Scene 1 (Ext.) A Terraced Street in Dublin.

(H.A.L.S.)  Funeral cars outside a house.  Mourners coming out of the house and getting into cars.  The scene is silent.  Almost slow motion.

A motorcycle breaks the silence coming roaring down the street with flashing ambers and headlights on.  It slows till it is parallel with the hearse.  Honking the horn loudly the rider throws a "V" Victory sign toward the coffin.  Before any of the mourners have recovered from their shock the biker roars off down the street.
 

Scene 2 (Ext.) A window in a house in the same street.

(M.S)   A neighbour's face at the window.  She shakes her head and allows the lace curtains to drop.  Her face appears veiled for a moment.  [CUT TO:]
 

Scene 3 (Ext.) In the back of a funeral car.

(M.S.)   A man holding his head in his hands stares blankly ahead in grief.  A voice is heard off.

VOICE: Bloody hooligan!
 
 

Scene 4 (Ext.) Outside Dublin.  The Strand.

L.S.L.A.   In the background a Martello Tower.  The bike from scene one is parked further up the beach.   The biker (Michael) stands looking out to sea indecisive.

M.S.    He throws a stone out into the sea.  Then another.  Checking his money, he makes a decision.  He walks over to the bike and starts the engine.
 

Scene 5 (Ext.) Dun Laoghaire Ferry.

L.S.    The ferry is closing up its ramp.  We hear a motorbike approach, then slow down.  The ramp goes fully up.
 

Scene 6 (Ext.) Dockside.

[Alternate]

M.S.    Michael watches the ferry leave port.

L.S    Ferry leaving port.
 
 
 

- - - - - - - - - - - MAIN TITLES  - - - - - - - - - - - -
 
 
 

Scene 7 (Ext.) On Board Ship.
 

M.S.    Michael stands on deck, looking out to sea.  He is no longer in leathers, but in a denim jacket and jeans.  A couple of drunks pass him.

1st Drunk - Sure `n' you should never have let her out of the house.

The second drunk mumbles something indistinct.   Michael doesn't register their presence.  He keeps looking out to sea.
 

Scene 8 (Int.) Inside the lounge on the ship.
 

M.S.    Michael double-takes.  He trembles a little then smiles.

M.S.    We see that he is smiling at a woman of thirty-eight or so.  (Katherine)  She is being very obvious that she'd like to talk to him.

M.S.    He lifts his glass in a silent invitation to a drink.

M.S.    She nods and in reply holds up a bottle of Guinness.

M.S.    He nods and turns to order.
 
 

Scene 9 (Ext.) Out on Deck.
 

L.S.    Michael and the woman cuddle and kiss, holding each other against the cold wind for warmth.

C.U.    [CLOSE UP OF MICHAEL] Katherine's Voice Off.

Katherine: See, it's not so bad is it?  It's too easy to get your troubles out of all proportion.  You're young enough to get over anything, aren't you?  It sounds like an old cliche sure enough, I know, but time does heal, you know.

M.C.U.   [MID CLOSE UP OF KATHERINE]

Katherine:  Here, give us another kiss.

M.S.    Michael goes to speak.  She puts a finger to his lips.

Katherine: I've a hotel booked in Bangor tonight.  I don't much fancy  staying there alone.   And don't you tell me I'm a terrible woman before you accept.
 

Scene 10 (Ext.) LATE AFTERNOON.  On the A.5. [MUSIC: JIG]

T.L.S.   Katherine in her car.  Michael driving the bike ahead of her.

M.C.U.   Katherine laughs.
 
 

Scene 11 (Ext.) Arriving in Bangor.
 

L.S.    Michael now following Katherine's car.
 
 

Scene 12 (Ext.) Outside a Hotel Entrance.
 

L.S.    Katherine hands her keys to a porter who gets in her car and drives it away.  She is stood on the steps for a moment waiting for Michael to dismount from his bike.   [THE JIG ENDS]  We hear the Bike's engine still running.

Michael looks over at her and she waves him to join her.

M.S.    Michael lost in decision.   Suddenly, he slams the bike into gear and zooms off.

M.S.    Katherine shouting after him:

Katherine: Michael!

The porter picks up her bag and gives her a knowing look.  She shrugs and goes into the hotel.
 

Scene 13 (Ext.) DUSK. The Coast Road. [MUSIC:  JIG]
 

L.S.V.H.A.  The bike roaring down the empty road.  Passing through Llandudno.  The bike is the only single moving object.
 
 

Scene 14 (Ext.) TWILIGHT. Colwyn Bay.
 

M.S.    The bike comes to a stop on the sea front at Colwyn Bay.  The sea is heavy and stones are being thrown up over the parapet.  Michael parks the machine and goes and stands by the sea wall.  The spray is heavy and breaks on him.

