Prosperity - Pala's Story
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- Words: 8,883
- Pages: 56
prosperity Written by Mark O'Halloran
pala's story
SHOOTING SCRIPT
Directed by Lenny Abrahamson Produced by Element Pictures
© RTE 2007
PALA'S STORY Shooting Script.
1
1.
INT. UNDERGROUND CARPARK. SOUTH DUBLIN CITY - 0530
1
It is very early morning. We are beside the doors to a lift in an underground car park. We see PALA. She is an attractive woman from Nigeria. She is wearing shabby clothes. She also has on a cleaners house coat. She stands by the door of the lift. Eventually the lift opens. There is a man in the lift. He is standing amongst a number of full refuse sacks. He is BRIAN, the head of the team of cleaners. He is a heavy man in his thirties. BRIAN Hold the door. Pala holds the door. He throws the bags out of the lift. BRIAN (cont’d) You lock that gear away? Yes.
PALA
BRIAN Good girl. You can let it go now. Pala lets the lift door close. BRIAN (cont’d) Is the others gone to the minibus? Yes.
PALA
Beat. Brian yawns BRIAN I’m fucked. Come on. He picks up some of the sacks. Pala takes the rest. They move off towards the large skips. CUT TO: 2
INT. SKIPS. UNDERGROUND CARPARK. SOUTH DUBLIN CITY - 0531
2
Pala and Brian throwing the last of the refuse sacks in the skips. BRIAN How many days you done this week? Just one.
PALA
BRIAN And you’re working tonight? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 2
CONTINUED:
2. 2
BRIAN Tonight’s a short night anyways. Only til 12. We’re back here. But all the heavy jobs is done. The floors is done. Right.
PALA
BRIAN And that’s you done for the week then. Why?
PALA
BRIAN Cause I don’t need you. PALA Do you have my money for me? What?
BRIAN
PALA You said you’d have my money for me. BRIAN When did I say that? PALA I told you I need my money. Brian moves off. PALA (cont’d) Brian, I need my money today! I need my money. Pala follows after Brian. He is standing in the middle of the a floor of the underground car park. He is looking around for something. Pala is walking over to him from the lift. BRIAN Where did that fucking edjit park? PALA Brian you told you would pay me today. BRIAN Why would I tell you that? She looks at him.
(CONTINUED)
PALA'S STORY Shooting Script. 2
3.
CONTINUED: (2)
2
BRIAN (cont’d) I haven’t been paid meself Pala. Why would I be paying you if I haven’t been paid meself? PALA But I need it today. BRIAN Not my problem. PALA You promised. BRIAN Look Pala, don’t start eating me now. Cause there is plenty of other girls out there looking for work if you don’t want it. He spots the minibus. BRIAN (cont’d) There he is. He walks towards the minibus leaving Pala. Pala is upset. She follows after. CUT TO: 3
INT. MINIBUS. DUBLIN CITY - 0545
3
Pala is sitting by the window of the minibus. The bus is filled with the other cleaning women. They are almost ALL EASTERN EUROPEAN WOMEN. They are talking amongst themselves. There is no one sitting with Pala. She stares out the window at the passing city. Brian comes down to her. He sits beside her. BRIAN I’ll have it for you Friday alright? PALA (softly) You said you’d have it today. Beat. BRIAN Are you going to meet Geraldine today? Pala doesn’t reply. She stays staring out the window. BRIAN (cont’d) She said you are anyways. You’ll like her. She’s a dynamo.
(CONTINUED)
PALA'S STORY Shooting Script. 3
CONTINUED:
4. 3
Beat. He gets up. BRIAN (cont’d) And I’ll try and roster you Friday if I can. Beat. BRIAN (cont’d) And we see how next week pans out then. He goes. She stays looking out the window. CUT TO: 4
EXT. STREET. NORTH CITY CENTRE - 0600
4
The minibus has pulled in. Pala gets out. The minibus leaves. She walks. The city is beginning to come to life. She stops. Then turns and walks in a different direction. CUT TO: 5
INT. HOUSE IN CITY CENTRE - 0607
5
Pala is sitting is an untidy kitchen/dining room. It is dark and old looking. Eventually a man enters. He is in his late forties. He is finishing dressing and fixing his shirt. He is a little unkempt looking. Now. Sorry.
MAN PALA
MAN That’s better. PALA It’s early. No.
MAN
PALA I shouldn’t have called. It’s too early. She stands. MAN It’s not. Relax. I just, I wasn’t expecting anyone. I wasn’t expecting you. Sit down. Pala sits down.
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED:
5. 5
MAN I’d normally be up by this time. Right.
PALA
MAN Just having a lie in. Ok.
PALA
MAN Being lazy for a change. Right.
PALA
The man begins to tidy a little in the kitchen. MAN The state of the place. Sorry. It’s fine.
PALA
MAN Yeah. My daughter Jody was here for the weekend, here on a visit. Did you meet Jody before? No.
PALA
MAN I thought you might have met her at the resource centre at some point. No.
PALA
MAN Right. Jody. She’s in Liverpool. Right.
PALA
MAN She’s a dental hygienist. Ok.
PALA
MAN Yeah. Awful bloody job if you ask me. Yeah.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (2)
Awful job.
6. 5
MAN
Beat. He continues to tidy. MAN So she was over visiting. And I’m not used to someone in the house now and I hear them then and I’m awake and... I’m sensitive that way. You know? Yeah.
PALA
MAN Yeah. I don’t see her that much, to be honest. Has her own life now. Comes over sometimes. To see her pals really. Right.
PALA
MAN So I was catching up on sleep there. Sorry. It’s fine.
PALA MAN
Beat. He stops cleaning. He looks at Pala. MAN (cont’d) You look slim. Do I?
PALA
MAN No, you were always slim I mean but slimmer. Like you’ve lost weight. PALA I don’t know. MAN I’d say you have now. Yes.
PALA
MAN I mean you look good. You look great.
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (3)
Thank you. Yeah.
7. 5
PALA MAN
Beat. MAN (cont’d) Can I get you anything. Can I get you some tea maybe? Yes. Right. Thank you.
PALA MAN PALA
Beat. He makes the tea. MAN Were you working last night? Yeah.
PALA
MAN Just finished? Yeah.
PALA
MAN I thought you looked tired. A little.
PALA TIME CUT:
They are both at the table drinking tea MAN Any news on Joseph? No. Right.
PALA MAN
Beat. MAN (cont’d) Because I was thinking about you last week.
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (4)
Yes?
8. 5
PALA
MAN Yes. I saw an article in the paper and I thought, I don’t know, I clipped it out anyway. He rises. He goes to a sideboard. He looks through a drawer. Eventually he finds a press cutting. MAN (cont’d) It might be stupid now but. I just thought. It could be relevant to Joseph. And I cut it out. To... I don’t know why, I just did, you know... Might be. Here. He takes the cutting. He hands it to Pala. She takes it. She scans it. He watches her. Beat. He sits. MAN (cont’d) The woman claimed medical grounds to get him in. Right.
PALA
MAN It might be worth pursuing. It might, you know, if you could claim pressing medical needs, or an emergency or... Yes.
PALA
MAN It could be grounds don’t you think? Yes.
PALA
MAN I can try and get more information on it through the resource centre if you like, if you want, now... Yes.
PALA
MAN It’s something. It’s another avenue at least. Thank you.
PALA
He sits. (CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (5)
9. 5
PALA How is the resource centre? MAN Good. Always busy. Always. Yes.
PALA
MAN A pain in the neck most of the time I suppose but we keep trying. Right.
PALA
MAN Sometimes I think I’d have been better off if I’d stayed teaching. Ok.
PALA
MAN Yeah. Not really. Beat. MAN I’m very happy you’re here, Pala. Very happy ... maybe, you know .. He’s quiet for a moment. MAN (cont’d) I missed you. Yes.
PALA
MAN I miss you. Beat. MAN (cont’d) Do you need anything or...? No.
PALA
MAN You just called? Pala doesn’t reply. MAN (cont’d) How have you been managing?
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (6)
Fine.
10. 5
PALA
MAN You’re sure? Yes.
PALA
MAN Because I was worried. Beat. MAN Because if you need anything I can... Pala does not reply. Beat. MAN Pala listen to me. Yes.
PALA
MAN With me, I’m a type of caring type person. I care. You know? I know.
PALA
MAN I care about you. Thank you.
PALA
MAN I want you to know that. Yes.
PALA
MAN And I wanted to help you. I want to help. I know.
PALA
Beat. MAN So I don’t understand why you cut me off just, why... Sorry.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 5
11.
CONTINUED: (7)
5
MAN Yes. Just, I felt I... If I offended you. No.
PALA
MAN Because I felt I’d offended you. No.
PALA
Beat. MAN You know Pala that... That, that offer when I offered that time. I know.
PALA
MAN It stands. The offer still stands. Beat. MAN It could make life easier for you. But not just that. Not just that. PALA I understand. MAN I want something. I want a life with you. Beat. MAN It could... Don’t you think? PALA I don’t know. MAN I just think... He reaches out for her hand. Pala keeps her head down. He holds her hand for a moment. MAN Is this why you’re here? Eventually Pala rises. No.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 5
12.
CONTINUED: (8)
Pala.
5
MAN
PALA No. Sorry. I have to go. Please.
MAN
PALA I shouldn’t have come here. I am sorry. Just. No.
MAN PALA
She puts on her coat. He remains seated. He seems a little broken. She places the press clipping in her pocket. PALA (cont’d) I am sorry. I can’t. I know. Goodbye.
MAN PALA
Pala leaves. CUT TO: 6
INT. HALLWAY. PALA’S BUILDING - 0610
6
Pala is climbing the stairs to her flat, which is on the north side of Dublin city. On the landing there are A NUMBER OF NIGERIAN MEN standing. There is the remnants of a party happening in a nearby flat. One of the men notices Pala. He addresses her jeeringly as she passes. MAN 1 Pala, you come dance with me. She moves past. The men laugh. MAN 1 (cont’d) Pala, Pala, Pala. Pala gets in her door. CUT TO: 7
INT. PALA'S FLAT - 0611
7
Pala is in her small flat. It is one room with bed, a chair, small television, and a kitchenette. She can still hear the men outside. (CONTINUED)
PALA'S STORY Shooting Script. 7
13.
CONTINUED:
7
Pala!!
MAN 1 (O.S.)
Something hits the door. It makes a loud noise. It gives her a fright. Bitch!!!
MAN 1 (O.S.) (cont’d)
There is the sound of the men laughing in the hallway. Pala takes off her coat. She hangs it in on the door. She sits on the edge of her bed. She is still in her work clothes. There are still sounds of the party nearby, voices and music. Pala takes a small radio from her bag. She switches it on to cover the other sounds. She places it on her small bedside locker along with her phone which she has taken from her pocket. She eventually lies down and pulls the bedclothes over her self. She does not sleep. She lies there. CUT TO: 8
INT. PALA'S FLAT - 0849
8
It is later. There is still noise from the house. Pala is standing still at the sink unit. She is staring out the window at the urban landscape. She hears her phone ring again. She picks it up off the table. She looks at the number calling. She does not answer. She lets it ring out. Eventually she hears the beep of a message arriving. She starts to wash her face at the sink. There is a knock on the door. She goes and answers it. At the door is her landlord. He is a large man in his 40s. This is PADDY. PADDY Pala, show us your rent allowance form. He comes in. She goes to get her rent allowance form. PADDY (cont’d) How are you? She hands him her form. He stamps it for her. PALA You have to talk to them Paddy. PADDY I did talk to them. PALA Well talk again.
(CONTINUED)
PALA'S STORY Shooting Script. 8
CONTINUED:
14. 8
PADDY Why don’t you talk to them yourself. PALA They do not listen to me. PADDY Well they’re hardly going to listen to me then. They’re your people. PALA They are not my people. PADDY Well they’re more your people than they are mine. PALA I can’t sleep with the noise. I can’t sleep. It is not fair. PADDY Alright. I’ll talk to them. PALA It is unbearable. He hands her back her form. There.
PADDY
PALA I can’t sleep. PADDY I’ll talk to them I said. Paddy leaves. Pala sits on the edge of her bed. She looks at her phone. She dials a short number and listens to her message. After a while she goes to a drawer. She opens it. She fumbles around inside. She takes out a box. Inside are some photographs and other items. She take something out and unwraps it. It is a man’s watch. It seems worn. She takes it out. CUT TO: 9
INT. PALA'S FLAT - 0955
9
It is later. Pala is preparing to leave. She picks up her purse from her bedside locker. She pours the money from it onto the bed. She counts the money. She has twenty six euros seventy. She gets up and puts on her coat. She begins to notice that the radio on her bedside locker is now on very low. She picks it up. The batteries are dying. She opens the back of the radio and takes out the batteries. She puts one of them in her pocket. (CONTINUED)
PALA'S STORY Shooting Script. 9
15.
