BEAUTY AND THE BEAST
Masques
Season 1, Episode 5
Original Air Date – October 30,
1987
Director – Alan Cooke
Editor – Howard Kunin
Teleplay by - George RR Martin
Story by – George RR Martin
Music by – Don Davis
Main theme – Lee Holdridge
Production Designer – John Mansbridge
Producer – David Peckinpah
Guest Cast
Brigit O’Donnell – Caitlin O’Heaney
Donald/Jamie – Eric Pierpoint
Sean O’Reilly – Aubrey Morris
Michael McPhee – Gerry Gibson
Charles Chandler – John McMartin
Co—stars
Cavanaugh – Ernie Lively
Kipper – Corey Danziger
Moe – Martin Gardner
Abbey – Kimberley McCullough
Mr. Brennan – Alex Powers
David – Michael Bacall
Doorman – John David Conti
Waiter – Gregory Cooke
Jogger – David Dario
Jeff – Harry Moses
Butler – Michael T. Laide
Little girl – Lindsay Parker
Henry VIII – Frank Patton
Greg – Roger Scott
Marie – Kate Stern
ACT ONE
FADE IN:
INTERIOR - CATHERINE’S APPARTMENT
The doorbell rings.
CATHERINE
I’m coming.
Catherine comes from the direction of the bathroom wrapped only in a towel which she clutches closed in front of her. She has another towel wound around her head turban style. She has just stepped out of the shower and is still very wet. She unlocks the door opening it as far as the chain will allow. On the other side are three children dressed in costumes.
CHILDREN
Trick-or-treat, trick-or-treat.
Catherine slips off the chain and opens the door.
CATHERINE
Don’t you all look just great.
She smiles as she compliments them and tosses candy into their sacks.
CATHERINE
Happy Halloween.
CHILDREN
Thank you!
The children turn to go and start down the hallway. The little girl turns back to Catherine.
LITTLE GIRL
Thank you.
CATHERINE
You’re welcome.
Her father, resplendent in his civil war confederate officer’s uniform complete with saber, comes down the hall almost bumping into the little girl.
CATHERINE
Dad . . . hi.
He comes through the door looking her up and down.
CHARLES
Am I early, are you late – or is
that your costume?
CATHERINE
Oh, I’m late. I’m sorry, Dad.
I lost track of time at the office.
CHARLES
Well, you never used to lose track of
time when you worked for me.
CATHERINE
Oh sure, I did every morning. If you
could just hold the trick-or-treaters
at bay, I’m sure I could get dressed
in time to arrive fashionably late.
CHARLES
Likely story! I figure about an hour and a half.
CATHERINE
Oh, that was the old Cathy.
I’ll be ready in fifteen minutes.
She goes into the bedroom. Charles drops his hat and gloves on the glass coffee table and sits down or rather tries to sit down. His saber is making itself a little awkward, but he rearranges it and finally manages to get comfortable.
CUT TO:
INTERIOR - TUNNELS
Different portions of the tunnels are shown all empty and eerie. In Father’s chamber the costume-clad children of the world Below sit on the floor totally engrossed in the tale Father was telling them. The camera pans across the children coming to rest on Vincent, sitting on the edge of a table listening to Father.
FATHER
And from that day forward, John always kept
a light burning in his window by night so
that Dierdre might find her way back to him.
And in the deepest part of winter,
when the snows lay thick against the
walls of his cottage, and the cold wind
came shrieking from the north, John
would take down his bow, and he would
walk through the forest, calling her name
until his voice was hoarse and the tears
froze hard upon his face. But she never
answered, and until his dying day . . .
John . . . never saw her . . . again.
CHILDREN
It’s sad. That’s a great story!
ABBEY
That was a good one!
KIPPER
Tell us another one, Father; the one
about the headless horseman.
DAVID
Yeah, tell us that one.
FATHER
You’ve had enough ghosts for one night.
Now go on, Mary wants some help
to carve out more Jack-o’-lanterns.
The children get up and scurry out of the chamber, giggling and laughing as they go to carve pumpkins with Mary.
VINCENT
Every year they ask for the same stories,
by now they must know them better than you do.
FATHER
Well, you know old stories are rather like old
friends, every so often you have to drop in on
them again, just to see how they’re doing,
and anyway I can remember a certain young
boy who would never let a mere jack-o’-lantern
deny him a visit to Ichabod Crane.
Vincent smiles, remembering, then he picks up a book. Father watches him, concerned.
FATHER
You’re still determined to go, are you?
I wish you’d reconsider.
VINCENT
Father, surely on this night of all nights
I can walk among them in safety.
FATHER
Safety? Vincent, there is no safety up
there! For you or anyone else.
VINCENT
Well . . . sometimes we must leave our safe places,
Father, and . . . walk empty handed among our enemies.
