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The Gold Of Golgellau By Davo McConville

Story by Davo McConville and Sam Storey

Davo McConville and Sam Storey, 2009


EXT. FOREST - NIGHT A lone figure drops down into a ditch, landing with very little noise. He peeks up over the edge and sees the large campsite before him, composed of hundreds of military tents. Soldiers stand guard outside certain tents, and guards walk the perimeter of the camp. RHODRI, a serious-looking man his mid-twenties, uses a pair of binoculars to assess the camp’s defenses. Rhodri’s midriff is surrounded by sticks of dynamite, extending all the way round to his back. He touches them carefully, still looking at the camp. He carries these dangerous weapons without fear. Another man drops into the ditch. Rhodri doesn’t look back as the MAJOR approaches and looks across at the camp. Rhodri looks at the Major. A moment passes between them, then they nod. Both men vault the ditch and sprint into the camp. EXT. CAMP - NIGHT Rhodri and the Major dart between tents, running confidently towards a set target. They dodge past patrols of guards, past campfire groups of drunk soldiers and finally arrive at a tent with a cannon marked on it: the munitions tent. INT. MUNITIONS TENT - NIGHT Rhodri and the Major crawl in from the back of the tent. There’s no-one inside; just piles and piles of ammunition, barrels of gunpowder and boxes full of swords and muskets. The two men start to untie the explosives from their bodies and unwind the lengths of fuses connecting the sticks of dynamite. Methodically they start to lay them around the edges of the tent. Rhodri smiles as he lays his explosives. He pulls a dirty pocket watch from his coat and checks the time. He whistles, a low sound meant for communicating. Rhodri looks round, searching for the Major.

(CONTINUED)


CONTINUED:

2.

RHODRI About time we go, Major. Oh Major? Our time’s up on this beast. Let’s light this fuse. Rhodri turns a corner, approaching the entrance to the tent where he seesAn officer, VLADIMIR, standing with his sword to the Major’s throat. The Major stands perfectly still, a loose grimace on his face. He tips his head back, almost imperceptibly, at Rhodri’s approach. Rhodri slowly raises his hands, dropping the fuse. Vladimir wears his long, black hair in a ponytail, and has an eyepatch. He holds a pistol in his other hand, which points now directly at Rhodri’s heart. VLADIMIR (Russian) Don’t move! RHODRI Let him go. VLADIMIR In English, then. Don’t move or I kill him. RHODRI We’ll neither of us move, then. VLADIMIR Good, good. A wise choice. You are surrounded by Russia’s finest soldiers, Englishman. Rhodri spits on the floor. RHODRI Don’t you dare call us Englishmen. VLADIMIR Oh, no? But you are speaking in English, so you must be Scot, Irish. No? I cannot believe American; they know better than to interfere here. So there must be somewhere else I have missed, do you think?

(CONTINUED)


CONTINUED:

3. RHODRI If you have to ask, you’ll never know. VLADIMIR Quite so, and I like a challenge. So perhaps.. ah. You are arguing small points with me, no? Wales, this is a part of England? RHODRI Wales is anything but a part of England, pigdog. VLADIMIR Oh come now. I do not stand here to insult you. You do not know the difference between our Ukraine and Uzbekistan, I am sure. MAJOR Well you should know that it’s the Welsh who got past your finest soldiers, Russian. VLADIMIR Come, now, Welshman. You and I are not at war. It is the Empire we fight with. RHODRI And that’s who I fight for. The Empire. And it’s in the name of that good and great Empire that we’ll be blowing up your little weapons supply. VLADIMIR An empire of money, Welshman. An empire with tentacles of business creeping across the world. It might be that you are fighting for the villain, you think? RHODRI I’ll not listen to your slanderous talk anymore. MAJOR Rhodri. Don’t do anything rash. We’ll get out of this. And if not, we’ll finish our mission. RHODRI Don’t fret, Major. You didn’t bring Explosion Owen here for nothing, after all. (CONTINUED)


CONTINUED:

4.

Rhodri quick draws his revolver and fires at Vladimir, hitting him in the shoulder. As Vladimir is hit, he reflexively draws his sword sharply across the Major’s neck and fires his gun. The shot hits Rhodri in the arm as the Major drops to the floor, gasping. RHODRI Godsdammit! Rhodri drops his gun and rushes over to the Major, anguished. The Major’s eyes turn briefly to Rhodri, he tries to speak but a strangled gargle escapes, his last breath. There is a click behind him, the sound of a gun being cocked. Rhodri grasps the Major’s fine pistol in his left hand, spins down onto one knee and fires a shot. The camera reveals a very young man, 14 or 15 years old, holding a bundle of firewood (having stepped on a twig, causing the popping sound). He drops the wood and falls to his knees, his innocent and shocked expression remaining on his face. Rhodri stands; pauses; then sets back to work laying the last of the dynamite. He winds the long fuse round his hand and ducks out of the tent. EXT. CAMP - NIGHT There are shouts from other soldiers, trying to work out what has happened. Rhodri runs, dropping the fuse in the nearest campfire. As he escapes the camp he grabs a large wooden torch and applies it to as many tents as he can, adding to the confusion. From above, the camp is catching fire quickly. Sparks move from tent to tent and the straw littering the floor starts to catch alight, forming patterns of flame on the ground. As Rhodri makes it to the treeline of the forest the weapons tent explodes spectacularly.


5.

EXT. FOREST - NIGHT A horse gallops along a dirt track, with the sounds of war heard around it. The rider looks back, but there’s nothing there. He continues to ride hard, on into the night. SNAP CUT TO: EXT. STEAM TRAIN - DAY A steam train rushes through British countryside, following the direction of the rider. INT. TRAIN CARRIAGE Rhodri sits alone in a train carriage, dressed as respectfully as he is able to be. He wears faded army dress clothes and a sling holds his right arm high to his chest. Rhodri is reading a letter, holding it in his left hand and cradling his pocket watch in the right. Over his shoulder we read snippets: Dear Rhodri, ... no word from you ... ... don’t know if you’re alive or dead .... ... Dad’s gone, Rhod ... ... Come home, Sian CUT TO: INT. TRAIN CARRIAGE- LATE AFTERNOON Rhodri sits in a train carriage, hat pulled down over his face and leaning against the window. Opposite him, beside the door, sits a wiry man in his fifties, MADDOX, whose tough face would haunt your nightmares if you saw it in a dark alley at night. They both appear to be resting their eyes, but we see each creep looks at the other, assessing their companion. Suddenly there’s a commotion in the corridor, and the eyes of both men snap up to the door. We hear something faling to the ground, and then shouting. (CONTINUED)


CONTINUED:

6.

The carriage door flies open and DANIEL BENWYN tumbles in, a man whose life has been spent in good food and fine wines at the expense of others. He carries a beaten up black suitcase and wears a smart suit that seems out of place. Rhodri and Maddox both jump to their feet, their hands reaching under their coats. Benwym ignores the two men and shouts back down the hall. DANIEL BENWYN The cheek of some people! I’m not interested in your sandwiches, love! (turns to the carriage) Pardon me, gents. An altercation with the tea lady. So, who’s hungry? Benwyn produces several paper-wrapped sandwiches from his jacket pockets, having stolen them from the lady. The two other men back down, slowly and looking from Benwyn to each other. DANIEL BENWYN (CONTD) No? Just me, then. Benwyn unwraps a sandwich and stuffs it hungrily into his mouth. He continues to talk, bits of food flying out as he does so. DANIEL BENWYN (CONTD) So what brings you lads down here? Are you local? (pause) I hope you’re not, I’ll be down in Wales a while and I can’t take the silent treatment for long. (he laughs and puts on a Welsh accent) "What’s your name, young man?" Ah, kind of you to ask, sir. My name is Daniel Benwyn! I suppose I must have a Welsh ancestor some ways back... (Welsh accent) "You’ll be most welcome in Wales, then! Welsh blood beats English voice anyday. So what brings you back to your roots, young Benwyn?" (moves back to his seat, low voice) (MORE) (CONTINUED)


CONTINUED:

7. DANIEL BENWYN (CONTD) (cont’d) I’ve come... for the gold! (laughs) That’s all anyone comes to Goldellau for, am I right? Come for the money, stay for the women! And then you’ll need all the money you can get! (pulls out a hip flask and drinks noisily) So, where have you come from, sir? You look like you’ve been in the wars all right. Come to lick your wounds and fill your pockets?

Rhodri turns from the window and looks at Benwyn with disdain. Rhodri brushes sandwich crumbs from his coat, and as he does so reveals his revolver, which sits prominently on his hip. It is the intricately carved revolver we recognise from the Major’s belt. Rhodri looks back to the window. Benwyn is staring at the revolver, and slowly reaches his hand over to take it. As he does so, without turning his head Rhodri’s hand flies out and grips Benwyn’s. RHODRI I am returning home from defending these lands for the likes of you. God only knows why. Rhodri throws Benwyn’s hand back in disgust. Benwym stares at Rhodri, then smiles. DANIEL BENWYN A fighter indeed! A fine companion to find on the road to salvation. And what’s your name? RHODRI Owen. Rhodri Owen. And this (indicates revolver) - this is a relic of who I’ve been, not who I am. DANIEL BENWYN Well, I’m sure you’ll protect me from any brigands we may encounter on the way! Or perhaps if that tea lady makes her return. And might I say, sir, you have a marvellous weapon there. I dare say it could be the only one of its calibre on these shores. (CONTINUED)


CONTINUED:

8.

RHODRI A good man died for nothing, that I have this revolver. DANIEL BENWYN (not listening; winks) And yet you’ll not find me lacking in endowments. Benwyn lifts back his coat to reveal a slim shotgun along his left leg. DANIEL BENWYN (CONTD) I’ve come to get a little slice of the gold for myself. We can’t let old Arcady keep it all to himself, can we? At this, Maddox looks up, studying Benwyn, memorising his face before resting his head again. RHODRI Arcady? DANIEL BENWYN Thomas Arcady, of course. (pause) Arcady? You know, you must. Arcady that controls all the gold in Wales? No? RHODRI I’ve never heard of him. How much is the gold we have in Wales worth to him? Benwyn studies Rhodri’s face, trying to read him. DANIEL BENWYN Oh... you’re a card, friend! You know more than you’re letting on. But you’ve sure been away too long, eh! Arcady’s the man to beat round these parts. (looks to Maddox) Isn’t that right, old timer? (as Maddox lifts his head, Benwyn interrupts and exclaims) O-ho! Our destination draws near! Regard, fellows, the magnificence of progress! Benwyn rushes to the window, out of which we can start to see Goldellau.


9.

EXT. TRAIN PULLS INTO TOWN - DUSK The train steams into Goldellau, which is alive with a hive of activity. The colours are incredibly vivid, as the deep green valley is torn asunder by a great wound of a gold mine, stretching up into the hills and revealing the orange clay that lies beneath the grass. The train pulls directly into the centre of town, and stops gently against the rubber bumpers at the end of the track. The track has been built without concern for what was previously there, and there is evidence underneath it of the houses which were demolished to make way for it. The town is bustling, full of people making their way around at the end of the day; workers entering bars, the night-inhabitants of the town are starting to wake up. Rhodri steps off the train into the chaos, and looks around, confused by the great changes. He walks down the street peering through windows into shops he once knew. Some are closed, abandoned, and others seem to be doing very well - the tavern and the inn, particularly. Rhodri walks past the tavern, which is abuzz with life and drinking songs. He looks inside disdainfully, watching the men who gulp huge mouthfuls of ale. EXT. MOUNTAIN PATH TO HOUSE - CONT. Rhodri climbs a steep hill approaching his house, a large building overlooking the town. He stops beside a signpost, from which empty chains hang. He bends down and picks up the sign, which reads: ’Owen’ As he approaches the door, he notices a larger sign that is upside down. He flips it over with his foot. In handwritten paint, it reads: ’SOLD’ Rhodri turns the door handle, expecting it to open, but instead he turns the handle and walks straight into a closed door. He looks confused, and walks round to a window, which he can’t seem to jimmy open. (CONTINUED)


CONTINUED:

10.

