The following is a script I am writing which will be integrated into
Fallen Catholic. The formatting is messed up. That will be fixed when it is formatted to publish.
The Atheist and the Priest
A Catholic Priest comes to a crossroads in his life when his bishop retires him early because of his liberal ideas. His life-long friend, an atheist, comes to his aid. As the story progresses we learn that the atheist, Mick, has a truly great love for his wife and that his priest friend, Sean, has turned his back on his chance for happiness with a good woman. Sean moves in and we begin to see how both men are tortured. But it isn’t until Mick’s daughter comes to visit that we realize that Mick has been living a fantasy; that his wife has been dead for months. The two men must confront their demons and find a way to go forward.
SCENE 1
Father SEAN SULLIVAN walks into MICK BURNS’ horse barn. SEAN is a thin, good looking man in his 50s. MICK is a stubby, unkempt man in his 50s. MICK recognizes his old friend but ignores him as he walks in. MICK is smoking, putting up the tack as SEAN walks in. They trade insults…
SEAN
You still fooling around with your clients’ wives?
MICK
(without looking up)
You still molestin’ 10 year old boys?
All the friendly ribbing and hugging ensues and MICK throws a muckrake at SEAN.
MICK
Make yourself useful. How long has it been since you’ve done any honest work?
SEAN sets it aside.
SEAN
Got any whiskey?
MICK
Oh shit. One of those talks.
They stare at each other after SEAN digs the bourbon out of a dirty desk drawer. He pours the whiskey into a coffee cup…a dirty one.
SEAN
Okay, go ahead, I know you’re dying to ask.
MICK
I only have one question. Just one.”
SEAN
The answer is no.
MICK
How do you know what the question is?
They stare at the floor.
MICK
No, they didn’t find out about RUTH? Or no, they didn’t fire you.
They smile at each other.
MICK
Best woman in the whole damn world and you pissed all over her.
SEAN gulps down the bourbon and pours another. MICK gets up and starts dancing around.
MICK feigns an Irish brogue.
MICK
Well if you’ve come to ask me opinion. I’m sure gonna have to tink about dat one for a minute.
Sure as peaches I am.
MICK waits for an anwer. No answer. MICK pours another whiskey for himself. Looks at SEAN with a scowl. Downs the liquor.
SEAN
How are you, Mick? Are you okay?
MICK
Never better! Hey let me call Elizabeth and tell her you’re here. She’ll fix up a nice supper.
(yelling out the door)
Hey Elizabeth. Sean’s come to see us! Elizabeth?
SEAN has a sad look on his face.
SEAN
Look, Mick, I need some time to lick my wounds. I need to think.
MICK
(tosses his cigarette, gets up and grabs a feed bucket)
What's to think about? Marry Ruth and ditch the church. If you wanna hang around here
for a few months it's okay with me. I know Elizabeth will be thrilled. She thinks your shit
don't stink. Speakin' of which, you need to ditch that collar and shovel horseshit for a while if
you wanna hang out here. I need a hand. You up to workin' for me? Room and board and
all the pleasures of bein’ with your best friend. Damn. I wish somebody would offer me that
deal.
SEAN
I’d rather work in the salt mines.
MICK
(grabbing a halter off its nail)
There's a mare in the meadow up front. Bring her in and take those two bales of hay out to
the arena. The keys are in the four wheeler.
(tosses the harness)
You CAN tell the difference between a gelding and a mare.
SEAN looks at the harness and smiles. He pours another whiskey and downs it before heading out the door.
SCENE 2
SEAN fumbles with the halter, putting it on the horse upside down.
WE CUT to a wide shot, SEAN, in the distance, struggling with the halter. A car drives up in the foreground. Our POV is waste down. The wheel of the car stops full frame and we hear someone get out of the car. As she steps into frame we BOOM up and see MARY BETH for the first time, a beautiful young woman in her early twenties. Large eyes, jet black hair, tight jeans and a half buttoned shirt. She peers out into the field and waves. WE cut to SEAN’s POV and see her waving. The horse walks away. WE SEE her get onto the four wheeler and start it.
MARY BETH
(shouting)
Need some help?
SEAN
Mary Beth?
MARY BETH guns it and heads out towards SEAN. WE CUT to a shot of MARY BETH’S HANDS deftly placing the halter on the horse. WE PAN to a CU of her face as she talks.
MARY BETH
He’s already got you out here workin’? How long you been here? Why did you park the 4 wheeler so
far away?
SEAN
Less than ten minutes...not counting the time it took to get out here and realize I didn’t know
what I was doing.
MARY BETH
He’s gonna have a lot of fun bustin’ your balls.
They hug. They start to walk the horse back to the gate, leaving the 4 wheeler behind.
SEAN
God it’s good to see you. You are so pretty. Look at you!
