The Thistle Legacy

A Cross-Genre Television Series Pilot Script.

The Thistle Legacy

THE THISTLE LEGACY

PILOT EPISODE

Written by:

Emily A. Dinwiddie

[email protected]

March-August 2019

Copyright (c) 2019 This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of either of the authors.

Summary:

An American woman has always felt out of place in the US, has always felt a pull for Scotland, but she has no idea why. Mysteries surround her childhood, then out of the blue she inherits a Scottish Estate from a late uncle. Here she feels at home for the first time in her life. She uncovers a mystery in the house and surrounding area, and none of the townsfolk will talk about it. What is the secret around this Estate and the area around it and why will no one speak to her about it and how does it connect to her past…

FADE IN EXT - MORNING - DUNWYTHE ESTATE

(TEXT ON SCREEN: SCOTLAND - PRESENT DAY)

(CAMERA POV-DRONE, UP ABOVE HOUSE, WIDE ANGLE-SHOW SCENERY, COMES DOWN AND GOES IN THE OPEN FRONT DOOR)

INT - MORNING - DUNWYTHE ESTATE

(CAMERA POV, THROUGH OTHER ROOMS, THEN STOPS IN THE DOORWAY OF THE LIVING ROOM ON MARCUS)

INT - MORNING - DUNWYTHE ESTATE

The house is furnished with 1800s furniture, beautiful, elaborate, ornate, priceless. Desk, books, chairs, tables, all covered with clean white sheets. House is decorated in rustic lodge style. The sun starts to come through the trees and beams in through the windows as the curtains are being closed. MARCUS MCRORY, an over six foot tall, dark hair, well built, dressed in a navy blue suit, light blue shirt and dark blue striped tie, which has gotten a little dirty, is closing the house up. He has already covered everything in the house except the sofa, end table and two wing chairs. As he goes to put a large sheet over these, MARCUS sees the figure of a large-ish man with his arm over the back of the sofa, tapping his fingers on the table under the sheet, but no sound can be heard. MARCUS quickly removes the sheet.

MARCUS

Ups, sorry, Didnae see

ye there. Whit th'...?

All he sees is a momentary shape of a large man surrounded by some strange sparkles, then nothing, he looks confused as he looks around the room. He then re-covers the sofa and end table, but this time there is nothing there. He finishes covering the wing chairs, closes the curtains, walks out of the living room, he feels something brush past him as he walks into the entryway.

(CAMERA POV ON MARCUS FROM BEHIND THROUGH OPEN FRONT DOORWAY)

MARCUS spins round, again he sees nothing and looks around wondering, he then closes the door and uses the key to lock it. Inside behind the door, there's a swooshing sound, a sound of bagpipes in the distance, a door upstairs opens creakily and slams closed. MARCUS opens the door quickly to see what the noise was and nothing's there.

MARCUS

Ah must be workin' too hard.

MARCUS shakes his head, turns around, walks to his car, looks at the house one more time. He does a double take at a top floor window as the figure of a well built man is standing there for a moment then vanishes all of a sudden when MARCUS looks back.

MARCUS

(to the house)

Dinnae worry, ye’ll no be alone

much langer. Aboot a month,

ah'd say, if that.

The curtain in the top floor window parts as if someone or something is standing there watching/listening.

FADE OUT

OPENING SEQUENCE:

FADE IN:

Open on a Modern Map of the US

then historical map,

then the Dunwythe family tree,

then the UK/Scotland map

and the Coat of Arms,

then end on a drone flyover of the actual Estate.

FADE OUT

FADE IN

(TEXT ON SCREEN: NORTH CAROLINA - PRESENT DAY)

EXT - DAY - KYLE MOBILE HOME

(CAMERA POV ON CARS IN FRONT OF MOBILE HOME IN PARK)

ANNA and GARY come home from work, park in front of the mobile home. GARY unlocks the front door, goes in, grabs the car covers and returns outside. ANNA gets out of her car and they cover the cars in silence. We see Uber and Lyft stickers on the front windscreens of both cars. GARY is fuming, pissed off about something, he's grumbling under his breath and gets louder.

GARY

Stupid fecking drivers,

I hate this country.

ANNA takes a deep breath, but keeps quiet as there's really nothing she can do about it.

INT - DAY - KYLE MOBILE HOME (CAMERA POV FROM FAR KITCHEN CORNER OPPOSITE FRONT DOOR)

Dogs are howling in the back room. GARY unloads his lunch box and puts stuff away. He fills the kettle from the pitcher on the counter and starts the kettle, then fixes the teacups. ANNA puts her stuff on the kitchen table then goes to let the dogs out, so they can run out their energy before she takes them out.

ANNA

I'm coming, doggies, I'm coming

(to GARY) Could you do the

dishes please, while I walk them?

GARY

(Ticked off)

We need a dishwasher!

ANNA walks down the hallway to the back room where the pups are in their pens. GARY begins to begrudgingly do the dishes. We hear a flurry of activity as the pups come racing out, running out their energy, then they go and sit in front of the door to go out.

ANNA

We have a dishwasher,

they're called hands.

ANNA walks over and puts the leads on the dogs, then walk out of the house.

ANNA

(to the pups)

Sheesh, you'd think I'd asked

him to donate a kidney or something.

The dogs look at her, then they walk out the door together. GARY finishes the dishes a very short time later, fills the teacups with the boiling water, stirs them, takes the tea bags out and takes his cup over to the desk, puts it down and sits down in front of his computer. ANNA comes back in with the dogs, takes the leads off them, they run off as she goes in and starts cleaning the kitchen.

ANNA

I suppose you want lunch?

GARY

Can do.

ANNA sighs and starts preparing lunch, retrieving a burger patty from the freezer, a bun from the fridge and one large potato from the basket hanging over the counter. ANNA puts the patty on the griddle, turning the griddle on, the bun on a plate, takes the potato to the trash bin, opens the trash bin, peels the potato, takes it to the cutting board, slices it then puts it in the chip pot and turns the pot on. ANNA then puts a scoop of food in each of the dogs' bowls, then gets out a bowl for herself, gets the baby spinach and broccoli slaw out of the fridge. ANNA places a handful of spinach in the bowl, then shakes some broccoli slaw in it, puts the two bags back in the fridge. ANNA gets a can of tuna out of the cabinet, opens it, drains it, then empties it into her bowl. GARY is fussing incomprehensibly at the computer for being slow. He turns on the TV to UK proxy. ANNA sighs, hating her life.

CUT TO

INT - AFTERNOON - KYLE MOBILE HOME

(CAMERA POV FROM CORNER NEXT TO ANNA'S DESK-TO INCLUDE FRONT DOOR)

ANNA is working on the computer, we can see that she's working on a branch of the family tree. Suddenly, there is a knock at the door, the dogs go nuts, barking and jumping, ANNA gently ushers them into the bedroom and closes the door, they quiet down and she opens the front door to find a FEDEX Delivery Man there.

(CAMERA POV ON DOOR/ANNA/FEDEX)

ANNA

Hi!

FEDEX

Anna Dunwythe?

ANNA

Yes, that's me.

FEDEX

Sign here, please.

FEDEX Delivery Man holds the device out to her. ANNA signs the device then he hands her a large, thick envelope. The FEDEX Delivery Man takes the device and clicks a few buttons, then turns to leave.

FEDEX

Have a good day!

ANNA

You too!

(CAMERA POV OVER ANNA'S SHOULDER ON ENVELOPE)

ANNA looks at the FedEx envelope and focus on the return address on the label: Marcus McRory, Solicitor, Dumfries, Scotland, United Kingdom. GARY turns around and watches ANNA as she lets the dogs back out and she opens the envelope, pulling out the papers. ANNA walks over to the nearest chair and sits down, shock written all over her face.

(CAMERA POV FACING ANNA & GARY)

GARY

Going by your maiden Surname

now? Is there something

you want to tell me?

ANNA

No, I didn't send

myself a package!

GARY

What is it, did you

win the lottery?

ANNA

Well, it can be seen as such.

GARY

What?!

ANNA walks over, grabs the remote off the desk and mutes the noisy television.

ANNA

It's a letter from a

Solicitor in Scotland.

GARY

What have you done now?

ANNA glares/narrows her eyes at him briefly then goes back to read the letter.

ANNA

Seems I had a Great Uncle,

Angus Dunwythe that died.

I had no clue anyone from the

family over there was still alive!

GARY goes back to playing his games.

GARY

(bored)

Oh...

ANNA

And...as I'm the last living

relative he had, I've inherited

the homestead...in...Scotland.

GARY

(incredulous)

Really?

GARY actually stops playing, turns and looks at ANNA.

ANNA

Here, see for yourself.

ANNA hands GARY the letter and he reads it over, while she looks over the rest of the documents which include a copy of the map of the property, a copy of the deed, black & white pictures of what it looks like, a copy of the list of contents of the home and land. ANNA's phone rings, she clicks the Bluetooth earpiece in her ear.

(Split Screen ANNA/MARCUS)

ANNA

Hello?

MARCUS

Hullo, Anna Dunwythe? This

is Marcus McRory. Huv ye

received th' documents, pictures

an' letter regardin' yer

late uncle's estate?

ANNA

Yes, just received them today.

MARCUS

Hae ye hud a chance tae

swatch th' documents ower?

ANNA

Was doing that just now. Swatch?

MARCUS

Swatch, erm, look at it. Guid,

dae ye ken everythin'? Dae ye

hae any questions aboot anythin'?

ANNA

Yes, I think I understand it all.

Where was Uncle Angus in the family tree?

MARCUS

Yer great-grandmother's brither.

When dae ye hink ye'll be abl

e tae come ower an' properly

claeem th' estate?

ANNA

Claim the Estate?

You mean live there?

MARCUS

Aye, it’s yin o’ the

conditions o’ th' inheritance.

ANNA

Ah, one moment, please.

ANNA clicks mute on the phone and turns to GARY.

ANNA

It's the Solicitor, he wants

to know when I or we can

go over and properly claim

the property? We have to live

there, it's part of the

conditions of the inheritance.

GARY

Well, then you can go as soon

as possible. I'll get things

sorted here to move house.

ANNA looks at him, not totally believing that he'll do as he says and clicks unmute.

ANNA

Hello? I can come over as soon

as is needed. My husband will

sort things here so that

we can move house.

MARCUS

Grand! Ther is an open tickit

oan british airways fur ye

at th' local airport, that's

charlotte-dooglas airport, aye?

ANNA

Yes, it is.

MARCUS

Ye hae yer passport?

ANNA

Yes, I do, let me get it

and check its validity.

MARCUS

Arite, ah'll hud.

Gary unmutes the television, so it's noisy again as ANNA goes to her bedroom.

INT - DAY - KYLE BEDROOM

(CAMERA POV FROM CORNER OPPOSITE BEDROOM DOOR)

ANNA opens the top drawer of her dresser, ruffles through papers as she gets her passport out, opens it to the front page.

