Calvary Page #2

---

CLOSE on a picture -- a fair representation in charcoal of

the beach scene, but with the addition of two black

figures in a corner of the paper.

REVERSE-SHOT -- LAVELLE looking over MICHE.L’s shoulder,

impressed. MICHE.L ignoring him as he scratches away.

LAVELLE:

Not bad. Surprisingly.

I was expecting a daub.

MICHE.L

I was thinking, though, Father,

what if I was no good at all?

LAVELLE:

How do you mean?

MICHE.L

I mean, what if there’s something

you really want to do, or something

you really want to be, but you’re

no good at it at all?

LAVELLE:

That’s most people’s lives, Miche.l.

Sadly.

He looks up at the beach. Looks back at the picture.

(CONTINUED)

8.

12 CONTINUED:
12

LAVELLE:

Who are those two lads supposed to be?

MICHE.L

Don’t know. I’ve been reading these

ghost stories. Maybe it’s got some

thing to do with that. Spooky.

LAVELLE looks at MICHE.L. Pats him on the head.

13

INT. LAVELLE’S ROOM - NIGHT 13

LAVELLE enters, turning on the light, closing the door.

The room is spare -

Wooden bed, where his Golden Retriever, Bruno, is

sleeping. Grey wool blankets.

Whitewashed walls without adornment, save for a crucifix.

Cupboard. Writing desk with a large white seashell. Two

chairs, one at the desk, one beside the bed.

He tosses Moby Dick onto the bed. Bruno yawns. He sits on

the chair beside the bed. Thinks.

Removes one of his black leather Oxfords. Then the other.

Pauses, the second shoe still in his hand. Thinking.

Puts down the shoe beside its comrade. Gets up and goes to

the desk. Takes off his clerical collar. Pauses.

He looks out the window over the writing desk.

14

EXT. SLIGO CATHEDRAL - DAY 14

TITLE -- “Monday”.

The cathedral is an imposing structure. A handsome modern

edifice, with a massive tower.

15

INT. BISHOP’S OFFICE - DAY 15

BISHOP GARRET MONTGOMERY is eating a large cream scone the

size of a baby’s head. A silver tea-set in front of him.

His office opulently furnished and decorated.

MONTGOMERY:

So do you know who it was?

REVERSE SHOT -- LAVELLE seated opposite. Bereft of tea.

LAVELLE:

Yes, Your Excellency.

I know who it was.

MONTGOMERY:

Do you know him well?

(CONTINUED)

9.

15 CONTINUED:
15

LAVELLE:

Well enough.

MONTGOMERY:

Knowing this man as you do, do you

think it was an idle threat?

LAVELLE:

I don’t know. I’m not sure.

MONTGOMERY:

“Not sure” means it’s possible.

LAVELLE:

Yes. I suppose.

MONTGOMERY puts down the scone. Licks his fingers.

MONTGOMERY:

You didn’t grant him absolution,

obviously.

LAVELLE:

He didn’t ask for it.

MONTGOMERY:

Well there you have it. The man is

not penitent. There is no contrition.

He’s threatening to commit a crime,

not asking for forgiveness for one.

The inviolability of the sacramental

seal does not apply.

LAVELLE:

You’re saying I should go to the

police?

MONTGOMERY:

I’m not saying anything. The choice

is yours.

16

EXT. SLIGO TRAIN STATION (PLATFORM) - DAY 16

A train exits the station to reveal FIONA LAVELLE. Thirty,

attractive, her wrists bandaged. A suitcase at her feet.

[Note:
she has an English accent.]

LAVELLE appears.

LAVELLE:

Don’t tell me. You made the classic

error.

FIONA:

You’re supposed to cut down, not

across.

(CONTINUED)

10.

16 CONTINUED:
16

LAVELLE:

(after a pause)

I don’t know what else to say.

They look blankly at one another. LAVELLE opens his arms.

FIONA stands up. They embrace.

17

EXT. SLIGO TRAIN STATION - DAY 17

CLOSE on a little red convertible sports car. Bruno in the

passenger seat. He barks.

REVERSE SHOT -- FIONA and LAVELLE looking at the car.

LAVELLE:

Always wanted a fast car. A red one.

FIONA:

I thought you’d already had your

mid-life crisis.

LAVELLE shoots her a glance.

18

EXT. COUNTRYSIDE - DAY 18

The sports car crests a hill and zips by, LAVELLE at the

wheel, FIONA beside him, Bruno in the middle.