MARY BETH
I got away for a few days. Tommy got a gig in Murfreesboro.
SEAN
He still in school?
MARY BETH
Finishes his internship in May.
SEAN
Then what?
MARY BETH
How the hell should I know?
SEAN
That mouth. God it’s good to see you. How is your Dad?
SHE looks out back toward the barn. Her mood suddenly darkens.
MARY BETH
(with a deep sigh)
A lot worse.
She stops and looks back toward the barn, thinking for a beat then looks down at the ground.
MARY BETH
It’s scary, Sean.
MARY BETH leads the horse and points back at the 4 wheeler. SEAN runs back and hops on. He comes next to MARY BETH and she gets on sideways while holding the halter.
They drive slowly back. She reaches over and kisses him on the cheek.
WE CUT to MICK’S perspective. WE see him dab his brow with a handkerchief as he watches them from a distance. He drives a post hole digger into the ground. We see him watch them for a few seconds before returning to his work. The ground is very hard and the post hole digger barely makes way in the rocky clay soil.
SCENE 3
A small garden trowel works the rich black soil. ELIZABETH is thin and attractive with big green eyes and full lips. We can see that she must have been a stunning woman when she was younger. A kitten lounges nearby. Birds frequent the feeder, gold finches feed upside down. A robin fluffs its wings at the bird bath. ELIZABETH is wearing blue jeans and a brightly colored blouse. She has a red scarf on her head.
ELIZABETH
Hey Mick! Could you get me some water?
MICK
No.
MICK walks into the house and returns with a glass of water.
ELIZABETH
Thank-you.
MICK
I spit in it.
ELIZABETH
That’s nice.
MICK
I spit in it after I stuck my dick in it.
ELIZABETH
(takes a long drink)
Tasty dickwater. The spit really takes the edge off. Makes a nice oaky flavor.
MICK
You aren’t wearing any panties, are you?
ELIZABETH
Now, let’s watch our mouth, Micky. We don’t want the neighbors to hear that kind of language
coming from my garden. Would you like to sit down here and join me?
MICK
No.
ELIZABETH
That’s nice. You can plant to the left of the stepping stones and I’ll handle the right side.
MICK
I don’t want to. I hate you.
ELIZABETH
Don’t worry. You’ll get over it. Now hurry up and get moving or I’m going to get the fly swatter
and wear you out.
MICK
Okay. Let me get my britches off.
ELIZABETH puts down the shovel and stands up, putting her hands on her hips.
ELIZABETH
You are a nasty boy.
MICK
Thanks.
He crouches down in a wrestling stance and hops around her.
MICK
Come on, ya pussy. I’ll wrestle ya and put you in a hold you won’t be able to break.
She starts to laugh as they lock up and hop around. He growls, reaches for her leg and she screams. He laughs and lets go and then lays on the ground and laughs while she pummels him.
SCENE 4 EXT. Day - The field next to the barn.
We return to the yard, present day, as MICK continues to pound away with the post hole digger. He pauses and stares at the ground. Then he returns to digging. MARY BETH and SEAN walk up.
MICK hugs his daughter and offers a shovel to SEAN.
MICK
What brings you home? Out of money again?
MARY BETH
I love you too, Dad.
SEAN gives MARY a knowing look.
MICK
So what? You two think I can’t see those sneaky looks? Are you still in love with my daughter?
SEAN smiles.
MICK
You still hangin’ on to that asshole God of yours, FATHER Sean?
MARY BETH
Stop!
SEAN
Just let him say it.
MICK
Did I ever give you my holocaust theory, Shamus? So here’s the thing. You’re God and you have a
an affinity for a certain group of people, we’ll call them....oh I don’t know....how ‘bout calling them your chosen ones? And just for the sake of clarity, let’s call them Jews. Okay?
SEAN is digging with more and more purpose.
MICK
Now stay with me. Let’s say there’s a war and your chosen people are suffering terribly at the hands of an evil shithead named Adolf. Let’s just imagine 6 million of your favorite folks wallowing in
poverty and crawling in their own excrement. Now picture this. Every day they get down on their
knees and pray to you, oh God, to save them from their misery. But you are too busy with more
important details elsewhere to even give them a short explanation of your perspective.
MARY BETH
I am not standing here.
MARY BETH turns and walks toward the house.
MICK
Not only do you refuse to answer their prayers in any way that is meaningful, you watch as your buddy Adolf systematically starves them to death. If you believe in that God then I don’t have any respect for your messed up religion. Your God is a sadistic bastard. He doesn’t pass the smell test for decency. Now please. Enlighten me, Father. Tell me how anyone can find love in their hearts for an asshole like that?
SEAN
Why do you always have to blaspheme when you talk about religion? Can’t you keep a civil tongue
in that mouth of yours? Jesus, Mick. Can’t you show just a little bit of respect for the collar I am
wearing?