C.U.    Water dripping from Michael's face.  He licks the moisture off his lips and enjoys its salt taste.  He stands looking out to sea.  [MUSIC ENDS]
 

 FADE TO BLACK
 
 

Scene 15 (Ext.) DAWN. Colwyn Bay.
 
 

L.S.    FADE UP TO:  A bench in a bus shelter. Michael is sleeping in a sleeping bag.  He wakes up and looks at his watch.  With some effort he crawls out of the bag and folds it up.  Packing it onto the bike he looks up the Promenade.

P.O.V.   Two policemen on the beat walking slowly in his direction.

M.S.    He gets on his bike and drives away.
 
 
 

Scene 16 (Ext.) EARLY MORNING.  Mountain Road.
 

L.S.    Michael on the bike climbing up a mountain road, scaring sheep.  Lonely road.  Desolate and beautiful.  Michael pulls to a halt by a gate.  He gets off the bike and opens the gate.  He takes off his helmet and clips it to the side of the bike.

M.S.    Getting back on the bike, he drives it through the gate.
 

L.S.    Gets off the bike and closes the gate behind him.   Back onto the bike.  He drives slowly across the rough field.  Dropping out of shot behind a rise.
 

Scene 17 (Ext.) Mountainside.  [MUSIC MOURNFUL FLUTE]
 

L.P.S.   Long panning shot of landscape emphasizing the humbling quality of a vast canvas.  Track to pick up the bike and then Michael some distance from it - a tiny figure on the mountainside.  Lengthy Zoom to M.C.U.  Michael seems totally awed by the landscape.  A voice off breaks his concentration. [MUSIC ENDS ABRUPTLY]

 Voice: Oy, you!   What do you think you're doing, eh?
 

Scene 18 (Ext.) Sheep farmer approaching over rise.
 

Farmer: What the hell do you think you're doing bringing that thing in this field, eh?
 
 

Scene 19 (Ext.)
 

M.S.    Michael slipping his helmet on and remounting his bike.   He starts it and slams it into gear.

M.S.    The farmer looking nervous suddenly.  Roar of approaching bike.

Farmer: Jesus Christ!

He jumps out of the way and falls into mud.  Stumbles to his feet and looks after Michael.

P.O.V.   Michael is seen at the gate in the distance.  He opens it and drives out, then stops.

M.S.    Michael looking back at the gate.  The machine idling.  Leaving the gate open he heads off down the road, out of shot.  After some seconds a sheep pops its head out.

L.S.H.A.   Farmer running down to the gate.  Sheep spilling out onto the road.
 
 
 

Scene 20 (Ext.) Country Road.  [MUSIC FAST SLIP JIG]
 
 

H.A.L.S   Michael on the bike travelling country road.  After a few seconds to establish this, we see a number of motorbikes approaching from the opposite direction.

P.O.V.   Leading Biker sees Michael approaching.

P.O.V.   The bikers.  All minus helmets, roar past Michael with their horns blaring.  They wave and shout.  They weave all over the road testing his reactions and his nerve.  He keeps his cool.  As the last one passes him the rider throws him a "V" Victory sign with both hands.  After a second or two Michael looks behind him.  The road is empty.
 
 

Scene 21 (Int.) A Small Cafeteria.
 

M.S.    Michael sat staring into space.  A waitress tidies away his cup, but he doesn't register her presence.  He puts his elbows on the table and begins to flick the back of his teeth.  This action continues.  Michael vacant. [MUSIC ENDS]
 
 
 

Scene 22 (Int.) FLASHBACK. Interior of Dublin House.
 
 

M.S.    Michael as a young boy, dressed in a suit.  He stands fiddling with his tie uncomfortably.  A woman's voice is heard off.

Mother: Michael!  Will you leave your tie alone.  Hasn't your father fixed it for you once?  Oh come here!

Her hand comes into view, but we do not see her face.

Mother: Now leave it as it is!

She moves out of frame.

Mother: Agnes?  Agnes, are you ready?
 

M.S.    The door of the room opens and in walks a little girl in confirmation outfit.

Mother: Oh doesn't she look a picture.  Michael, isn't she only gorgeous?

C.U.    Michael nods his head without enthusiasm.  Then he looks uncomfortable and begins to fiddle with his tie again.
 
 
 

Scene 23 (Int.) Present Day - In Cafe.
 

C.U.    Michael as an adult.  A tear forms in his eye.  The waitress speaks off.

Waitress : Can I get you anything else love?

M.S.    Waitress looking concerned.  Unsure what else to say.

M.S.    Michael shakes his head.
 
 

Scene 24 (Int.) FLASHBACK.  Inside a church.  [ORGAN OVER]
 

L.S.    Confirmation service.   The family all hushed as Agnes repeats the responses.  A small commotion suddenly erupts.  Michael's mother makes her way over to him.  We only see her from behind.

C.U.    Young Michael looking really upset.  Tears stream down his face.

M.S.    The priest anxious to continue the service.

P.O.V.   Michael and his mother walking down the aisle towards the doors.

