The Crying Game, 1993

Summary of Film

Resources for Teaching Film

Fergus: Stephen Rea Dil: Jaye Davidson

Jody: Forest Whitaker Jude: Miranda Richardson

Adrian Dunbar Bartender: Jim Broadbent

Written and Directed: Neil Jordan

1. THE SET-UP.

0:24 Title sequence. ELS of carnival. Setting is Northern Ireland. Music begins: "When a man loves a woman, can't keep his mind on nothin' else . . ." Camera pans under a pedestrian bridge across a river. Ferris wheel turns in the distance. Song continues.

CHAPTER 2

High angle of Jody and Jude. Jody wins a big white teddy bear at a ring toss. "And that's cricket!" he exclaims. He's a black Englishman wearing Levi's. She is a white Irish woman wearing a Levi jacket and tight short skirt. "Jody's never offended," he remarks at one point. He walks away with her. He hugs her tight--apparently he has just met her at the carnival. Note in the right of the frame a small man (Fergus) wearing a black jacket watches them from a distance. He follows them left across the frame. He is dressed in a peacoat. His black hair is long and disheveled. Jody goes to the outdoor bathroom--which is inside a small tent. Fergus, the man in black, watches him--from his pov. Jude holds his hand while he pisses inside the tent. "Never pissed while holding a girl's hand, Jude," Jody says. She shoots a look at Fergus. He grimaces. "It's nice," he says when he comes out. Then he kisses her passionately. Fergus watches them. She drags Jody away--an invitation to more foreplay. He follows her away from the carnival. Camera at high angle as they walk away into ELS range.

2. THE KIDNAPPING. 4:40

Exterior scene past the pedestrian bridge far from the carnival scene. Jude leads Jody under a railroad bridge. Fergus crosses the pedestrian bridge: he's following them. Jude flops down on a soft spot among some fishing nets for the sexual encounter. "Come and get me, soldier." He falls on her and begins to kiss her and pull at her crotch. Suddenly Fergus is upon them. He cocks his weapon. Jody looks up. Fergus kicks him in the face and Jody falls off Jude. Two other men come out of nowhere. One pulls a black hood over Jody's face. The men pull him up and drag him across the bridge. Camera moves right to show Jude running away in the distance.

3. THE SECRET LOCATION 5.48

In the back seat of a small car. Jody is lying in the back between the seats. "What's your name, soldier?" "Fuck you!" Exterior shows the car pulling into a remote location, what appears to be an abandoned farm. A motorcycle pulls in behind the car. Inside the building, we see Jude is the motorcyclist. She takes off her helmet and her long hair falls loose. The kidnappers are gathered around. The leader, Peter, announces, "You're being held hostage by the Irish Republican Army." He notes the threat: after three days, either one of the IRA men held by the English will be let go, or this British soldier (Jody) will be killed. "Give him a cup of tea," Fergus says.

Later, Jude comes in with some tea and sandwiches. She asks Jody if he wants some. Jody sits with the hood over his face. But he doesn't speak.

4. THE MAN IN THE HOOD. 7.46

Interior of a greenhouse next to the building. Fergus and Jude are watching Jody that night. He holds the light on Jody. Fergus asks Jude, "What's he like?" "Horny bastard." "Did you give him it?" "There's certain things I wouldn't do for my country." Fergus asks her to "poke him," to see if he is all right. He's concerned because Jody hasn't moved in twelve hours. "Go on. Have a heart." So Jude stands over him and kicks him with her foot. She leans forward and lifts the hood a few inches. Cut to another view of the two--suddenly Jody leaps to his feet, the hood flies off, and he lands on top of her (although his hands are held by handcuffs). "You fuckin' bitch!" he screams. He is face to face with her. Suddenly two men are pulling him off her. They put the hood back over his head.

Jude stalks outside and squirms in disgust that this man touched her. Fergus comes out. "Fuckin' animal," she snaps. He comes over to her and consoles her. "Tough work that is," he says. "It's a breeze. I just thought of you," she says. She turns toward him and kisses him warmly.