MICK
No hell no. I have no respect for that notch. I have respect only for you. You Christians neatly forget that atheists do not share your ideas about blasphemy. And I wonder why a smart
guy like you believes those lies.
MARY BETH
(still walking away, saying this only to herself)
Maybe it’s because you are so much smarter than the rest of us.
SEAN
Faith, Mick.
MICK
Faith. You know what Mark Twain said about faith? Faith is believing in something....
SEAN
That’s not true. Faith is believing in something that ain’t true. I know. Hell Mick.
What do you want me to do? I can’t just turn my back on all the people who believe...
MICK
Believe? Believe in you? Or in God? Jesus Sean! Are you going to throw your only chance to be
happy away? Just so your people won’t be disappointed? Just so the God you barely believe in is
satisfied? You have no idea what it means to love someone. No idea. And you wanna
know why? You wanna know why you don’t have a clue what it means to love someone?
Huh? Huh? Because you have no idea what it means to BE loved. And you know why you have
no idea what it means to BE loved, Father? Because the God you love doesn’t love you. And as long
as he is your ideal love, you will never know true love because HE DOESN’T EXIST.
MICK throws down the post hole digger and sits on the ground. He begins to weep. SEAN keeps digging for a few seconds. MICK continues to weep bitterly. SEAN goes back to digging in earnest. He walks over to console MICK but MICK shoos him away. SEAN drops his shovel and takes off his shirt and collar.
WE CUT to an extreme wide shot of the two men as seen from the farmhouse over Mary Beth’s shoulder. WE CUT TO a close up of MARY BETH. She stands at the kitchen door with tears in her eyes.
SCENE 5 INTERIOR. NIGHT - In the kitchen. It is a large kitchen with lots of pots and pans and friendly country decor. There is a large kitchen table and MICK, MARY BETH and SEAN sit around drinking beer from bottles. There are scraps of food on the table.
MARY BETH
So Dad gives me the keys and kisses me on the forehead and I tell him I won’t be too late. But I go
out with my buds and we start having fun and before too long it’s getting really late. Now I knew that
Dad was cool with me staying out but I didn’t want him to worry. So I rushed home without calling
hoping that I wouldn’t wake him or Elizabeth when I got home.
MICK
Yeah, and I hear her come in the door and in my half awake stupor did not remember giving her the
keys. So I hear all this noise coming from downstairs and I froze. All I can think of is that somebody
is breaking in my house. And then I pick up a pillow to protect myself.
MARY BETH
(laughing)
Yeah. He’s up at the top of the stairs with this pillow. And I see him walk to the first step with
this wild look on his face.
MICK
And as I get to the top of the stairs, I see something move at the bottom of the stairs in the dark.
And I just about shit my pants. All I can get out is a shaky, “Who are you!”
All three start laughing.
MARY BETH
Yeah, he’s standing there shaking like a little girl with this pillow, holding it at me like a weapon
and he says, “Who are you?” So I say, “Dad! It’s me! Mary Beth! You can drop your pillow!”
MICK
Even when she started talking, my brain was still half asleep. And I could not get a focus. Then
I suddenly realize who it is and I try to recover...you know...like when you realize you have made
a fool of yourself and you try to act nonchalant? Well I tried to be completely calm and act like I
wasn’t scared. But I knew I didn’t sell it because Beth starts laughing.
MARY BETH
And then Elizabeth calls out from the bedroom and says, “Honey? Are you okay?”
MICK
And Beth says, “He’s okay, Liz. He’s got the pillow!
MARY BETH
And Dad comes unglued and nearly falls
down the steps laughing. Then Liz gets out of the bed and sees me and Dad laying on the stairs
laughing and I was laughing so hard I started crying. Oh my God. And Liz stands there with her
hands on her hips and in that real high voice she uses when she’s excited she says, “What are you two
doing!”
MICK starts laughing uncontrollably.
MARY BETH
Oh no. Here he goes again.
MICK laughs and everyone follows suit. He rolls on the floor. Then he turns on his back and suddenly stops laughing. He covers his face. MARY BETH and SEAN look at each other.
MARY BETH
I loved her so much. She was Dad’s guardian angel.
MICK
I heard that.
SCENE 6 FLASHBACK Interior Kitchen. MICK AND ELIZABETH sit at the kitchen table together. ELIZABETH puts some potatoes on MICK’S plate then she bows her head and takes his hand in hers.
ELIZABETH
Dear God, we thank you for another day. We pray that you bless this food and our marriage. We...
MICK
And we pray that you stop worrying about silly shits like us and pay attention to what’s going on in
Afghanistan for crying out loud.
ELIZABETH
And we pray that you forgive Dad for his language and teach him to be more tolerant. We also thank
you for letting us find each other.
MICK
Amen to that.
MICK pulls her closer and buries his face in her neck, kissing her.