Rhodri can’t understand what he’s seeing; his family farm, deserted, his homecoming, shattered. Rhodri walks back towards town as the sun sets. EXT. SURGERY - NIGHT Rhodri approaches a door marked SURGERY and knocks. We see the door open, and a a man exit. There is a moment. The man then embraces Rhodri and beckons him inside. INT. SURGERY DOCTOR’S OFFICE - CONT. Rhodri enters Dr Ward’s office, a homely room with a burning fire. Dr Ward is an avuncular fellow, warm and beaming. DR WARD Heavens above, my boy, I can’t believe you’re here. Come in, come in, sit down. (Rhodri sits) Rhodri. Young Rhodri Owen, returned to us. This is something, it really is. RHODRI Quite a shock to me, too. DR WARD We all hoped against hope that you would make it home; the news was the war was going well. But you could tell there was more left unsaid, a lot more. The Crimea’s not the place for our people, is it now? RHODRI I don’t know how you would say the things that were out there. More than words. Dr Ward is suddenly excited, gets up and punches Rhodri’s arm playfully DR WARD And yet! You’re still, as far as I can see, in possession of all your bits! (MORE) (CONTINUED)


CONTINUED:

11.

DR WARD (cont’d) As a medical man I can tell you that’s very important, not to mention impressive. Soldiers can get to be very careless with their limbs, Rhodri. RHODRI Mum would never forgive me coming home without them. It took her years to grow them. DR WARD True enough, lad. And then she had years of spills and chills from you to deal with. Ward stands and pours two whiskys. DR WARD Can I assume you’ve been out to the old farm already? RHODRI Old, that’s right. Barely recognised it. It was never the grandest house but it had a life of its own, once. Ward sits and hands Rhodri a drink. DR WARD There’ve been a few changes while you’re away, for sure. There’s English up and down the town, now. RHODRI Main street’s half demolished and from what I can see most of the girls I ever knew are out there working the street. DR WARD It’s the gold. It changes folk. You don’t know the power of it, Rhodri. The raw power. Look out into the street now and you’ll see a gathering of men who share the lust. RHODRI Doc, where’s my parents moved to? How did dad let the farm get like that?

(CONTINUED)


CONTINUED:

12.

DR WARD (shocked) You didn’t hear... my god, you’ve have no idea... you didn’t get the letters? RHODRI I’ve been... working beyond the front lines. Not in normal communication range. DR WARD It happened so fast. No one’s told you? Am I the first person you’ve spoke to? RHODRI Yeah. Doc, what happened? DR WARD Rhodri, I’m so sorry. The big man... just conked out. His heart gave in, I think. After that, your mam couldn’t run the farm, nor your sister. So the house, the land. They were sold, sold on. RHODRI (faintly) Dad’s dead? (Rhodri sits still, pauses) We’re not weak-hearted people, Doc. DR WARD I know, Rhodri. There must have been a flaw, something... I couldn’t see. He couldn’t have led a healthier life, out in those fields of yours. All those hills to climb. I - well, sometimes hearts only have so many beats in them. Rhodri closes his eyes and suppresses any emotion.His face hardens as he assumes his responsibilities. RHODRI Where’s my mum? And my sister? DR WARD Thanksfully, there I can help you. I thought that was why you had come; your mother’s here, Rhodri. Do you want to see her?


13.

INT. SURGERY BACK ROOM - NIGHT Rhodri sits down next to his mother’s bed. She is asleep, but wakes quickly as he sits. MOTHER Rhodri? (closes eyes, turns) No... dreaming again. I have such long dreams, and you’re always coming home. RHODRI It’s not a dream this time, ma. I’m here. MOTHER (sits up, wild) But I’m not ready; the house is a mess, and I’ve nothing for you to eat! Oh Rhodri, I’ve been waiting for this day- but I’ve never let myself prepare for it! RHODRI Mum? We’re not at home, ma. Home’s gone. What happened to it? MOTHER You’re here! I’ve prayed, you don’t know how I’ve prayed. Prayed through fever and scarlet eyes. (they hug) I’ve worried about you so, Rhodri. When I saw you last week I said to you so. You’re thin. Rhodri pulls back, still holding Mother’s arms. RHODRI I wasn’t home last week. MOTHER But you said you were! You’re here now? RHODRI (looking away from her, lost) I’m here. MOTHER (trying to get up) Where’s your dad, Rhodri? Where’s your dad?

(CONTINUED)


CONTINUED:

14. RHODRI Mum, it’s ok, don’t get up. Listen to me. Where’s Sian, ma? Where’s my sister? MOTHER (looks confused, says in a sing-song voice) Sian? Sian was taken, taken away. RHODRI Taken by who? MOTHER She’s for Trevelyan, now. He is her keeper, her saviour and her light. RHODRI You let Sian work for him? Saviour? Knowing what - ma, you know what he does? What girls do, what they work at for him? MOTHER I don’t know where he is, Rhod. But I’m tired. Where’s the bed? RHODRI You’re in - go to sleep now, mum.

Rhodri stands and goes to the door, where the Doctor looks on, sadly. INT. SURGERY DOCTOR’S OFFICE - NIGHT RHODRI (gesturing at the last room) What...? DR WARD Happened to her? She’s sick, Rhodri. She’s not been the same since your dad passed. RHODRI When will she get better? DR WARD It’s impossible to say, but I’m doing all I can, believe me. You know how I feel about your family, Rhod. Your pain is mine. (CONTINUED)


CONTINUED:

15.

RHODRI Thanks, doc. A pause between them, Rhodri emotionally leaning on the Doctor. Dialogue between them, unspoken. DR WARD You’re going to Treveylan’s. RHODRI You couldn’t talk me out of it. DR WARD I wouldn’t try. Rhodri nods, pauses a beat, then turns on his heel and leaves. EXT. INN - NIGHT - RAIN Rhodri’s face is angry as he stands outside the inn. He walks in as it starts to rain. INT. INN - NIGHT Rhodri enters the inn, which is empty save for Trevelyan, who has his back to the door and is cleaning up the bar, and a burly man who stands guard on the stairwell. TREVELYAN We’ve had last orders for the night, I’m afraid. You’ll have to wait till tomorrow for your company. RHODRI Trevelyan. TREVELYAN (turning) And who might you... (softly) Owen junior. (pause) I’m sorry for your loss, now. RHODRI Where’s my sister? TREVELYAN Your sister? Your sister is safe, Owen.

(CONTINUED)


CONTINUED:

16.

RHODRI Safe, where? TREVELYAN Your sister is working. Upstairs. RHODRI I know the kind of work you put women to, round here, so you’d better hope that she’s doing the laundry. TREVELYAN She works here of her own free will, Owen. I welcomed her; well-paid work’s hard to come by, unless you’re up to a punishing time in the mines. RHODRI Well now she’ll be coming with me. TREVELYAN And where might you be taking her? RHODRI We’ll be going home. TREVELYAN I don’t think she’ll like that. RHODRI Let’s let her decide. TREVELYAN Have a seat, boy. (motions to the chair) Go on, I’m not going to bite. (Rhodri sits, begrudgingly) I’m afraid that home, dear Rhodri, isn’t yours to go back to. RHODRI I can fix it up. TREVELYAN That’s not what I mean. After your father’s death, and in your absence, I was forced to buy the family estateRHODRI Who was forcing you - ?

(CONTINUED)


CONTINUED:

17.

TREVELYAN Forced by my conscience to look after your dear motherRHODRI Don’t you talk about her, as if you give- as if you knowanything. Anything about us. TREVELYAN I know that people need a purpose, Rhodri, and she had nothing any more. A dead husband, a daughter she couldn’t look after, and a son that deserted the family. RHODRI When you’ve done one thing in your life, one thing that amounts to self-sacrifice, to putting yourself in danger for the sake of others; then you talk to me about desertion. TREVELYAN Ask around, Rhodri. I help people, I do. RHODRI That’s what you think? By turning our town into a haven for addicts? For gold prospectors and whore mongers? TREVELYAN The gold is here; like it or not. We’re staying, and so is it. Would you prefer the English extracted it, took it back to England, spent it on the metropole, a new church for London? Look outside, tell me that this is the Goldellau you used to know. RHODRI You’re right, it’s not. You’re destroying the town. brick by brick. There’s some electric lights, sure, but all they do is shine a light on the darker bits of the town’s soul. TREVELYAN I’m giving the town what it needs. People have the power to (MORE) (CONTINUED)


CONTINUED:

18.

TREVELYAN (cont’d) choose. I’m not forcing them to come here. RHODRI The only power that’s being passed here is these people’s freedom into your pocket. What is money but a measure of control over a man? Every man has their price, and their price buys someone lower down the food chain than him. TREVELYAN They don’t have to spend their money here. RHODRI No, you’re just a provider. You give them whores; gambling for their greed; and whisky to help them to forget. TREVELYAN It’s not to you to tell people how to live their lives. Or to tell me how to run my place of business. RHODRI Nor to you to let them live as slaves to their desires. Pause. They stare at each other, angry. Something has to give. Trevelyan slowly sits down on a bar stool. TREVELYAN Tell you what, Rhodri. Go. Go to your house. On me; you can stay there as long as you need to. Don’t try changing the locks, now. I’ll know where you are. RHODRI I don’t need your charity, old man. TREVELYAN Take care, then, Rhodri. Rhodri leaves the inn.


19.

EXT. INN - NIGHT - CONT. Rhodri walks around the side of the inn and finds a drainpipe; he shins up it and enters the top floor of the inn. INT. INN - NIGHT - CONT. He enters the first door on his left, which houses a couple in bed, having sex. The woman is lying on her back, and sees Rhodri. She does not say anything, merely giving him a blank look. The man is oblivious and continues. Rhodri walks through to the next room, where a woman is sitting reading a book, in a state of undress. She raises an eyebrow but does not say anything. The third room is dark, without any candles. There are the sounds of clothes being ruffled and the low moans of heavy petting. RHODRI (in Welsh) Sian? Are you in here? The noises stop; the couple are still for a second. JAMES PULLEN What the hell’s this? I’m not paying for interruptions. I’ve got an hour, here. SIAN (Hissing) Hold on, hold on. (in Welsh) Who the hell is it? RHODRI Management; lights on, please. Rustle on the bedside table as SIAN, a pretty girl of 20, fumbles for matches, cursing as one goes out, then she manages to light the lantern. As the lantern flares to life, Rhodri is suddenly standing right next to JAMES PULLEN, who is in his long-johns. Rhodri squares up to him briefly; the much taller Pullen looks surprised.

(CONTINUED)


CONTINUED:

20.

JAMES PULLEN Who are you, short-stuff? He is interrupted by Rhodri, who headbutts the larger man in the chest. He stumbles backwards into a closet, breaking the mirror and falling on his backside. SIAN (looking shocked) Rhod! You’re home! She suddenly looks incredibly happy, and jumps at him. Rhodri flinches, but she gives him a huge hug. She disengages from the hug, and slaps him hard across the face. SIAN That’s for not writin’ to tell us you were alive. Sian slaps him again, on the other cheek. SIAN And that’s for what you’ve just done. RHODRI (rubbing his face) S’nice to be home, Sian. SIAN I mean, really. You’re gone for three years straight and this is how you come back? You didn’t even knock. How did you get in here? Treveylan can’t have let you up here. RHODRI What are you doing here? SIAN This is where I work. Work? You know? A girl’s got to eat, Rhodri. Rhodri turns his back on her, and is looking out the window. RHODRI Get packed. SIAN (laughs) I’ll do no such thing.

(CONTINUED)


CONTINUED:

21.