CHAPTER 4.

5. "THANK YOU, HANDSOME" 9.56

Exterior scene next morning. Fergus leads Jody out to a greenhouse on the property. Inside, Fergus sits across from and urges him to eat something. Finally, Fergus lifts the hood a bit and hands him some of a candy bar. Jody squirms and cries, "This is a farce! I seen your fucking face!" "So what do I look like?" "You're the one about 5'10" and the killer smile..." (Reaction shot Fergus) "... and the baby face. And the brown eyes." Fergus looks shaken by this last detail. Cut to Jody: You're the handsome one." Reaction shots of Fergus: she smiles. Fergus gives him more food. "Thank you, handsome." "My pleasure."

Later that day Jude comes in with a tray of food. Jody pleads with Fergus to take off the hood. "If we take the hood off, we have to shoot you," Jude says. "Can't we take it off," Fergus asks Jude. She tells him to check with the leader.

Fergus asks Peter, the leader, if he can take the hood off. "He's seen our faces." Peter says okay--as long as Fergus is the only one he sees.

CHAPTER 5

6. JODY INTRODUCES FERGUS TO DIL 13:13

So Fergus relieves Jude and takes the hood off. Music up. High angle of Jody. He looks up at Fergus. Note backgrounds of the two men: the brick wall behind Jody and the tangled vines behind Fergus. Jody sucks air and blinks as he looks up into the light. "Thank you, soldier." Fergus stands apart from him. Jody kids him and says Fergus isn't as good looking as he said before. "You're no pinup." "Are you trying to hurt my feelings?" We can hear the sound of a helicopter passing by. Jody says he knows they will kill him. "They'll let him out," Fergus says (about the IRA man they are trying to trade for Jody). Jody says it isn't the nature of "your people" to let him go. "What the fuck do you know about my people!" Fergus challenges. Jody screams, "It's not in your nature to let me go."

Jody changes the subject. "I didn't even fancy her." He's talking about Jude. "She's not my type," Jody says. Cut to Jody. He waves his head. "Come here." He wants to show something to Fergus. Fergus moves toward him. Then we see them together in the frame. Notice how the camera tilts to the right to create an oblique angle. Fergus reaches inside Jody's pocket and takes out his wallet. He holds his gun at Jody's head. Music up. Fergus takes out a picture--Jody in a cricket uniform. "There's another," he says. "Now she's my type," he says.

Cut to an insert CU of the photograph of Dil and Jody. Dil is an attractive black woman. Cut to the two-shot.

FERGUS: She'd be anybody's type.

JODY: Don't you think of it, fucker!

FERGUS: Why not?

JODY: She's mine. Anyway, she wouldn't suit

you.

FERGUS: No?

JODY: Absolutely not!

FERGUS: She your wife?

Insert close-up of the photo.

JODY: I guess you could say that.

Wide shot of the two men, oblique camera angle.

FERGUS: You make a nice couple.

JODY: Don't I know it.

FERGUS: So what were you fuckin' around for?

JODY: You fuckers set me up.

Fergus moves away from Jody again, and we reestablish the parallel cutting of the earlier section. Jody tells the story of how Jude entrapped him. He met her in a bar. But he is angriest about being sent from England to Northern Ireland as a soldier. Why did he sign up for the military? "It's a job." He complains that he was sent "to the one place where they call you 'nigger' to you face." "Don't take it personally," Fergus says. Fergus seems to enjoy this interaction.

He moves closer to Jody. Now he is sitting next to him (a pillar between them) and the two men argue about what is the best game in the world, the English cricket or the Irish hurling. The two men are facing in the same direction. Fergus isn't holding the weapon on Jody. Then Jody tells Fergus about how he was taught cricket by his father. "So when you come to shoot me, Paddy, remember you're getting rid of a shit-hot bowler." Then Fergus stands up and moves to the chair in front of Jody. "And by the way, it's not Paddy. It's Fergus." Jody looks surprised at this revelation.

JODY: Nice to meet you, Fergus.

FERGUS: My pleasure, Jody.

