Digital Ischemia

29/07/2012

Confession

Filed under: What You Wish For-S — Teepwriter @ 13:59

INT. INNES’ ROOM – 1864, DAY

Alone in the bed, Polly tenses, hand on forehead.  Innes bounds in, closes the door.  She hoists herself.

INNES
I ha’e food for us!

Innes greets Polly with a kiss.

POLLY
I must tell you.  Now, please, before another moment passes.

Innes lowers the groceries, sinks beside Polly.

POLLY (CONT’D)
You never asked me how old I am.

INNES
It does nae matter.

POLLY
It does matter: I was born in Nineteen Eighty.

Innes is mystified.

POLLY (CONT’D)
I come from…  I live in Benachar House, in a hundred and fifty years time.  Somehow when there is – it is like lightning – I step out of the house into this time.  Your time.

INNES
This can nae be!?  Why would ye say such a thing?

POLLY
Honestly, I hardly believe it myself, except for that I have two wonderful children and I know you are their father.

INNES
If I did nae love ye so much I would think ye were deceived, or deceiving me.

POLLY
Please believe me: I have thought a lot about that.

INNES
Ye want me tae believe I am a faither, in a hundred and fifty years?!

POLLY
There is more.

Innes sways.

INNES
Oh, god, how can there be mere?

POLLY
I knew before I came.  The parish records at the church… your injury…

INNES
Ye kent this happened tae me?!

POLLY
Yes, but I hoped my interference might have changed–

Innes bolts across the room, vomits into the bucket.  Polly wrings her hands.  He straightens, facing away.

INNES
If these weans…  How will I see them?

POLLY
I do not know.  I hope that this may work in reverse.

Innes faces Polly, nauseous.

INNES
This is witchcraft!

Polly reaches along the bed covers toward Innes.

INNES(CONT’D)
Against a’ the laws ae nature!

POLLY
It may be just something we do not yet understand.

Innes returns to the bed, sinks on to the edge furthest from Polly, facing away.

INNES
I thought ye came fae the south!

POLLY
I did–

Innes raises his hand to silence Polly, drops his head.  She obliges, motionless, scrutinising him.

DISSOLVE TO:

Polly, dressed, reaches for her dry coat, heads for the door.  Innes suffers exactly as he was.

INNES
Haud it.

Polly pauses with remnants of hope.

POLLY
I am worrying about my children.  They are certainly not part of this delusion.

INNES
I dinnae understand this, but I ha’e tae see my weans.

EXT. BENACHAR HILL TRACK – DAY

Polly and Innes stride together, apprehensive, focussed on their destination.

INNES
How auld?

POLLY
Three months.

INNES
What ha’e ye named them?

POLLY
Jade and Finn.

Innes smiles a little.

INNES
Will they no’ ha’e missed ye?

POLLY
It is a strange thing: no matter how long I stay with you, when I return no time has passed.

INNES
I dinnae ken if I hope or no’.

Polly reaches for Innes’ hand.  He lets her.

EXT. BENACHAR HOUSE – DAY

Polly and Innes approach the front door, falter.

INNES
What if I dinnae go wi’ ye?

POLLY
I suppose you will just be in the house, now, by yourself.

INNES
If that happens will ye come back tae me?

POLLY
Would you still want me to?

INNES
I love ye.

Innes kisses Polly.  She pushes the door, leads him.

22/07/2012

Stories to Tell

Filed under: What You Wish For-S — Teepwriter @ 16:59

EXT. BENACHAR HOUSE GARDEN – SUMMER, DAY

Blossom and foliage obscure most activity.

Lush shrubs and dazzling flowers surround a small lawn.  On a blanket, shaded by a tree, Polly lounges beside two babies, JADE and FINN, 3 months.  She entertains them, tickling each in turn with a blade of grass.

EXT. BENACHAR HOUSE – DAY

Will rounds the house, peering.  Finn and Jade are propped in rope-linked wooden carts, unimpressed.  Polly tugs them along a path.  They turn to Will, delighted.

