The Otherwise
Page 8
MARK
(doubtful)
What were the Jacobites doing all the way over here? This is miles out of their way. They would've been fighting over in Preston.
NICHOLLS
It's true. The main body of men – ‘bout four thousand of ‘em – were fighting the Battle of Preston. But Thomas Forster, the Jacobite leader, also sent a few small groups of men out further afield.
MARK
Why?
LEADING WITH SOUND we hear a loud crack.
HARD CUT TO:
EXT. – WOODS – NIGHT
E.C.U. on a burning log cracking in a small bonfire.
CUT TO REVEAL the bonfire is in a wooded area. MACFISK, ALUN, PATRICK and DOUGLAS are sitting around warming themselves.
NICHOLLS (V.O.)
They were… Terror squads if you like. Their job was to spread unrest, unsettle the community. Poison some livestock, kick a few heads in, burn down the odd house.
Another loud crack from the bonfire.
HARD CUT TO:
INT. – NICHOLLS LOUNGE – NIGHT
Everyone is as we left them.
NICHOLLS
There was no rhyme or reason to any of it. Just random acts of havoc.
JEFF
Did people die in the fire here?
NICHOLLS
The owners of the house managed to escape. Their housekeeper wasn't so lucky. Burned to death.
HARD CUT TO:
INT. – 18TH CENTURY HOUSE – NIGHT
The hallway to the house is on fire and filling with smoke. An aging HOUSEKEEPER tries to beat back the flames with a witch style broom.
Hard cut to moments later. The HOUSEKEEPER is on fire and screaming and waving the broom around. This is the same image as the vision of the ‘witch’ the Bikers witnessed in their ritual.
CUT TO:
EXT. – 18TH CENTURY HOUSE – NIGHT
ARTHUR and DAVIE are running away from the burning building.
HARD CUT TO:
INT. – NICHOLLS LOUNGE – NIGHT
C.U. on JEFF's face. We can see he's pondering the connection between what he's been told and the ritual vision.
JEFF
(quietly to himself)
She's not a witch…
MARK
What's that?
JEFF
Um? Nothing.
NICHOLLS holds out a couple of bags of speed. MARK passes him thirty pounds.
NICHOLLS
Stay if you fancy. We're just about to have an orgy.
On the sofa, DIANE gives a barely perceptible head shake.
MARK
(stands up)
Thanks cock, but we got stuff to do.
CUT TO:
EXT. – PENDLE HILL – NIGHT
The car is driving along the country roads. The place seems deserted.
CUT TO:
INT. – BEV’S CAR – NIGHT
JEFF is driving, MARK is in the passenger seat.
MARK
Imagine answering your door like that. Bollock naked.
JEFF
Some people got no self respect.
JEFF's POV: Looking out of the windscreen at the darkened country road illuminated by the headlights. The car rounds a corner and we suddenly see three JACOBITES: DOUGLAS, DAVIE and ARTHUR are standing huddled together talking in the middle of the road.
JEFF (CONT’D)
Jesus!
JEFF slams on the brakes. The car squeals to a halt.
DOUGLAS, DAVIE and ARTHUR remain huddled, facing away from the car, seemingly oblivious, despite being brightly lit by the headlights.
JEFF (CONT’D)
Fuckin’ idiots!
MARK
It's okay, I'll have a word.
MARK gets out of the car.
CUT TO:
EXT. – COUNTRY ROAD – CONTINUOUS
MARK walks over to the JACOBITES.
MARK
A’right lads.
DOUGLAS, DAVIE and ARTHUR turn to stare at him, as if noticing the car for the first time.
MARK (CONT’D)
What is it? Historical reenactment society?
DOUGLAS, DAVIE and ARTHUR just stare at him. Or rather through him. There is a weird unearthly energy in the air.
MARK looks at the strangely disengaged faces more closely. Something clicks. MARK understands this is a supernatural occurrence, but he takes it very calmly.
MARK (CONT’D)
Oh right. I get it. Ghosts eh?
As one, DOUGLAS, DAVIE and ARTHUR gently close their eyes. TIGHT ON MARK. He gently closes his eyes.
WIDE JIB SHOT looking down at the white car, and the FOUR FIGURES caught in the headlight beams. A splash of bright light in the blackness of the countryside.
