.

<b>                        DEVEROUX
</b>          Bloody right I do...

Through this conversation Fergus can hear the chorus of wolf
whistles increasing. He looks out the gap where the window
should be and sees Dil in the lift. The laborers whistle at
her, looking up her skirt, etc.

She passes by a gap in the wall and blows a kiss at him.

<b>                        DEVEROUX
</b>          Is that his tart? Does Pat have a tart?

<b>                        FERGUS
</b>          She's not a tart.

<b>                        DEVEROUX
</b>          No, of course not, she's a lady.

<b>                        FERGUS
</b>          She's not that either.

Fergus walks out of the room.

Fergus walks round the scaffolding. Dil sees him and waves,
sits on some bricks and opens the hamper.

<b>                        DIL
</b>          Darling --

She is acting bright and businesslike, like any wife. She is
wearing dark glasses to cover the bruise on her face. She
pecks him on the cheek.



<b>                                                       63.
</b>


<b>                      DIL
</b>          Never let the sun go down on an argument,
          Jody used to say.

<b>                      FERGUS
</b>          What you doing here?

<b>                      DIL
</b>          Got your note. So let's kiss and make up,
          hon.

<b>                      FERGUS
</b>          Don't call me that.

<b>                      DIL
</b>          Sorry, darling.

<b>                      FERGUS
</b>          Give it over, Dil --

<b>                      DIL
</b>          Apologies, my sweet.

Fergus smiles in spite of himself.

<b>                      DIL
</b>          That's more like it, dear. Have a cuppa.

She takes out a thermos and pours him some tea.

<b>                      FERGUS
</b>          You're something else, Dil, you know
          that?

<b>                      DIL
</b>          Never said a truer word.

She hands him a neatly cut sandwich.

<b>                      DIL
</b>          See, I was always best looking after
          someone. Must be something in the genes.

<b>                      FERGUS
</b>          Must be.

<b>                      DIL
</b>          And the fact that you didn't know is
          basically the fault of yours truly. And
          even when you were throwing up, I could
          tell you cared.



<b>                                                       64.
</b>


<b>                        FERGUS
</b>          You could?

<b>                        DIL
</b>          Do you care, Jimmy?

<b>                        FERGUS
</b>          Sure I do.

<b>                        DIL
</b>          You mean that?

<b>                        FERGUS
</b>          Yeah. I care, Dil.

She lowers her head.

<b>                        FERGUS
</b>          You crying, Dil?

He removes her glasses and looks at her moist eyes.

<b>                        DIL
</b>          I'm tired and emotional.

Then he hears a voice behind him.

<b>                        DEVEROUX
</b>          Do it on your own time, Paddy.

<b>                        FERGUS
</b>          What?

<b>                        DEVEROUX
</b>          Whatever it is she does for you.

Fergus looks from Dil to Deveroux.

<b>                        FERGUS
</b>          If I was her I'd consider that an insult.

<b>                        DEVEROUX
</b>          Consider it how you like. Just get that
          bloody tart out of here.

Fergus stands up suddenly. He speaks quietly.

<b>                        FERGUS
</b>          Did you ever pick your teeth up with
          broken fingers?

Deveroux stares, suddenly chilled.



<b>                                                          65.
</b>


<b>                      DEVEROUX
</b>          What's that supposed to mean?

<b>                      FERGUS
</b>          It's a simple question.

Deveroux says nothing. Fergus looks down to Dil.

<b>                      FERGUS
</b>          Come on, dear.

He holds out his arm. Dil gathers up her things and takes it.
Her face is wreathed in a smile.

<b>                      DIL
</b>          He didn't answer, honey --

Fergus walks her down the scaffolding ramp.

<b>                      FRANKNUM
</b>          Sorry about that, Mr. Deveroux.

Dil and Fergus descend from the site in the lift.

<b>                      DIL
</b>          My, oh my, Jimmy, how gallant.

<b>                      FERGUS
</b>          Shut up.

<b>                      DIL
</b>          Made me feel all funny inside.

<b>                      FERGUS
</b>          I said stop it.

<b>                      DIL
</b>          Ask me to meet you again, Jimmy.

<b>                      FERGUS
</b>          You think that's wise?

<b>                      DIL
</b>          Nothing's wise.

The lift stops with a thud.

<b>                      FERGUS
</b>          I didn't mean to hit you.

<b>                      DIL
</b>          I know that.



<b>                                                            66.
</b>


<b>                        FERGUS
</b>          Kind of liked you as a girl.

<b>                        DIL
</b>          That's a start.

<b>                        FERGUS
</b>          So I'm sorry.

<b>                        DIL
</b>          Make it up to me, then.

<b>                        FERGUS
</b>          How?

<b>                        DIL
</b>          Ask to meet me again.

<b>                        FERGUS
</b>          Will you meet me again?

<b>                        DIL
</b>          When?

<b>                        FERGUS
</b>          Whenever. Tonight.

She leans forward and kisses him. Fergus hears a wail of
catcalls behind him. He watches Dil go as the lift takes him
back up to the site.

<b>EXT. HAIR SALON - EVENING.
</b>
Fergus, outside the hair salon. Dil, inside, is throwing off
her smock and walking toward him. All the girls are smiling.
Fergus looks from Dil to the girls as they approach.

<b>                        FERGUS
</b>          Do they know?

<b>                        DIL
</b>          Know what, honey?

<b>                        FERGUS
</b>          Know what I didn't know. And don't call
          me that.

<b>                        DIL
</b>          Can't help it, Jimmy. A girl has her
          feelings.

<b>                        FERGUS
</b>          Thing is, Dil, you're not a girl.



<b>                                                          67.
</b>


<b>                       DIL
</b>          Details, baby, details.

<b>                       FERGUS
</b>          So they do know.

<b>                       DIL
</b>          All right, they do.

She takes his arm as they walk off.

<b>                       FERGUS
</b>          Don't.

<b>                       DIL
</b>          Sorry.

<b>                       FERGUS
</b>          I should have known, shouldn't I?

<b>                       DIL
</b>          Probably.

<b>                       FERGUS
</b>          Kind of wish I didn't.

<b>                       DIL
</b>          You can always pretend.

<b>                       FERGUS
</b>          That's true.... Your soldier knew, didn't
          he?