FATHER
Those are Brigit O’Donnell’s words.
VINCENT
Those are true words. Words that have
opened doors for me . . . let some light
in on the dark places. You know what she’s
meant to me.
FATHER
I do, and I also know there’s a danger
of confusing the magic with the magician.
Sometimes the person is smaller than the
work, weaker, more frightened, more human,
and I don’t want to see you hurt, disappointed.
VINCENT
She will not disappoint me. Our lives are
very different and yet I’m sure we’ll understand
each other. I will not lose this opportunity.
(Vincent rises.)
I must see her, talk to her.
Father gets up, his back to Vincent.
FATHER
Well, go on then if you’re set on it.
Obviously, there’s nothing I can do to stop you.
Vincent collects his cloak from the chair and begins to leave. Father calls to him.
FATHER
Vincent . . . be careful.
Vincent goes to him, kissing him on the cheek.
VINCENT
Don’t worry.
He goes up the stairs, leaving the chamber. Father sinks back into his chair a worried expression on his face.
CUT TO:
INTERIOR - CATHERINE’S APARTMENT
Catherine comes out of her bedroom dressed in an eighteenth-century ball gown. She spins around to give her father the full affect.
CHARLES
Whoa! Well, hardly fifteen minutes,
but well worth waiting for.
He gets off the couch and goes to her.
CATHERINE
Isn’t it wonderful?
CHARLES
Well, you don’t know how happy I am
that you let me talk you into this.
Since you left the firm, I hardly ever
get to see you.
CATHERINE
Well, they keep me pretty busy, but
I miss you too.
CHARLES
Now don’t be shy about leaving me to
fend for myself. I’m not so old that
I don’t remember how romantic these
affairs can be. A lot of your old friends
are going to be there tonight.
CATHERINE
Well, I’m going to this party to be
with you.
CHARLES
You’re going to this party to meet Brigit
O’Donnell, just like everybody else.
CATHERINE
That too.
CHARLES
Have I told you how beautiful you look?
Sometimes you remind me so much
of your mother.
CATHERINE
I miss her too.
CHARLES
Someday you’ll find someone you can love
as much as I loved your mother. We were
two of the lucky ones. I have my memories
and I have you.
CATHERINE
You sure do.
They kiss and go to the door.
CUT TO:
INTERIOR - COSTUME RENTAL STORE
Moe, the owner, is just flipping the OPEN sign to CLOSED when a man opens the door.
MOE
Sorry, I’m closed.
MICHAEL
Now listen, I must have a costume, and
if it’s money you want, I’ve got it.
He shows Moe a roll of bills and shoves his way inside.
MOE
Come on! You come back you can have
your pick: Jesse James, Darth Vader,
King Arthur, whatever you want,
but closing time on Halloween night?
Seeing the determined look on the man’s face, Moe relents.
MOE
All right, all right. I’ll see what there is
in the back. You don’t mind, maybe,
a little frayed, a button missing?
MICHAEL
It doesn’t matter, just hurry up.
MOE
Here. Maybe, this’ll fit.
He comes out with a Revolutionary Redcoat costume.
MICHAEL
Now what the hell is this?
Michael takes the costume, glaring at it then grabs the clerk by the shirt.
MICHAEL
You having a bit of fun with me or
something? Is that your game? Get
that damnable rag out of my sight
and find me something decent.
He throws the costume on the floor and shoves Moe away. Moe looks up at a clown costume seeing that it might fit. He takes it down hurriedly, anxious to get rid of this quarrelsome customer.
MOE
Here, here . . . it’s too big? Well, there’s
nothing else. If that doesn’t suit you,
then take your business elsewhere.
MICHAEL
This’ll do rightly.
MOE
The changing booth is there.
He indicates a curtain. Michael goes inside to change. He takes off his coat; there is a gun stuck into the waistband of his pants. He has left his newspaper on the counter. Moe picks it up and sees one of the banners ‘Masked ball to fete Irish peace activist Brigit O’Donnell.’
CUT TO:
EXTERIOR - BRENNAN APARTMENT BUILDING
CUT TO:
INTERIOR - BRENNAN APARTMENT
Inside the apartment the party is in full swing. The masked musicians are playing to a crowded dance floor where guests are dressed in an assortment of fanciful costumes. There is a Zorro, an Arab with his belly dancer, a vampire and a host of ghouls and goblins. Catherine and Charles step out of the elevator and up to the top of the stairs where the butler takes their initiation. His head is completely painted blue, and he has two springy antennae bobbing over his head. Waiters and waitresses are passing by with drinks and hors d’oeuvres.
WAITER
Champagne? Madam? Sir?
They each take a glass. A silver faced knight comes toward them.
BRENNAN
Charles, is that you? Hi.
