THE BOY FROM MERCURY
By MARTIN DUFFY.

One. EXT/INT NIGHT. OPENING TITLES SEQUENCE.
A CLEAR STARRY SKY GLISTENS IN THE QUIET NIGHT. A CORPORATION ESTATE OF TWO UP TWO DOWN TERRACED HOUSES. A BEDROOM WINDOW IS OPENED OUT BY A SMALL HAND. A GASP OF BREATH MIST WAFTS UP TO THE SKY. INSIDE THE DARK BEDROOM, THE TIME BY THE ALARM CLOCK IS ALMOST TEN O'CLOCK. A PILLOW IS TAKEN FROM THE SINGLE BED; THE BOY REACHING PAST A SLEEPING DOG CURLED UP IN THE BLANKETS. THE PILLOW IS PLACED ON THE WINDOW LEDGE. FROM THE BACK GARDEN, PAUL CAN BE SEEN IN THE KITCHENETTE EXTENSION PLAYING AIR GUITAR AND DOING THE STEPS OF THE CLIFF RICHARD BACKING GROUP THE SHADOWS. ABOVE HIM, THE BOY LEANS HIS HEAD BACK ON THE WINDOW LEDGE OF THE BEDROOM. THE CAMERA LOOKS UP FROM UNDERNEATH THE BEDROOM WINDOW AT THE BACK OF THE BOY'S HEAD AND THE STARS BEYOND HIM. HE STRETCHES OUT HIS HANDS AND YAWNS. HE IS HOLDING A TORCH. A SIDE SHOT OF THE BOY. THIS IS HARRY CRONIN. HE SMILES.
CUT TO SEE WHAT HE'S REACTING TO - AN OBJECT WITH FLASHING
RED AND WHITE LIGHTS APPEARING OVER THE ROOF HIGH IN THE SKY. HARRY SWITCHES ON HIS TORCH, WHICH HAS THE COLOURS RED, GREEN AND CLEAR. HE FLASHES HIS TORCH GREEN AND WHITE. ABOVE, THE OBJECT FLASHES RED AND WHITE AS IT TRAVELS ACROSS THE STARRY SKY.
CUT TO:
TWO. INT NIGHT. HARRY'S BEDROOM.
HARRY HEARS FOOTSTEPS COMING UP THE STAIRS. HE QUICKLY DRAWS HIMSELF BACK IN ONTO HIS BED AND CLOSES THE WINDOW AND CURTAINS. STILL KEEPING HIS JUMPER OVER HIS PYJAMAS, HE CLIMBS INTO BED, BARELY DISTURBING HIS SLEEPING BLACK SCOTCH TERRIER DOG MAX. HARRY IS TUCKED UP, HIS EYES PINCHED TIGHTLY CLOSED, WHEN THE BEDROOM DOOR OPENS AND HIS MOTHER ENTERS. SHE SHIVERS SLIGHTLY AS SHE CROSSES THE SMALL ROOM, WALKING PAST THE UNOCCUPIED DOUBLE BED. SHE QUIETLY CHECKS THAT THE WINDOWS ARE CLOSED, THEN LIFTS MAX OFF THE BED. SHE LOOKS AT HARRY, KNOWING FULL WELL THAT HE'S ONLY PRETENDING TO BE ASLEEP.
MOTHER
Goodnight, love.
NOT A BUDGE FROM HARRY. MOTHER LEAVES WITH MAX. AS THE DOOR CLOSES, HARRY OPENS HIS EYES. HARRY (WHISPERING) Goodnight, Earth Mother.
HARRY SETTLES DOWN TO SLEEP. AS HE DOES SO VOICES ARE HEARD -
THE VOICES OF FLASH GORDON AND HIS FATHER FROM THE FOLLYER- UPPER (SERIAL). FLASH'S DAD (VOICE ONLY) That's a splendid achievement, son. The world will be waiting to give you and Professor Zarkov the finest welcome in the history of mankind. FLASH (VOICE ONLY) No Dad, I'm not coming back. Zarkov's not with me. He and Dale have been taken captive by Ming.
MIX TO:
THREE. INT MATINEE. CINEMA. (FLASH GORDON SEQUENCE ONE).
START ON THE BEAM OF PROJECTOR LIGHT, AND TILT DOWN TO THE MAYHEM OF A CINEMA PACKED WITH BOYS. A GREAT CHEER RISES FROM THE ROWDY HORDE AS THEY WATCH THE THRILLING EPISODE. EMPEROR MING IS ABOUT TO KILL HIS ENEMIES WITH A PURPLE DUST EXPERIMENT WHEN FLASH ARRIVES. "FLASH GORDON!" MING CRIES. "YOU GOT HERE JUST
IN TIME, FLASH," ZARKOV DECLARES. THERE IS A BIG SCRAP -
FLASH AND HIS PALS TAKING ON MING'S SOLDIERS. MING TRIES TO RELEASE THE DEATH DUST ON EVERYONE, AND FLASH FOLLOWS HIM AND SCRAPS SOME MORE. IN THE AUDIENCE, HARRY IS FLICKING PUNCHES LIKE A TRAINER IN A BOXER'S CORNER. HIS TOUSLED BLONDE HAIR IS LIKE FLASH'S.
CUT TO:
FOUR. EXT DAY. CINEMA.
TILT OFF A POSTER FOR A COMING ATTRACTION (A 1959/60 MOVIE) TO BOISTEROUS AND NOISY KIDS FLOODING INTO THE FOYER OF THE CINEMA IN A CRUSH. TWO USHERS ARE YANKING AT BODIES TO PREVENT ANY BLOCKAGE OF MOVEMENT. ONE USHER SPOTS A BOY GRABBING ANOTHER BY THE HAIR. HE CLIPS HIM SOUNDLY ON THE EAR.
USHER
Get up outa that.
IN THE CROWD THAT MILLS OUT ONTO THE SUBURBAN ROAD IS HARRY. FREE OF THE CINEMA, BOYS HEAD OFF IN CLUSTERS, ALL ACTING OUT PARTS OF THE FILM. HARRY MOVES ON IN A WORLD OF HIS OWN, ACTING OUT BEING FLASH.
CUT TO:
FIVE. EXT SAME TIME. PARK RAILINGS.
HARRY PRODUCES A VERY SIMPLY MADE AND PAINTED WOODEN LASER GUN FROM HIS POCKET. HE RUSHES ALONG WITH THIS, THEN LETS IT BRUSH ALONG THE RAILINGS TO MAKE A CLATTERING NOISE.
CUT TO:
SIX. EXT DAY. MOUNT JEROME CEMETRY.
A CIGARETTE BUTT THROWN ON THE GROUND AND A POINTED TOE, PATENT LEATHER SHOE STOMPS IT OUT. CRANE UP THE DRAINPIPE TROUSERS AND BUM FREEZER JACKET TO THE PIMPLY FACE AND CLIFF RICHARD QUIFF OF PAUL.
PAUL
Will yez cummom.
HE WALKS ON. THE AVENUE OF THE CEMETERY IS LINED WITH TALL TREES SHADING ANCIENT FAMILY VAULTS. HARRY IS WALKING WITH HIS MOTHER. HE IS IN HIS SHORT TROUSERED SUNDAY SUIT, AND HAS A CLEAN SHIRT AND TIE. HE IS CARRYING THE FLOWERS. PAUL IS WAY AHEAD OF THEM, ONE HAND DUG IN A POCKET AND THE OTHER SWINGING AS HE STRUTS ALONG. HARRY DALLIES BEHIND HIS MOTHER, TAKING SUSPICIOUS GLANCES AT SOME VAULTS WHICH HAVE DEVELOPED GAPS WITH AGE. A SLAB ON ONE THAT HE IS PASSING IS PARTED A LITTLE AND AS HARRY NEARS IT A BLACK CLAW EMERGES. HARRY RACES PAST HIS MOTHER.
MOTHER
Don't fall!
CUT TO:
SEVEN. EXT DAY. THE GRAVE.
WITHERED FLOWERS ARE GATHERED AT THE SIDE OF THE GRAVE AND FRESH ONES IN PLACE IN THE POTS. THE HEADSTONE IS FOR MICHAEL
HAROLD CRONIN, 1906 - 1955. THERE IS A PHOTOGRAPH OF THE
SMILING MAN INLAID ON THE HEADSTONE. HARRY AND MOTHER STAND BEFORE THE GRAVE WITH THEIR ROSARY BEADS, FINISHING THEIR PRAYERS. PAUL STANDS APART FROM THEM, FUMING.
MOTHER
Hail Mary full of grace the Lord is with thee. Blessed art thou amongst women and blessed is the fruit of thy womb Jesus.
HARRY
Holy Mary Mother of God, pray for us sinners now and at the hour of our death amen.
MOTHER
Glory be to the father, and to the son, and to the Holy Ghost.
HARRY
As it was in the beginning, is now, and ever shall be, world without end amen.
HARRY BLESSES HIMSELF VERY FORMALLY.
HARRY AND MOTHER
In the name of the father, and the son, and the Holy Ghost, amen.
THEY BOTH KISS THE CROSS ON THEIR BEADS AND PUT THEM AWAY. PAUL SNIGGERS.
PAUL
Now can I smoke.
MOTHER
Go on.
PAUL LIGHTS UP.
MOTHER (CONT'D)
Harry - tell your Daddy you're being a good boy.
HARRY
I'm being a good boy, Daddy.
MOTHER
And tell him you're being good at school and doing all your homework.
HARRY
I got eight out of ten for my Irish spelling, Daddy, and I got a very good for my homework on Friday. I was on time every day this week, and I didn't get slapped except once.
MOTHER
Your Daddy is going to see you growing up even though you won't see him. And one day you'll be a big man just like him, and your brothers in England, and like Paul.
HARRY
(LOOKING AT HIS BROTHER)
Like Paul?
MOTHER
(IGNORING THIS)
Say goodbye to your Daddy and gather up them old flowers.
HARRY
(TO THE GRAVE)
Goodbye, Daddy.
MOTHER
Paul. You say it.
PAUL
Ask me... granny.
PAUL WALKS AWAY. THE OTHERS FOLLOW.
CUT TO:
EIGHT. EXT DAY. THE SCHOOL.
THE DUBLIN WORKING CLASS SUBURB OF CRUMLIN. THIS IS THE VAST FACTORY OF EDUCATION RUN BY THE CHRISTIAN BROTHERS. ECHOING FROM ITS FOREBODING GREY FRONT WE HEAR THE CHANTING RECITATION OF A CLASSIC IRISH POEM.
BOYS (VOICE OVER)
Oh to have a little house, To own a hearth and stool and all The heaped up sod upon the fire, The pile of turf against the wall. To have a clock with weights and chains And pendulum swinging up and down. A dresser filled with shiny delph, Speckled and white and blue and brown.
CUT TO:
NINE. INT SAME TIME. HARRY'S CLASSROOM. THE BOYS RECITE THE POEM IN A JOYLESS SING SONG AS BROTHER DOWDALL WALKS UP AND DOWN THE AISLES BETWEEN THE DESKS. THE BROTHER IS A RED FACED AND DOUR MAN IN HIS EARLY SIXTIES.
AMONG THE WEARY PUPILS IS HARRY - LOOKING INTENSE YET PRE-
OCCUPIED AS EVER - AND THE SCRUFFY THUG MUCKER MAGUIRE. AS
THIS RECITATION PROCEEDS, MANY WILT AND VOICES THIN OUT. WE SEE HARRY LOOKING AROUND AND MIMING TO WHAT HE THINKS OTHERS ARE SAYING.
BOYS
I could be busy all the day Cleaning and sweeping hearth and floor And putting on their shelf again My white and blue and speckled store. I could be quiet there at night Beside the fire and by myself, Sure of a bed and loth to leave The ticking clock and shining delph. Och! but I'm weary of mist and dark And roads where there's never a house nor bush And tired I am of bog and road, And the crying wind and the lonesome hush. And I am praying to God on high And I am praying him night and day, For a little house, a house of my own Out of the wind's and the rain's way.
FINISHED WITH HIS WANDERINGS, BROTHER DOWDALL STANDS AT THE HEAD OF THE CLASS AND PICKS HIS NOSE AS THE BOYS FINISH THE POEM.
BROTHER
Go maith. Cad is ainm an fear a scriobh sin? Well?
(Good. What is the name of the man who wrote that?)
HANDS SHOOT UP, AND THE CHANT OF "BRUDDER, BRUDDER" FILLS THE AIR.
BROTHER (CONT'D)
James Maguire.
MUCKER MAGUIRE IS TAKEN BY SURPRISE. HE HADN'T OFFERED HIS ASSISTANCE IN THIS MATTER AT ALL. HE GAZES AT BROTHER DOWDALL OPEN MOUTHED.
BROTHER (CONT'D)
You're an amadawn, Maguire. What are you?
MUCKER
An amadawn, brudder.
THERE IS A SLIGHT CHUCKLE FROM ONE HAPLESS BOY, QUICKLY HALTED BY A DAGGERS LOOK FROM MUCKER.
NO ONE DARES GET ON HIS BAD SIDE - OR ELSE.
BROTHER DOWDALL, MEANWHILE, IS AT WORK AT THE DUSTY BLACKBOARD. MUCKER TRIES TO REACH A KICK AT THE HAPLESS BOY, BUT FAILS. HARRY WATCHES.
BROTHER
Padraic Colum. The answer is Padraic Colum. And I'm thankful he's not listening to his words coming out of the mouths of such blaggards.
THIS RAISES AN EXAGGERATED LAUGH AND THE BROTHER SPINS AROUND.
BROTHER (CONT'D)
Cunas (Quiet)! Just remember, I have eyes in the back of my head. What do I have?
BOYS
(WELL TRAINED CHANT)
Eyes in the back of your head, brudder.
BROTHER
Go maith.
BROTHER DOWDALL RETURNS TO THE BLACKBOARD WHILE THE CLASSROOM SLOWLY GETS MORE ROWDY. MUCKER HASN'T GIVEN UP HIS ATTEMPTS AT REVENGE.
