Jamaica Inn Page #8

MARY’s frightened now, especially with naked CAKEY so close,

the first time she’s ever seen a naked man, and she tries to

escape but they block her path, push CAKEY onto her

MARY:

MEN:

Get off! Get off ME!

‘She asked him for his

coins’n notes so he could pay

his bill; He said he had no

currency but she could have

her fill; He screwed her and

he rooted her until the next

day noon; The only thing she

said to him, ‘I hope you’ll

come again soon’!’

MARY fights hard, knees him in the balls but he yelps and

crumples. She tries to pull herself free but ELI blocks her

ELI:

Don’t want an idiot, eh? So how

about a real man to break you in?

ELI pushes her against the wall, tries to shove his hand up

her dress, fiddling with his fly -

- but a knife thrusts at his throat. JOSS has returned

JOSS:

Get your hands off her.

(ELI freezes)

You need it said two times, Eli? *

JOSS is glowering with rage, utterly terrifying.

ELI backs off and MARY frees herself

.

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-JOSS instantly lashing at ELI and cutting his face - not

badly but a thin red weal appears across his cheek and MARY

recoils.

JOSS glares at ELI, still half of a mind to kill him - but

instead he nods to MARY in brusque concern

JOSS (CONT’D)

You alright? *

He jabs the knife at ELI

JOSS (CONT’D)

Say sorry to the lady.

ELI glowers but the knife glints closer -

Everyone is frozen (except WILL who has gone), MARY barely

daring to breathe

-but suddenly we ANGLE on THOMAS bursting in, breathless

THOMAS:

Joss?!

(sees him)

Joss? We’ve gone to hell! Stout and

the twins’ve been busted!

JOSS doesn’t voice it, but it’s clear from his face and

tension that this is a total disaster, the very last thing he

needs right now.

But his eyes and knife remain on ELI, his anger making him

press the blade closer to ELI’s throat, who is now scared

ELI:

(forces out)

I beg. Your pardon.

JOSS gives ELI a last warning glare, then lowers the knife,

turns his attention to THOMAS -

THOMAS:

They had to sow the crop in the

sea, we got to get it quick.

JOSS:

Harry get the horses

THOMAS:

There’s Revenue all up the coast!

They’s had a tip off, sure as hell.

JOSS nods ELI and CAKEY outside, instantly in command. To

PATIENCE:

.

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JOSS:

Get the grease.

PATIENCE hurries out to the kitchen, and off MARY’s look You

too.

JOSS (CONT’D)

*

MARY:

No. I won’t go JOSS

You’ll come - or stay with Eli. *

The threat is clear. MARY has no choice.

47 EXT. COURTYARD, JAMAICA INN - NIGHT 3 47

A motley collection of the MEN’s horses and a wagon are being

prepared.

PATIENCE scoops out handfuls of grease and smooths them over

the horses, efficient in her work. She glances at MARY *

PATIENCE:

Here. Help me.

(off MARY’s look)

Don’t you give me judgement for

something you don’t understand.

(softens, re the grease)

Stops the Revenue from catching

‘em.

MARY slowly obliges and takes some grease, shocked to see

some of the men are ‘BATSMEN’, wielding stout oak clubs, hand

pistols and flails to beat off anyone who intercepts them.

JOSS glances uneasily at MARY, knows that she’s a risk.

JOSS:

Right.

(to MARY re the clubs)

Make a sound and they’re for you.

PATIENCE and MARY get into the wagon and move off in the

darkness.

.

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48 EXT. MOORS/ROAD - NIGHT 3 48

The distant sea glistens in the moonlight, as the wagon moves

stealthily towards the coast.

49 EXT. CLIFF/BEACH - DAWN - DAY 4 49

The silent party moves over rocks and down dunes, led by

JOSS, moving to where AMBROSE, who stayed with the ‘crop’ to

mark it, is waving.

MARY is last to step onto the soft sand, and for a second,

she stops - gazing at the waves and rocks, shingle along the

shoreline, it’s beautiful.

PATIENCE acts as lookout, back towards the dark moors, while

THOMAS is the ‘spotsman’, pointing out the bladders filled

with feathers that mark where a keg is submerged, held

beneath the waves by bags full of shingle.