<b>                       DIL
</b>          Absolutely.

<b>                       FERGUS
</b>          Won't be quite the same though, will it?

<b>                       DIL
</b>          Are you pretending yet?

<b>                       FERGUS
</b>          I'm working on it.

Fergus hears a car following them, and turns around to look.

<b>                       FERGUS
</b>          There's Dave. He knew too.

<b>                       DIL
</b>          Stop it, Jimmy.



<b>                                                          68.
</b>


<b>                        FERGUS
</b>          Am I becoming repetitious?

<b>                        DIL
</b>          A little.

<b>                        FERGUS
</b>          Sorry.

They reach her door. The car stops.

<b>                        FERGUS
</b>          Don't ask me in.

<b>                        DIL
</b>          Please, Jimmy.

<b>                        FERGUS
</b>          No. Can't pretend that much.

<b>                        DIL
</b>          I miss you, Jimmy.

<b>                        FERGUS
</b>          Should have stayed a girl.

<b>                        DIL
</b>          Don't be cruel.

<b>                        FERGUS
</b>          Okay. Be a good girl and go inside.

<b>                        DIL
</b>          Only if you kiss me.

Fergus kisses her. He looks at her open lips as if in
disbelief at himself.

<b>                        FERGUS
</b>          Happy now?

<b>                        DIL
</b>          Delirious.

She goes inside.

<b>INT. HOSTEL - NIGHT.
</b>
Fergus walks into the room and turns on a small desk-light.
Then he hears a voice.

<b>                        JUDE
</b>          Hello, stranger.



<b>                                                            69.
</b>


He sees Jude sitting in the corner. Her hair is now dark
brown.

<b>                        JUDE
</b>          You vanished.

He stares at her, says nothing.

<b>                        JUDE
</b>          What was it, Fergus? Did you blow the
          gaff on us or did you just fuck up?

<b>                        FERGUS
</b>          Leave me alone, Jude.

<b>                        JUDE
</b>          No. That's the last thing I'll do. You
          never asked what happened.

<b>                        FERGUS
</b>          I heard.

<b>                        JUDE
</b>          Eddie and Tinker died.

<b>                        FERGUS
</b>          I know.

<b>                        JUDE
</b>          Maguire and me got out by the skin of our
          teeth. No thanks to you.... What you
          think of the hair?

<b>                        FERGUS
</b>          Suits you.

She walks round the room.

<b>                        JUDE
</b>          Aye, I was sick of being blond. Needed a
          tougher look, if you know what I mean.

She lies down on the bed beside him, takes off a black
leather glove, and puts her hand on his crotch.

<b>                        JUDE
</b>          Fuck me, Fergus.

He takes her hand away.

<b>                        JUDE
</b>          Am I to take it that's a no?



<b>                                                       70.
</b>


He says nothing.

<b>                     JUDE
</b>          We had a court-martial in your absence.
          They wanted to put a bullet in your head.
          I pleaded for clemency. Said we should
          find out what happened first. So what did
          happen?

<b>                     FERGUS
</b>          He ran. I couldn't shoot him in the back.
          I tried to catch him. He made it to the
          road and got hit by a Saracen.

<b>                     JUDE
</b>          So you did fuck up.

<b>                     FERGUS
</b>          Yes.

<b>                     JUDE
</b>          But you know what the thing is, Fergus?

<b>                     FERGUS
</b>          No, what is the thing?

<b>                     JUDE
</b>          You vanished quite effectively. Became
          Mister Nobody. And you've no idea how
          useful that could be.

<b>                     FERGUS
</b>          What do you mean?

<b>                     JUDE
</b>          We've got some plans here. And we'll need
          a Mister Nobody to execute them.

<b>                     FERGUS
</b>          No way, Jude. I'm out.

<b>                     JUDE
</b>          You're never out, Fergus.

She looks at him hard. He looks away.

<b>                     JUDE
</b>          Maybe you don't care whether you die or
          not. But consider the girl, Fergus. The
          wee black chick.

He leaps up from the bed.



<b>                                                          71.
</b>


<b>                    FERGUS
</b>          Leave her out of this.

<b>                    JUDE
</b>          Jesus, Fergus, you're a walking cliche.
          You know we won't leave her out of this.
          But I'm glad to see you care.

She brings her lips close to his so they touch.

<b>                    JUDE
</b>          And I must admit I'm curious.

He grabs her hair and pulls her head back.

<b>                    FERGUS
</b>          What the fuck do you know, Jude?

She pulls a gun and sticks it between his teeth.

<b>                    JUDE
</b>          You fucking tell me, boy --

Fergus stares at her. Then says quietly:

<b>                    FERGUS
</b>          She's nobody. She likes me.

<b>                    JUDE
</b>          So I suppose a fuck is out of the
          question. Keep your head down, Fergus. No
          sudden moves. And not a whisper to her.
          You'll be hearing from us.

She kisses him briefly, with the gun at his temple.

<b>                    JUDE
</b>          Keep the faith.

She goes. Fergus stands in the darkness.

<b>EXT. HAIR SALON - EVENING.
</b>
Fergus, walking toward the hair salon, flowers in his hand.

He stands outside watching, the flowers behind his back. Then
the chair turns and we see it is Jude.

Fergus freezes. He sees Jude looking at him, smiling
brightly, then talking back to Dil



<b>                                                          72.
</b>


<b>INT. HAIR SALON - EVENING.
</b>
<b>                        JUDE
</b>          He your boyfriend?

Jude, turning in the chair.

<b>                        JUDE
</b>          Lucky you.

<b>INT. INDIAN RESTAURANT - NIGHT.
</b>
<b>                        DIL
</b>          Carnations.

<b>                        FERGUS
</b>          What?

<b>                        DIL
</b>          He'd bring me carnations.

<b>                        FERGUS
</b>          So I got it wrong, then.

<b>                        DIL
</b>          Not at all, honey.

<b>                        FERGUS
</b>          Don't.

<b>                        DIL
</b>          Okay.

She smiles brightly at something behind Fergus. He turns and
sees Jude is there. Fergus stands, suddenly.

He throws some money on the table, grabs her arm, and frog-
marches her out.

<b>                        FERGUS
</b>          Come on.

