Scene 1 - The Walk Home

 

EXT. - COUNTRY LANE - NIGHT

FADE IN. 

​

Police SIRENS in the distance. A Car is DRIVING along the tarmac then gravel. The car BRAKES and stops it’s door OPENS and CLOSES.

​

GRACE

(Dryly amused)

We need to stop meeting like this, Charlie. People will talk.

(Pause)

Are you hurt?

​

CHARLIE

(Calmly)

Thankfully not, a bit scraped from the bush but I’ll be alright.

​

GRACE

(Sarcastic)

Well, I’m sure they’ll heal. What’s a brush with death when you’ve had such a warm welcome to town?

 

Grace CROUCHES down slightly, her flashlight SWEEPING over the gravel as she listens.

 

GRACE

(Joking, trying to annoy Charlie)

What happened this time?

​

CHARLIE

(Calmly, but with a hint of frustration)

I was at the Abbey, following up a lead on Jamie Sinclair and the museum. I was walking on the road. A saloon car, dark blue or black drove along the road towards me, from the town. I stepped onto the embankment and it drove at me. I thought it might be a drunk driver or a half-asleep one. Then the car turned around and drove at me again. I had to jump into the bush to avoid it. The only other thing I noticed was that the passenger side light was duller than the drivers side. I couldn’t see who was driving.

​

GRACE

(Professional, detached)

Are you sure you can’t remember any other details?

​

CHARLIE

(Calmly)

I didn’t spot anything else. To be honest I was thinking about the robbery before the car showed up. It wasn’t until it turned around that I started to get worried, it was on top of me before I could think.

​

GRACE

(Inquisitive, but with a sharp edge)

First, the break-in at your hotel, now this. I don’t know, Charlie—starting to look a bit targeted, don’t you think? Any reason someone in our charming little town might want to, I don’t know, see you disappear?

​

CHARLIE

(Calmly, but with a flicker of realisation)

Not harmed, but they might want me gone. There might be more to this museum robbery than it appears. Perhaps the robbery was more professional than I thought.

​

GRACE

(Dryly)

“Professional”? That’s one way to put it. Fort Augustus really rolling out the red carpet for you.

(Pause)

(Poking, suspiciously)

You sure it’s just the robbery, though? No other, let's say, “complicated” entanglements? Maybe involving a certain museum curator?

​

CHARLIE

(Resolutely, composed)

I’m sure. But now I’m even more determined to stay.

​

GRACE

(Smiling thinly, dry tone)

Oh, I bet you are. Nothing like a good murder attempt to keep things interesting.

(Sighs)

Alright, well, I’ll write this up. Try to avoid any more late-night ambushes, will you? 

​

FADE OUT

​

Scene 2 - Meeting Anna

 

EXT. - STREET OUTSIDE THE INN - DAY

AMBIENT town noise. Cars, pedestrians, birds.

 

ANNA

(Cheerfully, happy to see him)

Charlie. How are you getting on?

​

CHARLIE

(Pleasantly surprised)

Anna.

​

ANNA

(Genuinely apologetic)

Sorry about the other day. I managed to catch Elena. She’s distraught but bearing up well. Have you found anything?

​

CHARLIE

(Gently)

I went to the Abbey yesterday to speak to the brothers about Jamie. They don’t seem overly concerned about him being missing. Apparently he’s gone missing before.

​

ANNA

(Worried)

Yes, but this seems different and with the connection to the museum after the robbery. Do you think it’s a coincidence?

​

CHARLIE

(Pausing slightly, then professional)

I don’t know yet. I’ve learned not to assume too much. I try to be open minded. He might be involved but he might not. He seems to have a good character and have been well liked. Spent a lot of time with his mother and the brothers. It would be good to find him to eliminate him from the suspects and to give his mother some piece of mind. Hopefully, it’s only a fun time away he’s having.

​

ANNA

(Sadder, more insistent)

It just doesn’t feel right, though. Jamie ... he's young, but he’s reliable. He wouldn’t just leave like this, not without telling someone. Not after what happened at the museum.

​

CHARLIE

(Gentle, understanding her worry)

I get it. You’ve worked with him closely, haven’t you?

​

ANNA

(Sad, a bit lost in thought)

Yes. He’s smart, curious... a bit too curious at times. I can't shake the feeling that he might have found out something he wasn’t supposed to.

​

CHARLIE

(Thoughtful)

That’s possible. I found a journal in his room. Notes about Aleister Crowley, of all people.

