The Body Snatcher Page #28

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SHOT - Georgina. She is listening intently. The hoof beats

are right underneath her at the base of the castle wall. She

tries to look over the parapet; cannot. She calls out.

GEORGINA:

Mommie! Mommie!

FULL SHOT - Mrs. Marsh and Fettes. They are talking intently

together. Mrs. Marsh is holding her parasol in such a way

that it is between her and Georgina. Georgina's call comes

very faintly over their conversation. Neither of then turns

toward the child.

MRS. MARSH

I think it was the pain of the

operation more than anything else --

she's afraid that if she stands the

pain will come again. Nothing Dr.

MacFarlane could ever do would take

that out of her mind.

CLOSE SHOT - Georgina. The hoof beats are beginning to

recede. There is a slight wind blowing. She turns around to

look at her mother and calls again.

GEORGINA:

Mommie! Mommie!

There is no answer. She turns her head back toward the

battlements; tries to peer over them and fails. Then, placing

a hand on each arm of her little chair, she lifts herself to

a sort of standing-sitting position. She tries to look over

the wall again. Again she fails. She turns to call to her

mother.

GEORGINA (CONT'D)

Mommie -- the white horse --

I'm sure it's the white horse --

MED. CLOSE SHOT - Fettes and Mrs. Marsh.

FETTES:

Even so, I could never think of

going on -- I've got to find some

other profession.

MRS. MARSH

It is a pity.

SHOT - Georgina. She has gotten herself to the same semi

erect position she had been before and now in her desperate

effort to see over the battlement, she suddenly straightens

her knees; her hands lift off the arms of the chair. Without

knowing it, she is standing. She tries again to look over the

wall and again the height and distance is too much for her.

Completely unconscious of what she is doing, she takes a

forward step and from this vantage point she can look over

the wall. She turns back with disappointment on her face. She

calls to her mother.

GEORGINA:

Mommie! It was another horse.

CLOSE FULL SHOT -- Fettes and Mrs. Marsh with the child in

the b.g. They see the child standing. Mrs. Marsh makes a

wordless exclamation of joy. She doesn't even dare to move

for fear this might be a vision.

ANOTHER ANGLE -- Fettes, Mrs. Harsh and Georgina. Mrs. Marsh

and Fettes run in. CLOSE FULL SHOT-- of the three.

FETTES:

You're standing, Georgina.

The child looks down, sees that she is standing and almost

instantly grabs at the chair for support. Very gently Fettes

pulls it away.

FETTES (CONT'D)

You'll not need that again,

Georgina.

GEORGINA:

(excited and almost in

tears)

I wanted to see the white horse --

Fettes and Mrs. Marsh kneel down close to the child. Mrs.

Marsh takes her into her arms. Fettes rises to his feet, his

face is full of enthusiasm and excitement. His voice trembles

with the keenness of accomplishment.

FETTES:

(wildly excited)

I've got to tell Dr. MacFarlane.

I've got to tell him.

DISSOLVE:

INT. MACFARLANE'S HALLWAY -- DAY

There is the ringing of a doorbell. Meg comes down the

stairs. She crosses the hall and opens the door. Fettes

stands there. Meg holds the door open for him to enter and

closes it behind him.

FETTES:

Mistress Cameron -- you'll not

believe it, but the child has

walked -- stood and walked. I must

tell Dr. MacFarlane.

He starts forward as if to go on into the study. Meg stops

him with her hand on his arm.

MEG:

He's not home.

FETTES:

Where can I find him?

MEG:

You don't went to find him. Your

news will keep until I tell him.

FETTES:

But I must tell him -- he must know

of it. Please -- tell me where he

is.

MEG:

There's no standing between a fool

and his folly. If you must babble

your news to him he's at the

Fisherman's Tryst. It's the inn at

Pennycuik. You can use MacFarlane's

horse and gig to get there. He'll

welcome the ride back.

FETTES:

(already starting to turn;

still very much excited)

At Pennycuik. I know the inn. I

can be there in an hour.

MEG:

(bitterly)

And back with MacFarlane and all

that he stands for the next day.

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