BROTHER (CONT'D)
He was born in County Longford in 1881 and is alive to this very day. His father ran a workhouse, and it was there that young Padraic saw the poverty and ruination caused by centuries of English rule. In this poem you can hear the voice of the woman in the rhyme, and in the line 'a pendulum swinging up and down' you can hear the very sound...
HARRY LOOKS AWAY FROM MUCKER'S BEHAVIOUR AND STARES INTENTLY AT THE BACK OF BROTHER DOWDALL'S HEAD. AS HARRY STARES, EYES OPEN IN THE BACK OF BROTHER DOWDALL'S HEAD. IN THAT INSTANT, MUCKER LANDS A KICK ACROSS THE AISLE AT THE HAPLESS BOY. BROTHER DOWDALL SPINS AROUND AND THROWS HIS STICK OF CHALK AT THE NOISY CLASS.
BROTHER (CONT'D)
Cunas!
THE CHALK STRIKES HARRY SQUARELY ON THE FOREHEAD AND HE IS STUNNED BACK OUT OF FRAME.
CUT TO:
TEN. INT EVENING. LIVINGROOM.
HAZY RECEPTION ON THE OLD BLACK AND WHITE TELEVISION. THE ENGLISH PROGRAMME HAS TWO PEOPLE IN FORMAL DRESS TALKING IN THEIR BEST BRITISH ACCENTS. HARRY  IS LYING ON THE FLOOR WITH MAX. HE IS BORED. HE LOOKS AT HIS MOTHER, WHO GAZES BLANK-FACED AT THE TV SET. HE GETS UP.
CUT TO:
ELEVEN. INT SAME TIME. KITHCENETTE.
HARRY WALKS IN. PAUL IS STANDING IN FRONT OF THE RADIOGRAM HOLDING THE SWEEPING BRUSH LIKE A MICROPHONE BEFORE HIM. HE'S PLAYIN G CLIFF RICHARD'S "PLEASE DON'T TEASE ME" RECORD AND MIMING ALONG WITH THE WORDS. HARRY WATCHES THIS, BAFFLED. PAUL THEN NOTICES HIM AND HALTS ABRUPTLY.
PAUL
(HIDING EMBARASSMENT WITH FEROCITY)
Whar'are YOU lookin' a'?
HARRY
(MEEKLY)
Nuttin.
HARRY EXITS.
CUT TO:
TWELVE. INT NIGHT. HARRY'S BEDROOM.
THE ROOM IS IN DARKNESS AND THE COVERS OF HARRY'S BED ARE UP IN A TENT-LIKE LUMP. LITTLE FLECKS OF LIGHT EMANATE FROM THE TENT, SO THAT IT SEEMS IN A WAY LIKE A CLUSTER OF STARS.
HARRY (CONT'D)
(VOICE ONLY)
Earth patrol to Mercury... Earth patrol to Mercury... I am using our secret radio to send you this message.
INSIDE, HARRY TALKS WITH HIS LIT TORCH HELD TO HIS CHIN SO THAT HE LOOKS EERIE. MAX, ALSO IN THE TENT, LOOKS UP AT HARRY QUIZZICALLY.
HARRY (CONT'D)
We have not yet been able to build a space rocket but we have found secret ingredients under the sink in the scullery. Agent Maximillian and I will await further orders. Agent Maxillian, have you anything to report?
HARRY POINTS THE TORCH J AT MAX, WHO GROWLS AT THE LIGHT.
HARRY (CONT'D)
That is all, over.
HARRY PULLS BACK THE BED COVERS AND LOOKS AT THE ALARM CLOCK. THE TIME IS APPROACHING TEN. HE BUSIES HIMSELF MAKING PREPARATIONS FOR THE NIGHTLY CHECK-IN, OPENING THE WINDOW AT THE SIDE OF THE FOOT OF HIS BED AND PROPPING A PILLOW ON THE WINDOW BASE.
CUT TO:
THIRTEEN. INT MATINEE. CINEMA. (FLASH GORDON SEQUENCE TWO
AN EMPEROR MING SHIP, LED BY CAPTAIN TORCH, HAS SENT OUT IRON MEN TO FIGHT FLASH AND HIS GROUP. FLASH SHOOTS AT THEM, BUT TO NO EFFECT: "THEY'RE INVINCIBLE," SAYS DALE. WHEN SOME OF FLASH'S MEN TRY TO TAKE ON A ROBOT, TORCH FLICKS A SWITCH AND THE ROBOT EXPLODES, KILLING THE MEN. "THEY'RE WALKING BOMBS!". FLASH AND CO. FLEE UP A MOUNTAIN, BUT DALE ARDEN WHINGES: "OH FLASH, I CAN'T MAKE IT!" SHE FALLS AND FLASH CLIMBS DOWN TO SAVE HER. WHILE ALL THE OTHER BOYS ARE JEERING DALE ARDEN, HARRY IS WATCHING THESE EVENTS WITH GROWING ASTONISHMENT AND CONCERN. A ROBOT IS APPROACHING, SO FLASH GOES TO FIGHT IT. CAPTAIN
TORCH FLICKS A SWITCH AND THE ROBOT EXPLODES - LEAVING NOT A
TRACE OF IT OR FLASH. THE CAPTION 'TO BE CONTINUED' COMES UP ON SCREEN. THE CAMERA TRACKS IN ON HARRY AS HE SLUMPS BACK IN HIS SEAT. HE IS FLUMMOXED.
CUT TO:
FOURTEEN. EXT DAY. CINEMA.
HARD CUT TO HARRY BEING JOSTLED BY THE CROWDS OF BOYS LEAVING THE CINEMA. HE'S IN A STATE OF SHOCK.
CUT TO:
FIFTEEN. EXT DAY. PARK RAILINGS.
HARRY WALKS GRIMLY ALONG THE RAILINGS. OTHER BOYS RACE BY IN GROUPS. HE IS SHAKEN FROM HIS THOUGHTS WHEN A BOY RUNNING PAST SHOOTS HIM.
SEAN
Dar dar!
SLOW MOTION. HARRY FINALLY REACTS TO THIS. HE LOOKS AT SEAN, WHO SMILES AT HIM.
SEAN (CONT'D)
Dar dar!
HARRY SMILES. THIS IS THE FIRST TIME WE'VE SEEN HIM SMILE AT A PERSON. HE GRABS HIS CHEST. SEAN RUNS ON. HARRY RUNS AFTER HIM.
HARRY
Dar! Dar dar!
CUT TO:
SIXTEEN. EXT DAY. PARK MUSIC SEQUENCE.
IN A SEQUENCE EDITED FOR FUN, HARRY AND SEAN PLAY IN THE PARK. THEY SHOOT EACH OTHER, HIDE, ROLL DOWN THE HILL, ACT LIKE THE IRON MEN IN THE FLASH GORDON SEQUENCE, TRY OUT DIFFERENT WAYS OF FALLING AFTER BEING SHOT, RUN FROM EACH OTHER, CATCH UP AND WRESTLE WITH EACH OTHER. ALL TO A VARIATION ON THE MUSIC OF FLASH GORDON. HARRY IS REALLY ENJOYING THIS.
CUT TO:
SEVENTEEN. EXT DAY. QUIET CORPORATION ROAD.
HARRY TALKS EXCITEDLY, ACTING THINGS OUT. SEAN CLIMBS ONTO A LOW WALL AND WALKS ALONG.
HARRY (CONT'D)
D'ya 'member when Flash sees the iron men. "This ray gun oughta stop 'em," says he. But he shoots and they keep walking. "Why," says Dale, "they're invisible." Then the two other chaps goes after the iron men - "come on fellas, we'll stop them!" "Come back you fools!" says Flash, but off they go and attack the iron men. "I may as well show them they haven't got a chance," says Captain Torch, and when your men attack, don't the iron men blow up batissshh! But then sure later, doesn't Flash fight against the robot. And the robot and the 'lectricity is sparking and then Captain Torch blows up the robot and the two of them are gone to smithereens. Aaaagghh!
SEAN
Flash doesn't get hurt.
HARRY
What?
SEAN
Betya next week, when the film starts, Flash is just standing there.
HARRY
But the other fellas were all blown up by the other robots!
SEAN
Betya next week Flash will jump out of the way before the bombs goes off, or the bomb won't work.
HARRY
But you could see they were blown to bits!
SEAN
Probably Flash Gordon will just get knocked out of the way by the bomb and then he'll get up and be alright.
HARRY
That's stupid.
SEAN
Of course it's stupid. Every week it ends one way and then the next week it starts a different way.
HARRY
Does not!
SEAN
There's never an escape. And then he gets away. Flash Gordon is stupid.
HARRY
Is not.
SEAN
Is so. Audie Murphy is better. He was a real hero in the war. And Westerns are better because they really happened. Space stuff is stupid.
HARRY
Is not!
SEAN
Is so.
HARRY DOESN'T KNOW HOW TO EXPRESS HIS FURY. HE POINTS AT SEAN, WHO IS WALKING ALONG THE WALL.
HARRY
Dar dar!
SEAN KEEPS WALKING.
SEAN
Even the Phantom is better than Flash Gordon. Or Batman. Flash Gordon is in outer space and they do all stupid things.
HARRY
You didn't fall!
SEAN
You missed me!
HARRY
Did not!
SEAN
Did so!
THIS IS THE LAST STRAW FOR HARRY. HE TAKES OUT HIS WOODEN LASER GUN AND POINTS IT AT SEAN. THE CAMERA TRACKS IN ON HARRY FOR THIS PORTENTOUS MOMENT.
HARRY
By the power of Mercury, dar dar!
SEAN LOOKS AT HIM, CLASPS HIS CHEST, THEN FALLS OFF THE LOW WALL INTO THE GARDEN. HARRY SMILES, SATISFIED WITH THIS, AND GOES TO THE WALL. HE LOOKS OVER TO SEE SEAN FACE DOWN ON THE GROUND, MOANING, CLASPING HIS CHEST. HARRY CHUCKLES.
HARRY (CONT'D)
Very good.
SEAN TAKES HIS HAND AWAY FROM HIS CHEST TO REVEAL BLOOD ON HIS SHIRT. HARRY AND SEAN LET OUT A SIMULTANEOUS SCREAM. HARRY FLINGS HIS GUN TO THE GROUND AND RUNS AWAY IN ABSOLUTE TERROR.
CUT TO:
EIGHTEEN. EXT DAY. HARRY'S HOUSE
HARRY BANGS ON THE KNOCKER UNTIL HIS MOTHER OPENS THE DOOR.
MOTHER
What in the name of...
HARRY
I'm in a hurry.
HARRY RACES UPSTAIRS, FOLLOWED BY MAX.
CUT TO:
NINETEEN. INT SAME TIME. THE BEDROOM.
HARRY BURSTS INTO THE ROOM, GRABS HIS SCHOOL BAG, AND DUMPS ITS CONTENTS ONTO THE BED. MAX HOPS UP ONTO THE BED.
HARRY (CONT'D)
I shot a boy. I used my secret powers and shot a boy. We have to get back to Mercury straight away or Earthlings will think that Mercurians are the baddies.
HARRY HAS BEEN GATHERING SUPPLIES DURING ALL THIS. THERE'S THE PACKAGE OF BROKEN BISCUITS UNDER HIS BED, SOME SWEETS UNDER HIS PILLOW, A BAR OF CHOCOLATE IN ONE OF THE DRAWERS, HIS BIG JUMPER, HIS TORCH. ALL ARE STUFFED INTO THE SCHOOLBAG AS HE KEEPS ON TALKING.
HARRY (CONT'D)
I didn't mean to do it but I lost my temper. He was saying bad things about Flash Gordon and he wouldn't stop. Max, we have to excape.
CUT TO:
TWENTY. INT DAY. STAIRS TO HALL DOOR.
HARRY TIPTOES DOWN THE STAIRS. MAX TROTS NOISILY DOWN AHEAD OF HIM AND HARRY GLOWERS AT HIM. HARRY OPENS THE HALL DOOR.
MOTHER
(OUT OF VIEW)
Harry?
HARRY RUNS OUT OF THE HOUSE.
CUT TO:
TWENTY ONE. INT SAME TIME. LIVING ROOM.
MOTHER, DUSTING ORNAMENTS, HEARS THE FRONT DOOR SLAM AND LOOKS OUT THE LACE CURTAIN TO SEE HARRY AND MAX RUNNING DOWN THE ROAD.
MIX TO:
TWENTY TWO. EXT DAY. PARK. TILT DOWN FROM THE SKY.
A MAN WALKS HIS OLD DOG PAST A GROVE OF BUSHES IN THE PARK. THE BUSHES BARK, AND THE DOG TAKES FRIGHT. INSIDE THE BUSHES, HARRY GRABS MAX'S SNOUT TO SHUT HIM UP.
HARRY
Ssshhh. The Gardai will be here any minute. They'll have sniffer dogs and everything. We have to be quiet and wait till it gets dark. Then we can contact the Mercurians and they'll take us away.
HARRY SHIVERS. THERE'S ONLY ONE BROKEN BISCUIT LEFT, AND HE SHARES IT WITH MAX. HE PEERS OUT THROUGH THE BUSHES AT THE SKY. IT'S BROAD DAYLIGHT.
HARRY (CONT'D)
It won't be long before dark. Then we'll be okay.
HE BUNDLES MAX UP IN HIS ARMS.
CUT TO:
TWENTY THREE. INT EARLY EVENING. KITCHENETTE.
MOTHER AND PAUL SIT EATING DINNER. PAUL HAS BITS OF TOILET
PAPER STUCK TO HIS CHIN WHERE HE'S CUT HIMSELF SHAVING - HE'S
DRESSED FOR GOING OUT. THERE'S AN EMPTY SPACE AT THE TABLE SET FOR HARRY.
PAUL
Me and Sarah're going to see Ben Hur at the Metropole. We got tickets.
MOTHER
I don't know where that child is gone.
PAUL
The dog'll take care of him. Has more sense in anyway.