<b>                        DIL
</b>          Why, honey --

<b>                        FERGUS
</b>          Come on.

<b>                        DIL
</b>          You gonna tell me why?

<b>                        FERGUS
</b>          No.



<b>                                                              73.
</b>


As they pass Jude, she smiles.

<b>EXT. INDIAN RESTAURANT - NIGHT.
</b>
Outside the restaurant. Fergus marches Dil away.

<b>                       DIL
</b>          What's wrong, Jimmy? Tell me what's wrong
<b>          --
</b>
<b>                       FERGUS
</b>          Not here.

They pass out of shot. In the background we see Jude rising.

<b>INT. METRO - NIGHT.
</b>
Dil and Fergus making their way to their seats at the bar.

<b>                       DIL
</b>          You gonna tell me what it is?

A figure sitting down at the bar. It is Jude.

<b>                       JUDE
</b>          What was it?

<b>                       DIL
</b>          You know her, Jimmy?

<b>                       JUDE
</b>          Jimmy, is it? Do you know me, Jimmy?

<b>                       FERGUS
</b>          Dil, this is Jude.

<b>                       DIL
</b>          You following me?

<b>                       JUDE
</b>          Yeah. Just checking. He being nice to
          you, Dil?

<b>                       DIL
</b>          Ever so nice. Aren't you, Jimmy?

<b>                       JUDE
</b>          That's good. I'm glad. Young love, as
          they say.

<b>                       DIL
</b>          Absolutely. The younger the better.
          Doesn't come your way much, I suppose.



<b>                                                    74.
</b>


<b>                      JUDE
</b>          Don't go looking for it, Dil.

<b>                      DIL
</b>          Well, maybe you'll get lucky. Someday.

<b>                      JUDE
</b>          A bit heavy on the powder, isn't she,
          Jimmy?

<b>                      DIL
</b>          A girl has to have a bit of glamour.

<b>                      JUDE
</b>          Absolutely. Long as she can keep it.
          Isn't that right, James...

She leaves. Dil watches her go.

<b>                      DIL
</b>          It's her, isn't it?

<b>                      FERGUS
</b>          What's her?

<b>                      DIL
</b>          She's the thing you had to tell me.

<b>                      FERGUS
</b>          Kind of.

<b>                      DIL
</b>          I'm sorry, you know that? I'm really
          sorry.

She looks at Col

<b>                      DIL
</b>          You see that, Col?

<b>                      COL
</b>          Saw it, Dil.

<b>                      DIL
</b>          Fuck it, is what I say.

<b>                      COL
</b>          Yeah. Fuck it, Dil.

<b>                      DIL
</b>          Fucking men, Col --



<b>                                                              75.
</b>


<b>                       COL
</b>          Fuck 'em.

There are tears in her eyes. She stands.

<b>                       DIL
</b>          And fuck you, Jimmy --

She staggers out of the pub. Fergus sits there. There is an
expression in Col's eyes that makes Fergus feel very, very
small.

<b>                       COL
</b>          You could always make it up to her.

<b>                       FERGUS
</b>          How?

<b>                       COL
</b>          When a girl runs out like that, she
          generally wants to be followed.

<b>                       FERGUS
</b>          She's not a girl, Col --

<b>                       COL
</b>          Whatever you say.

But Fergus rises and walks out.

<b>EXT. METRO - NIGHT.
</b>
A figure standing down the alleyway, smoking. Fergus looks
toward it, but Jude is standing there, waiting.

<b>                       JUDE
</b>          She went that way --

Jude grabs his arm.

<b>                       JUDE
</b>          But you come with me.

She draws him down an alley where the same car is waiting.
They get inside.

<b>ANOTHER CAR - BY THE PUB.
</b>
Dil, sitting inside a taxi watching Fergus and Jude getting
in the car.



<b>                                                            76.
</b>


<b>INT. CAR - NIGHT.
</b>
In the moving car. Jude is driving, Maguire next to her.
Fergus sits in the back.

<b>                     FERGUS
</b>          So it was you all the time.

<b>                     MAGUIRE
</b>          Who'd you think it was?

<b>                     FERGUS
</b>          I thought it was Dave.

<b>                     MAGUIRE
</b>          And who's Dave when he's at home?

<b>                     FERGUS
</b>          He's at home.

<b>                     MAGUIRE
</b>          Should blow you away, you know that?

<b>                     FERGUS
</b>          I know that.

Maguire stubs his cigarette out on Fergus's hand, then whacks
him on the teeth with his closed fist.

<b>                     MAGUIRE
</b>          I'm getting emotional. And I don't want
          to get fucking emotional -- you
          understand, Hennessy?

<b>                     FERGUS
</b>          I understand.

<b>                     MAGUIRE
</b>          Fuck you, too --

Jude drives. Fergus looks through the back window at the
street outside.

<b>                     JUDE
</b>          Leave him alone, Peter. He's in love.

<b>                     MAGUIRE
</b>          That true, Fergus? You in love?

<b>                     FERGUS
</b>          Absolutely.



<b>                                                             77.
</b>


<b>                           MAGUIRE
</b>             And what's she like between the sheets?

<b>                           FERGUS
</b>             Definitely unusual.

<b>                           MAGUIRE
</b>             And who is she?

<b>                           FERGUS
</b>             Just a girl.

<b>                           MAGUIRE
</b>             And you know what'll happen if you fuck
             up again, don't you?

<b>                           FERGUS
</b>             Aye, I do, Peter.

<b>                           MAGUIRE
</b>             Good.

<b>EXT. REGENCY SQUARE - NIGHT.
</b>
The car draws to a halt in a sedate square. Several doors
down is the entrance to what looks like a sedate conservative
club.

In the car, Maguire turns off the engine. He nods toward the
building.

<b>                           MAGUIRE
</b>             So what do you think that is, Hennessy?

<b>                           FERGUS
</b>             A hotel?

<b>                           MAGUIRE
</b>             It's a knocking-shop. Tres discreet, huh?
             He visits his ladies on Tuesday and
             Thursday nights and Saturday mornings.
             His security's in the car beyond.

He nods toward a car, a Daimler, parked some distance away.
Fergus looks from the window to the car.

<b>                           FERGUS
</b>             Who is he?

<b>                           MAGUIRE
</b>             Doesn't matter who he is. He is what we
             would call a legitimate target.