POLLY
Hey!  Remember these?

WILL
You still drive like a girl!

POLLY
I’m breaking them in!

Will scorns, leaps over to take the rope.  Polly steps aside.  He dances about, weaving the carts.  Finn and Jade shriek with excitement.

Polly watches Will bound away, clamps a hand to her face, spins about, fighting upset.

INT. BENACHAR HOUSE HALL – DAY

SFX: clatter of wooden boxes hitting floor.

Polly enters, swinging Jade on to her hip, blinking in curiosity.  Finn sleeps in a sling around her back.  Will skirts around two exquisitely finished wooden cots.

WILL
Study day.  I fear for them rolling off that mattress.

Polly gapes at Jade, beams at Will.

POLLY
Will!  You always bring such perfect gifts.

Will sheepishly lifts the cots.  Polly ushers him to the stairs.  Jade’s wide eyes take it all in.

INT. BENACHAR HOUSE TWINS’ BEDROOM – EVENING

Simple, colourful furnishings in semi-darkness.  Polly kneels beside Jade and Finn in their cots.  She closes a book, pushes it on to a shelf.  She tucks in the twins, kisses each of them, almost sleeping herself.

INT. BENACHAR HOUSE UPPER HALL – EVENING – CONTINUOUS ACTION

Polly creeps out the twins’ bedroom, tugs the door behind her.  She leans to the window.  Storm clouds loom beyond the barn.

INT. BENACHAR HOUSE HALL – EVENING – CONTINUOUS ACTION

Lights flicker.  Polly hovers at the front door, grips the handle, glances back at the stairs.  Lights go off.

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

EXT. RURAL TOWN STREET – 1864, EVENING

Dark grey, heavy rain.  Polly shuffles between doorways, drenched, squinting at each person she passes.  She glances, stares at the opposite side of the street.

Innes shuffles toward Polly, facing ahead, unaware.  One side of his face is scarred, the skin rough.  His weariness mesmerises her.  He glances, freezes, falters across the street toward Polly.

INNES
Is it ye?  It must be!  God would nae play such a trick.

Polly reaches out.  Innes flinches.

INNES (CONT’D)
But ye must nae see me this way.

POLLY
I am so glad to see you, but distraught that you have suffered so and I was not here to help you.  But perhaps you no longer wish–

INNES
–Every day, every hour I ha’e wished tae see ye again.

Polly tentatively reaches to caress Innes’ face.  He takes her hand, holds it to his face.

POLLY
I want to hear everything you will tell me, but first I must tell you–

Innes presses his finger over Polly’s mouth.

INT. INNES’ ROOM – EVENING

Polly and Innes shed wet clothes.  He gravitates toward her, checks himself.

POLLY
I am fatter and older.

Innes grabs Polly.  They kiss voraciously, run hands over each other, stumble to the bed.  He pulls away.

INNES
I ha’e missed so many things aboot ye.  This is just yin.

Polly grins, draws Innes to her.

DISSOLVE TO:

Polly kneels up on the bed, naked, facing the wall.  She glances behind her, coy.  Innes’ scarred body closes in.  He grasps her buttocks, hips, kisses her neck.  She reaches back to him.  He lunges against her, groans.

DISSOLVE TO:

Polly and Innes entwine in the small bed, smiles fading.  He turns to her.  Her face clouds.

INNES
Whoever ye are, wherever ye come fae, I dinnae care.  A’ I care aboot is being wi’ ye.

Polly opens her mouth.

INNES (CONT’D)
Please say we can be together.

Polly buries her head in Innes’ chest.

POLLY
(muffled)
In a second…  But not in a hundred and fifty years.  I have to tell you the truth first.

INNES
Tell me the morn.  Let us ha’e the night?

Polly acquiesces, snuggles into Innes.

POLLY
Tell me what I have missed.