​

ANNA

(Surprised)

Who is Aleister Crowley?

​

CHARLIE

(Playfully)

A magician, apparently.

​

ANNA

(More confused)

A what?

​

CHARLIE

(Cheerfully)

A magician. Started a religion based on the occult. He had a house nearby. Boleskine house. I’m going there now to have a look around. It’s a long shot but it’s all i’ve got at the moment.

​

ANNA

(Cheerful, but distracted)

Good luck with that. Oh, i’ve been talking with the CCTV company and I might have an update for you. Can you pop in later.

​

CHARLIE

(Excited)

Certainly can, as soon as i’m finished at Boleskine.

​

ANNA

(Cheerful)

I’ll see you later, Charlie.

​

CHARLIE

(Cheerful)

See you later, Anna.

​

AMBIENT town noise heightens. Cars, pedestrians, birds. It blends into a soft RUSTLING of leaves, distant LAUGHTER, the LOW HUM of students CHATTERING in the background.

NARRATION as Charlie reminisces.

​

CHARLIE (V.O.)

Stirling. I saw her exactly like this the first time I saw her walking across the bridge over the lake ... Saw her again every day for weeks before I got the courage to speak to her. Once we got talking we couldn’t stop. We’d sit for hours on the grass, talking about books, philosophy, anything. God, she had this laugh... It was all so simple then. I didn’t think I’d see her again. Not like this, anyway.

​

Back to the present, the FAINT BUZZ of a car driving past. AMBIENT town noise. Cars, pedestrians, birds.

FADE OUT 

​

Scene 3 - Boleskine House

 

EXT. - BOLESKINE HOUSE - DAY

AMBIENT country sounds: birds, wind, trees rustling. WALKING on tarmac road, he leaves the road and WALKS across a grass field.

​

CHARLIE

(Professional)

This is voice note 023, for case number FA7638. I am outside Boleskine House. Former residence of Alesteir Crowley. It is a large u-shaped building. Derelict, looks like it has lain empty for quite some time. Windows are all boarded up, the roof is missing on most of the property and it looks like there are trees and bushes growing inside some of the rooms. Let’s look for a way in.

​

WALKING on grass and gravel.

 

CHARLIE

(Professional)

There are many windows but they are all thoroughly boarded up. The property is large and appears to have been all on one level. It must have looked amazing when someone lived here. There is a metal railing all around the building, presumably to keep people out. I would think that, given the clear fire damage to the house, it must be pretty hazardous inside. Hold on

(Pause)

On of the sections of metal railing has been moved, you can see the indentation in the ground where it used to be and there is a gap. The window up at the house looks like someone had wedged it open and then closed it again. Let’s take a closer look.

​

PUSHING the metal fence apart. WALKING on grass and MOVING the wooden board in front of the window.

​

CHARLIE

(Grunting)

Almost, come on you. 

(Grunting)

Phew, it’s not budging. Feels like it’s jammed in. I think i’ll need something to wedge it open. A crowbar should do it. There’s a hardware shop in town i’ll get one and come back.

​

TAPE IS TURNED OFF

​

Scene 3 - Boleskine Cemetery

 

EXT. - BOLESKINE BURIAL GROUND - DAY

AMBIENT nature sounds: birds, gentle wind, trees rustling. CHARLIE walks across the grass. Charlie OPENS the old metal gate and it swings shut behind him, RATTLING as it catches.

​

CHARLIE

(Professionaly)

This is voice note 024, for case number FA7638. I am in Boleskine Cemetery overlooking, the beautiful, Loch Ness. 

(Pausing and contemplating the view)

What an amazing place to rest for eternity. 

(Pause, to consider this)

There are some graves to the left and a lot more to the right. I can see the remnants of an old building, but it’s only a couple of foot of stone left from the original walls and no roof. There are graves on the walls of the old building, it may have been a family tomb at one time. It’s difficult to see the names now. There is one complete building.It’s  about 8 metres long by four wide. With a pitched roof. Looks fully intact.

​

He continues WALKING across the grass path.

 

There is a small window on the long side but i don’t see an entrance. Oh here it is. A wooden door, but will it open.

 

He STOPS at the wooden door, pushing it open but it JAMS on the earth, he SHOVES it more and it unsticks, BANGING as it finally stops.

​

That was easy, looks like it has been open recently. There are marks on the floor from the door. Okay, looking around. Gonna need a torch.

 

CHARLIE REMOVES his rucksack and DIGS in the bag, taking out a torch and SWITCHES it on.