ANNA

Yes, still valid, 2032

expiration. I'll fly

out tomorrow.

MARCUS

Guid-guid. I'll see ye when

ye lan’ at Heathrow. brin'

th' paperwork Ah sent ye an'

we'll tak tae th' border agency

the gither. Ah dinnae

expect onie problems.

ANNA

Alright, thank you, see you soon.

MARCUS

See ye suin. Ta-ra the noo

ANNA, still in shock, clicks the Bluetooth to hang up the phone. She reaches under the bed, grabs out two rolling suitcases, opens it and starts packing her boots, skirts and blouses. ANNA then grabs her big suitcase out of the closet and starts rolling the clothes from her closet and dresser and puts them in the suitcase. GARY opens the bedroom door and walks into the bedroom.

GARY

That's a lot for just

a couple of days.

ANNA

I figure, the more I pack

and take with, the less will

have to be packed here and sent over.

GARY

Very true.

ANNA

Are you going to be ok

dealing with the pups?

GARY

I'll have to be, won't I.

ANNA

I'll be back as soon as I can,

we'll have to get their

vetting sorted. Try not to kill them.

GARY

No promises.

ANNA just glares at him, not believing he just said that. GARY walks out of the bedroom. ANNA walks out rolling the now full suitcases with her and puts them by the front door.

INT - EVENING - KYLE HOME/KITCHEN

(CAMERA POV FROM KITCHEN CORNER AT HALLWAY)

ANNA starts fixing dinner, small steaks, mashed potatoes, peas and broccoli, then she scoops some dog food into the pup's bowls on the floor next to the fridge. She stops every once in a while, looks out the window, still trying to take in what's happened. ANNA walks over to GARY's desk, gets the tea mugs, takes them over to the counter, fills the kettle from the pitcher of water on the counter, starts the kettle and fixes the mugs. ANNA Gary... GARY has his headphones on, he doesn't hear ANNA so she throws a kitchen towel at him. He takes his headphones off and glares at her.

ANNA

You'll need to call the landlord

let him know we're moving out.

GARY

When should we say we're leaving?

ANNA

Give him thirty days,

as per our lease.

GARY

And what if he asks why?

ANNA

Family emergency?

GARY sighs, nods and goes back to his games.

CUT TO Next day

INT - EARLY MORNING - DUNWYTHE ESTATE LIVING ROOM

(CAMERA POV - LIVING ROOM)

MARCUS uncovers a floor lamp and turns the light on in the living room. MARCUS uncovers the painting above the fireplace mantle it shows a Scotsman (Uncle ANGUS) in full kilt regalia, standing against a beautiful green moor.

MARCUS

Steady oan, fun yer niece.

She's comin' the-day tae sign

the papers. Am oan mah way

tae git ‘er the noo.

MARCUS covers the painting with the sheet. Silence fills the air, then a whoosh as MARCUS turns to leave, the sheet ruffles and a candle falls off the mantle. MARCUS stops, turns to pick it up and it rolls away, out of reach in a crack in the floor/wall. MARCUS shrugs his shoulders, turns and walks out.

CUT TO

INT - EARLY MORNING - KYLE HOME

(CAMERA POV FROM NEXT TO FRONT DOOR TO ENCOMPASS LIVING ROOM

GARY and ANNA sleep in a bit, the dogs bouncing around, playing, trying to wake them up. ANNA comes out of the bedroom dressed in a white blouse, flowered vest and black skirt with black boots. She puts on her rust coloured cloak and takes the pups out for a walk. Meanwhile, GARY is dressed, makes tea, turns on the TV and plays on his phone. ANNA comes back in, fixes the pups' treats, takes the pups and the treats into the back room. We hear her giving them love and hugs, closing the pens and their bedroom door as GARY gets up, walks out the door leaving the suitcases behind. ANNA grabs her tote bag, rolling suitcases and heads out the door. The dogs start barking a bit.

EXT - EARLY MORNING (Still dark) - KYLE HOME

(CAMERA POV ON FRONT OF MOBILE HOME)

ANNA fishes her keys out, locks the door, then takes the suitcases, puts them in the back of GARY's Prius with no help, then gets in. They drive off.

EXT - EARLY MORNING (Still dark) - CHARLOTTE-DOUGLAS AIRPORT

(CAMERA POV ON DEPARTURES/GARY'S PRIUS)

ANNA and GARY arrive at the airport. He gets her baggage out of the car, kisses her, but it's more of a peck then a kiss. GARY then gets back in the car and leaves. ANNA waves goodbye. ANNA Love you too. Hmph. Gotta get back to his games, no doubt. ANNA shakes her head as she turns to enter the airport with her tote bag over her shoulder and is rolling all three suitcases beside her.

INT - MORNING - CHARLOTTE/DOUGLAS AIRPORT

(CAMERA POV-AMERICAN/BRITISH AIRWAYS TICKET COUNTER)

ANNA finds the American/British Airways gate, walks up to the ticket counter and fishes out her passport from her tote bag.

TICKET AGENT

May I help you?

ANNA

I'm Anna Dunwythe. There

should be an open ticket for me?

The TICKET AGENT taps on the keyboard.

TICKET AGENT

Yes, I've found it, an

open-end ticket, to London's

Heathrow airport? You

have your passport?

ANNA

Yes, that's right.

ANNA takes her passport out of her tote bag and hands it to the AGENT.

TICKET AGENT

How many bags?

ANNA

Three checked and one carry-on.

ANNA puts her rolling suitcases on the scale. The Ticket AGENT retrieves the bag tags from the printer under the counter, wraps them around the handles, then she retrieves the boarding pass, folder and other info. The Ticket AGENT folds the paperwork, hands it and the passport back to ANNA.

ANNA

Thank you.

AGENT

I hope you enjoy your flight.

ANNA

Hope so too.

The Ticket AGENT moves the suitcases to the loading conveyor. ANNA walks to security, takes her cloak off, puts it, her shoes and her tote bag on the x-ray conveyor. After her belongings go through the xray, she picks up her things, puts her shoes on and walks to the chairs next to the boarding area. ANNA sits down with her tote bag, takes her cloak and puts it on her lap. She takes the envelope out of her tote bag and starts to peruse the documents.

BOARDING AGENT

(over microphone)

Now boarding, Flight 386

for London - Heathrow.

ANNA

Well, that's me, love you

too. See you soon. Oh, that's

right, he wasn't bothered

to come in.

ANNA puts the papers back in the envelope and back into her tote. She sighs sadly, puts on a smile at the anticipation of this adventure, gets up with her tote bag on her shoulder, her cloak over her arm and heads for the gate. She hands the boarding pass to the ramp agent, then walks down the gangplank onto the plane.

FADE OUT

CUT TO

INT - AFTERNOON - HEATHROW AIRPORT

(CAMERA POV FROM RIGHT SIDE OF GANGPLANK-TO INCLUDE GROUP)

ANNA, tote bag on shoulder, cloak over left arm, comes walking down the gangplank to where a group of people are standing with signs. MARCUS is holding a sign that says her name. ANNA walks over to him, he reaches out to take her hand, she extends hers and he takes and kisses it, they both feel a strong tingle, a warmth and feeling of 'the missing piece', something that they had never felt before with anyone. Then they look at each other, then look at their hands upon release in wonder and awe.

MARCUS

Anna Dunwythe, ah presume?

ANNA

You presume correctly.

MARCUS

Let's gan tae th' border

agency an git 'at sorted first.

ANNA

Alright.

MARCUS and ANNA walk together to the Border Agency queue, ANNA starts to get in line, MARCUS stops her with his words.

MARCUS

Dinnae need tae wait, we’ve

gut special circumstances.

ANNA

Oh? Alright.

MARCUS

Ye hae th' paperwork? It jist

occurred tae me, is yer passport

in yer maiden name or yer merrit name?

ANNA

It's in my maiden name, since

my passport dated from

just before I was married.

ANNA retrieves the paperwork from her tote bag and hands it to him. MARCUS walks to the Express Entrance line, which is empty and ANNA follows him.

BORDER AGENT

May I help you?

MARCUS

Aye, paperwork fur Ms. Dunwythe

fur ancestral visa an' further

claeem 'er inheritance fae 'er

late uncle Angus Dunwythe.

The AGENT flips through the paperwork, nodding, then looks to ANNA.

AGENT

You have your passport?

ANNA

Yes, Sir.

ANNA gets the passport out of her tote bag and hands it to the AGENT. The AGENT opens the passport compares the passport to the paperwork, then stamps the passport, the tops of the pages, then the bottom of the last page of paperwork.

AGENT

Welcome Home, Ms. Dunwythe.

ANNA

Thank you.

ANNA looks at the AGENT and smiles. The AGENT hands ANNA back the paperwork, envelope and passport, which she puts in her tote bag. MARCUS guides ANNA to the exit of the Border Agency towards the Baggage Claim area.

MARCUS

Ye hae luggage?

ANNA

Yes, three rolling suitcases.

They have the same colour

scarf as I'm wearing.

MARCUS and ANNA walk to the baggage claim and she sees her baggage go around, then waits for them to return. When they come back around, ANNA goes to reach for the suitcases, MARCUS puts his arm in front of her to stop her.

MARCUS

Please, allow me.

ANNA

Oh! Alright.

MARCUS grabs the bags off the conveyor belt before she can get to them. ANNA looks at him a little surprised.

ANNA

Thank you. I could have gotten them.

MARCUS

Dinnae worry yersel, whut

kin' o man wud Ah be if

Ah allow’d ye tae git

them? (pause) yer welcome.

ANNA affixes the suitcases in piggyback fashion and rolls them along. MARCUS walks with ANNA out of the airport, opening every door along the way, then hands the valet his ticket along with a folded ten pound note, to retrieve his car, a Range Rover Discovery. When his car arrives, MARCUS opens the door for ANNA so that she can get in, the valet loads her bags into the back of the vehicle, closes the door, then MARCUS gets in and they drive off.

FADE OUT

(Commercial)

FADE IN

INT - DAY - MARCUS' VEHICLE

(CAMERA POV FROM MARCUS' SIDE TO INCLUDE BOTH)

MARCUS looks at ANNA as he drives away from the Airport. Since much of the City of London is closed off and not easily accessible, he drives to a Cafe where they can both get something to drink and eat.

MARCUS

Ms Dunwythe, Ah wood like tae

invite ye tae tea tae refresh

yersel, as Ah am sure the

scran oan th' plane was

raither unimpressife?

ANNA

Mr. McRory, please call me Anna.

I would be pleased to accept

your invitation. You're right the

food, um, scran? was rather lacking.

MARCUS chuckles a bit under his breath at her attempt at the wording. ANNA looks out the windows and MARCUS looks at her briefly and smirks.

FADE OUT

CUT TO

INT - EVENING - BRIDGE HARVESTER CAFE'

(CAMERA POV-LEFT SIDE OF ANNA/MARCUS AT TABLE)

ANNA and MARCUS are sipping on hot tea while waiting for their food to arrive.

