Digital Ischemia

24/06/2012

Questions

Filed under: What You Wish For-S — Teepwriter @ 16:41

INT. BENACHAR HOUSE KITCHEN – EVENING

Polly lolls over her dinner, drops her fork.  She starts, shakes her head, fingers her lips, gazes dreamily.

SFX: clunk and click of front door opening and closing.

Polly whirls.  Will strides in, whacks beer bottles on the table.  She jolts.

WILL
I shall inebriate you and find out everything!

Polly smiles feebly.  Will eyes her hardly touched meal.

WILL (CONT’D)
Any more of your delicious slop?

Will wanders to the hob.  Polly hauls herself upright.

DISSOLVE TO:

Polly leans on the wall, reeling and nodding, losing grip on a beer bottle.  Will sits before two emptied plates and three emptied beer bottles, draining a fourth.

WILL
Do you want to pitch in?

POLLY
Hm?

WILL
Not your usual effervescent self, Pol!  Are you alright?

POLLY
Mm, yeh, just knackered.

WILL
(waveringly)
Your gentleman wearing you out?

Polly sneers at Will.

INT. BENACHAR HOUSE HALL – DAY

Sunlight blazes in through the open doorway.  Andrea bobs into the frame, peers in.

ANDREA
Polly?  Polly?

SFX: taps of approaching footsteps.

ANDREA (CONT’D)
Hello?

Polly scoots up.  Andrea grimaces at her dishevelment.

ANDREA (CONT’D)
Where’ve you been?!  All week?!

POLLY
Uh, outside?

ANDREA
I’m just here about the rest of the world: we were going to Bristol next week?

POLLY
Oh!  Yeh.  This place is like a… time warp.

Andrea peruses Polly.  Polly digests the implications, drifts outside.  Andrea follows.

EXT. BENACHAR HOUSE – DAY – CONTINUOUS ACTION

The house wall stones dazzle with reflected sunlight.  Polly squints.  Andrea basks.

POLLY
I was going to adapt the Edinburgh one, wasn’t I?

ANDREA
Mm.  Put back in all that good stuff you’d to chuck out.

Polly’s vacillating expression settles on concern.

POLLY
How long are we away for?

ANDREA
Till Thursday.

Polly’s eyes flit to the barn, silhouetted with over-contrasting light.

EXT. BENACHAR HOUSE WALLED GARDEN – 1863, DAY

Raspberry canes form an ordered square among rhubarb crowns, brambles, blueberry bushes.  Bright sunlight over-saturates the contrasting colours.

Polly mopes between raspberry rows, head on knees, fiddling with stones.  Innes leans around the row end, smirks.  He sneaks up on her, bends a raspberry branch to tickle her ear.  She starts, manages a faint smile.

INNES
What is this dreich mood?

Innes drops down beside Polly.

POLLY
I have to go away.

INNES
Where?!  How lang for?

POLLY
England.  For only one week, but I do not want to leave at all.

INNES
I thought ye loved your work?

POLLY
I do.

Polly opens, closes her mouth.  Innes hesitates.

INNES
Will ye be sad tae leave it when ye marry?

Polly takes a moment to respond.

POLLY
I had not thought I would stop working… if…  Why are you not married?

INNES
The yin I loved chose another.

Polly nods at the ground.  Innes follows Polly’s eyes.

POLLY
I shall miss this.

INNES
My personal questions?

Polly smiles with sorrow.

INNES (CONT’D)
When will ye leave?

POLLY
Sunday.

INNES
Then will ye go wi’ me tae the town fair on Saturday?

Polly lights up.

17/06/2012

Antecedent

Filed under: What You Wish For-S — Teepwriter @ 15:51

EXT. BENACHAR HILL TRACK – 1863, SUMMER, DAY

Heat haze.  Polly ambles toward the lush foliage obscuring the house, dangling the book.  She blots her brow, pushes her hair from her face.

SFX: rumble and crash of high stone wall collapsing.

Polly grabs her skirt, scurries toward outbuildings.  In the b.g. a collapsed old wall is a pile of stone and wood rubble, a cloud of dust.  She bolts toward the barn.

A figure sways toward her through dust: Innes.

POLLY
(gasping to herself)
Are you alright?  Please be alright.  (CALLING)  Are you alright?