CONTINUED:
9
(low) Batteries.
PALA
She then places the money back in her purse. CUT TO: 10
INT. HALLWAY. PALA’S BUILDING - 0956
10
Pala is leaving her flat. There are still a FEW MEN in the corridor. They tease her. MAN 1 Pala, why you always complain about us? She doesn’t say anything. She goes to move past. He tries to take her arm. She gets away. Pala.
MAN 1 (cont’d)
MAN 2 (Low) Fishy, fishy, fishy. The men laugh. Pala leaves. CUT TO: 11
EXT. STREET. CITY CENTRE - 1010
11
Pala is walking on a city street. She enters a pawn brokers. CUT TO: 12
INT. PAWN BROKERS. CITY CENTRE - 1011
12
Pala is standing at the counter in a city centre pawn brokers. A MAN approaches. He is in his fifties. PAWN BROKER Can I help you? Pala takes the watch from her pocket. She places it on the counter. Here.
PALA
PAWN BROKER You want to pawn or sell? Small beat. Sell.
PALA
He looks at the piece. (CONTINUED)
PALA'S STORY Shooting Script. 12
CONTINUED:
16. 12
PAWN BROKER There’s not much value in that. PALA It is a good watch. PAWN BROKER It’s all just plating there. And it’s worn. What were you thinking? PALA Seventy five. PAWN BROKER You’re joking me, there’s no value in that. 20 euros. Best I can do. PALA It’s worth more than that. PAWN BROKER I could barely sell it for 25. Beat. 20 is all.
PAWN BROKER (cont’d)
Beat. Okay.
PALA
She takes the money and leaves. CUT TO: 13
INT. MODERN SHOPPING CENTRE. CITY CENTRE - 1027
13
Pala is sitting on a bench in the shopping centre. She watches the people passing through. She takes out her purse. She carefully counts out all that she has. It comes to 46.70. She puts it back in her purse. She looks down at her feet. She is wearing cheap flat shoes. She stares at them. Eventually she takes one off. She turns it around in her hand. She tries to pick at the sole of her shoe with her finger. She then bites it with her mouth. She eventually succeeds in tearing the sole so it hangs from the shoe. She has concentrated hugely on this. She has not noticed Kenny nearby. He has been watching. He approaches. KENNY Are you alright love? What?
PALA
KENNY Eating your shoe?
(CONTINUED)
PALA'S STORY Shooting Script. 13
17.
CONTINUED:
13
No.
PALA
Pala stands. She gathers up her stuff. KENNY You sure you’re alright? She walks away. She is holding the torn shoe in her hand. CUT TO: 14
EXT. HSE OFFICES. CITY CENTRE - 1055
14
Pala enters the HSE building in the city centre. There are people milling about outside. We see STACEY (from STACEY’S STORY) standing on the steps of the offices with KATHLEEN as Pala enters. Pala is walking with one bare foot. She is still holding her torn shoe. CUT TO: 15
INT. HSE OFFICES. CITY CENTRE - 1056
15
Pala is at the reception of the HSE building. She goes to the hatch and bangs on the glass. A WOMAN comes to the hatch. The woman is pregnant. Pala is quite strident with her. WOMAN Can I help you? PALA I want to see Francis. WOMAN Do you have an appointment? PALA I want to see Francis. WOMAN Is he expecting you? PALA I want to see Francis! Pala slaps her hand on the counter as she says this. The woman looks at Pala. WOMAN If you’ll to take a seat I’ll phone through and see if he has time. Your name? PALA Pala Lolonga. Right.
WOMAN
(CONTINUED)
PALA'S STORY Shooting Script. 15
CONTINUED:
18. 15
Pala sits on a bench in the waiting area. She looks exhausted. There are other people queuing. Mostly women with children. She holds her torn shoe in her hand. STACEY enters and sits opposite her. Eventually FRANCIS (from STACEY’S STORY) appears. Pala.
FRANCIS
Pala rises. This way. Thank you.
FRANCIS (cont’d) PALA
FRANCIS Are you well? Pala doesn’t answer. CUT TO: 16
INT. HSE OFFICES. CITY CENTRE - 1100
16
Pala is sitting at a desk. Francis returns to the desk with Pala’s file. She seems much more docile and vulnerable than she was at reception. She speaks softly to him. FRANCIS What can I do for you Pala? PALA I need shoes. Right.
FRANCIS
PALA I have no other shoes. She shows him her shoe. FRANCIS Well we have a footwear allowance. Thank you.
PALA
FRANCIS But you have to apply in advance for it. PALA I have no other shoes. Beat. He looks at her. She seems upset.
(CONTINUED)
PALA'S STORY Shooting Script. 16
19.
CONTINUED:
16
FRANCIS Would you like to talk to someone Pala? What?
PALA
FRANCIS I can make an appointment for you if you want to talk to someone. No. You sure? No, no.
PALA FRANCIS PALA
Beat. FRANCIS I’m going to make a discretionary payment to you Pala. I’m not really supposed to do this , okay? Thank you.
PALA
FRANCIS And that looks like an emergency anyway. Yes.
PALA
Beat. Francis writes out a cheque for her. FRANCIS I can give you seventy euros. Thank you.
PALA
FRANCIS That should be enough. Yes.
PALA CUT TO:
17
INT. MONEY TRANSFER SHOP/ CALL CENTRE. CITY CENTRE -1140
17
Pala is in a cheap internet cafe, call centre and money transfer shop in the city centre. She is barefoot. (CONTINUED)
PALA'S STORY Shooting Script. 17
CONTINUED:
20. 17
Pala is sending money through. She has filled the money transfer form and handed it to the MAN behind the counter. He is typing in the details. Joseph? Yes.
MONEY MAN PALA
MONEY MAN Is that an ‘l’. Lolonga.
PALA
MONEY MAN Joseph Lolonga. The man types. Lagos? Yes. Nigeria. Yes.
MONEY MAN (cont’d) PALA MONEY MAN PALA
He looks at her. He smiles. MONEY MAN You like Ireland? PALA I don’t know. MONEY MAN I don’t know. He smiles again. MONEY MAN (cont’d) OK. 100 euros. Yes.
PALA
MONEY MAN That will be 107.50. Alright? Yes.
PALA
Pala counts out the money.
(CONTINUED)
PALA'S STORY Shooting Script. 17
21.
CONTINUED: (2)
Perfect.
17
MONEY MAN
PALA When will it get there? Tomorrow.
MONEY MAN
PALA Definitely? Yes.
MONEY MAN
He continues to type. Eventually: MONEY MAN (cont’d) You can send a complimentary 10 word greeting with the money. What?
PALA
MONEY MAN It’s free. 10 words. They print it out when he collects the money. You want to say something? Beat. No?
MONEY MAN (cont’d)
PALA No. Say, happy birthday Joseph. Love Mom. The man types. He prints off a receipt. He shows her a number. MONEY MAN That’s the code number. He has to quote that when he collects the money. Thank you.
PALA CUT TO:
18
INT. HARDWARE SHOP. CITY CENTRE - 1150
18
Pala is buying some glue. She prices things carefully. She is at the counter paying. She then remembers something. She puts her hand in her pocket. And takes out the battery from the radio.
(CONTINUED)
PALA'S STORY Shooting Script. 18
22.
CONTINUED:
18
PALA Two of those batteries. She pays and leaves. CUT TO: 19
EXT. CITY CENTRE PARK - 1155
19
Pala is sitting in the park where we saw Georgie in Georgie’s Story (1.9). She is gluing her shoe back together. She places it on the ground and puts both feet on it so the glue can set. Eventually, she takes out her phone and scrolls through a menu and hits the dial button. - Hello?
PALA
- Yes it is. Sorry, I was sleeping. - At what time? 3, yes. I know it. - I will see you then. - I will be there this time. - I will. - Goodbye. END OF PART ONE 20
INT. PALA’S FLAT - 1215
20
Pala is at home again. She is vigorously sorting through her clothes. She looks at and discards items until she decides on what she is going to wear. She lays them carefully on the bed. They are her best clothes. She goes to the mirror and tries to fix her hair. She is not happy with the results. CUT TO: 21
EXT. AFRICAN HAIRDRESSERS. STREET. CITY CENTRE - 1245
21
Pala is walking down a street in city centre. She enters an African Hair dressing shop. CUT TO: 22
INT. AFRICAN HAIRDRESSERS - 1450
22
Pala is having her hair done by an AFRICAN WOMAN IN HER 30s. This is CECILE. There are TWO OTHER WOMEN here. One is a customer. She is having her hair done by an EIGHTEEN YEAR OLD BACK WOMAN called ELIZABETH.
(CONTINUED)
PALA'S STORY Shooting Script. 22
CONTINUED:
23. 22
PALA Thank you Cecile. CECILE You are welcome. Thank you.
PALA
Beat. PALA (cont’d) I will be in on Friday. To pay. I know.
CECILE
A woman enters. It is an Irish woman. It is KATHLEEN (from STACEY’s Story). KATHLEEN How much is the plaits? What?
CECILE
KATHLEEN I want the full head of plaits. How much. 140 euros. 140? Sake.
CECILE KATHLEEN
Kathleen leaves. CUT TO: 23
EXT. STREET CORNER - 1504
23
Pala is standing on a street corner. She is waiting. Eventually a woman approaches her. This is GER. She is in her 50’s. She is very well kept. She is carrying two takeaway coffees. GER Paula is it? Yes.
PALA
GER Good. Hello. I’m Geraldine. Ger. Okay.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 23
CONTINUED:
24. 23
GER Look at me here with me coffees. Here. She hands Pala a coffee. GER (cont’d) I got two for just in case. Thank you.
PALA
GER I have sugar in my pocket. Thank you.
PALA
Ger hands her the sugar. GER Great when you don’t have to worry about your figure. She looks at Pala. GER (cont’d) We can have a little chat here now. First like. And then I’ll take you over to have a look. Okay.
PALA
GER I have a few places now but I’ll show you this one. The place here now is lovely. Right.
PALA
Beat. GER So you’re in Ireland long Paula? Two years.
PALA
GER Right. And you’re legal and all? Yes.
PALA
GER Good on you.
(CONTINUED)
PALA'S STORY Shooting Script. 23
25.
CONTINUED: (2)
Yes.
23
PALA
GER And you’re just doing the cleaning and that? Yes.
PALA
GER Yeah, Brian told me. Beat. GER (cont’d) Alright so. You’re alright with everything? Yes.
PALA
GER No questions or nothing? No.
PALA
GER Okay. Do you want and we head over? Yes.
PALA
GER Good. It’s only a short way over. Plunkett Court. They leave. CUT TO: 24
EXT. STREET. MODERN APARTMENT COMPLEX. CITY CENTRE -1517 Ger and Pala are approaching a modern apartment complex. There is a bin nearby. GER Put this rubbish in the bin. For the environment. Show me your cup. They reach the gate. Ger punches a code into a panel. GER (cont’d) It’s all intercoms here. All safe. CUT TO:
24
PALA'S STORY Shooting Script.
25
26.
INT. LONG CORRIDOR. MODERN APARTMENT COMPLEX - 1518
25
Pala and Ger are walking down corridor. GER Like a hotel it is. Isn’t it? Yeah. Nice.
PALA GER
They walk. GER (cont’d) Right. Here we are here on the left. She puts the key in the door. GER (cont’d) Nice and quiet now. They enter. CUT TO: 26
INT. HALLWAY. LARGE APARTMENT - 1519
26
Ger and Pala are in the hallway. Ger points to a door in the hallway. GER Right. This here over there, that door is to the utility area. Kitchen, Laundry, that sort of thing. And then here is the relaxation room for... you know, relaxing in. Whatever. Watching the telly you know. Your sitting room. She opens the door. There are THREE WOMEN sitting inside. GER (cont’d) That’s some of my girls there now. A few say hello. GER (cont’d) Are you feeling better now Tanya? Yes.
TANYA
GER Good. So that’s that. Right. Comfortable isn’t it.
(CONTINUED)
PALA'S STORY Shooting Script. 26
CONTINUED:
27. 26
Yes.
PALA
GER I’ll show you one of the rooms now. CUT TO: 27
INT. SMALL BEDROOM. LARGE APARTMENT - 1520
27
Pala and Ger are in a small clean bedroom. A bed, bedside locker with towels on, the bed has just sheets on it. There is another door that leads to a small wash room and toilet. Pala is in the middle of the room and Ger is showing her it’s features. GER And this then is your work room, your bedroom. Yeah? Yes.
PALA
GER And as you can see it’s all clean and clean and spotless. All, you know. Yes.