 

Now I can see.

(Pause)

Inside there are stone shelves. On the walls, that cover the length of the building. I know what this is. 

(Pause)

This is a mort house. A place for storing the dead before burial. Keeping the coffins in a building would stop grave robbers from ...

​

A person SCREAMS. Clothes RUSTLING and shoes TURNING on earth as Charlie turns round, rapidly. The recorder moves away from Charlie when he SCREAMS.

 

(Shouting in terror)

What are you doing here?

​

ELENA

(Flustered, voice shaky)

Sorry, sorry. I thought you heard me coming. Oh, Charlie I didn’t mean to scare you like that.

​

CHARLIE

(Quietly, distracted)

I’m sorry, my head is deep in this investigation and I didn’t expect anyone to be here.

​

ELENA

(Calmly, but a hint of unease under the surface)

I was out for a walk to clear my head and saw you come into the cemetery. maybe... I don’t know... maybe you’d found something.

(Pauses, a touch of guilt creeping in)

I didn’t mean to startle you, Charlie.

​

CHARLIE

(Calmly, a bit embarrassed)

It’s fine, I shouldn’t have been so scared. It’s silly really. 

(Beat)

I feel stupid, sorry, Elena. How are you doing?

​

ELENA

(Softly, sadness laced with guilt)

I’m... I’m alright, I suppose.

(A heavy pause)

It’s just hard... not knowing.

(Quieter, as if confessing)

I can’t stop thinking—maybe I missed something, you know? That’s why I’m out walking. Trying to keep myself busy... trying not to let my mind go... to dark places.

​

CHARLIE

(Understanding, gently)

I understand. It can’t be easy.

(Pause)

Look, i’m just about finished here how about I walk you back to town. I need to buy a crowbar.

​

ELENA

(Trying to lighten the mood, a faint forced cheer in her tone)

A crowbar? Planning on breaking in somewhere.

​

CHARLIE

(Calmly)

I wouldn’t like to say but it’s to help find some information. 

(Pause)

The house i’m breaking into. Nobody lives there. I just want to check it out to see if Jamie was ever there.

​

ELENA

(Surprised, concern in her voice)

The only derelict place around here is Boleskine House. You think Jamie was there?

(More to herself)

Why would Jamie go there? It’s been abandoned for years... since the fire.

​

CHARLIE

(Calmly, but with a sense of purpose)

When I visited the abbey to find out what they knew, we found a journal in Jamie’s room. It had... well, some occult notes inside. Some references to Aleister Crowley, Boleskine House.

(Beat)

It’s a long shot, but with the investigation stalling, there aren’t many leads left. The house is boarded up, but there’s one window that’s a bit loose. I figured with a crowbar, I might be able to get inside.

​

ELENA

(With forced cheerfulness, masking deeper worries)

You can borrow mine if you like. I’ve got one in the shed. Never thought I’d need it, but... well, if it helps.

​

CHARLIE

(Grateful, sensing her discomfort)

Thanks, Elena. Can I come by later to pick it up?

​

ELENA

(Still forcing a lighter tone, but it feels more brittle now)

Sure, I’m heading back now, actually. If you walk with me, you can grab it right away.

​

CHARLIE

(Calmly)

Sounds good. Lead the way.

​

They WALK along the gravel path which then changes to grass. AMBIENT nature sounds: birds, wind and trees. 

FADE OUT

​

Scene 5 - The Museum

 

INT. - MUSEUM - DAY

WIND and AMBIENT town noise. The electric door to the museum OPENS and CLOSES as CHARLIE enters and walks across the carpet to the reception desk.

​

CLAIRE

(Polite, cheerful)

Hello Charlie, how are you?

​

CHARLIE

(Friendly)

I’m good, thanks Claire. How are you?

​

CLAIRE

(Polite somewhat playful)

I’m great, do you want to see Anna?

​

CHARLIE

(Friendly)

Yes, please. If she’s available.

​

CLAIRE

(Smiling)

I’ll call through, give me a moment.

(Pause)

​

CLAIRE PICKS up the handset and DIALS, distant RINGING.

 

Hi, Anna. You have a visitor.

(Pause)

It’s Charlie.

(Pause)

Okay, okay.

(Phone hanging up.)

Charlie, she’ll be through in a minute. She’s just finishing up. Would you mind taking a seat?

​

CHARLIE

(Pleasantly)

Sure, Claire. Thanks.