RHODRI We don’t have all night. In the meantime, Pullen has left the room and comes back now with reinforcements - Matthew Pullen from the stairs and a POLICEMAN who is in a state of undress. JAMES PULLEN (pointing) That’s him. Rhodri is caught off guard, and turns around as the two other men grab his arms, then pin him against a wall. He struggles as Pullen looms over him, leering. JAMES PULLEN I’ve a mind to cut your face up, pretty boy. What are you doing in this part of the brothel, anyway? I thought they kept the eunuchs locked away. RHODRI You’ll regret this. JAMES PULLEN I don’t think so. I think I’ll live old and dine out on the memories of it. What do they say? Do to others as they do to you? James Pullen grins at one of the men holding Rhodri. Then he quickly headbutts Rhodri, who is dropped to the floor. Sian gets between them and Rhodri. SIAN Leave him alone! Please, just leave him. POLICEMAN Do you know this man? SIAN He’s my brother. POLICEMAN Get rid of him. If he’s still here in five minutes, I’ll be back with my handcuffs. The men leave. SIAN Wait, don’t go, James.

(CONTINUED)


CONTINUED:

22.

JAMES PULLEN I think I’ll find another room, love. SIAN Wait, we don’t have to stop now. JAMES PULLEN (shaking his head) Too crowded in here. James Pullen leaves. RHODRI Consider your honour protected. SIAN Don’t be stupid! Are you trying to ruin my life? First day back? You’ve lost me a sale, Rhodri. RHODRI (disgusted) No sister of mine’ll work in a place like this. SIAN What right do youShe looks like she’s about to scream, but loses the will to. Sian slumps down on her bed. SIAN Go home, Rhodri. Just get out. I’m not coming with you. INT. OWEN HOUSE - DAWN Rhodri lies what he has managed to construct of a bed, asleep. He is curled up in a corner, wrapped in curtains and scraps of bedding. He is woken with a start by a loud banging on the door. BRIEG Rhodri! Rhod! What’s- are you in there? But? Hi! (bangs door again) RHODRI Uh.. where? BRIEG is Rhodri’s age, and is smaller and weaker than his friend. He manages to force the door open, which is a little sticky rather than locked.

(CONTINUED)


CONTINUED:

23.

BRIEG Rhodri! It’s me, Brieg! RHODRI BriRhodri stands, shedding his improvised bedding as he does so. BRIEG How long were you going to keep me in the dark, eh? You’re back! We’ve missed you, man! Brieg and Rhodri hug, briefly. RHODRI There’s no missing me now, I’m a popular man. He turns his face to show his wounds. BRIEG Always were quick to make friends. Who got in your way? RHODRI Some great hulk over at Treveylan’s. BRIEG So you heard about Sian, then. RHODRI I’ve seen about Sian as well. I’ve seen more than a brother should. BRIEG I wish I’d had the space to keep you both at mine, Rhod, but you know how it is. RHODRI Do I? BRIEG No, you don’t. A wife with expectations and three hungry little mouths to feed. It changes you. Makes you hungrier yourself. RHODRI Three children? I’ve only been away... what feeds you, these days?


24.

EXT. TOWN - MORNING - CONT. They walk through the town which is in varying degrees of repair. Townsfolk work to put right the mess caused by the previous night’s revelries. There is a bustle to the town that Rhodri finds strange. BRIEG I’ve got plans, Rhod. There are opportunities out there, if you take the time to see ’em. It’s a big country, and a bigger world; if you’ve got the gold. If you’ve got the thing everyone else needs. And here we are, sitting on a huge pile of it. Imagine. We grew up on these fields, played our games on these hills. And suddenly the whole world wants a part of them. RHODRI But the town has changed. BRIEG Well.. That’s progress for you. Of course there’s change. But Rhod, we can change, too! It’s not us against them. RHODRI So what are you saying? BRIEG So, let’s get down the mine! RHODRI Down the mine? BRIEG Well, we need to start somewhere. We need to know what’s going on, where the best seams are. Where the best places we can go unseen are. It’s a treasure trove down there, you know. RHODRI And whose mine will we be working in? BRIEG Well, Arcady of course. He controls all the mines, pretty much. Except the land Trevelyan owns, he leases that.

(CONTINUED)


CONTINUED:

25. RHODRI That isn’t right, this is our town. BRIEG Well, right or not old son, I don’t see how else we’re going to get breakfast down you. Come on, they serve up at 8. Give it a day, Rhod. RHODRI I don’t know. BRIEG There’s nothing to know. It’s simple. It’s your only choice.

EXT. MINING OPERATION. SUNNY, GLORIOUS DAY BRIEG Ah, smell that air! RHODRI Smells like burning. BRIEG Yeah, but.. I suppose it does. But fresh burning. Good, country burning. RHODRI Who’s in charge? BRIEG Let me handle this, I’ll find our man. (walks up to men in a group near a wooden hut) Excuse me, gents, can I speak to the recruiting agent here? The men turn; they are the Pullen brothers, who darken at the sight of Rhodri. JAMES PULLEN Look ’ere, Matt. You won’t believe who’s just walked in. MATTHEW PULLEN Forgotten what it’s like to be handled by a real man? JAMES PULLEN I think he wants a trip down the mine.. Permanent, like.

(CONTINUED)


CONTINUED:

26.

BRIEG Ah.. Look, friends, let’s not be hasty. Did you - ? Your little misunderstanding shouldn’t be taken as a fair introduction. If my friend had known you worked for Mr. Arcady... JAMES PULLEN You’d have been all kindness and smiles? BRIEG Listen, my friend and I have just come for an honest job that pays a little gold. My kids love the stuff. THOMAS ARCADY exits the house above them, with CAPTAIN POWELL in tow. Arcady wears exquisitely expensive clothes and walks like a man with too much power. Powell, the Police chief, walks in Arcady’s wake, in deference to the rich man. They are talking, concluding some business. Arcady shakes Powell’s hand, gripping his elbow as he does. Powell leaves and walks towards town. Arcady walks down the hill to where Rhodri is standing. ARCADY So we have some new recruits. Good ones, Pullen brothers? JAMES PULLEN We’ve got trouble, sir. MATTHEW PULLEN Double trouble, sir. ARCADY Trouble, you say? Surely not from these fellows. They look like fine valley boys. This one’s a little small, aren’t you? BRIEG I’m sure I’ll surprise you, sir. JAMES PULLEN There’ll be a surprise alright. Your money and horses gone, and you’ll see this pigyn riding off into the distance.

(CONTINUED)


CONTINUED:

27.

ARCADY Pigyn, is he? I’m not sure I know the word, but I certainly understand the meaning. So, young man, is our James correct? BRIEG I assure you that I’m here to work to feed my family and to do my best for you. ARCADY I think that you will, young sir, if I’m any judge of character. (turns to Rhodri) But you, friend? What is your purpose here? RHODRI My purpose is that this is my town. I live here. ARCADY And we all work here. There’s plenty work for us all, thanks to these goldmines. RHODRI And you’re the man to talk to about getting down them. ARCADY You speak to Thomas Arcady, owner of this operation. Which, yes, is me. RHODRI So I have you to thank for my town’s current well being? ARCADY Well being indeed! The town flourishes! RHODRI Aye, industries of sin do well, but what of the souls of these people? I left them as farmers, they now seem investors and jewellers all. Arcady turns away, disinterested. ARCADY Either way, there’s work here if you want it. I’d find use for a strong young buck like yourself. (MORE) (CONTINUED)


CONTINUED:

28.

ARCADY (cont’d) And perhaps you all might find yourselves getting along well if you’re working together. I’m not going to have any trouble here, am I boys? They all look at each other. ARCADY (CONTD) Fantastic. I’ll take that as a yes. Matthew, please show these fellows to their workplace. INT. MINE - DAY Rhodri and Brieg are shown to their position in the mine. It is dark and cramped. JAMES PULLEN Pick-axe. Rock. You look for gold. Get it? RHODRI Sure we’ll manage. JAMES PULLEN No time like now for getting on with it, then. James Pullen leaves. BRIEG It’s dark and hard now, Rhod, but when we strike, it’ll be worth it. RHODRI Let’s just get to it. EXT. MINE - DUSK Long shot. Rhodri waves his goodbye to Brieg. EXT. SURGERY - NIGHT Rhodri lets himself in.


29.

INT. SURGERY BACK ROOM - NIGHT Rhodri walks into the room softly, but as he creeps across the room his Mother opens her eyes in fright. Seeing him, she calms. RHODRI How are you doing now, then, ma? MOTHER Oh Rhodri, I’m glad you’re home. I was getting cold for a moment there, OK now. I’m feeling better. RHODRI (tucking her blankets in) Here. MOTHER That’s nice, that’s nice. How was school? Rhodri sits down in the chair next to the bed. RHODRI (shaking his head) School was ok, ma. Some trouble with the bigger boys, but I’ll get through it. MOTHER Don’t you get in those fights now. I’ve told you, you stay on the moral high ground. RHODRI That’s what you said alright, but it’s a hard hill to climb. MOTHER Your dad was here. RHODRI (softly) He’s dead, ma. MOTHER Not then he wasn’t. I don’t know what you mean. But he was - he was there. He can’t be there, not now. RHODRI Don’t worry, ma. Don’t worry yourself.

(CONTINUED)


CONTINUED:

30.

What were good your

MOTHER he was saying; what they saying. It’s not good, no can come of arguing with friends.

RHODRI Who was arguing? MOTHER They knew each other forty years if they were a day; grew up kids together; and then to argue over bits of paper. RHODRI Who did? Dad? With who? MOTHER Oh, Spencer. RHODRI With Dr. Ward? MOTHER Spencer. Spencer’s there. Dr Ward enters, loudly. He is carrying a tray with soup on it which rattles as he walks. He is surprised to see Rhodri. DR WARD Oh! Rhodri, good to see you. I didn’t hear you come in. I’ve some dinner for our patient. RHODRI Thanks, Doctor. She says she’s feeling better. DR WARD That’s great, Rhosyn. We’ll have you out and causing trouble in no time, eh? Mother has fallen back into a dazed state, not responding. RHODRI Tell me about trouble. Sian’s not listening to me. DR WARD One thing about you Owenes, you’re not ones for changing course. Once an idea’s locked in your head there’s no shaking it.

(CONTINUED)


CONTINUED:

31.

RHODRI We argued. DR WARD You know that’s not what she wanted. She’s so happy you’re back. RHODRI Happy... DR WARD Don’t be obtinate, Rhodri. She’s your sister, always will be. RHODRI I’ll away and find her. I’ll be back tomorrow, ma. EXT. INN - DUSK Sian is standing with a bunch of mine workers, who leer at her as she entertains them. We don’t hear what she says, but the men laugh heartily as Rhodri approaches. Rhodri marches up, glares at the men and grabs his sister’s arm. SIAN Oh, here’s the party pooper! Don’t mind him, boys! I’ll be right back! They go round a corner. RHODRI (furious) What the hell are you doing? I thought you would... stop this... thought this was over. SIAN (equally angry) And since when did you control my life, Rhodri? I can choose my own path, you know. I happen to make a good living doing what I do. RHODRI You make a living selling yourself to pigs! Find a job with some respect why don’t you?

(CONTINUED)


CONTINUED:

32.

SIAN What can we do, Rhodri? There’s no money here now that isn’t tied up in the gold. We make the people who come here welcome, is that such a crime? RHODRI The welcome invite of an open pair of legs. SIAN That’s right. And if I wasn’t doing this, I’d be tied to a house, cleaning the kitchen. Or cleaning other people’s kitchens. Can’t you see? They’ve given Goldellau some worth for once; they’ve given me worth. RHODRI Worth? WhaSIAN I can buy things for myself, wear nice clothes. I can plan a future, can you imagine? I’m a grown up, Rhodri. Can’t you see that? RHODRI (weakening) You shouldn’t have to do this. SIAN I’m okay, Rhod, I really am. Trevelyan doesn’t own me, he’s not got me hostage. RHODRI No. SIAN No, he hasn’t. And I have a roof over my head, food to eat and spending money besides. C’mon, Rhod. You can’t be angry at me forever. RHODRI I can try. SIAN (smiling) You can try, but it’ll only end in your tears. Let’s go for a drink, you and me. I want to know (MORE) (CONTINUED)


CONTINUED:

33.