<b>                                                          78.
</b>


<b>                       FERGUS
</b>          Thank God for that.

<b>                       MAGUIRE
</b>          You being cynical, Hennessy?

<b>                       FERGUS
</b>          Hope not.

<b>                       MAGUIRE
</b>          Good. So what do you think?

<b>                       FERGUS
</b>          Whoever hits him'll be hit, if those men
          are any good. And I presume you can't get
          in.

<b>                       MAGUIRE
</b>          Right.

<b>                       FERGUS
</b>          So it's on the street.

<b>                       MAGUIRE
</b>          Right.

<b>                       FERGUS
</b>          Kind of suicide, isn't it?

Jude turns around to look at him.

<b>                       FERGUS
</b>          But, then, I don't have a choice.

<b>                       JUDE
</b>          Och, you do, Fergie.

<b>                       FERGUS
</b>          Of course. I forgot.

<b>                       JUDE
</b>          Come on, Fergie. A rehearsal.

Jude and Fergus get out of the car. They walk down the
street, down from the brothel-cum-club, where there is a cafe-
bar with some tables outside.

<b>EXT. REGENCY SQUARE - NIGHT.
</b>
Fergus and Jude, crossing the street.

<b>                       JUDE
</b>          You keep your mind on the job, boy --



<b>                                                              79.
</b>


<b>                    FERGUS
</b>          And then you'll leave her out of it?

<b>                    JUDE
</b>          Aye. Then we'll leave her be.

They take their seats by the tables. We can see the brothel
down the way.

<b>                    JUDE
</b>          He's arthritic. Takes him two minutes to
          get to the door.

She checks her watch. Fergus is sweating.

<b>                    FERGUS
</b>          And what if I say no?

<b>                    JUDE
</b>          You know what. Go.

Down by the brothel, the door swings open.

Fergus walks like any pedestrian down toward the brothel.
There is an old, portly gent in a City suit emerging from it.
The car by the pavement kicks into action and the door opens.

Fergus quickens his pace.

Jude, by the cafe, watches. Fergus, walking.

The gent makes his way, with gout-ridden slowness, across the
pavement, through the passersby, toward the car.

A burly security man emerging from the car, walking toward
the old gent.

Fergus reaches the car just before he does, and passes
between him and the open door. The old gent's stomach brushes
Fergus's elbow.

<b>                    GENT
</b>          Pardon me, young man --

Fergus walks on.

Jude, from the cafe, watches -- Fergus walking on, the old
man being eased with painstaking care inside the Daimler.
Then the door closing and the Daimler pulling off.

When the Daimler has passed Fergus, he turns around and walks
back.



<b>                                                           80.
</b>


Jude smiles and leaps up as he approaches.

<b>                       JUDE
</b>          You were made for this.

<b>                       FERGUS
</b>          Was I?

<b>                       JUDE
</b>          Perfect.

<b>                       FERGUS
</b>          And what happens then?

<b>                       JUDE
</b>          We'll be on the other side. We'll move
          when you do.

<b>                       FERGUS
</b>          And what if you don't?

<b>                       JUDE
</b>          Fergus, I think you don't trust me.

<b>                       FERGUS
</b>          You may be right.

<b>                       JUDE
</b>          Stay late at your work tomorrow night and
          I'll bring you the gear.

Jude begins to walk away.

<b>                       FERGUS
</b>          Jude?

<b>                       JUDE
</b>          Yes?

<b>                       FERGUS
</b>          Who's the old geezer?

<b>                       JUDE
</b>          Some judge...

She walks off, crosses the road to Maguire, in the car.
Fergus turns around to see Dil in front of the cafe. She goes
inside; he follows.

<b>                       FERGUS
</b>          Why'd you follow me, Dil?



<b>                                                              81.
</b>


<b>                      DIL
</b>          Was jealous, Jimmy.

She downs a drink and motions for another. She seems high.

<b>                      FERGUS
</b>          Shouldn't be, Dil

<b>                      DIL
</b>          Why shouldn't I be jealous?

There are tears streaming down her face. He takes his hand
and begins to wipe her face.

<b>                      DIL
</b>          Don't. My makeup.

She sits down; he joins her.

<b>                      DIL
</b>          She own you, Jimmy?

<b>                      FERGUS
</b>          Yes.

<b>                      DIL
</b>          She from Scotland too?

<b>                      FERGUS
</b>          You could say that.

<b>                      DIL
</b>          And you're not going to tell me more?

<b>                      FERGUS
</b>          I can't.

He wipes the tears from her face with a tissue then dabs the
tissue in her drink and wipes some more.

<b>                      DIL
</b>          What you doing, Jimmy?

<b>                      FERGUS
</b>          I'm not sure.

<b>                      DIL
</b>          Do you like me even a little bit?

<b>                      FERGUS
</b>          More than that.

Dil's face, staring at him.



<b>                                                            82.
</b>


<b>                           FERGUS
</b>             Come on, let's go for a walk.

She allows herself to be led out.

<b>EXT. HAIR SALON - NIGHT.
</b>
Dil and Fergus walking. Fergus stops her by the window.

<b>                           FERGUS
</b>             You do something for me, Dil?

<b>                           DIL
</b>             Anything.

<b>                           FERGUS
</b>             You'd do anything for me?

<b>                           DIL
</b>             Afraid so.

<b>                           FERGUS
</b>             You got the keys to the shop?

They walk inside.

<b>INT. HAIR SALON - NIGHT.
</b>
Dil and Fergus standing in the darkness.

<b>                           DIL
</b>             You want another haircut, baby?

<b>                           FERGUS
</b>             No. Sit down.

He sits her down in one of the chairs.

<b>                           FERGUS
</b>             You'd do anything for me?

Dil nods.

<b>                           DIL
</b>             Anything.

Fergus takes up a scissors to snip at her hair. Her head
leaps back.

<b>                           DIL
</b>             No way --



<b>                                                             83.
</b>


<b>                        FERGUS
</b>          You said anything, Dil

<b>                        DIL
</b>          A girl has to draw the line somewhere --

<b>                        FERGUS
</b>          Want to change you to a man, Dil...

She stares at him.

<b>                        DIL
</b>          Why?

<b>                        FERGUS
</b>          It's a secret.