MOTHER PICKS AT HER FOOD.
MOTHER
I can't leave it. You'll have to go look for him.
PAUL
Go way outa that.
MOTHER
You'll have to. He's your little brother.
PAUL
He'll be back in a minute.
MOTHER
Paul - search Sundrive park. He might have been set on or something.
PAUL
But I'll be late.
MOTHER SUDDENLY RISES AND GRABS PAUL'S UNFINISHED PLATE OF FOOD.
MOTHER
Get out and look for your brother or else.
PAUL
Or else what.
MOTHER STARES HIM DOWN. HE GETS UP FROM THE TABLE.
PAUL (CONT'D)
If I miss the pictures because of him he better be dead.
CUT TO:
TWENTY FOUR. EXT EARLY EVENING. BUSHES IN THE PARK.
HARRY CRUMPLES UP THE LAST SWEET PACKAGE AND STICKS IT IN HIS SCHOOL BAG. THE SKY ISN'T MUCH DARKER, AND HE'S MISERABLE.
HARRY
It's going to rain. Are you alright?
MAX LICKS HARRY'S FACE.
HARRY (CONT'D)
I've been thinking, Max. If we run away, then the Earthlings will say that all Mercurians are sneaky murderers and our planet will never be able to make friends with this planet. Maybe if I surrender and they hang me, the Earthlings will know that not all Mercurians are bad. Only me. I'll be able to prove that you weren't at the pictures with me, so you'll be able to go free. When you go to Mercury you can tell them I wasn't bold. I just made a mistake.
HARRY THINKS FOR A WHILE, THEN DECIDES.
HARRY (CONT'D)
We have to go back to the Earth Mother's house.
HE CLIMBS OUT OF THE BUSHES.
CUT TO:
TWENTY FIVE. EXT EVENING. CORPORATION ROAD. HARRY TRUDGES ALONG THE ROAD, HEAD DOWN. HE IS LOST IN HIS MISERY UNTIL A BIKE SCREECHES TO A HALT BESIDE HIM. IT'S PAUL.
PAUL
Come here you!
PAUL GRABS HIM BY THE SCRUFF OF THE NECK.
PAUL (CONT'D)
Come here and I'll burst ya. Where were ya?
HARRY
Nowhere, let me go.
PAUL DRAGS HARRY UP ONTO THE CROSSBAR AND CYCLES OFF, MAX RUNNING BEHIND.
PAUL
Ya bleedin' loola. When you get home you'll be kilt.
HARRY
(TRAGICALLY)
I know.
CUT TO:
TWENTY SIX. EXT DAY. THE HALL DOOR.
MOTHER OPENS THE DOOR AS HARRY WALKS UP THE PATH.
HARRY (CONT'D)
I give up.
MOTHER
What?
PAUL IS ON HIS BIKE AT THE GARDEN GATE.
MOTHER (CONT'D)
Where was he?
PAUL
Down the road. Dreaming. Big thick.
HE CYCLES AWAY. HARRY LOOKS THROUGH THE CRACK IN THE OPENED DOOR TO THE LIVING ROOM AND CAN SEE THREE GARDAI STANDING INSIDE WITH GUNS POINTED AT HIM. HARRY RAISES HIS HANDS IN THE AIR AND ENTERS THE HOUSE.
CUT TO:
TWENTY SEVEN. INT. SAME TIME. LIVINGROOM.
HARRY IS BAFFLED TO SEE THERE ARE NO GARDAI WAITING FOR HIM. MOTHER WALKS PAST HIM.
MOTHER
I was worried sick.
MOTHER TURNS AND REALISES HARRY HAS HIS HANDS IN THE AIR.
MOTHER (CONT'D)
Are you alright love?
HARRY
(DROPPING HIS HANDS)
Yes thank you.
CUT TO:
TWENTY EIGHT. INT/EXT NIGHT. HOUSE RERE/SKY.
HARRY, FULLY DRESSED,  CLIMBS OUT OF THE BEDROOM WINDOW ONTO THE ROOF OF THE KITCHENETTE EXTENSION JUST A COUPLE OF FEET BELOW THE WINDOW LEDGE. HE HAS HIS SCHOOLBAG ON HIS BACK. MAX HALTS AT THE WINDOW LEDGE, LOOKING AT HARRY.
HARRY (CONT'D)
Come on Max.
HARRY REACHES FOR MAX, WHO WITHDRAWS INTO THE BEDROOM.
HARRY (CONT'D)
Max!
THE FLASHING RED AND WHITE LIGHTS APPEAR OVER THE ROOF. HARRY GETS THE TORCH FROM HIS POCKET AND FLASHES RED OVER AND OVER.
HARRY (CONT'D)
Come on Max. They're here to collect us.
THE FLASHING LIGHTS CARRY ON ACROSS THE SKY.
HARRY (CONT'D)
They don't see us. They're not watching. They don't know we're in trouble.
MIX TO:
TWENTY NINE. EXT DAY. MOUNT JEROME CEMETERY.
THE DAY IS WINDY. THE BRANCHES OF TALL TREES LASH IN THE AIR. MOTHER AND HARRY STAND BEFORE THE GRAVE. THE FRESH FLOWERS SHUDDER IN THE POTS.
MOTHER
In the name of the father, and of the son, and of the Holy Ghost amen.
THEY KISS THE CROSS OF THEIR BEADS AND PUT THEM IN THEIR POCKETS.
MOTHER (CONT'D)
Now tell your Daddy you're being a good boy.
CLOSE UP OF ASHEN FACED HARRY. HE STARES AT THE PHOTOGRAPH OF DADDY. HE HAS BEEN DREADING THIS MOMENT.
MOTHER (CONT'D)
Go on Harry.
HARRY
I... I'll tell him next week.
MOTHER
Harry, do what you're told. Go on. Talk to your Daddy. Tell him you're being good. He knows you are and I know you are. Just say the words.
HARRY
(THINKS FOR A WHILE)
I can't say the words.
MOTHER
Is it that you did something bold?
HARRY
(EXTREMELY INNOCENT)
No I didn't.
MOTHER
Would you tell me if you did something bold?
HARRY
Of course I would.
MOTHER
Well would you not be nice then and tell your Daddy you're being a good boy.
HARRY LOOKS LIKE HE'S GOING TO SAY THE WORDS, THEN HE DOESN'T.
MOTHER (CONT'D)
Ah Harry don't be a torment.
HARRY
I want to go home.
MOTHER
Jesus Harry - God forgive me - will you not be making things so hard. First I can only drag Paul along onest in a blue moon. Now you're starting to act up. He's only five years in his grave. When I'm dead and gone you and your brothers will leave the grave to fade away. I just want you to be anear your father. He always wanted that.
HARRY
I just can't say it is all.
MOTHER TAKES OUT HER HANKY.
MOTHER
Go on and shame me in front of him. Go on then. Yez've all lost the run of yourselves. Don't mind me.
HARRY CAN'T TAKE ANY MORE. HE LOOKS AT THE GRAVE.
HARRY
Daddy - I am being a good boy.
HARRY SMILES UP AT MOTHER AND SHE STOPS SOBBING. THEN HE LOOKS BACK AT THE GRAVE; THE WIND GROWS WILD AND FLOWERS, INLAID PHOTOGRAPH, HEADSTONE, AND EARTH START RATTLING. ALL FLIES AWAY UP IN A SWIRLING TORRENT. HARRY LETS OUT A YELL AND RUNS AWAY.
MOTHER
Harry! Harry!
AT THIS NEW ANGLE SHOWING HARRY RUNNING AWAY AND MOTHER WATCHING HIM, THE GRAVE IS UNDISTURBED.
CUT TO:
THIRTY. INT DAY. KITCHENETTE. SUNDAY DINNER.
PAUL TUCKS INTO HIS ROAST, CABBAGE, AND POTATOES.  MOTHER HAS HER HAIR IN CURLERS.
MOTHER (CONT'D)
This cabbage is a curse. I'll be sitting in the Royal reeking of it.
HARRY POKES AT HIS FOOD.
MOTHER (CONT'D)
Harry will you not eat.
HARRY
I'm not hungry.
PAUL
I'll eat it.
MOTHER
Get your mawlers away from that. Harry love, you eat it.
HARRY
Excuse me from the table please.
MOTHER
(SIGHING)
Can you not eat.
HARRY MAKES A FACE, SHAKES HIS HEAD.
MOTHER (CONT'D)
Alright. I'll leave it on the pot for you. You might want it later.
HARRY EXITS, FOLLOWED BY MAX.
MOTHER (CONT'D)
I think I shouldn't go out.
PAUL
(ALARMED)
But Uncle Tony is bringing you out.
MOTHER
I couldn't leave Harry like that.
PAUL
He'll be grand. Sure me and Sarah'll mind him.
MOTHER
Yous can go out. I'll stay home.
PAUL
(SMARMY)
Ma - you only get out onest a week. Go on out and Harry'll be grand. You deserve your break so you do. Sure isn't it the only time you get out of the house. I'm going to mind me kid brudder.
THIS STRIKES A CHORD WITH MOTHER.
MOTHER
Will you look after him now?
PAUL
Cross me heart and hope to die.
MOTHER
(WITH GREAT RELUCTANCE)
Alright. Alright. As long as you'll mind him. I wouldn't want to leave your Uncle Tony in the lurch.
PAUL
That's right.
PAUL GIVES ONE OF HIS DISGUSTING GRINS, DISPLAYING CABBAGE CAUGHT IN HIS CROOKED TEETH.
CUT TO:
THIRTY ONE. INT NIGHT. LIVING ROOM.
START ON THE HAZY RECEPTION ON THE BLACK AND WHITE TELEVISION. A BRITISH QUIZ SHOW. SARAH AND PAUL SIT ON THE SOFA WATCHING TELEVISION. HE SLIDES HIS HAND ACROSS THE BACK OF THE SOFA TO REST IT ON HER SHOULDER. SHE SMILES AT HIM. THEN HE REACHES OVER THE OTHER HAND TO PULL HER TOWARDS HIM.
SARAH
Ah Paul, I'm watching the telly.
PAUL
(COAXING)
Yeah but we can still hear it.
SARAH
Ah give over.
PAUL
Just a little goozer. Go on.
SARAH
When this is over.
PAUL TRIES TO SMILE. HE SETTLES BACK AND WATCHES TELEVISION, KEEPING ONE ARM AROUND SARAH'S SHOULDER. HE DRIFTS THE OTHER HAND ONTO HER LEG.
SARAH (CONT'D)
(COLD)
Paul Cronin.
HE REMOVES THE EXPLORATORY HAND.
CUT TO:
THIRTY TWO. INT NIGHT. HARRY'S BEDROOM/SKY.
MEANWHILE, IN HARRY'S WORLD ALL IS HIGH DRAMA. THE SKY IS HEAVY WITH RAIN AS HE LEANS BACK IN FROM THE WINDOW. HE SEES BY THE ALARM CLOCK THAT IT'S PAST TEN O'CLOCK. HE CLOSES THE WINDOW, AND AS HE DOES A BLACK CLAW SCRAPES AGAINST THE GLASS. HARRY SHIVERS. HE HEARS FOOTSTEPS COMING UP THE STAIRS AND QUICKLY CLIMBS
INTO BED. ALL IS MISERY.
THE FOOTSTEPS BECOME LOUDER. HEAVIER. CLOSER. HARRY PRESSES HIS EYES SHUT. THE FOOSTEPS HALT OUTSIDE THE DOOR. HARRY PEEPS OUT FROM UNDER THE COVERS.
HARRY
Paul?
HE HEARS DEEP, RASPY BREATHING. HE BUNDLES THE BED COVERS TIGHT AROUND HIMSELF. MAX IS CURLED UP AT THE FOOT OF THE BED, ASLEEP. BUT NOW THE DOOR BEGINS TO DISTORT AND BULGE.
HARRY (CONT'D)
(GASPING)
Daddy? Daddy? I'm sorry I told a lie.
THEN THERE'S A MONSTER ROAR. HARRY SITS BOLT UPRIGHT IN BED AND SCREAMS HIS HEAD OFF. THERE IS THE SOUND OF A RUSH OF FOOTSTEPS. SARAH AND PAUL BURST IN THE DOOR.
HARRY (CONT'D)
Daddy was here! Daddy was here!
PAUL
Jaysus!
SARAH HUGS HARRY. PAUL STANDS AT THE DOOR.
SARAH
It's alright, love. It's alright. You're alright now.
HARRY
(SOBBING)
He was here.
PAUL
Will ya shut up and go back to sleep.
SARAH
Ah Paul will you go easy on him. He had a nightmare.
PAUL
He's a big sissy.
SARAH CRADLES HARRY.
SARAH
Don't mind him love. It's alright now. Wouldn't your heart go out to him.
CUT TO:
THIRTY THREE. INT NIGHT. LIVINGROOM.
A BRITISH DRAWING ROOM COMEDY IS ON TELEVISION. MOTHER ENTERS, HOME FROM HER NIGHT OUT, TO SEE PAUL AND SARAH SIT ON THE SOFA WITH HARRY BETWEEN THEM IN HIS PYJAMAS AND JUMPER. SARAH IS HUGGING HARRY. PAUL IS FURIOUS.
CUT TO:
THIRTY FOUR. INT DAY. THE KITCHENETTE.
HARRY SITS AT THE TABLE, LISTLESSLY DOING HIS HOMEWORK. MAX SNOOZES AT HIS FEET. HARRY REACTS TO A VAGUE SOUND, THEN RECOGNISES IT. IT'S THE NOISE OF THE LAMBRETTA SCOOTER PUTTERING TO A HALT.
HARRY
Oh no.
THE FRONT DOOR IS OPENED AND MAX PRICKS UP HIS EARS.
HARRY (CONT'D)
It's Uncle Tony.
HARRY BUNDLES UP HIS COPYBOOKS AND LASHES THEM INTO THE SCHOOL BAG. HE MAKES A BEELINE FOR THE BACK DOOR AND IS UNBOLTING IT WHEN HIS MOTHER ENTERS.