He sees Catherine standing beside her father.
BRENNAN
Surely, not Cathy?
CATHERINE
Hi, Mr. Brennan.
He takes her hand and kisses it.
MARIE
Cathy!
Catherine hears her name being called and excuses herself to go to Marie, a co-worker from her father’s firm.
CATHERINE
Marie, you look wonderful.
MARIE
You do too.
CATHERINE
Hi, Jeff
JEFF
Hi, Cathy. You meet Brigit yet?
CATHERINE
No. I just arrived.
JEFF
She’s a remarkable woman.
MARIE
Jeff’s taken a tremendous interest
in her cause.
CATHERINE
I can imagine.
Someone comes up to them dressed as the electric cowboy.
GREG
Did you hear: she sold that book
‘300 Days’ to Hollywood?
MARIE
It’s Romeo and Juliet with Irish accents.
JEFF
Oh, come on now, that’s a terrific story.
BRENNAN
Cathy, I was going to introduce your father
to Brigit, care to come along?
CATHERINE
I’d love to.
CUT TO:
EXTERIOR - BALCONY OF BRENNAN APARTMENT
Vincent jumps lightly over the balcony railing and peers through the French doors at the interior of the room.
CUT TO:
INTERIOR APARTMENT
The trio approach Brigit, passing through the dancing couples, but before they can be introduced, a man intervenes placing himself between them and Brigit.
THOMAS
Hold up there. Let’s have a look here.
He indicates the saber at Charles’ side. Charles hands it over to him for his inspection.
BRENNAN
I’m terrible sorry, Charles; Mr. Cavanaugh,
here, is one of Brigit’s bodyguards.
THOMAS
No offense, sir, but there have been
threats . . . orange men, croppies.
CHARLES
Croppies, did he say? I’m afraid
I don’t understand.
BRIGIT
No reason you should. It’s from an old war:
an Irish Catholic uprising against the British
and their protestant allies. The rebels had
short-cropped hair, you see.
CATHERINE
That was what, 200 years ago? That’s a long
time to remember a hair cut.
BRIGIT
We, Irish, have long memories. My father
taught me all the songs about the brave
croppy boys when I was still in the cradle.
CHARLES
I stand instructed. I’m afraid history was
never my subject. Most of what I did learn,
I managed to forget.
BRIGIT
Forgetting is a trick Ulster could
stand to learn.
BRENNAN
Charles, there’s Samantha; she’ll never
forgive me if I don’t take you over to say hello.
CHARLES
Duty beckons.
BRIGIT
I like your mask. I wrote a story about an
owl woman once, just a little fable for children.
CATHERINE
For children of all ages, I read it
just last year and I loved it.
BRIGIT
Did you now? Well, it’s not easy
to find, that one.
CATHERINE
It was given to me by a friend, a very
special friend. You have a real gift.
I only wish you wrote more children’s stories.
BRIGIT
I wish I could. There are darker things
than ghosts in Ireland now . . . and you
can’t hear the fairy music for the gunfire.
CUT TO:
EXTERIOR - BRENNAN BALCONY
Vincent moves closer to the French doors.
CUT TO:
INTERIOR - PARTY
CATHERINE
I love the work. For the first
time in my life, I feel…
She sees Vincent across the room.
BRIGIT
Catherine, what’s wrong?
CATHERINE
Nothing. I just . . . thought I saw
someone I knew. Would you excuse me?
She prowls around the crowded room, looking for Vincent. She sees a black cloak and reaches out.
CATHERINE
Vincent?
The figure turns and she sees that it’s someone dressed up as Dracula. She goes outside onto the balcony, searching.
CATHERINE
Vincent?
FADE OUT:
END OF ACT ONE
ACT TWO
FADE IN:
Vincent has entered the room and is circling around the party’s perimeter, taking in all the sights, sounds and smells that are assaulting his senses. He almost bumps into a skeleton, which is decorating the bandstand. As he continues around the room, a waiter comes up to him.
WAITER
Caviar, sir?
VINCENT
Caviar?
WAITER
It’s Beluga, sir.
VINCENT
From Russia?
His gaze is suddenly drawn by Brigit, who is dancing with her bodyguard. He stares intently at her. She feels his stare and returns it. When the music ends, she remains mesmerized.
THOMAS
What is it Brigit? Is it trouble?
BRIGIT
No, Thomas. It’s all right. Go on with
you now . . . party. Not every man that
is looking at me is wanting to lay me
in my grave.
She strides over to Vincent.
VINCENT
Brigit O’Donnell.
BRIGIT
Herself.
VINCENT
I didn’t mean to interrupt your dancing.
BRIGIT
An act of mercy. Thomas is a good friend
and a brave man, but a dancer, he’s not.
She stares at him.