<b>                        DIL
</b>          You'd like me better that way, Jimmy?

<b>                        FERGUS
</b>          Yes.

<b>                        DIL
</b>          And you wouldn't leave me?

<b>                        FERGUS
</b>          No.

<b>                        DIL
</b>          You promise?

<b>                        FERGUS
</b>          I promise.

She takes a breath.

<b>                        DIL
</b>          Go on, then.

Fergus begins to cut.

CLOSE-UP ON DlL'S FACE as her hair is shorn. Tears stream
down her cheeks.

<b>                        DIL
</b>          You're no good at this, Jimmy.

<b>                        FERGUS
</b>          I'm sorry.

But he keeps cutting. He gives Dil a short, cropped military
cut like Jody's.



<b>                                                              84.
</b>


<b>                    DIL
</b>          You want to make me look like him...

<b>                    FERGUS
</b>          No. Want to make you into something new.
          That nobody recognizes...

She looks in the mirror at it in the dark.

<b>                    DIL
</b>          Don't recognize myself, Jimmy.

<b>INT. DIL'S FLAT - NIGHT.
</b>
Dil enters, with her new haircut. She goes to turn on the
light. He stops her hand.

<b>                    FERGUS
</b>          No.

She looks at her hand on his.

<b>                    FERGUS
</b>          Better in the dark.

Her fingers close around his.

<b>                    DIL
</b>          So it's true, then?

<b>                    FERGUS
</b>          What?

<b>                    DIL
</b>          You like me better like this.

<b>                    FERGUS
</b>          Yes.

She brings her lips to his neck. He lets them stay there. His
hands travel up to her blouse. He begins to undo the buttons.

<b>                    DIL
</b>          Oh, Jimmy --

Slowly the blouse slips down, exposing her male torso. She
falls down to her knees and tugs at his belt.

<b>                    FERGUS
</b>          No. No. Dil... get up...

He raises her to her feet and leads her toward the bed. She
stretches languorously down on it.



<b>                                                              85.
</b>

He unzips her skirt slowly, and draws it off. She turns on
the bed sexily, her face to the mattress. She is wearing
suspender-belts underneath her skirt.

<b>                        DIL
</b>          Baby...

But Fergus stands and walks quietly over to the wardrobe
where the soldier's things are. Dil on the bed, slowly turns.

<b>                        DIL
</b>          What are you doing, honey...

We see Fergus from her point of view, coming toward her with
Jody's white cricket shirt, glowing eerily in the dark.

<b>                        FERGUS
</b>          Don't call me that --

<b>                        DIL
</b>          Sorry. What you doing?

Fergus draws her slowly up to a standing position.

<b>                        FERGUS
</b>          Try this on, Dil

He wraps the shirt around her.

<b>                        DIL
</b>          Why?

<b>                        FERGUS
</b>          For me.

<b>                        DIL
</b>          For you...

She kisses him.

<b>EXT. SMALL HOTEL - NIGHT.
</b>
Fergus leading Dil, dressed in Jody's cricket clothes, down
the street and inside.

<b>                        DIL
</b>          Why are we going here, Jimmy?

<b>                        FERGUS
</b>          Look on it like a honeymoon.



<b>                                                              86.
</b>


<b>INT. SMALL HOTEL ROOM - NIGHT.
</b>
From above, we see the figures of Fergus and Dil, sleeping on
a double bed, both fully clothed. Fergus smokes, then puts
out the cigarette.

Time lapse. The light gradually fills the room. Fergus wakes.
Looks at the bedside clock, and very gingerly rises, puts on
his coat, and walks out.

<b>EXT. SITE - EVENING.
</b>
A car pulls up at the site. Jude gets out. She has a satchel
in her hand.

<b>INT. SITE - EVENING.
</b>
Fergus looking down a ladder-staircase at Jude.

<b>                        JUDE
</b>          You a handyman, Fergie?

<b>                        FERGUS
</b>          I take pride in my work.

<b>                        JUDE
</b>          I sincerely hope so.

Fergus climbs down a ladder to Jude; she hands him something
from the bag.

<b>                        JUDE
</b>          Tools of the trade.

She kisses him. Fergus looks at her expressionlessly.

<b>                        JUDE
</b>          And forget about the girl.

Fergus opens what Jude has given him -- looking inside. There
is a gun wrapped in an oilcloth.

<b>INT. SMALL HOTEL - NIGHT.
</b>
Fergus enters. The room is empty. He calls.

<b>                        FERGUS
</b>          Dil?

No reply. He runs outside.



<b>                                                              87.
</b>


<b>EXT. DIL'S FLAT - NIGHT.
</b>
Fergus looks up at her building, but the lights are off in
her flat. The sound of feet behind him. He turns and sees Dil
walking toward him, a bottle in her hand. He runs toward her.

<b>                        FERGUS
</b>          Dil! Dil! What the fuck are you doing
          here?

<b>                        DIL
</b>          I'm going home!

<b>                        FERGUS
</b>          Told you to stay in the hotel!

<b>                        DIL
</b>          Thought you was fooling me. Thought you
          was leaving me.

They are tussling in the darkness of the park. She is very
drunk.

<b>                        FERGUS
</b>          I had to go to work!

<b>                        DIL
</b>          Stayed all day in that room thinking
          every noise was you. There's something
          you're not telling me, Jimmy.

He takes her arm.

<b>                        FERGUS
</b>          Come on...

<b>                        DIL
</b>          No! I'm going home...

Fergus and Dil, on the stairs up to Dil's flat.

<b>                        DIL
</b>          So tell me.

<b>                        FERGUS
</b>          I was trying to get out of something.

<b>                        DIL
</b>          No! Tell me everything, Jimmy.

Fergus looks at her.



<b>                                                             88.
</b>


<b>                       FERGUS
</b>             You got to forget you ever saw me, Dil.

<b>                       DIL
</b>             You mean that?

<b>                       FERGUS
</b>             Yes.

And she suddenly faints into his arms. As if on cue.

<b>                       FERGUS
</b>             Stop it, would you?

There is no response. He shakes her.

<b>                       FERGUS
</b>             Give it over, Dil, for fuck's sake --

Still no response. He grows alarmed. He slaps her cheek. She
opens her eyes slowly.