MOTHER
Harry! Guess who's here! Your Uncle Tony has come to take you for a jant.
CAUGHT IN THE ACT, HARRY FREEZES. UNCLE TONY ENTERS, STILL WEARING HIS ROUND HEAD HELMET, GOGGLES, LEATHER MIDLENGTH COAT AND WINGED LEATHER GLOVES.
UNCLE TONY
God Bless all beer!
CUT TO:
THIRTY FIVE. EXT DAY. PHOENIX PARK.
THE LAMBRETTA SCOOTER PUTTERS ALONG. HARRY HOLDS ONTO HIS UNCLE FOR DEAR LIFE. THERE'S A POSTMAN'S SACK HOOKED IN THE FOOT REST OF THE SCOOTER, AND MAX PEERS OUT FROM THIS.
CUT TO:
THIRTY SIX. EXT SAME TIME. DOG POND AREA.
THE LAMBRETTA DRAWS TO A HALT WITH THE WELLINGTON MONUMENT IN THE BACKGROUND.
UNCLE TONY (CONT'D)
O-D-Kay.
HARRY CLIMBS OFF THE BACK OF THE SCOOTER AND RELEASES MAX FROM THE SACK. MAX RACES OFF TO PEE AGAINST A TREE.
UNCLE TONY (cont'd)
S-P-L-N-Did.
HARRY
Uncle Tony, Uncle Tony.
UNCLE TONY
What's up doc?
HARRY
There's an alsation over there.
UNCLE TONY IS TAKING OFF HIS WINGED LEATHER GLOVES AND GOGGLES.
UNCLE TONY
Well so there is.
HARRY
I think we should go somewhere else with Max.
UNCLE TONY
The bigger they are the harder the ball.
HARRY
But Uncle Tony.
UNCLE TONY
No ifs buts or bumpsadaisies. Max can take care of himself.
UNCLE TONY PUTS HIS HELMET AND GLOVES IN THE BOX AT THE BACK OF THE SCOOTER AND HEADS OFF INTO THE FIELD.
UNCLE TONY (CONT'D)
Here Max! Come on dog!
HARRY WATCHES IN EXASPERATION. MAX RUNS UP TO UNCLE TONY, WHO FINDS A STICK AND THROWS IT.
HARRY
Max don't!
MAX RUNS AFTER THE STICK.
HARRY (CONT'D)
(MOSTLY TO HIMSELF)
He always just acts like a dog.
MAX RETURNS TO UNCLE TONY WITH THE STICK.
UNCLE TONY
Good boy.
UNCLE TONY RUNS ALONG, WAVING THE STICK, AND MAX CHASES AFTER HIM. HARRY IS LEFT BEHIND TO WALK ALONG AND OBSERVE IN DESPAIR.
HARRY
Max - you know what's going to happen.
UNCLE TONY THROWS THE STICK INTO THE DOG POND AND MAX LEAPS IN AFTER IT. HARRY ARRIVES AT THE WATER'S EDGE TO STAND BESIDE HIS UNCLE AND WATCH.
UNCLE TONY
That's a terrier alright. Pioneers they never say die. Yipeekiyay.
CLOSE SHOT OF MAX REACHING THE STICK IN THE WATER AND SWIMMING BACK TO HARRY AND UNCLE TONY.
HARRY
The water's dirty.
UNCLE TONY
What's a dog's life? It's ruff ruff.
UNCLE TONY GIVES HIS MAD LAUGH. MAX COMES OUT OF THE WATER AND PLANTS THE STICK IN FRONT OF HIM. THEN MAX SHAKES HIMSELF OFF AND UNCLE TONY LAUGHS SOME MORE.
UNCLE TONY (CONT'D)
Suffering soccatash. What?
UNCLE TONY THROWS THE STICK BACK IN THE WATER AND MAX RUSHES AFTER IT WITH MORONIC ENTHUSIASM. HARRY IS ASHAMED.
HARRY
I don't believe it. He does this every time.
HE LOOKS AT UNCLE TONY, WHO IS CHUFFED WITH HIMSELF.
CUT TO:
THIRTY SEVEN. INTERIOR DAY. PUB.
HARRY SIPS HIS ORANGE AND PASSES A CRISP TO A SOAKING MAX. UNCLE TONY RETURNS WITH HIS SECOND PINT AND CHASER.
UNCLE TONY
You don't want another drink?
HARRY
No thanks.
UNCLE TONY
Not a Cronin at all. What? Your Daddy could hold his drink you know.
UNCLE TONY TAKES A PACKET OF PEANUTS FROM HIS POCKET AND PASSES THEM TO HARRY.
UNCLE TONY (CONT'D)
Neaputs.
HARRY
Peanuts. They're peanuts.
UNCLE TONY
How's the form is school getting you down or what?
HARRY
School's alright.
UNCLE TONY
Not like your Daddy. He was the one. When we were in school his name spelt T-R-U-B-Uble. Those were the days.
(RAISING THE FRESH PINT) Good luck good luck good luck. UNCLE TONY KNOCKS BACK A LONG DRINK, THEN LOOKS AT HARRY AND FROWNS IN CONTRADICTION TO HIS GUINNESS SMILE.
UNCLE TONY (CONT'D)
Would you be on for a pow wow, man to man, Cronin to Cronin, eyeball to youball.
HARRY LOOKS DOWN AT THE GROUND AND MAKES A FACE.
UNCLE TONY (CONT'D)
It's a hard station. Are you letting a gong with your Mammy?
HARRY
Getting along.
UNCLE TONY
She's a saint that woman. B-L-S-ed. Your father's in heaven and your mother's a saint.
THE TWO LOOK AT EACH OTHER AND THINK ABOUT THIS. UNCLE TONY TAKES A GULP OF HIS PINT.
UNCLE TONY (CONT'D)
And your brother, are things gameball there?
HARRY
Yes Uncle Tony.
UNCLE TONY
The job is oxo. The job is oxo.
HE PAUSES, BRACING HIMSELF.
UNCLE TONY (CONT'D)
There's something eating you. Your Mammy says.
HARRY LOOKS AT MAX, LOOKS OUT THE WINDOW. NOT A WORD.
UNCLE TONY (CONT'D)
Would you not cough it up, spit it out and give it a wink. A problem shared is a problem for everybody. You can tell your Uncle Tony. Mum's the word to your Mammy. It won't leave this room unless it follows us.
NO RESPONSE. HARRY SWINGS HIS FEET.
UNCLE TONY (CONT'D)
I never tied the knot meself so I'm not the Mae West at sorting out chislers. But your Daddy now. There was the man for giving out lackery. He was the one who sent your big brother Jimmy off to London cos he was getting into bother with them teddy boys on the road. A fine man your Daddy. The best big brother in the wurdled. A-D- mirable. A boy needs a man of course.
HARRY SEEMS TO BE IGNORING ALL THIS.
UNCLE TONY (CONT'D)
Just remember your Daddy is looking down on you. He's minding you all the time and he'll whisper in your ear if he thinks you're doing the wrong thing. Do you hear him whispering ever?
HARRY SHAKES HIS HEAD.
UNCLE TONY (CONT'D)
Does he tap you on the shoulder?
HARRY SHAKES HIS HEAD AGAIN. UNCLE TONY REACHES ROUND AND TAPS HARRY'S FAR SHOULDER. THE BOY IS STARTLED AND TURNS AROUND.
UNCLE TONY (CONT'D)
If I was a ghost I'd haunt that barman - do you know why? Because he doesn't serve spirits.
UNCLE TONY LETS OUT HIS STRANGE LAUGH AND HARRY IS EMBARRASSED WHEN OTHER PEOPLE IN THE PUB TURN AROUND. UNCLE TONY WINKS AT THE BARMAN AND KNOCKS BACK THE WHISKEY. HE BROODS AND HARRY MAKES FACES TO HIMSELF.
UNCLE TONY (CONT'D)
Do you still miss him or what? Is that what ails ya? Sure he's dead this years.
HARRY STARES VERY INTENTLY AT UNCLE TONY, WHO SQUIRMS.
UNCLE TONY (CONT'D)
Cat got your tongue?
HARRY
(A THOUGHT HE CAN'T CONTAIN)
Uncle Tony, when you get hung does your tongue stick out?
UNCLE TONY IS STUMPED BY THIS ONE. HE LOOKS AT HARRY, WHO STARES AT HIM AND AWAITS AN ANSWER.
UNCLE TONY
You'd... have to ask a hangman that.
HARRY GAZES OUT THE WINDOW. MORE AWKWARD SILENCE.
UNCLE TONY (CONT'D)
You're a chip off the old block alright. Your Daddy was the very same. His arse talked more than his face.
HARRY
That's bad language.
UNCLE TONY
Sorry. Begging your pardon. Exsqueeze me. I appa-low-gise.
UNCLE TONY KNOCKS BACK ANOTHER DRINK. PAUSE.
UNCLE TONY (CONT'D)
When we were only very small, our Daddy bought us two goldfish. One night, he got home and he found one of them dead in the bowl. He came up to the bedroom and your Da woke up. "I'm sorry son, one of the goldfish is dead," says the ould fella. Your Da says "Ah, that one's Tony's," and goes back to sleep.
UNCLE TONY CHUCKLES.
UNCLE TONY (CONT'D)
A card. A ticket.
HARRY GAZES OUT THE WINDOW. UNCLE TONY DRINKS SOME MORE. A DESPERATE MAN.
UNCLE TONY (CONT'D)
What? I tell ya. Definootely.
HE LOOKS AT HARRY, WHO IS MILES AWAY.
CUT TO:
THIRTY EIGHT. INT MATINEE. CINEMA. (FLASH GORDON SEQUENCE THREE)
THE IRON MAN AND FLASH ENGAGE IN MORTAL COMBAT. HARRY WATCHES INTENTLY, EVEN THOUGH HE IS CURLED DOWN IN HIS SEAT TO AVOID BEING NOTICED. THE IRON MAN EXPLODES AND FLASH IS THROWN BACK, OUT OF DANGER. HARRY IS GREATLY PUZZLED BY ALL THIS. HE WAS ABSOLUTELY SURE THIS WAS THE END OF FLASH GORDON. ON SCREEN THE ACTION CONTINUES. DALE ARDEN AND ZARKOV ARE TAKEN PRISONERS BY THE IRON MEN. THEN OTHER GOODIES COME
ALONG AND FIND FLASH - "THERE WAS AN EXPLOSION," HE EXPLAINS,
"IT KNOCKED ME OUT."
CUT TO:
THIRTY NINE. EXT DAY. CINEMA.
HARRY HAS HIS JACKET COLLAR UP AROUND HIS FACE AS HE SKULKS OUT OF THE CINEMA IN THE CROWD. HE IS MOVING ON HASTILY WHEN A HAND GRABS HIS SHOULDER. HARRY NEARLY LEAPS OUT OF HIS SKIN. HE TURNS TO SEE SEAN.
SEAN
Hiya!
HARRY TRIES TO RUN AT FIRST, BUT SEAN HAS A FIRM HOLD ON HIM.
SEAN (CONT'D)
Wait! Wait!
HARRY
I didn't mean to do it! Honest! I didn't mean it!
SEAN
But you didn't do anything!
HARRY
I shot you!
SEAN
You didn't shoot me. I fell on glass. Look. Look.
WITH SOME PRIDE, SEAN OPENS HIS SHIRT AND PEELS BACK THE PLASTER TO SHOW A SCABBED CUT COVERED WITH IODINE.
SEAN (CONT'D)
You see? It's all jagged. Like the glass.
(WITH PRIDE)
It'll leave a scar.
HARRY TRIES TO TAKE ALL THIS IN.
CUT TO:
FORTY. EXT DAY. PARK.
HARRY AND SEAN SIT ON A BENCH IN THE PARK.
HARRY
I have to tell you something. It's a big huge secret. I've never told any other human bean ever about this so you have to swear to never tell it to anyone cross your heart and hope to die.
SEAN
Alright.
HARRY
Swear?
SEAN
I swear.
HARRY
Say I swear on a stack of bibles may God strike me dead this instant.
SEAN CHUCKLES.
HARRY (CONT'D)
Say it.
SEAN
Alright. I swear on a stack of bibles may God strike me dead.
HARRY
This instant.
SEAN
This instant.
HARRY PAUSES, THINKING ABOUT THIS. THEN PROCEEDS.
HARRY
I'm not an Earthling. I'm a Mercurian. I come from the Planet Mercury. I was sent here as a secret agent to observe life on this planet and report back to the Mercurians. They're going to come here one day and make friends with the Earthlings, but they want to know more about life on Earth so they sent me and it's my job to report back to them every night. They sent me and I have special powers because all Mercurians have special powers. The time that I got annoyed with you, I used my secret power and that's what made you fall on the glass.
SEAN THINKS ABOUT THIS A WHILE.
SEAN
What's Mercury like?
HARRY
I don't remember it. I was only a baby when they sent me here. They put me in a family, and I have an Earth Mother who knows who I really am but she doesn't let on. She knows I have special powers.
SEAN
What special powers do you have?
HARRY
I can tell the future, and I can make people do things. And I can make cars turn corners - but it only works sometimes. I can talk to my dog Max too. But he's not really a dog. He's from Mercury. He's in disguise as a dog. He protects me, ya see.
SEAN
Really?
HARRY
Really.
SEAN
It's a story, isn't it?
HARRY
Sure if it was a story how would it be a secret?
SEAN
Janey. Do you ever meet the Mercurians?
HARRY
I only send them messages.
SEAN THINKS ABOUT THIS A WHILE. THEN HE ROOTS IN HIS JACKET AND PRODUCES HARRY'S WOODEN LASER GUN.
HARRY (CONT'D)
Aahh!
SEAN
You threw it away, but I picked it up.
HARRY
Thanks.
SEAN
Did you make it yourself?
HARRY
I had to, cos I wasn't given any weapons for if I ever needed to save myself. I'll never use it again.
SEAN
What school do you go to?
HARRY
Saint Columba's Christian Brothers.