MICK
This is a beautiful meal, Lizzy. You really did a good job. Damn you’re pretty.
ELIZABETH
Did you think I wouldn’t find it?
MICK
What porn?
ELIZABETH
I didn’t say anything about porn. What possessed you to hide it in under the mattress?
MICK
What porn?
ELIZABETH
Why are you so nasty?
MICK
Because you like it nasty?
ELIZABETH
I’m being serious. That stuff hurts me, Micky.
MICK stirs his tea with his finger.
MICK
Okay. I’ll never look at porn again. I swear to God. I’ll put my dick in a jar so you can keep it
away from me when you aren’t around. I might miss it for a few days but then my Alzheimers will
will kick in and it will all be nothing but a faint memory. My name will be Ken. Just call me smoothy.
ELIZABETH
Not funny.
MICK
Look, honey. I love you more than anything on this earth. But I am a good man. I am faithful to
you. I never look at another woman....real woman....in real life. But the point is I cannot be a woman.
I want you to be a woman. And I will always be a man. My other wives didn’t understand that. They
thought they could cut off my dick and use me like a door mat. They thought they could tell me what
to do and when to do it. But you don’t try that shit. You understand me. You want me to be a man.
That is why you married me. I don’t understand why your idea of sex is so narrow. You don’t
understand porn. The difference between our marriage and other people’s marriages is that you don’t try to change those things and I don’t try to change the things that make you so wonderful. I am not
going to stop being a man. Just don’t try to change that and we will do great.
ELIZABETH
It still hurts.
They stare at the table and continue eating for a moment.
ELIZABETH
Find a better hiding place.
MICK
I can do that.
ELIZABETH
You are so nasty.
MICK
I love you too.
SCENE 7 INTERIOR DAY - SEAN is at a church. It is a large, ornate old Catholic church. A nun is kneeling in one of the pews. A group of old ladies are cleaning the floor and polishing the pews. A beautiful woman comes in and sits down next to him. She is a middle aged red head with a curvy figure wearing blue jeans.
SEAN
(whispering)
What are you doing?
RUTH
(in a whisper)
I came to make a confession, father.
SEAN
Jesus, Ruth.
RUTH
Is it okay to confess a sin if you know you are gonna do it again as soon as possible?
SEAN
I cannot do this.
One of the old ladies looks up from her chores and peers at SEAN.
SEAN
(whispering)
You have to leave now.
(then conspicuously loud)
Thanks, Ruth. You can talk to Sister Mary Ellen about those new missals.
She makes all those decisions.
The old lady looks knowingly at the other.
SEAN
Come on Ruth. Get out of here.
RUTH
(whispering)
How long do you think this is going to last?
SEAN
Not now.
RUTH
No now. How long do you think I can wait for you to find your balls?
An old lady walks up from behind and hears this last part. We see the shock registering on her face.
SEAN
(turning to the back in the pew)
Oh, Miss Patsy. Have you met Mrs. Walters?
RUTH
It is a pleasure, Miss Patsy. Father SEAN was just talking to me about the basketball team. Are
you a basketball fan, Ma’am?
There is a long pause.
SEAN
Is there something I can do for you, Miss Patsy?
Another awkward pause.
SEAN
Miss Patsy?
MISS PATSY
Father, is it alright if I ask Sister Agnes to be on our quilt team. I heard she was looking for
something to do with her time.
SEAN
Well that is a fine idea. She just seems lost once the chrysanthemums die off. Winter is a hard time
for her. Don’t you agree?
RUTH reaches into SEAN’S crotch as she says the word “hard.” SEAN flinches.
RUTH
Winter is hard on a lot of us, Miss Ruth. Do you think I could maybe join too?
MISS PATSY
(ignoring RUTH)
Have a good day, Father.
SEAN
Thank-you. Please give my best to Paul, would you?
MISS PATSY looks at SEAN, then eyes RUTH, then walks away muttering. RUTH begins to snicker.
SEAN
I am dead. I am a dead man. Thanks Ruthie. Thanks so much.
MISS PATSY stops and turns back.
MISS PATSY
You better hope he doesn’t.
RUTH and SEAN look at each other then at MISS PATSY.
RUTH
Doesn’t what, Miss Patsy?
MISS PATSY
Find his balls.
She smirks and turns away.
SEAN puts his hand on his forehead. RUTH’S mouth drops then she stifles a laugh.
SCENE 8 EXT. - The pasture at Mick’s house. Mick is cinching the girth and teaching MARY BETH a few fine points.
MICK
Now look, this is not that mare you used to ride. This horse will work you like a marionette if you don’t
ride her. Can you handle her?
MARY BETH kicks and clicks and off goes the horse leaving Mick in a puff of dust.
MICK
Goddammit. Keep her under 60!