SIAN (cont’d) what my big brother’s been up to all these years. RHODRI (relents) I, I- that would be good. SIAN Great. Meet you there in an hour. RHODRI We can’t go just now? SIAN I’ve just got some work to finish. RHODRI (hardening) Right. Of course you do. SIAN But we can meet later? RHODRI Fine. Ok. EXT. TOWN - DUSK Rhodri wanders, without purpose. He walks through empty streets; everyone’s at work. A small child peers out at him from an alleyway, but as Rhodri looks across at her she vanishes. RHODRI Hey! Hey, who’s that? Rhodri hurries over to the alley to follow her, not sure why. He gets to the end of the alley, revealing a large shanty-town. RHODRI What the hell? Rhodri sees a woman sitting inside a shack. She is drunk. RHODRI Hi, ’scuse me there, what is this?

(CONTINUED)


CONTINUED:

34.

WOMAN Wha’ is what? RHODRI All this... the shacks, the kids... WOMAN Whaddaya asking? RHODRI ...who lives here? WOMAN We do. The WOMAN beckons behind her, where four filthy children peer up at Rhodri. RHODRI How many... how long have you been ... like this? WOMAN Been like us? We’re living here. RHODRI But the conditions, they’re awful... WOMAN (laughs) Why yr so surprised... town’s gotta, a dirty side, ’spechally this town.. RHODRI It doesn’t... it didn’t have a dirty side, before.. not like this.. WOMAN Where ’ya been, eh? Thisn’ our life, here in the outlye’. Ain’t no help fr us out ’ere. RHODRI You’re beggars? You’re English. WOMAN I wouldn’t beg; stealin’s more honest, least you know where we all stand then. Rhodri backs away, disgusted, and leaves.


35. INT. BAR - NIGHT Rhodri enters the bar, which is full of off-duty miners. A man plays guitar in a corner. Rhodri looks around, expecting people to react, but no-one looks up when he enters. He approaches the bar and takes a seat on a stool. BARTENDER Y’aright or wha? What can I get you? RHODRI (raises an eyebrow) Who are you? BARTENDER Are you daft? Bar. Mug. Beer. I’m the barman. RHODRI Not in Goldellau you aren’t. Where’s old Singsmith? BARTENDER Old Singsmith, (nods up at portrait) discovered that you can be immortalised in painting only; and there he shall remain. We buried him two years back. I’m young Singsmith. RHODRI The travelling son. I heard you struck out for Australia; New South Wales over old. BARTENDER My ship’s captain didn’t know his aft from his arse. We were beached off the coast of Spain within a month, so I wound up living there for years. RHODRI Cowboys of the sea. BARTENDER So stranger, you know me and mine? But do I know you, I wonder? Well, local boy obviously. Seem to have been away on the Queen’s business. So where’s it been, soldier? Where have the squeaky wheels of empire taken you of late? (CONTINUED)


CONTINUED:

36.

RHODRI You never knew me, but you might have known my father. Name’s Rhodri. Rhodri Owen. BARTENDER Owen. Owen. That’s a popular name from here to the Malverns. I grew up with a britchful of Owenes. RHODRI The Owenes of the farm way out west. BARTENDER Oh-ho, those Owenes. I’ve heard tell of your old man. There was some trouble there, all right. But where are you back from now? RHODRI I’ve fought in the Crimea now for three years gone... saw the beginning and the end and all the misery in between. BARTENDER Heard it gets cold out East. So cold your bollocks drop like apples off a tree in summer. Welcome home, Owen of west. The barman sets his drink down in front of him. Shot from behind the bar of Rhodri and his neighbour. Rhodri looks at the drink for a moment, savours the anticipation, then takes a deep draught of it. His neighbour, Boddan, watches the ritual with interest. BODDAN Needed that, eh? RHODRI (slowly sets tankard down) I haven’t had one of them for three years. That tastes better than a memory, I’ll tell you. BODDAN Can’t beat bragawd for anything. Why’ve you been away from it fer so long? Not a pris’ner, are yeh? RHODRI I’ve been to war.

(CONTINUED)


CONTINUED:

37.

BODDAN (raising his tankard) Welcome back, then. "All that lived and died, not to forget their sacrifice." RHODRI Amen. They drink. RHODRI Don’t know about bein’ home, though. It’s all changed. BODDAN I can believe that. I’m down from Merioneth; the same thing happened to us. Everyone’s your friend when you’ve found the gold. RHODRI And what happened to yours? The gold... BODDAN Runs out. You’re not so popular when it goes. Big talk of schools, monuments, whole town bein’ rich. But when it goes so does the talk. RHODRI It runs out.. BODDAN It runs out. And you’ve got the same vampires we had to suck you dry. RHODRI How do you mean? BODDAN Well, your Arcadys to profit, your Powells to police us serfs. Your barmen to keep us lubricated(salutes barman with glass) or just drunk -and of course the ladies to keep us entertained. RHODRI (darkens) What do you mean by that?

(CONTINUED)


CONTINUED:

38.

BODDAN Just what I say, friend. The ladies of the night whose shift begins when ours ends. In fact I’ve a date with one this very evening. You shouldn’t pick favourites, but this girl’s something special. If I ever earn enough I’d like to take her out of this pit and make an honest woman out of her. RHODRI You don’t say. BODDAN Sian, sweeter than honey. Softer than snowflakes and queen of the rainRHODRI Stand up. BODDAN What? RHODRI Get up, ’friend’. Boddan starts to stand. BODDAN Now wait a minuteRhodri punches him square in the face, sending Boddan crashing back over his stool. Rhodri follows, sending punch after punch into the man’s face. Shot of Rhodri, punching, releasing all his frustration on this poor soul. EXT. ARCADY’S OFFICE - DAY Rhodri stands outside the office door, without injury. He has the air of a naughty schoolboy about him (without any humour). ARCADY (from inside) Owen!


39.

INT. ARCADY’S OFFICE - DAY Rhodri enters the office and takes the seat in front of Arcady’s desk. Arcady is standing behind the desk, examining a portrait of London. ARCADY Tell me, Rhodri. Tell me why I hired you. RHODRI You need men. ARCADY I do need men, you’re right. I need men that work for their living without incident. I need skilled men; I need labourers, and I need men of violence. These are all separate disciplines. Arcady turns and puts his hands on the back of his chair. ARCADY It does not help me, for instance, to have a labourer with violent tendencies. Nor should skilled men turn their hands to heavy lifting. Violent men are exempt from any skills beyond the capacity for inflicting pain. Rhodri looks at the painting of London. ARCADY I was under the impression that I had hired you as a labourer. A labourer sworn not to cause ’incidents’. Your actions have deprived the mine of one of its skilled workers. RHODRI What kind? ARCADY Not that it matters to you, but he was a dynamite man. RHODRI (quietly) That won’t be a problem. ARCADY I beg your pardon?

(CONTINUED)


CONTINUED:

40.

RHODRI I said, that won’t be a problem. Arcady sits down, elbows on his desk, interlinks his fingers. ARCADY What did you do in the war, Owen? RHODRI I can’t tell you that. But I can say that if you need a man who knowshow to set the dynamite and can keep a safe distance, he’s sitting right in front of you. ARCADY (sits back) I see. Well, you’ve put me in an awkward situation. You should be punished, really. But you can dynamite, you say? I will talk to the police, of course. But realise that this is the last indulgence you will enjoy. Now get out of my sight. There is a thump at the door, then it opens. Dr Ward enters, looks surprised to see Rhodri briefly, then catches his breath. RHODRI Doc; he ok, the man from the bar. DR WARD Bruised, battered; but I’m afraid it’s far worse than that, my boy. I’m so sorry. RHODRI What? What is it? DR WARD Your mother- she’s passed on. A pause. ARCADY (sighs) Don’t work today, Owen. Come back tomorrow.


41.

EXT. TOWN - DAY Long shot of town, panning right to left. INT. SURGERY BACK ROOM - DAY Sian and Rhodri sit in the room, their Mother’s corpse on the bed. Rhodri is lost in contemplation, Sian cries softly. SIAN (crying) What...(pause)... I just... What killed her? Rhodri’s jaw tightens. RHODRI What’s the point asking? It’s done. SIAN She... she was ok, alright until recently... she missed you... RHODRI Don’t make this anything about me.. I had nothing to do with this... SIAN No, no, I know, Rhod! Rhodri. It’s just us left now. We’re the only ones. RHODRI Feels the same to me. SIAN Don’t say that! You can’t say that! RHODRI ... alright. Sian continues to cry, then pulls herself together. SIAN We have to thank Dr Ward. RHODRI I guess that we oughtta.


42.

EXT. INN - DAY Treveylan sits on the stairs to his inn. Dr Ward is standing at the bottom of them. TREVELYAN Couldn’t you have saved her, Ward? These kids have lost enough; you’re the only hope they had. DR WARD You don’t think I know that? I’m all they’ve got any longer. TREVELYAN (growling) Not the only one, you’re not. DR WARD Long may we all. Dr Ward leaves him, bumping into Benwyn as he does. Benwyn has a tray in front of him, filled with exotic looking bottles. BENWYN Hello there, sir! What can I get you this fine day? I have a wonderful range of fine medications, guaranteed to solve any aches and pains that might afflict you from time to time. DR WARD (growls) I’m the quack around here. BENWYN (raises eyebrow) Al-righty then. Dr Ward leaves, and the camera follows Benwyn attempting to interest the sparse crowds in his wares. As he reaches the edge of the screen, he bumps into Maddox, approaching from the right. BENWYN Ah! Excuse me- oh! Mr Maddox, I recall! MADDOX The worm from the train.

(CONTINUED)


CONTINUED:

43.

BENWYN A worm? A mouse, perhaps, who plucks the splinter from the paw of the lion. But you, sir, you are too coy. Since we met on the train in I’ve found out who you really are. You’re a man of mystery, a man of danger, and a man who whispers in the ears of the powerfulBenwyn has been following Maddox quite closely, and Maddox suddenly stops and turns his face close to Benwyn’s. MADDOX I’m a man to whom you should give a wide berth, little worm. Benwyn backs away, slowly, as Maddox gives him a dark look. As Maddox turns to leave, a slight smirk passes over his face. EXT. ARCADY’S BALCONY - DAY Arcady and Powell look out over the scene, having witnessed the interactions between Benwyn and others. ARCADY The town’s workings are a wonderful thing, Powell. POWELL As long as you’re not directly involved, Sir Arcady. ARCADY But that is how relations ever are, Powell. Some of us are those that rule, and others and bound to follow. POWELL There’s an older community here than you appreciate. They don’t all owe their allegiance to you, no matter how much gold there is. ARCADY Not all, but enough. What do you make of young Owen? POWELL We’re watching him. I can’t trust him to behave, though. You think you can keep him occupied?

(CONTINUED)


CONTINUED:

44.