19

EXT. SPORTS CAR - DAY 19

LAVELLE accelerating ever faster, Bruno barking, FIONA

throwing her arms up in delight.

20

EXT. LYNCH’S BAR - DAY 20

Bruno sitting calmly in the car.

21

INT. LYNCH’S BAR - DAY 21

MILO HERLIHY, twenties, polka-dotted bow-tie, an oddly

blank look about him. FRANK HARTE, a good-looking older

man with a clinical air. Guinnesses in front of them.

HERLIHY:

You’re a very nice-looking young

woman.

REVERSE SHOT -- FIONA and LAVELLE waiting for their

drinks. FIONA laughs, glancing at LAVELLE, who smiles.

FIONA:

Thank you. I like your bow-tie.

HERLIHY:

It’s got polka-dots.

(CONTINUED)

11.

21 CONTINUED:
21

LAVELLE:

This is my daughter, Fiona, Milo.

She’s over from London.

HERLIHY:

You’re having me on.

LAVELLE:

I’m not having you on. What are

you on about?

HERLIHY:

You’re a priest!

LAVELLE:

I was married before I became a

priest. My wife and I had a child,

Fiona. My wife died. And after that

I joined the priesthood.

HERLIHY:

You can do that, can you?

HARTE:

It would appear so.

(noticing FIONA’s bandages)

Don’t tell me. You made the classic

error.

LAVELLE:

I’ve already done that gag, Frank.

HARTE:

You’re supposed to cut down-

LAVELLE:

I’ve already done it, I said.

LYNCH (O.S.)

Now, now.

BRENDAN LYNCH appears with a Coca-Cola bottle and glass,

and a double whiskey. Forty, handsome. Hands the Coke to

LAVELLE, the whiskey to FIONA -

LYNCH:

A drop of the hard stuff for

yourself, and a generous serving

of the auld water of life to

this beautiful and yet troubled-

FIONA:

Oh f*** off.

LYNCH looks blankly at FIONA. She takes a sip of the

whiskey as she moves towards a table. LAVELLE following.

(CONTINUED)

12.

21 CONTINUED:
21

LYNCH:

You have an exceedingly dirty

mouth. I like that in a hoor.

LAVELLE:

Brendan. Now’s not the time.

LYNCH looks from FIONA to LAVELLE.

LYNCH:

Whatever you say, Father.

You’re the boss.

22

INT. LYNCH’S BAR - LATER 22

LAVELLE and FIONA in a little nook. FIONA drinks her

whiskey. LAVELLE pushes his Coke bottle around.

FIONA:

How’s that working out for you?

LAVELLE:

Oh I haven’t been out on the tear

in a good while.

FIONA:

So you say.

LAVELLE:

Ah no, I’ve been a very good lad.

And don’t change the subject.

FIONA:

What was the subject?

LAVELLE:

You know what the subject was.

FIONA:

Oh Daddy, a man, a man. What else.

LAVELLE:

It’s getting to be a habit, honey.

FIONA:

I know. Pathetic. Can’t do anything

right.

She sips her whiskey. LAVELLE takes one of her hands. Rubs

the bandage with a thumb.

LAVELLE:

“Razors pain you.”

FIONA:

(looking at him)

“Rivers are damp.”

(CONTINUED)

13.

22 CONTINUED:
22

LAVELLE:

“Acids stain you. And drugs cause

cramp.”

FIONA:

“Guns aren’t lawful. Nooses give.”

LAVELLE:

“Gas smells awful.”

FIONA/LAVELLE

“You might as well live.”

They smile.

LYNCH studies them from the other end of the bar.

23

EXT. CHURCH - DAY 23

CLOSE on various angles of the church’s architecture --

windows, steeple, etc. -- emphasising its simple,

unpretentious nature.

FIONA (O.S.)

Back-to-basics, is what you’re

saying.

LAVELLE (O.S.)

Simplicity. Lack of ostentation.

That kind of thing.

LEARY (O.S.)

All your father’s idea. His baby.

*

*

LAVELLE, FIONA and LEARY are standing to the front and

sides of the church. LEARY carrying a box of toys.

*

*

LEARY:

We couldn’t go on with the old

one anyways. Falling to pieces.

Liable to get someone killed.

*

FIONA:

It’s a good gimmick, I suppose.

LAVELLE:

It’s not a gimmick.

FIONA:

I’m sorry, I didn’t mean...

LEARY:

They’d call it a rebranding in the

advertising world.

*

Rate this script:5.0 / 1 vote