WE ride along with MARY BETH as the hooves pound the soft grass and she settles into a fast gallop.
MARY BETH
Come on baby. Let’s see what you got.
As she kicks the horse and whips it’s rump with her reins, the camera dollies back and cranes up following in a helicopter shot that widens to show the beautiful countryside.
MICK runs over to the barn and runs inside. He comes out a few seconds later on the four wheeler. He goes after MARY BETH. We see in a wide shot that he is hopelessly far from her. It is a beautiful shot close to sunset and we see a glow around her as she runs off into the distance. The dog, Faust, leads the chase.
WE CUT back to a close shot of MICK flying across the bumpy field on the four wheeler.
MICK
Goddammit. STOP!
MARY BETH has a big smile on her face. She takes off her hat and swirls it around her head like a cowboy then puts it back on. It promptly flies off and blows to the ground.
MARY BETH
Yeeeee Haaaa!
SCENE 9 EXT. Inside the barn.
Mary Beth pulls off the saddle as Mick broods, drink in hand, staring at the floor.
MARY BEITH
Daddy.
MICK stares at the floor.
MARY BETH
Daddy. Look.
MICK puts his hand up in the air. He downs the last of his drink and puts the dirty coffee cup on the window sill. He walks into the stall and examines the horse.
MARY BETH follows him.
MARY BETH
I know. I know. I am sorry. But I never got a chance to ride a horse like that before. I never got a
chance to ride such a wonderful horse. How can you be mad at me? Really.
MICK puts a rope around the horse’s neck and leads him out of the stall and over to the washing stall. MARY BETH stands still, the bridle in her hand. He lifts a halter and puts it on the horse, then snaps the ties to the lead ropes. With the horse teathered from both sides, he fetches the hose and starts dousing him in water.
MARY BETH
I promise. I will never do that again. I promise, Daddy.
MICK
You don’t have to promise. You won’t ever get another chance to ride this horse. So don’t bother.
MICK continues to wash the horse and MARY BETH storms out of the barn, hurling the bridle against the wall. She passes SEAN as she stomps toward the house. SEAN stops and watches her for a moment then turns his attention to the barn. He walks into the barn and sits in a dirty director’s chair just outside the stall where MICK is washing down his horse.
There is a long silence while MICK works.
SEAN
What was that?
MICK ignores the question.
SEAN
Mick! What the hell?
No answer.
SEAN
Look Mick, we have to have a talk. We need to talk about … all …..all this shit.
WE CUT to a close shot of MICK who seems to be completely unable to hear anything. He works as if no one is in the barn.
SEAN
I … I... I need to talk to you about....about....Liz.
MICK stops working and stares at SEAN. He walks over to the spigot and turns it off. He picks up a squeegee and starts to rake it across the horse’s back.
SEAN
Liz is dead, MICK. She is gone. You know that. Right. I mean I don’t want to sound harsh but
there it is. She died six months ago and you are still acting like she’s over there at the house cooking
dinner for all of us. She’s gone, Mick. She’s gone.
MICK stares blankly into space.
MICK
Is there something I can help you with?
SEAN watches as MICK puts down the squeegee and walks over to him. MICK stands over SEAN menacingly. He kicks the chair out from under SEAN. As SEAN recovers and picks himself up, MICK reaches down and picks up SEAN’S hat. He hands it to SEAN.
MICK
Is there anything else?
SEAN dusts himself off and walks out of the barn. WE linger on the shot, a silhouette of SEAN walking out of the barn and into the sunlight.
SCENE 10 The kitchen table. Dirty dishes lie about. MICK gets up from the table. MARY BETH puts up her hand. SEAN gets up and walks over to a stool that sits next to the sink.
MARY BETH
Daddy. I need you to sit down for a minute.
MICK looks over at SEAN.
MICK
Don’t worry, Sugar. I won’t hold no grudge. You’re forgiven. But I meant what I said.
MARY BETH
Please Daddy. Sit down and shut up.
MICK’S eyes narrow but he obliges grudgingly.
MARY BETH
We need you to stop this shit about Liz. It is fucking you up.
MICK
No need to beat around the bush. Just spit it out.
MICK glares at SEAN. SEAN smiles stupidly and waves gingerly ala Stan Laurel.
MICK
I’ve got horses to feed. Did you put her up to this?
SEAN looks around and points to himself as if to say, “Who me?”
MARY BETH
Goddammit Daddy. You gotta climb up out of that hole while there’s still someone reaching down to
help you. I cannot take this.
MICK tries to get around her but she steps in his way. He slowly pushes her out of the way, taking care not to hurt her.
SEAN
Running away, mate?
MICK stops in his tracks.
SEAN
I thought you were a tough guy. Why are you running away?
MICK picks up a plate and hurls it against the wall. SEAN has to duck to keep from being hit,
SEAN
Missed. Maybe you should get your shotgun.