INNES
I waited that week.  I looked oot for ye every day.  Ye slowly broke my heart.

POLLY
I am so sorry.

INNES
It is a’ right noo.

Polly fingers Innes’ scarred skin.

INNES (CONT’D)
I was rebuilding the store.  Harry a’ways loses attention.  It is no’ his fault.  He does nae see.  He was meant tae brace the roof post while I built up the corner stanes.  Some slates started tae fall.  It did nae matter but he went efter them.  I was under the roof.

Polly grips Innes.

INNES (CONT’D)
How I dreamed ae ye holding me.  I took a lang while tae heal.  My skull was bruised, my face cut open.  Everything swelled up.  I lay in this bed for weeks.

Polly lifts teary eyes to Innes.

INNES (CONT’D)
When I was very ill, I wondered if death was coming and if I would welcome it.  I thought then I could maybe find ye.  I saw ye yince, when I was feverish, as if ye were dying; ye had such pain, everything white.  I could nae bear tae watch it so I opened my eyes…  Are ye afeart ae me?

POLLY
No!  I was in a white room.

INNES
What happened tae ye?

POLLY
It was not bad.  After the last time we were together… I became pregnant.

INNES
Ye ha’e a wean?

POLLY
We have two children: a boy and a girl.  I did not want to–

INNES
(whispering)
–I ha’e twae weans?  Where?

POLLY
I have so much to… explain.  I wish for you to meet them, but you have to travel back with me.

INNES
Ha’e ye left them in good hands?

FLASHFORWARD – INT. BENACHAR HOUSE TWINS’ BEDROOM – 2014, EVENING

Semi-darkness.  Polly kneels beside Jade and Finn in their cots.  She caresses each of them as they sleep.

15/07/2012

Expectant

Filed under: What You Wish For-S — Teepwriter @ 16:26

INT. BENACHAR HOUSE KITCHEN – AUTUMN, DAY

Polly wanders from sink to table.  She gazes out at fallen leaves bustling across the drive.

INT. UNIVERSITY BUILDING FOYER – DAY

Beyond sight at an open lecture theatre doorway, Polly listens, captivated.  A passing servitor pushes the door, allowing her entry.  Polly declines, scurries away.

INT. UNIVERSITY LECTURE THEATRE – DAY – CONTINUOUS ACTION

On the stage, Will glances from a bench heaving with fancy ironmongery to the contracting lit doorway.  He stifles hope, denies disappointment.

INT. BENACHAR HOUSE KITCHEN – 2014, WINTER, DAY

MONTAGE
1) Polly rests at the table.  In the b.g. snow flurries.  She deliberately focuses on her mug, hauls herself up.  Her belly has swelled.
2) Polly leans wearily on the work surface.  Dad braces at the table.  He gently pleads with her.  She slowly shakes her head, drops her eyes to her belly.
3) Alone, Polly clings to the sink, staring out at the hill track.  She blinks rapidly, steels herself.
4) At the table, Polly frowns, scores, scribbles over scattered papers.

EXT. RURAL TOWN STREET – DAY

Will strides from a lane to the main street, intent on the bus stop.  He clocks a kaleidoscope of mothers and toddlers ahead.  His pace falters, his face contorts.  He feels the cold.

EXT. BENACHAR HOUSE – SPRING, DAY – ESTABLISHING

Sprouts of green, flowering bulbs, signs of movement.

INT. BENACHAR HOUSE HALL – DAY

Polly waddles to open the front door, leaning back to counter-balance her huge belly.  Outside Will beseeches her with bunched daffodils.  She bursts into happy tears.

INT. BENACHAR HOUSE KITCHEN – DAY

At the table, Polly leans against Will.  She dissolves her upset with a drink.  He draws confidence from his.

WILL
He’s no man for leaving you to… this by yourself.

POLLY
He is, Will, really, he would be.  I need someone to tell me if I’m mental.

WILL
Fire away.