WHITE OUT:
INT. – BEV’S CAR – NIGHT
JEFF is driving, almost as if in a trance. MARK is next to him, smoking. JEFF suddenly comes to his senses and the car jolts to a halt.
MARK
What's up?
JEFF
What, what just happened?
MARK
You slammed the brakes on.
JEFF
No, before that. We, we had to stop because there were… Jacobites blocking the road.
MARK
Historical reenactment society.
JEFF
Was it?
MARK
What else would it be?
JEFF
What did they say to you?
MARK
Nothing. I just told ‘em to piss off out the way.
JEFF still looks uncertain. He knows something isn't quite right.
MARK (CONT’D)
So we going back to the studio or what?
A moment's hesitation then JEFF starts the engine.
CUT TO:
INT. – PENDLE HILL – NIGHT
WIDE SHOT of the car driving away down the road.
It looks small and vulnerable in the dark night.
HARD CUT TO:
INT. – LIVE ROOM – NIGHT
GRAMS: THE FALL – ‘JACOBITES’ (00:00)
We watch as MARK and THE FALL play the song. Through the glass we can see CLARE at the desk.
CUT TO:
INT. – SPARE ROOM – NIGHT
GRAMS: (CONTINUE)
BEV is lying in bed. She is deep in thought. JEFF is changing out of his clothes into a T-shirt and pajama bottoms. He climbs into bed and cuddles up to her. BEV gently pushes him away.
GRAMS: (FADE)
BEV
Sorry, my skin's feeling a bit creepy at the moment. Sorry.
JEFF
It's okay. Sorry.
JEFF settles himself down in the bed.
Beat.
BEV
I want to leave here.
JEFF
I know it's not perfect.
BEV
No it's not.
JEFF
We'll only be here another couple of weeks.
BEV
I want to go tomorrow.
JEFF
What's the rush?
BEV
I don't… I don't feel safe here.
JEFF
Why? What's worrying you? Clare really likes you. And I think Len does too.
BEV
I don't want to discuss this Jeff. I've made up my mind. I'm going to Gill's in the morning.
JEFF is surprised by the force of her response.
JEFF
Okay, okay.
BEV
I'll stay there until you're finished here, then we'll… We'll work something else out.
JEFF
Erm, okay. Sure.
BEV
I know you said you'd do the painting. That's fine. You stay and finish that. I'll see you when you're done.
JEFF
Okay.
Beat.
BEV switches the light off and the room plunges into darkness.
CUT TO:
; EXT. – CLARE’S FARMHOUSE – NIGHT
The farmhouse is illuminated by moonlight.
DISSOLVE TO:
EXT. – WOODS – NIGHT
MACFISK, ALUN, ARTHUR and DAVIE are gathered around a small bonfire, eating some broth. PATRICK and DOUGLAS approach.
ARTHUR
A’right lads?
PATRICK
Aye.
DOUGLAS and PATRICK join them and DOUGLAS helps himself to broth.
ARTHUR
Been busy?
DOUGLAS
Aye.
PATRICK
Blocked a roadway. Killed a field o’ sheep.
DOUGLAS
Took a while. They'll nae
stay still.
ARTHUR
Did you no use the poison I gave you?
DOUGLAS
Ran oot. Had to break their necks.
MACFISK
(mutters to himself)
Strangling sheep…
PATRICK
(to MacFisk)
What about you two?
MACFISK
Found a farmhouse. Big one.
PATRICK
Did you torch it?
MACFISK and ALUN exchange a glance.
ALUN
No. We er, we–––
MACFISK
–––The time was nae right. We'll go back.
DAVIE
We burnt down a stable.
ARTHUR
Aye, we did.
DAVIE
And we beat up some youths.
MACFISK
(sarcastic)
Fight the good fight.
PATRICK
(defensive & firm)
Hey, we're all playing our part. This is no rash adventure. This is revolution!
WHITE OUT:
EXT. – CLARE’S FARMHOUSE – MORNING
ESTABLISHING SHOT of the farmhouse bathed in early morning sunlight.
CUT TO:
EXT. – YARD – MORNING
JEFF is helping BEV pack her things into the car boot. JEFF shuts the boot. It springs open again. BEV closes it and it stays closed.