MICK
Maybe you should shut your mouth.
MICK walks over to SEAN and tries to grab him. SEAN sidesteps him and he falls on the floor. The melee that ensues is strangely funny.
He jumps up and attacks SEAN, grabbing his shirt and slamming him against the wall. MARY BETH jumps into the fray, slapping MICK on the back. WE CUT to an exterior shot of the stoop next to the kitchen door. We can hear the commotion in the kitchen. We see the bare legs and sandals of a woman stepping up to the door. Then we cut back inside.
MARY BETH
Stop it. Stop. Stop it, Daddy.
They spin around the room knocking down chairs. We CUT BACK OUTSIDE to a shot of the door as a female hand raps on it. But with all the noise inside, it is clear that no one hears the knock. WE CUT back inside as they continue to struggle.
SEAN
Let him be, Beth. He won’t hurt me. Get away.
Suddenly, MICK stops. Everybody relaxes. MARY BETH takes a deep breath. MICK lets go of SEAN and turns towards MARY BETH. She punches him in the nose.
MICK
Ow! Jesus Christ! Why’d you have to do that?
SEAN
Stop. Everybody just relax. Let’s all just calm down.
MICK
It’s bleeding. Goddammit Sean. She broke my nose.
MARY BETH winces and lurches for the sink. She starts the water and opens the fridge, pulling out the ice tray.
MARY BETH
I’m so sorry, Daddy. I’m so sorry.
RUTH
Wow. Can I play?
Everyone stops and looks at the door. Ruth stands with her hand still on the knob.
RUTH
What did I miss?
Mary Beth rushes over to greet RUTH. SEAN stands back sheepishly.
MICK walks over and hugs her and BETH squeals with delight, kissing her repeatedly. RUTH keeps her eyes on SEAN as everyone fawns over her.
SCENE 11 INT. - The kitchen table.
MARY BETH
So I grabbed Bootsie and a couple of pairs of jeans and said good-bye to Bowling Green.
SEAN
It is so weird that we both ended up here at the same time.
MICK
(mocking SEAN)
Ooo! So weird.
RUTH
What has got you two after each other’s throats?
MICK
These two are conspiring against me.
MARY BETH
Bullshit paranoid crap.
(winking at RUTH)
Anybody wanna play Trivial Pursuit?
RUTH picks up on the hint.
RUTH
Oh man! That would be so much fun! Mary Beth and me will take you guys.
MICK
What the fuck? You just got here.
MARY BETH
I’ll go get the board.
MARY BETH runs out of the room and returns with a game box.
MICK
Wait.
SEAN
(walking over to the fridge)
Wanna beer, Mick? Ruth? Beth?
MICK
Wait. Jesus.
SEAN tosses a beer to MICK, who nearly misses. He hands a beer to RUTH and they stare at each other for a moment. Then he kisses her on the cheek. She seems to be holding back.
SEAN
It’s good to see you.
RUTH
Really?
She stares at him and narrows her eyes.
MICK
You’re wasting your time, Ruthie. That dog won’t hunt. He’s been fixed.
MARY BETH
Shut up, Dad. Haven’t you done enough harm for one day? He is so clueless.
MICK
What have I done? Oh yeah, I thrusted my nose against your downy soft fist.
SCENE 12: INT. - The Barn at Night FLASHBACK
SEAN and RUTH sit in the tack room. RUTH is wrapped in a blanket. SEAN pours a cup of coffee.
RUTH
Why are you a priest?
SEAN
Why are you a biologist?
RUTH
Because I believe I can make a big difference doing my job.
SEAN
There you have it. Could not have said it better.
RUTH
(taking a sip of coffee and reaching for the whiskey)
You don’t believe what you are selling.
SEAN
(after thinking for a moment, walking over to the door)
I don’t look at it that way.
RUTH stares at him, expecting more.
SEAN
Most priests don’t believe what the Bible says. Most of the smart ones anyway. The Bible is
the very smallest part of why I am a priest. The Bible is just like any ancient text. It is just as
full of bullshit as it is full of wisdom. Trouble is, you can’t separate the good from the bad. It’s
a lot like any other book you might read. But the people who focus on that don’t understand
people like me. People like me are not here to answer questions. We are here for something
far more important. We are here to help people let go of their fears.
RUTH
You do not really believe that, Sean. You cannot tell me you really believe that.
SEAN
Ruth, there are very few things I know for sure. But that one I am sure about. And that is what
I live for. That is why I am sitting here right now.
RUTH
Whose fear are you trying to get rid of? Mine or yours?
SEAN stares down into his coffee.
SEAN
Mine. I am trying to find a way to do what I was sent here to do. And I am not even sure that I
have a firm grasp on that. But, Ruthie, you and I are on a parallel course. Your compassion
is palpable. You care about people. You nurture them every day of your life. I wish to do that
too. But I also have to protect them. It isn’t enough for me to feed their bodies. I have to find a way to get to their hearts. I have to find a way to help them find their own sense of purpose.
