Half Night script

(orchestral music playing)

Toy: Time for action!

Gangrene, you slimeball!

Hands up!

Toy: Gangrene, you slimeball!

- HEY, THOMAS. - HI, BRIAN.

- HOW WAS SCHOOL, EH? - FINE.

(softly) GOOD.

TIME'S UP, YOU SLIMEBALL.

- LET'S GO OUTSIDE. - I'M ALMOST DONE.

COME ON, MOM, YOU PROMISED.

I KNOW AND I AM A TERRIBLE MOTHER.

- YOU'RE HORRIBLE. - HORRIBLE?

- YOU'RE DREADFUL. - DREADFUL? OH!

WELL, I'M GONNA BE HORRIBLE AND I'M GONNA BE DREADFUL

IF I DON'T FINISH THIS CHAPTER.

SO I NEED AT LEAST...

- FIVE MINUTES. - THREE.

FOUR.

DEAL. WE'RE ESCAPING OUTSIDE! WHOOSH!

- HEY. - HEY.

- WHAT DID THEY SAY? - (groans)

NOT INTERESTED.

WHAT DO THEY KNOW? THEY REJECTED MY FIRST NOVEL ANYWAY.

IT'S TABITHA KING SYNDROME.

STEPHEN KING'S WIFE.

SHE'S A GOOD ENOUGH WRITER, BUT NO ONE KNOWS HER.

ALL THEY KNOW IS STEPHEN KING.

(class bell rings)

THEY'LL KNOW YOU ONE DAY.

LOOK AT ALL THE HELP YOU'VE GIVEN ME.

THAT'S EDITING, DARLING. IT'S NOT THE SAME THING.

SEE? "NOT SUFFICIENTLY MYSTERIOUS FOR A MYSTERY,

NOR SUFFICIENTLY THRILLING FOR A THRILLER."

YOU KNOW, IT WOULDN'T BE THE WORST THING

TO ADD A FEW THRILLS AND RESUBMIT IT.

THROW IN SOME MORE BLOOD?

PSYCHOPATH JUMPING OUT OF THE CLOSET WITH AN AXE?

NO, IT'S NOT THE ENGLISH TRADITION.

I THOUGHT A SORT OF STYLE, WIT...

IMAGINATION.

DARLING, YOU HAVE WIT?

VERY GOOD.

YOU'RE THE BEST EDITOR IN LONDON IS THAT SO BAD?

MAX PERKINS SAVED HEMINGWAY.

YES, WELL, NO ONE REMEMBERS MAX PERKINS,

AND HE'S RIGHT UP THERE WITH TABITHA WHAT'S-HER-FACE.

WELL, I COULDN'T HAVE DONE ANY OF THIS WITHOUT YOU.

WELL, YOU DO REALIZE, DARLING, THAT...

THAT I'M SUPPOSED TO BE SAYING THAT TO YOU?

HEY, WHEN CAN I READ SOME?

ABOUT THREE MINUTES. THAT'S ALL THOMAS HAS GIVEN ME.

OKAY, THREE MINUTES IT IS.

Toy: Action alert!

Hand's up!

Action alert!

Hands up!

BRIAN, DINNER'S READY.

YEAH, COMING.

THOMAS.

THOMAS?

THOMAS?

THOMAS?

THOMAS?

THOMAS! NO!

OH, BABY.

BRIAN! COME ON.

COME ON! BREATHE!

BRIAN!

(choral music playing)

(sobbing) NO...

NO NO...

NO!

Woman: I SEARCHED EVERY WEBSITE.

THIS IS EVERYTHING YOU WANT.

IT'S REMOTE, QUIET,

- NO ONE AROUND FOR MILES. - INGONISH COVE.

YOU'LL GET SO MUCH WRITING DONE IT'S GOT THE BOATS WE USED IN SUFFOLK

DO YOU KNOW HOW LONG YOU MIGHT WANT IT FOR?

I DON'T KNOW.

JUST WHATEVER IT TAKES FOR ME TO FINISH THIS BOOK.

IT LOOKS GREAT.

WELL, BRIAN HASN'T BEEN ANY HELP.

HE SHOULD HAVE BEEN THERE FOR YOU.

YEAH, WELL... HE TRIED.

LOOK, WHATEVER WE HAD, WE LOST A LONG TIME AGO.

YEAH, I KNOW.

BUT ARE YOU REALLY GONNA BE OKAY OUT THERE, ALL BY YOURSELF?

- IT'S ONLY BEEN EIGHT MONTHS. - YEAH, I'M FINE.

WOULD YOU LIKE TO GET SOME TEA?

YEAH.

I'll get you wherever you are!

(eerie music playing)

(soft piano tune playing)

IF YOU'RE REALLY GONNA GO, TAKE THESE WITH YOU.

YOU KNOW I WAS WANTING TO TRY IT WITHOUT IT FOR AWHILE, ROBERT.

IT'S JUST IN CASE.

(elevator dings)

RACHEL.

SHALL I CALL BARTLETT?

I'M NOT UP FOR DIVORCE LAWYERS RIGHT NOW.

LET'S JUST DEAL WITH ALL THAT WHEN I GET BACK.