BRIGIT
Extraordinary! You look as though you might
have ridden with Cuchulainn, or sailed with Theseus.
VINCENT
Only in my dreams . . . and sometimes in books
like yours. Your writing has helped me through
some dark times. You’ve touched me, made me
think. I just wanted . . . to tell you . . . to thank you.
BRIGIT
Come, thank me outside.
She leads the way to the balcony, the crowd parting before her. Catherine had just come inside through another door and spots them; she starts to go after them when a hand suddenly comes down on her shoulder.
DONALD
Masks make life so interesting. Under all
those feathers you could be anyone, a
childhood friend, an old lover. Come on
now, help me out. Am I getting warm?
CATHERINE
I’m afraid not
DONALD
A famous writer, then.
CATHERINE
You’re getting colder
DONALD
Tripped over my own sword again. The
butler’s the real pirate. I slipped him a
ten spot to tell me what the guest of
honor was wearing.
CATHERINE
Well, I don’t think you’ll be getting a
refund; Brigit is also wearing an owl mask.
DONALD
Consider it money well spent. I’m Donald Pratt.
He holds out his hand and she shakes it.
CATHERINE
Catherine Chandler.
DONALD
Catherine Chandler, shall I run up the
Jolly Roger and steal you away for this dance?
CATHERINE
Why not?
He leads her to the dance floor.
CUT TO:
EXTERIOR - BALCONY
Brigit walks toward the railing of the balcony.
BRIGIT
The night has a special magic to it,
don’t you think? This night, especially.
VINCENT
Halloween.
BRIGIT
In the old religion they call it Saowen.
It’s a night when the walls between the
worlds grow thin and spirits of the underworld
walk the earth. A night of masks and bale fires
when anything is possible and nothing is quite
as it seems.
They stand side by side at the railing, looking out over the city.
BRIGIT
Your city . . .
(she takes off her mask.)
has its own magic as well: the lights, the
towers, listen to it. In Derry, the night has a
darker music; bombs . . . gunfire . . . the
screams of dying men.
VINCENT
Yet, you always returned.
BRIGIT
Oh, I’ve thought of leaving, but Derry’s my
home, and whatever else I might be, I’m still
a bog side girl, me fathers daughter, and me
husband, Ian’s, widow.
VINCENT
When you wrote of Ian in ‘300 Days,’ I almost
felt as though I knew him. You made him
live again with your words.
BRIGIT
It’s been two years since he got into that car,
and not an hour has past that I haven’t spoken
of him . . . written of him, thought of him.
VINCENT
I don’t want to awaken painful memories.
BRIGIT
Oh, it hurts . . . it hurts . . . but it’s such a
sweet pain. Ian and I were born six streets
apart and, yet, in different worlds. A
stiff-necked orange man and a croppy girl
from bogside we were. Daft enough to fall
in love, but not so big a pair of fools that we
thought he could live in my world or me in
his; so, we tried to create a new world that
we could share together. Well, you know how
that ended. It could have been me you know.
There are times . . . I wish it had been.
CUT TO:
INTERIOR - PARTY
The man that rented the clown suit from Moe is just coming out of the elevator. He goes up the stairs and is stopped by the butler.
BUTLER
Your invitation, sir?
MICHAEL
Invitation?
(He pats down his outfit, as if searching for it.)
I have it here somewhere. Damn, you know
I think I must have lost it somewhere, but I did
have one, I swear.
BUTLER
I’m afraid I can’t admit you without an invitation, sir.
MICHAEL
I just told you I was invited. Are you
calling me a liar now?
BUTLER
Mr. Brennan’s instructions were quite firm.
Perhaps I should summon him?
MICHAEL
No, no, I just remembered where I left it,
the very place. I’ll go and get it and
then I’ll be back.
BUTLER
Very good, sir.
HENRY VIII
Let’s go, ladies.
A man comes out of the elevator, dressed as King Henry VIII, with a bevy of scantily costumed beauties in tow. Michael insinuates himself among them and sneaks past the butler. He mingles with the crowd and begins looking around.
DONALD
I can’t be that bad of a dancer.
CATHERINE
I’m sorry. I’m just not very good
company at the moment.
The song ends; they stop dancing and they get a drink.
DONALD
I’ll be the judge of that. He’s a
lucky rogue.
CATHERINE
Who?
DONALD
Whoever the hell you’re looking for.
He hands her a drink.
CHARLES
Don’t I know you from somewhere?
Charles walks up to the pair
CHARLES
Having a good time, Clementine?
Who could this be?
CATHERINE
I’m sorry. Donald Pratt, this is my
father, Charles Chandler.
CHARLES
Donald Pratt? Not . . . not the Donald
Pratt of Bender, Sax and Pratt?
DONALD
Actually, yes.
CHARLES
I never dreamed you were so young.