ARCADY He’s back to what he enjoys. Destruction. So we can keep him busy, yes. INT. ARCADY’S OFFICE - DAY Rhodri sits in the familiar seat in front of Arcady’s desk. ARCADY Welcome back, Rhodri. I’m pleased to have you in my office for a happier reason. Arcady goes to the bookcases at the side of the room and opens a chest with a key around his neck. RHODRI That chest... that’s my father’s. ARCADY Ah.. is it, young sir? All I know is that Treveylan sold it to me. A fine example of craftsmanship, I’ve always thought, and I knew I had to own it. I had no idea it was your father’s, though. Perhaps one day you might buy it back from me? RHODRI I’m sure it’s in better hands now, sir. ARCADY You know I’ll look after it, Rhodri. Arcady removes documents from the chest, but keeps his body blocking Rhodri’s view of it. ARCADY Now if you’ll be so kind as to sign this contract, you’ll be straight over to work. Rhodri signs the document, and drops the pen on the table. EXT. ARCADY’S OFFICE - DAY Outside Brieg is waiting for Rhodri.

(CONTINUED)


CONTINUED:

45.

RHODRI C’mon, you’re working for me now. INT. MINE - DAY Rhodri and Brieg are setting up explosives as they talk. BRIEG A chest? RHODRI An important chest. Arcady claimed not to know it was my father’s, but he keeps his contracts in it. BRIEG Well that seems a reasonable place to keep them. RHODRI It’s certainly where my father kept his. BRIEG And? RHODRI There’s something not right here. INT. MINE - DAY They are sitting in their mine area, where they open cloth-wrapped sandwiches. RHODRI Can I borrow a shovel? BRIEG A shovel? It depends, who are you burying? RHODRI (mouth full of sandwich) Other way around. I’m digging someone up. BRIEG Rhod, you can’t be serious. We’re not grave-robbers here. RHODRI Doesn’t have to be a "we". But it’s definitely a "me".

(CONTINUED)


CONTINUED:

46.

BRIEG Who is the poor devil? RHODRI My da’. BRIEG Your father?! Are you cr.... you’re nuts. What possible good can that do? RHODRI I wasn’t here for the burial. I want to say my last goodbyes. Plus(rubbing the crumbs from his hands) I need the other key to that chest. And that lives around the old man’s neck. INT. SIAN’S ROOM - DAY Powell knocks on Sian’s door, she jumps up and opens it. POWELL Good evening, Sian. May I come in? SIAN Geoffrey! Sian jumps up and embraces him. She starts to kiss his neck, but he pulls her arms away. POWELL Actually Sian, I’m here on business. Sian takes her arms away and sits down on the bed. Powell takes a seat in front of her mirror. POWELL It’s about Rhodri. SIAN Of course it is. Everything’s always about Rhodri. POWELL You need to look after him. Make sure he doesn’t do anything stupid. Your brother’s a dangerous man.

(CONTINUED)


CONTINUED:

47.

SIAN My brother’s an endangered man, you mean? POWELL People are looking for an excuse to get rid of him, and he can’t give them that. Keep him honest, keep him working, keep him quiet. SIAN There’ll be no telling him. Sian looks at the ground, fiddling with a ribbon with her foot. SIAN What reason would he have to be noisy? POWELL I can’t say, Sian. Some things are best left alone. INT. MINE - DAY Rhodri is preparing a detonator, JAMES Pullen is in the background. RHODRI Are we clear for this tunnel? JAMES PULLEN No, Brieg’s still down there... RHODRI Alright, I’m nearly done. Brieg! BRIEG Hello! RHODRI You done or wha’? BRIEG That’s ok, leave me to do the monkey work! Nearly. There is a low rumble, and the mine starts to shake. RHODRI What’s happening? JAMES PULLEN Squeeze! Everyone out!

(CONTINUED)


CONTINUED:

48.

RHODRI Brieg! Brieg! At the end of the tunnel we see Brieg’s scared face, then rocks fall blocking our view of him. BRIEG Fuck! Help...! Rhodri starts towards him, but is grabbed by JAMES Pullen and another miner and dragged away to safety. As they leave, the entire tunnel they were working on collapses. EXT. MINE - DUSK The three men struggle out of the mine and collapse on a small piece of grass, panting. Rhodri jumps up, angry, runs to the entrance. RHODRI What did you do?! What did you do! JAMES PULLEN It happens, the mine was re-settling. We couldn’t help him. RHODRI (frantic) You’ve killed him! You’ve killed him! James Pullen grabs Rhodri’s arms forcefully but not aggressively. JAMES PULLEN There was nothing we could do, Owen. Honest to God. Rhodri slumps against the rockface. INT. BAR - NIGHT A very different mood has descended on the bar tonight. Everyone is in mourning for the loss of a fellow miner. There is a tension in the air, and the Pullens sit drinking at the bar. Rhodri enters, people look at him this time. He walks up to James Pullen.

(CONTINUED)


CONTINUED:

49.

Pullen looks up at him. The bartender sets down a drink in front of Rhodri. Pullen looks down at it, then up at Rhodri. He raises his mug. Rhodri looks at his mug for a moment. Then grasps it and raises it, silently. They hold the toast for a moment; then drink to their fallen friend. EXT. OWEN HOUSE - NIGHT Rhodri approaches the house slowly, not drunk. Powell stands outside, waiting for him. POWELL Can I come inside, Mr Owen? RHODRI I’m not much in the way of company tonight, Captain. INT. OWEN HOUSE - NIGHT Rhodri and the CAPTAIN sit at the kitchen table. POWELL I’m sorry about what happened. RHODRI (short) Not your fault. POWELL From what I understand, it wasn’t anyone’s fault. RHODRI Someone should have been checking it. POWELL The mines are a treacherous mistress, Rhodri. Ask anyone. Where there are treasures, so too lie dangers. Arcady will look after Brieg’s family now, don’t you worry about it. Will plan When out?

RHODRI he? And how long does Arcady to be here? And yourself? does your commission run When London sends word that (MORE) (CONTINUED)


CONTINUED:

50.

RHODRI (cont’d) the mine’s dry, that we’re not worth protecting anymore? POWELL I can’t answer that. RHODRI Can’t, or won’t? POWELL Can’t, Rhodri! I’m here to keep the peace, that’s my job. RHODRI Were you here when my father died? POWELL I was captain here, yes. RHODRI Why was he arguing with Dr Ward that night? POWELL (raises eyebrow) I’ve no idea that he was. He and Dr Ward were old friends, I thought. Certainly I never got any other impression. RHODRI Who killed him? POWELL No-one killed him, Rhodri. He died of natural causes. It was his time. RHODRI How can anyone be sure? POWELL How can anyone be sure of anything? We all die at some point. RHODRI I’ll find out. POWELL If you insist on following this line of reasoning, just know that if you act beyond the law you’re crossing a line. And I’m not the only one who’ll follow. (CONTINUED)


CONTINUED:

51.

Rhodri stands. RHODRI Thanks for your time, Captain. Now if you don’t mind I need to get my rest. POWELL Don’t do anything you’ll live to regret, Rhodri. There are other people at stake here. You’ll hurt Sian if you do. Powell leaves. Rhodri shuts the door behind him, and pauses at it for a moment. He is affected by what Powell has said, but has no second thoughts. He walks over to his bed and pulls back the sheet to reveal a shovel and a lantern. EXT. CEMETERY - NIGHT The weather is stormy (though not raining) as Rhodri walks through the cemetery with his tools, holding the lantern high as he searches for the correct grave. All dialogue is internal. RHODRI ’Nothing doing, it’ll be simple. Just your standard grave-robbery, but that’s ok if it’s flesh and blood.’ I wish you were here, Brieg. Someone should be here to witness my madness. He starts to dig in the wet earth. The orange clay-like dirt is bright against the green grass. It is fairly easy going, and the coffin isn’t very deeply buried. RHODRI At least you taught me how to do this, eh old man? A childhood of digging and hoeing. Well, the army appreciated my other skills, and they seem to have got me some work now I’m back. But let’s see if it’s work worth the keeping. Rhodri has pulled the coffin out of the earth. He hesitates briefly before driving the shovel between the lid and the rim. RHODRI Sorry, old man. You’d understand, though. You’d do the same for me. The lid of the coffin is now off. (CONTINUED)


CONTINUED:

52.

RHODRI Ah... this isn’t right. I’m sorry, dad. I need your help to put things right. You’d tell me to make sure to get to the bottom of it; to leave no stone unturned. There’s sorcery afoot, you know. Rhodri rests his head in half-prayer for a moment. He leans into the coffin - we only see his reaction, and the withdrawal of his hand holding a locket. RHODRI What does this hold, eh? The bank of the king of piggies in this town. Rhodri gets up and leaves. INT. ARCADY’S OFFICE - NIGHT The moon is high and lights areas of the room, as Rhodri lets himself in through a window. He creeps across the carpet towards the chest. As he walks he leaves clumps of wet mud on the floor. Rhodri removes the key from his pocket and slots it into the lock. It quietly flicks open, and a mass of documents are revealed. Rhodri flicks through them, holding a candle with one hand before grabbing a pile. He carries them over to the desk and fans them out. One is a map, showing areas around the town. The current mine is demarcated as a blue area, with an extension marked in diagonal red lines, westwards towards the Owen household. The deeds to the Owen house and land are also among the documents. RHODRI The gold’s on our land... ARCADY Not any more. Arcady stands behind Rhodri, holding a large white elephant gun. ARCADY I wouldn’t move very fast if I were you. I’ve been drinking, so (MORE) (CONTINUED)


CONTINUED:

53.

ARCADY (cont’d) my finger’s very slippery, and this gun has a tendency to obliterate whatever’s in its way. Elephants, usually, of course. But in their absence, I suppose you’ll have to do. RHODRI Who knows? ARCADY Knows? RHODRI Knows that you’ve stolen the town out from under them. Lied, cheated and stolen your way to the top. Arcady moves quickly, quicker than a man his size should. In one movement he uses the butt of the elephant gun to knock Rhodri’s revolver from his belt and the upswing hits Rhodri in the face, knocking him to the floor and bloodying his nose. While covering him, he picks up Rhodri’s revolver from the floor. ARCADY Well... I can’t take all the credit, of course. There’s a lot of people out there with stakes in this, Owen. You missed out on an opportunity here, boy, while you were out playing soldier. RHODRI Sent out by your kind. No-one wanted that war. ARCADY It doesn’t matter now. You shouldn’t have come home, Rhodri Owen. You were half a world away, you escaped the valleys. What drew you back? RHODRI I could smell your evil from the Crimea. Arcady tilts his head to one side, then fires a shot with Rhodri’s revolver. It hits Rhodri’s hand, causing him to scream in pain. ARCADY Indeed. Well it’s besides the point, now. I’m afraid your (MORE) (CONTINUED)


CONTINUED:

54.

ARCADY (cont’d) future is certain at this point. Maestro, please? Maddox has been standing in the shadows, and emerges now. ARCADY Mr Maddox will dispose of you. He’s got a talent for the more discreet things in life. I suspect he would make a wonderful spy; but where’s the money in that? As it is, he’ll be the last man you ever see. Maddox drags Rhodri to his feet and marches him out the room. ARCADY Good-bye, Owen. Send your father my regards when you next see him. Arcady laughs. EXT. WOODS - NIGHT Maddox and Rhodri walk into the woods. MADDOX It’s easy to kill a man, isn’t it? I know you’ve done it, Rhodri Owen. Man of violence, man of danger. Kneel. They stop, and Rhodri kneels in the forest. MADDOX I imagine you’ve been looking for a way out. A moment where I’ll make a mistake, and you’ll turn this situation around. We don’t know each other well. But you know I’m not the type to let that happen lightly. Rhodri stares up at him, not sure what to think. MADDOX So, soldier. What’s the plan? RHODRI I thought I might let you keep talking, then at some point you’d turn your back and I’d wrestle my gun back.

(CONTINUED)


CONTINUED:

55.