SEAN
I go to Synge Street in town. But I live in Walkinstown.
HARRY
Why did you come to my picture house?
SEAN
I wanted to see the film that was on last week - The Man from Laramie. Cowboy films are my favourite. Especially Audie Murphy and James Stewart. Then this week I wanted to find you and let you know what happened. Do you want to come up to my house and see where I live?
HARRY TRIES TO CONTAIN HIS ENTHUSIASM FOR SUCH A GESTURE OF FRIENDSHIP.
HARRY
Maybe.
SEAN
You could make a report to Mercury about Walkinstown.
HARRY
(SUPPRESSING HIS DELIGHT)
Mmm.
CUT TO:
FORTY ONE. SEAN'S FAMILY SEQUENCE.
ALL OF THIS 'REPORT' IS IN SLOW MOTION - LIKE EVERYONE IS ON THE MOON - OFTEN FROM HARRY'S POINT OF VIEW. WHEN HARRY REPORTS DIALOGUE, WE SEE THE PEOPLE MOUTH THE WORDS. THIS IS BLESSED NORMALITY - AN ALIEN WORLD TO HARRY. IT BEGINS AS SEAN'S SMILING MOTHER OPENS THE FRONT DOOR OF THE HOUSE.
HARRY (VOICE OVER) (CONT'D)
It was like real families - the ones that you see in the pictures. Mrs McCarthy is young and pretty, and she smiles and she has long brown hair. She wears nice dresses all the time.
THE CAMERA MOVES THROUGH THE HALLWAY, INTO THE KITCHEN. SEAN'S FATHER LOOKS UP AND SMILES.
HARRY (VOICE OVER) (CONT'D)
Mister McCarthy smokes a pipe and reads books. He's really friendly and wants to play with his children.
SEAN'S FATHER GESTURES TOWARDS THE LOVELY BACK GARDEN. SEAN'S SEVEN YEAR OLD SISTER AND FIVE YEAR OLD BROTHER PLAY OUTSIDE.
HARRY (VOICE OVER) (CONT'D)
Sean is the oldest in the family. He has a brother named Thomas and a sister named Helen. They're all near the same age, and they look like each other. They all play in this big garden with flowers where the sun shines.
SEAN'S FATHER PLAYS FOOTBALL IN THE BACK GARDEN WITH THE CHILDREN. AT ONE POINT, INSTEAD OF TACKLING HARRY HE PICKS HIM UP AND TICKLES HIM.
HARRY (VOICE OVER) (CONT'D)
Everyone is happy all the time and no one ever gives out. Sean's Mammy watches everyone and smiles and makes lemonade and cakes. She even kisses Mister McCarthy and he gives her hugs and says "thanks honey" when she does something nice - which she does all the time.
THE CAMERA TRACKS UPSTAIRS INSIDE THE HOUSE STARTING FROM THE PHONE BY THE GLASS HALL DOOR. THE VIEW WANDERS INTO ROOMS AND OUT, EVENTUALLY FINDING HARRY TAKING A PEE IN THE TOILET.
HARRY (VOICE OVER) (CONT'D)
The house is huge, and Sean has a room all to himself. So do his Mammy and Daddy. And their toilet is inside the house - upstairs, with a big bath that you could go for a swim in. They have flower pots in the bathroom, and the toilet paper has colours.
THE NICELY FURNISHED AND CARPETED LIVING ROOM, WITH A TELEVISION THAT HAS PERFECT RECEPTION. ALL THE CHILDREN ARE WATCHING A BRITISH CHILDRENS PROGRAMME UNTIL MRS MCCARTHY ENTERS.
HARRY (VOICE OVER) (CONT'D)
They have carpet on the floor in all the rooms, and when you lie on the carpet it's like lying on a soft bed. You nearly bounce on it when you walk. And when it was time for me to go because Mrs McCarthy had to give the children a bath, she gave me these sweets and she gave me a kiss on the head, and Mister McCarthy shook my hand and said 'goodbye, young man. We'll see you again.' And Mrs McCarthy walked out to the door with me and Sean and she waved and said 'Goodbye Harold' and then she turned to Sean and said 'that's a very nice boy.'
HARRY WALKS PAST THE CAR IN THE DRIVEWAY AND ALMOST DARES TO TOUCH IT.
CUT TO:
FORTY TWO. INT NIGHT. BEDROOM.
HARRY SITS ON THE BED WITH MAX, COMPLETING HIS REPORT TO HIM.
HARRY
Some day I'll bring you to see for yourself, and you'd be really welcome because the one thing they don't have is a dog and Sean says he loves dogs but his Mammy says a dog would only destroy the garden.
HARRY SIGHS AND LOOKS AROUND THIS SMALL BEDROOM HE SHARES WITH HIS BROTHER.
HARRY (CONT'D)
I don't know why the Mercurians sent me here when they could've sent me to a big house in Walkinstown.
HE THINKS ABOUT THIS SOME MORE.
HARRY (CONT'D)
Maybe I should ask them if I can do a swop.
CUT TO:
FORTY THREE. INT NIGHT. LIVINGROOM.
A SNAKES AND LADDERS BOARD GAME IS ON THE FLOOR, AND HARRY AND SARAH ARE PLAYING IT TOGETHER AS THEY LIE ON THE FLOOR. PAUL IS SITTING ON THE SOFA, SMOKING AND FUMING.
HARRY (CONT'D)
Five. Ah no.
SARAH
Back down the snake.
SARAH ROLLS THE DICE.
HARRY
Get an eight. Get an eight and you'll go down that snake.
SARAH
Eight.
HARRY LAUGHS. PAUL CAN'T CONTAIN HIMSELF.
PAUL
In the name of jaze is that game not over yet.
SARAH
You can play Harry next time.
HARRY LOOKS TO PAUL WITH A SMILE WHICH DISAPPEARS WHEN HE SEES THE RAGE IN HIS BROTHER'S EYES.
HARRY
I have to go to bed.
SARAH
It's not late yet.
HARRY
It's past my bedtime.
SARAH
When's your bed time.
HARRY
Ten o'clock.
SARAH
It's only half nine.
HARRY
I mean nine o'clock.
SARAH
Roll the dice.
HARRY ROLLS THE DICE. SARAH LOOKS UP TO PAUL AND MOUTHS "HE'S LOVELY". PAUL RETURNS A VERY FAKE GRIN AND SMOKES SOME MORE.
HARRY
Twelve! I got twelve!
SARAH
Ahh!
THE TWO LAUGH, THEIR FACES CLOSE. SARAH GIVES HARRY A BIG LIPSTICK KISS.
SARAH (CONT'D)
You have a gorgeous smile so you do.
SARAH ROLLS THE DICE AS HARRY SMILES UP AT PAUL. PAUL GESTURES A THUMB ACROSS HIS THROAT AND HARRY SQUIRMS.
SARAH (CONT'D)
Four. You're winning me.
CUT TO:
FORTY FOUR. INT MORNING. KITCHENETTE.
MOTHER STIRS THE POT OF PORRIDGE.
MOTHER
Hurry up Harry. You'll be late for school.
CUT TO:
FORTY FIVE. INT SAME TIME. SCULLERY.
HARRY'S HEAD UP INTO FRAME. HE IS WASHING IN THE SINK. HE WIPES HIS FACE WITH A TOWEL AND LOOKS IN THE MIRROR. HE GIVES A WINNING SMILE, PRACTICES THIS SOME MORE. TURNS AWAY FROM THE MIRROR AND LOOKS BACK AND GIVES A SMILE. SHOWS HIS TEETH, NODS HIS HEAD.
MOTHER (CONT'D)
(OUT OF VIEW)
Come on Harry.
CUT TO:
FORTY SIX. INT DAY. HARRY'S CLASSROOM.
THE BIG, OILY TEXTURED MAP OF IRELAND IS HOOKED TO THE BLACKBOARD. BROTHER DOWDALL TAPS OUT THE AREAS ON THE MAP WITH HIS LEATHER AS THE BOYS SLAVISHLY DRONE OUT THE TOWN NAMES. HARRY IS IN A DAYDREAM.
BOYS
Tra Lui, Cill Airne, Lios Tuathail, An Daingean. Tra Lui, Cill Airne, Lios Tuathail, An Daingean. Tra Lui, Cill Airne, Lios Tuathail, An Daingean. Tra Lui, Cill Airne, Lios Tuathail, An Daingean.
BROTHER
Go maith. Now. James Maguire.
MUCKER
Yes brudder.
BROTHER
Repeat the names.
MUCKER
Tra lee, Killarney, Liss Duhal, An Dagan brudder.
BROTHER
An Daingean.
MUCKER
An Daingean brudder.
BROTHER
An Daingean.
MUCKER
An Daingean brudder.
BROTHER
(WEARY)
Harold Cronin.
HARRY SNAPS AWAKE.
HARRY
Brother.
BROTHER
Repeat.
HARRY
Yes Brother.
THERE IS A TITTER FROM THE BOYS. MUCKER GLOATS AT HARRY'S MISFORTUNE.
BROTHER
Cunas! Repeat the names.
HARRY
The names Brother.
BROTHER DOWDALL SLAPS THE MAP WITH THE LEATHER AT THE FOUR TOWNS.
BROTHER
A slap for every town you don't get, Cronin.
HARRY
Tralee.
THAT'S IT. HARRY CAN OFFER NO MORE. THE BROTHER SLAPS THE OTHER NAMES ON THE MAP WITH THE LEATHER.
BROTHER
Three more or three slaps.
HARRY
Yes, brother.
BROTHER
Well?
HARRY
Nil fhios agam (I don't know), brother.
BROTHER
You don't know. Well come up to the board.
HARRY GETS UP FROM HIS DESK. MUCKER LOOKS AT HIM AND SNICKERS. HARRY WALKS UP TO THE BOARD. SOME BOYS WATCH HIM IN SYMPATHY.
BROTHER (CONT'D)
Cur amach do lamh (Put out your hand).
HARRY PUTS OUT HIS HAND. THE BROTHER GIVES HIM THREE SLAPS IN TIME WITH HIS WORDS.
BROTHER (CONT'D)
What's the POINT of trying to TEACH you if won't LISTEN.
HARRY CRADLES HIS STINGING HAND.
BROTHER (CONT'D)
Sig sios (Sit down).
HARRY LOOKS AT BROTHER DOWDALL, WHO NOW HAS A LITTLE BLACK MOUSTACHE.
BROTHER (CONT'D)
Sig sios! Sig sios!
CUT BACK TO HARRY AND BACK TO BROTHER DOWDALL - WHO NOW LOOKS HIS NORMAL SELF.
BROTHER (CONT'D)
Sig sios! Sit down!
HARRY GOES BACK TO HIS SEAT, STIFLING TEARS. MUCKER MAGUIRE LOOKS AT HIM AND GIVES AN EVIL GAP-TOOTHED GRIN. HARRY BOWS HIS HEAD. BROTHER DOWDALL RETURNS TO HIS TEACHING, SLAPPING THE MAP WITH THE LEATHER.
BROTHER (CONT'D)
Tra Lui, Cill Airne, Lios Tuathail, An Daingean. Tra Lui, Cill Airne, Lios Tuathail, An Daingean.
CUT TO:
FORTY SEVEN. EXT DAY. SCHOOLYARD.
BOYS RUN AND FIGHT IN ALL DIRECTIONS IN THE NOISY GREY YARD. MUCKER MAGUIRE IS BULLYING SOME HAPLESS LAD. HARRY IS SITTING ON A DRAIN PIPE AT THE WALL. CLOSE SHOT OF A MISERABLE HARRY AND THE SOUND OF THE CHILDREN FADES AWAY. HARRY GAZES AT MUCKER WHO, AS BOYS RUN PAST IN THE FOREGROUND, TURNS INTO AN EXPLODING IRON MAN AND BACK INTO MUCKER. IN THE DISTANCE HARRY SEES BROTHER DOWDALL WALK ACROSS THE YARD. AS BROTHER DOWDALL EMERGES FROM BEHIND SOME BOYS HE'S EVIL EMPEROR MING WITH FLOWING CLOAK, THEN BROTHER DOWDALL AGAIN, THEN EMPEROR MING. HARRY LOOKS TO HIS RIGHT. APPROACHING HIM THROUGH THE
MILLING, PLAYING, BUT MUTE BOYS IS PAUL - LOOKING LIKE
CAPTAIN TORCH AND POINTING A SCI-FI GUN.
SARAH
(OUT OF VIEW)
Harry! Oh Harry!
HARRY LOOKS AROUND. SARAH, LOOKING LIKE DALE ARDEN, IS APPROACHING HIM THROUGH THE SILENT PLAYING BOYS.
SARAH (CONT'D)
What have they done to you! You suffered that torture rather than give them my name. My hero!
HARRY SMILES HIS SMILE.
CUT TO:
FORTY EIGHT. INT MATINEE. CINEMA. (FLASH GORDON SEQUENCE FOUR)
MING HAS DRUGGED DALE ARDEN AND FLASH, SPEAKING BY  A TELEVISION LINK, SWEARS "IF YOU HARM HER I'LL KILL YOU WITH MY BARE HANDS". THE BOYS IN THE AUDIENCE EGG MING ON TO USE THE PURPLE DUST ON DALE ARDEN. HARRY IS SITTING WITH SEAN. DALE PLEADS FOR HELP AND MING SAYS NO HARM WILL COME TO HER. THERE'S LOTS OF BOOES AND HISSES FROM THE CROWD.
CUT TO:
FORTY NINE. EXT DAY. PARK RAILINGS.
HARRY AND SEAN WALK TOGETHER AMIDST PASSING BOYS.
HARRY
Did you ever kiss a girl?
SEAN
No.
HARRY
A girl kissed me. It's because I'm a Mercurian. Mercurians have powers that make girls want to kiss them. They have a smile that makes girls fall in love.
SEAN
What kind of a smile?
HARRY
(DOING THE SMILE)
Like this, ya see?
SEAN
Oh yeah.