M.S.    A few members of the family swap confidences.  One shakes her head. [MUSIC STOPS]
 
 

Scene 25 (Ext.) FLASHBACK.  Outside the church.
 

M.S.    Michael looking thoroughly miserable.  His mother's voice is heard.

Mother: Oh Michael.   What are we going to do with you?

Pan down from his face to reveal a wet patch around his crotch.  Then back up to his face.
 
 

Scene 26 (Ext.) PRESENT. On the road again. [MUSIC: REEL]
 

M.S.    Michael slowly passes the quarries at Blaenau Ffestiniog.  The slate mountains teetering towards the road.  A couple of vehicles pass between the camera and the bike.   When they are gone, so is Michael.

L.S. (PAN)  Pan to see him heading towards the town in the distance.  When he is out of view, pan to view the town from a distance.  Slate Grey - Drizzle.
 
 

Scene 27 (Ext.) Street in Ffestiniog.
 

L.S.    Michael comes out of a news-agents with sweets.  He starts to walk down the street.   Noticing a shop that interests him, he enters.
 
 

Scene 28 (Int.) Souvenir Shop.  [MUSIC LOWERS]
 

L.S.    Michael looking at the wide variety of objects made using slate.  He picks one up.

M.C.U.   It is a painting on slate of a religious scene.  (A pieta)  He considers it carefully.

L.S.    Taking it to the counter, he hands it to the sales lady.

Saleslady: Twelve Pounds, please.

Michael hands the money over.

Saleslady: It's very popular that.  In fact that's the last one.   Is it for your mother?

Michael nods.

Saleslady: I thought so.   You looked the sort of lad who would buy it for his mum.  Oh, I hope you don't think me forward...

Michael shakes his head and smiles.

Saleslady: Well, if it's for your mum, I'd better wrap it.

She disappears into the back room briefly.  Michael suddenly dashes from the shop.  The camera follows him to the door but remains on the door.

Saleslady: Here you are then.  Oh...
 

M.S.    Saleslady stood at the door looking bewildered.
 
 

Scene 29 (Ext.) Street.  [MUSIC: MOURNFUL AIR]
 

L.S.    Michael walking towards his bike.  He puts his hands in his jacket and pulls out his gloves and his sweets.

M.S.    Michael, holding the sweets in his hand, looks up.

M.S.    Small boy by the bike looks up at him.

M.S.    Michael, indicates that he wishes to give the sweets to the boy if he's interested.

M.S.    Boy nodding vigorously.

M.S.    Michael hands over the sweets then gets on his bike.  He starts to drive off.

M.S.    The boy waves in Michael's direction.
 
 

Scene 30 (Ext.) On the road climbing out of Blaenau.
 

P.O.V.   The open road ahead.  Grey oppressive mountains on either side.   Keep with this until at the top of the hill the scenery changes into a more open landscape.  [MUSIC ENDS]
 

Scene 31 (Ext.) FLASHBACK.  Road by Estate.  Dublin.
 

L.S.    Agnes and Michael standing by the road waiting to cross.

M.S.    Michael looks left.  Looks right.  An intake of breath and he freezes.  There is a squeal of brakes and a dull thud.

SILENCE

L.S.    Michael still by the roadside.  A car is stopped.  The body of Agnes lying some distance from it.  She has been decapitated.

C.U.    Michael Expressionless.

L.S.    Absolutely still scene.  Slowly the passenger door opens and a man emerges.  He moves in a daze towards the body.

C.U.    Michael still expressionless.

P.O.V.   The man, having taken off his coat, attempts to cover the corpse.

C.U.    Michael Expressionless.

SUDDEN BURSTS OF SOUNDS.  SO MANY AS TO BE JUST NOISE.
 

Scene 32 (Int.) Pub.
 

M.S.    Michael sat in a half empty pub with a half finished pint in front of him.  He grabs his helmet and gets up.  As he makes his way to the door the camera pans to follow him.
 

Scene 33 (Ext.)
 

M.S.    Michael coming out of the pub.  Day is drawing to a close.  He heads off down the road.  Camera follows him until he is out of sight.
 
 

Scene 34 (Ext.) Evening.   Rhyl.   [MUSIC:  BOUNCY, HUMOROUS JIG]
 

L.S.    Michael's bike parked on the kerb.  Michael ringing the door of a guest house.  A woman opens the door and looks him up and down.  She notes the crash helmet.  She looks over at the bike and shakes her head.  She closes the door on him.  Michael stands a moment, undecided.  The woman's face re-appears at a window.

T.L.S.   He tries next door.   The door opens and an old man immediately shakes his head.  Michael walks up to the following house. After a moment's thought he decides not to knock.  Curtains are now open in a number of the houses.  He walks down to the last house on the row and on impulse goes up to the door.

M.S.    Before he rings, the landlord opens the door, nodding his head vigorously.  Michael hesitates, then walks up the steps and into the house.
 