MARCUS

Sae, whit dae ye dae

fur work in th' states?

ANNA

I drive for Uber, it's

a Rideshare program.

MARCUS

Ah can see in yer een that

it's naw yer passion.

ANNA

You're right, it's not.

MARCUS

Whit is yer passion 'en?

ANNA

Helping people, I've been an

herbalist for over 30 years.

MARCUS

Ah hink yel fine ye hae plenty

o room fur a herb gairden oan th'

estate. an' anythin' else

ye micht want tae dae.

ANNA

Oh?

MARCUS

It comes wi' a wheen acres.

Th' soil is very fertile.

ANNA

That sounds wonderful.

MARCUS

An' whut aboot yer...husbin?

Whut diz he dae?

ANNA

He does Uber as well, and

will probably do it here

too. He still has his UK

driving license, just needs

the passenger taxi permit.

MARCUS

Soons like a guid plan.

ANNA

And you? Is being a

solicitor your passion?

MARCUS

(nods)

Ah enjoy it.

ANNA

That's not what I asked.

MARCUS

(flushes a bit)

Well, ah'd rether be a Music

teacher an' history tutur or teacher.

ANNA

So what's stopping you?

MARCUS

Och, yer guid, yer naw a

coonsellin' therapist an’

ah, by chance, ur ye?

ANNA

Not practicing. (breath)

My friends do come to me

for help with things

though, for an objective view.

The food comes and the WAITRESS leaves a fresh pot of hot tea, milk and sugar. MARCUS looks at her, they lock eyes briefly, she breaks eye contact because the deja vu feelings are too intense and so they start eating.

ANNA History, you say? What's the history of the Estate, then?

MARCUS looks at her with a 'deer in the headlights' look, curious as to how much to tell her.

MARCUS

Th' hoose was built in 1523

an has bin passed doon throogh

th' generations, stayin' within

th' fowk an noo it's yoors.

ANNA

To keep the property in one

family, wow, that in itself is

quite a feat. What about the

occupations of those who have owned it?

MARCUS

Fairmers, spinners, ship builders,

weavers... an now yoo.

MARCUS smiles at her, they lock eyes for a moment, she almost gets lost in his eyes, and him in hers.

MARCUS

Hud on a meenit.

ANNA

Alright.

(CAMERA POV ON CASHIER/EXIT DOOR)

MARCUS gets up, goes to the cashier, orders something for the rest of the trip, then pays and goes to the loo. ANNA watches him curiously, wondering what the pull is that she feels for him, then she finishes her tea, gets up and goes to the loo. MARCUS walks out while she's in, looks around, then waits by the exit door. She walks out, he smiles brightly, then tones it down, to keep it professional. He wonders what the attraction is that he feels for her, it's deeper than anything physical, but he can't put his finger on it.

MARCUS

We'd better git a shift on,

still hae a lang wiy tae drife.

The WAITRESS walks over with what MARCUS ordered at the cash register, she hands him a carefully wrapped box.

WAITRESS

Here's the extra items

you ordered, Sir.

MARCUS

Cheers.

MARCUS takes the box, opens the door for ANNA and they walk out.

EXT - EVENING - BRIDGE HARVESTER PARKING LOT/MARCUS' CAR

(CAMERA POV ON RESTAURANT/MARCUS' CAR)

MARCUS opens the door for ANNA, she gets in, he closes it and then goes around, puts the food box in the back seat, then gets in the driver's seat.

INT - EVENING - MARCUS' CAR

(CAMERA POV FROM LEFT FRONT OF CAR ON MARCUS/ANNA)

ANNA opens her tote bag, takes out and uses her phone as a flashlight, takes out the envelope, removes the documents and starts looking at them. MARCUS reaches over and turns on the light for her.

ANNA

Won't that bother you?

MARCUS

Naw, it's arite.

ANNA

Thought that was illegal,

and you being a solicitor.

MARCUS

Dinnae fret.

ANNA

Dinnae fret, means don't worry?

MARCUS

Here, you’re catching on.

ANNA smiles and sees him smirk as she turns off her phone flashlight and puts her phone back in her tote bag.

ANNA

It's got...how many rooms?

MARCUS

A wheen bedrooms, a large dining

room, a large scullery an'

a conservatory, which cood

be returned tae a den.

ANNA

Wheen?

MARCUS

Six tae bae exact.

ANNA

A conservatory, who

used it as such?

MARCUS

Yer auld aunt. (breath) Ye must bae

knackert. What say we stiy

at a lodge fur th' nicht?

ANNA

Knackert? Exhausted. Yes,

I am quite. Won't your wife

be worried if you're

not home tonight?

MARCUS

Am naw merrit. Th' inn is

aboot a half-oor away,

that arite wi' ye?

ANNA looks at him, her mouth agape at his response, she closes her mouth and shakes her head slowly, as she puts the documents away and turns off the light.

ANNA

Am quite surprised at that.

As far as the lodging for the

night, you'll get no quarrel

from me. You must be fordone as

well, this is only one of the

legs you've driven today.

MARCUS glances at her in the glow of the dashboard light with a slight smile, she's already falling asleep with her elbow on the door window and her head on her hand. MARCUS sees the next exit is that of the one with the lodging and takes it.

EXT - NIGHT - TRAVELODGE BLYTH

(CAMERA POV ON TRAVELODGE OFFICE/MARCUS' CAR)

MARCUS pulls the car around to the office of the Travelodge and makes an extra effort to get out of the car quietly. He goes in the office for a moment, then returns to the car, and pulls around in front of two hotel room doors. ANNA wakes up, gathers her tote bag, cloak and exits the car after MARCUS opens the door and holds a hand out for her. ANNA takes his hand, looks up at him in curiosity as they both feel a tingle and the warmth, again. ANNA looks at her hand when they release, MARCUS looks at his hand as well. MARCUS closes the passenger door after she is clear of it, opens the back door, retrieves the box, then closes that door. He hands her a key to one of the two hotel rooms he has parked in front of. ANNA looks at the key, and at him in slight surprise.

MARCUS

Ah took th' liberty of gettin'

tway rooms. Am a laddie, an Ah

wudnae dare tae presume

an' only git yin room.

ANNA

Of course, thank you.

See you in the morning.

MARCUS

Gidnite,...Anna.

ANNA takes the key and puts it in the lock, opens the door, glances and smiles at MARCUS, then enters her room. MARCUS stands there in front of his door for a moment, till she closes her door, looks at his hand curiously, then he unlocks his door and goes in.

Split Screen

INT - NIGHT - MARCUS' HOTEL ROOM

(CAMERA POV ON MARCUS AND THE DOOR BETWEEN THEIR ROOMS)

MARCUS walks in, takes his jacket off, tossing it on the chair, puts the key on the table, locks the door then puts his hand on the door between their rooms. He feels a slight tingling sensation and wonders.

MARCUS

(speaks softly)

Ah hope yel feel at hame here.

INT - NIGHT - ANNA'S HOTEL ROOM

(CAMERA ON FRONT DOOR/ANNA FROM OPPOSITE CORNER OF ROOM)

ANNA turns on the light after she locks her door, puts down her tote bag and cloak on the nearest chair, looks at her hand curiously, looks toward Marcus' room as she hears his door open and close. She walks up to the connecting door between their rooms and places her hand on it feeling a slight tingling sensation and she wonders.

*(This happens at the same time as he touches the door on the other side in his room.)

She shakes her head, goes into the bathroom, takes off her shirt and skirt, leaving only her full body slip, comes out, hangs the outer clothes on the hangers, She then goes to the bed and exhaustedly collapses into it and falls asleep.

{DREAM sequence between the two of them.}

ANNA gets brief flashbacks of how GARY treats her especially how he just dumped her at the airport. Then she gets flashbacks of how MARCUS is with her especially when they touch and she can't shake that vision or feeling.

MARCUS gets flashback of her and of when they touch and can't shake that vision either, but they both have a very restful sleep one like they have never had before with a feeling of finally being home and safe a feeling of somehow having knowledge of something (this is subconscious knowing that they are meant for each other, but they do not realize this consciously yet), and wake with a refreshed outlook on things. Subconsciously their reactions change towards each other, but they don't know why, but their souls know.

FADE OUT

(COMMERCIAL)

FADE IN

EXT - MORNING - ANNA/MARCUS' HOTEL ROOMS

(CAMERA POV ON THEIR HOTEL DOORS/WINDOWS)

ANNA takes a fast shower and gets dressed then opens the curtains, looks out the window, puts on her cloak, picks up her tote bag, opens the door quietly, then walks out of the room after turning and checking to see if she's got everything. MARCUS opens his room door quietly, sees her, stops for a moment, then walks out. ANNA doesn't move, just continues to stand there taking in the day, eyes closed, breathing in deeply.

ANNA

Mornin’.

MARCUS

(a bit surprised)

Mornin’. Ah hope ye slept weel.

ANNA

Yes, I did. Thank you and you?

MARCUS

Ah slept like a log thanks.

First time that's happent in years,

actually. Wud ye like some

breakfest, an’ we’ll

continue on oor jurney?

ANNA

That would be wonderful, thank you.

MARCUS walks with ANNA to the lodge's lobby area

INT - MORNING - HOTEL LOBBY

(CAMERA POV FROM CORNER OPPOSITE DOOR ON WHOLE LOBBY)

ANNA and MARCUS walk over to the small buffet set up there. ANNA picks up a plate, serves herself, as does MARCUS. When they walk to an empty table, MARCUS puts his plate down on the table, walks over, holds out the chair for ANNA, he takes off her cloak, hangs it on the back of the chair, she sets her plate down, sits down and puts her tote bag under the table.

ANNA

Mr McRory, you spoil me. Am not

used to being treated so nicely.

I could get used to it way too easily.

MARCUS

Please, caa me Marcus. An that's

sad, ye shoold be treated like

a queen, especially noo,

yer a lady a th' manur.

ANNA blushes and looks at MARCUS as he sits down across from her.

MARCUS

Ah've noticed a lot a Americans

hae problems understandin' mah

accent an' words. How come ye

dont seem tae hae truble?

ANNA

I've always had an ear for linguistics,

but then, I understand most of what

you say, it's only certain words

that need clarification. I suppose

it's part of my bloodline, being

able to understand you.

They eat quickly, MARCUS gets up and clears the dishes as soon as she finishes drinking her tea. ANNA gets up, picks up her cloak and tote bag, hands MARCUS the room key, then he goes to the counter to pay the hotel bill, rejoins her and they walk outside to the car.

EXT - MORNING - HOTEL ROOMS

(CAMERA POV ON MARCUS' CAR - some with drone)

MARCUS remotely unlocks the car doors, opens the door for ANNA, she gets in, he closes the door gently but firmly, then goes around, gets in, starts the car, backs out of the parking space and drives onto the motorway.