INNES
I am fine.

Polly and Innes halt a few paces from each other.

POLLY
Harry?

INNES
Away for a rod.  It needs tae settle.  May I walk ye by the burn?  It is bonny.

POLLY
Ah, yes.

EXT. BENACHAR BURN – DAY

Polly and Innes meander along a narrow path beside the burn.  He lets her lead.  She flaps the book to distract from her nerves.  He watches her.

INNES
Harry is mere bothered than the horse.  Are ye calmer?

POLLY
I am sorry to be so anxious.

INNES
You are braw tae worry for me.

Polly halts, faces Innes.  He meets her.

POLLY
I can not seem to help it.  I can not seem to be calm around you.

Polly reaches out, touches Innes’ hand.  He takes her hand, meets her eyes, smirks.  They drag each other, giggling, scampering between shrubs down the burn bank.

Polly and Innes teeter at the water edge.  They gaze at each other, daring, grab each other, kiss.

DISSOLVE TO:

Innes lounges on the burn bank.  Polly rests her head on him, pretends to read the book.

INNES
What do ye teach when ye are no’ tutoring spoilt weans?

POLLY
Cognitive Psychology.

INNES
What is that?

POLLY
How our brains make us behave.

INNES
Who wants tae ken?

POLLY
People, like doctors, to help people with problems with how they think or act.

Innes presses his lips, nods approval, lapses into concern.

INNES
What will your faimly make ae me?

POLLY
I have only a father.  He would love your talents.

INNES
He would nae disapprove?

POLLY
Of what?

Innes glances away, smirks, shakes his head.

EXT. BENACHAR HOUSE – NIGHT

By lamplight Polly and Innes sneak up to the front door.

POLLY
Will we get away with this?

INNES
We are a’ready found oot!

Polly is aghast.

INNES (CONT’D)
Mister Dudgeon hears the horses.  He kens when I go.  Every yin kens I am sweet for ye.

POLLY
I am so sorry!

INNES
I am no’!

Polly falls into Innes, hugging him.  He kisses her hand.

INNES (CONT’D)
Haste ye back, Stac Polly!

Polly giggles, stretches to peck Innes’ lips, pushes the front door.

INT. BENACHAR HOUSE HALL – 2013, DAY – CONTINUOUS ACTION

Daylight streams in.  Polly shimmies in, hugging herself, in painty T-shirt and dusty jeans.

10/06/2012

Dissociative

Filed under: What You Wish For-S — Teepwriter @ 14:50

EXT. RURAL TOWN STREET – DAY

Polly trips along, swinging a shopping bag, stifling a huge smirk.  Will steps into her path, quizzical.  She bounces to a halt.

POLLY
Hey!  Dad was asking for you!

WILL
Oh?  How’s his deer-proofing?

POLLY
No idea.  Why are you here?

WILL
Study day.

POLLY
Studying what exactly, neighbourhood sociology?

WILL
Ha.  You’re quite enough to study.  What are you up to?

Polly glances down at her bag, momentarily inarticulate.

POLLY
Just enjoying the pleasures of simple things.

WILL
Most unlikely.

Polly’s face clouds.

POLLY
Oh, I have to scoot.  See you!

Polly legs it toward the hill track.  Will ponders.

INT. BENACHAR HOUSE HALL – DAY

Polly rushes in, drops her bag, checks the clock: 4:45, relaxes, exhales.

EXT. BENACHAR HILL TRACK – 1863, DAY

Polly hugs a long wool skirt over her knees, basking in sunshine, gazing at the barn.  A book flaps in grass near her.  Without moving her gaze she reaches for it.

Harry holds a barn door in place.  Innes attaches hinges.

EXT. BENACHAR COTTAGE – 2013, EVENING – ESTABLISHING

INT. BENACHAR COTTAGE KITCHEN – EVENING

Galley-style, tidied by suspending everything from wall hooks.  Polly ducks along, grabs two glasses.

POLLY
Where?

DAD (O.S.)
Fridge.

Polly peels open the fridge, peers in.  She ruffles her hair, dislodges a bit of grass, smirks.

SFX: clonks of fence posts outside.

Polly jerks to the window, flits her eyes.  Dad saunters in.  She refocuses, grabs a bottle from the fridge.