MADDOX No, probably not. Obvious but simple. But why would I turn my back when I’ve got such a dangerous man captive? I believe that you’re talented, Rhodri, but this isn’t a game. Dreaming won’t save you now. No, the only way you’re getting out of this is with a little bit of painMaddox strikes Rhodri across the face with his revolver, knocking him to the floor once more. He then puts the boot into Rhodri’s stomach several times. MADDOX A little blood for me. Maddox pulls his hand over Rhodri’s face, causing him more pain. Maddox takes the blood and smears it on his own shirt. MADDOX And perhaps some dirt, for good measure. It may be advantageous for me to seem to have buried you, after all. Maddox rubs his hands in the muddy ground. MADDOX And a firm warning for you. Set foot in this town again and it’ll be a fate worse than death; not just you, but your sister, too. Get lost; we don’t need you here. Maddox turns and leaves Rhodri to the night. EXT. WOODS - NIGHT Rhodri painfully stumbles into an abandoned shed in the middle of the woods. It’s raining and he huddles in the remnants of a chimney, shivering. EXT. TOWN - NIGHT Maddox walks back into town, blood on his shirt. Benwyn is, by chance, walking on the outskirts of the town at the same time. BENWYN Mr Maddox! What a rare treat to see you so late at night. (MORE) (CONTINUED)


CONTINUED:

56. BENWYN (cont’d) Devilish weather we’re having, I’m sure! Can I interest you in any finest tobacco?

Maddox draws close to Benwyn, who for a second looks hopeful for a sale. BENWYN Oh, fancy that - you have Mr Owen’s gun! Did he sell you it? A lovely pie- ce. Maddox is suddenly hugging him, it appears. Benwyn’s face is a grotesque mask of pain and surprise. Maddox pushes Benwyn off him: he slides off Maddox’s knife and falls down, hard, cold and dead. EXT. WOODS - DAY Rhodri wakes up to more rain. The previous night’s events were not a dream. He flicks water off his face and shuts his eyes again. INT. OWEN HOUSE - DAY Knocking at the door, which becomes more insistent. The knocker becomes agitated, and forces the door open. It is Sian, who is looking for Rhodri. He hasn’t turned up to work, and she can’t find him anywhere. SIAN Rhod? Rhodri! Rhod! Sian searches through the house, panicked. INT. ARCADY’S OFFICE - DAY Dr Ward and Arcady sit in discussion. DR WARD Sir Arcady, I’ve no objection to treating your workers, but perhaps you could keep them out of harm’s way a little? ARCADY Some injuries are harder to avoid than others, Doctor. There are concomitant dangers associated with our trade, as I’m sure you’re aware. The mining business is a ruthless one. (CONTINUED)


CONTINUED:

57.

DR WARD Of course I’m well aware. ARCADY And I’m sure, quite sure you’d prefer that we dispatched our task with all due speed? DR WARD Well, that- yes. I- I’ve no cause for complaint. ARCADY Good. Now, the overall health of the men is good, yes? DR WARD I fear an infection of the lower half is taking hold. ARCADY An infection of... are you telling me my men are sexually compromised? DR WARD That’s one way of putting it, Sir Arcady. With a high mining population, drawn from around the world even - we have recruits from France, and Italy, Turkey even - we are bound to find ourselves spreading disease, given the men’s proclivities for nightly entertainment. As Dr Ward talks, Arcady is increasingly distracted by a commotion outside the window. Arcady stands as Dr Ward says Turkey and moves to the window. Dr Ward does not notice until he finishes his sentence and looks up. He is surprised to see Arcady missing, and stands to join him at the window. ARCADY One of those devils you speak of... DR WARD Sian. ARCADY The Owen sister? DR WARD The same.

(CONTINUED)


CONTINUED:

58.

Sian is obviously causing quite a scene, shouting at any men who come near her, and brandishing a small shovel. ARCADY Let’s see if we can’t mollify her, good doctor. EXT. MINE - DAY The men around Sian are both at a loss for what to do and taking the opportunity to leer and joke at her. Some of them are clapping and chanting, others try to get close to her, all of which makes matters worse. When Sian spots Arcady, she screams, loudly; SIAN What have you done with my brother, you devils? ARCADY My dear girlSian bounds up to Arcady, too quick for his bodyguards, and swings the shovel close to him. SIAN He was meant to meet me; now where is he? ARCADY Madam, I’ll ask that you restrain yourself. And that you put down the implement before you have someone’s head off. While Sian is looking at Arcady, MATTHEW Pullen quickly grabs the shovel away from her. She spins around, still aggressive, but aware of where the power now lies. SIAN Rhodri goes missing. I’ve searched up and down the town. No-one’s seen him, not since last night at the bar. Now I know Rhod, and chances were that he’d have got into a fight. But he didn’t; and now where is he? ARCADY Clearly, my dear, this is a stressful time for us all. I understand that you also knew the deceased.

(CONTINUED)


CONTINUED:

59.

SIAN Brieg; yes, I knew him. ARCADY An old family friend, even a brother to you. SIAN He was close to us all. ARCADY I’m sure that he was. And we all react in unexpected ways to grief. Look at you; brandishing a shovel at these innocent men? SIAN I just don’t know where he is. Arcady manages to get close to her, and puts his arm around her shoulder. ARCADY Oh, my child. No-one knows where he is. I’m afraid he may have run away. SIAN Run away? What do you... why would he do that? ARCADY From the- didn’t you hear? No, of course not. Aah. I’m so sorry to be the one to tell you, my child, but last night your brother became a murderer. SIAN What? ARCADY After he left the bar, he wandered the streets, obviously in quite the state of emotional distress. Unluckily for the man who crossed his path that night, his was a murderous intent. SIAN No! Rhodri would never.... ARCADY I’m afraid the police have been over the case and the evidence is too great to ignore. Witnesses placed your brother near the (MORE) (CONTINUED)


CONTINUED:

60.

ARCADY (cont’d) scene; and in the confusion and darkness he dropped his gun with the body, where it was quickly discovered by our local constabulary. I’m ashamed that this is how you’re finding out, my sweet. But your brother won’t be coming back, I’m afraid. Sian is devastated. We see her turn, surrounded by unfriendly and unfamiliar faces - though ones that she has surely known at work. EXT. WOODS - DUSK Rhodri laboriously works to build a shelter of sorts, but his wounded hand gives him a great deal of trouble. He leaves the shelter and goes into the woods. A montage of images - he drinks from the leaves of trees, until he finds a stream. He stumbles through the woods, hiding at any sound. He seems unsure of his destination, but gradually he gathers direction, until he can see the town. INT. SIAN’S ROOM - NIGHT Sian enters the room, weeping. She flops onto the bed, and calms a little. Her breathing becomes more regular. SIAN (unspoken) Where is he? Please, don’t let him be dead. He could have gone to our relatives, far away. But I’d never see him again even so. Rhodri wouldn’t kill that man, I don’t think. Would he? Maybe he deserved it. Maybe he was bad. Rhodri is sitting in her room, in fairly plain sight. But the way she entered didn’t reveal him. RHODRI A man could die before he was offered a drink. Sian lets out a tiny shriek and jumps out of the bed away from Rhodri. Then, seeing her brother, leaps towards him. She thinks about slapping him, but seeing his miserable condition relents.

(CONTINUED)


CONTINUED:

61.

SIAN What the hell are you doing here? What have you done? Why would you ruin everything? What’s the matter with you? RHODRI Too much, Sian... Why are you angry with me, for god’s sake? SIAN Angry... You’ve killed a man, a harmless, English fool. RHODRI I’ve killed some, that’s true. But as far as I know they were all Russian fools. SIAN I’m not talking about the war, you pillock. I’m talking about that Benwyn, killed last night. RHODRI Benwyn? Sian, you haven’t even heard what happened to me last night. Benwyn’s the least of our problems. SIAN So you did kill ’im! RHODRI No! I didn’t ever know he was dead. But if that’s what you’ve been told then I might as well have, because that means the police and everyone else are in on it. SIAN In on what? RHODRI We’ve been played, Sian. They didn’t expect me to come home. SIAN Who didn’t? RHODRI They stole dad’s land... Arcady took it after he died.

(CONTINUED)


CONTINUED:

62. SIAN But there’s no-one farming it; he doesn’t even need it. RHODRI He will do. He knows there’s gold under it. I don’t know what happened. Maybe dad knew, maybe he didn’t. But I think he suspected. Maybe he died of stress. SIAN And mum? RHODRI She didn’t know. She didn’t know anything. She was sick, fading. It’s best that she’s not seeing this. SIAN What are you going to do now? RHODRI I need evidence... or its too late for that. We need to leave, it’s not safe for you here either. SIAN Rhodri, I have a life here. I have friends. RHODRI Can you bring me food? I’m at the old hunting hut in the woods. SIAN I’ll bring you something. You need to be careful.

They are contemplative for a moment, before there’s a knock at the door. They are wide-eyed in fright. SIAN Who is it? POWELL It’s me, Sian. Geoffrey. Rhodri darts under the bed. Sian straightens herself up in the mirror quickly, then turns and goes to the door. She only opens the door by a foot and keeps her body blocking it. (CONTINUED)


CONTINUED:

63.

SIAN Mr Powell, how lovely to see you this evening. POWELL (looking perplexed that he can’t come in) You too, Sian. Listen, I- Are you occupied? SIAN Actually, I’m with a gentleman just now... Rhodri makes a sickened face, we get a shot with all three of them. Powell and Sian talking, while we witness Rhodri’s reaction. POWELL (quieter voice) Oh! I see, I see. Well, I’m not here to police such matters, I’m sure. But I do need you to keep a look out for your brother for me. Can you tell me when you last saw him? SIAN We had an argument. Just before he... left. POWELL I see, andSIAN But Geoffrey, please! You know me, if not Rhodri. You know that we’re a good family. POWELL That I certainly doSIAN Well, then, you know Rhodri wouldn’t do a thing like this, kill a simple fool? POWELL That’s not how my job works, Sian. SIAN Your job works however you’re told it does, you mean?

(CONTINUED)


CONTINUED:

64.

POWELL No, no, nothing like that. You know me better than that, I hope. It’s not my job to analyse characters, just the facts. Rhodri’s gun was at the scene, and I have witness accounts that he was nearby. SIAN There’s nothing I can do to change your mind? POWELL I have a job to do, Sian. Please contact me if you find anything out. SIAN I don’t know what to tell you, Geoffrey. POWELL Whatever makes you comfortable, Sian. Good-night. Powell leaves; Sian closes the door and leans back on it, breathing a sigh of relief. She looks around the room and can’t see Rhodri. She kneels and he’s not under the bed; the window is open and she walks to it, looking out into the woods. EXT. WOODS - DAY Rhodri is walking through the woods. He has managed to bandage his hand, but still can’t use it. With his undamaged hand he holds a walking stick fashioned from a branch. He has about five day’s worth of beard growth. He is checking a series of traps that he has set, none of which seem to be bearing fruit. He notices a strange structure against a small hill. It is a collection of leaves and branches, invisible from a distance but close up it is apparent that it is man-made. He examines it carefully, then lays a hand on it. He gives it a shove: it promptly collapses, propelling him into the tunnel it leads to.


65.

INT. MINE - DAY Rhodri falls a short distance down a steep slope. After picking himself up, he realises that he must be in a part of the mine. Sure enough, there’s slightly older equipment up here - a shaft that ended up running dry, or perhaps a safety tunnel. As he picks his way through, he makes mental notes of the structure of the mine. He sees piles of dynamite. Evidently it’s not a working day, as when he reaches the main areas he finds it empty. He hears church bells in the distance. As he nears an exit that looks out over the town, he stops short. There is a guard standing with a rifle, looking out from the entrance to the mine. Rhodri takes another path, which leads him to a smaller entrance, overlooking Arcady’s house. He looks round the corner, and quickly pulls back his head. Slowly, he peers around again. Arcady is showing Trevelyan out of his front door. They look friendly to Rhodri, who pulls away in disgust, vanishing back into the mine. EXT. ARCADY’S OFFICE - DAY Trevelyan and Arcady continue their conversation. Trevelyan is smiling, but not for the reasons Rhodri might have imagined. They shake hands, but as Arcady tries to pull free, Trevelyan draws him close. TREVELYAN You’ll never control this town, Arcady. You don’t understand the people. Treveylan releases Arcady’s hand. Arcady shakes it and brushes the sleeve. ARCADY On the contrary, Treveylan. I understand them perfectly well. The folk of Goldellau are no different to the folk of Caerphilly, Cardiff or Colchester. It boils down to one thing -

(CONTINUED)


CONTINUED:

66.