PALA
GER I run a tidy shop. Beat. GER (cont’d) Good. Yeah. Sit down on the bed there. Pala sits. Ger sits close beside her. GER (cont’d) So what do you think? PALA I don’t know. I know.
GER
Beat. GER (cont’d) Well to be honest with you it’s like falling off a log Paula. It’s that easy. Hard maybe the first time but then, you know, fuck it like. All easy. Easy money. Yeah?
(CONTINUED)
PALA'S STORY Shooting Script. 27
CONTINUED:
28. 27
Beat. GER (cont’d) And all my girls is happy. They’ll all tell you that thereselves. They’re looked after hand and foot. We do all the laundry, the towels, whatever else they need. Cause the way I see it is if the girl is happy then the punter will be happy too. Do you know? Beat. GER (cont’d) And there will be no one here telling you to do things you don’t want to do. You decide that yourself. All the girls is different. You know? Yes.
PALA
GER I want you to feel safe and happy here that’s all. Safe and happy. And you can work as hard or as not hard as you like. It’s up to you. You’ve control of it. Beat. GER (cont’d) And there’s a loads of money to be made Paula. An awful lot. I’ve had coloured girls working for me before and they do very well. Yes.
PALA
GER And you’re beautiful. Beat. GER (cont’d) Show me your hands. Pala gives her her hands. Bold girl. What?
GER (cont’d) PALA
GER Biting your nails. (CONTINUED)
PALA'S STORY Shooting Script. 27
CONTINUED: (2)
Yes.
29. 27
PALA
GER We’ll get them covered for you. Beat. GER (cont’d) You could be cleaning forever you know? I know.
PALA
GER Never have nothing. Yes.
PALA
GER Our price list is 120 euros per half hour and 200 the full hour of which we take the 50%. And then on top of that there are extras you can earn depending. Okay.
PALA
GER A girl could earn thousands if she put her mind to it. Beat. GER (cont’d) So what do you think? PALA I don’t know. GER Yeah. Well why don’t you think about it for a day or two yeah? I will.
PALA
GER Think about it and then get back to me. I will.
PALA
Beat.
(CONTINUED)
PALA'S STORY Shooting Script. 27
CONTINUED: (3)
30. 27
GER Brian’s put a few girls my way. And it’s nearly always worked out. Beat. GER (cont’d) Only a few days mind. I won’t wait forever. There’s plenty of girls. Okay.
PALA
GER Think about it seriously now. Beat. GER (cont’d) And you don’t even have to use your real name if you don’t want. We could call you, I don’t know, Beverley or it doesn’t matter. No one need know who you are. Okay.
PALA
GER Yeah. Good. I like you Paula. I do. Thanks.
PALA
GER And things could be real easy for you here. Thanks. Real easy.
PALA GER
Beat. GER (cont’d) Right. I’ll show you out. They leave. CUT TO: 28
INT. HALLWAY. LARGE APARTMENT - 1521
28
Ger and Pala step into the hallway. From a room down the hall a woman exits. She sees Ger and Pala. She silently gestures that there is someone in the room. Ger understands.
(CONTINUED)
PALA'S STORY Shooting Script. 28
CONTINUED:
31. 28
She takes Pala’s arm and guides her silently back into the bedroom. They step inside. CUT TO: 29
INT. SMALL BEDROOM. LARGE APARTMENT - 1522 Pala were they door
29
and Ger are standing inside the door of the room they in before. Ger gestures for her to be quiet. Outside hear the low voices of a man and a woman. Then the front closes. GER Right. They like the bit of privacy leaving. CUT TO:
30
EXT. BUSY STREET. CITY CENTRE - 1525
30
Pala walks along a busy city street. CUT TO: 31
INT. CAFE. CITY CENTRE - 1543
31
Pala is sitting in a city centre cafe. She is sitting on her own. There is an empty cup in front of her. AN EASTERN EUROPEAN WOMAN is clearing the tables. She tries to take Pala’s cup. CAFE WOMAN You finished? No.
PALA
CAFE WOMAN There’s nothing left in the cup. PALA I am not finished. I paid for this. So?
CAFE WOMAN
PALA I paid for it. CAFE WOMAN You cannot sit here all day. PALA I am not finished! The woman walks away. Pala sits.
(CONTINUED)
PALA'S STORY Shooting Script. 31
32.
CONTINUED:
31
PALA (cont’d) (softly) I am not finished. CUT TO: 32
INT. SMALL MEETING ROOM - 1546
32
Pala is standing in a small meeting room in a refugee services building. OLIVE is at a desk. Pala is agitated. PALA I want to reapply Olive! OLIVE We can not reapply. Why?
PALA
OLIVE I explained this to you. No!
PALA
OLIVE Pala we have reached the end of the process. So?
PALA
OLIVE It’s the end of the process. We can’t continue. There is no other route. Why? Pala.
PALA OLIVE
PALA But Joseph? OLIVE Listen to me. No!!
PALA
Beat. Beat. Pala reaches into her pocket and takes out the clipping that was given to her by the man in the earlier scene.
(CONTINUED)
PALA'S STORY Shooting Script. 32
33.
CONTINUED:
32
PALA (cont’d) See. There are ways. We can find ways Olive. She lays the paper cutting on the desk in front of Olive. PALA (cont’d) There are ways. See. PETER What is this Pala? PALA She gets her child in. See, Olive? Pala. Read!
PETER PALA
OLIVE We have been turned down on appeal. There is nowhere else to go now. Why?
PALA
OLIVE Because that’s it. Beat. I’m sorry. That’s it? That’s it.
OLIVE (cont’d) PALA OLIVE
Pala calms a little. PALA But if we apply again. We can’t. Why Olive?
OLIVE PALA
OLIVE I don’t know why. It is the law. The law.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 32
CONTINUED: (2)
Yes.
34. 32
OLIVE
Beat. PALA He is ten years old Olive. I know.
OLIVE
PALA Do you want me to forget him? OLIVE This has nothing to do with me Pala. PALA Do they think I can forget him? Pala. Why?
OLIVE PALA
Beat. Olive.
PALA (cont’d)
OLIVE closes over the file he has on his desk. I’m sorry.
OLIVE
PALA You are sorry? Yes.
OLIVE
Pala rises. OLIVE (cont’d) We will stay in touch Pala. Goodbye.
PALA
OLIVE If anything changes we will let you know. Thank you.
PALA
Beat. She collects her things.
(CONTINUED)
PALA'S STORY Shooting Script. 32
CONTINUED: (3)
Goodbye. Goodbye.
35. 32
PALA (cont’d) OLIVE
Pala leaves. CUT TO: 33
EXT. CITY CENTRE PARK - 1553
33
Pala is sitting on a bench in a city park. She watches people pass. An 11 year old girl pushing a pram is passing. This is LINDA. There is a ONE YEAR OLD INFANT in the pram. Linda stops and looks at Pala for a while. Eventually: LINDA You’re black. Yes.
PALA
LINDA What’s your name? Pala.
PALA
Beat. LINDA You from Africa? Yes.
PALA
LINDA What’s it like? Nice. Is it hot? Sometimes.
PALA LINDA PALA
LINDA I don’t like too hot. PALA No. Me too. Beat.
(CONTINUED)
PALA'S STORY Shooting Script. 33
CONTINUED:
36. 33
LINDA I live over there in the flats. Okay.
PALA
LINDA That’s me sister Sinead. PALA And what is your name? Linda. Linda. Yeah.
LINDA PALA LINDA
Beat. LINDA (cont’d) Me Ma told me to take her for a walk. Right.
PALA
LINDA Yeah. Me Ma’s having another baby soon. Good.
PALA
LINDA She gets tired. Beat. Linda sits down beside Pala. LINDA (cont’d) Can I touch your arm? Why?
PALA
LINDA Just to see. Okay.
PALA
Linda touches Pala’s arm.
(CONTINUED)
PALA'S STORY Shooting Script. 33
CONTINUED: (2)
37. 33
LINDA My Ma says ye get all the good flats. Beat. LINDA (cont’d) Do you have a nice flat? No. No.
PALA LINDA
Beat. LINDA (cont’d) Do you ever get sunburnt? No. Right.
PALA LINDA
Linda holds Pala’s hand. She looks at the lines and the palm. Beat. LINDA (cont’d) I better go. Okay.
PALA
LINDA I’m going over to me Aunty Samantha’s flat. Okay.
PALA
LINDA She lets me go on her sunbed because it’s me confirmation in three weeks. Okay. Yeah.
PALA LINDA
Linda gets up. Bye.
LINDA (cont’d)
Linda walks away. (CONTINUED)
PALA'S STORY Shooting Script. 33
38.
CONTINUED: (3)
33
Pala sits and watches her go. She gets up and leaves. CUT TO: 34
EXT. STREET NEAR PALA’S FLAT - 1615
34
Pala is walking down the street towards her flat. Up ahead Pala sees two 14 year old boys. They look tough. It is GAVIN AND CONOR (from GAVIN’S STORY). She is a little nervous. Gavin watches her. As she passes Gavin makes a loud noise in her direction to frighten her. The boys laugh. Pala passes. Pala is upset. She walks on in silence. We follow her. CUT TO: 35
INT. PALA’S FLAT - 1630
35
Pala is standing at the window. Eventually she begins to take her good clothes off. CUT TO: 36
INT. PALA’S FLAT - 1702
36
Pala is lying on her bed facing the wall. The television plays behind her. Pala is not watching it. CUT TO: 37
INT. PALA’S FLAT - 2028
37
It is later. Pala is sitting at the edge of her bed packing her bag. The music has started up again from the flat next door. Pala takes up the radio, puts the new batteries in it and places it in her bag. She then takes out her phone. She looks at it for a moment. She then puts it away and puts on her coat. CUT TO: 38
EXT. STREET. CITY CENTRE - 2040
38
It is getting dark. Pala is walking into the city centre. CUT TO: 39
INT. MONEY TRANSFER SHOP /CALL CENTRE. CITY CENTRE -2048
39
Pala enters the call/internet shop in the city centre. She goes to the counter. There are TWO YOUNG WOMEN IN PYJAMAS ahead of her in the cue. The Call Shop Man is talking to them. Pala checks how much money she has. She counts it out whilst the conversation with the girls happens. She only has just over two euros. PALA Phone please.
(CONTINUED)
PALA'S STORY Shooting Script. 39
39.
CONTINUED:
39
CALL SHOP MAN Number four. PALA Can you cut me off when I have used two euros? It is all I have. Sure.
CALL SHOP MAN
Pala goes to the phone booth. She sits in. She phones a long number. Eventually it is answered. PALA - Hello Mom. - Yes. It’s Pala. - Write this down. This is the number. - 5 2 9 2 8 6. Yes. - Put Joseph on. - No, no, put Joseph on. - Joseph. Hello. Hello? She hangs up. She sits for a moment. She seems a little broken. Eventually she gathers up her stuff and leaves. END OF PART TWO 40
EXT. STREET. NORTH CITY CENTRE - 2130
40
Pala has arrived at the arrivals place to meet the other cleaners. They talk together in groups. They do not speak to Pala. Brian approaches. Alright. Yes.
BRIAN PALA
BRIAN You sign that? He hands her a time sheet. BRIAN (cont’d) Believe you got on today and all. Pala doesn’t reply. She hands him back the time sheet. BRIAN (cont’d) Has great hopes for you she does. (CONTINUED)
PALA'S STORY Shooting Script. 40
40.
CONTINUED:
40
The minibus arrives. BRIAN (cont’d) Here we go so. CUT TO: 41
INT. MINIBUS. NORTH CITY CENTRE - 2131
41
People get on the minibus. Pala finds a seat. No one sits alongside her. Eventually: BRIAN We all here? Is Vera here? A few mutters. BRIAN (cont’d) Fuck it. We head so. He sits down near the drivers seat. VERA arrives at the last minute. Vera is in her mid fifties. BRIAN (cont’d) We nearly left without you. Thanks.
VERA
Vera makes her way down the seats. She is out of breath. She see Pala. VERA (cont’d) Paula. At least I know one person. Vera sits. VERA (cont’d) Dying for a smoke I am too. Dying. Pala looks out at the city passing. VERA (cont’d) You keeping well anyways? Yes.
PALA
VERA Yeah. Good. Brian approaches. BRIAN Fill that in Vera. VERA Ah fill it in yourself, you know me.
(CONTINUED)
PALA'S STORY Shooting Script. 41
41.