Fergus puts the wallet back in Jody's jacket and leans back in his chair. Jody smiles at him.

CHAPTER 6

7. "IT'S ONLY A PIECE OF MEAT."

That evening. Exterior scene. Fergus leads Jody out so that Jody can take a pee. "You're going to have to take my dick out for me, aren't you?" Jody says, when Fergus refuses to release him from the handcuffs. Fergus reluctantly reaches toward him and unzips his fly. In a close shot we see Fergus slightly behind Jody. He reaches forward again to remove Jody's penis from his underpants. Then he stands back. Jody smiles and asks Fergus to hold his hands so that he can lean forward and not dribble over himself. Jody leans forward and pees. "Now that is worth waiting for!" Jody jumps up and down to drop the last dribbles. "It's amazing how these small details take on such importance." Cut to Jody. "Now put it back in." Cut to Fergus. He looks even more uncomfortable. "Give us a break." "It's only a piece of meat!" Jody says. Close-up of Fergus as he reaches around to put Jody back together.

Cut to a wide shot as Jody marches back to the greenhouse. He seems ebullient, talkative. Fergus can't shut him up. Inside, Fergus sits across from him again. "Sorry. I know that wasn't very easy for you." "The pleasure was all mine!" Camera begins to circle around the two characters. They laugh uproariously.

Cut to Peter walking angrily toward the greenhouse. Inside we see him in the background between Fergus and Jody. "What the fuck is this?" "He just took me out for a pee," Jody says. Fergus puts the hood back on him. Peter slams Fergus for fraternizing with the enemy. He tells Fergus to get some sleep. He'll watch the prisoner.

CHAPTER 7.

8. THE SCORPION AND THE FROG 22.35

Fergus comes into the greenhouse the next morning. He carries a tray of food. Peter becomes outraged when he learns that Fergus told Jody his name. He orders Fergus outside. Peter upbraids him for his conduct. "You will have minimum contact with that prisoner. Tomorrow we may have to shoot him!"

Fergus returns to the greenhouse. He walks over to Jody. We see them in the same shot. "There's two kinds of people. Those who give and those who take." Fergus raises Jody's hood and shares some of his breakfast with him. "Two types. The scorpion and the frog." Jody tells the story:

JODY: A scorpion wants to cross the river. But he

can't swim. He goes to a frog, who can. He

asks for a ride. Frog says, "If I give you a

ride on my back, you'll go and sting me." The

scorpion says, "It won't be in my interest to

sting you, since I'll be on your back and we'll

both drown."

Fergus has moved away from Jody now and stands with his back to him. But he is listening.

JODY: The frog thinks it over and accepts the deal,

takes the scorpion on his back, braves the waters--

Fergus moves farther away. He is alone in the frame.

JODY: --halfway over feels a burning spear in his side, and realizes the

scorpion has stung him after all--

Fergus moves behind a tall shelf for pots in the greenhouse. The camera tracks in closer to Fergus. We can see him framed behind the shelf.

JODY: --and as they both sink beneath the waves, the

frog cries out--

Fergus now turns to look directly at Jody. Then reverse angle, Fergus' pov, and we see Jody small and vulnerable in the distance--

JODY: --"Why did you sting me, Mr. Scorpion?!" So now

we both will drown! The scorpion replies, "I

can't help it. It's in my nature."

Reverse angle, reaction shot of Fergus.

FERGUS: So what's that supposed to mean?

JODY: It makes sense.

Reverse angle, same shot of Jody from Fergus' pov:

JODY: A scorpion does what's in its nature.

Reverse angle. Fergus begins to move toward Jody.

JODY: Take off the hood man.

FERGUS: Why?

JODY: Cause you're kind. And it's in your nature.

Notice again the tangled vines above and behind Fergus in this reaction shot. He stares long and hard at Jody. Then he moves toward him. The camera tracks with him until we see them together in the frame. He lifts the hood from Jody's head. Music up. Jody blinks in the light and smiles. "See. I was right about you. Reaction shot of Fergus: "Don't be so sure." Back to Jody: "Jody's always right." Reaction shot of Fergus--his face is a mask of uncertainty.