CUT TO

INT - MORNING - MARCUS' CAR

(CAMERA POV FROM LEFT FRONT OF CAR ON MARCUS/ANNA)

Anna takes the documents out of her tote and looks them over.

ANNA

How long has the

Estate been empty?

MARCUS

Aboot tway year, took 'at lang

tae fin' ye, erm, an heir.

ANNA

So the utilities are up to date

as far as the building codes?

MARCUS

Och aye, pretty much, thot there

micht be a cuple a things that need

updatin', but nothin' majur.

ANNA looks out the window at the beautiful scenery as it passes by.

ANNA

And the zoning?

MARCUS

My-my, yer foo a

questions this mornin.

ANNA

Sorry, my excitement overwhelms me.

MARCUS smirks and glances at her.

MARCUS

Dinnae be sorry, am glad tae

see yer sae interested

in th' estate.

ANNA

Is any of it fenced off? Am

thinking some sheep

might do well there.

MARCUS

Aye, some o it is. th' Estate

is located near th' motorway, but

th' trees block oot the din. Ther

is th' auld railway station an aw,

an several homesteids nearby.

ANNA sees the scenery change and they cross into Scotland, seeing the sign for Scotland. ANNA rubs her arms and MARCUS notices.

MARCUS

Ur ye cal?

ANNA

No, I just have gooseflesh on

my arms. This area feels familiar

somehow, yet I have never been here.

MARCUS

Very strange indeed...

ANNA stares out the window, remembering her dreams from the past.

ANNA

We're near the Estate, are we not?

MARCUS

Aye, way ur that,

how dae ye ken 'at?

ANNA

I have had dreams about this

area in the past.

MARCUS

Really....?

MARCUS looks at her curiously, then smirks knowingly.

CUT TO

EXT - DAY - MARCUS' CAR

(CAMERA POV FROM BEHIND MARCUS' CAR ON AREA OF ESTATE)

As they approach the Main house, there is a grey hue, almost like a cloud or fog, over the house that is not seen as they get closer to it.

CUT TO

EXT - DAY - DUNWYTHE ESTATE

(CAMERA POV ON FRONT OF ESTATE/MARCUS'CAR)

MARCUS pulls the Discovery in front of the Main House and parks it. The ENTITY moves the curtain in the top room to watch. MARCUS gets out, goes around, opens the door for ANNA, holds his hand out for her, she takes his hand, gets out with her tote bag and cloak, they feel an even stronger tingle and look deep into each other's eyes, like they've been there before, in those exact positions. They pause for a longer moment than expected ...

MARCUS

Ah shood tak th' bags.

ANNA breaks eye contact and closes the door behind her. MARCUS goes to the boot of the car, opens it and gets the luggage out. ANNA looks at the Main House, walks over to the front door, puts her hand flat on it and closes her eyes, feeling the energy of the house. MARCUS sees this as he carries the other luggage to the door, he looks at her curiously as he gets the key out of his pocket, unlocks and opens the door. ANNA opens her eyes, removes her hand and walks in.

INT - DAY - MAIN HOUSE ENTRYWAY

(CAMERA POV FROM LEFT SIDE OF ENTRYWAY)

She sets her tote bag near a covered coat rack/seat, then puts her hand on the wall as she closes her eyes. MARCUS brings the luggage in and sets it down, goes back out and retrieves the box from the restaurant, shuts the front door and takes the box into the kitchen, we hear the refrigerator door open and close, before he returns to move the luggage.

MARCUS

Wood ye like me tae show ye...

(CAMERA POV ON ANNA FROM BEHIND, LEFT DIAGONAL)

ANNA walks off through the house in somewhat of a trance, like she's been there before, exploring all the rooms. MARCUS takes the bags he brought in and takes them to what is now her bedroom. The ENTITY follows ANNA through the rooms, ruffling the curtains occasionally, we hear whooshes and twinkles now and then. ANNA spins round a couple of times, but sees nothing. ANNA finds herself in her bedroom, MARCUS is off trying to find her in other parts of the house.

ANNA

(to no one in particular)

How is it I have never been

here, yet I feel at home...

ANNA looks around the room, uncovering and lightly touching everything, opens the curtains and looks out the window. She is lost in the view as MARCUS walks in behind her, wanting to wrap her in his arms, but doesn't and just rubs his own arms.

MARCUS Ah see ye've fun th' master bedroom, or in this case, th' mistress' bedroom.

ANNA

Marcus, this house, this room,

even the view, it all feels so

familiar, like I've been here before,

lived here before, though I

know I haven't. Everything feels

so right now, I feel like I'm home.

MARCUS

An' here ye go, th' keys

tae yer haem, milady.

MARCUS smiles, walks over and hands her the keys and bows to her. She takes them, looks at him, the keys and tightens her hand around them.

(CAMERA POV FROM OPPOSITE CORNER OF ROOM)

The ENTITY, not making himself known, just watches her, not believing what he's seeing. He feels a definite connection to her. From her, there is an undeniable connection to the house and to him. He reaches out to touch her, but stops himself.

MARCUS

Come downstairs, let's hae some

tea an' some sandwiches. Efter,

we'll gan tae th' grocers

an' git some messages.

MARCUS turns to walk out of the room, ANNA looks around the room, takes a deep breath, then follows. The ENTITY swooshes/twinkles and follows, curiously.

INT - DAY - ESTATE KITCHEN

(CAMERA POV FROM OPPOSITE DOORWAY/ON TABLE)

MARCUS walks in with ANNA behind him, he takes the sheet off the table and chairs, folds it quickly, puts it in the pantry, then holds out the chair for ANNA as she walks over to the table. ANNA How far away is the closest grocery store?

MARCUS

Aboot ten minutes awa'. How

lang will ye be stayin' Afore

ye gan back tae th'

states tae move hoose?

ANNA

No more than a few days, I

should think. Just long enough to

get things set up

properly for our return.

MARCUS

An' 'en, how lang afore

yer back here fur guid?

ANNA

Not sure, maybe a week, depends

on how much Gary has gotten

done while I'm gone.

ANNA sighs and gets a frustrated look on her face. MARCUS notices her reaction, gets a saddened look on his face and tries to hide it, then turns to open the box on the counter, serves the sandwiches he had bought at the restaurant, on napkins they included. He gets the two small bags of crisps, the two cans of soda out and carries it all over to the table, putting one set down in front of her.

MARCUS

Och, I've forgotten somethin'

in th' motur, I'll be reit back.

ANNA

Alright.

MARCUS gets the box, puts it back in the fridge, walks out of the kitchen quickly, out the front door, leaving it open. ANNA gets up and looks through all the cabinets, finds dishes and glasses in them, silverware in the drawer, utensils in another, kitchen towels in another. The ENTITY enters the kitchen, ANNA stands up and puts her hand to the back of her neck to quell the hairs standing up. She turns to look around the kitchen as MARCUS walks back in carrying a manila envelope.

MARCUS

Everythin' arite?

ANNA

Yes, was just looking to

see what's in the cupboards.

MARCUS

Ah need yer signatur

e oan these papers.

ANNA

Oh? What are they?

MARCUS

Th' legal documents fur yer

claeem oan th' property an'

th' bunsens 'at comes wi' it.

ANNA

Bunsens?

MARCUS

Money.

ANNA looks at MARCUS curiously as he fishes the papers out of the envelope, puts them and a pen in front of her, as she sits back down at the table. ANNA looks at the documents and her jaw drops.

ANNA

Oh my! That is a lot!

MARCUS

That's whit was left fur th'

heir, you, fur th' runnin' o

th' hoose an' property.

MARCUS stands next to her and points to where she needs to sign, a couple of times, their hands brush again, sending tingles through their hands and a shiver down their spines, which shows and they look at each other. ANNA signs where he points and then he retrieves the checkbook and debit card out of the envelope, handing them to her. MARCUS takes the papers, putting them back in the envelope as he sits down and they eat the sandwiches and chips. ANNA gets up, goes to a cabinet and gets out the kettle, fills it with water and plugs it in, starting it to boil. She then gets two tea cups out, searches the cabinets, finds a container which has an unopened small bag of sugar in it, opens it, scoops some into the cups. MARCUS watches her curiously as she adeptly moves around the kitchen and smirks.

CUT TO

INT - DAY - TOWN GENERAL STORE

(CAMERA POV ON MARCUS/ANNA)

MARCUS carrying the basket, ANNA is browsing the aisle becoming familiar with what they carry. She picks up some spices: curry, ginger, garlic, oxo beef and chicken bouillon cubes and bisto gravy granules. She gets a bag of flour, a bag of sugar and a box of tea.

MARCUS

How dae ye ken aboot

oxo an' bisto?

ANNA

I have cooked with them for

years, to try to help Gary

to feel at home in the states,

but it never worked.

MARCUS

Aam sorry tae hear 'at.

ANNA

Is the kitchen fully stocked

with pots and pans?

MARCUS

Och aye, it has aw ye

need tae cuik an' bake.

ANNA

Marcus, will you join me for

dinner before I go back

to the states?

MARCUS

It wuds be mah pleasure.

ANNA

Tomorrow night too soon?

MARCUS

'at wud be grand.

They smile at each other as they walk to the dairy section. ANNA picks a container of milk, a package of butter, some cheese and a few containers of yogurt, MARCUS takes them from her, putting them in the basket, their hands occasionally brushing and tingles happen for both. ANNA looks at her hand as they walk to the register.

(CAMERA POV ON REGISTER/ANNA/MARCUS/CASHIER)

The CASHIER looks at MARCUS, recognizes and nods to him, then realizes who ANNA is and gets a worried look on her face. The CASHIER rings up the items.

CASHIER

Twintie thirty fife, please.

ANNA takes the money out of her purse and hands it to the CASHIER, who takes it tentatively and looks at MARCUS, who nods, picks up the bags and walks out. Two other CASHIERS come over to the one that served ANNA and MARCUS, they start whispering and nodding towards ANNA as they leave.

EXT - DAY - GENERAL STORE

(CAMERA POV ON MARCUS AND ANNA)

MARCUS continues walking.

ANNA

Let me carry something.

MARCUS

Naw, i'll dae it, ye shooldnae

huv tae, yer th' lady

o the hoose noo.

ANNA moves in front of him, turns and stops him, looking into his eyes.

ANNA

Marcus, you're my equal,

not my man-servant.

MARCUS

It goes against mah tradition

tae allaw th' lady o th' hoose

tae dae menial tasks sic'

as carry grocery bags.

ANNA looks at him, getting frustrated, her stubborn Scottish blood coming through a bit. MARCUS notices and concedes slightly.

MARCUS

Tell ye whit, i'll gan pit

these in th' motur an'

be reit back.

ANNA

Agreed.

MARCUS walks to the car, puts the items in the boot, then returns to her side as ANNA walks down the lane to the produce stand outside the bakery shoppe. She stops and inhales deeply.