And sometimes they spend their entire lives avoiding the very thing that will give them the
satisfaction they crave. Sometimes they spend so much time being successful that they lose sight
of the fact that they are not here to help themselves. They must accept that they are primarily here to help others. If they can embrace altruism. If they can escape their most selfish desires, they can be of enormous service to those less fortunate.
(He stares at her.)
I want to make a difference. I want to be able to say I helped someone, anyone get to a better life.
RUTH
You have no idea why you are sitting here, do you?
RUTH gets up and walks across the room away from SEAN. She closes the door and walks slowly back over.
RUTH
You are here to make love to me. That is why you are here. That is why I am here. But
you are so afraid to act, you sit there frozen like a damn teenager, afraid to kiss me.
SEAN
I am not afraid to kiss you. I am afraid that if I kiss you, I will never stop kissing you.
SEAN drops his coffee and kisses RUTH. They squeeze each other passionately and hold each other’s faces in their hands. RUTH begins to take her shirt off. SEAN tries to stop her. They struggle with each other before they return to kissing. RUTH begins to cry. SEAN touches her tears with his lips.
He begins to remove her shirt and holds her breasts in his hands. He kisses them and they embrace.
WE CUT TO A CLOSE SHOT of the wood stove in the corner of the room. The fire flickers through the tiny louvres in the doors. We SEE their shadows playing against the wall as the light dances across them. WE FADE.
SCENE 13 INT. - Kitchen
MICKY
Dr. Kildare.
MARY BETH
Who?
SEAN
That’s it. That’s the right one. Richard Chamberlain. Right?
RUTH
That is absolutely correct. Roll again.
MARY BETH
Who the hell is Richard Chamberlain?
RUTH
Jesus Christ, Beth. Are you that young? Remember? The Thornbirds?
MARY BETH pretends to remember.
MICKEY
The priest who fell in love. And the woman who could never love another. Sickening.
RUTH
I thought he was the sexiest man alive.
MARY BETH
Oh! The cardinal! Right? The guy who was in love with a ranch lady. Oh my God he was so
beautiful. Usually men that pretty are gay.
RUTH
Jesus, Mary!
MICKY
He was a red blooded pervert. A disgusting lustful sinner, like me pard, Sean. Eh bro?
SEAN
That’s exactly right. I am the the worst scumbag I ever met.
MICKY
That’s my man.
MARY BETH gets up and goes to the fridge.
MARY BETH
Anybody want another?
RUTH
Just bring Mick two. Save a trip.
MICK
Ruthie you have no idea how badly I have missed you.
RUTH
(passing him a beer from MARY BETH)
I live to serve you.
(she grabs his neck and kisses him on the lips then smacks her lips as if tasting the kiss)
Ah yes, the familiar taint of skank beer and potato chips.
MICK
What do you mean? My breath is sweet as a baby’s breath. Ask Lizzy.
(he calls out)
MICK
Lizzy? What the hell is keeping her?
Everyone stops and looks at Ruth.
RUTH
What?
MARY BETH
(She hustles Ruth out of her chair)
Hey Ruthie, I’ve gotta show you something. Get up.
RUTH
What the fuck?
MARY BETH
Come on, get up.
RUTH is baffled. She is lead away to another room.
MICK
(looking around, confused)
Did you fart?
SEAN
Of course. Don’t I always fart at the most awkward moments? Remember that sermon
I gave on creative farting?
SEAN gets up and starts rifling through the cabinets.
SEAN
Where are the Cheetos. You always have Cheetos.
(finds a half eaten bag)
Aha!
SEAN opens the bag and grabs a handful. Then sits back down. MICK reaches for the bag but SEAN pulls it out of reach.
SEAN
Get your own.
MICK
Those ARE mine.
SEAN
Not any more.
SCENE 14 EXT. Night. A flashback
A moonlit lake surrounded by trees and rocks. Ruth takes off her clothes as SEAN watches.
She looks back at him before jumping in.
RUTH
(half whispering)
Come on!
SEAN smiles but stays in place. He watches as she swims about in the crystal clear water. She swims back to him and reaches up for him.
SEAN
Ruthie, we can't do this. There are campers all over the place. We are going to get caught.
RUTH swims away thrusting her ass high up in the air as she swims. SEAN smiles then takes a
deep breath and starts to pull off his clothes. Just as he gets his pants off, someone approaches.
SEAN has to jump into the water with his socks still on.
A young couple walk over to the shoreline across from where SEAN has entered the water.