 

Scene 35 (Int.) Rhyl Guest house.
 

T.M.S.   The landlord showing him upstairs.  Squalid hall and stairs leading to dingy room.  Michael follows him in.

P.O.V.   Michael taking in the objects in the room. Dirty counterpane.  Grimy armchair.  Pictures on the walls of prizefighters.

M.S.    The landlord smiling enthusiastically.  Telling him the price.

M.C.U.   Michael indecisive.  Then he nods.

M.C.U.   Landlord smiles.

T.M.S.   Michael gets his wallet out.  The landlord walks into frame and shakes his head.  Grabbing Michael by the arm, he leads him out onto the landing.  The camera follows them to the landlord's room.

L.S.    The room is really seedy and has a strange odour.  Michael doing his best not to balk or turn up his nose.  As well as more pictures of sportsmen, the room has a copy of the sculpture: "The Wrestlers". (Two Naked men wrestling)   Plus pictures of various young men in force's uniform.  Many of these are framed and have signatures.

M.S.    The landlord brings out the register.  Embossed and very fancy.   Michael signs it.

C.U.    The register.  Michael has signed: Sean O'Casey, Cork.   [MUSIC ENDS]
 
 

Scene 36 (Int.) Guest house Bedroom.
 

L.S.    Michael, sat at the end of the bed.  He looks about him.  Goes to the window and looks out.

P.O.V.   The street at night.  His bike parked outside.

M.S.    He returns to the bed and sits on the end again, staring off into space.
 
 

Scene 37 (Int.) FLASHBACK.   IN MICHAEL'S DUBLIN HOME.
 

M.S.    Michael, not much younger than he is at present, is stood on a chair furtively glancing into the next room through a small window at the top of the false wall.  He keeps ducking down to avoid detection.  Muffled voices of a couple making love.  One voice becomes clearer.

Man:  Oh Katy, yes.  Yes, Katy, yes!

Michael turns away from the scene.  He is holding his crotch, a pained expression on his face.

Woman: Hush...  Hush.. He'll hear you...
 

Scene 38 (Int.) PRESENT DAY.  IN THE BEDROOM.
 

M.C.U.   Michael with the same expression on his face, holding himself in like manner.
 
 

Scene 39 (Int.) FLASHBACK. BATHROOM IN THE DUBLIN HOUSE.
 

M.S.    Michael in the bath.  The door opens and he covers himself with his hands.  His mother's voice is heard:

Mother: What are you hiding behind those hands Michael?  You'd think I'd never seen it before.

Michael shyly smiles and removes his hands.

Mother: Oh, there's a lot more to hide I see since I last changed your nappies.

Michael re-covers himself and looks embarrassed.

Mother: Go away with yourself.  I'm only kidding you.  Here do you want me to do your back?

Michael smiles and nods.  Her arms come into shot.

Mother: I saw you last night, popping your head over.

Michael looks about to explode with shame.

Mother: If your father had seen you, I don't think you'd still be in the house.   Do you get me drift?

Michael nods, then smiles a sheepish grin.

Mother: You wouldn't need to watch if you had yourself a girl now, would you?

Michael hangs his head.

Mother: That's your back done.  You can do the rest yourself.
 
 

Scene 40 (Int.) PRESENT.  GUEST HOUSE BEDROOM.
 

M.C.U.   Tears stream down Michael's face.

Pull Out to
M.S.    He pulls himself together.  Grabbing his leather jacket he goes out.
 
 

Scene 41 (Int.) PUB.
 

L.S.    Michael is at the bar of an empty Pub.  He is staring into his glass.   Two young lads (Dave & Rob) come in with crash helmets.  They come up to the bar and order drinks.

Rob:  What are you having?

Dave: Oh, the usual.

Rob:  Two pints of lager please.

Dave is looking at Michael's crash helmet.  He nudges Rob, who speaks to Michael.

Rob:  Hey, is that your Commando outside?

Michael nods, coming out of a daze.

Rob:  A classic!

Michael smiles.  Rob looks at Michael's empty glass.

Rob:  Bitter, is it?

Michael nods.
 
 

Scene 42 (Ext.) NIGHT. Outside a farmhouse.
 

L.S.    Three motorbikes draw up to a farmhouse. Light from the porch and inside the house.  By this light we can see the bikes.  Two 90cc Jap Bikes with `L' Plates and Michael's Norton.  The three dismount and head towards the door.
 
 

Scene 43 (Int.) In Farmhouse.  Rave in Full Swing. [MUSIC: LOUD DANCE MUSIC]
 

M.S.    A girl (Carol) shouts over to a man (Gary).

Carol: What did he say his name was?

Gary: Who?

Carol: The bloke with Rob and Dave.

Gary: Michael, I think.

Carol: Ah...
 
 

Scene 44 (Int.) The Guest House.
 