TREVELYAN You can forward your argument about money once more, Arcady, but that doesn’t hold water with me. We’re not all power-hungry monsters like you, you know. ARCADY You have your own lusts, I’m sure. Everybody has their price, even if it’s not of a monetary value. TREVELYAN I’ve heard enough of this; do what you like, Arcady. Play your games. But leave Sian out of them. She’s been through enough. ARCADY Perhaps you’ll come back when you’re more inclined to compromise. TREVELYAN I hope that day never comes. Trevelyan leaves. EXT. WOODS - DUSK Rhodri is seated, attempting to draw using slabs of slate. He appears to be drawing a map of the town and planning something; a heist, perhaps. Sian walks through the woods. A twig snaps, and Rhodri hears her. He is suddenly alert and hides until he can see who it is. RHODRI Ah, thank the gods. I’m starving, Sian. How long has it been? SIAN A day, Rhodri. I thought you were playing the woodsman. Didn’t they teach you anything in the army? Rhodri rummages through the bag she brought, ravenously rips into a piece of meat. RHODRI There’s something about these rabbits back home. They’re smart. No wonder. They avoid the traps. Smarter than us, anyway. (CONTINUED)


CONTINUED:

67.

He continues to rip at the meat with his mouth, and talks with his mouth full. RHODRI So you weren’t followed? SIAN No, Rhodri. I took the precautions you made me. Everyone thinks I’ve gone off to pick flowers. Have you prepared me any to take back? RHODRI I’m not a flower-arranger. SIAN And I’m not a waitress, but you don’t see me complaining. It’s not exactly easy for me, Rhod, always slippin’ away like this. Soon time someone’ll notice and then where will you be? RHODRI We’ll be away soon enough. SIAN But Rhodri, I don’t want to leave! RHODRI You have a choice, then. I have to leave. So you come with me, or you stay here. That’s it. Stay here and continue being exploited by all around you; by your man friend in the polis, by your master at the tavern and by the organ grinder who sees over the whole lot. SIAN I don’t feel exploited. How do you know? RHODRI How do you-? You just are, you don’t know. Or maybe you do. I don’t know. You’re part of something bigger- you’re not the one at the top, am I right? SIAN But there’s someone above Arcady, even. He answers to someone else. Maybe royalty. He is a Sir, after all. (CONTINUED)


CONTINUED:

68.

RHODRI Exactly. We’re all still being controlled from London, just like in the Army. SIAN You’ve never talked about it. RHODRI It made me who I am today. I can’t change that. SIAN But you already changed once. Isn’t the real Rhodri the one who left all those years ago? RHODRI (angered) There is no real Rhodri. I am who I am, Sian. I’m reacting to the circumstances that greeted me when I came back to the town. To my town! To your town! You’re too close to it to even see what’s happening here. SIAN I don’t want to see it! RHODRI And maybe that’s the problem! We have to get out, get out while we can. While there’s life left in our bodies. We need to move on. SIAN What am I supposed to do? I’ve got no skills. RHODRI We’ll be ok, we don’t have to have skills. We can escape, go west and find a new life. Find new folk and finally escape interference. SIAN And how can we afford a trip like tha’? I don’t have any savings, and I’m the one who has a job. I don’t see that the Crimea could have been so rewarding thaRHODRI We steal it.

(CONTINUED)


CONTINUED:

69. SIAN We what? RHODRI The gold is ours. It lies on our land. We take it. Or we take whatever we can carry, anyway. SIAN If you’re set on dying, go right ahead! You know everyone in town thinks you’re a murderer, there’s no-one trippin over themselves to help you. How would you even get there? It’s stupid, just stupid. RHODRI Let me worry about how it happens. But it has to happen now. SIAN You’re out of your mind! RHODRI We need to stay together! SIAN I hate you for making me choose.

Sian leaves, shaking her head. Rhodri stares after her, not sure what to say. EXT. WOODS - NIGHT Rhodri shivers, eyes closed, trying to sleep. There is a distant sound, of horses’ hooves thundering. Rhodri opens his eyes, looks around him. The scenery has changed. There is frost on the ground, and he is wearing his army uniform. The camera turns round, and his regiment, the Welsh Fusiliers, have their guns lifted and are firing at a target 500 yards away. This is fairly close combat, and men are dropping from the returning Russian fire. As Rhodri watches, spellbound, his double strides past, shouting at the men, bolstering their spirits. But doubt plays on the PAST Rhodri’s face as he looks around at the battle raging. A messenger on a horse races up to the position, and talks to Past Rhodri. (CONTINUED)


CONTINUED:

70. MESSENGER Major, orders from the General. We’re to retreat and hold position two miles back. PAST RHODRI (shouting) Fall back! Fall back to base camp!

The regiment stands down, with a few men continuing to fire, covering their retreat. Rhodri follows the regiment, trying to speak but unable to force any words from his mouth. The regiment marches, fast, over a small hill, and just over the brow they are confronted by another mass of men. PAST RHODRI Who goes there? SCOTS GUARD 3rd Scots Fusiliers! Past Rhodri and SCOTS GUARD approach each other, and talk in quick, hushed tones. PAST RHODRI Why are you advancing? We just got the word to retreat. SCOTS GUARD We’re flanking up the right. PAST RHODRI You’re not far enough out; you’re about to hit a wall of Russian riflemen six hundred yards on. By this time, the two regiments are entangled, not knowing how to proceed past each other due to the frosty, uneven ground underfoot. MESSENGER (shouting) Troops approaching, westwards! PAST RHODRI (shouting) Friend or foe? MESSENGER Friend, I believe. French by their colours! Another regiment approaches from the side and starts to take up a position, facing the Scots and Welsh. (CONTINUED)


CONTINUED:

71.

PAST RHODRI Hey, M’sieurs, you’re facing the wrong Past Rhodri peers into the ranks of the French soldiers and recognises Vladimir, staring straight back at him, a crooked grin on his face and his arm in a sling. PAST RHODRI It’s a trap! The Russian soldiers open fire on the unsuspecting targets; there is confusion as the Scots and Welsh fusiliers are still entangled, and make for very easy targets. There is a sound over the gunfire, of Vladimir laughing, laughing at Rhodri... CUT TO: EXT. WOODS - DAY Rhodri is still sitting in the same place Sian left him, 3 minutes later. He eventually decides that he needs to go after her, apologise, tell her everything will be ok. He gets up and walks through the woods to the path to the town. As he reaches the path, he hears voices, and freezes behind a tree. There is a group of 3 men, guards, surrounding Sian. GUARD 1 What you doing out here, little lady? GUARD 2 Nice girl like you, alone in the woods at night. Looking for trouble? SIAN I’m just out collecting flowers, gentlemen. Please, don’t let me keep you up. GUARD 1 Oh, I’d let you keep me up all right. You’d keep me up all night.

(CONTINUED)


CONTINUED:

72. SIAN (scared) I’m off duty just now, but if you c- come to the tavern later we can see what kind of fun we could have together.

One of the GUARDS pushes her to the ground. She lets out a small scream. GUARD 2 We’ve gotta work all night, darling. Ain’t you heard there’s a dangerous man loose in these woods? So maybe we should just have our fun here? SIAN I don’t think you want to do that... please, let’s just wait till another night, eh? GUARD 3 Come on, come on, we ain’t got all night. Get down on the floor, there. Rhodri is pained - he can’t see what he can do, given his injuries and the fact that he’s clearly outnumbered. Before he makes a decision, a voice breaks through the woods. MADDOX I’d think very carefully about the next moves you make, because any one of them could be your last. GUARD 2 Mr Maddox! GUARD 1 (whispers) Ah, Christ. GUARD 3 (buttoning his trousers) Sorry sir. MADDOX What fate did you have in store for this young lady? GUARD 3 We was just having a bit of fun, like. Harmless.

(CONTINUED)


CONTINUED:

73.

MADDOX (raises an eyebrow) Fun? Maddox draws Rhodri’s gun from his belt and shoots GUARD 3 in the middle of the forehead. MADDOX Actually, I see what you mean. We are having fun now, aren’t we? I could get used to this kind of fun. Maddox waggles the gun at the other two men. MADDOX Shoo. The men start running away, down the path. We watch from Rhodri’s viewpoint as Maddox offers his hand to Sian, helps her up and escorts her back to the town. EXT. WOOD - NIGHT Rhodri is asleep, lit by the moonlight. He is huddled in the ruins of the shed, one half of which has a roof. We look at Rhodri sleeping until he is woken and the silence broken by a voice. Slow zoom on Maddox as he talks, intercut with C/U on Rhodri. He holds Rhodri’s pistol in his lap. MADDOX There’s some affronts that stick, stick in the heart and mind. An age ago, I knew a person that wouldn’t have hurt a fly. He created, not destroyed. Of course from time to time he felt feelings of hatred and envy, but his life, his wife, his family kept him sane and producing. For what else could he do? Why do any of us do what we do? We accept responsibilities because they imply authority, then we strive to meet these responsibilities. Some manage it; others do not. But others still have the choice removed from their hands. If your family is killed before your eyes by thieves and (MORE) (CONTINUED)


CONTINUED:

74.

MADDOX (cont’d) brigands, scoundrels for whom nothing is sacred and they have nothing to lose. If you’re left for dead amidst a pile of corpses, what then? What path do you take? Perhaps this happened to me. Would it excuse my view of life? Absolutely. Bad things happen to you; so you’re owed a debt. And whole must pay but others, other people who are weaker and closer to the original villains. She could have died from a broken heart, a sentimentalist might say. Husband, dead. Daughter a whore. Son practically a stranger, grown up on a side of the world that morality left behind. But it’s more likely that she died slowly, gradually addicted to the opium seed, until it overwhelmed her. But what was it killed the husband? A weak heart, they said. But he seemed fine until that day, then of a night he was gone. Dead and buried, suddenly progress was freed to excavate, to recover precious things that lay in the earth. And the one man who should have saved his friend? Well, who signed the death certificate? Who didn’t even need a diagnosis to tell him what he already knew. In this town it’s doctors who put people in graves, not killers. Maddox raises the gun. Progress, I say. Progress is a comforting blanket in the face of adversity. This gun; a new development. We can kill five when we used to have to think between each. But you don’t have five bullets. You’re all out of ammunition, I suppose that it’s hard to come by. One went into your hand. One is in a rapist’s head, in the woods. Three remain. There’s the friend; the enemy; and the friend you don’t want to (MORE) (CONTINUED)


CONTINUED:

75.

MADDOX (cont’d) admit. Not a fine puzzle; but who has the time to solve those? Maddox leaves the gun and walks away into the woods, laughing. EXT. WOOD PATH - NIGHT Rhodri rushes along the path, gun in his belt. He is ready; full of conviction; he knows what he should be doing now. INT. SIAN’S ROOM - NIGHT Sian sits, writing. She is interrupted by Rhodri’s head at her window. RHODRI Get your stuff together. It’s got to be tonight. SIAN Don’t be ridiculous. RHODRI I’m telling you, Sian. Now or never. Meet me at the entrance to the mine at dawn. I’ll have it worked out by then. INT. TAVERN - NIGHT Treveylan sits at his desk as usual, reading a newspaper. He stands and walks to the back room. He nods to the guard on the stairs. TREVELYAN Trevor. The guard nods back. TREVOR Mr Trevelyan. INT. TOILET - NIGHT Trevelyan pisses in the toilet, which is a glorified hole in the ground. He turns to use the hand sink, and as he does so sees Rhodri in the tiny, dirty mirror. (CONTINUED)


CONTINUED:

76.