Al Prasker, one of my partners, is still nursing
his wounds over the licking you gave him
over the Scott case. Oh Catherine, be careful.
This one is not as harmless as he seems.
How do you two happen to know each other?
DONALD
Actually, we don’t, but . . . ah . . . I am
trying to rectify that.
CUT TO:
EXTERIOR BALCONY
Vincent and Brigit are walking around the balcony.
BRIGIT
Me father used to tell me of New York
when I was just a little girl. He came here
a dozen times, never quite legally, of course,
raising money for the cause, collecting for
the widows and the orphans, and the weapons
. . . to make more of them. He always promised
that one day he w’d take me across the
ocean with him . . . one day.
VINCENT
He never did?
BRIGIT
Me father cast me out. It t’was three years
ago, my wedding day. He came to the church,
called me a traitor and an orange man’s whore.
Then, I’ve not seen him since. By rights,
I ought to hate him.
VINCENT
You have no hate in you, only grief.
BRIGIT
Aye, how can you hate the man who
taught you what love meant.
(She shivers.)
VINCENT
You’re cold.
BRIGIT
Cold? No. Why it’s not but a brisk fall evening,
but I’d borrow your cloak if you’re willing to lend it.
VINCENT
My cloak?
BRIGIT
Thomas and the others, they’d give their lives
for me, and I love ‘em for it, but sometimes
I want nothing more than to just get away
from them for a few hours.
VINCENT
They’re only trying to keep you safe.
BRIGIT
Oh, I’m sickened unto death of safety. Oh,
I look at the city, and I want to touch it, to
walk its streets, meet its people, and listen to
its music. I want to see all the things my father
told me of and I can’t. Can you imagine
how that feels?
VINCENT
Yes.
BRIGIT
To hell with the risks!
Sometimes we must leave our safe places,
Vincent, and walk empty handed among our enemies.
He takes off his cloak and puts it around her shoulders.
CUT TO:
INTERIOR - PARTY
Michael is still looking around, moving through the crowd, looking. As he passes by the French doors, they open and a cloaked figure walks past him. Brigit has the hood of the cloak pulled low over her face so no one will recognize her. She moves swiftly across the room to the elevators. As she walks past Catherine, Catherine turns to follow.
CATHERINE
Excuse me.
(She says to Donald.)
DONALD
Hey, wait!
He follows after her, and Michael follows all of them. When Brigit reaches the elevator with Catherine hot on her heels, she turns, laying a finger across her lips. Catherine rushes to get in the car with her, but is too late the doors close.
CATHERINE
Wait!
As Donald rushes up behind her, he sees the figure in the elevator.
DONALD
Ah . . . Brigit O’Donnell, right?
CATHERINE
Something very strange is going on and
I’m going to find out what.
Michael enters the other elevator.
CATHERINE
Could you hold that for me for just a minute?
She asks Michael, who completely ignores her and pushes the down button as she turns to Donald.
CATHERINE
Look, Donald, I’m very sorry; I don’t
mean to be rude, but this is very . . .
She turns to see the doors closing, in frustration she bangs her fists on the wall.
CATHERINE
Damn it!
DONALD
Whoa! Whoa! Whoa! There’s no problem.
We pirates . . . uh . . . we . . . we . . . we can
run stairs. Come on.
They rush down the stairs together.
CUT TO:
EXTERIOR - BALCONY
Vincent climbs over the balcony railing and lands on a lower rooftop.
CUT TO:
EXTERIOR - FRONT OF BUILDING
Brigit comes out of the front doors, passing the doorman, looking around for Vincent. He strides towards her from the side of the building.
VINCENT
Are you ready?
Brigit lowers the hood and moves forward with him, holding onto his arm. They cross the street and head into the park. Michael comes out and follows them.
CUT TO:
Brigit and Vincent strolling through the park followed by Michael.
CUT TO:
Catherine and Donald finally get down the stairs and out the front, and she goes to the doorman.
CATHERINE
Have you seen a woman with red hair and a
black cloak?
DOORMAN
Oh, yeah sure, a looker like that I’d have to
be dead not to notice. She met a guy in a
cat mask.
CATHERINE
Where did they go?
DOORMAN
Off into the park . . . north I think.
CATHERINE
I have to go after them.
(She turns to her companion)
Look, it’s a personal thing; I appreciate your
help, but there’s no need for you to
leave the party.
DONALD
I’m not complaining, but I can’t let you
go off into the park all alone.
CATHERINE
No, really.
DONALD
Hasn’t anybody ever warned you about
things that go bump in the night?
CATHERINE
Donald, I . . .
DONALD
While we’re talking, they’re getting away.
She takes his hand and hurries across the street.