CONTINUED:
41
BRIAN Sign it at least. VERA Sign it he says. She signs it. He goes away. Pala goes back to looking at the city as it passes. CUT TO: 42
EXT. OFFICE BLOCK. SOUTH DUBLIN - 2146
42
The bus has stopped. They have disembarked. Vera is standing with Pala. Vera is smoking. VERA I might have to slip away a bit early tonight Brian. BRIAN You needn’t have bothered coming in at all so. VERA Only an hour. BRIAN And you complain then when I don’t give you days. VERA One day this week is all you’ve gave me. And all the times I’ve cleaned for you. BRIAN Go on. But I’m putting it on your time sheet. Brian moves away. The others start to enter. Pala goes to move. VERA Wait for me Paula. Finish this. Pala waits. VERA (cont’d) Cheek of that bastard. Vera finishes her cigarette. CUT TO: 43
INT. FOYER. OFFICE BLOCK - 2155
43
Brian is handing out assignments.
(CONTINUED)
PALA'S STORY Shooting Script. 43
CONTINUED:
42. 43
BRIAN Monika, you can take the back offices on the second floor. Yeah.
MONIKA
VERA Brian, me and Paula will do the open plan and the two conference rooms near the top. Alright.
BRIAN
VERA And then I’ll go then. BRIAN Pala you can do the six small offices on the floor above after. Yes.
PALA
Vera and Pala head to the lifts. CUT TO: 44
INT. LIFT. OFFICE BLOCK - 2157
44
Vera and Pala are in the lift to the top. VERA I’m just glad you’re here I am. Yes.
PALA
VERA I know you at least. Yeah.
PALA
VERA Them Eastern European girls is bitches. The lift doors opens. VERA (cont’d) What floor does that say? Are we at the right floor? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 44
CONTINUED:
43. 44
VERA I’d hate to find out I’d cleaned the wrong floor. They step out. CUT TO: 45
INT. LARGE OPEN PLAN OFFICE. OFFICE BLOCK - 2232
45
Vera and Pala are cleaning the large open plan office. They clean each of the cubby holes, emptying bins and wiping surfaces. Beat. VERA This place. Yes.
PALA
VERA Imagine working here all day. Yes.
PALA
VERA I’d be sick I would. I swear to God. Everyone looking at everyone. Beat. VERA (cont’d) Where abouts in Africa are you from? Did I ever ask you that? PALA I don’t think so. No? Lagos.
VERA PALA
VERA Right. Lagos. I never heard of it. No.
PALA
VERA Nice is it? Pala doesn’t answer. Beat. VERA (cont’d) You’re a quiet person.
(CONTINUED)
PALA'S STORY Shooting Script. 45
CONTINUED:
44. 45
PALA I don’t know. VERA You are. Cause when you started here first I thought you were one of them dummies.
No.
VERA (cont’d)
They clean. VERA (cont’d) But you’re quiet today anyways. Tired.
PALA
VERA Tired myself. Beat. VERA (cont’d) Had no sleep last night hardly. Pala doesn’t react. VERA (cont’d) Yeah, no. None. Beat. VERA (cont’d) My grandson is just fucken. He’s mad. He’s wild. Pala doesn’t react. VERA (cont’d) He lives with me. You know. And he’s into - Sixteen now and he’s in to all sorts. You know? Yes.
PALA
VERA I vex him anyway I think. Beat. VERA (cont’d) Broke everything and everything he did. Where?
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 45
CONTINUED: (2)
45. 45
VERA In my flat. Just pure wild. Pure fucken. The back window and all. And all me things you know. All just broken. Beat. VERA (cont’d) All broken. Beat. VERA (cont’d) So that’s why I didn’t sleep. Beat. VERA (cont’d) And then the Guards arrived then and he was taken off to Store Street. Beat. VERA (cont’d) Cause he’s not a bad kid. Beat. VERA (cont’d) Bad sometimes yeah. But pure soft sometimes. Pure stupid. But he can’t talk to someone even. Can’t even talk. Beat. VERA (cont’d) And they’re all at me now to put him out. But I can’t put him out cause that’s all I have now. Is him. I can’t put him out. Beat. VERA (cont’d) So that’s what I want to get away for early for. To go down to Store Street again. Beat. VERA (cont’d) Is that them done? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 45
46.
CONTINUED: (3)
45
VERA I can go so. CUT TO: 46
INT. CORRIDOR BY LIFTS. OFFICE BLOCK - 2233
46
Pala and Vera are in the corridor. Vera is waiting for the lift to go down. Pala is waiting for the lift to go up. VERA I bet you Brian won’t roster me any more. Why?
PALA
VERA He doesn’t want the Irish cleaning for him any more. And them bitches below would work for nothing. Vera’s lift arrives. She picks up her bag. VERA (cont’d) Yeah, but I’ll tell you things will change if things go bad. Mark my word. Bye Paula. Bye.
PALA
Vera steps into the lift. Pala presses her button again. CUT TO: 47
INT. OFFICE KITCHENETTE. OFFICE BLOCK - 2256
47
Pala is in the office kitchenette. She has her radio with her. She switches it on low. She turns on the kettle. She moves to look out the window while she waits. Her phone rings. She looks at the number calling. She doesn’t answer. Eventually: Hello.
EAMON (O.S.)
Pala is given a fright. She jumps. She turns. Eamon is there. Oh God. Sorry. No. You okay?
PALA EAMON PALA EAMON
(CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED:
47. 47
I am fine.
PALA
EAMON I should have knocked. PALA I didn’t think there was anyone still here. EAMON There isn’t. Only me. Beat. The kettle has not yet boiled. EAMON (cont’d) Sorry about that. No. Sorry.
PALA
Pala heads for the door. Your tea?
EAMON
PALA I can have it later. EAMON No, go on. Please. We all need a break. Thanks.
PALA
Eamon looks around. He opens some cupboards and closes them again. Pala watches. EAMON You’ll have to help me. What?
PALA
EAMON I have no idea where the cups are. Pala goes to one of the lower cupboards. She takes out a cup for him. Here.
PALA
EAMON Thank you. Isn’t it terrible? Ten years in the job and I still don’t know where the cups are.
(CONTINUED)
PALA'S STORY Shooting Script. 47
48.
CONTINUED: (2)
Yes.
47
PALA
EAMON My secretary make a lovely cuppa. Beat. Eamon continues to search around. He finds a spoon. Spoon.
EAMON (cont’d)
Pala half smiles. He finds the sugar and milk. EAMON (cont’d) Right I have everything now. They wait for the kettle. The radio is playing softly. Eamon looks at it. He picks it up. She watches him. EAMON (cont’d) You have your radio. PALA Yes. Keeps me company. Right.
EAMON
PALA There is normally no one here. EAMON I know. Lonely. Yes.
PALA
Beat. PALA (cont’d) You working overtime? Eamon laughs. EAMON No overtime I’m afraid. I’m the one who pays the overtime. Okay.
PALA
Beat. EAMON You do an excellent job by the way. The place is always spotless. PALA It is not difficult.
(CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED: (3)
49. 47
EAMON No. But still. Thank you.
PALA
Beat. The kettle has boiled. EAMON Here we go. Yes.
PALA
He fills both cups. He hands her her cup. Thank you.
PALA (cont’d)
EAMON You’re welcome. She sits. EAMON (cont’d) Now. Cheers. Cheers.
PALA
She smiles. She takes off her cleaners housecoat. He watches. Beat. EAMON You working this job long? PALA Since I came to Ireland. Okay. Two years. I see.
EAMON PALA EAMON
Beat. EAMON (cont’d) And do you like Ireland? PALA It’s different. EAMON Hard to get used to I’d say.
(CONTINUED)
PALA'S STORY Shooting Script. 47
50.
CONTINUED: (4)
Hard.
47
PALA
EAMON Hard to get used to the Irish I bet. Pala doesn’t say anything. EAMON (cont’d) I’ll take that as a yes then. No.
PALA
EAMON It’s okay. Not mad about them myself. Pala smiles. EAMON (cont’d) Do you think you’ll stay? PALA I have to stay. Okay.
EAMON
Beat. In the silence between them the radio news can be heard: RADIO The Gardai tonight are treating as suspicious, the discovery of the body of a 13 year old boy on waste ground in the west of the city. A second teenager found at the scene has been taken into custody and is helping the Gardai with their enquiries. She switches off the radio. Beat. Eamon shakes his head a little. Sad. 13.
EAMON
Beat. EAMON (cont’d) You have kids? One boy.
PALA
EAMON Right. And does he like Dublin?
(CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED: (5)
51. 47
Beat. PALA He is not here with me. I see.
EAMON
PALA He lives at home with my mother. What age? 10.
EAMON PALA
EAMON You must miss him terribly. I do.
PALA
Beat. EAMON And your husband? Pardon?
PALA
EAMON Is your husband in Ireland with you? No.
PALA
Beat. She looks at him. PALA (cont’d) I am a widow. EAMON Right. Sorry. It’s okay.
PALA
EAMON I didn’t mean to pry. PALA It’s fine. I don’t mind. Beat. EAMON When did he..? (CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED: (6)
52. 47
PALA Before I came here. EAMON I see. Sorry. Thank you.
PALA
Beat. He touches her arm. EAMON Right I better get back to it. Okay.
PALA
EAMON You have your radio. Yes.
PALA
EAMON To keep you company. Pala smiles. EAMON (cont’d) You have a lovely smile. Thank you.
PALA
Eamon goes to leave. He turns back. EAMON I’m Eamon by the way. Hello.
PALA
He shakes her hand. She smiles. He leaves. She sits there. CUT TO: 48
INT. EAMON’S OFFICE. OFFICE BLOCK - 2315
48
Pala has cleaned all the other offices in the corridor. She arrives at Eamon’s office. The door is ajar. He is still here. Pala enters. He is sitting behind his large desk working at a computer. The office is large and stylish. Pala knocks as she enters. Hello. Hello.
EAMON PALA
(CONTINUED)
PALA'S STORY Shooting Script. 48
53.
CONTINUED:
48
EAMON You nearly finished? PALA This is the last office. EAMON Good. Nearly finished myself. I’ll wait. No. Go on. Thank you.
PALA EAMON PALA
Pala starts her work. He watches her. She looks up and sees him. PALA (cont’d) It is a nice office. EAMON It’s one of the perks of being the boss. You get to choose the best office. I see.
PALA
EAMON I need it anyway. Right.
PALA
EAMON Spend more time here than I do at home. She continues to work. EAMON (cont'd) The view is great. Eamon stands and goes to the window. EAMON (cont'd) Take a look. Pala looks up. She moves to where Eamon is standing. She looks out over the city. EAMON (cont’d) What do you think? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 48
54.
CONTINUED: (2)
48
Beat. They stand close and look out at the view. Eventually Pala goes back to working. Eamon returns to his desk. Pala gets some refuse sacks. She goes to empty the bins. Eamon watches her. EAMON You work every night? PALA No. It depends. Okay.
EAMON
She empties another bin. EAMON (cont’d) How will you get home now? Bus.
PALA
EAMON Cause I could drop you somewhere if you wanted. No thanks.
PALA
EAMON I’ll be going through the city anyway. It’d be no problem. No.
PALA
Beat. Pala moves to his desk. PALA (cont’d) Can I get your waste basket? It’s here.
EAMON
He leans in for it. He stands up and hands it out to her. Thanks.
PALA
She empties it. She replaces the bin and has to get close to Eamon. He doesn’t move. She stands. He touches her. She doesn’t move. He leans to kiss her. She pulls away slightly. It’s Okay.
EAMON
PALA (softly) Sorry.
(CONTINUED)
PALA'S STORY Shooting Script. 48
CONTINUED: (3)
55. 48
He leans in. He kisses her. She closes her eyes. You okay? Yes. Good.
EAMON PALA EAMON
He kisses her again deeply. She is moved by this. Okay?
EAMON (cont’d)
She closes her eyes. He kisses her again. CUT TO: 49
INT. EAMON’S OFFICE. OFFICE BLOCK - 2335
49
Pala and Eamon are having sex in his office. Eamon finishes. Eventually: Thank you.
EAMON
Pala fixes her clothes, excuses herself and leaves. CUT TO: 50
INT. TOILETS. OFFICE BLOCK - 2340
50
Pala is in the toilets. She is standing at the sinks. She tries to wash her pubic area from the sink. She finishes. She sees herself in the mirror. She exits toilets. CUT TO: 51
INT. EAMON’S OFFICE. OFFICE BLOCK - 2350
51
The door to the Eamon’s office is a little ajar. Pala enters. He has left. There are some bank notes left on the desk. She looks at them for a moment. She picks them up and puts them in her pocket. CUT TO: 52
INT. CORRIDOR. OFFICE BLOCK - 0000
52
Pala is standing at a large window at the end of the corridor. She looks out at an excellent view of the city. She stares impassively. END OF PALA’S STORY
pala's story
SHOOTING SCRIPT
Directed by Lenny Abrahamson Produced by Element Pictures
© RTE 2007
PALA'S STORY Shooting Script.