POLLY
Who’s that?

DAD
Will’s going at my deer fence.

POLLY
Oh!

Polly flushes, covers by pouring cordial.

DAD
Handy boy, your Will.

POLLY
Yeh, Vanessa must be thrilled.

Polly gets a grip on herself, reaches for a third glass.

POLLY (CONT’D)
Never mind him, when was this built?

Polly gestures around.  Dad sips, glances up.

DAD
Nineteen something… Oh four?  The third Laird decided he wanted his workers living on site for the winter.

POLLY
Harsh?

DAD
No’ really; generous for they days.  I’ll hunt out the bumf.

Dad wanders away.  Polly squints out the window.  Will slides up behind her in his socks.

WILL
Hello.

POLLY
(gasping)
Oh, hey!

Polly jolts herself, pours cordial into the third glass.

WILL
Do you know where he keeps his shed key?

Polly is blank.  Will rummages in a nearby drawer, in triumph pulls out a hefty key by its loop of twine.

WILL (CONT’D)
It has to be.  Thank you.

Polly is discomfited.  Will takes a drink.

WILL (CONT’D)
Still off in your other world, eh?  I believe you have a man!

Polly splutters a nervous laugh.  Will is dismayed.

03/06/2012

Settling in to History

Filed under: What You Wish For-S — Teepwriter @ 14:47

INT. BENACHAR HOUSE LIVING ROOM – DAY

Dust sheets drape over gathered furniture and wrinkle under painting gear littering the floor.  The ceiling light glows.

Polly brandishes a paint roller loaded with ivory paint.  She swishes it along the wall, scrawling massive letters: “WILL INNES”.  Mortified she reloads the roller, obliterates the letters.

The ceiling light flickers off.  Polly drops the roller in a paint tray, reverses out the room.

EXT. BENACHAR HOUSE – 1863, DAY

Polly skips out through the porch-free front doorway, wide-eyed, excited, in nineteenth century clothing.  She runs around the house, past flourishing privet, toward the hill track.

MONTAGE
1) From a vantage point on the hill track, Polly gazes across the estate, shielding her eyes with a hand.  She spies figures at the newly-constructed barn.  She beams, bounds down the hill toward them.
2) Innes crouches on the barn roof, fitting slates.  HARRY, teens, brash and innocent, hoists a stack of slates to Innes, indicates Polly’s approach, slopes away.  Innes spots her, grins, jumps down.
3) Behind the house, Innes lays a path to a walled garden.  He bends over a cutting, beside a pile of slabs, fitting slabs.  Polly peeks around the wall, admires.
4) Beside the lawn, Innes lifts a fence stave from a neat stack, nails it to batons between posts.  He pauses, peers across to the house, disappointed.  He lifts another fence stave, nails it to the batons.
Polly leans out from behind a tree trunk, sneaks up behind Innes.  He turns for the next fence stave, starts, feigns wielding a hammer at her.  She giggles.

EXT. BENACHAR HILL – DAY

Polly and Innes laze in long grass beside a large rock.  Wind flaps their clothing.  She fiddles with grass stems, splitting veins.  He closes his eyes, grinning.

INNES
Are ye still painting?

POLLY
I am.  It will be a masterpiece!

INNES
The young master will ha’e some talent when ye are finished.

Polly glances at Innes, frowning.  He remains blissful.

INNES (CONT’D)
What is it ye are painting?

POLLY
The house?

INNES
Then he fancies his sel’ as an architect?

Polly puzzles, formulating a response.

POLLY
Do you know who designed the house?

INNES
Was it no’ his grandfaither?  Does the boy no’ ken?

POLLY
Oh, I have not asked.  How is the barn coming?

INNES
I thought I would run oot ae timber, but that last storm brought doun plenty.

POLLY
You use fallen branches?

INNES
Aye.  It will be done for the hay.  It will do for many years.

POLLY
It will.

Polly smiles, impressed, leans back on the rock.

EXT. BENACHAR BARN – 2013, DAY

The barn lacks a door and a few slates, needs paint but is sound.

INT. BENACHAR HOUSE LIVING ROOM – DAY – CONTINUOUS ACTION

Polly gazes out the window, admiring the barn, dangling a paint roller.  She refocuses, raises the paint roller, faces the only unfinished wall.

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