FADE OUT:
END OF ACT TWO
ACT THREE
FADE IN:
The moon sails full across the night sky, its light reflecting in the waters of a stream that runs under the bridge that Vincent and Brigit are walking on.
BRIGIT
I’m beholden to you, Vincent. You cannot
know what this means to me . . . or perhaps
you can at that. Will you be telling me
of her then?
They stop walking and Brigit turns to face him.
VINCENT
Of who?
BRIGIT
Your lady . . . the one who is breaking
your heart.
They begin to walk again.
BRIGIT
Ah, you didn’t come to me just to say
you liked me books. Something about
Ian and me struck close to home.
VINCENT
She brings me . . . such joy . . . and such pain,
as I have never known. I have no place
in her world; she has none in mine.
Our bond endangers everything: people I love,
secrets I’m sworn to keep, beliefs I’ve lived by.
BRIGIT
Aye, that sounds like Ian and me, sure enough.
They don’t understand do they? Father raged.
VINCENT
Yet you went on in spite of everything.
BRIGIT
Oh yes, we went on, until he died for it.
Are you asking me for counsel, then?
They stop and face each other again.
BRIGIT
Forget you ever knew her and you’ll
both be happier.
VINCENT
You wrote that the price of your love had
been high, but that you would pay it willingly
until the end of your days, that you
would change nothing . . . regret nothing.
BRIGIT
That’s damned unfair of you, you know,
quoting me own words back at me again
after I gave you all that good advice.
The brain tells you all the sensible things
to do, but the heart knows nothing about
sense, and the heart is as stubborn as the Irish.
Vincent suddenly looks up, very alert, someone is coming.
BRIGIT
(Alarmed)
What is it?
Michael is slowly moving closer towards them. He stops for a moment and takes out a gun. He continues on. As he passes a tree, Vincent comes out at him, knocking the gun out of his hands and throwing him against the tree. His head connects with the tree with a thud, and he falls unconscious to the ground. Catherine and Donald see him lying on the ground and rush to his side.
DONALD
What the hell?
Donald squats down and removes Michaels mask.
CATHERINE
Is he…?
She squats down beside Donald.
DONALD
He’s out cold. He’ll live, just may be
a concussion.
As she stands, she sees Vincent with Brigit; they lock eyes for a moment. He is again wearing his cloak and turns, walking away. Brigit watches him leave and then rushes to the others.
DONALD
Well, Brigit O’Donnell, I presume.
What happened to the other guy?
BRIGIT
He had promises to keep, but I’m thinking
he’d rather have stayed.
She and Catherine share a look.
CATHERINE
Brigit, what happened here? Are you all right?
BRIGIT
I’m fine, but it’s not for the want of this man trying.
She looks down at him.
CATHERINE
What? Do you know him?
BRIGIT
He and his sort I’ve known all my life.
Michael McPhee is his name.
He’s one of the boys . . . a good IRA man.
CATHERINE
As long as you’re all right . . . I guess
we better call the police.
DONALD
No need, actually I think I can handle
it from here, thank you.
CATHERINE
You?
DONALD
Yes, I’m afraid I haven’t been quite
honest with you, Cathy.
He takes out a badge and shows it to her.
CATHERINE
Interpol?
DONALD
I thought your father was going to blow my
cover for a while there back at the party, all
that lawyer talk. My apologies, Mrs. O’Donnell,
we received a tip that an attempt would be made
on your life. I was supposed to stay close by you,
but unfortunately I just got hooked up with
the wrong owl.
BRIGIT
It’s perfectly all right, all owls look
alike by night.
Donald takes the gun that had fallen to the ground and wraps it up in cloth.
DONALD
Evidence, have to be thorough. We’ll drop
you off back at the party. No reason why everyone’s
Halloween should be ruined.
CATHERINE
Oh no, I’ll see it through. As long as the
masks are coming off, I’m with the
District Attorney’s office.
DONALD
Are you? Well, this is a night for surprises.
If you’ll keep an eye on sleeping beauty here,
I’ll go bring my car around.
He walks away leaving the women to guard Michael.
INTERIOR - TUNNELS
Vincent is in his chamber, sitting in his chair brooding. Father stands at the chamber entrance for a moment, watching him.
VINCENT
Father.
FATHER
Lana told me you’d returned.
Am I disturbing you?
VINCENT
No.
FATHER
Well, did you find Brigit?
VINCENT
Yes, and so did a man with a gun. She’s
given so much and known only violence
and grief and pain. How can they hate so?
FATHER
Sometimes during my first few years in the tunnels,
I would lie awake at night, wondering if what I’d
done was right. I was . . . full of such anger. I
wanted to avenge all the wrongs I had suffered.
VINCENT
And yet you never went back up.
FATHER
No, if I had I think my anger would
have consumed me.