<b>                       DIL
</b>             Sorry. I get nervous. I got this blood
             condition. Just help me inside, Jimmy,
             then I'll be all right.

<b>INT. DIL'S FLAT - NIGHT.
</b>
He walks in holding her. Leans her against the wall, then
goes to the window to check the street outside.

She takes a large slug from a bottle of whiskey.

<b>                       FERGUS
</b>             You heard what I said, Dil?

<b>                       DIL
</b>             My pills...

She points weakly to a cabinet through the open door of the
bathroom.

<b>                       FERGUS
</b>             What pills?

<b>                       DIL
</b>             Prescription. For my condition.

<b>                       FERGUS
</b>             What condition?



<b>                                                             89.
</b>


<b>                         DIL
</b>           My condition. Ennui.

He goes and gets the pills.

She takes a handful of pills. She drinks from the whiskey
bottle.

<b>                         FERGUS
</b>           Are you supposed to take that many?

<b>                         DIL
</b>           Only in times of extreme stress.

She walks around the room, drinking, then sits down.

<b>                         DIL
</b>           See, they all say good-bye sometime.
           'Cept for him.

She looks at the picture of Jody. Then she looks at Fergus.

<b>                         FERGUS
</b>           Are you all right, Dil?

<b>                         DIL
</b>           I will be.

She stares straight ahead, the bottle clutched in her hands
between her knees.

<b>                         DIL
</b>           Go on, then.

Fergus walks slowly toward the door.

<b>                         FERGUS
</b>           Good-bye, Dil

<b>                         DIL
</b>           Jimmy?

<b>                         FERGUS
</b>           What?

<b>                         DIL
</b>           Don't go like that.

She looks at him, standing up. Something incredibly
attractive about her.

<b>                         DIL
</b>           Can't help what I am.



<b>                                                              90.
</b>


He walks slowly toward her. He kisses her, on the lips.

We see the photograph with the soldier's smiling face. Fergus
looks from it to her. She seems to be in a sweet narcotic
haze. She reaches out her hand and strokes his.

<b>                       DIL
</b>          Knew you had a heart...

Fergus sits down on the bed. Dil is lying back on it.

<b>                       FERGUS
</b>          Dil Can I tell you something? I knew your
          man.

<b>                       DIL
</b>          You knew which man?

<b>                       FERGUS
</b>          Your soldier.

<b>                       DIL
</b>          You knew my Jody?

She still strokes his hand. Her voice is dreamily slurred,
her eyes far away.

<b>                       FERGUS
</b>          Lifted him from a carnival in Belfast.
          Held him hostage for three days.

<b>                       DIL
</b>          You knew my Jody?

<b>                       FERGUS
</b>          Are you listening?

Dil smiles woozily.

<b>                       DIL
</b>          Yes.

<b>                       FERGUS
</b>          I got the order to shoot him. Before I
          could do it he ran. Ran into a tank and
          died.

<b>                       DIL
</b>          Died...

<b>                       FERGUS
</b>          Did you hear me?



<b>                                                             91.
</b>


<b>                        DIL
</b>          You killed my Jody?

<b>                        FERGUS
</b>          In a manner of speaking.

<b>                        DIL
</b>          It was you...

She is not rational. She is smiling, far away somewhere.

<b>                        FERGUS
</b>          You should scream. You should beat my
          head off.

She woozily tries to hit him round the face.

<b>                        DIL
</b>          You killed my Jody

<b>                        FERGUS
</b>          No.

<b>                        DIL
</b>          You didn't.

<b>                        FERGUS
</b>          I suppose I tried.

<b>                        DIL
</b>          You tried.

<b>                        FERGUS
</b>          Don't you want to kill me?

Dil raises an unsteady hand and points it at him.

<b>                        DIL
</b>          Bang...

He strokes her cheek. She says very slowly and sleepily

<b>                        DIL
</b>          Don't leave me tonight. Might kill me,
          too.

<b>                        FERGUS
</b>          Okay.

Her eyes close. She falls into a deep sleep. Fergus looks
down at her, almost fondly.



<b>                                                             92.
</b>


<b>INT. DIL'S FLAT - MORNING.
</b>
They are lying on the bed together, fully clothed. Dil wakes.
She rises very quietly and goes to his coat, thrown across a
chair. She searches through the pockets and takes out the
gun.

<b>INT. HOTEL ROOM - MORNING.
</b>
Jude in bed. An alarm sounds; she reaches to turn it off.

<b>INT. DIL'S FLAT.
</b>
Dil takes several silk stockings out of a drawer and ties
them very securely to each corner of the brass bed. She ties
them round both of Fergus's feet, very gently, so as not to
wake him.

<b>INT. HOTEL ROOM - MORNING.
</b>
Jude, in front of a mirror, getting ready.

<b>INT. DIL'S FLAT.
</b>
She draws one of Fergus's hands up, very gingerly, and ties
that securely to the upright. She ties the other and is
drawing it upward when he wakes. She jerks the silk stocking
so it is secure.

<b>                       FERGUS
</b>             What the fuck --

Dil speaks unnaturally quietly.

<b>                       DIL
</b>             So tell me what you're doing, Jimmy.

<b>INT. HOTEL ROOM - MORNING.
</b>
Jude, fully dressed. She takes a gun from under the bed and
slips it in her handbag.

<b>INT. DIL'S FLAT - MORNING.
</b>
Dil crouching beside Fergus, his gun in her hand.

<b>                       DIL
</b>             Didn't really listen last night. I heard
             but I didn't listen.

Fergus, staring at her. He tries to pull on the bindings.



<b>                                                              93.
</b>


<b>                     DIL
</b>          That won't do you no good. Dil knows how
          to tie a body.

She stands up, still pointing the gun at Fergus.

<b>                     DIL
</b>          Wondered why you came on to me like that
          when you gave me the look.

<b>                     FERGUS
</b>          He asked me to see were you all right.

<b>EXT. STREET - DAY
</b>
Jude on the street. Maguire's car pulls up rapidly and she
gets inside.

<b>INT. DIL'S FLAT.
</b>
<b>                     DIL
</b>          See, I fix on anyone that's nice to me.
          Just the littlest bit nice and I'm yours.