 

M.S.    The landlord of the guest house in his dressing gown, walks up to Michael's door with two steaming mugs of cocoa on a tray.  He knocks.  No reply.  He speaks aloud:

 Landlord:  Mr O'Casey?   Mr O'Casey?  I thought you might like...  Mr O'Casey?

He opens the door with a key and walks in.  The room is empty.  He puts the tray down and looks for evidence of occupancy.  He finds washing implements on chair.  Satisfied, he leaves the room, forgetting the tray.  The camera doesn't follow the landlord out but tracks, and zooms in on the steaming mugs of cocoa.  The sound of key in the door.
 
 

Scene 45 (Int.) Bedroom of the Farmhouse.
 

M.S.    Michael, still with his shirt on, is sat awkwardly on the end of a bed.  He is being embraced by Carol.  Faint noises of the party at a later stage can be heard from below.

Carol: Never mind.  It happens.  Too much of that eye-tie rosé.

Michael looks distracted.  As if his mind is really elsewhere.

Carol: Hey, are you alright?  Look, don't worry.  It happens.  Especially having to use one of these damn things.

She holds up a limp durex.  Michael continues to look distant.
 

Scene 46 (Int.) FLASHBACK. The Dublin House.
 

L.S.    A number of people dressed in black stood around an open coffin.  The occupant is not seen.  Prayers and rosaries are being said.  Michael is stood at the back of the room.  He is shaking with tension.
 
 

Scene 47 (Int.) PRESENT. The Farmhouse Bedroom.
 

M.S.    Carol, now worried, is trying to shake Michael out of his trance.

Carol: Come on,  what is this?  Michael?  Michael?

M.C.U.   Michael, almost catatonic, withdrawn.
 
 

Scene 48 (Ext.) FLASHBACK.
 

L.S.    The scene of the death of Agnes is seen again.  The angle is different, but the silence is as absolute.
 
 

Scene 49 (Int.) PRESENT.   In Farmhouse Bedroom.
 

M.S.    Carol, now in dressing gown.  Gary has joined her.  The two exchange worried glances.  Michael is still staring fixedly ahead.

Carol: Should we call an ambulance or what Gary?

Gary: Aw C'mon.  He's just stoned!

Carol: He's not stoned.  He's had a few drinks but...

Gary: Trust Rob and Dave to land us with a loony!

M.C.U:   Michael, still out of it.
 
 

Scene 50 (Int.) FLASHBACK.  Room with Coffin.  Dublin.
 

M.S.    Michael, trembling in the mourning room.  The priest goes over to him.

Priest: Are you alright son?  Michael, are you alright?

Michael breaks out of it and nods, holding back tears.

Priest: Sure I know it's hard losing your mother at your age.  But you've got to carry on with your life.  That's what she'd want you to do, isn't it?  Well, isn't it?

Michael nods.

Priest: Of course it is.  Now I wouldn't mind a cup of tea.  Could you fix us one?

Michael nods.
 
 
 

Scene 51 (Int.) PRESENT.   The Farmhouse Bedroom.
 

L.S.    Michael nodding.  Carol notices it and Gary looks nervous.

Carol: Michael?

Michael looks up at her, throws his arms around her and sobs long and loud.  Gary looks very embarrassed and Carol indicates to him that he should leave.  He does so.

Carol: There, there.  It's alright.  It's alright.
 
 

Scene 52 (Int.) Downstairs in the Farmhouse. [MUSIC: SOFT]
 

M.S.    Gary assessing the ruins of the party.  He goes over to Dave and Rob who are out of it in their own way.

Gary: Eh, do us a favour Dave.  Don't bring that crazy paddy round here again, will ya?

Rob:  Jealous?

Gary: No, honest man.  It's just that he's completely off his head.
 
 

Scene 53 (Int.) Early Morning.  The Farmhouse Bedroom. [MUSIC: A SLOW MOURNFUL AIR]
 

M.S.    Two figures lie across the bed.  Michael, dressed as before, with his arms around Carol, still in her dressing gown.  He wakes and carefully extricates himself from her embrace.  Dressing rapidly, but quietly, he slips out of the door.  The camera lingers on Carol, asleep.  After some seconds a motorbike is heard starting up.  Carol wakes.  Realizing she is alone, she goes to the window.

P.O.V.   Michael riding away from the house.

M.S.    Carol turns, sighs and goes back to bed.
 
 

Scene 54 (Ext.) Approaching Rhyl.
 

T.M.S.   Michael on the road again.  Camera follows him into the street in which the guest house is situated.  He stops outside it.  Gets off his bike.

M.S.    He walks up to the door.  Thinks better of it and puts the key through the letter-box and gets back on the bike.  Looking up towards the window of his room.
 
 

Scene 55 (Int.) Guest house Bedroom.
 

T.M.S.   The Camera looking about the room.  It stops for a moment on his washing things.  Closes on the cold mugs of cocoa.  Outside a motorbike is heard over the music, revving and driving away.
 