1
1.
INT. UNDERGROUND CARPARK. SOUTH DUBLIN CITY - 0530
1
It is very early morning. We are beside the doors to a lift in an underground car park. We see PALA. She is an attractive woman from Nigeria. She is wearing shabby clothes. She also has on a cleaners house coat. She stands by the door of the lift. Eventually the lift opens. There is a man in the lift. He is standing amongst a number of full refuse sacks. He is BRIAN, the head of the team of cleaners. He is a heavy man in his thirties. BRIAN Hold the door. Pala holds the door. He throws the bags out of the lift. BRIAN (cont’d) You lock that gear away? Yes.
PALA
BRIAN Good girl. You can let it go now. Pala lets the lift door close. BRIAN (cont’d) Is the others gone to the minibus? Yes.
PALA
Beat. Brian yawns BRIAN I’m fucked. Come on. He picks up some of the sacks. Pala takes the rest. They move off towards the large skips. CUT TO: 2
INT. SKIPS. UNDERGROUND CARPARK. SOUTH DUBLIN CITY - 0531
2
Pala and Brian throwing the last of the refuse sacks in the skips. BRIAN How many days you done this week? Just one.
PALA
BRIAN And you’re working tonight? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 2
CONTINUED:
2. 2
BRIAN Tonight’s a short night anyways. Only til 12. We’re back here. But all the heavy jobs is done. The floors is done. Right.
PALA
BRIAN And that’s you done for the week then. Why?
PALA
BRIAN Cause I don’t need you. PALA Do you have my money for me? What?
BRIAN
PALA You said you’d have my money for me. BRIAN When did I say that? PALA I told you I need my money. Brian moves off. PALA (cont’d) Brian, I need my money today! I need my money. Pala follows after Brian. He is standing in the middle of the a floor of the underground car park. He is looking around for something. Pala is walking over to him from the lift. BRIAN Where did that fucking edjit park? PALA Brian you told you would pay me today. BRIAN Why would I tell you that? She looks at him.
(CONTINUED)
PALA'S STORY Shooting Script. 2
3.
CONTINUED: (2)
2
BRIAN (cont’d) I haven’t been paid meself Pala. Why would I be paying you if I haven’t been paid meself? PALA But I need it today. BRIAN Not my problem. PALA You promised. BRIAN Look Pala, don’t start eating me now. Cause there is plenty of other girls out there looking for work if you don’t want it. He spots the minibus. BRIAN (cont’d) There he is. He walks towards the minibus leaving Pala. Pala is upset. She follows after. CUT TO: 3
INT. MINIBUS. DUBLIN CITY - 0545
3
Pala is sitting by the window of the minibus. The bus is filled with the other cleaning women. They are almost ALL EASTERN EUROPEAN WOMEN. They are talking amongst themselves. There is no one sitting with Pala. She stares out the window at the passing city. Brian comes down to her. He sits beside her. BRIAN I’ll have it for you Friday alright? PALA (softly) You said you’d have it today. Beat. BRIAN Are you going to meet Geraldine today? Pala doesn’t reply. She stays staring out the window. BRIAN (cont’d) She said you are anyways. You’ll like her. She’s a dynamo.
(CONTINUED)
PALA'S STORY Shooting Script. 3
CONTINUED:
4. 3
Beat. He gets up. BRIAN (cont’d) And I’ll try and roster you Friday if I can. Beat. BRIAN (cont’d) And we see how next week pans out then. He goes. She stays looking out the window. CUT TO: 4
EXT. STREET. NORTH CITY CENTRE - 0600
4
The minibus has pulled in. Pala gets out. The minibus leaves. She walks. The city is beginning to come to life. She stops. Then turns and walks in a different direction. CUT TO: 5
INT. HOUSE IN CITY CENTRE - 0607
5
Pala is sitting is an untidy kitchen/dining room. It is dark and old looking. Eventually a man enters. He is in his late forties. He is finishing dressing and fixing his shirt. He is a little unkempt looking. Now. Sorry.
MAN PALA
MAN That’s better. PALA It’s early. No.
MAN
PALA I shouldn’t have called. It’s too early. She stands. MAN It’s not. Relax. I just, I wasn’t expecting anyone. I wasn’t expecting you. Sit down. Pala sits down.
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED:
5. 5
MAN I’d normally be up by this time. Right.
PALA
MAN Just having a lie in. Ok.
PALA
MAN Being lazy for a change. Right.
PALA
The man begins to tidy a little in the kitchen. MAN The state of the place. Sorry. It’s fine.
PALA
MAN Yeah. My daughter Jody was here for the weekend, here on a visit. Did you meet Jody before? No.
PALA
MAN I thought you might have met her at the resource centre at some point. No.
PALA
MAN Right. Jody. She’s in Liverpool. Right.
PALA
MAN She’s a dental hygienist. Ok.
PALA
MAN Yeah. Awful bloody job if you ask me. Yeah.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (2)
Awful job.
6. 5
MAN
Beat. He continues to tidy. MAN So she was over visiting. And I’m not used to someone in the house now and I hear them then and I’m awake and... I’m sensitive that way. You know? Yeah.
PALA
MAN Yeah. I don’t see her that much, to be honest. Has her own life now. Comes over sometimes. To see her pals really. Right.
PALA
MAN So I was catching up on sleep there. Sorry. It’s fine.
PALA MAN
Beat. He stops cleaning. He looks at Pala. MAN (cont’d) You look slim. Do I?
PALA
MAN No, you were always slim I mean but slimmer. Like you’ve lost weight. PALA I don’t know. MAN I’d say you have now. Yes.
PALA
MAN I mean you look good. You look great.
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (3)
Thank you. Yeah.
7. 5
PALA MAN
Beat. MAN (cont’d) Can I get you anything. Can I get you some tea maybe? Yes. Right. Thank you.
PALA MAN PALA
Beat. He makes the tea. MAN Were you working last night? Yeah.
PALA
MAN Just finished? Yeah.
PALA
MAN I thought you looked tired. A little.
PALA TIME CUT:
They are both at the table drinking tea MAN Any news on Joseph? No. Right.
PALA MAN
Beat. MAN (cont’d) Because I was thinking about you last week.
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (4)
Yes?
8. 5
PALA
MAN Yes. I saw an article in the paper and I thought, I don’t know, I clipped it out anyway. He rises. He goes to a sideboard. He looks through a drawer. Eventually he finds a press cutting. MAN (cont’d) It might be stupid now but. I just thought. It could be relevant to Joseph. And I cut it out. To... I don’t know why, I just did, you know... Might be. Here. He takes the cutting. He hands it to Pala. She takes it. She scans it. He watches her. Beat. He sits. MAN (cont’d) The woman claimed medical grounds to get him in. Right.
PALA
MAN It might be worth pursuing. It might, you know, if you could claim pressing medical needs, or an emergency or... Yes.
PALA
MAN It could be grounds don’t you think? Yes.
PALA
MAN I can try and get more information on it through the resource centre if you like, if you want, now... Yes.
PALA
MAN It’s something. It’s another avenue at least. Thank you.
PALA
He sits. (CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (5)
9. 5
PALA How is the resource centre? MAN Good. Always busy. Always. Yes.
PALA
MAN A pain in the neck most of the time I suppose but we keep trying. Right.
PALA
MAN Sometimes I think I’d have been better off if I’d stayed teaching. Ok.
PALA
MAN Yeah. Not really. Beat. MAN I’m very happy you’re here, Pala. Very happy ... maybe, you know .. He’s quiet for a moment. MAN (cont’d) I missed you. Yes.
PALA
MAN I miss you. Beat. MAN (cont’d) Do you need anything or...? No.
PALA
MAN You just called? Pala doesn’t reply. MAN (cont’d) How have you been managing?
(CONTINUED)
PALA'S STORY Shooting Script. 5
CONTINUED: (6)
Fine.
10. 5
PALA
MAN You’re sure? Yes.
PALA
MAN Because I was worried. Beat. MAN Because if you need anything I can... Pala does not reply. Beat. MAN Pala listen to me. Yes.
PALA
MAN With me, I’m a type of caring type person. I care. You know? I know.
PALA
MAN I care about you. Thank you.
PALA
MAN I want you to know that. Yes.
PALA
MAN And I wanted to help you. I want to help. I know.
PALA
Beat. MAN So I don’t understand why you cut me off just, why... Sorry.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 5
11.
CONTINUED: (7)
5
MAN Yes. Just, I felt I... If I offended you. No.
PALA
MAN Because I felt I’d offended you. No.
PALA
Beat. MAN You know Pala that... That, that offer when I offered that time. I know.
PALA
MAN It stands. The offer still stands. Beat. MAN It could make life easier for you. But not just that. Not just that. PALA I understand. MAN I want something. I want a life with you. Beat. MAN It could... Don’t you think? PALA I don’t know. MAN I just think... He reaches out for her hand. Pala keeps her head down. He holds her hand for a moment. MAN Is this why you’re here? Eventually Pala rises. No.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 5
12.
CONTINUED: (8)
Pala.
5
MAN
PALA No. Sorry. I have to go. Please.
MAN
PALA I shouldn’t have come here. I am sorry. Just. No.
MAN PALA
She puts on her coat. He remains seated. He seems a little broken. She places the press clipping in her pocket. PALA (cont’d) I am sorry. I can’t. I know. Goodbye.
MAN PALA
Pala leaves. CUT TO: 6
INT. HALLWAY. PALA’S BUILDING - 0610
6
Pala is climbing the stairs to her flat, which is on the north side of Dublin city. On the landing there are A NUMBER OF NIGERIAN MEN standing. There is the remnants of a party happening in a nearby flat. One of the men notices Pala. He addresses her jeeringly as she passes. MAN 1 Pala, you come dance with me. She moves past. The men laugh. MAN 1 (cont’d) Pala, Pala, Pala. Pala gets in her door. CUT TO: 7
INT. PALA'S FLAT - 0611
7
Pala is in her small flat. It is one room with bed, a chair, small television, and a kitchenette. She can still hear the men outside. (CONTINUED)
PALA'S STORY Shooting Script. 7
13.
CONTINUED:
7
Pala!!
MAN 1 (O.S.)
Something hits the door. It makes a loud noise. It gives her a fright. Bitch!!!
MAN 1 (O.S.) (cont’d)
There is the sound of the men laughing in the hallway. Pala takes off her coat. She hangs it in on the door. She sits on the edge of her bed. She is still in her work clothes. There are still sounds of the party nearby, voices and music. Pala takes a small radio from her bag. She switches it on to cover the other sounds. She places it on her small bedside locker along with her phone which she has taken from her pocket. She eventually lies down and pulls the bedclothes over her self. She does not sleep. She lies there. CUT TO: 8
INT. PALA'S FLAT - 0849
8
It is later. There is still noise from the house. Pala is standing still at the sink unit. She is staring out the window at the urban landscape. She hears her phone ring again. She picks it up off the table. She looks at the number calling. She does not answer. She lets it ring out. Eventually she hears the beep of a message arriving. She starts to wash her face at the sink. There is a knock on the door. She goes and answers it. At the door is her landlord. He is a large man in his 40s. This is PADDY. PADDY Pala, show us your rent allowance form. He comes in. She goes to get her rent allowance form. PADDY (cont’d) How are you? She hands him her form. He stamps it for her. PALA You have to talk to them Paddy. PADDY I did talk to them. PALA Well talk again.
(CONTINUED)
PALA'S STORY Shooting Script. 8
CONTINUED:
14. 8
PADDY Why don’t you talk to them yourself. PALA They do not listen to me. PADDY Well they’re hardly going to listen to me then. They’re your people. PALA They are not my people. PADDY Well they’re more your people than they are mine. PALA I can’t sleep with the noise. I can’t sleep. It is not fair. PADDY Alright. I’ll talk to them. PALA It is unbearable. He hands her back her form. There.
PADDY
PALA I can’t sleep. PADDY I’ll talk to them I said. Paddy leaves. Pala sits on the edge of her bed. She looks at her phone. She dials a short number and listens to her message. After a while she goes to a drawer. She opens it. She fumbles around inside. She takes out a box. Inside are some photographs and other items. She take something out and unwraps it. It is a man’s watch. It seems worn. She takes it out. CUT TO: 9
INT. PALA'S FLAT - 0955
9
It is later. Pala is preparing to leave. She picks up her purse from her bedside locker. She pours the money from it onto the bed. She counts the money. She has twenty six euros seventy. She gets up and puts on her coat. She begins to notice that the radio on her bedside locker is now on very low. She picks it up. The batteries are dying. She opens the back of the radio and takes out the batteries. She puts one of them in her pocket. (CONTINUED)
PALA'S STORY Shooting Script. 9
15.