SEAN SPOTS MUCKER MAGUIRE AND COHORTS NEARBY. SEAN DUCKS BEHIND A PARKED CAR AND HARRY FOLLOWS HIM.
HARRY
What's up?
SEAN
That boy.
HARRY
Mucker Maguire? He's in my class.
SEAN
He beat me up one day. I was coming out of a shop with comics and sweets and him and his pals beat me up and stole everything. Even the money I had in my pockets.
HARRY LOOKS AT MUCKER, ANGRY.
HARRY
He did that to you?
SEAN
I have to go home.
HARRY
It's alright. We can go up the other road.
(THINKING)
Were you ever in a cemetery?
SEAN
No.
HARRY
Does no one in your family ever die?
SEAN
My Grannies and Grandas are alive.
HARRY
My Daddy's Mammy is still alive. My Uncle Tony lives in the house with her.
SEAN ISN'T LISTENING TO THIS - HE'S TOO BUSY WATCHING MUCKER.
HARRY
Cummom.
CUT TO:
FIFTY. EXT DAY. MOUNT JEROME CEMETERY.
HARRY AND SEAN EXPLORE AROUND THE FAMILY CRYPTS AND ANCIENT GRAVES. THEY READ HEADSTONES.
SEAN
'Not dead but sleeping'.
HARRY
Imagine when he wakes up.
SEAN
'Gone to his maker'.
HARRY
It's too late to fix him now.
SEAN
'Taken by the angels'.
HARRY
My Mammy used to say I was sent by the angels. But she was only pulling me leg.
HARRY WALKS AWAY. SEAN FOLLOWS.
HARRY (CONT'D)
It's over here.
THEY ARRIVE AT THE GRAVE. HARRY BLESSES HIMSELF AND SO DOES SEAN.
SEAN
What happened to your father?
HARRY
Something in his stomach.
SEAN
I'd hate if my Daddy was dead.
NO RESPONSE FROM HARRY.
SEAN (CONT'D)
Do you remember him?
HARRY
(THE WORDS STREAM OUT, AS IF THEY CARRIED NO EMOTION)
Once, when I was only small, I was being sick and I was leaning over the toilet and he was leaning down beside me and he was rubbing the back of my neck. Just rubbing it like that, and he was saying "you're alright, son, you're alright," and I thought something terrible was going to happen to me but he said it was alright and I started to feel better then. I think I remember that and he wiped my mouth with the toilet paper and he smiled at me and everything was alright after that. I think I remember that. I think I do. I was only very small and he died after that and my Mammy says he bought Max for me before he died. I don't know. I don't remember. He wasn't really my father anyway. He couldn't be. My father lives on Mercury and I'll meet him when I'm finished my work as a secret agent and I go home. Go home to Mercury. So he wasn't really my Daddy so I don't miss him.
(SLIGHT PAUSE. HE LOOKS AT THE PHOTOGRAPH) )
I don't miss him.
HARRY BLESSES HIMSELF AND WALKS AWAY FROM THE GRAVE. SEAN BLESSES HIMSELF AND FOLLOWS. SEAN PUTS AN ARM AROUND HARRY - THE WAY PALS DO.
HARRY (CONT'D)
The girl who kissed me is my big brother's girlfriend. She's coming to my house again tonight and I'm afraid she'll tell Paul she doesn't love him anymore cos she loves me.
SEAN
Janey.
AS HARRY SPEAKS HE PUTS HIS ARM AROUND SEAN.
CUT TO:
FIFTY ONE. INT DAY. LIVINGROOM.
MOTHER HAS THE ROOM ON ITS EAR AS SHE POLISHES THE LINO FLOOR. SHE'S IN DRAB WORK CLOTHES WITH HER HAIR TIED UP IN A SCARF. THERE'S A KNOCK ON THE DOOR AND SHE GOES OUT, EXPECTING ONLY TO SEE HARRY.
CUT TO:
FIFTY TWO. SAME TIME. HALLDOOR.
SHE OPENS THE DOOR AND DOESN'T LOOK.
MOTHER
Go up to the bedroom love till I finish.
HARRY
I have a friend.
MOTHER LOOKS TO SEE SEAN - A NICE CLEAN BOY. SHE'S SPEECHLESS
WITH EMBARRASMENT.
CUT TO:
FIFTY THREE. INT DAY. LIVING ROOM.
SEAN AND HARRY SIT ON THE SOFA WITH MAX, WHO IS LICKING SEAN.
HARRY
He says he likes you.
SEAN
I like him too. Your Mammy is nice.
HARRY
Your Mammy is nicer.
MOTHER ENTERS, NOW CLEANED UP. SHE CARRIES IN A RATTLING TRAY WITH TEA, HER BEST CUPS AND SAUCERS,  AND BISCUITS ON A PLATE. HARRY SMILES FROM SEAN TO HIS MOTHER ALL THE TIME.
MOTHER
You live in Walkinstown, Sean, is that right.
SEAN
Yes, Mrs Cronin.
MOTHER
It must be lovely out in the country.
HARRY
Their toilet is inside - upstairs. Isn't that right.
SEAN
That's right, yes.
HARRY
It's a huge big house.
MOTHER LOOKS AT HARRY AND GRITS HER TEETH. HARRY'S SMILE BEAMS.
MOTHER
(A STRAINED SMILE)
Very nice.
HARRY
I met Sean at the pictures.
MOTHER
And how old are you Sean?
SEAN
I'm nine years old.
HARRY
I'll be nine in August.
SEAN
I'll be ten in July.
MOTHER
Oh you're a grand boy. And where do you go to school?
SEAN
Synge Street National School.
HARRY
They're all brains there.
MOTHER
How do you like your tea?
SEAN
One sugar and plenty of milk, please thank you.
MOTHER
You have very nice manners.
SEAN
Thank you Mrs Cronin.
MOTHER
Do you hear those manners Harry.
MOTHER OFFERS PLAIN BISCUITS.
HARRY
(BIG SMILE)
We had lemonade and cake at his house.
SEAN
Thank you.
MOTHER IS HOLDING HER PATIENCE. HARRY GLOWS WITH DELIGHT.
HARRY
Sean says I can stay at his house tonight. I'll go up after dinner and Paul and Sarah won't have to babysit me.
MOTHER'S TEA CUP RATTLES.
CUT TO:
FIFTY FOUR. EXT NIGHT SKY.
A STARRY SKY. TILT DOWN ON A NEW HOUSING ESTATE NEAR THE DUBLIN MOUNTAINS.
CUT TO:
FIFTY FIVE. INT NIGHT. SEAN'S BEDROOM/ THE SKY.
THE ROOM IS COMFORTABLE AND SPACIOUS, WITH TOYS AND A BOOK SHELF. THERE'S A CAMP BED SET UP BESIDE SEAN'S BED. HARRY - DRESSED INCONGRUOUSLY IN HIS SUNDAY BEST SUIT - SITS BY THE WINDOW WITH SEAN READING COMICS. HARRY SEES THAT THE TIME BY THE ALARM CLOCK IS NEARLY TEN O'CLOCK.
HARRY (CONT'D)
The Mercurians are coming.
SEAN
Yeah?
HARRY GETS HIS TORCH FROM HIS BAG AND OPENS THE WINDOW. SEAN JOINS HARRY AND THEY LOOK OUT AT THE CLEAR SKY.
HARRY
I don't know where they'll be. The Mercury space ship travels right over my house to make sure I'm alright.
SEAN
Why do you need a torch?
HARRY
I send them signals. If I didn't they'd come down to search for me.
THEY LOOK AROUND THE NIGHT SKY.
SEAN
What's it like - the universe.
HARRY
Full of adventures and monsters and everything. You can travel for miles and miles and visit the stars. They're all shiny like the inside of a bulb.
SEAN
Janey.
HARRY
There it is!
HARRY SEES THE FLASHING RED AND WHITE LIGHTS.
SEAN
Where?
HARRY
There - look.
HARRY STARTS FLASHING HIS TORCH GREEN AND WHITE.
HARRY (CONT'D)
(KNOWING CHUCKLE)
I hope they don't think I'm lost.
SEAN
Those lights?
HARRY
Over there.
SEAN THINKS ABOUT THIS AS HARRY FLASHES THE TORCH.
SEAN
Harry - that's an airplane.
HARRY
Don't be thick.
SEAN
It is an airplane.
HARRY
It flashes lights to me.
SEAN
Red and white lights.
HARRY
Yeah.
SEAN
All airplanes flash red and white lights.
HARRY
It's the Mercurians.
SEAN
What lights are you flashing?
HARRY
Green and white.
SEAN
Did you ever see them flashing green and white lights?
HARRY
I flash the green and white.
SEAN
Harry, that's an airplane. You're making it all up.
HARRY
(VEHEMENT)
I'm not making anything up! You don't know about Mercurians or anything!
HARRY CLIMBS AWAY FROM THE WINDOW.
SEAN
Harry...
HARRY
If you don't believe me I don't care.
HARRY GETS OUT HIS PYJAMAS AND STARTS TAKING OFF HIS CLOTHES. SEAN CLOSES THE WINDOW.
SEAN
It's just that I think you have a big imagination.
HARRY
(FURIOUS)
I do not have a magination! You'll see. Just wait. You'll see. There are lots of things Mercurians can do that Earthlings can't do. I know.
CUT TO:
FIFTY SIX. INT DAY. HARRY'S CLASSROOM.
BROTHER DOWDALL ISSUES HIS INSTRUCTION.
BROTHER
Your history books and copybooks.
THERE IS A GREAT CLATTER OF DESK LIDS LIFTED AND SHUT. THIS IS A CHANCE FOR ANARCHIC NOISE IN THE CLASS AND THE BOYS NATURALLY TAKE ADVANTAGE.
BROTHER (CONT'D)
Cunas! Quietly!
MUCKER MAGUIRE HAS LIFTED UP HIS COPYBOOK IN THE DESK AND FOUND A COPYBOOK PAGE WITH RED LETTERED HANDWRITING ON IT. WITH THE LID OF THE DESK RESTING ON HIS HEAD, HE READS THE NOTE: 'YOU ARE A ROBBER. YOU WILL DIE IF YOU BULLY MY FREIND. SIGNED, MERCURY MAN'. CUT TO HARRY WHO SEES THAT MUCKER IS READING THE NOTE. FROM BROTHER DOWDALL'S POINT OF VIEW, ALL LIDS ARE DOWN EXCEPT MAGUIRE'S. THE BROTHER HOISTS HIS LEATHER IN THE AIR AND CHARGES DOWN THE CLASSROOM. LIFTING BACK THE LID, HE IS ABOUT TO SWEEP THE LEATHER DOWN ON MUCKER.
MUCKER
Brudder brudder! I didn't do anything! Look!
TO HARRY'S HORROR, MUCKER HANDS THE NOTE TO BROTHER DOWDALL.
BROTHER
You are a robber. You will die if you bully my friend. Signed, Mercury Man.
(LOOKS AROUND THE CLASS)
 Who wrote this.
SILENCE IN THE CLASS.
INNOCENT FACES. HARRY GASPS.
BROTHER (CONT'D)
(POINTING HIS LEATHER AT A NEARBY BOY)
Spell 'friend'.
BOY ONE
F-r-i-e-n-d, brudder.
BROTHER
I want to know who wrote this note. Speak up now. Who wrote it.
SILENCE.
BROTHER (CONT'D)
Did anyone see any boy at James Maguire's desk. Well?
MUMBLES OF 'NO, BRUDDER'. BROTHER DOWDALL WALKS TO THE TOP OF THE CLASSROOM AND SURVEYS THE BOYS.
BROTHER (CONT'D)
You can't lie to me. I'll see it on your face. Whoever the boy is will have the lie written on his face.
SHOTS OF BOYS FACES. HARRY LOOKS INNOCENT.
BROTHER (CONT'D)
Whoever wrote this commited a sin. Whoever is lying to me now is commiting another sin.
(POINTING HIS LEATHER TO THE CRUCIFIX OVER THE BLACKBOARD)
But whoever lies in the name of God will have a dirty black mark on his soul.
THE BROTHER GOES TO THE FIRST ROW OF BOYS.
BROTHER (CONT'D)
Look at the crucifix and say "in the name of Holy Jesus on the cross". Did you write this note?
BOY TWO (STANDING) In the name of Holy Jesus on the cross I did not write the note.
BROTHER (CONT'D)
Next.
BOY THREE
(STANDING) )
In the name of Holy Jesus on the cross I did not write the note, brudder.
THE INQUISITION CONTINUES, BOY AFTER BOY STANDING TO DECLARE HIS INNOCENCE, AS THE CAMERA HONES IN ON HARRY. HE LOOKS UP AT THE CRUCIFIX AND STARTS TO SWEAT AS HIS TURN COMES CLOSER. AS HARRY STARES AT THE CRUCIFIX, JESUS LIFTS UP HIS SLUMPED HEAD, OPENS HIS EYES, AND STARES DIRECTLY AT HARRY. THE ECHOING SOUND OF BOYS DECLARING THEIR INNOCENCE COMES CLOSER. THEN SILENCE.
BROTHER
Cronin!
HARRY STANDS UP.
HARRY
I... I wrote the note.
HARRY FAINTS OUT OF FRAME.
CUT TO:
FIFTY SEVEN. EXT DAY. SCHOOL YARD.
THERE'S A BUNCH OF BOYS AROUND HARRY.
BOY THREE
Six slaps and two hundred lines. That's loads.
BOY FOUR
What have you to write?
HARRY
"I must never threaten God's given life."
BOY FIVE
Brother Dowdall is a madser.
MUCKER MAGUIRE PUSHES HIS WAY INTO THE GROUP AND SQUARES UP TO HARRY. MUCKER TWITCHES AND THROWS SHAPES.
MUCKER
You're gonna kill me, are ya?
BOY THREE
Ah leave him alone.
MUCKER
(IGNORING THIS)
You and whose army, wha'?
MUCKER PUSHES HIM, HARRY DOESN'T REACT. MUCKER PUSHES HIM AGAIN.
MUCKER (CONT'D)
Cummom. Cummom. All talk, aren't ya.