<b>                     FERGUS
</b>          Stop it, Dil --

<b>                     DIL
</b>          Just don't kick Dil and she'll be
          touched. Be nice to her and she'll be
          yours forever.

She looks at him, tears in her eyes.

<b>                     DIL
</b>          See, I should blow you away, Jimmy. But I
          can't do that. Yet.

<b>                     FERGUS
</b>          Let me go, Dil

He drags at his bindings.

<b>                     DIL
</b>          Why?

<b>                     FERGUS
</b>          Got to be somewhere.

<b>                     DIL
</b>          Try and go, then.



<b>                                                              94.
</b>


<b>EXT. STREET BY BROTHEL - DAY
</b>
The figure of the judge in the window. Outline of a woman.
Jude and Maguire are in the car, parked across the street.
They look toward a paper seller.

<b>                       MAGUIRE
</b>          Where the fuck is he? Christ --

<b>INT. DIL'S FLAT.
</b>
Fergus pulls furiously at his bindings.

<b>                       FERGUS
</b>          Let me go for fuck's sake, Dil -- or
          they'll be here

<b>                       DIL
</b>          Let them come then.

<b>IN THE CAR. OUTSIDE BROTHEL.
</b>
<b>                       JUDE
</b>          Can't stay here, Peter -- drive around
          once more --

He drives off.

<b>INT. DIL'S FLAT.
</b>
Fergus collapsed back on the bed, exhausted.

<b>                       DIL
</b>          Just want your company for a little while
          longer...

<b>EXT. STREET BY BROTHEL - DAY
</b>
Maguire's car driving round once more. No sign of Fergus.

<b>                       MAGUIRE
</b>          That fucker's dead --

<b>                       JUDE
</b>          No, we are.

<b>INT. DIL'S FLAT.
</b>
Fergus strains and roars from the bed.

<b>                       FERGUS
</b>          You don't know what you're doing, Dil --



<b>                                                              95.
</b>


<b>                        DIL
</b>          Never did...

MAGUIRE'S POINT OF VIEW -- the brothel door opening. The
elderly judge comes out. The car with his security men guns
up.

<b>                        MAGUIRE
</b>          Give me the shooter, Jude --

<b>                        JUDE
</b>          You're crazy --

<b>                        MAGUIRE
</b>          Give me the fucking shooter!

He grabs it from her pocket. Throws open the door and runs
across the street. Jude dives into the driver's seat.

<b>INT. DIL'S FLAT.
</b>
Fergus, pulling at his bindings.

<b>EXT. OUTSIDE THE BROTHEL.
</b>
The judge walking toward the open door of the car, held open
by his goon. Maguire, running toward him, gun in hand. The
goon sees him. Maguire shoots as he runs. Once, twice, three
times, four. The judge falls. The goon, hit in the arm, pulls
an Uzi and returns fire. Maguire hit, still shooting. Other
goons tear from the car. Mayhem, screaming. Jude hits the
pedal on her car and screeches off. Maguire, dead.

<b>INT. DIL'S FLAT - DAY
</b>
Dil dressed in the soldier's cricket clothes. She looks like
a sweet little boy. She places a cassette in the tape deck --
"The Crying Game" song. She comes to the bed, and points the
gun at Fergus's head.

<b>                        DIL
</b>          You like me now, Jimmy?

<b>                        FERGUS
</b>          I like you, Dil --

<b>                        DIL
</b>          Give me a bit more, baby, a bit more.

<b>                        FERGUS
</b>          More what?



<b>                                                           96.
</b>


<b>                       DIL
</b>          More endearments.

<b>                       FERGUS
</b>          I like you, DIl

<b>                       DIL
</b>          Love me.

<b>                       FERGUS
</b>          Yes.

<b>                       DIL
</b>          Tell me you love me.

<b>                       FERGUS
</b>          Whatever you say, Dil.

<b>                       DIL
</b>          Then say it.

<b>                       FERGUS
</b>          Love you, Dil.

<b>                       DIL
</b>          You do?

<b>                       FERGUS
</b>          Yeah.

<b>                       DIL
</b>          What would you do for me?

<b>                       FERGUS
</b>          Anything.

She begins to cry and lays the gun gently on his chest.

<b>                       DIL
</b>          Say it again.

<b>                       FERGUS
</b>          I'd do anything for you, Dil.

She pulls on his bindings to release him.

<b>EXT. STREET.
</b>
Two police cars, sirens wailing.



<b>                                                              97.
</b>


<b>INT. DIL'S FLAT.
</b>
Dil's face, close to Fergus's, as the stockings that bound
his hands are nearly undone.

<b>                        DIL
</b>          And you'll never leave me?

<b>                        FERGUS
</b>          Never.

<b>                        DIL
</b>          I know you're lying, Jimmy, but it's nice
          to hear it.

His arm is free. He strokes her hair.

<b>                        FERGUS
</b>          I'm sorry, Dil.

She shudders with weeping. The music of the song plays in the
background.

Jude walking through the open door, arms extended, holding a
gun.

<b>                        JUDE
</b>          You stupid shit -- Once was bad enough.
          But twice.

Dil rises from the bed and points her gun at Jude.

<b>                        DIL
</b>          You didn't knock, honey --

Dil fires, hits Jude. Jude falls and is writhing on the
floor.

<b>                        FERGUS
</b>          Dil!

<b>                        JUDE
</b>          Get that thing off me, Fergus --

Dil walks closer, holding the gun and pointing it at Jude.

<b>                        DIL
</b>          What was that she called you, Jimmy?

<b>                        FERGUS
</b>          Fergus.



<b>                                                             98.
</b>


<b>                    DIL
</b>          What's Fergus?

<b>                    FERGUS
</b>          It's my name, Dil --

<b>                    DIL
</b>          What happened to Jimmy?

<b>                    JUDE
</b>          I said get it off me, Fergus --

Jude, on the floor, reaches for her gun. Manages to grab it.

<b>                    DIL
</b>          What's she going to do, Jimmy? She going
          to blow you away?

Dil shoots again, like a child, playing with a toy. She hits
Jude in her gun shoulder. Jude spins one way, the gun the
other.

<b>                    DIL
</b>          Was she there too? When you got my Jody?

Fergus screams


<b>                    FERGUS
</b>          Dil!!!