CHAPTER 8

9. TWO MEN IN THE CONFESSIONAL. 26.24

Interior of the greenhouse later. High angle wide shot. Camera comes down and begins to track in on the two men. Fergus is seated with the back to the pillar between Jody and him. In effect, Fergus' back is turned away from Jody. Jody remains in the chair.

JODY: Where would you like to be now, man?

FERGUS: Doesn't matter where.

JODY: If this shit was all over...

FERGUS: Havin' a pint in the Rock.

JODY: Think of something more alluring.

Camera keeps tracking in. Fergus is shown on the far left of the frame. Their positions are the same.

FERGUS: Like what?

JODY: Like having a pint in the Metro. . . and Dil's

having a Margarita.

Camera keeps tracking in. It moves left and establishes Fergus in the center of the frame in MS. Jody is shown out of focus in the background.

FERGUS: Who's Dil?

JODY: A special friend. We've got simple tastes, you

and me.

FERGUS: Yeah. The best.

JOY: But you guys never get a break. We

do a tour of duty and we're finished. But you

guys are never finished, are you?

FERGUS: We don't look on it that way.

JODY: I often wonder how you do.

FERGUS: It depends on what you believe in.

JODY: What do you believe in?

FERGUS: That you guys shouldn't be here.

Jude comes in. She tells Fergus to put the hood back on him. "He's hot!" Fergus cries. But he relents. "You've got no feelings, woman!" Jody yells. She goes over to Jody and puts the hood over him. "You're headed for trouble, Fergus." "He's a good soldier!" Jody says under the hood. Jude slaps the gun against the side of his head. "I said shut the fuck up!" She starts to leave. "He believes in the future," Jody mutters. She leaves.

Fergus moves close to Jody. He lifts the hood slightly. ECU of Jody's mouth, shows the blood from the blow. Reaction shot, ECU, of Fergus. Music up.

FERGUS: Is it bad?

Cut to ECU of Jody's mouth.

JODY: Not bad. Women are trouble. Some kinds

of women are.

FERGUS: She can't help it.

JODY: Dil. She was no trouble at all.

Throughout this section we follow parallel editing between these two extreme close-ups.

FERGUS: You liked her?

JODY: Present tense, please. Love her. . . Why

don't you think of her, too?

FERGUS: I don't know her.

JODY: I want you to do something for me.

FERGUS: What?

JODY: If they kill me--

FERGUS: --don't think that way!

ECU of Jody, his mouth still bloody.

JODY: --but they will--as sure as night follows

day. They have to. I want you find

her out. Tell her I was thinking of her.

Cut to Fergus. He is nervous, sympathetic.

JODY: --tell her I was all right.

FERGUS: I don't know her!

JODY: Take her picture. Here.

Cut to Fergus. He moves toward the camera. We cut away from the extreme close-ups parallel editing track and reestablish on a two-shot. Now the music is moving toward a climax, with its romantic strains. Close shot of Fergus taking the wallet from Jody's jacket. Camera moves up. Now we see both men's faces close to each other.

JODY: Take the whole lot.

FERGUS: Don't talk that way!

Jody tells Fergus where to find Dil. He asks him to take Dil to the Metro and buy her a Margarita.

JODY: You don't have to tell her who you are. Just

say Jody was thinking of her--

FERGUS: --stop it!

Fergus moves away from Jody, who now is alone in the frame.

CHAPTER 9

10. FERGUS QUOTES FROM THE BIBLE. 30:50

Peter comes in and addresses Fergus as "volunteer." Back inside the building, Peter announces that their IRA counterpart has been broken by the British. "You're going to have to do it in the morning. You okay about that?" "I'm a volunteer." Jude admits she has her doubts about Fergus, too. Fergus asks, "Request permission to guard the prisoner tonight. It would make me feel better about it." Peter agrees. "You're a good man, Fergus."