Polly glances at the fresh, green world outside, inhales.  She fixes her eyes on Will.

POLLY
It’s not possible.  He’s… a hundred and fifty years older than me.  He’s actually dead.

Will is baffled.

POLLY (CONT’D)
I’m more petrified if it’s a massive delusion than that I’m defying time.  How can I be pregnant?!

Will involuntarily leans back, grappling.

WILL
You’ll have to tell me more for that not to be nonsense.

POLLY
If anyone can understand it, it’s you.  The house, it seems to exist in two different times.  When the power was cut, if I stepped outside, I was in the nineteenth century.  Right from that first night you were helping me move in: no cars, no dad’s cottage…

Polly reels.  Will holds her, chews his tongue.  She regains composure.  He slides his hand down her arm.

WILL
Have you consulted any records?  To validate your experience against actual history?

Polly fixes a piercing stare on Will.

POLLY
You’re entertaining this?

WILL
Achilles heel…

EXT. RURAL TOWN CHURCH – DAY

Polly waddles up the lane, admiring flowering bulbs, to the old stone church, its paint-peeling wooden door.

INT. RURAL TOWN CHURCH – DAY

Tiny, stone-walled room lit by a harsh fluorescent strip.  Polly pores over a hefty, bound volume of hand-written parish records, carefully turning the brittle pages.  She widens her eyes, re-reads an entry:

“Innes Caulder, Wright, Ben Achar Estate, suffered injury to the head…”

FLASHBACK – EXT. BENACHAR BARN – 1864, DAY

Mist swirls, dust rises, figures dash.  Innes lies, pale.

INT. RURAL TOWN CHURCH – 2014, DAY

SPARKLY MINISTER, 50s, pads toward Polly, glowing with care and enlightenment.  Polly shakes her head to clear the vision and her horror.

SPARKLY MINISTER
Did you find what you were looking for?

Sparkly Minister tactfully studies the open pages.

POLLY
Mm, it’s just a little horrific.

SPARKLY MINISTER
Well, that’s exactly a hundred and fifty years ago!  “Subsequently fellow labourers reported him a changed man, his previous amiable personality and integrity replaced with aggression and deviousness… April, Eighteen Sixty-four.”  Perhaps you shouldn’t read sad stories but enjoy this beautiful spring?

Sparkly Minister nods to Polly’s belly.  Polly smiles.

POLLY
You’re right, thank you.

Sparkly Minister carefully folds the volume, rests her hand on the cover.

EXT. RURAL TOWN CHURCH – DAY

Polly steps out, inhales, closes her eyes.

INT. BENACHAR HOUSE KITCHEN – DAY

MONTAGE
1) Will braces on a step-ladder, stripping wallpaper.  Polly sneaks behind him, inelegantly hauls away shreds.  He spies her, admonishes her.  She retreats.
2) Will lifts vinyl flooring with a revolted grimace. 
3) Will replaces work surfaces below tile grout remnants.  Polly rests, browsing a paint catalogue.
4) Will seeks approval for assorted paint colour blotches on a wall.  Polly feigns disapproval, redirects his efforts.  He feigns wounded feelings, rests his forehead on the wall, bursting with joy.

08/07/2012

Changes

Filed under: What You Wish For-S — Teepwriter @ 16:20

INT. BENACHAR BARN – NIGHT – CONTINUOUS ACTION

Lightning flashes.  Polly leans back on a post, catches her breath.  Innes glances in concern at the roof.  She jolts upright, stares all around the roof.  He smirks.  She tries to slap him.  He dodges.

SFX: drumming and splattering of torrential rain.

Polly inspects her ripped dress, admonishes Innes.  He controls his lust, mortified.

Polly draws Innes toward her, snakes her arms around behind his head.  Water trickles over their skin.  She pulls his head toward hers, kisses him.  He responds, pushes his hands over her body.

Innes whips himself away, battles self-discipline.  Polly creeps to him, takes his hand to unfasten her dress.