<b>                    DIL
</b>          I asked you a question, honey -- were you
          there too --

<b>                    JUDE
</b>          You sick bitch --

As she raises the gun, Dil shoots her repeatedly, saying:

<b>                    DIL
</b>          You was there, wasn't you? You used those
          tits and that ass to get him, didn't you?

Fergus screams from the bed. He rips free his other arm. Dil
shoots Jude in the throat, and she falls dead, covered in
blood. Dil turns the gun on Fergus.

<b>                    DIL
</b>          She was there, wasn't she?



<b>                                                          99.
</b>


<b>                        FERGUS
</b>          She was --

<b>                        DIL
</b>          And she used her tits and that cute
          little ass to get him, didn't she?

<b>                        FERGUS
</b>          Yes.

<b>                        DIL
</b>          Tell me what she wore.

<b>                        FERGUS
</b>          Can't remember...

Dil points the gun at him, squeezing on the trigger. Then she
stops.

<b>                        DIL
</b>          Can't do it, Jimmy. He won't let me.

She looks at the picture; walks over and sits down in front
of it.

<b>                        DIL
</b>          You won't let me, Jody --

She raises the gun and places it in her mouth. Fergus takes
it gently from her mouth and places it on the table. He lifts
her up by the shoulders.

<b>                        FERGUS
</b>          You've got to go now, Dil --

<b>                        DIL
</b>          Do I?

<b>                        FERGUS
</b>          Yes. Now.

<b>                        DIL
</b>          Am I in trouble, Jimmy?

<b>                        FERGUS
</b>          Not if you go.

<b>                        DIL
</b>          Will I see you again?

<b>                        FERGUS
</b>          You will, Dil



<b>                                                             100.
</b>


<b>                        DIL
</b>          Promise?

<b>                        FERGUS
</b>          I promise.

<b>                        DIL
</b>          Where am I to go, Jimmy?

<b>                        FERGUS
</b>          The Metro.

<b>                        DIL
</b>          Meet Col --

<b>                        FERGUS
</b>          Yes. Say hello to Col --

He leads her out the door. Fergus goes back into the room,
past Jude's body. Looks out the window to where he can see
Dil staggering down the street, through the crowds that have
gathered. The wail of police sirens coming closer. He watches
Dil run off, with her funny walk. Then looks down and sees
the cop cars pushing through the knot of people around the
house. He picks up the gun, wipes it with a rag to remove
Dil's fingerprints. He turns to the picture of the soldier;
talks to it.

<b>                        FERGUS
</b>          You should have stayed at home.

He sits in the chair by the window, waiting.

<b>                                                FADE TO BLACK.
</b>
<b>INT. PRISON VISITING ROOM - DAY
</b>
FADE UP to reveal a large interior, with light streaming in
the windows. Large barred doors open and a group of women
come through, with parcels, children in tow, etc. Among them
is Dil, looking resplendent. She walks past the rows of
convicts with their families, up to a glass cage, where
Fergus sits, waiting.

<b>                        DIL
</b>          Got you the multivitamins and the iron
          tablets, hon --

<b>                        FERGUS
</b>          Don't call me that --



<b>                                                        101.
</b>


<b>                        DIL
</b>          Sorry, love. Now, the white ones are
          magnesium supplement --

<b>                        FERGUS
</b>          Stop it, Dil --

<b>                        DIL
</b>          I've got to keep you healthy, Jimmy. I'm
          counting the days. Two thousand three
          hundred and thirty-four left.

<b>                        FERGUS
</b>          Thirty-five.

<b>                        DIL
</b>          I'm sorry, darling. I keep forgetting the
          leap year. What am I supposed to call you
          then, Jimmy?

<b>                        FERGUS
</b>          Fergus.

<b>                        DIL
</b>          Fergus. Fergus my love, light of my life -
<b>          -
</b>
<b>                        FERGUS
</b>          Please, Dil --

<b>                        DIL
</b>          Can't help it. You're doing time for me.
          No greater love, as the man says. Wish
          you'd tell me why.

<b>                        FERGUS
</b>          As the man said, it's in my nature.

<b>                        DIL
</b>          What's that supposed to mean?

She shakes her head.

<b>                        FERGUS
</b>          Well, there was this scorpion, you see.
          And he wants to go across the river. But
          he can't swim. So he goes to this frog,
          who can swim, and he says to him, "Excuse
          me, Mr. Froggy..."



<b>                                                           102.
</b>


CAMERA PULLS BACK, and as Fergus tells the story of the
scorpion and the frog, the music comes up -- "Stand By Your
Man."

<b>                                                    FADE OUT.
</b>


<b></PRE>
</b><b></b></pre><br>
<table width="85%" border="0" align="center" cellpadding="5" cellspacing="0" class="body" style="BORDER-TOP: #000000 1px solid; BORDER-RIGHT: #000000 1px solid; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid;">
  <tr> 
	<td align=center>
	<td><h1>Crying Game</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Neil Jordan" title="Scripts by Neil Jordan">Neil Jordan</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Action" title="Action Scripts">Action</a>&nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a>&nbsp;&nbsp;<a href="/genre/Romance" title="Romance Scripts">Romance</a><br><br><br>
		
		<a href="/Movie Scripts/Crying Game Script.html#comments" title="Crying Game comments">User Comments</a>
	</td>
</table>
<br><br>
<div align="center">
<a href="https://www.imsdb.com" title="Internet Movie Script Database"><img src="/images/lilbutton.gif" style="border: 1px solid black;"  alt="Internet Movie Script Database" border=1><br>
Back to IMSDb</a>
</div><br>
<br><br>
  </tr>
</table>
<br><br>
</table>

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
  <td background="/images/reel.gif" height="13" colspan="2">
</table>

<div align="center">
 <a href="https://www.imsdb.com" title="Internet Movie Script Database (IMSDb)">Index</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/submit" title="Submit scripts">Submit</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/links" title="Other sites">Links</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/link to us" title="Link to IMSDb">Link to us</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/feeds" title="IMSDb RSS Feeds">RSS Feeds</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/disclaimer">Disclaimer</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/privacy">Privacy policy</a> 
</div>

<br />

</body>
</html>
What is Fergus' alias in London?
What is Fergus ' alias in London ?
Jimmy
Jimmy
Jimmy 
Jimmy