Cut to a two-shot of Fergus sitting in front of Jody, from the latter's pov. Jody is sobbing uncontrollably. Fergus watches him with sympathy. "Don't." Music throughout. "Help me." "I can't." Reverse angle. Jody wears the hood. "Just help me." Reverse angle. Fergus gives him a cigarette. Music continues. Jody coughs after taking a few drags. "Tell me something," Jody says. Music stays up. Cut to Jody's pov. Camera in slightly as Fergus talks.

FERGUS: When I was a child, I thought as a child.

But when I became a man, I put away childish

things.

Reaction shot of Jody, and camera tracks in.

JODY: What does that mean?

Reaction shot of Fergus. Camera keeps tracking in, so that now he is in medium shot.

FERGUS: Nothing.

Reaction shot of Jody. Camera tracks in so that he is in close-up.

JODY: Tell me something, anything.

Close-up of Fergus. He is blinking his eyes and trying to hold back the tears. Close-up of Jody.

JODY: You're not a lot of use, are you Fergus.

Close-up of Fergus.

FERGUS: Me? No. I'm not good for much. Music ends.

CHAPTER 10

11. "YOU WOULDN'T SHOOT A BROTHER IN THE BACK!" 34.53

High angle of the compound. Birds chirping in the early morning fog. Peter enters the greenhouse. He looks toward Fergus and clicks his weapon. He leaves. Fergus tells Jody to stand up. He leads him out of the greenhouse. The camera tracks back as they move toward the camera. Peter claps his hand on Jody's shoulder to stop him. "I wish to say on behalf of the Irish Republican Army"--but Fergus cuts him off. "Leave him be!" He leads Jody away. Dramatic music up, with sounds of drums in the background. Cut to tracking shot of the two moving down a lane. "Take the hood off. Don't let me die like an animal." They both stop. Fergus removes the hood. They resume walking in a wide shot. "I'm glad you're doing it. You know that, Fergus?" "Why?" "Cause you're my friend!" Then the music begins to increase in volume and the conversation turns toward whether or not Jody will try to run away. "You won't run!" Fergus says. "You wouldn't shoot a brother in the back!" Jody says--and then he begins to run away. "Jody!" Fergus points the gun at him. Close-up of Jody's hands. He has gotten free of the handcuffs somehow. Cut to a wide shot of the two. Jody is running fast now. Soon he outpaces Fergus. Then Jody stops and turns around. Fergus stops and cocks the gun. "Don't do it!" Jody warns. Then he runs again. We see him on the road--and a military vehicle bears down upon him. Cut to Fergus screaming at him. Cut to close shot of Jody being struck by the vehicle. Cut to Fergus' reaction shot--a look of horror on his face. Then a wide shot of another truck running over Jody's body. Cut to close shot behind one of the vehicles. Several soldiers jump out. They run past the fallen Jody, a pool of blood around his head. Fergus runs away. Cut to exterior wide shot of the greenhouse. Bullets slam into it from everywhere, including a military helicopter overhead. Inside the building we see Peter and Jude escape through a casement window. Others are killed. Suddenly the buildings burst into flames. Fergus runs through the woods. The music reaches crescendo.

CHAPTER 11

12. FERGUS LOSES HIMSELF AND FINDS DIL. 38.46

Exterior scene somewhere in Northern Ireland. An old man walks his bicycle and is stopped by Fergus. They walk off arm in arm. Later, inside his friend's house, Fergus explains that he needs "to go across the water. I need to lose myself for a while." So Fergus is bound for London.

Wide shot of a ferry going across the channel to England. Music up. Cut to shot of Fergus doing construction work inside a building. From his pov we can see men playing cricket in the distance.

Exterior of street. After work Fergus returns to his apartment. Inside his room he dresses up and sits looking at the photograph of Dil. Romantic strains of music up.

Exterior of street. Fergus stops at Millie's hair salon and goes inside. That's where Dil works. He comes in just at closing time. But Dil, a tall thin woman dressed in a tight black outfit, takes him as a customer. Cut to a close shot of Fergus' head being pushed back into the sink. Dil washes his hair gently. Low angle close shot of Dil looking down at him. Her black hair falls to each side of her face. Reverse angle shot, high angle, as she looks down at Fergus.