*

*

The WOMEN watch as all the rest of the MEN wade out, using

long sticks with hooked ends to snare the ropes, and drag the

barrels home, and as they work JOSS turns to AMBROSE for

information.

*

*

AMBROSE:

(better spoken)

Zephania didn’t show.

HARRY:

Told him not to.

AMBROSE is surprised, but JOSS glances at HARRY as he carries

on fishing out the barrels -

*

*

JOSS:

I thought he might be squealing.

But looks as though it wasn’t him AMBROSE

shifts, uncomfortable, but has to say it -

AMBROSE:

Abe didn’t turn up either, no word,

nothing.

JOSS, HARRY, AMBROSE and THOMAS exchange looks JOSS

Well you better go and drag him out

his bed later then. *

MARY and PATIENCE have been helping to pass bales and kegs up

the beach to be loaded on the wagon, but now there’s a hold

up at the sea -

.

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- MEN struggling with a raft that’s formed of spirit kegs

bound together - can’t quite seem to get it out.

MARY’s tense, glancing around. It’s taking forever and she’s

fearful that they’ll all be caught. And she can see the

problem with the raft so suddenly, on impulse -

-she wades into the sea and helps them, freeing the raft.

JOSS has left the MEN and is now watching her, impressed

despite himself, as MARY helps to pull it up onto the beach.

She catches JOSS’s look and suddenly seems aware of what

she’s doing, his approval of it, and she catches herself and

stops, wishing she hadn’t done it.

The raft is quickly dismantled, revealing ‘half anker’ (4

gallon) barrels roped together in pairs and ‘tubsmen’ CAKEY

and TUBBY, sling them over their shoulders -

- one barrel each on their chest and back, weights cleverly

designed to contain maximum liquid and still be portable,

though it’s hard to breathe as they waddle up the beach.

But JOSS has broken open a bale and brings something from

inside it to MARY, who’s now soaked and cold, though won’t

show it.

He holds it out to her, and nods, re her help with the raft

JOSS (CONT’D)

‘Ere. For you. *

MARY looks but doesn’t take it; PATIENCE hides her jealousy

as she strokes it, excited -

PATIENCE:

Oh Joss! Is it silk?

MARY is uncomfortable at him singling her out above her aunt,

and also at his implied bribe. She looks at him darkly -

MARY:

My Aunt may have it.

As she walks off, PATIENCE takes it, glad that MARY’s gone.

PATIENCE:

Oh thank you Joss. It’s beautiful.

But JOSS watches MARY feeling rebuffed, trying to fathom her.

.

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50 EXT. BODMIN MOOR - DAWN - 4 50 *

The wagon-train races silently back across the moors, black

kelp glistening over the wagon to hide its contents, the

SMUGGLERS looking around in anxiety at the growing daylight

which might betray them.

*

*

*

*

MARY can’t help glancing around, wondering if her ‘ghost’ is

out there, but suddenly JOSS puts an arm out to stay them -

we’re tight on his face as he listens, then beckons them

quickly to hide in the gorse behind a ridge.

The SMUGGLERS silently do as he says, bringing the wagon with

them and just in time as-

a patrol of two DRAGOONS rides over the ridge, headed by

LEGASSIK. They stop almost in front of them-

LEGASSIK:

Can’t be far off. Marks in the

sand’re fresh.

The BATSMEN clasp their weapons tighter, ready to use them,

and MARY pricks fear. We share her POV of the DRAGOONS as she

shifts forward, weighing up whether to call out to them but -

- we’re with JOSS as he sees this, and in a trice his knife

is at her throat - his arms wound round her body, holding her

to him tightly.

MARY stiffens and strains away, his breath heavy in her ear -

but focus is entirely on LEGASSIK as This

way.

LEGASSIK (CONT’D)

They ride off. JOSS relaxes the knife but smiles, quiet as JOSS

See? You did get down in the dirt

with us.

*

*

It’s clearly what he wants, to bring MARY down to his own

level - and she is grateful to move away.

PATIENCE glances at MARY, worried again at JOSS’s sexual

interest in her as they all start to head back in the

direction of Jamaica Inn.

*

*

51 OMITTED 51 *

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