In a flash, Rhodri is at his throat with the revolver. RHODRI Howdy. TREVELYAN Owen- IRHODRI Save it. Shout and you’re dead. Tell me why. TREVELYAN Explain myself to you? Nothing I’ve done to hurt you, Owen. RHODRI You and my father were enemies; now you own my sister, dammit! TREVELYAN I don’t own her, she’s here of her own free willRHODRI That’s not what it seems like to me. TREVELYAN What can I say? Working hours are decent; pay is good, and she’s protected. Rhodri, your father and I were rivals, that’s fair. But I never wanted him dead-! RHODRI But you plotted for it anyway. What did you stand to gain? TREVELYAN (emotional, guilty) Nothing... I have gained, that’s sure, but - I know too much. Too much to be absolved but not enough to be punished. Understand me - ! RHODRI (hardening, raises gun) What’s to understand? TREVELYAN Everything I did after your father died was to protect Sian and your mother. And I won’t apologise for that.

(CONTINUED)


CONTINUED:

77.

RHODRI Continue. TREVELYAN I’m not proud of some decisions in my life, but I’ll stand by that one. RHODRI (squints) Good news. You’ve earned some time. You just became my insurance. Anything happens to me this night, you better look after Sian proper. Rhodri leaves. INT. SURGERY BACK ROOM - NIGHT Dr Ward lies awake in bed, reading a book. A window smashes, he looks up, perturbed. Rhodri appears at his door, a shadow in the dim light. Dr Ward starts to reach for his nightstand. RHODRI I wouldn’t do anything too hasty, if I were you. DR WARD If you’ll permit me my glasses, I’ll be able to talk to you properly! He reaches the glasses and puts them on. DR WARD Rhodri! My boy, you’re alive! I feared you had fled, since that unpleasant business. I’m sure you had your reasons, butRHODRI Save it. How much did you get? What cost the doctor’s silence? DR WARD I don’t know what you mean; we didn’t hear anything. All we know is that a man died and your gun was at the scene. I told them you wouldn’t have done such a thing, not when I knew you at least...

(CONTINUED)


CONTINUED:

78.

RHODRI Not when you knew me, hey? Not when I was a lad, when you and dad were the best of friends. DR WARD We were. RHODRI Maybe, once. Maybe. So what soured it? DR WARD We were friends until the end, Rhodri. What are you doing here, in the middle of the night? This is madness, you’re a wanted man. RHODRI It’s funny how people sometimes want the wrong thing. Wanting money when they want a comfortable life; craving sex when really they want love. Or wanting to catch the man who shattered the peace of a nice little town. But that is what U want. DR WARD It’s not too late for you, Rhodri. Give yourself up, I’ll plead your case. This Benwyn didn’t have many friends, certainly not the friends you have. RHODRI I don’t have any friends, Doc, haven’t you heard? The best I’ve got are enemies that are too lazy to kill me. The worst I’ve got are friends who claim to know what’s best. Friends who kill my family, poison them to get them out of the way. So how much did you get, Doctor? How much to kill your friend? Dr Ward looks innocent. Then another look creeps over his face, of being caught having masterminded a scheme that he’s proud of. DR WARD It’s so easy to walk in on something with the benefit of distance. You think you know (MORE) (CONTINUED)


CONTINUED:

79.

DR WARD (cont’d) everything. Think you know the power-games that men play, the holds they have over others. Your father was a cruel man, Rhodri. We both courted your mother, but he lied his way to her hand in marriage. He never let me forget that he won. RHODRI So you killed him. DR WARD I only took what was rightfully mine! If you knew, if you live to find out what years of pain feel like, years of torturous knowledge, that a life should have been yours. I wouldn’t wish that on anyone, but then you don’t seem likely to make it that far. RHODRI I’ll be pleased to put you out of your misery. DR WARD But Rhodri, you’ve been like a son to me. We have harsh words between us now, but can we not forgive them; harsh deeds that we can move beyond? Things that we can moDr Ward suddenly snatches at the shotgun that lies under his pillow. It becomes caught slightly in the sheet, and he fires it too low to hit Rhodri. Having missed, he looks at Rhodri with a mixture of anger and fear. Rhodri draws his revolver up; we see a landscape cross-section shot of Rhodri standing at the end of Dr Ward’s bed, shooting him directly in the head. EXT. ARCADY’S OFFICE - NIGHT Rhodri walks up the hill to Arcady’s house. The mine lies open in the night, glimmers of gold dust shine in the moonlight.


80.

INT. ARCADY’S OFFICE - NIGHT Rhodri kicks the door down dramatically, waking Arcady who has fallen asleep at his desk. RHODRI Evening. ARCADY What are you doing alive? James! RHODRI That’ll do you no good. Anyone got in my way got a knife to the heart. ARCADY You horror. Why kill perfectly good men? RHODRI The better to watch you die. It’ll take time. You’re a cancer that needs rooting out. ARCADY You certainly will notRhodri shoots Arcady, in the shoulder, a move intended to cause pain and to incapacitate. ARCADY (screams) You monster! Do you know how much this shirt costs? RHODRI You’re about to die a horrible death and that’s what concerns you? Maddox folds out of the shadows. He holds a shotgun, relaxed but dangerous. MADDOX You’re not going to kill him, Rhodri. ARCADY Maddox! How long have you been there, watching me get shot? RHODRI (to Maddox) Isn’t this what I’m supposed to be doing?

(CONTINUED)


CONTINUED:

81.

MADDOX That’s your lot. Your role ends here. Get out. Go. Escape. Find your sister. RHODRI But ArcadyMADDOX Is mine to deal with. ARCADY To deal with-? What do you mean, Maddox? Why isn’t he dead? You traitorous lech, I pay you perfectly good money! MADDOX Take the deeds. Get out. Go on, go! Rhodri leaves. MADDOX Perfectly good money? I suppose you pay well enough. Owen is right. You’re a cancer, Arcady. Sucking the life out of small towns; moving on. ARCADY (indignant) I put these towns on the map! MADDOX For a time. But you create a self-constricting noose, a terrible logic that strangles a town with the very things it thinks are feeding it. ARCADY Who are you? Who do you work for? MADDOX That doesn’t matter. An worker, a rival firm. A land. What’s it to you? my payment in full just you don’t mind.

aggrieved foreign I’ll take now if

Maddox takes several bags of gold and precious items from the room. MADDOX I’ve a horse outside with a couple of extra bags of gold, if (MORE) (CONTINUED)


CONTINUED:

82.

MADDOX (cont’d) you don’t mind. I’m sure you won’t miss a few ingots here and there. ARCADY I’ll have men chasing you down wherever you rest, you’ll pay for this. MADDOX Good thing I don’t plan on resting, Sir Arcady. Be seeing youMaddox grins (which on him looks like a grimace) and leaves. EXT. MINE - DAWN A high, long shot of the mine. Rhodri runs towards the entrance, looking for Sian. Washed out colours compared to the brightness of the rest of the film; like a 1970s photo. As he approaches the entrance, he looks around, then calls: RHODRI Sian? Sian, I’m here. I’ve got the deeds. He ventures into the mine. INT. MINE - DAWN RHODRI (hissing) Sian? The name echoes around the mine. He sits for a moment, deeds in hand, on a crate of dynamite. Then, unexpectedly; RHODRI Sian! A voice calls from outside the mine. POWELL You won’t find her in those depths, Owen. Rhodri, angry, caught, fearful.


83.

EXT. MINE - DAWN Powell and two POLICEMEN stand outside the mine. Powell holds Sian, not restraining her but mildly possessively. POWELL She can’t come with you, Owen. Not where you’re going. Rhodri is near the entrance to the mine, hidden behind a large boulder. INT. MINE - DAWN RHODRI What have you done with her? EXT. MINE - DAWN SIAN Nothing, Rhodri! I’m ok! INT. MINE - DAWN RHODRI (to himself) Good. Where is it that I’m going? EXT. MINE - DAWN POWELL You’ll need to come with us, Owen. Custody. For the murder of Benwyn. RHODRI You’d better add Dr. Ward to that list, Powell! POWELL Ward? Owen, you fiend, why would you kill him? Arcady limps down the hill with the help of four of his men. ARCADY I think I can answer that, Captain. Owen thought he could blackmail the good doctor, but the doctor resisted. At this point, knowing he would get no more money, Owen killed him. He (MORE) (CONTINUED)


CONTINUED:

84. ARCADY (cont’d) attempted the same with me, but I have survived.

INT. MINE - DAWN RHODRI (shouting) That’s a lie! A damnable lie! ARCADY Why run away, Owen? You’re always running away, it seems. Can’t live up to your expectations? RHODRI Someone needs to put you out of your misery, Arcady! EXT. MINE - DAWN ARCADY Captain, with your permission my men and I will apprehend the suspect. We have superior firepower; besides which, I do not believe he is armed at all, save for one bullet. POWELL I would prefer you let the police handle this, Sir Arcady. ARCADY And I would prefer that I did. It has become personal. Empty your memory, for a while, Captain. We’ll deal with this. Arcady nods to his men, and starts to advance. ARCADY Owen! We’re coming in to get you. I’ve all my boys here, you’ve no chance. One bullet left, is it? It’ll have to be one hell of a shot to get us all. INT. MINE - DAWN Rhodri looks around, trapped. He takes up position standing, propped against a large rock. He holds his revolver pointing down, as if in repose. Arcady and his men enter. (CONTINUED)


CONTINUED:

85. ARCADY Oh, Owen, you’re not even offering us any sport. Come now, you can do better than that. RHODRI You’re right, sir. I am done with running. ARCADY That’s a shame. ARCADY So you’re ready to submit to the tender cares of my men? RHODRI This town’s ready to see the back of you. ARCADY We’ve been through this! The town loves me! I’ve brought them their wildest dreams. RHODRI You’re a devil tormenting them. ARCADY Let’s end all this nonsense. RHODRI I agree. ARCADY And I fancy we might well get a chance to give you a going over before you slip into police custody. RHODRI I don’t think that’s likely. ARCADY Oh, no? RHODRI You’re as dead as I am. ARCADY I don’t think so, Owen. RHODRI In the army they had a name for people like me. Dirt rats. Or tunnelers, or powder kegs. But they mainly called me Explosion Owen.. (CONTINUED)


CONTINUED:

86.

Rhodri wiggles his gun, emphasising where it is pointing. Directly at the boxes of dynamite. He tosses the deeds between them. RHODRI We’ll neither of us be needing these, don’t you think? Rhodri stands, holding a lit stick of dynamite. They look at him, incredulous. RHODRI Now, you can see I’ve given this one a long fuse. So you’re in with a chance. And you’ve got a choice. Rhodri throws the dynamite into the tunnel. There is a moment, as everyone tries to comprehend what is happening. ARCADY Get it! Put it out, now! Arcady runs past Rhodri towards the dynamite, and two of his men follow him. The other two look at each other and turn to run out of the cave. Rhodri walks calmly out of the cave, confident. EXT. MINES As Rhodri exits, he sees Sian and Powell, Powell’s arm around her. SIAN Rhod! Rhodri raises a hand in greeting, and as he does so there is a terrific explosion behind him. Arcady was unsuccessful, and his mine is destroyed. Rhodri is blown forward by the explosion, and lies on his back. We see his expression, which is peaceful; happy; smiling. A shot of Rhodri’s cabin, the hideout in the woods, with gold stacked inside it, unrefined dark rocks streaked with the material.

(CONTINUED)


CONTINUED:

87.

Camera zooms out, showing the ripples of the mine explosion on the landscape. The mine is a wound, a scar on the face of the beautiful valley. End.


MOVIE The Gold Of Golgellau