DIL: Someone recommended you.

FERGUS: In a way.

DIL: Who?

FERGUS: A guy I work with.

DIL: What's his name?

FERGUS: Does the water not get to your nails?

DIL: What's it to you?

FERGUS: Nothing.

After the wash, she is finishing cutting his hair. He tells her he is from Scotland. Close shots of her hands holding the scissors. She has long thin fingers with full nails. She describes his voice as sounding like "treacle," and he laughs. "Nice laugh," she says. Later, she holds the mirror behind him so he can view her work. "That should make her happy." He turns around. "Who's she?"

CHAPTER 12

13. MARGARITAS AT THE METRO. 42.37

Dil leaves for the night. Fergus follows her. Exterior of the Metro, a pub. Dil heads for the door. Behind her Fergus watches. Inside the pub, she greets the bartender and sits down. Fergus follows her in and sits across from her. The shot shows the bartender, Carl, on the right, Dil in the distance, and Fergus in the foreground.

DIL: See that, Carl? He gave me a look.

CARL: Did he?

DIL: I just cut his hair you know.

Cut to different angle of Dil, reflected in a mirror, then back to shot of Fergus. He is caught looking again. Medium shot of Dil.

DIL: There. He did it again.

Close shot of Carl.

CARL: I saw that one.

DIL: And what would you call that one?

CARL: That was a look.

Reaction shot of Fergus. He looks uncomfortable. The editing follows each character in medium shot with each part of their dialogue. If no dialogue, brackets [] are used.

DIL: Ask him to ask me what I'm drinking.

CARL: She wants to know if you want to know what she's

drinking.

DIL: A Margarita.

FERGUS: [He looks up toward Carl and shrugs.]

CARL: [He turns his back to the bar.]

DIL: Now he can look.

FERGUS: [He looks at Dil.]

DIL: Ask him does he like his hair, Carl.

CARL: She wants to know, sir, do you like you hair?

FERGUS: Tell her I'm very happy with it. [Dil says, "He's Scottish, Carl."]

CARL: [He turns toward Fergus.] Scottish? [Fergus

says, "Yeah."]

Cut to the wide shot of the three within the frame.

DIL: What'd he say?

CARL: He agreed he was.

DIL: What do you think his name might be.

CARL: I have no thoughts on the subject.

FERGUS: Jimmy.

DIL: Jimmy.

CARL: Jimmy. That's what he said.

Medium shot of Dil used before. She says, "Hi, Jimmy." Cut to medium shot of Fergus used before. "Hi, Dil."

Suddenly another man comes up behind Dil and sits down next to her. He's Dave, and Dil doesn't seem to appreciate his presence. "You know what I like," he says. She walks away. She shoots a look at Fergus, and we see his reaction shot as he leaves, too. Outside the metro, Fergus watches from across the street as Dave yells at Dil and then slaps her in the face. He follows them.

Later, Fergus watches them from behind a fence as they walk toward Dil's apartment. He watches her window, on the third floor, and can see them arguing behind the drapes.

Cut to Fergus lying in his bed in his apartment. He is dreaming. Suddenly we see an image of Jody dressed in his cricket uniform. He is bowling. Fergus wakes up in a sweat.

Exterior of the building site where Fergus works. He watches the cricket game going on in the field across from the site. He waves a board like a cricket paddle, but his supervisor yells at him for not working.

CHAPTER 13

14. DIL SINGS 'THE CRYING GAME' 46.34

Fergus arrives at the Metro another night. Carl greets him warmly. He gives Fergus a margarita. Carl leans toward Fergus and says, "You came to see her, didn't you. Listen, there's something I should tell you..." But he is cut off when Dil begins singing. Lots of applause.