Polly and Innes sink, writhing, into hay on the barn floor.  She slides his shirt aside, caresses his skin.  He tugs off her dress, slides his body over her, pushing against her breasts.

Polly twists their entwined bodies over, straddles Innes.  He is enraptured.  She reaches behind her to his groin.  He closes his eyes, tilts his head back.

DISSOLVE TO:

Moonlight picks out Polly’s curves over Innes’ defined physique.  They surge together, grasping each other, groaning, gasping.  He grabs her hips, forces them down harder, shudders.

EXT. BENACHAR BARN – NIGHT

The storm-battered land glistens in moonlight.  Polly and Innes emerge, dishevelled, hay-scratched.  They meander toward the house.

EXT. BENACHAR HOUSE – NIGHT

At the front door, Polly kisses Innes, remains close.

INNES
Haste ye back.

Polly drops her eyes, clasps Innes’ hand.  She forces herself away, slips into the house.  He strolls toward the hill track, glances back, grins.

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

Polly pushes the front door closed, bursts into frissons, dancing around in her perfect cotton dress.  She glances to the clock: 2:10.  The light bulb flickers on.

EXT. BENACHAR HOUSE – EVENING

A sports car rolls up the drive, the passenger door opens.  Polly falls out, wrestles with a travel bag wedged behind the seat.  Andrea shoves the bag from the driver’s seat.  Polly staggers back with the freed bag.

ANDREA
Take it easy, eh?  You’re putting far too much into that house!

Polly makes an effort to smile, waves Andrea off.  She turns to the house, stares, motionless.

INT. BENACHAR HOUSE KITCHEN – EVENING

At the table, Polly sags back against the wall, disinterested in drink.  Will faces her, drains a glass. 

WILL
You appear rather underwhelmed by the trip?

POLLY
It’s weird: I just didn’t want to be there; I wanted to be here.  This house is really growing on me.

WILL
You look awfully white.

POLLY
I was knackered when I went and I’m even more knackered now.  I need to sleep for a few days.  Tell me what you’ve been doing; that’ll send me off.

Will feigns umbrage.

INT. BENACHAR HOUSE HALL – DAY

Polly shuffles, pale and messy, opens the front door.  WIND-BLASTED POWER ENGINEER, 40s, leans away from the porch in overalls and an engine driver’s hat.

WIND-BLASTED POWER ENGINEER
Eh, just to say that’s your supply line sorted.

Polly cranks her jaw.

WIND-BLASTED POWER ENGINEER (CONT’D)
Should be the end of your cuts.

POLLY
Oh, thanks.

Wind-Blasted Power Engineer claps a hand on his hat.

WIND-BLASTED POWER ENGINEER
Wild up here, eh?

POLLY
Yeh.  Uh, thanks.

Wind-Blasted Power Engineer gives an understated wave, departs, leaning into wind.  Polly pushes the door.

MONTAGE
1) Polly, in slouchy clothes, stares at the clock.
2) Polly emerges from the kitchen, slides a hand along the wall to the light switch, flicks it.  The light comes on.  She retreats.
3) Polly shuffles through, pyjamas, burst-sofa hair, massaging her stomach.

EXT. RURAL TOWN STREET – DAY

Polly crawls from a lane to the main street.  In the b.g. Will crosses the road toward her back.  She passes under a sign pointing back down the lane: “Health Centre”.

Will pounces on Polly.  She turns, pale, sways, collapses.  He catches her, lifts her to rest on a low wall.  He perches, supporting her.  She reels.

Polly tells Will.  He is shocked, incensed, destroyed.  She weakly calms him.

01/07/2012

Fair

Filed under: What You Wish For-S — Teepwriter @ 16:02

INT. BENACHAR HOUSE HALL – 2013, DAY

Polly hovers at the door, glances to the lit bulb, the clock: 2:10.  She plucks at her cotton dress.  The light goes off.  She grabs the door handle.