CONTINUED:
9
(low) Batteries.
PALA
She then places the money back in her purse. CUT TO: 10
INT. HALLWAY. PALA’S BUILDING - 0956
10
Pala is leaving her flat. There are still a FEW MEN in the corridor. They tease her. MAN 1 Pala, why you always complain about us? She doesn’t say anything. She goes to move past. He tries to take her arm. She gets away. Pala.
MAN 1 (cont’d)
MAN 2 (Low) Fishy, fishy, fishy. The men laugh. Pala leaves. CUT TO: 11
EXT. STREET. CITY CENTRE - 1010
11
Pala is walking on a city street. She enters a pawn brokers. CUT TO: 12
INT. PAWN BROKERS. CITY CENTRE - 1011
12
Pala is standing at the counter in a city centre pawn brokers. A MAN approaches. He is in his fifties. PAWN BROKER Can I help you? Pala takes the watch from her pocket. She places it on the counter. Here.
PALA
PAWN BROKER You want to pawn or sell? Small beat. Sell.
PALA
He looks at the piece. (CONTINUED)
PALA'S STORY Shooting Script. 12
CONTINUED:
16. 12
PAWN BROKER There’s not much value in that. PALA It is a good watch. PAWN BROKER It’s all just plating there. And it’s worn. What were you thinking? PALA Seventy five. PAWN BROKER You’re joking me, there’s no value in that. 20 euros. Best I can do. PALA It’s worth more than that. PAWN BROKER I could barely sell it for 25. Beat. 20 is all.
PAWN BROKER (cont’d)
Beat. Okay.
PALA
She takes the money and leaves. CUT TO: 13
INT. MODERN SHOPPING CENTRE. CITY CENTRE - 1027
13
Pala is sitting on a bench in the shopping centre. She watches the people passing through. She takes out her purse. She carefully counts out all that she has. It comes to 46.70. She puts it back in her purse. She looks down at her feet. She is wearing cheap flat shoes. She stares at them. Eventually she takes one off. She turns it around in her hand. She tries to pick at the sole of her shoe with her finger. She then bites it with her mouth. She eventually succeeds in tearing the sole so it hangs from the shoe. She has concentrated hugely on this. She has not noticed Kenny nearby. He has been watching. He approaches. KENNY Are you alright love? What?
PALA
KENNY Eating your shoe?
(CONTINUED)
PALA'S STORY Shooting Script. 13
17.
CONTINUED:
13
No.
PALA
Pala stands. She gathers up her stuff. KENNY You sure you’re alright? She walks away. She is holding the torn shoe in her hand. CUT TO: 14
EXT. HSE OFFICES. CITY CENTRE - 1055
14
Pala enters the HSE building in the city centre. There are people milling about outside. We see STACEY (from STACEY’S STORY) standing on the steps of the offices with KATHLEEN as Pala enters. Pala is walking with one bare foot. She is still holding her torn shoe. CUT TO: 15
INT. HSE OFFICES. CITY CENTRE - 1056
15
Pala is at the reception of the HSE building. She goes to the hatch and bangs on the glass. A WOMAN comes to the hatch. The woman is pregnant. Pala is quite strident with her. WOMAN Can I help you? PALA I want to see Francis. WOMAN Do you have an appointment? PALA I want to see Francis. WOMAN Is he expecting you? PALA I want to see Francis! Pala slaps her hand on the counter as she says this. The woman looks at Pala. WOMAN If you’ll to take a seat I’ll phone through and see if he has time. Your name? PALA Pala Lolonga. Right.
WOMAN
(CONTINUED)
PALA'S STORY Shooting Script. 15
CONTINUED:
18. 15
Pala sits on a bench in the waiting area. She looks exhausted. There are other people queuing. Mostly women with children. She holds her torn shoe in her hand. STACEY enters and sits opposite her. Eventually FRANCIS (from STACEY’S STORY) appears. Pala.
FRANCIS
Pala rises. This way. Thank you.
FRANCIS (cont’d) PALA
FRANCIS Are you well? Pala doesn’t answer. CUT TO: 16
INT. HSE OFFICES. CITY CENTRE - 1100
16
Pala is sitting at a desk. Francis returns to the desk with Pala’s file. She seems much more docile and vulnerable than she was at reception. She speaks softly to him. FRANCIS What can I do for you Pala? PALA I need shoes. Right.
FRANCIS
PALA I have no other shoes. She shows him her shoe. FRANCIS Well we have a footwear allowance. Thank you.
PALA
FRANCIS But you have to apply in advance for it. PALA I have no other shoes. Beat. He looks at her. She seems upset.
(CONTINUED)
PALA'S STORY Shooting Script. 16
19.
CONTINUED:
16
FRANCIS Would you like to talk to someone Pala? What?
PALA
FRANCIS I can make an appointment for you if you want to talk to someone. No. You sure? No, no.
PALA FRANCIS PALA
Beat. FRANCIS I’m going to make a discretionary payment to you Pala. I’m not really supposed to do this , okay? Thank you.
PALA
FRANCIS And that looks like an emergency anyway. Yes.
PALA
Beat. Francis writes out a cheque for her. FRANCIS I can give you seventy euros. Thank you.
PALA
FRANCIS That should be enough. Yes.
PALA CUT TO:
17
INT. MONEY TRANSFER SHOP/ CALL CENTRE. CITY CENTRE -1140
17
Pala is in a cheap internet cafe, call centre and money transfer shop in the city centre. She is barefoot. (CONTINUED)
PALA'S STORY Shooting Script. 17
CONTINUED:
20. 17
Pala is sending money through. She has filled the money transfer form and handed it to the MAN behind the counter. He is typing in the details. Joseph? Yes.
MONEY MAN PALA
MONEY MAN Is that an ‘l’. Lolonga.
PALA
MONEY MAN Joseph Lolonga. The man types. Lagos? Yes. Nigeria. Yes.
MONEY MAN (cont’d) PALA MONEY MAN PALA
He looks at her. He smiles. MONEY MAN You like Ireland? PALA I don’t know. MONEY MAN I don’t know. He smiles again. MONEY MAN (cont’d) OK. 100 euros. Yes.
PALA
MONEY MAN That will be 107.50. Alright? Yes.
PALA
Pala counts out the money.
(CONTINUED)
PALA'S STORY Shooting Script. 17
21.
CONTINUED: (2)
Perfect.
17
MONEY MAN
PALA When will it get there? Tomorrow.
MONEY MAN
PALA Definitely? Yes.
MONEY MAN
He continues to type. Eventually: MONEY MAN (cont’d) You can send a complimentary 10 word greeting with the money. What?
PALA
MONEY MAN It’s free. 10 words. They print it out when he collects the money. You want to say something? Beat. No?
MONEY MAN (cont’d)
PALA No. Say, happy birthday Joseph. Love Mom. The man types. He prints off a receipt. He shows her a number. MONEY MAN That’s the code number. He has to quote that when he collects the money. Thank you.
PALA CUT TO:
18
INT. HARDWARE SHOP. CITY CENTRE - 1150
18
Pala is buying some glue. She prices things carefully. She is at the counter paying. She then remembers something. She puts her hand in her pocket. And takes out the battery from the radio.
(CONTINUED)
PALA'S STORY Shooting Script. 18
22.
CONTINUED:
18
PALA Two of those batteries. She pays and leaves. CUT TO: 19
EXT. CITY CENTRE PARK - 1155
19
Pala is sitting in the park where we saw Georgie in Georgie’s Story (1.9). She is gluing her shoe back together. She places it on the ground and puts both feet on it so the glue can set. Eventually, she takes out her phone and scrolls through a menu and hits the dial button. - Hello?
PALA
- Yes it is. Sorry, I was sleeping. - At what time? 3, yes. I know it. - I will see you then. - I will be there this time. - I will. - Goodbye. END OF PART ONE 20
INT. PALA’S FLAT - 1215
20
Pala is at home again. She is vigorously sorting through her clothes. She looks at and discards items until she decides on what she is going to wear. She lays them carefully on the bed. They are her best clothes. She goes to the mirror and tries to fix her hair. She is not happy with the results. CUT TO: 21
EXT. AFRICAN HAIRDRESSERS. STREET. CITY CENTRE - 1245
21
Pala is walking down a street in city centre. She enters an African Hair dressing shop. CUT TO: 22
INT. AFRICAN HAIRDRESSERS - 1450
22
Pala is having her hair done by an AFRICAN WOMAN IN HER 30s. This is CECILE. There are TWO OTHER WOMEN here. One is a customer. She is having her hair done by an EIGHTEEN YEAR OLD BACK WOMAN called ELIZABETH.
(CONTINUED)
PALA'S STORY Shooting Script. 22
CONTINUED:
23. 22
PALA Thank you Cecile. CECILE You are welcome. Thank you.
PALA
Beat. PALA (cont’d) I will be in on Friday. To pay. I know.
CECILE
A woman enters. It is an Irish woman. It is KATHLEEN (from STACEY’s Story). KATHLEEN How much is the plaits? What?
CECILE
KATHLEEN I want the full head of plaits. How much. 140 euros. 140? Sake.
CECILE KATHLEEN
Kathleen leaves. CUT TO: 23
EXT. STREET CORNER - 1504
23
Pala is standing on a street corner. She is waiting. Eventually a woman approaches her. This is GER. She is in her 50’s. She is very well kept. She is carrying two takeaway coffees. GER Paula is it? Yes.
PALA
GER Good. Hello. I’m Geraldine. Ger. Okay.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 23
CONTINUED:
24. 23
GER Look at me here with me coffees. Here. She hands Pala a coffee. GER (cont’d) I got two for just in case. Thank you.
PALA
GER I have sugar in my pocket. Thank you.
PALA
Ger hands her the sugar. GER Great when you don’t have to worry about your figure. She looks at Pala. GER (cont’d) We can have a little chat here now. First like. And then I’ll take you over to have a look. Okay.
PALA
GER I have a few places now but I’ll show you this one. The place here now is lovely. Right.
PALA
Beat. GER So you’re in Ireland long Paula? Two years.
PALA
GER Right. And you’re legal and all? Yes.
PALA
GER Good on you.
(CONTINUED)
PALA'S STORY Shooting Script. 23
25.
CONTINUED: (2)
Yes.
23
PALA
GER And you’re just doing the cleaning and that? Yes.
PALA
GER Yeah, Brian told me. Beat. GER (cont’d) Alright so. You’re alright with everything? Yes.
PALA
GER No questions or nothing? No.
PALA
GER Okay. Do you want and we head over? Yes.
PALA
GER Good. It’s only a short way over. Plunkett Court. They leave. CUT TO: 24
EXT. STREET. MODERN APARTMENT COMPLEX. CITY CENTRE -1517 Ger and Pala are approaching a modern apartment complex. There is a bin nearby. GER Put this rubbish in the bin. For the environment. Show me your cup. They reach the gate. Ger punches a code into a panel. GER (cont’d) It’s all intercoms here. All safe. CUT TO:
24
PALA'S STORY Shooting Script.
25
26.
INT. LONG CORRIDOR. MODERN APARTMENT COMPLEX - 1518
25
Pala and Ger are walking down corridor. GER Like a hotel it is. Isn’t it? Yeah. Nice.
PALA GER
They walk. GER (cont’d) Right. Here we are here on the left. She puts the key in the door. GER (cont’d) Nice and quiet now. They enter. CUT TO: 26
INT. HALLWAY. LARGE APARTMENT - 1519
26
Ger and Pala are in the hallway. Ger points to a door in the hallway. GER Right. This here over there, that door is to the utility area. Kitchen, Laundry, that sort of thing. And then here is the relaxation room for... you know, relaxing in. Whatever. Watching the telly you know. Your sitting room. She opens the door. There are THREE WOMEN sitting inside. GER (cont’d) That’s some of my girls there now. A few say hello. GER (cont’d) Are you feeling better now Tanya? Yes.
TANYA
GER Good. So that’s that. Right. Comfortable isn’t it.
(CONTINUED)
PALA'S STORY Shooting Script. 26
CONTINUED:
27. 26
Yes.
PALA
GER I’ll show you one of the rooms now. CUT TO: 27
INT. SMALL BEDROOM. LARGE APARTMENT - 1520
27
Pala and Ger are in a small clean bedroom. A bed, bedside locker with towels on, the bed has just sheets on it. There is another door that leads to a small wash room and toilet. Pala is in the middle of the room and Ger is showing her it’s features. GER And this then is your work room, your bedroom. Yeah? Yes.
PALA
GER And as you can see it’s all clean and clean and spotless. All, you know. Yes.