EXT - DAY - BAKERY SHOPPE/PRODUCE STAND

(CAMERA POV ON SHOPPE/STAND/ANNA/MARCUS)

ANNA

Mmm...fresh bread, hints of

cinnamon, butter, brown sugar

and...raspberry? Gotta

be Empire Biscuits!

MARCUS returns to her in time to see and hear her identify the scents. He smiles as she picks up a loaf of bread from the window display, then picks up some bananas, broccoli, apples, asparagus, oranges and potatoes, using her cloak as a holder. MARCUS nips inside and pays for the items, coming back out with a paper bag.

ANNA

Marcus! I would have paid

for it, and gotten the bag.

MARCUS

Nonsense, yer hans ur foo.

MARCUS opens the paper bag and carefully takes the produce from her placing it in the bag, then the bread on top, as he hustles back to the car and puts the items in the boot. ANNA simply shakes her head as she walks on to the butcher's shop just down the lane and walks in with MARCUS right behind her.

INT - DAY - BUTCHER'S SHOPPE

(CAMERA POV FROM DOORWAY ON BUTCHER/ANNA/MARCUS)

The BUTCHER sees ANNA walk in with MARCUS behind her, then realization comes across his face as to who she is. The BUTCHER gets a guarded look on his face.

BUTCHER

Can Ah help ye?

ANNA

(smiles)

I'll take a half pound of the

sirloin beef, a leg of lamb,

and a half pound of chicken breasts.

BUTCHER

Reit awa'.

The BUTCHER starts to work quickly, choosing and preparing her order. ANNA turns to MARCUS after watching the BUTCHER.

ANNA

I know we're not near the coast,

but is there a fish shoppe nearby?

MARCUS

Tway streets ower, actually.

ANNA

Good, I'd love some fresh salmon.

The BUTCHER starts handing the packages of meat to ANNA and MARCUS takes them for her, she looks at him curiously.

MARCUS

Ah'll hud them, ye can pay.

The BUTCHER hands MARCUS the third package. ANNA looks at him with a sideways glance as she gets her change purse out.

BUTCHER

That's ten poun twintie fife.

ANNA fishes out the money and hands it to him. MARCUS smiles to the BUTCHER, who looks warily at the money and at ANNA, then puts it in his register. ANNA notices and watches curious at his expression.

ANNA

Thank you.

BUTCHER

Thank ye, enjoy.

MARCUS and ANNA walk out of the shoppe.

EXT - DAY - BUTCHER SHOPPE/VILLAGE STREET

(CAMERA POV FROM ACROSS THE STREET ON ANNA/MARCUS)

MARCUS walks back to the car, ANNA walks beside him.

ANNA

Marcus, does everyone in the

town not trust strangers.

I've noticed a strange look on

everyone's face I've met. The

grocery cashier, the butcher.

MARCUS

They ur aye wary o new fowk

. They jist hae tae git

used tae ye, that's aw.

They arrive at the car, MARCUS opens the door for ANNA, closes it after she gets in, he puts the meat in the boot, then gets in the driver's seat and drives the car around to the fish shoppe.

MARCUS

Teel ye whut, I'll stiy in

th' motur thes tiie. Ye

lit me ken whut happens.

ANNA smiles, unbuckles the seat belt, gets out and goes into the fish shoppe.

INT - DAY - FISH SHOPPE

(CAMERA POV ON DOOR/COUNTER/DISPLAY)

ANNA walks in, closing the door behind her. The FISHMONGER sees ANNA and smiles.

FISHMONGER

Whit can Ah git fur ye?

ANNA

A pound of salmon please.

FISHMONGER sets right to work getting her order, he wraps it up and hands it to ANNA, who tucks it under her arm.

FISHMONGER

That'll be fife poun.

ANNA fishes the money out of her change purse and hands it to him, smiling.

ANNA

Thank you.

FISHMONGER

Enjoy.

ANNA

Oh, indeed I shall.

ANNA walks out of the shoppe, we see her get back in the car.

INT - DAY - MARCUS' CAR

(CAMERA POV FROM LEFT OF ANNA TO INCLUDE MARCUS)

MARCUS

Well, how did it gan?

ANNA

Went fine. No strange looks.

That seems to happen only when

you're with me. Any idea

why that might be?

MARCUS

Not a scooby.

MARCUS starts the car, puts it in drive and heads back to the Estate.

MARCUS

Will ye be needin'

anythin' else?

ANNA

Not that I can think of.

Is there telephone

service at the house?

MARCUS

Och aye, an' mah number is

oan th' paperwork ye brooght wi'

ye, as weel as oan th' notepad

next tae th' phone.

ANNA

Thank you.

FADE OUT

(COMMERCIAL)

FADE IN

EXT - DAY - ESTATE MAIN HOUSE

(CAMERA POV ON MAIN HOUSE FRONT DOOR AND CAR)

MARCUS pulls up in front of the house, parks it, gets out, ANNA goes ahead and opens her door. MARCUS sighs and goes to the boot, opens it, puts the meat in the bags of items from the general store, takes the package of salmon, puts it in the bag of produce gently, then she walks to the front door with ANNA who has her key out. She unlocks the door, opens it with MARCUS right behind her and he walks past her into the kitchen.

INT - DAY - KITCHEN

(CAMERA POV ON COUNTER FROM NEXT TO REFRIGERATOR)

ANNA takes the food out of her bag and puts it in the appropriate places in the refrigerator. MARCUS takes the food out of his bags, places it all on the counter, takes the paper bags and folds them up, placing them on a chair next to the table. ANNA takes the food off the counter and puts it all away, then turns and watches him with interest. MARCUS sees her watching him.

MARCUS

Whut?

ANNA

Nothing, just watching you

logically putting things away.

MARCUS

Och, reit, thes is yer haem

now. Ye shoods pit hings

whaur ye want them.

ANNA

That's what puzzles me, you

are putting things where

I was going to.

MARCUS and ANNA look at each other curiously, MARCUS looks a bit distracted.

MARCUS

Weel, Ah shood be gan, Ah huv

some paperwork tae catch up oan.

ANNA

Marcus, thank you for everything.

Am sorry for keeping you

away from your work.

MARCUS

Tis mah pleasure, nae worries.

INT - AFTERNOON - ENTRYWAY

(CAMERA POV FROM LEFT FRONT OF CAR/ON MARCUS/HOUSE)

ANNA walks MARCUS to the door. He opens the door, then turns to look at her.

MARCUS

Caa me if ye need anythin'.

ANNA

I will, thank you. Tea at

six tomorrow evening?

MARCUS

Ah look forward tae it.

MARCUS holds out his hand for hers, ANNA holds out her hand and MARCUS takes her hand and kisses it as a knight would. They both feel the tingle, warmth and connection of some kind and she looks curiously at him as he looks up at her as he kisses her hand. They pause, then he releases her hand.

MARCUS

Guid nicht, Anna.

ANNA

Good night, Marcus.

ANNA stands at the door and watches him go to his car, then closes and locks the door.

CUT TO

INT - AFTERNOON - RANGE ROVER DISCOVERY

(CAMERA POV FROM FRONT LEFT OF CAR/ON MARCUS/HOUSE)

MARCUS puts his fingers to his lips, thinking about what he feels when he touches ANNA. He looks up at the window.

MARCUS

Please, dinnae scare 'er aff.

She is th' rightful heir,

in mair ways than yin.

The curtains in the upstairs window fluff as if being blown by a breeze.

CUT TO:

INT - AFTERNOON - ENTRYWAY/KITCHEN

(CAMERA POV DOWN HALLWAY/INCLUDE KITCHEN)

ANNA starts the kettle, sets up her tea cup with a tea bag, sugar, then goes to the fridge, shivers as if feeling a cool breeze before she even opens the fridge. She looks around, then opens the fridge, takes out the milk, pours it into her cup, replaces it in the fridge, then takes out some broccoli, chicken, wild rice, and starts cooking the items.

(CAMERA POV ON ANNA, HOVERING FROM CORNER)

As ANNA is cooking, she starts humming.

ANNA

I need to get some music going,

it's too quiet in here.

I wonder if there's a...

We hear a whoosh and twinkles and a faint sound of bagpipes. Softly, as if in the distance, soft celtic music starts playing and it seems to radiate through the home. ANNA spins around looking for the source of the music.

ANNA

Oh! That's better, and appropriate.

ANNA shrugs her shoulders, enjoying the music she starts dancing to it as she finishes cooking. She turns off the cooker, plates her food, puts the pan in the sink, opens drawers looking for silverware, finds a fork and knife in the second drawer she opens, she takes them out, closes the drawer. She puts the plate on the table, hears the kettle click, pours the hot water into her tea cup, stirs, removes the tea bag and spoon, takes the cup to the table, sits down and eats. ANNA looks around the kitchen deciding where to put the dogs' dishes and food and everything.

ANNA

Hmm...the dog dishes can go over

there. And the food bag can

go in the cabinet there.

ANNA eats her dinner, looks around the kitchen, just soaking it all in, thinking over the past couple of days and shakes her head. She finishes eating, gets up, washes her dishes and as she glances out the window, she spies a building in the trees. She finds a towel in a drawer, dries the dishes, puts them away, turns off the light and walks out the back door towards the building in the trees.

EXT - AFTERNOON - BACK YARD OF MAIN HOUSE

(CAMERA POV ON ANNA)

ANNA walks out, stands just outside the door, takes a deep breath, looks around, then starts walking towards what looks like a large building out by the woods.

(CAMERA POV ON ANNA/MAIN HOUSE)

ANNA ambles toward the large building, we see the ENTITY standing in the upstairs window as the curtain is parted. ANNA walks up to the large doors and pulls one open to let the light of the afternoon in.

INT - AFTERNOON - BARN

(CAMERA POV FROM LOFT ON ANNA/DOOR)

ANNA walks in and gazes through the dust hanging in the air.

ANNA Wow.

INT - LATE AFTERNOON - BARN LOFT

(CAMERA POV LOFT/LADDER)

ANNA curiously checks the whole place out, climbing up the ladder, opening slightly and looking out the hay loft door. She closes it and continues to explore the loft. In a corner, flapping from the slight breeze coming through a small hole in the wall is something that catches her eye. She walks over to it, finds it's a four inch square of fabric, gently pulls it off, inspecting it. She closes it in her hand as if she feels some energy from it, she tucks it just under the strap of her bra, then she climbs back down the ladder. When she reaches the bottom, she gets a bit dizzy, grabbing the wall for support.

ANNA

Whoa, what was that?

ANNA looks down and notices a ribbon behind the inner wall, she reaches down inside and takes hold of the ribbon, carefully bringing it out. A dusty but beautiful royal blue ribbon, she closes her hand around it and walks toward the door.

EXT - EVENING - BARN DOOR

(CAMERA POV ON ANNA/BARN DOOR)

ANNA notices it's getting dark and goes out the door, closing it behind her. She turns around and starts to head for where she thinks the house is, which is the wrong direction (by 90 degrees).