 

Scene 56 (Ext.) Montage.
 

Montage:   Montage of shots of Michael driving through the Clwydian Range.  Spectacular views.  Wide, expansive, liberating.  Early morning. Nothing on the roads except the bike.   Ending with Michael stopping at one point to admire the scene.  [SLOW AIR COMES TO AN END]

M.S.    Michael looking out a view.  He is tensing about to recoil.  He suddenly lets out a piercing shout of joy. This lasts for several seconds.  Leaping about with pure energy, the tears transcended.
 
 

Scene 57 (Ext.) MIDDAY.  A country Pub.
 

L.S.    Shot of exterior of pub.  A couple, sat on the wall kissing.  Michael comes out of the pub with his pint.  He sits on his bike to drink it.  A roar of engines heralds the arrival of the bikers from Scene 20.  They encircle him and come to a stop.  Completely surrounded he puts down his pint and throws up his hands in mock surrender.  The bikers roar with laughter.
 
 

Scene 58 (Ext.) On the road again.  [MUSIC: DEFIANT REEL]
 

P.O.V.   Michael in the thick of the convoy of bikers.
 
 

Scene 59 (Ext.)
 

L.S.    The Biker's convoy approaching Rhyl.   They head onto the promenade from the bridge end.
 
 
 

Scene 60 (Ext.) Rhyl Prom.
 

L.S.    Bikers cruising down Rhyl Promenade.  They weave all over the road.

M.S.    Policeman talking on walkie-talkie.

M.S.    People showing their reaction to the cavalcade.
 
 

Scene 61 (Ext.) Woolworth's end of the Prom.
 

L.S.    Two police cars slip into position on the car park.  The bikers approach them.  Suddenly, at an unseen signal, all the bikers roar past the policemen, accelerating and throwing derogatory "V" signs.  The Police cars start after them.
 
 

Scene 62 (Ext.) Coast Road to Prestatyn.
 

L.S.    In the distance, can be seen the biker's approaching camera.  They speed past, followed by two police cars.
 
 

Scene 63 (Ext.) Prestatyn.
 

M.S.    Policeman on radio nods.  Starts car.
 
 

Scene 64 (Ext.) Coast Road near Prestatyn.
 

L.S.H.A.   Bikers approaching the railway bridge.  Police cars ready to cut them off or drive them down towards the beach.   As the convoy reaches the bend they opt for the beach.

T.M.S.   Michael looking about him apprehensively, packed in the throng of bikes.
 

L.S.    The pack heading down towards the hotel bend.
 
 

Scene 65 (Ext.) Outside Pontins.  Prestatyn.
 

L.S.    Three police cars make the bend impassable.  An inspector talks into his microphone.
 
 

Scene 66 (Ext.) Approaching the barricade.
 

P.O.V. Lead Bike. Police cars blocking the path.  The gap closing.
 
 

Scene 67 (Ext.) MONTAGE of shots at Contact Point.
 

Montage.   Bikes trying everything to evade capture.  Up on the pavement.  Trying to get through the gap in the police cars.  A couple escaping onto the beach, or the sea wall.  Some reversing direction only to see other police cars approaching.  In the melee some bikes collide.  Others deliberately ram themselves into the police cars.  Montage ends with H.A.L.S. (Pref. Aerial.)

H.A.L.S.   Police arresting individuals.  Ambulances arriving.  Bikes everywhere in disarray.
 
 
 

Scene 68 (Ext.) Ffrith Beach.
 

L.S.    Michael is among a number of bikers that escaped along the sea wall.  They turn in at Ffrith Beach Road, only to be faced with more police cars.  Slowly the riders all dismount.  [MUSIC ENDS]

M.S.    One biker holds out his hands ready for the handcuffs.  A policeman nearby shouts:

Policeman: You can cut the dramatics now son.

The biker drops his arms and shrugs.

M.S.    Michael dismounting from his bike.

M.S.    An Inspector looking shocked.  He opens his mouth and speaks:

Inspector: What the f...?

P.O.V.   Michael is revealed naked discarding his leathers.  Shouts and whistles from his fellow bikers are heard off.

Voices: Nice one paddy!
 
 

Scene 69 (Int.) Police Holding Cell.
 
 

M.S.    Four or five bikers crowded in the cell.  Michael at the back sullen.   His lip swollen slightly.  Dried blood in the corner of his mouth.

1st Biker: Ah they can do fuck all.  We was only speeding.

2nd Biker: C'mon Spike.  Speedin'?  And the rest.

3rd Biker: Woolyback coppers.  I bet we go down.

1st Biker: Fuck off.  I bet they only fine us, that's all.

2nd Biker: I bet Paddy there gets six months.

3rd Biker: That was fuckin' ace Paddy.  Fuckin' A.1.

1st Biker: I'll buy you a drink for that one.  When you get out.

C.U.    Michael smiling feebly.
 