EXT. BENACHAR HOUSE – 1863, DAY – CONTINUOUS ACTION

Polly pulls the front door closed, grins, her dress back-dated.  Innes waits by the drive, best clothes, groomed.

EXT. RURAL TOWN STREET – DAY

Clear sky.  Transformed with bunting, signs, flowers, stalls, crowds, doors open.  Church lane heaves with spectators for dancing displays.

Polly is captivated, her eyes sparkle and flit, taking it all in.  Innes beams, leading her through the crowd, keeping her close, acknowledging acquaintances.

DISSOLVE TO:

Innes tugs Polly away from her absorption with crafts.  Harry rushes up, dishevelled, grinning.  He whacks Innes on the shoulder, winks at Polly, darts into the crowd.  Innes shakes his head, glances up at gathering clouds.

EXT. RURAL TOWN CHURCH – EVENING

Polly and Innes laze on lush grass between gravestones, grinning under grey clouds.  He glances to the church.

INNES
I wonder why there is nae bench.

Polly shivers, shuffles up to Innes, kisses his cheek.

POLLY
Are you sure you would not rather be with your friends?

INNES
Ye are havering!  I am certainly too auld for Harry’s ale and antics.

A downpour hits.  Polly and Innes jump up, dash through the graveyard toward the lane.

EXT. INNES’ LODGINGS – EVENING – ESTABLISHING

Stone villa fronted by hedge, gleaming under rain.

INT. INNES’ ROOM – EVENING

Plain, serviceable necessities including a bed, table, storage trunk and bucket, lit by a small, dim window.

SFX: hiss of torrential rain outside.

Innes humbly ushers in Polly, both drenched.  He draws two stools to the table.  She sinks on to one, stretches her legs, wiggles her soaking feet.  He hovers, half gesturing to her dripping dress.

POLLY
Is it alright that I am here?

INNES
I will nae ha’e ye oot in that!  What an end tae the day.

POLLY
Such a perfect day!  But I am mortified not to have money…

INNES
Ye are my guest!  I am mortified that I can nae offer ye anything but bread and tatties.

POLLY
Perfect.

INNES
I ha’e never afore met any yin like ye.  Ye are quite… rare.

Polly takes this as a compliment.

DISSOLVE TO:

Polly and Innes, drier, face obliquely across modest tin plates.  She slumps, pushes her last piece of bread from her plate to Innes’.

SFX: hiss of torrential rain outside.

INNES
Be sure tae tell them next week how sophisticated we are in Scotland.

Polly bursts into laughter, subsides into tears.

POLLY
I had forgotten about leaving.

Lightning momentarily illuminates the room.  Polly jerks her head, wide-eyed, to the window.

SFX: double thunder-clap.

Innes swoops around, grasps Polly’s shoulders.

INNES
Ye are safe here.

POLLY
I should have returned before.

Lightning flashes.  Polly stares at the window.  Innes silently counts.

SFX: thunder-clap.

INNES
It is moving away.  I shall see ye safely back.

Polly whirls around to Innes, furrows her brow in gratitude.

EXT. RURAL TOWN STREET – NIGHT

Dark, torrential rain, pooling water.  Polly and Innes splatter through mud puddles, laughing in excitement.

EXT. BENACHAR HILL TRACK – NIGHT

Dark, steady rain, rivulets among stones.  Polly lags, gasping for breath.  Innes slows, turns, grins.

INNES
I will nae carry ye!

POLLY
Then leave me here!  My lungs are full with water!

Innes allows Polly to catch him.

INNES
We may as well dawdle since we are wet a’ready.

POLLY
How very tactful of you.

Innes smirks.

EXT. BENACHAR BARN – NIGHT

Dark, torrential rain.  Polly and Innes, drenched, stumble down the hill toward the barn.  The rain reaches a crescendo.  Lightning flashes.  He yanks her into the barn, ripping her dress.

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