PALA
GER I run a tidy shop. Beat. GER (cont’d) Good. Yeah. Sit down on the bed there. Pala sits. Ger sits close beside her. GER (cont’d) So what do you think? PALA I don’t know. I know.
GER
Beat. GER (cont’d) Well to be honest with you it’s like falling off a log Paula. It’s that easy. Hard maybe the first time but then, you know, fuck it like. All easy. Easy money. Yeah?
(CONTINUED)
PALA'S STORY Shooting Script. 27
CONTINUED:
28. 27
Beat. GER (cont’d) And all my girls is happy. They’ll all tell you that thereselves. They’re looked after hand and foot. We do all the laundry, the towels, whatever else they need. Cause the way I see it is if the girl is happy then the punter will be happy too. Do you know? Beat. GER (cont’d) And there will be no one here telling you to do things you don’t want to do. You decide that yourself. All the girls is different. You know? Yes.
PALA
GER I want you to feel safe and happy here that’s all. Safe and happy. And you can work as hard or as not hard as you like. It’s up to you. You’ve control of it. Beat. GER (cont’d) And there’s a loads of money to be made Paula. An awful lot. I’ve had coloured girls working for me before and they do very well. Yes.
PALA
GER And you’re beautiful. Beat. GER (cont’d) Show me your hands. Pala gives her her hands. Bold girl. What?
GER (cont’d) PALA
GER Biting your nails. (CONTINUED)
PALA'S STORY Shooting Script. 27
CONTINUED: (2)
Yes.
29. 27
PALA
GER We’ll get them covered for you. Beat. GER (cont’d) You could be cleaning forever you know? I know.
PALA
GER Never have nothing. Yes.
PALA
GER Our price list is 120 euros per half hour and 200 the full hour of which we take the 50%. And then on top of that there are extras you can earn depending. Okay.
PALA
GER A girl could earn thousands if she put her mind to it. Beat. GER (cont’d) So what do you think? PALA I don’t know. GER Yeah. Well why don’t you think about it for a day or two yeah? I will.
PALA
GER Think about it and then get back to me. I will.
PALA
Beat.
(CONTINUED)
PALA'S STORY Shooting Script. 27
CONTINUED: (3)
30. 27
GER Brian’s put a few girls my way. And it’s nearly always worked out. Beat. GER (cont’d) Only a few days mind. I won’t wait forever. There’s plenty of girls. Okay.
PALA
GER Think about it seriously now. Beat. GER (cont’d) And you don’t even have to use your real name if you don’t want. We could call you, I don’t know, Beverley or it doesn’t matter. No one need know who you are. Okay.
PALA
GER Yeah. Good. I like you Paula. I do. Thanks.
PALA
GER And things could be real easy for you here. Thanks. Real easy.
PALA GER
Beat. GER (cont’d) Right. I’ll show you out. They leave. CUT TO: 28
INT. HALLWAY. LARGE APARTMENT - 1521
28
Ger and Pala step into the hallway. From a room down the hall a woman exits. She sees Ger and Pala. She silently gestures that there is someone in the room. Ger understands.
(CONTINUED)
PALA'S STORY Shooting Script. 28
CONTINUED:
31. 28
She takes Pala’s arm and guides her silently back into the bedroom. They step inside. CUT TO: 29
INT. SMALL BEDROOM. LARGE APARTMENT - 1522 Pala were they door
29
and Ger are standing inside the door of the room they in before. Ger gestures for her to be quiet. Outside hear the low voices of a man and a woman. Then the front closes. GER Right. They like the bit of privacy leaving. CUT TO:
30
EXT. BUSY STREET. CITY CENTRE - 1525
30
Pala walks along a busy city street. CUT TO: 31
INT. CAFE. CITY CENTRE - 1543
31
Pala is sitting in a city centre cafe. She is sitting on her own. There is an empty cup in front of her. AN EASTERN EUROPEAN WOMAN is clearing the tables. She tries to take Pala’s cup. CAFE WOMAN You finished? No.
PALA
CAFE WOMAN There’s nothing left in the cup. PALA I am not finished. I paid for this. So?
CAFE WOMAN
PALA I paid for it. CAFE WOMAN You cannot sit here all day. PALA I am not finished! The woman walks away. Pala sits.
(CONTINUED)
PALA'S STORY Shooting Script. 31
32.
CONTINUED:
31
PALA (cont’d) (softly) I am not finished. CUT TO: 32
INT. SMALL MEETING ROOM - 1546
32
Pala is standing in a small meeting room in a refugee services building. OLIVE is at a desk. Pala is agitated. PALA I want to reapply Olive! OLIVE We can not reapply. Why?
PALA
OLIVE I explained this to you. No!
PALA
OLIVE Pala we have reached the end of the process. So?
PALA
OLIVE It’s the end of the process. We can’t continue. There is no other route. Why? Pala.
PALA OLIVE
PALA But Joseph? OLIVE Listen to me. No!!
PALA
Beat. Beat. Pala reaches into her pocket and takes out the clipping that was given to her by the man in the earlier scene.
(CONTINUED)
PALA'S STORY Shooting Script. 32
33.
CONTINUED:
32
PALA (cont’d) See. There are ways. We can find ways Olive. She lays the paper cutting on the desk in front of Olive. PALA (cont’d) There are ways. See. PETER What is this Pala? PALA She gets her child in. See, Olive? Pala. Read!
PETER PALA
OLIVE We have been turned down on appeal. There is nowhere else to go now. Why?
PALA
OLIVE Because that’s it. Beat. I’m sorry. That’s it? That’s it.
OLIVE (cont’d) PALA OLIVE
Pala calms a little. PALA But if we apply again. We can’t. Why Olive?
OLIVE PALA
OLIVE I don’t know why. It is the law. The law.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 32
CONTINUED: (2)
Yes.
34. 32
OLIVE
Beat. PALA He is ten years old Olive. I know.
OLIVE
PALA Do you want me to forget him? OLIVE This has nothing to do with me Pala. PALA Do they think I can forget him? Pala. Why?
OLIVE PALA
Beat. Olive.
PALA (cont’d)
OLIVE closes over the file he has on his desk. I’m sorry.
OLIVE
PALA You are sorry? Yes.
OLIVE
Pala rises. OLIVE (cont’d) We will stay in touch Pala. Goodbye.
PALA
OLIVE If anything changes we will let you know. Thank you.
PALA
Beat. She collects her things.
(CONTINUED)
PALA'S STORY Shooting Script. 32
CONTINUED: (3)
Goodbye. Goodbye.
35. 32
PALA (cont’d) OLIVE
Pala leaves. CUT TO: 33
EXT. CITY CENTRE PARK - 1553
33
Pala is sitting on a bench in a city park. She watches people pass. An 11 year old girl pushing a pram is passing. This is LINDA. There is a ONE YEAR OLD INFANT in the pram. Linda stops and looks at Pala for a while. Eventually: LINDA You’re black. Yes.
PALA
LINDA What’s your name? Pala.
PALA
Beat. LINDA You from Africa? Yes.
PALA
LINDA What’s it like? Nice. Is it hot? Sometimes.
PALA LINDA PALA
LINDA I don’t like too hot. PALA No. Me too. Beat.
(CONTINUED)
PALA'S STORY Shooting Script. 33
CONTINUED:
36. 33
LINDA I live over there in the flats. Okay.
PALA
LINDA That’s me sister Sinead. PALA And what is your name? Linda. Linda. Yeah.
LINDA PALA LINDA
Beat. LINDA (cont’d) Me Ma told me to take her for a walk. Right.
PALA
LINDA Yeah. Me Ma’s having another baby soon. Good.
PALA
LINDA She gets tired. Beat. Linda sits down beside Pala. LINDA (cont’d) Can I touch your arm? Why?
PALA
LINDA Just to see. Okay.
PALA
Linda touches Pala’s arm.
(CONTINUED)
PALA'S STORY Shooting Script. 33
CONTINUED: (2)
37. 33
LINDA My Ma says ye get all the good flats. Beat. LINDA (cont’d) Do you have a nice flat? No. No.
PALA LINDA
Beat. LINDA (cont’d) Do you ever get sunburnt? No. Right.
PALA LINDA
Linda holds Pala’s hand. She looks at the lines and the palm. Beat. LINDA (cont’d) I better go. Okay.
PALA
LINDA I’m going over to me Aunty Samantha’s flat. Okay.
PALA
LINDA She lets me go on her sunbed because it’s me confirmation in three weeks. Okay. Yeah.
PALA LINDA
Linda gets up. Bye.
LINDA (cont’d)
Linda walks away. (CONTINUED)
PALA'S STORY Shooting Script. 33
38.
CONTINUED: (3)
33
Pala sits and watches her go. She gets up and leaves. CUT TO: 34
EXT. STREET NEAR PALA’S FLAT - 1615
34
Pala is walking down the street towards her flat. Up ahead Pala sees two 14 year old boys. They look tough. It is GAVIN AND CONOR (from GAVIN’S STORY). She is a little nervous. Gavin watches her. As she passes Gavin makes a loud noise in her direction to frighten her. The boys laugh. Pala passes. Pala is upset. She walks on in silence. We follow her. CUT TO: 35
INT. PALA’S FLAT - 1630
35
Pala is standing at the window. Eventually she begins to take her good clothes off. CUT TO: 36
INT. PALA’S FLAT - 1702
36
Pala is lying on her bed facing the wall. The television plays behind her. Pala is not watching it. CUT TO: 37
INT. PALA’S FLAT - 2028
37
It is later. Pala is sitting at the edge of her bed packing her bag. The music has started up again from the flat next door. Pala takes up the radio, puts the new batteries in it and places it in her bag. She then takes out her phone. She looks at it for a moment. She then puts it away and puts on her coat. CUT TO: 38
EXT. STREET. CITY CENTRE - 2040
38
It is getting dark. Pala is walking into the city centre. CUT TO: 39
INT. MONEY TRANSFER SHOP /CALL CENTRE. CITY CENTRE -2048
39
Pala enters the call/internet shop in the city centre. She goes to the counter. There are TWO YOUNG WOMEN IN PYJAMAS ahead of her in the cue. The Call Shop Man is talking to them. Pala checks how much money she has. She counts it out whilst the conversation with the girls happens. She only has just over two euros. PALA Phone please.
(CONTINUED)
PALA'S STORY Shooting Script. 39
39.
CONTINUED:
39
CALL SHOP MAN Number four. PALA Can you cut me off when I have used two euros? It is all I have. Sure.
CALL SHOP MAN
Pala goes to the phone booth. She sits in. She phones a long number. Eventually it is answered. PALA - Hello Mom. - Yes. It’s Pala. - Write this down. This is the number. - 5 2 9 2 8 6. Yes. - Put Joseph on. - No, no, put Joseph on. - Joseph. Hello. Hello? She hangs up. She sits for a moment. She seems a little broken. Eventually she gathers up her stuff and leaves. END OF PART TWO 40
EXT. STREET. NORTH CITY CENTRE - 2130
40
Pala has arrived at the arrivals place to meet the other cleaners. They talk together in groups. They do not speak to Pala. Brian approaches. Alright. Yes.
BRIAN PALA
BRIAN You sign that? He hands her a time sheet. BRIAN (cont’d) Believe you got on today and all. Pala doesn’t reply. She hands him back the time sheet. BRIAN (cont’d) Has great hopes for you she does. (CONTINUED)
PALA'S STORY Shooting Script. 40
40.
CONTINUED:
40
The minibus arrives. BRIAN (cont’d) Here we go so. CUT TO: 41
INT. MINIBUS. NORTH CITY CENTRE - 2131
41
People get on the minibus. Pala finds a seat. No one sits alongside her. Eventually: BRIAN We all here? Is Vera here? A few mutters. BRIAN (cont’d) Fuck it. We head so. He sits down near the drivers seat. VERA arrives at the last minute. Vera is in her mid fifties. BRIAN (cont’d) We nearly left without you. Thanks.
VERA
Vera makes her way down the seats. She is out of breath. She see Pala. VERA (cont’d) Paula. At least I know one person. Vera sits. VERA (cont’d) Dying for a smoke I am too. Dying. Pala looks out at the city passing. VERA (cont’d) You keeping well anyways? Yes.
PALA
VERA Yeah. Good. Brian approaches. BRIAN Fill that in Vera. VERA Ah fill it in yourself, you know me.
(CONTINUED)
PALA'S STORY Shooting Script. 41
41.