CUT TO:
EXTERIOR - STREET
Catherine is in the backseat of a car being driven by Donald, next to him is Brigit. Michael is next to Catherine, still unconscious.
MICHAEL
Ah . . . ah.
CATHERINE
He’s coming to.
MICHAEL
Where? Oh . . . oh my head hurts
something fierce.
BRIGIT
You ought to be grateful it’s still attached
to your shoulders, Michael McPhee.
MICHAEL
Don’t take that tone with me, woman.
You know I wouldn’t harm you. Damn it all,
it was Sean himself who sent me.
BRIGIT
And am I supposed to care? He made it
quite clear he does not have a daughter.
MICHAEL
He’s dying, girl; there’s not much time
left to him. He wants to see you again.
He sent me to you.
BRIGIT
Aye, that he did with a gun in your hand!
My own flesh and blood! What did I ever
do to make him hate me so?
MICHAEL
You’ve got it all wrong, girl; it wasn’t you
I was after. It was that fella that was with you.
The fella in the black hood and lion head.
CATHERINE
What? Vincent?
BRIGIT
He was a friend.
MICHAEL
A murdering orange man is what he was.
We had the word, girl. It’s Sean they’re after,
and they don’t have a lot of love for you, either.
I was to keep you safe and bring you
secretly to your father.
Catherine is looking around at the street they are driving down.
CATHERINE
Wait a minute, we’re supposed to be
headed downtown; this isn’t . . .
Donald abruptly turns the car down a street and into a parking garage, causing his passengers to grab anything they could to keep from being thrown around. He stops the car and points the gun at Michael in the back seat.
DONALD
Best thing about Croppies, they’re as stupid
as they are ugly.
(Donald has suddenly developed an Irish accent.)
CUT TO:
INTERIOR - VINCENT’S CHAMBER
Vincent suddenly sits bolt upright in his chair.
FATHER
(alarmed)
What’s wrong?
VINCENT
Catherine!
He catapults out of his chair, racing out of the chamber.
CUT TO:
INTERIOR - PARKING GARAGE
Donald has herded his three passengers out of the car and is holding them at gunpoint.
CATHERINE
Don’t do it, Donald. Put down the
gun. Don’t let this get out of hand.
Donald ignores her completely and focuses his attention on Michael.
DONALD
Do you remember William Harland?
MICHAEL
A lying, murdering, Orange bastard he was.
DONALD
You and your lads, you didn’t even have the
courage to face him when you gunned him down.
You waited till he was good and drunk, then you
caught him leaving the pub.
MICHAEL
It’s no more than he’d done to better men than him.
CATHERINE
All right, stop it, both of you. Donald, you
don’t need to do this; turn him over to the
police. He’ll pay for his crime.
DONALD
Aye, he’ll pay for it sure enough.
BRIGIT
It’s no use, Catherine. You can’t talk sense
to them, to any of them. It’s like a sickness
now, and there’s not a drop of human
decency left in the lot of them.
DONALD
Shut up! I’ve heard enough of your
damn pious speeches.
(He turns from Brigit to Michael)
Empty your pockets.
(Michael doesn’t move. Donald cocks the guns trigger.)
BRIGIT
Michael, do as he says!
Michael takes the contents of his pockets out, throwing everything on the ground in front of him. Donald notices a key with the name of a hotel printed in large, bold letters on the plastic fob it was attached to.
DONALD
My name is Jamie Harland; William was my
brother. There were three of them that
killed him. I got the first one a year ago
and Michael McPhee here . . . you’re the second.
You might say you’re sort of a bonus. But it
was the other one I was hoping she’d lead me to.
CATHERINE
Your brother is dead; you won’t bring
him back with murder!
JAMIE
I’m no murderer! This is an execution!
For Ulster, and Billy!
Jamie shots Michael.
BRIGIT
No! No!
Michael falls face down on the ground. Jamie picks up the key to the hotel room.
BRIGIT
Damn you to hell!
She turns to Catherine and cries on her shoulder. Jamie points the gun at Catherine and Brigit.
JAMIE
We’re going for a ride.
(He waves the gun at Catherine.)
You . . . drive!
CATHERINE
Where are you taking us?
JAIME
To pay a visit to a gentleman by the name of
Sean O’Reilly. Who, I’m thinking, might be
staying at a certain hotel, ill too. Ah, but
maybe a visit from his loving daughter will
cheer him up.
FADE OUT:
END OF ACT THREE
ACT FOUR
FADE IN:
EXTERIOR – HOTEL
CUT TO:
INTERIOR - HOTEL ROOM
Sean O’Reilly is lying in bed, coughing. He reaches over to the nightstand and pours himself a glass of whiskey. He sips it as he watches the door open.
SEAN
Michael?
Donald shoves Brigit and Catherine through the door ahead of him. Brigit goes to her father and sits beside him on the bed.