​

Charlie walks across to the seating area and sinks into a chair.

SFX FLASHBACK: Nightclub noises in the distance, getting louder.

NARRATION as Charlie reminisces.

 

CHARLIE (V.O.)

Our second year at Stirling. We drifted apart for a while. Too much work and too many friends groups. We still saw each other regularly but not as regularly as our first year. The night I remember most was the halloween club night, I was with some friends from the rowing team.

 

Nightclub music get louder. People are chatting.

​

CHARLIE

(Shouting over the din)

Hi Anna, you look amazing. 

​

ANNA

(Surprised, unsure)

Oh, hi Charlie ... How are you?

​

CHARLIE

(Friendly, almost excited)

I’m great. I didn’t think I would see you tonight, feels like ages. You look amazing, what an outfit choice, you suit being a witch, a very sexy witch.

​

ANNA

(Polite but nervous)

Erm ... thanks Charlie. I’ve been pretty focused on studying my grades slipped a bit at the end of last year and ...

​

JACK

(Drunk, happy)

Here’s your Gin, Anna ... Oh, hi. Do you know Anna?

​

CHARLIE

(Surprised, taken aback)

Erm ... hi, yeah, I’ve known her for a while, you?

​

ANNA

(Nervous)

This is Jack, Jack this is Charlie, he’s a good friend.

​

JACK

(Drunk, happy)

Nice to meet you Harley. Anna are we heading back in, hit the dance floor.

​

ANNA

(Nervous)

Er ... yeah, yeah. Good to see you Charlie.

​

CHARLIE

(Sad)

Good to see you too.

​

SFX: The music from the nightclub fades.

Door OPENING. FOOTSTEPS on carpet.

 

ANNA

(Cheerful and playful)

Hello, stranger.

​

Charlie stands and they HUG.

 

CHARLIE

(Happy)

How’s your day going?

​

ANNA

(Cheerful)

Great, busy with the new exhibits and trying to organise events. How are you?

​

CHARLIE

(Talking too fast, feeling nervous)

I’m great. I’ve been looking into Jamie’s disappearance. Spoke to the Abbot in the Abbey and got a lead to Boleskine House. Went for a look and found a way in. I borrowed a crowbar from Elena, should make it in tomorrow. I was wondering if the museum had any information on the house? And the occult? I found some writing in Jamie’s room that are worth looking into.

​

ANNA

(Surprised)

That’s quite a twist, but not really surprising with the house. It used to be Alesteir Crowley’s.

​

CHARLIE

(Questioning himself)

Yes, Father Oswald told me a bit but I wonder if there’s more.

​

ANNA

(Excited that she can help)

There’s plenty more. We have some books on the history of the house in the archive. We have a few occult books but you might be better looking in the Abbey Library.

​

CHARLIE

(Concerned he might have to return to the Abbey)

I might go there if I don’t have any luck here but that Brother Ambrose hasn’t warmed to my charm.

​

ANNA

(Playful somewhat flirty)

And you are so charming.

(Pause)

I haven’t met him but father Oswald spoke about him. I think the brother has that affect on everyone.

​

CHARLIE

(Curious)

Do you see a lot of the brother’s from the Abbey?

​

ANNA

(Happy to be talking about the museum)

Only Father Oswald and the Abbot. They come to the museum to talk about the Abbey. Usually in the summer. The tourists love it. Real live Monks, brown robes with a cowl and everything, they ham it up for the tourists. 

(Pause)

Anyway, I need to get back to the paperwork. I’ll take you through to the archive, well our back room, and you can have a look at some of the books.

​

Two people WALKING on carpet. Door OPENING and CLOSING.

 

(Laughing)

So this is our archival hub.

​

CHARLIE

(Sarcastically)

No expense spared.

​

ANNA

(Playing along)

Absolutely, it’s state of the art.

(Laughing)

Okay, here’s the box on Boleskine.

​

LIFTING a box from shelf and PLACING it on a table.

 

Now, let’s see if we can find our occult files.

(Pause)

Okay, ornithology, office filings, occult. Here we go.

​

LIFTING the folder from box and PLACING it on a table.

 

Right then, that should be enough to get you started.

​

CHARLIE

(Surprised by the amount of documents)

That is plenty to be getting on with.

​

ANNA

(Cheerful)

I’ll leave you to it. I’ll be finishing at 6 but i’ll come and say goodbye before i go.

​

CHARLIE

(Playful)

Okay, looking forward to it, Anna.

 

FADE OUT