EXT - EVENING - MAIN HOUSE

(CAMERA POV ANNA/MAIN HOUSE/ENTITY'S WINDOW)

The ENTITY is standing in his window watching ANNA go the wrong direction. The ENTITY starts pulsating and glowing, brighter and brighter. ANNA looks and sees the light emanating from the window. ANNA Wait a minute, I didn't leave any lights on. ANNA heads for the house, when she reaches the kitchen door, the glow stops. She looks up at the window, then walks inside, closes and locks the door behind her.

INT - EVENING - KITCHEN/HALLWAY

(CAMERA POV FROM HALLWAY/KITCHEN DOOR)

ANNA turns on the kitchen light, takes a glass out of the cabinet, fills it with some cooled off kettle water, carries it as she walks through, turns on the hall light, then turns the kitchen light off and so on, going to the Main Bedroom.

INT - EVENING - ANNA'S BEDROOM

(CAMERA POV FROM CORNER OF ANNA'S ROOM)

ANNA gently puts the glass of water, piece of tartan fabric and the blue ribbon on her nightstand, then starts unpacking her clothing and putting things away. She plugs in her phone and places it on the nightstand next to the ribbon and fabric. She looks at it, wondering if it will work there.

(CAMERA POV OVER ANNA'S SHOULDER)

She picks it back up, sends a text to Gary, it comes back with No Signal-Not Sent-Retry. She puts it back down next to the ribbon on the nightstand. She stares at the ribbon and fabric for a moment then walks over to the wardrobe.

(CAMERA POV HOVERING/ON ANNA)

ANNA changes carefully into her nightgown, puts her robe on the end of the bed, then climbs in. The ENTITY is hovering in the corner near the wardrobe watching her. She looks around once more, does a double take toward the wardrobe, then turns off the light. The moonlight shines into the room, somewhat lighting it and ANNA is soon asleep.

(CAMERA POV ON ENTITY/ANNA)

The ENTITY manifests itself into a fifty percent opaque human form, hovers next to ANNA's bed, gently reaches out and caresses her forehead. ANNA stirs slightly and enters a dream...

{DREAM}

EXT - DAY - SCOTTISH TOWN MARKET

(CAMERA POV ON ANNA/MARKET)

1500'S, Dumfries, ANNA opens her eyes and is in a town market, booths and carts everywhere with people selling wares, scarves, trinkets. ANNA walks through the street, looking at all the items and people. She looks down at herself and she's dressed in , with a money pouch on her belt. She takes hold of the pouch and feels it's pretty full of coins. She spies a dress shoppe and heads for it.

INT - DAY - DRESS SHOPPE

(CAMERA POV ON WHOLE OF SHOPPE)

ANNA walks into the dress shoppe and there's several women in there, all chatting away about a coming event.

WOMAN 1

Isn't it wonderful, Raine's

carryin' oan th' tradition?

WOMAN 2

Ah hear Raine's gonnae choose

his new lady 'at nicht.

WOMAN 3

We aw hae tae look uir

best, especially 'at nicht.

WOMAN 1

Och, look, there's Raine the noo!

The WOMEN just drop the dresses and race outside. ANNA turns and watches them run out, not quite sure what they were talking about, but see them all posing and trying to get his attention. ANNA walks to the window to see, and takes notice of a gentleman (ALASTAIR RAINE DUNWIDI) walking by, uninterested in the women. A woman, MARGARET walks up to him and tries to talk to him. He ignores her, he turns, looks right at the window where ANNA is looking out, stops for a moment, then turns and continues walking on. ANNA walks to the pegs on the walls and picks up a brown and blue outfit. Pays the storekeeper for it, who rolls it up inside itself, securing it with a ribbon tie and hands it to her. ANNA smiles and walks outside, sees the other women are still scrambling to be noticed by RAINE, who seems to ignore them. She walks the other direction.

EXT - DAY - TOWN MARKET

(CAMERA POV ON ANNA AND MARKET)

ANNA walks on through the market, looking at different things when all of a sudden RAINE bumps into her, almost knocking her over, sending her package flying out of her hands. He takes hold of her arm to keep her from falling, retrieves the package and hands it back to her, their hands brush with a strong tingle and warmth, their eyes meet and there is a definite connection.

RAINE

Och, am so sorry.

ANNA

Nae worries.

RAINE

Ah cannae imagine a package

sae wee is yer frock fur

mah Yule ceilidh...?

The WOMEN from the dress shop inch closer to see the interaction between RAINE and ANNA, all showing faces of jealousy that he is talking to her and not them.

ANNA

Naw, it's naw.

RAINE

Ye did git th' invitation,

reit? Ye ur comin' tae th'

ceilidh, aren’t ye?

ANNA

Ah don’t believe Ah

received an invitation.

RAINE

Well, please allaw me tae

personally invite ye.

RAINE bows to ANNA and takes her hand.

RAINE

Please say yoo'll come.

RAINE looks at ANNA with pleading eyes.

ANNA

Arite, but Ah hae noth...

RAINE

Say nae mair, it will be taken

care ay. Och, whaur ur mah manners,

Ah am Alastair Raine Dunwidi, an' ye ur?

ANNA

Anna...Johnstoone.

RAINE

A pleasure, Miss Johnstoone.

ANNA smiles, and he reciprocates.

RAINE

Th' yule ceilidh is 24

dizember at mah estate.

ANNA

I'll see ye 'en.

RAINE starts walking off, glances back and gazes at ANNA one last time before rounding a corner.

(COMMERCIAL)

INT - EARLY MORNING - ANNA'S BEDROOM

(CAMERA POV ON ANNA IN BED)

ANNA gasps and sits up in bed, looks around, sees the early morning rays of sun peeking through the windows then lays back trying to take it all in. After a few minutes, she gets up, and gets dressed. The phone in the hallway rings, she hurries out the door and down the stairs.

INT - EARLY MORNING - HALLWAY

(CAMERA POV ON HALLWAY/PHONE/ANNA)

ANNA hustles and answers the phone.

ANNA

Hello?

MARCUS

Guid morn, Ah hope Ah didne wake ye?

ANNA

Good morning to you, I've been

up for a little while.

MARCUS

Did ye sleep weel?

ANNA

Yes, quite well, with an...

interesting dream.

MARCUS

Oh? naethin' scary Ah hope.

ANNA

No, just caught me off guard.

Phone rings on MARCUS' side.

MARCUS

Och, I've got a caa comin'

in, see ye the night?

ANNA

Yes, I look forward to it.

MARCUS

Till 'en...

ANNA hangs up the phone, picks it back up, starts to dial GARY, but remembers he's now five hours behind her. She puts the phone down and goes into the kitchen to fix some breakfast.

INT - MORNING - KITCHEN

(CAMERA POV ON ANNA/OUT WINDOW)

She gets out the oatmeal, sets it cooking on the stove on low, fills and starts the kettle, fixes her teacup and stares out the window at the barn. Some deer go trotting through the field between the house and the barn. The kettle clicks and she pours the water into her cup. She takes a spoon out of the drawer and stirs the oatmeal, gets down a bowl and pours the oatmeal into the bowl, puts a small amount of butter into the bowl. She puts the pot into the sink, runs some water in it, finishes fixing her tea, takes the cup and bowl to the table. She sits down and starts eating while thinking about the dream she had.

ANNA

I must remember to ask Marcus about

the town market and the Yule Ceilidh,

maybe I should write it all down.

ANNA gets up, goes into the hallway, grabs the notepad and pen, takes the top page off and brings it into the kitchen, sits back down at the table. She starts writing as the ENTITY swooshes in and hovers in the corner, listening. ANNA feels the breeze and shivers.

ANNA

One, did Dumfries have a town market?

Do they still have it and when?

Two, did my ancestors hold a Yule

Ceilidh in the barn? Three, what other

traditions did the family have? Four,

where are the holiday decorations

stored? Five, oh, I must go find

out where that glow came from last

night to guide me back to the house.

ANNA finishes eating and drinking, takes the dishes to the sink, washes them out quickly.

INT - MORNING - ANNA'S BEDROOM

(CAMERA POV ON ANNA'S BEDROOM/HALLWAY/OUT WINDOW)

She goes upstairs, turns on the light in her bedroom, fixes the curtains open, then goes downstairs and out the back door toward the barn. We see her through the window.

EXT - MORNING - BACK YARD NEAR BARN

(CAMERA POV FROM ANNA TOWARD HOUSE)

ANNA stands at the barn, turns and looks at the house. She starts walking towards the house.

ANNA

Ok, so my room is there.

The other light was...

ANNA counts four windows to the right from her window.

ANNA

One, two, three, four. Hmmm…

what room is that I wonder?

ANNA goes back inside.

INT - MORNING - UPSTAIRS HALLWAY

(CAMERA POV ON ALL BEDROOM DOORS)

ANNA comes up the stairs, points to her bedroom door, then points to the next four to the left from it.

ANNA

One, two, three, four.

ANNA walks over to the fourth door, opens it, goes in.

INT - MORNING - BEDROOM

(CAMERA POV ON ANNA AT WINDOW)

Turns on the light, goes to the window, opens it, leans out carefully and counts the windows from hers.

ANNA

One, two, three, four...five?

Wait a second...if this is

number five, then...

ANNA walks back out into the hallway curiously.

INT - MORNING - HALLWAY ON BEDROOM DOORS

(CAMERA POV ON BEDROOM DOORS/ANNA)

ANNA counts the doors again.

ANNA

One, two, three....four?

ANNA walks to the wall and feels along it.

ANNA

Nothing, no handle, no air passing

through anywhere. Hmmm...

ANNA shrugs.

ANNA

Oh well, a mystery to try to solve

when I return. Perhaps I should

start a journal of the mysteries.

ANNA goes into her room and turns off the light, then goes downstairs to the conservatory/den.

INT - DAY - CONSERVATORY/DEN

(CAMERA POV ON WHOLE OF ROOM)

She goes to the window and open the curtains, letting the sunlight in. She looks around, peeks under the covers on the furniture, then moves one sheet off half of the sofa, sits down and looks around at the empty shelves.

ANNA

I wonder what happened to all

the books that were on those shelves?

And what other furniture was in here?

ANNA leans back, looks around and the ENTITY quietly hovers in a corner, just watching.

CUT TO:

INT - DAY - MARCUS' OFFICE

(CAMERA POV FROM BEHIND MARCUS' DESK ON DOOR)

MARCUS is busy doing paperwork when a few townsfolk push past the secretary and come into his office: MARTIN MACDONALD, RORY MCINTYRE, STUART MCQUARY, LUCY MACKENZIE, BRIDGET MACLACHLAN and they look concerned. MARCUS puts down his pen, closes the notebook and pushes himself back away from the desk as they all rush in and surround the desk.

MARTIN

Marcus, there's bin lights oan

at th' dunwythe hoose,

someone new moved in?