47.15 Cut to Dil, who is dressed in a gold-sequined low cut dress. Her hair is up. She comes onto the stage and sings, "The Crying Game." Some of the words include: "I've had my share of the crying game. First there are kisses. Then there are sighs... Reaction shots of the crowd show Fergus watching, other patrons looking on approvingly. One day soon I'm going to tell the moon about the crying game. And if he knows, maybe he'll explain. Why there are heartaches, why there are tears, and want to do to some feeling blue when love disappears." As she sings, she moves her arms and hands suggestively in serpentine movements. Every move she makes is feminine and sensual.

When the next performer begins, she moves over to Fergus and sits at the bar. "So tell me. Everybody wants something," she says. "Not me," he says. Then here comes Dave again, a slick-haired conniving type. He drags her away. Fergus watches this carefully. Carl comes over to Fergus. "Takes all types." "So who's he?" Fergus asks. Carl says, "He's what she should run a mile from." "And why doesn't she?" Carl says, "Who knows the secrets of the human heart." Fergus leaves. He takes Dil's jacket and bag with him.

CHAPTER 14

15. FERGUS "LOOKS AFTER" DIL. 50.25

He finds them in an alley behind the Metro. Dave is threatening her. She struggles to keep him away. Here comes Fergus. "I've got your bag." He approaches Dil and Dave. "Who the fuck's he?" Dave says. Fergus kicks him in the groin with his knee, Dave drops to the ground, and then Fergus puts his foot on Dave's neck. "See. They get the wrong idea," Dil says as she stands next to Fergus. "Cunt!" Dave snaps. Fergus tightens his foot against Dave's neck. "What was that?" She leans down toward Dave, and the camera tilts to the right in an oblique angle. She slaps Dave lightly on the face. "Go home, like a good boy."

She stands up and takes Fergus' arm. "Come on, honey." They walk away from Dave. "You all right?" he asks. "What was that all about?" "He wants me to perform for him," she says. He looks back toward Dave. "He's getting up." "Can't leave me then, can you?" She puts on her jacket.

Back at Dil's apartment. Music up gradually. They climb the steps to her landing. "You want me to ask you in, right?" "No." "I'm not cheap. You know that!" Close shot of Dil. "Loud, but never cheap." Close shot reaction of Fergus. Then we hear Dave yelling. She turns to Fergus in a two-shot. "If you kiss me, it would really get his goat." Fergus leans forward and kisses her softly. Dave groans. Cut to Fergus and Dil as they separate. "Now if you asked to see me tomorrow, it would really drive him insane." "When?" "Outside of Minnie's." She kisses him softly.

SIDE ONE ENDS 53.04

SIDE TWO

CHAPTER 1

16. FERGUS AND DIL'S FIRST DATE.

Exterior of Dil's shop. Fergus meets her after work and gives her some flowers. Suddenly the blinds open in the window behind them and her coworkers all applaud her "catch." Then we see them at a restaurant. "Now's the time you're going to make a pass?" "Must be."

Exterior of a street at night. Fergus is walking her home. She asks if he has a "special friend." Suddenly a car zooms toward them--it's Dave again. They jump out of the way. "The things a girl has to put up with," she says. Outside her place Fergus asks, "You going to be all right on your own?" "I'm not on my own," she smiles.

Inside Dil's apartment. She is wearing a tight black dress. Fergus looks around the apartment. Music up. Tracking shot as Fergus looks about. Fergus examines several photographs of Jody and Dil.

But Dave is still causing trouble. He stands outside her apartment and screams obscenities. Dil goes to the window. "Talk to me!" he yells. "Sure, Dave." She begins to throw all of his clothes out the window. She even throws out his teddy bear. And then insult! She heaves his goldfish over the edge and the bowl smashes to smithereens. "Murderer!" he yells.

Back inside, Fergus sits down next to Dil. He looks toward a photo of Jody (wearing his cricket uniform).

FERGUS: What about him?

DIL: He was different.

Camera tracks in on the two of them. Dil says Jody was "as different as it is possible to be." Then Dil and Fergus kiss passionately. She pulls his hand away from between her legs. She kisses his hand.

FERGUS: Did you do that to him?

DIL: Do you want to know how I kissed him?

FERGUS: Yes.