 

Scene 70 (Ext.) The Courthouse steps.  Mold.
 
 

M.S.    Michael, walking down the steps, eyes firmly fixed on the floor.

Pan    Pan round with him to greet a fellow biker waiting to see him.

Biker: Er Paddy?  What are you gonna do with the bike, now they've banned you?

Michael stops and considers.  He hands over the keys.

Biker: Ah, cheers Paddy.

Michael starts to go.  Camera stays on biker who shouts.

Biker: It could have been worse.  You could've gone down.
 

C.U.    The biker shaking his head.

Biker: Poor Bastard.
 
 

Scene 71 (Ext.) Main Road to Liverpool.
 

M.S.    Michael hitch-hiking beneath a road sign that gives the mileage to Birkenhead and Liverpool.

L.S.    A car pulls to a halt some distance past him.  Michael runs to it.  As he draws near it pulls away.  He punches his thighs with his fist then returns to his original position.

P.O.V.   Cars passing by.
 

L.S.    A car slows to a stop just past him.  Michael makes no effort to run to it.  The car reverses to him and the window is wound down.   Katherine looks at him and smiles.

P.O.V.   Katherine looking him over.

Katherine: Well, are you getting in or aren't you?

L.S.    Michael gets into the car and it drives away.
 
 

Scene 72 (Ext.) Inside Katherine's car.
 
 

M.S.    Katherine is doing all the talking.

Katherine: So what happened to the bike?

Michael shrugs.  Katherine touches her mouth to indicate Michael's injury.

Katherine: Did you have an accident?

Michael shakes his head.  As he does to her next three questions.

Katherine: Stolen?   Broke down?  Re-possessed?  Oh you're a brilliant conversationalist.  What are we playing?  Twenty questions?

Michael nods in the affirmative and grins.

Katherine: Oh you...
 

C.U.    Michael grinning.  A far away look in his eyes.
 
 

Scene 73 (Ext.) MONTAGE.  [MUSIC:  AFFIRMATIVE JIG]  Shots of the journey to Liverpool.  Emphasizing the leaving behind of the natural world for man made conurbation.  The awful outer suburbia of the Wirral and the `bomb-site' post industrial feel of Birkenhead.  Then the Mersey Tunnel.  Much to be made of the claustrophobic winding entrance, leading to the long stretch in the middle in which the subterranean quality is strongest.  Ending in the emergence into Liverpool, which has an air of triumphant survival.
 

Scene 74 (Ext.) In Katherine's car. [MUSIC LOWERS]
 
 

M.S.    Katherine turns to Michael occasionally as she talks.  He is wide-eyed, taking in details of the city which he is seeing for the first time.

Katherine: These signs always bloody confuse me.  Which way?  Ah right.  Oh No!.

A car horn blasts and brakes squeal.

Katherine: And to you `n' all.  Now, Michael, do you fancy something to eat, on me.  There's loads of phony "establishments" sprung up all over this city, but I know just the place.

We do not see Michael's response. [MUSIC ENDS]  [Cut to:]
 
 

Scene 75 (Int.) Downmarket Cafeteria.
 

M.S.    Katherine and Michael are finishing Chips, Egg, Sausage and Beans.  Two huge steaming mugs of tea in front of them.

Katherine: Right, I'll have to be away.  I'll meet you in the bar of my hotel at half past four.  O.K.?

She gives him a piece of paper.  He glances at it, nods and then shakes his head at her next question.

Katherine: Now you won't go running off again, will you?  See you well.
 

Pan.    Camera follows her out.  She waves at the door.  Then camera pans back round to Michael, who sinks the remainder of his tea.
 

Scene 76 (Ext.) Liverpool.  [MUSIC: REEL]
 

L.S.    Michael wandering down Church Street with a spring in his step.
 

Scene 77 (Ext.)

T.M.S.   Michael at the Queen Victoria Statue.  He is puzzled by a few people laughing at it.  He walks over to them.

P.O.V.   Queen Victoria's "Manhood" is revealed.  (The sceptre the lady holds looks identical to a penis when viewed from  James Street.)

M.C.U.   Michael laughing.

L.S.    An old lady shaking her head.
 
 

Scene 78 (Ext.)
 

L.S.    Michael at the Pier Head, looking out over the water.
 
 

Scene 79 (Ext.)
 

M.S.    Michael buying two doughnuts, hot from the fat.  Blowing on one to cool it down.
 
 

Scene 80 (Ext.)
 

L.S.H.A.   Crowded streets full of people appearing to move to the beat of the reel.  [MUSIC ENDS]
 
 

Scene 81 (Int.) Hotel Bar.
 

L.S.    Katherine talks to the barman.

Katherine: And have you been here all afternoon?

Barman:  All afternoon, yes.  No-one of that description has-

Katherine: Never mind.  Can I have a whisky please?

Barman:  Coffee or Tea only till half five I'm afraid.