LUCY

Marcus, hae ye resolved th'...

issues... wi' 'at estate yit?

RORY Did ye fin' an heir?

STUART

Ur they gonnae tak' care

of.... yoo ken...?

MARCUS

Hauld oan, hauld oan,

yin at a time, please.

MARCUS stands up to face them, pointing to each of them as he answers their questions.

MARCUS

Tae answer yer questions, yes,

i've fun Angus' heir. we'll hae

tae see, she's only bin in th'

hoose tway days an' yin nicht.

RORY

It's a wumin?!

STUART

Och! she'll be scared

aff afore we ken it!

MARTIN

Things will ne'er be reit

in 'at hoose ever again!

BRIDGET

Whit diz she dae?

MARCUS

'mon 'en, let's gie 'er a chance.

Ah hae a feelin' she'll fix it an'

willnae be scared aff, she doesnae

seem like th' skittish type. She's

an herbalist, an' a coonselor.

They seem slightly impressed by his answers. MARCUS gets a little annoyed with the barrage of questions.

RORY

Whae is she?

LUCY

Where's she fae?

STUART

How is she gonnae fix th'...issue?

BRIDGET

Did ye tell 'er aboot the...

spooky mince 'at happens?

LUCY

How can ye be sae sure she'll fix it?

MARCUS

Her name is anna dunwythe, she's

fae america. 'at remains tae be seen,

but she definitely has th' link,

she knew she was near th' estate

before we got thare. Naw, Ah didn't

tell 'er, but Ah am at 'er beck

an' call, shood she need me.

Not getting the answers they were expecting, grumbling to themselves, the group leaves his office as MARCUS gets up and shuts the door, shaking his head in disbelief.

MARCUS

Noo, Ah wonder whit 'at was aw

aboot. Aiblins they feel a shift

in th' energies aroond th' hoose.

He walks over to his bookshelf, picks up a golden spiral journal notebook, opens it, sees it's empty, closes it and nods. He walks over, sits back down at his desk, opens the drawer, gets out a nice pen, places it on the journal, then goes back to work.

CUT TO

INT - DAY - DUNWYTHE ESTATE ATTIC HALLWAY

(CAMERA POV ON HALLWAY FROM BEHIND ANNA)

ANNA is exploring and finds the attic door, she has some trouble opening it as it sticks. Finally, it opens with a whoosh, she climbs the steps, finds some dust on the handrail.

INT - DAY - ATTIC

(CAMERA POV ON STAIRS/ATTIC)

ANNA brushes off her hands, looks around and starts investigating. She opens wardrobes, finds boxes of books from the den and starts taking them down to the bottom of the stairs, then returns to find more. She finishes taking the three boxes of books out to the hallway, closes the door behind her. She looks at the boxes, then stacks two and makes it down the stairs and into the den with the first set.

INT - DAY - CONSERVATORY/DEN

(CAMERA POV ON HALLWAY/STAIRS/DEN)

ANNA makes it down, puts the boxes in a corner, then goes for the next two. She brings the second set down the stairs, almost trips dumping both boxes and the ENTITY rushes to her aid, unseen by her, rights the boxes and keeps her from falling. She manages to make it the rest of the way down the stairs. She turns to look at the stairs, tries to figure out what made her trip and what stopped her.

INT - DAY - CONSERVATORY/DEN

(CAMERA POV ON ANNA/SHELVES)

Not finding anything, she shrugs, walks into the den and starts unpacking the books, putting them in alphabetical order. The ENTITY hovers in the corner for a bit, then when she turns from the shelves to get more books, rearranges a couple quickly. She turns back to the shelves and discovers the rearrangement.

ANNA

What the...?

ANNA sets the books from her hands on another shelf, fixes the rearranged ones, then puts the newly fetched ones on the shelf. When she turns to get more, the ENTITY rearranges a couple more. She turns to look at the books and shakes her head as she fixes them. She starts humming, then music starts softly, just as it had the day before. She nods in approval as she puts the last of the books on the shelf. She takes the boxes, breaks them down and puts them by the back door. She walks over to the kitchen table, to the list she had started earlier in the day and writes more.

ANNA

Hmm, more questions for Marcus.

Who do I contact for rubbish removal?

Mowing and landscape care?

ANNA goes in her tote bag on the chair and gets out the documents MARCUS had sent. She fishes out the map of the property and spreads it out on the table. She looks it over, trying to figure out where the boundary is and what markers are there.

EXT - AFTERNOON - DUNWYTHE ESTATE

(CAMERA POV ON FRONT OF HOUSE/DRIVEWAY)

MARCUS pulls up in his Jaguar, gets out of the car and looks at the house.

MARCUS

Hmm...less ay a grey

hue abit th' place.

MARCUS reaches into the passenger seat, takes out the journal, pen, and a small bottle of whisky then closes the door. He walks up to the front door of the house and knocks.

CUT TO

INT - AFTERNOON - KITCHEN

(CAMERA POV ON ANNA/TABLE)

ANNA is so engrossed in studying the map that she jumps when she hears a knocking on the door. She goes to the door.

(CAMERA POV ON HALLWAY/FRONT DOOR FROM KITCHEN)

ANNA opens the door to find MARCUS standing there with a pleased look on his face.

ANNA

Marcus?!

MARCUS

Anna, Ah ken aam early, but

Ah wondered if ye hud onie mair

questions abit th' property,

an' Ah brooght thes.

MARCUS gently holds out the journal, pen and whisky bottle for her. ANNA takes the journal and pen from him.

ANNA

No, no, you're fine. You're

always welcome here. A journal?

MARCUS

It's bin a lang tradition ay those

whae stiy in th' hoose tae keep

a jurnal ay th' daily goings-on.

ANNA

How curious, I was just thinking

about that earlier. I do have a short

list of questions to ask you.

ANNA steps back and MARCUS walks in.

ANNA

I was just studying the property

map in the kitchen, go on through.

MARCUS smiles at her and walks on in to the kitchen as she shuts the door behind him.

MARCUS

Ye also hud said somethin' aboot

a dream 'at was unsettlin'? aam

aw ears, if yoo'd like

tae tak aboot it.

ANNA

Oh, I'm sure it was just because

it was the first night in a um

....new house? Or rather,

new to me house.

INT - AFTERNOON - KITCHEN

(CAMERA POV ON WHOLE OF KITCHEN)

MARCUS

Shall Ah?

MARCUS holds the bottle out to her to see as ANNA places the journal and pen on the table, then folds up the property map.

ANNA

Sure.

ANNA walks over to him, they both reach for the cabinet where the glasses are kept and their hands touch, both feeling tingles, warmth and a feeling of 'coming home', MARCUS removes his hand. They look at each other, wondering what that connection is, then break eye contact.

MARCUS

Oh, aam sorry, gan aheid.

He opens the bottle carefully as she opens the cabinet, gets the glasses down, closes the cabinet door and looks at him. He pours a bit into the glasses and closes the bottle up. He hands one glass to her as he takes the other and proposes a toast.

MARCUS

May ye be canty in yer homecomin'.

ANNA

To family ties and newfound friends.

They clink glasses, drink then sit down at the table.

ANNA

What is your connection to the Estate?

MARCUS

Mah faither worked fur yer Uncle

Angus until he died. Ah worked fur

yer uncle until his death. 'en

Ah looked efter th' property.

ANNA

So as far as the rubbish

removal and lawn care?

MARCUS Ah wrote th' contacts oan th' page below mah number by th' phone.

ANNA

Ah, so that's what that said.

ANNA smirks then giggles and drinks as MARCUS chuckles.

MARCUS

Ye mentioned somethin' aboot th'

den bein' turned intae a conservatory?

ANNA

Yes, I'd like to turn it back

into a den. I believe I saw

the furniture for it in the attic?

MARCUS

Ah can help ye bring it

back doon, if ye like.

ANNA

I don't have time now, perhaps when

I return. Oh, and I'll give you

the keys to hold while I'm gone,

in case of an emergency, if that's ok?

MARCUS

Arite, can dae. Whit other

questions dae ye huv?

ANNA They have to do with the dream I had. I was walking in a town market and a man named Alastair Raine Dunwidi bumped into me and invited me to the Yule Ceilidh.

MARCUS

Ahhhh, th' Yule Ceilidh...

MARCUS sits back, smiling as he remembers the Yule Ceilidhs he attended.

ANNA

I take it by your response

it was a popular event?

MARCUS

Oh aye! Aw th' townsfolk cam it

tae it tay. The Ceilidhs stopped

when yer uncle died.

ANNA

Oh, that's a shame. (pause) Well...

ANNA gets a bright look on her face as she thinks about restarting the Ceilidhs while taking a drink of whisky.

MARCUS

Hud on, ye need tae git settled

first efter ye move hoose. 'en

we can discuss restartin' th'

yule ceilidh if ye wish.

ANNA

You're right, although I already

feel settled. It's strange that

I feel so at home here already

and it's only been two days.

ANNA looks at the sun's position and gets up to start dinner, taking out the salmon, asparagus and everything she needs and begins to cook. MARCUS watches her with interest and a slight smirk. He gets up and pours both of them more whisky. He then gets out two plates and the appropriate silverware, sets the plates next to the stove and setting the table with the silverware. He fills the kettle and starts it, fixing the teacups.

ANNA

How much do you think it will cost

to have fencing put up around

the perimeter of the property?

MARCUS

Ah dinnae ken, Ah can look intae

it fur ye? Fur whit type ay beast?

ANNA

A few sheep and maybe a cow or two.

MARCUS

Whit type ay fencin'?

ANNA

Wood post and rail with

mesh on the inside?

MARCUS walks into the hallway, takes a sheet of paper off the notepad next to the phone. He comes back into the kitchen, sits down, picks up the pen that was there and makes his own list of things to do.

MARCUS

(to himself)

Green caur, post an' rail fencing,

furniture, sheep, cows.

(to ANNA) Will ye be needin' a

ride haem, when ye return frae th' states?

ANNA

Most likely, may I text you for

an estimated time of arrival home here?

ANNA turns off the stove, plates the food, puts the pans in the sink, runs some water in them, then takes the plates to the table and sits down. MARCUS pours the hot water into the teacups, stirs, removes the bags and takes the cups to the table as well.

MARCUS

Aye of course. Wood be mair tha

n happy tae come git ye again,

if ye like? Will ye be needin'

a movin' van when ye return?

ANNA

No, I don't believe so. I'll

start shipping some of our belongings

over as soon as I return there.

MARCUS

Arite, i'll keep an yak it fur them.

ANNA

I'll set it up so you know when

the packages will be arriving

here, if that's alright with you.

MARCUS

'at wood be fine wi' me. Mmmm,

oh, thes is guid. Dae ye

aye cuik like thes?

ANNA

Yes, this is normal for me.

It will be nice to eat at a

dining table for meals again.

MARCUS

Oh? ye dinnae hae a dinin' table there?

ANNA

Well, we do, but he doesn't use it.