THE HAND OF GOD DESCENDS ON MUCKER IN THE FORM OF A CLATTER FROM BROTHER QUINN.
BROTHER QUINN
What are ya at ya little scut.
MUCKER
(CLUTCHING HIS EAR)
Nothing, Brudder.
BROTHER QUINN
Get along outa that or I'll brain ya.
MUCKER WALKS AWAY FROM HARRY. BROTHER QUINN LEAVES. MUCKER TURNS BACK, STILL RUBBING HIS EAR.
MUCKER
Cronin. Cronin.
HARRY TURNS TO HIM AS THE OTHER BOYS WATCH.
MUCKER (CONT'D)
Tomorrow after school, out on the gaelic pitch, you and me are going ta have a fight. I want everyone to come. And if you don't show up everyone'll know that you're a yella belly and a cowrdy custard.
MUCKER WALKS AWAY. THE BOYS LOOK AT HARRY.
BOY FOUR
He'll burst ya.
HARRY GIVES A VAGUE ATTEMPT AT A SHRUG. HOLD ON A CLOSE UP AS THE SOUND OF CHEERING RISES.
CUT TO:
FIFTY EIGHT. EXT DAY. THE FIGHT.
HARRY WALKS PAST CHEERING BOYS WHO GATHER BEHIND HIM. HE AND HIS ENTOURAGE ARRIVE BEFORE MUCKER MAGUIRE. MUCKER PUTS UP HIS FISTS.
HARRY
I have to warn you for your own safety that you shouldn't start a fight with me.
MUCKER
I'm not afraird of you. Cummom.
MUCKER PUSHES HARRY AND THE BOYS AROUND LET OUT A GASP IN UNISON.
HARRY
I'm giving you your last warning, Maguire. Shake hands and go home.
HARRY PUTS OUT HIS HAND AND MUCKER SPITS ON IT. ANOTHER GASP FROM THE BOYS. CUT TO A FLOATING HIGH ANGLE OF THE SCENE, AND A GREAT SHADOW LOOMS OVER THE ASSEMBLY. EVERYONE LOOKS UP. THE FILM TURNS TO BLACK AND WHITE AS MUCKER AND HARRY LOOK UP AT A SILVERY SPACESHIP MUCH LIKE THE ONES IN FLASH GORDON. MUCKER LOOKS AT HARRY, WHO IS NOW DRESSED LIKE FLASH GORDON.
HARRY (CONT'D)
I tried to warn you. No one ever pushes Mercury Man around.
A ZAP COMES FROM THE SPACESHIP AND MUCKER MAGUIRE DISAPPEARS. HARRY WAVES TO THE SPACESHIP AND IT FLIES AWAY. THE BOYS HOIST HARRY ONTO THEIR SHOULDERS AND CHEER HIM.
CUT TO:
FIFTY NINE. EXT DAY. THE GAELIC FIELD.
BACK TO THE REAL WORLD.
HARRY MAKES HIS WAY ACROSS THE FIELD AND INTO THE CROWD OF BOYS. A SWELL OF EXCITEMENT GROWS AMONG THE BLOODTHIRSTY CROWD. IN THE HEART OF THE ASSEMBLY IS MUCKER.
MUCKER
Did you come to get your hiding.
HARRY
We'll see who gets what.
MUCKER
What did you write that note for?
HARRY
Cos it's true.
THE FIRST PUSH FROM MUCKER.
MUCKER
You calling me a robber?
HARRY
I'm warning you not to push me.
MUCKER
(PUSHING HARRY)
What're ya going to do abou' it? Huh?
HARRY
(PUSHING BACK)
Just don't push me.
MUCKER
I'll be dug outa ya.
HARRY LOOKS UP AT THE SKY. MUCKER PUSHES HIM.
HARRY
You'll be sorry.
MUCKER PUSHES HIM AGAIN AND AGAIN. THE CROWD START GETTING EXCITED, BUT HARRY KEEPS LOOKING UP AT THE SKY. FINALLY MUCKER HALTS AND LOOKS UP AT THE SKY. HARRY GLANCES AT HIM: MUCKER IS JUST STANDING THERE LOOKING UP. IN A MOMENT OF INSPIRED DESPERATION, HARRY SWINGS A PUNCH THAT LANDS SQUARELY ON MUCKER'S CHIN. MUCKER COLLAPSES BACK INTO THE CROWD. HARRY RACES OFF LIKE A BULLET, GRABBING HIS SCHOOLBAG AND COAT. MUCKER IS DAZED AND IN PAIN.
MUCKER
I'll bleedin' kill him. I swear.
CUT TO:
SIXTY. INT/EXT NIGHT. HOUSE RERE/SKY.
HARRY SITS ON THE WINDOW LEDGE. HE IS FULLY DRESSED. MAX IS LYING ON THE BED. THE WAIT IS ON FOR THE SPACESHIP, THE TORCH AT THE READY. THE RED AND WHITE FLASHING LIGHTS APPEAR OVER THE ROOF. HARRY FLASHES HIS TORCH RED OVER AND OVER.
HARRY
Come on. Come on. Turn back. Look.
THE LIGHTS TRAVEL ACROSS THE SKY. HARRY GETS OUT ONTO THE KITCHENETTE ROOF, FLASHING THE RED LIGHT AGAIN AND AGAIN.
HARRY (CONT'D)
Come back. You have to take me away. Mucker Maguire is going to kill me. I won't ever be able to go to school again. You have to save me. You have to. It's me. Look. Save me.
TEARS OF DESPAIR WELL UP IN HIS EYES AS HE WALKS TO THE EDGE OF THE KITCHENETTE ROOF, HIS GAZE FIXED ON THE SKY. HE IS AT THE VERY EDGE AND ABOUT TO TAKE ANOTHER STEP. A VOICE HALTS HIM.
PAUL
What in the name of jaze are ya at.
HARRY LOOKS DOWN. PAUL IS AT THE KITCHENETTE DOOR. STARTLED, HARRY LOSES HIS BALANCE AND SEEMS ABOUT TO FALL.
PAUL (CONT'D)
Harry!
HARRY GAINS BALANCE BY SLUMPING DOWN. HE SITS ON THE EDGE OF THE ROOF, HIS FEET A SMALL DISTANCE ABOVE PAUL.
PAUL (CONT'D)
Come down!
HARRY
No.
PAUL
If Ma catches ya she'll go spare.
HARRY
Leave me alone.
PAUL
Were ya runnin' away?
HARRY
You mind your own business. You're not my brother inanyway.
PAUL
You were runnin' away. Ya loola.
HARRY IGNORES HIM. PAUSE. PAUL CALMS DOWN.
PAUL (CONT'D)
I ran away onest.
HARRY
(RELUCTANTLY)
When.
PAUL
After. After he died.
HARRY
Where did you go.
PAUL
Nowhere. There wasn't anywhere.
SILENCE. THEY GLANCE AT EACH OTHER.
PAUL (CONT'D)
(SLOWLY)
You like runnin' away. Don't ya.
HARRY SHRUGS, SNIFFLES.
PAUL (CONT'D)
Blow your nose.
HARRY
I don't have a hanky.
PAUL GETS OUT HIS HANKY AND TOSSES IT UP TO HARRY.
HARRY (CONT'D)
Thanks.
PAUL
Michael and Jimmy ran to England. But they say it's a kip.
(GLANCING BACK INTO THE HOUSE) )
Don't tell her that. She thinks they're happy.
(PAUSE. HE LOOKS AT HARRY)
Are ya alright up there?
HARRY
I'm going to bed.
HARRY GETS UP AND WALKS BACK UP THE ROOF TO THE BEDROOM. PAUL GLANCES AROUND THE SKY, SHIVERS, AND GOES BACK INSIDE.
FADE TO BLACK:
SIXTY ONE. INT MORNING. THE BEDROOM.
MOTHER PULLS BACK THE CURTAIN AND LIGHT FLOODS IN. SHE LOOKS AT HARRY LYING IN BED.
HARRY (CONT'D)
I can't go to school.
MOTHER SITS AT THE SIDE OF THE BED.
MOTHER
What's wrong with you love. Where does it hurt.
HARRY
Everywhere.
SHE FEELS HIS FOREHEAD.
MOTHER
You're very hot.
HARRY
I'm going to die.
MOTHER
God save us. Don't say that.
HARRY
I'm going to die if I go to school.
MOTHER
You can stay home. If you don't feel better I'll bring you to the doctors.
HARRY
The doctors can't do anything.
MOTHER
Harry. Harry. Listen love, I've been thinking. You don't have to talk to your Daddy anymore. We'll go to the grave and say our prayers. But you don't have to talk to him anymore.
HARRY
I want to go to the toilet.
MOTHER
Come on.
MOTHER HELPS HIM OUT OF BED.
CUT TO:
SIXTY TWO. EXT DAY. CORPORATION ROAD.
UNCLE TONY PUTTERS ALONG ON HIS LAMBRETTA.
CUT TO:
SIXTY THREE. INT DAY. LIVINGROOM.
MOTHER HEARS THE APPROACHING SCOOTER AND RUNS TO THE WINDOW. SHE SEES TONY GETTING OFF HIS SCOOTER AND SAYING HELLO TO A PASSING NEIGHBOUR. HE WALKS UP THE PATH AND MOTHER OPENS THE HALL DOOR. UNCLE TONY ENTERS. HE IS WEARING THE USUAL MIDLENGTH BROWN LEATHER DOUBLEBREASTED COAT WITH THE BELT STRAPPED TIGHT. HE HAS KEPT ON HIS ROUND HEAD HELMET, GOGGLES, AND WINGED LEATHER GLOVES.
UNCLE TONY
Well May.
MOTHER
Thanks, Tony.
UNCLE TONY
I got your message at the delivery office. What's the story.
MOTHER
It's Harry. He thinks he's dying.
UNCLE TONY
Be the hokey. What next - what? I ask ya. What? Is he sick?
MOTHER
He's in his cups, the poor child. But there's naught ails him. I think he's dwelling on his Daddy.
UNCLE TONY
I don't know what the world is coming to. Right. Leave it with me. Where is he?
MOTHER
In bed.
UNCLE TONY
Right so.
MOTHER
Thanks, Tony.
UNCLE TONY
No bother.
MOTHER
Tony.
UNCLE TONY
What?
SHE GESTURES TO HIS HELMET.
UNCLE TONY (CONT'D)
Oh right. Right.
HE TAKES OFF GLOVES, GOGGLES, HELMET.
CUT TO:
SIXTY FOUR. INT DAY. THE BEDROOM.
UNCLE TONY BOBS HIS HEAD IN THE DOOR, ALL BRIGHT AND CHEERY.
UNCLE TONY (CONT'D)
O-hell.
HARRY
(READING A COMIC IN BED)
Hello Uncle Tony.
UNCLE TONY
There's a man in the laps of luxury. The Queen of Sheeba wouldn't have a patch on ya, what? Definootely.
UNCLE TONY SITS DOWN AT THE SIDE OF THE BED. AT LEAST MAX GREETS HIM.
UNCLE TONY (CONT'D)
What did the big chimbly say to the little chimbly? "You're too young to be smoking."
UNCLE TONY GIVES HIS STRANGE LAUGH. NO RESPONSE FROM HARRY.
UNCLE TONY (CONT'D)
Do you want to go for a jant in the park?
HARRY
No thank you.
UNCLE TONY
Do you want to go to the pictures?
HARRY SHAKES HIS HEAD 'NO'.
UNCLE TONY (CONT'D)
Do you want to go for an ice cream. It'd be scrumdiddlyumptious.
'NO' FROM HARRY.
UNCLE TONY (CONT'D)
(CHEERY)
Your mother says.. your mother says...
(FLATLY)
Your mother says you tell her your dying.
HARRY
I'm going to die when I go to school.
UNCLE TONY
You have her terrible worried.
HARRY
It'll all be over in a minute. She won't have to cry or anything.
UNCLE TONY
Is it... is it that you think you have to die to be with your Daddy?
HARRY SHAKES HIS HEAD 'NO'.
UNCLE TONY (CONT'D)
Have you got him on the brain or what?
HARRY
Uncle Tony, do you think you know when you're dying, or do you die and find out after that you're dead?
UNCLE TONY
(COLLAPSING)
Harry, would you not say what's going on. I haven't a bog's notion what to do and your mother is scuppered trying to make head or tail of you. That's the boy. For your Mammy. For your Daddy. For me even.
HARRY SETS DOWN HIS COMIC AND RESTS A HAND ON UNCLE TONY'S SHOULDER.
HARRY
Uncle Tony, you are a very good man.
UNCLE TONY IS SPEECHLESS.
CUT TO:
SIXTY FIVE. INT DAY. LIVINGROOM.
ENTER UNCLE TONY, A BEATEN MAN. MOTHER HAS BEEN WAITING ANXIOUSLY.
MOTHER
Well?
UNCLE TONY
May, that child needs a father.
MOTHER
Lord God. Serves me right. Doesn't it.
UNCLE TONY
What do you mean?
MOTHER
The eldest fellas got in so much trouble even though they had a father, I thought Harry'd get in ten times worse without one. So I kept him in off the road and had it drummed into him to be a good boy.
UNCLE TONY
A mother can't help mollycoddling a child.
MOTHER
I don't know what I'm going to do with him at all. I don't know that he ever hears a word anyone says to him.
UNCLE TONY
This'll all blow over, May.
MOTHER
I've been saying that to meself since his Daddy died. Sure the child is away with the fairies. He never even calls me Mammy. I don't know what to do Tony, I'm at me wit's end.
MOTHER HAS NOW CRUMPLED INTO UNCLE TONY AND SOBS ON HIS SHOULDER. HE FREEZES, AS FAR OUT OF HIS DEPTH AS IT IS POSSIBLE FOR HIM TO BE.
UNCLE TONY
There now May.
MOTHER
What am I goin' to do at all.
UNCLE TONY PUTS AN ARM AROUND SOBBING MOTHER, WITHOUT ACTUALLY MAKING CONTACT WITH HER.