JEFF
Call me when you get there yeah?
BEV
Yeah, course. Hope the painting goes well. Not that it couldn't go well. It's not like you're going to use your spade.
They hug. BEV kisses JEFF, but we can see she is more withdrawn than usual.
JEFF
I love you. Don't forget.
BEV
I know. I love you.
BEV hugs him again then gets into the car.
JEFF
Drive safely.
BEV starts the engine. CLARE comes out of the studio and waves. BEV smiles at her. JEFF waves as the car drives off. PULL FOCUS to reveal LEN framed in the kitchen window, watching the car exit the yard.
CUT TO:
INT. – KITCHEN – MORNING
LEN taps his mobile and lifts it to his ear. He has a bandage on his upper arm. He waits for an answer.
LEN
The bitch is tryin’ to leave.
CUT TO:
EXT. – YARD – MORNING
CLARE gives JEFF a hug.
Beat.
CLARE
You okay?
JEFF
Yeah. Yeah, I'm… Yeah. Thanks.
CLARE
Everything alright with Bev? You and her still…?
JEFF
Yeah.
Beat.
JEFF (CONT’D)
Still what?
CLARE
Solid?
JEFF
Solid? Yeah. Yeah we're solid.
CLARE
I thought so. She's lovely. You don't want to lose her.
JEFF
(smiles)
I'm not going to lose her. Don't worry.
Beat.
JEFF (CONT’D)
What about you and Len? Solid?
Beat.
CLARE
(nods)
Ish.
CLARE glances towards the house to check Len isn't looking or within earshot. CLARE and JEFF exchange a smirk. They walk away from the house toward the studio. They still speak in hushed tones.
JEFF
Ish? You can't be solid-ish. There's no such thing. You're either solid or you're… unstable.
CLARE hesitates before saying more.
CLARE
Do you, do you think Len's weird?
JEFF is uncertain how honest to be.
JEFF
Is he weird? Erm, well, I think you could say there was something weird about him.
CLARE
That's the same thing. Look, I want you to be honest with me. Say what you think.
JEFF
Okay. Well, in that case, what I'm thinking is ‘what the hell do you see in him!?’
CLARE
(sighs)
He was fun at first. We used to have a good laugh, do stuff together…
JEFF
And now?
CLARE
(sighs)
I dunno. The spark seems to have gone. To be honest, since he joined that gang, it's like he's put everything else on hold.
Across the yard, the farmhouse door opens and LEN steps out. JEFF and CLARE can't help but guiltily glance over. LEN smiles at them as he crosses the yard and heads toward the garage.
CLARE (CONT’D)
I should get everything set up for the group.
JEFF
(nods)
Yeah. I best get this
painting started.
CLARE enters the studio and JEFF makes his way across the yard to the house.
CUT TO:
EXT. – FIELD – MORNING
C.U. on a COW lying on grass. At first we assume it is asleep.
CUT TO WIDE SHOT: The whole herd of COWS are lying dead in the field. We hear a car engine.
CUT TO:
EXT. – COUNTRY ROAD – MORNING
Bev's car drives down the quiet roads. She's pretty much the only car on the road.
CUT TO:
INT. – BEV’S CAR – MORNING
BEV is at the wheel. Her spirits seem to have lifted a little. Suddenly, she hears the multiple roar of motorbike engines approaching. She looks in the rearview mirror.
CUT TO:
EXT. – COUNTRY ROAD – MORNING
FOUR BIKERS on loud motorbikes come roaring up close behind the car, loud and menacing like big black flies. They wear black leathers and their helmets with reflective visors.
CUT TO:
INT. – BEV’S CAR – MORNING
BEV is clearly unnerved. She tries to accelerate away.
CUT TO:
EXT. – COUNTRY ROAD – MORNING
The BIKERS easily keep pace with the car. Two of them pull up alongside the car, menacingly close, trying to force her off the road.
CUT TO:
INT. – BEV’S CAR – MORNING
Determined not to be out-maneuvered, BEV gives the steering wheel a slight jerk to one side.
CUT TO:
EXT. – COUNTRY ROAD – MORNING
The car nudges against one of the BIKERS, causing his bike to wobble and go veering off. The bike hits a dry stone wall and the BIKER goes flying over the handlebars.