He prefers to eat at his desk with

his computer, I eat at the table though.

MARCUS just shakes his head sadly, they finish eating and he clears the dishes to the sink, washes them and the pans that were used. ANNA finds a dish towel and dries them, putting them into the cabinet, she casts a few sideways glances at MARCUS curiously. She folds the towel, placing it on the counter as MARCUS turns off the water.

ANNA

Thank you.

MARCUS

Mah pleasure.

ANNA

Do you know where the decorations

for the Yule Ceilidh are?

MARCUS

Oh aye, they're in th' attic,

wood ye like me tae show ye?

ANNA

Please.

MARCUS leads the way with ANNA right behind him.

FADE OUT

(COMMERCIAL)

INT - AFTERNOON - ATTIC

(CAMERA POV ON ATTIC/DOOR)

MARCUS and ANNA emerge at the top of the attic stairs, he turns on the light looks around and starts walking toward a back corner. He opens a top crate and starts bringing the decorations out, her eyes light up. Crocheted garland, lanterns, needlepoint ornaments, lace bows.

ANNA

Oh they're beautiful. Will anything

need to be bought for this year?

MARCUS

Only th' bauble ye buy fur thes year.

We aye took huir uv a guid caur ay

them. Each year a new

decoration wood be displayed.

ANNA

Hmmm...

MARCUS gently puts the decorations back in the first crate, moves it off the stack and opens the second crate, Very gently taking the decorations out and handing them to ANNA.

MARCUS

An' these ur some ay th'

annual decorations.

ANNA

Oh my... how far back in years

does the annual decoration go?

MARCUS thinks for a moment, then goes to another very ornate box nearby, brings it over and opens it, revealing it only to ANNA (camera cannot see it), who gasps.

ANNA

Wow...

MARCUS

Thes is th' first yin, fae....

ANNA reaches in and moves something in the box, reading off it.

ANNA

Sixteen twenty?

MARCUS

Th' year tags waur added tae

maintain the timeline an' tradition.

Th' baubles waur first created in

lauscha, germany, by Hans Greiner,

whae produced garlands ay glass

beids an' tin figures 'at

cood be hung on trees.

ANNA

Oh my...I have quite a high level

to reach with my ornament, don't I?

MARCUS

Naw pure. Every bauble was picked fur

its uniqueness An' 'at ay th' purchaser.

aam sure whatever bauble ye pick fur

thes year will be jist as special

as th' others afore it.

ANNA smiles at MARCUS thoughtfully as he puts the box back. They put the decorations back and look around some more. ANNA notices the covered desk and chairs for the den. She moves the sheet just a bit.

ANNA

Are these the desk and

chairs for the den?

MARCUS

Oh aye.

ANNA

Good, OH, they are gorgeous,

they don't look in too

bad a condition either.

ANNA covers them back up and looks around more, she reaches up and starts to move a sheet covering a painting that is hanging on the wall, MARCUS sees it's about to fall on her and grabs it at the same time she grabs it as well, their hands fully touch, tingles, warmth, 'the missing link', deep connection.

MARCUS

Cannie!

ANNA

Whoops! Thank you.

They look at each other, eyes locked. ANNA, knowing she could easily fall for him, breaks the eye contact as he sets it back safely on the wall.

MARCUS

Ye still plannin' on leavin' in

th' morn tae return tae th' states?

ANNA

As much as I hate to, I must.

But the sooner I go, the sooner

I will return here, home.

MARCUS walks to the steps leading down, ANNA follows.

MARCUS

'en Ah wood be honoored tae tak' ye tae

heathraw. Caa me when yer ready?

ANNA

Alright.

MARCUS walks down first, ANNA turns off the light and follows him down.

INT - EVENING - ENTRYWAY

(CAMERA POV ON FRONT DOOR)

MARCUS walks to the door, ANNA follows as he opens it.

ANNA

I'm thinking ten o'clock in the

morning to leave here?

Does that sound good?

MARCUS

That's grand. I'll be here jist

afore ten tae git ye.

sleep weel, milady.

MARCUS smiles at her, ANNA reciprocates as he walks out.

ANNA

And you, see you in the morning.

MARCUS turns to look at her one last time, then gets in his car, starts it and drives off. ANNA closes the door then walks over to the phone as the clock in the den chimes. She picks up the receiver and dials GARY.

ANNA

Hello love. How are you? (pause)

No, everything's fine, just been

busy getting things ready. (pause)

I'll be coming home tomorrow.

What still needs to be done? (pause, sighs)

Really? (pause) Yes, the address to

start sending the boxes of our

belongings to is Dunwythe House,

DG11 2RY. (pause) The Solicitor

will make sure the parcels get put

inside the house until we return. (pause)

Alright, see you soon. Love...

We hear the phone click from GARY's side and ANNA looks at the phone then puts the receiver down.

ANNA

Hmph...

The ENTITY hovers in the hallway corner, he notices her mood has depressed slightly. Cheery music starts in the distance and she smiles and goes into the kitchen.

INT - EVENING - KITCHEN

(CAMERA POV ON KITCHEN/ANNA)

ANNA goes into the cabinet, gets out a glass, rinses it out then fills it with some water and drinks it down. She puts it on the side of the sink, checks the back door, locks it, then walks out of the kitchen as she turns off the light. She locks the front door, turns off the hallway light and heads up the stairs.

CUT TO

INT - EVENING - ANNA'S BEDROOM

(CAMERA POV ON ANNA/BEDROOM DOOR)

ANNA walks in, turns on the light as she walks over to her bed, picks up her nightgown, robe and starts to walk back out the door. The ENTITY hovers just beside the bedroom door and ANNA feels...something. She turns and looks directly at/through the ENTITY, but doesn't see it. She reaches her hand out and the ENTITY twinkles and moves quickly to another part of the room. ANNA shrugs and heads out the door, down the hallway to the bathroom, turning on the shower. The ENTITY glides over to the bed, hovers over it, then goes over and picks up the ribbon from the night stand. ANNA turns off the shower, comes back into the bedroom to see the ribbon fall to the floor as the ENTITY drops it and glides over next to the wardrobe.

ANNA

What the...? Must be a draft.

ANNA walks over, picks up the ribbon, puts it back on the nightstand, puts her clothes on the chair, takes off her robe, places it on the footboard of the bed and climbs into bed. She turns out the light, snuggles down under the covers and drifts off to sleep. The ENTITY moves closer to the bed and hovers next to it for quite a long time.

{DREAM}

INT - LATE AFTERNOON - BARN

(CAMERA POV ON WHOLE OF BARN)

It's the 1500s. The barn is decorated for Yule, garland and candles in sconces, Yule log in a fireplace, Yule tree decorated in the corner, presents underneath the tree, medieval music is playing, people are dancing and drinking punch. ANNA is dressed in a beautiful blue dress and stands off to one side, ALASTAIR RAINE DUNWIDI walks over to her and holds out his hand for hers.

RAINE

May Ah hae thes dance?

ANNA

It wood be mah pleasure.

They join in the Scottish Country Dance.

(CAMERA POV ON ANNA/RAINE/FROM BEHIND MARGARET DUNCANSONE)

MARGARET DUNCANSONE is watching RAINE and ANNA, clenching her fists in hatred. When the song is over, RAINE offers his arm to ANNA, they walk to the punch bowl. RAINE can't take his eyes off ANNA.

RAINE

Tway please.

MARGARET pours two offerings, one of which she manages to put a powder in before handing it to ANNA. RAINE sees this and knocks the drink out of ANNA's hand and all over MARGARET's dress, the powder causing a brown stain on her yellow dress.

RAINE

Margarit! how daur ye! Yer

days ay seekin' revenge oan me

ur ower! Yer ne'er tae set fit

oan mah property ur near

mah fowk again! lae, noo!

RAINE points at MARGARET angrily, she cries and runs out of the barn.

MARGARET

Thes isn't ower Raine!

INT - MIDNIGHT - ANNA'S BEDROOM

(CAMERA POV ON ANNA/BED/WINDOW)

ANNA gasps and sit straight up in bed, turns on the light and looks around at the room. She grabs her robe, puts it on and walks to the window, looking out as the moonlight causes the barn and the field between the house and barn to glow. ANNA stares at the barn wondering what she just witnessed in her dream.

INT - MIDNIGHT - MARCUS' BEDROOM

(CAMERA POV ON MARCUS/BED)

MARCUS sits straight up in bed as if he felt ANNA's terror. Reaching for the phone, wondering if he should call her, then looks at the clock, midnight, he decides not to, out of courtesy. He lies back down and stares at the ceiling, he offers a prayer,

MARCUS

Ach... mi silver quine, shinin doon,

th' a tremble ay fear in mah sool.

mi bonnie lass, be fast asleep,

whilst danger near 'er dost roil.

keep 'er safe, mi quine moon,

fur in truth, withit 'er near,

mi sool wood turn tae ashes haur,

an Ah wood cease tae be.

CUT TO

INT - DAY - DUNWYTHE ESTATE LIVING ROOM

(CAMERA POV ON ANNA/FURNITURE)

ANNA is uncovering and folding the sheets that were covering the furniture. MARCUS knocks on the door.

ANNA

Come in Marcus!

MARCUS opens the door, enters and walks into the room where ANNA is.

MARCUS

Guid morn!

ANNA

Good morn to you!

This is beautiful furniture.

MARCUS

Fae th' eighteen hundreds.

ANNA walks over to the fireplace, MARCUS walks over as well and helps her remove the sheet over the picture. ANNA's jaw drops and she's frozen in place as she looks at a picture of ALASTAIR RAINE DUNWIDI. MARCUS' jaw drops as well.

MARCUS

Whut's wrang?

ANNA

I've...seen this man before, in

dreams I've had. Last night as well.

In fact, a lot of what's in and

around this house has appeared in

dreams I've had over the years.

MARCUS

Really...?

MARCUS does a double take, as the picture isn't the same that he covered.

MARCUS

That's curioos. that's naw th'

same picture 'at Ah covered

afore ye cam ower.

ANNA and MARCUS look at each other, confused. ANNA notices a scroll of parchment paper come rolling out of the hole where the candle had rolled into when MARCUS had covered the painting. ANNA picks it up, unrolls it carefully and hands it to MARCUS, who reads it out loud to her.

MARCUS

Welcome haem. noo 'at yev claimed

yer rightful haem, th' fun can begin.

th' lady o th' hoose shood be dressed

as such, gan an' fin' yer heritage.

ANNA looks at MARCUS curiously as he hands her back the scroll.

FADE OUT

END OF PILOT EPISODE

fact or fiction
Emily A Dinwiddie
Emily A Dinwiddie
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Emily A Dinwiddie

Am a 30+ year experienced script/screenplay/storyline writer. Writing is my passion. I write poetry when my Muse gives it. My guardian burned my creative writings in '87, but I kept going anyway. 

My work is registered with WGA-E.


See all posts by Emily A Dinwiddie