Shadow Dancer Screenplay - Raindance Film Festival

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INT. BELFAST - THE EUROPA HOTEL - NIGHT A man lies half-naked on a bed. DAVID RYAN is awake, eyes hollow. A phone RINGS. It is RYAN’S police department partner BRIAN ALLEN, a tough cop’s cop. ALLEN (O.S.) (Terse) You’d better come. RYAN Is it her? ALLEN (O.S.) Just get up here. INT. BEATEN UP CAR - NIGHT RYAN tracks the wet tarmac. It’s raining hard. It’s always raining in this city. EXT. BLACK MOUNTAIN - NIGHT. RYAN walks down a path to where ALLEN is standing. The uniforms have pulled a black plastic bag from the wet earth and a body is just discernible inside it. They stand in silence. ALLEN turns. His face says; we both knew it would end like this. What the hell else did you expect? HOLD. FADE TO BLACK. IN THE DARK, THE SOUND OF A DOOR BEING CLOSED AND A KEY TURNED IN A LOCK. A beat. Still in BLACKNESS. Then... CRASH IN: CLOSE on COLLETTE MCVEIGH: widow, mother, sister, bomber. She’s early thirties and strikingly BEAUTIFUL. PULL BACK TO: EXT. TERRACE HOUSE - WINCHESTER - DAY. COLLETTE pushes the key under a bin. She is carrying a BLACK RUCKSACK.
2. As we follow her down the hill, we fade up the score and; REPORTER 1 (O.S.) John, sources close to the IRA insist they are interested in peace, but it’s certainly hard to square that with the latest bombing campaign here in London which just seems to run and run... REPORTER 2 (O.S.) Security sources have told the BBC that these latest bombs in London are the work of so-called ‘clean skins,’ IRA terrorists who have no previous criminal record... REPORTER 1 (O.S.) The British and Irish governments continue to work on the process John, because they believe that if they can come up with a ‘Declaration’ that satisfies both sides - some are calling it a vision of a joint future - then there is a real chance this conflict could finally be brought to a close... REPORTER 2 (O.S.) These bombs are not, security sources insist, the work of a break-away group of hardliners, but they don’t deny there are dissidents within the IRA who are hell bent on strangling this peace process at birth...It is a critical time. Pretty much everyone is agreed on that...peace hangs in the balance... REPORTER 1 (O.S) John, the IRA is not going to get a united Ireland. It’s not even going to get the promise of one. That is why some of the movement’s hardliners view this as nothing more than a sellout... A CAR HORN BLARES as COLLETTE, lost in thought, steps onto the road. The departing driver winds down the window. DRIVER Are you fucking blind?
Page 1: Shadow Dancer by Tom Bradby Based o
Page 5 and 6: 4. COLLETTE moves to the toilet, lo
Page 7 and 8: 6. No answer. The cop flips open a
Page 9 and 10: 8. INT. OBSERVATION ROOM OUTSIDE TH
Page 11 and 12: 10. LONG Don’t play games, Gingy.
Page 13 and 14: 12. She looks furious. RYAN (CONT
Page 15 and 16: 14. No answer. RYAN (CONT’D) You
Page 17 and 18: 16. RYAN We haven’t lost an agent
Page 19 and 20: 18. He glances at a photograph of a
Page 21 and 22: 20. She nods. She stares out of the
Page 23 and 24: 22. BUCHANAN You’re not going to
Page 25 and 26: 24. MULGREW. Who signed you up, Gin
Page 27 and 28: 26. INT. A TRAIN APPROACHING BELFAS
Page 29 and 30: 28. INT. COLLETTE’S HOME - KITCHE
Page 31 and 32: 30. PADDY Aaagh! You little bugger.
Page 33 and 34: 32. COLLETTE kisses her daughter an
Page 35 and 36: 34. A soldier suddenly blocks her w
Page 37 and 38: 36. She breaks away, staggers. She
Page 39 and 40: 38. HEADTEACHER (CONT’D) I know t
Page 41 and 42: 40. MULGREW. We need to talk about
Page 43 and 44: 42. INT. BOOK-SHOP - CAMDEN - CONTI
Page 45 and 46: 44. MARK What is it, Mam? COLLETTE
Page 47 and 48: 46. VOICE (O.S.) I’m Richard McIl
Page 49 and 50: 48. RYAN Of course. COLLETTE I don
Page 51 and 52: 50. INT. POLICE HEADQUARTERS IN BEL
Page 53 and 54:
52. A beat. ALLEN shrugs. RYAN (CON
Page 55 and 56:
54. Yes. COLLETTE The driver pulls
Page 57 and 58:
56. INT. HENDERSON’S HOUSE ON THE
Page 59 and 60:
58. EXT. STREET - CONTINUOUS. It al
Page 61 and 62:
60. INT. COLLETTE’S HOME - KITCHE
Page 63 and 64:
62. She glances up. She has no idea
Page 65 and 66:
64. INT. CAR - A FEW MINUTES LATER.
Page 67 and 68:
66. MULGREW. (CONT'D) Or did one of
Page 69 and 70:
68. INT. BELFAST’S ROYAL VICTORIA
Page 71 and 72:
70. INT. IRA CHIEF OF STAFF’S DAI
Page 73 and 74:
72. EXT. MILLTOWN CEMETERY - DAY A
Page 75 and 76:
74. We’re CLOSE again on Gerry. H
Page 77 and 78:
76. He stares at her. And he turns
Page 79 and 80:
78. GIRL Wolf Tone called. The pass
Page 81 and 82:
80. RYAN doesn’t answer. No point
Page 83 and 84:
82. ALLEN (CONT'D) Maybe that’s w
Page 85 and 86:
84. INT. COLLETTE’S HOME - LIVING
Page 87 and 88:
86. EXT. A SNOWY HILLTOP FIELD IN S
Page 89 and 90:
88. No answer. He stops the car. GE
Page 91 and 92:
90. A long silence. GERRY You want
Page 93 and 94:
92. COLLETTE (agitated) I’ve made
Page 95 and 96:
94. COLLETTE I don’t know... RYAN
Page 97 and 98:
96. ALLEN What in the hell are you
Page 99 and 100:
98. DELAVINE (CONT’D) We have a r
Page 101 and 102:
100. PADDY What do you want? MULGRE
Page 103 and 104:
102. We follow her out... INT. LAND
Page 105 and 106:
104. INT. FLIGHT TO PARIS - DAY GER
Page 107 and 108:
106. He takes out the pistol and pl
Page 109 and 110:
108. GERRY (CONT’D) Everything we
Page 111 and 112:
110. PADDY’S head sags. Collette.
Page 113 and 114:
112. A telephone is on the desk bet
Page 115 and 116:
114. COLLETTE (CONT’D) Who did yo
Page 117 and 118:
116. INT. HOUSE OF COMMONS - DAY GE
Page 119 and 120:
118. EXT. STREET OUTSIDE THE HOUSE
Page 121 and 122:
120. EXT. HOUSE OF COMMONS - UNDERN
Page 123:
122. ON COLLETTE as she clings to h
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Shadow Dancer Screenplay - Raindance Film Festival

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