UNCLE TONY
There's a good day comin'. A good day comin'. There there.
MOTHER GRIPS UNCLE TONY. HE IS MORTIFIED.
UNCLE TONY (CONT'D)
The job is oxo. There. There.
CUT TO:
SIXTY SIX. INT NIGHT KITCHENETTE.
MOTHER, PAUL AND HARRY SIT AT THE TABLE. HARRY'S NOT EATING.
PAUL
(DOUR)
Harry. Sarah wants us to bring you to the pictures.
MOTHER MANAGES NOT TO LOOK STUNNED.
HARRY
Tell her I said thanks but I can't go.
MOTHER
Of course you can love.
HARRY
No. I'll be dead.
MOTHER
Merciful hour.
HARRY
Excuse me from the table please I want to write my will.
HARRY EXITS. PAUL AND MOTHER LOOK AT EACH OTHER. MOTHER TAKES OUT HER HANKY AND STARTS SNIFFLING.
PAUL
He's gone lampy.
MOTHER
Shut up ya jinnit. I'm sick of ya. Would your heart not go out to him - or have you not got a heart? I don't know what that girl Sarah O'Keeffe sees in you.
CUT TO:
SIXTY SEVEN. INT EVENING. THE BEDROOM.
HARRY IS WRITING HIS WILL. HE HEARS A KNOCK AT THE HALL DOOR AND HEARS HIS MOTHER OPEN IT.
MOTHER (CONT'D)
(OUT OF VIEW)
Oh hello love. Harry! It's your friend Sean come to see you!
HARRY
I don't want to see anyone!
MOTHER
(OUT OF VIEW)
Harry!
HARRY
Tell him to go away!
SEAN
(OUT OF VIEW)
Please Harry! I've something to tell you!
HARRY
I'm too busy.
HE HEARS THE HALL DOOR CLOSE.
CUT TO:
SIXTY EIGHT. INT DAY. KITCHENETTE.
HARRY SITS IMPATIENTLY READING A SCHOOLBOOK. HIS MOTHER ENTERS.
HARRY (CONT'D)
I have to go to school.
MOTHER
You can go in a minute, love.
HARRY
But school is nearly over by now.
MOTHER
(ALL SMILES)
I told you. We have to wait for the priest. I couldn't send you off to die until a priest hears your confession and gives you last rites.
HARRY CAN'T ARGUE WITH HIS OWN KIND OF LOGIC. THERE'S A SOUND AT THE HALL DOOR.
MOTHER (CONT'D)
(CHEERFUL)
I'm sure that's him now. Just you wait there.
HARRY TAKES HIS ROSARY BEADS OUT OF HIS POCKET AND BLESSES HIMSELF. HE CLOSES HIS EYES AND STARTS PRAYING. HARRY OPENS HIS EYES. PAUL IS THERE, HIS MOTHER BEHIND HIM.
HARRY
What are you doing here?
PAUL
Get your coat on. We're going up to the school.
HARRY
You're suppose to be at work.
PAUL
I got off early. Get a move on. Cummom.
HARRY EXITS TO GET HIS COAT. MOTHER LOOKS AT PAUL AND SMILES.
MOTHER
You be sensible now.
PAUL
(IMPATIENT)
Yeah Ma.
MOTHER
That's the good man.
HARRY RETURNS. HE STANDS BESIDE PAUL AND PLACES HIS HAND INSIDE PAUL'S. MOTHER LOOKS AT THIS AND AT HER TWO SONS.
MOTHER (CONT'D)
You'll be alright now, Harry. You'll be right as rain.
PAUL
(GRUFFLY)
Cummom.
CUT TO:
SIXTY NINE. EXT DAY. CORPORATION ROAD.
HARRY TROTS AFTER PAUL.
HARRY
What's going on?
PAUL
Your pal Sean told us. He has a friend who has a friend in your school. He found out about Mucker Maguire.
HARRY
Sean came over that time to tell yous?
PAUL
Why didn't you say anything yourself?
HARRY
Just because.
THEY WALK ALONG. HARRY IS DAZED.
HARRY (CONT'D)
Sean did that for me?
CUT TO:
SEVENTY. EXT DAY. NEAR SCHOOL GATES.
HARRY AND PAUL SIT ON A GARDEN WALL. THE SCHOOL BELL GOES.
PAUL
You tell me when you see the little bowsie.
HARRY
Are you going to kill him?
PAUL
I might.
BOYS START TO COME ALONG. HARRY STANDS UP ON THE WALL FOR A BETTER VIEW. PAUL SMOKES.
PAUL (CONT'D)
Well?
HARRY
There he is. There.
PAUL
(STUBBING OUT HIS CIGARETTE)
Right.
BEFORE HE KNOWS WHAT HIT HIM, MUCKER IS GRABBED BY THE SCRUFF OF THE NECK AND IS EYE TO EYE WITH PAUL.
PAUL (CONT'D)
How old is your biggest big brother?
MUCKER
Fourteen, mister.
PAUL
(SWEEPING HIM AROUND FOR A VIEW OF HARRY)
Ya see him? He's my little brother. And you know what? He has two udder brudders who are bigger than me as well, righ'? Now. Were you pickin' on him.
MUCKER
(PLEADING FOR HIS LIFE)
I didn't do anything mister. I swear.
PAUL
Well you better not ever lay a finger on him again, cos all my brother has to do is say the word, and I'll come after you and I'll rip your bleedin' head off and shove it up your hole. Righ'?
MUCKER
Let me down mister!
PAUL
(TO HARRY)
Will I let him down?
HARRY IS BESIDE HIMSELF WITH DELIGHT.
HARRY
He has to swear that he won't go anear my pal Sean either.
PAUL
Swear?
MUCKER
I swear! I swear!
HARRY
Then you can let him go. This time.
PAUL FLOPS MUCKER BACK ON HIS FEET.
PAUL
Now get oura here.
MUCKER RACES AWAY. HARRY GOES TO PAUL. WHEN MUCKER IS A SAFE DISTANCE HE LOOKS BACK.
MUCKER
Ya dirty lookin' eejit!
PAUL MOTIONS TO MAKE CHASE, AND MUCKER FALLS OVER HIMSELF RACING AWAY.
HARRY
You stuck up for me.
PAUL
Of course I did. You're a Cronin aren't ya. You're me little brother.
HARRY LOOKS AT HIM IN GREAT ADMIRATION. PAUL BENDS DOWN TO HIM AND RESTS AN ARM AROUND HIS NECK.
PAUL (CONT'D)
I'd always stick up for ya. Righ'? Always. That's what Cronins do. Now. Are ya finished with this dying mularkey.
HARRY NODS 'YES'. PAUL RUBS THE BACK OF HIS NECK.
PAUL (CONT'D)
You're alright. You're alright.
HARRY
Am I?
PAUL
Cummom.
PAUL WALKS AWAY. ONE HAND BURIED IN A POCKET, THE OTHER SWINGING AS PART OF HIS SWAGGER. HARRY WATCHES HIM.
MIX TO:
SEVENTY ONE. INT MATINEE. CINEMA. (FLASH GORDON SEQUENCE FIVE)
THE FRAME HAS DISSOLVED FROM PAUL'S BACK TO FLASH'S BACK. FLASH IS AT THE CONTROLS OF A SPACESHIP. FLASH PUTS ON A PARACHUTE AND ESCAPES TO REJOIN ZARKOV AND CO. THE SHIP FLASH HAS QUIT THEN DESTROYS MING WHO IS TRAPPED IN A TOWER. SEAN AND HARRY WATCH THIS IN THE CROWDED CINEMA. THE EXCITED AUDIENCE CHEER. WITH MING DESTROYED, ZARKOV GOES TO FLASH; "BY DESTROYING
MING YOU SAVE THE UNIVERSE. I SHALL RADIO YOUR FATHER - FLASH
GORDON CONQUERS THE UNIVERSE." HARRY REACTS TO THIS AND SEAN NOTICES. "WHAT'S OUR COURSE NOW FLASH?" ASKS ZARKOV. "STRAIGHT FOR ABOREA," REPLIES FLASH, "AND BACK HOME." HARRY BECOMES SLIGHTLY TEARFUL AS THE CLOSING MUSIC SWELLS. SEAN NOTICES. HARRY RUSHES AWAY TO JOIN THE QUEUE FOR THE ICE CREAM AND POPCORN GIRL. SEAN GOES AFTER HIM. THE END MUSIC OF FLASH GORDON IS GUSHING ALONG IN THE BACKGROUND.
SEAN
Hold on!
HARRY
Leave me alone.
SEAN
I have money for ice cream.
HARRY
So have I.
THE TWO STAND TOGETHER IN THE QUEUE.
SEAN
You believe in stories. Don't you.
HARRY
Only in real stories.
SEAN
Flash Gordon isn't really truly a story.
HARRY
Do you believe that I'm from Mercury?
SEAN
Yes. I believe.
HARRY
You don't really believe. Ya see? I can tell the truth from a lie. That's why you should believe me.
PAUSE. SEAN LOOKS AT HARRY.
SEAN
You're not like any of my other pals Harry, but I like you the best.
CUT TO:
SEVENTY TWO. INT EVENING. LIVING ROOM.
A FINAL GATHERING OF IMAGES IN HARRY'S WORLD - THIS SEQUENCE
TO A PIECE OF MUSIC FROM THE ERA. UNCLE TONY ARRIVES AT THE FRONT DOOR (IN GOGGLES, HELMET, GLOVES ETC). HE ENTERS THE LIVING ROOM. MOTHER IS READY TO GO OUT.
UNCLE TONY
There you are May. You look raid-yint.
PAUL
Are yez all set?
MOTHER
We are so. Goodnight Paul. Goodnight Sarah love.
UNCLE TONY
(TO SARAH)
You know what the tellyphone operator says - don't let him touch anything till you get a ring.
MOTHER
(LAUGHING)
Will you get out.
HARRY IS WATCHING ALL THIS, SMILING. MOTHER TURNS TO HARRY AND HE GIVES HER A WARM SMILE.
HARRY
Goodnight, Mammy.
REACTING TO THIS, SHE BENDS DOWN AND KISSES HARRY, LEAVING A RED LIPSTICK MARK ON HIS CHEEK.
MOTHER
Goodnight, son.
UNCLE TONY AND MOTHER LEAVE.
HARRY VOICE OVER
The Mercurians had it all planned. They knew what was going to happen, and I just had to wait to find out what it was. You see, they wanted Paul to be the hero so that Sarah would fall in love with him and make him not go to England like me other brothers.
HARRY
(TO SARAH)
Guess what. Paul is a hero.
SARAH
A hero no less. You don't say.
HARRY
(STANDING BESIDE PAUL)
He saved my life.
PAUL
Go way outa that.
HARRY
There was a bully going to kill me, and when Paul found out he marched up with me and he told this big bully that he'd rip his head off and stuff...
PAUL
Harry. Cummom.
PAUL PRETENDS TO CHOKE HARRY, MESSING. HARRY LAUGHS. SARAH IS SEEING PAUL IN A NEW LIGHT. SHE SMILES AT HIM. HE REALISES HE'S CLICKED.
HARRY
Do you know what happens to heroes in the pictures?
SARAH
What's that?
HARRY
The girl always kisses him.
SARAH
You don't say.
HARRY
It's as an award. But Paul didn't get his kiss yet.
PAUL
(NOT MEANING IT)
Don't mind him.
SARAH
So you think he deserves a kiss?
HARRY
Definootely.
SARAH
I think so too.
SARAH KISSES PAUL AND HARRY STANDS BACK, OBSERVING AND SMILING. SHE HUGS PAUL, WHO LOOKS OVER HER SHOULDER AT HARRY AND WINKS. HARRY DOES HIS BEST TO WINK BACK.
PAUL
So, are we playing them snakes and ladders or what.
HARRY
Yous can play if yous want to. I want to go to bed. I swopped comics with my pal Sean and I want to read them.
SARAH
Would you not stay up?
HARRY
No thanks. And I've been to the toilet and everything so I won't come back down. Goodnight.
SARAH KISSES HARRY, PUTTING A LIPSTICK MARK ON HIS OTHER CHEEK.
SARAH
Goodnight, Harry.
PAUL
Goodnight, kiddo.
AS HARRY EXITS HE LOOKS BACK AT SARAH AND PAUL. THEY HAVE AN ARM AROUND EACH OTHER'S WAIST, AS IF POSING FOR A PHOTOGRAPH.
HARRY VOICE OVER
You see, the Mercurians want me to grow up on this planet, so they can't just keep coming down anytime something goes wrong. So now they know that Paul will come to the rescue, and now I can stay here, and make friends, and learn loads of things about Earthlings, and when the Mercurians land, I'll be able to tell them everything.
CUT TO:
SEVENTY THREE. EXT/INT NIGHT. THE BEDROOM/SKY.
HARRY IS TALKING TO MAX AS THEY SIT ON THE BED.
HARRY
I understand it all now, Max. And you should too. We have to start making reports and writing them down so that I can give the Mercurians a book about Earthlings and they'll all be able to read it and know what to do here and how to make friends and everything.
HE LOOKS AT THE CLOCK. IT'S HALF PAST TEN.
HARRY (CONT'D)
Janey mac.
HE SCAMPERS TO THE WINDOW AND OPENS IT.
HARRY (CONT'D)
I'm too late. They're gone past.
THE WIND BLOWS AROUND HIS BLOND HAIR. HE LOOKS UP AT THE SKY, THEN NOTICES SOMETHING. HE BREAKS INTO A BIG SMILE, THEN STARTS FLASHING HIS TORCH GREEN AND WHITE. HE LAUGHS, AND MAX BARKS. CUT TO THE STARRY NIGHT SKY. AN OBJECT FLYING TOWARDS HIS HOUSE IN THE SKY IS FLASHING GREEN AND WHITE. HARRY FLASHES HIS LIGHT. THE LIGHTS FLASH BACK GREEN AND
WHITE AS THEY TRAVEL THE STARRY SKY.
THE END

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