Katherine: What?

Barman:  The boss is presbyterian.  He wasn't in favour of the change in the laws.  So what's it to be?

Katherine: I'll skip it, thanks.

She walks out of the bar.  The barman carries on with his job, an enigmatic smile on his face.
 

Scene 82 (Int.) Evening.  In Katherine's Hotel Room.
 

M.S.    Katherine, dressed in a toweling dressing gown.  Noise of a bath running, off.  She goes into the bathroom adjacent and closes the door behind her.  A soft knock is heard.
 
 

Scene 83 (Int.) Corridor outside Katherine's room.
 

M.S.    Michael knocking gently on the door.  He listens.  Silence.  He turns away, smiles and descends the stairs.
 
 

Scene 84 (Int.) Katherine's room.
 

M.S.    Katherine re-enters her room, drying her hair.
 
 

Scene 85 (Int.) Hotel Bar.
 

M.S.    Michael sitting at bar with a half finished pint in front of him.  The bar is a little more crowded than before.  He looks at his watch and sighs.

M.S.    The barman looking over at him.  Again that enigmatic smile.

Scene 86 (Int.) The Hotel.
 

M.S.    Katherine's room.  She is dressed ready to go out.  She looks at her watch and then closes the door of the room.
 

T.M.S.   The camera follows her downstairs.  She stops briefly in the hall as if she has sensed something.  Walks over to the bar entrance.

P.O.V.   She looks around the bar.  Her eyes inadvertently resting momentarily on Michael's empty seat.  The barman catches her eye.  That smile again.

M.S.    She leaves the hotel.
 
 

Scene 87 (Ext.) Outside a Cinema.
 

L.S.    Katherine is seen in a crowd leaving a cinema.
 
 

Scene 88 (Int.) The corridor outside Katherine's room.
 
 

M.S.    Katherine steps into shot with her key in her hand.  As she is about to enter a cough behind her disturbs her.  She turns.
 

P.O.V.   Michael sat on the steps leading to the upper floor smiles at her.

Katherine: I'd given up on you.

As he gets up [MUSIC STARTS: MICHAEL'S THEME - PLANXTY NORTON]
 
 
 

Scene 89 (Int.) Katherine's Room.
 

M.S.    Michael sat on the edge of the bed.  Undoing the back of Katherine's dress.  She turns and slips out of it, revealing her breasts.
 

Scene 90 (Int.) FLASHBACK.  In the Dublin House.
 

M.S.    Michael sat on edge of his bed at home.  His mother stood beside him with her back to the camera.  She slips off her robe and stands naked before him.  He buries himself in her breasts.

M.S.    View from behind Michael.  At last we see the face of his mother.  The same actress plays her as plays Katherine.  She closes her eyes in fulfillment.
 
 

Scene 91 (Int.) PRESENT. Katherine's room.
 

M.S.    Katherine and Michael in passionate, naked embrace.  He holds her in an intense clinch.
 
 

Scene 92 (Int.) FLASHBACK.  Dublin Bedroom.
 

L.S.    Michael and his mother in naked embrace.  Very loving.
 

Scene 93 (Int.) FLASHBACK. Dublin Bedroom.
 

M.S.    Michael trying to wake his mother up.  Slowly he realizes that she is dead.
 
 

Scene 94 (Int.) PRESENT.  Katherine's bedroom.
 

M.C.U.   Katherine looking up and smiling.

M.C.U.   Michael - tears forming in his eyes.

M.C.U.   Katherine shakes her head to deny him his tears.

[MUSIC ENDS]
 
 
 

Scene 95 (Int.) INNER MIND. Dublin House.
 

L.S.    A single high note throbs in the background.  The coffin splinters and cracks open.  Out of the matchwood steps his mother naked and smiling.

 [HIGH PITCHED NOTE ENDS - SILENCE]
 
 

Scene 96 (Int.) PRESENT.  Katherine's room.
 

L.S.    Katherine asleep in the hotel bed.  Early morning sunlight drifting in through the window.
 

Scene 97 (Ext.) Outside Hotel.
 

M.S.    Michael leaving the hotel.  A big grin on his face.
 
 

Scene 98 (Int.) Katherine's room.
 

M.S.    Katherine awakes to find herself alone.  She smiles.  Pulls back the covers and gets up.

Scene 99 (Ext.) Liverpool.
 

L.Z. to M.S.  Michael is picked out after a long zoom.  He is sat on a bench in the middle of a pedestrian shopping area.  He has a beaming smile on his face as he watches the crowd hurrying by.  The old lady on the bench next to him has obviously been studying him for some time with some amusement.  At last she can no longer restrain herself.

 Old Lady:  It's a grand life, isn't it?

 Michael:  It certainly is!
 

Z.Out.   Michael and the old lady in a paroxysm of laughter.   Long zoom out - revealing passers by reacting to them.  Zoom out until the pair are just about visible among the throng.
 

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