SEAN
Brigit.
JAMIE
Very touching . . . brings a tear to me
eye, it does.
SEAN
And who the hell might you be?
Where’s Michael?
JAMIE
Burning in hell, old man, where you’ll be joining
him soon.
CATHERINE
Jamie, look at him; he’s just an old man.
SEAN
I’m still strong enough to spit on the likes
of him! Come do your worst!
(He laughs)
I’m dying anyway.
He begins to cough. Catherine holds the glass for him to drink.
JAMIE
Aye, you’ll die soon enough, but not until
you see your daughter die before you.
SEAN
No . . . no . . . never . . . never. It’s me
you want, not her. Show mercy.
JAMIE
I’ll show her the same mercy you
showed Billy.
He cocks the trigger back and advances on Brigit. Catherine throws the drink in his face and fights with him for the gun. The gun flips onto the bed where Sean is able to grab it. He fires it in the air. Jamie stands still.
SEAN
Back off…now! I maybe dying, but at
least I’ll take one more murdering Orange
man with me before I go.
Furious, Brigit stands in front of Jamie, preventing her father from shooting him.
BRIGIT
Father, no!
SEAN
I’m sorry, girl, but it’s got to be done;
he’s no better than his brother . . . murdering
scum. It was his sort killed your mother.
BRIGIT
Yes, and it was your sort that killed Ian.
SEAN
Get out of my way!
BRIGIT
It has to stop!
SEAN
Do what I tell you, girl! I’m your father!
BRIGIT
Are you now; well, that’s news to me!
Go on, if you’re so bound and determined to
kill him. What’s one more body! Think
what a fine hero I’ll be once I’m dead.
Go on . . . what are you waiting for? I’m
nothing to you! Go on . . . shoot!
Sean slowly lowers the gun. Jamie steps forward and grabs Brigit from behind, threatening her with a knife to her throat.
JAMIE
Come on, Brigit darling, we’re leaving this party.
He drags her backwards to the door.
CUT TO:
EXTERIOR – BUILDING
Vincent climbs up the fire escape.
CUT TO:
INTERIOR - HOTEL ROOM
JAMIE
I’ll find you again, old man.
Vincent comes in through the window and takes the knife from Jamie. He throws Jamie into the door and out into the hall.
SEAN
Brigit.
Vincent turns and is gone in an instant. Brigit goes to sit beside her father.
SEAN
Brigit.
They hug each other.
EXTERIOR - STREET IN FRONT OF HOTEL
An ambulance pulls up to the front of the hotel; two uniformed police officers bring a bloody Jamie out past Catherine and Brigit, putting him into the blue and white cruiser waiting at the curb. Catherine looks up at the roof of the building. Vincent is there looking down at her. She smiles up at him and then turns her attention to Brigit.
CATHERINE
I can arrange for you to stay with your
father at the hospital if you like.
Brigit nods.
CATHERINE
Brigit, you know that…
BRIGIT
There are warrants out on the man, and he
must be arrested? Yes, I’ve lived with that
since I was six years old. We won’t have
much time together, not even 300 days. But
we must take what we’re given, 300 days,
a few months . . .
CATHERINE
Or a single night.
Brigit smiles at her and the two women embrace. Brigit enters a police car. Catherine again looks up at the roof, but Vincent isn’t there. She lowers her eyes, disappointed, but then he’s there, standing in front of her.
VINCENT
Will she…?
CATHERINE
She’ll be all right.
VINCENT
Good.
He turns to leave.
CATHERINE
Don’t leave! She told me that this is
a special night, Saowen, when the walls . . .
VINCENT
When the walls between the worlds
grow thin . . . and spirits of the underworld
walk the earth.
CATHERINE
Vincent, we can’t waste it.
He gazes at her for a long moment then finally nods his head. She gives him a radiant smile and takes his arm. They see the city together for the first time. From Broadway to Times Square, Rockefeller Center, the Guggenheim, St. Patrick’s Cathedral, the Empire State Building, the Statue of Liberty. A hansom cab ride and a ferry ride. They watch the sun rise from a bench situated on the side of a path that parallels the river.
VINCENT
I’ve lived here all my life, and yet,
it’s as though I’ve never seen this
city until tonight.
CATHERINE
You’ve seen so much of the violence and
hatred of my world; I wanted you
to know there’s beauty as well.
VINCENT
Oh, I know that, ever since the
night I found you, Catherine.
They lean closer to one another, lost in each other’s eyes.
JOGGER
What the…! Geez! you gave me a real
scare. Hey man, Halloween was yesterday.
The jogger breaks the spell and Vincent stands, drawing the hood of his cloak about his head.
VINCENT
I must go.
She turns to watch him, smiling, then turns back to watch the sunrise.
FADE OUT:
THE END