CONTINUED:
41
BRIAN Sign it at least. VERA Sign it he says. She signs it. He goes away. Pala goes back to looking at the city as it passes. CUT TO: 42
EXT. OFFICE BLOCK. SOUTH DUBLIN - 2146
42
The bus has stopped. They have disembarked. Vera is standing with Pala. Vera is smoking. VERA I might have to slip away a bit early tonight Brian. BRIAN You needn’t have bothered coming in at all so. VERA Only an hour. BRIAN And you complain then when I don’t give you days. VERA One day this week is all you’ve gave me. And all the times I’ve cleaned for you. BRIAN Go on. But I’m putting it on your time sheet. Brian moves away. The others start to enter. Pala goes to move. VERA Wait for me Paula. Finish this. Pala waits. VERA (cont’d) Cheek of that bastard. Vera finishes her cigarette. CUT TO: 43
INT. FOYER. OFFICE BLOCK - 2155
43
Brian is handing out assignments.
(CONTINUED)
PALA'S STORY Shooting Script. 43
CONTINUED:
42. 43
BRIAN Monika, you can take the back offices on the second floor. Yeah.
MONIKA
VERA Brian, me and Paula will do the open plan and the two conference rooms near the top. Alright.
BRIAN
VERA And then I’ll go then. BRIAN Pala you can do the six small offices on the floor above after. Yes.
PALA
Vera and Pala head to the lifts. CUT TO: 44
INT. LIFT. OFFICE BLOCK - 2157
44
Vera and Pala are in the lift to the top. VERA I’m just glad you’re here I am. Yes.
PALA
VERA I know you at least. Yeah.
PALA
VERA Them Eastern European girls is bitches. The lift doors opens. VERA (cont’d) What floor does that say? Are we at the right floor? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 44
CONTINUED:
43. 44
VERA I’d hate to find out I’d cleaned the wrong floor. They step out. CUT TO: 45
INT. LARGE OPEN PLAN OFFICE. OFFICE BLOCK - 2232
45
Vera and Pala are cleaning the large open plan office. They clean each of the cubby holes, emptying bins and wiping surfaces. Beat. VERA This place. Yes.
PALA
VERA Imagine working here all day. Yes.
PALA
VERA I’d be sick I would. I swear to God. Everyone looking at everyone. Beat. VERA (cont’d) Where abouts in Africa are you from? Did I ever ask you that? PALA I don’t think so. No? Lagos.
VERA PALA
VERA Right. Lagos. I never heard of it. No.
PALA
VERA Nice is it? Pala doesn’t answer. Beat. VERA (cont’d) You’re a quiet person.
(CONTINUED)
PALA'S STORY Shooting Script. 45
CONTINUED:
44. 45
PALA I don’t know. VERA You are. Cause when you started here first I thought you were one of them dummies.
No.
VERA (cont’d)
They clean. VERA (cont’d) But you’re quiet today anyways. Tired.
PALA
VERA Tired myself. Beat. VERA (cont’d) Had no sleep last night hardly. Pala doesn’t react. VERA (cont’d) Yeah, no. None. Beat. VERA (cont’d) My grandson is just fucken. He’s mad. He’s wild. Pala doesn’t react. VERA (cont’d) He lives with me. You know. And he’s into - Sixteen now and he’s in to all sorts. You know? Yes.
PALA
VERA I vex him anyway I think. Beat. VERA (cont’d) Broke everything and everything he did. Where?
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 45
CONTINUED: (2)
45. 45
VERA In my flat. Just pure wild. Pure fucken. The back window and all. And all me things you know. All just broken. Beat. VERA (cont’d) All broken. Beat. VERA (cont’d) So that’s why I didn’t sleep. Beat. VERA (cont’d) And then the Guards arrived then and he was taken off to Store Street. Beat. VERA (cont’d) Cause he’s not a bad kid. Beat. VERA (cont’d) Bad sometimes yeah. But pure soft sometimes. Pure stupid. But he can’t talk to someone even. Can’t even talk. Beat. VERA (cont’d) And they’re all at me now to put him out. But I can’t put him out cause that’s all I have now. Is him. I can’t put him out. Beat. VERA (cont’d) So that’s what I want to get away for early for. To go down to Store Street again. Beat. VERA (cont’d) Is that them done? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 45
46.
CONTINUED: (3)
45
VERA I can go so. CUT TO: 46
INT. CORRIDOR BY LIFTS. OFFICE BLOCK - 2233
46
Pala and Vera are in the corridor. Vera is waiting for the lift to go down. Pala is waiting for the lift to go up. VERA I bet you Brian won’t roster me any more. Why?
PALA
VERA He doesn’t want the Irish cleaning for him any more. And them bitches below would work for nothing. Vera’s lift arrives. She picks up her bag. VERA (cont’d) Yeah, but I’ll tell you things will change if things go bad. Mark my word. Bye Paula. Bye.
PALA
Vera steps into the lift. Pala presses her button again. CUT TO: 47
INT. OFFICE KITCHENETTE. OFFICE BLOCK - 2256
47
Pala is in the office kitchenette. She has her radio with her. She switches it on low. She turns on the kettle. She moves to look out the window while she waits. Her phone rings. She looks at the number calling. She doesn’t answer. Eventually: Hello.
EAMON (O.S.)
Pala is given a fright. She jumps. She turns. Eamon is there. Oh God. Sorry. No. You okay?
PALA EAMON PALA EAMON
(CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED:
47. 47
I am fine.
PALA
EAMON I should have knocked. PALA I didn’t think there was anyone still here. EAMON There isn’t. Only me. Beat. The kettle has not yet boiled. EAMON (cont’d) Sorry about that. No. Sorry.
PALA
Pala heads for the door. Your tea?
EAMON
PALA I can have it later. EAMON No, go on. Please. We all need a break. Thanks.
PALA
Eamon looks around. He opens some cupboards and closes them again. Pala watches. EAMON You’ll have to help me. What?
PALA
EAMON I have no idea where the cups are. Pala goes to one of the lower cupboards. She takes out a cup for him. Here.
PALA
EAMON Thank you. Isn’t it terrible? Ten years in the job and I still don’t know where the cups are.
(CONTINUED)
PALA'S STORY Shooting Script. 47
48.
CONTINUED: (2)
Yes.
47
PALA
EAMON My secretary make a lovely cuppa. Beat. Eamon continues to search around. He finds a spoon. Spoon.
EAMON (cont’d)
Pala half smiles. He finds the sugar and milk. EAMON (cont’d) Right I have everything now. They wait for the kettle. The radio is playing softly. Eamon looks at it. He picks it up. She watches him. EAMON (cont’d) You have your radio. PALA Yes. Keeps me company. Right.
EAMON
PALA There is normally no one here. EAMON I know. Lonely. Yes.
PALA
Beat. PALA (cont’d) You working overtime? Eamon laughs. EAMON No overtime I’m afraid. I’m the one who pays the overtime. Okay.
PALA
Beat. EAMON You do an excellent job by the way. The place is always spotless. PALA It is not difficult.
(CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED: (3)
49. 47
EAMON No. But still. Thank you.
PALA
Beat. The kettle has boiled. EAMON Here we go. Yes.
PALA
He fills both cups. He hands her her cup. Thank you.
PALA (cont’d)
EAMON You’re welcome. She sits. EAMON (cont’d) Now. Cheers. Cheers.
PALA
She smiles. She takes off her cleaners housecoat. He watches. Beat. EAMON You working this job long? PALA Since I came to Ireland. Okay. Two years. I see.
EAMON PALA EAMON
Beat. EAMON (cont’d) And do you like Ireland? PALA It’s different. EAMON Hard to get used to I’d say.
(CONTINUED)
PALA'S STORY Shooting Script. 47
50.
CONTINUED: (4)
Hard.
47
PALA
EAMON Hard to get used to the Irish I bet. Pala doesn’t say anything. EAMON (cont’d) I’ll take that as a yes then. No.
PALA
EAMON It’s okay. Not mad about them myself. Pala smiles. EAMON (cont’d) Do you think you’ll stay? PALA I have to stay. Okay.
EAMON
Beat. In the silence between them the radio news can be heard: RADIO The Gardai tonight are treating as suspicious, the discovery of the body of a 13 year old boy on waste ground in the west of the city. A second teenager found at the scene has been taken into custody and is helping the Gardai with their enquiries. She switches off the radio. Beat. Eamon shakes his head a little. Sad. 13.
EAMON
Beat. EAMON (cont’d) You have kids? One boy.
PALA
EAMON Right. And does he like Dublin?
(CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED: (5)
51. 47
Beat. PALA He is not here with me. I see.
EAMON
PALA He lives at home with my mother. What age? 10.
EAMON PALA
EAMON You must miss him terribly. I do.
PALA
Beat. EAMON And your husband? Pardon?
PALA
EAMON Is your husband in Ireland with you? No.
PALA
Beat. She looks at him. PALA (cont’d) I am a widow. EAMON Right. Sorry. It’s okay.
PALA
EAMON I didn’t mean to pry. PALA It’s fine. I don’t mind. Beat. EAMON When did he..? (CONTINUED)
PALA'S STORY Shooting Script. 47
CONTINUED: (6)
52. 47
PALA Before I came here. EAMON I see. Sorry. Thank you.
PALA
Beat. He touches her arm. EAMON Right I better get back to it. Okay.
PALA
EAMON You have your radio. Yes.
PALA
EAMON To keep you company. Pala smiles. EAMON (cont’d) You have a lovely smile. Thank you.
PALA
Eamon goes to leave. He turns back. EAMON I’m Eamon by the way. Hello.
PALA
He shakes her hand. She smiles. He leaves. She sits there. CUT TO: 48
INT. EAMON’S OFFICE. OFFICE BLOCK - 2315
48
Pala has cleaned all the other offices in the corridor. She arrives at Eamon’s office. The door is ajar. He is still here. Pala enters. He is sitting behind his large desk working at a computer. The office is large and stylish. Pala knocks as she enters. Hello. Hello.
EAMON PALA
(CONTINUED)
PALA'S STORY Shooting Script. 48
53.
CONTINUED:
48
EAMON You nearly finished? PALA This is the last office. EAMON Good. Nearly finished myself. I’ll wait. No. Go on. Thank you.
PALA EAMON PALA
Pala starts her work. He watches her. She looks up and sees him. PALA (cont’d) It is a nice office. EAMON It’s one of the perks of being the boss. You get to choose the best office. I see.
PALA
EAMON I need it anyway. Right.
PALA
EAMON Spend more time here than I do at home. She continues to work. EAMON (cont'd) The view is great. Eamon stands and goes to the window. EAMON (cont'd) Take a look. Pala looks up. She moves to where Eamon is standing. She looks out over the city. EAMON (cont’d) What do you think? Yes.
PALA
(CONTINUED)
PALA'S STORY Shooting Script. 48
54.
CONTINUED: (2)
48
Beat. They stand close and look out at the view. Eventually Pala goes back to working. Eamon returns to his desk. Pala gets some refuse sacks. She goes to empty the bins. Eamon watches her. EAMON You work every night? PALA No. It depends. Okay.
EAMON
She empties another bin. EAMON (cont’d) How will you get home now? Bus.
PALA
EAMON Cause I could drop you somewhere if you wanted. No thanks.
PALA
EAMON I’ll be going through the city anyway. It’d be no problem. No.
PALA
Beat. Pala moves to his desk. PALA (cont’d) Can I get your waste basket? It’s here.
EAMON
He leans in for it. He stands up and hands it out to her. Thanks.
PALA
She empties it. She replaces the bin and has to get close to Eamon. He doesn’t move. She stands. He touches her. She doesn’t move. He leans to kiss her. She pulls away slightly. It’s Okay.
EAMON
PALA (softly) Sorry.
(CONTINUED)
PALA'S STORY Shooting Script. 48
CONTINUED: (3)
55. 48
He leans in. He kisses her. She closes her eyes. You okay? Yes. Good.
EAMON PALA EAMON
He kisses her again deeply. She is moved by this. Okay?
EAMON (cont’d)
She closes her eyes. He kisses her again. CUT TO: 49
INT. EAMON’S OFFICE. OFFICE BLOCK - 2335
49
Pala and Eamon are having sex in his office. Eamon finishes. Eventually: Thank you.
EAMON
Pala fixes her clothes, excuses herself and leaves. CUT TO: 50
INT. TOILETS. OFFICE BLOCK - 2340
50
Pala is in the toilets. She is standing at the sinks. She tries to wash her pubic area from the sink. She finishes. She sees herself in the mirror. She exits toilets. CUT TO: 51
INT. EAMON’S OFFICE. OFFICE BLOCK - 2350
51
The door to the Eamon’s office is a little ajar. Pala enters. He has left. There are some bank notes left on the desk. She looks at them for a moment. She picks them up and puts them in her pocket. CUT TO: 52
INT. CORRIDOR. OFFICE BLOCK - 0000
52
Pala is standing at a large window at the end of the corridor. She looks out at an excellent view of the city. She stares impassively. END OF PALA’S STORY
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