The begin to kiss passionately, removing their clothes as they go. SEAN sneaks over to RUTH
and they watch the two lovers embrace. RUTH begins to kiss SEAN and they abandon themselves to their instincts. Suddenly the young couple in the distance freeze and look towards SEAN and RUTH. They realize they are not alone. The girl calls out.
GIRL
Who's there?
RUTH begins to snicker. SEAN is appalled and tries to hold his hand over RUTH'S mouth.
BOY
There's somebody in the water over there. Hey, you guys?
SEAN dives under the water and disappears. RUTH is left searching for him. The kids lose interest and go back to making out. RUTH hides close to her clothes and waits for the young couple to leave then she pulls herself out of the water and begins to dress.
RUTH
(while dressing...in a hushed whisper)
Sean? Are you there? Sean? Goddammit Sean. You big fucking pussy.
RUTH puts her clothes back on and trudges back into the woods. As she walks through the woods, she continues to call for SEAN. Suddenly SEAN jumps out from behind a rock, still naked. He grabs RUTH and begins to rip her clothes off. She is startled but submits eagerly and they rip and tear at one another recklessly.
The moon is partially obscured by slow moving clouds. RUTH's hand lays on SEAN'S cheek. She cuddles next to him as he looks up at the stars.
SEAN
When are we going to get caught?
RUTH
It was great for me too, asshole.
SEAN
I am so sorry, what I meant....
RUTH
Jesus Christ, Sean. I'm beginning to understand why you became a priest. You are absolutely
inept at after glow love talk. What the fuck did we just do?
SEAN
We … we... we...Jesus! That was amazing.
RUTH
Yes! Very good! Yes, yes, yes! It was increda fucking burgible is what that was, Father
Dickydoo! My God, you are perceptive!
They both begin to laugh. Then they calm down and sigh together. Both of them stare at the sky. After a moment of silence, SEAN whispers.
SEAN
(whispering)
What if this is all there is? What if there is no God at all? What if we just … just... go.
RUTH
Isn't this enough? I mean think about it. Life is a wonderful gift. Why should we ruin it by
insisting that it goes on forever? I mean, why worry about death at all? When it comes, it
comes and there's not a Goddamn thing we can do about it, is there?
They stare up at the stars. An asteroid streaks across the sky.
RUTH
I just realized. I just realized why you are always so sad.
(she pauses and thinks for a moment)
You don't believe...do you?
SEAN
(after a long pause)
No.
RUTH
I mean, you don't believe at all. It's not just the Christian God. You don't believe in God at all.
Do you Sean?
SEAN
(thinking before he responds)
I thought if I tried hard enough I would finally...
RUTH
Faith is no gift, judging from the ones who have it. Half of them are dimwitted
and the rest aren't being honest with themselves.
A tear streams down RUTH'S face.
WE CUT to an extreme wide shot. The night sky is full of stars. We fade.
SCENE 15 INT. - The kitchen table.
WE CUT back from the flashback to the moment we left SEAN and MICK.
MICK
I want to build some bleachers. We need some bleachers and some shade. This place
is miserable in the heat.
SEAN
There. That's it. We start tomorrow. You don't know shit about building and I don't know
shit about horses. I'll have a sketch for you before lunch tomorrow. And we are going in
to town in the morning to get a backhoe with an auger bit. I am tired of watching you rip your
hands up on that post hole digger.
MICK
I cannot afford a backhoe.
SEAN
Cheap bastard.
RUTH and MARY BETH enter.
MARY BETH
Can we go? There's a little landscaping shop next to the Tractor Supply. I'm gonna
plant some pentas and put out some milkweed. We need to get the butterflies back.
MICK
No. I didn't ask for help with the garden. Liz does that.
WE CUT to muted reaction shots from Ruth and Mary Beth.
MARY BETH
(smirking)
Whatever you say, Dad.
SCENE 16 EXT. - Hardware Center...medium size small town. A montage. Sparce instrument musical accompaniment. (banjo or dobro and snare drum with brushes)
WE SEE SEAN examining a backhoe. There is a rental sign on it. A sales person walks up and starts talking to him. Mick is looking at fence hardware and shoos a clerk away. The girls are shopping in the nursery next door. They wave at SEAN as he helps the clerk put the backhoe on his truck. MARY BETH picks up a penta flower and examines it. RUTH looks at hummingbird feeders. A young shy, skinny clerk is helping MARY BETH and she is flirting with him. RUTH notices and is amused. MICK pays at the checkout and we can see him bitching about the price. The clerk is annoyed and shakes his head. SEAN winks at the clerk. They all congregate at the truck and pile in. As MICK gets into the truck, a cigarette is hanging out of his mouth. MARY BETH grabs it and tosses it out before he can stop her. He lights up another. They pull off and as soon as he turns onto the main road, she grabs his cigarette again and flips it out the window before he can react. SEAN winces and RUTH's eyes widen but MICK does nothing and MARY BETH smirks.