(dings)

- Robert: SO HOW DID IT GO? - Brian: ALL THIS TIME,

SHE'S NEVER TALKED TO ME ABOUT THOMAS.

SHE WON'T OPEN UP TO ME AT ALL.

YOU'VE GOT TO REMEMBER IT'S NOT THE SAME FOR YOU.

WHAT, BECAUSE HE'S NOT MY SON?

BECAUSE YOU WEREN'T THE ONE WHO LEFT THE GATE OPEN.

- HELLO. - Woman: Rachel, how are you?

YOU SHOULD SEE WHERE I AM RIGHT NOW.

- YOU'RE THERE ALREADY? - It's beautiful,

AND THERE'S NOT ANOTHER HOUSE AROUND FOR MILES.

THEY SAID THERE WAS A LIGHTHOUSE THERE AS WELL?

- Mm-hmm. - YOU'VE GOT ONE IN YOUR BOOK HAVEN'T YOU?

You can do some research.

Rachel: IT'S PERFECT. IT'S EXACTLY WHAT I WANTED.

IF I CAN'T WRITE HERE, I CAN'T WRITE ANYWHERE.

AH. AT LEAST YOU'RE NOT STUCK WRITING CRAP

FOR A CRAP PAPER, LIKE I AM.

IT'S NOT THAT BAD.

IT KEEPS THE BILLS AT BAY.

- ALMOST - YEAH, WHICH IS GOOD FOR YOU.

WHICH I DON'T NEED REMINDING.

Hey, remember...

IF YOU WANT ME TO COME OUT THERE, YOU JUST SAY THE WORD.

THANKS. I'M-I'M-I'M GONNA BE OKAY.

I REALLY... I REALLY THINK I'M GONNA BE OKAY.

EXCUSE ME...

EXCUSE ME? AM I HEADED THE RIGHT WAY INTO TOWN?

SORRY?

AM l...

AM I HEADED THE RIGHT WAY INTO TOWN?

YEAH, YOU JUST FOLLOW UP THE BEACH. YOU CAN'T MISS IT.

OKAY, I WASN'T SURE.

ARE YOU TRAVELING THROUGH?

OH, NO NO, ACTUALLY, I'VE JUST MOVED INTO FOSTER ROAD, NUMBER 1.

FOSTER ROAD, NUMBER 1? ARE YOU SURE?

I THINK SO. IT'S THE ONLY HOUSE ON THE ROAD.

YEAH, THAT'S IT.

I'M FINLAY MURRAY,

WHAT PASSES FOR A POLICE SERGEANT ROUND HERE.

- AND I'M MARY. - HELLO. RACHEL CARLSON.

- SO YOU HERE ON YOUR OWN? - YEAH.

WELL, IF YOU HANG ON, I'LL GIVE YOU A LIFT IN. IT'S A WEE BIT OF A HIKE.

THANK YOU, BUT THIS IS WHAT I'M HERE FOR.

- ARE YOU SURE? - ABSOLUTELY.

- OKAY. - TO THE BEACH.

- YEP. - ALL RIGHT. THANK YOU.

YOUR SON'S WAITING FOR YOU.

ON THE SWINGS.

HE'S BEEN WAITING FOR YOU. HE TOLD ME.

MY SON?

I'M SORRY.

IT MUST HAVE BEEN SOMEONE ELSE'S LITTLE BOY.

WAIT. CAN I TALK TO YOU?

I WAS MISTAKEN, THAT'S ALL.

IT'S A BEAUTIFUL DAY, ISN'T IT?

(squeaking)

Thomas: MOM? WE'RE ESCAPING OUTSIDE COME WITH US.

YOU PROMISED, BUT YOU NEVER CAME.

(camera shutter clicking)

IT'S IMPRESSIVE, DON'T YOU THINK?

QUITE.

I DIDN'T REALIZE THAT THERE WAS ANYONE ELSE AROUND.

CARRY ON.

LIGHTHOUSES ARE A DYING BREED.

I'M ANGUS McCULLOCH, THE LIGHTHOUSE KEEPER.

RACHEL.

SORRY, I JUST ASSUMED

THAT ALL LIGHTHOUSES WERE AUTOMATED NOW.

WELL, MOST OF THEM ARE.

IN A FEW YEARS, I'LL BE GONE, TOO.

SO WHAT BRINGS YOU OUT HERE?

I'M RESEARCHING LIGHTHOUSES FOR A BOOK.

IT'S A LONG WAY FROM AMERICA JUST TO SEE A LIGHTHOUSE.

NO NO, I LIVE IN LONDON ACTUALLY.

I'M JUST OUT HERE DOING SOME WRITING.

OH, YOU'RE IN THE COTTAGE.

IT'S ABOUT TIME SOMEONE MOVED IN.

IT'S BEEN EMPTY FOR YEARS.

WELL, YOU'VE CERTAINLY COME TO THE RIGHT PLACE

TO WRITE A BOOK.

DID YOU MEET THE HORSES YET?

THAT'S A STORY FOR YOU.

A SPANISH GALLEON SHIPWRECKED,

RIGHT THERE, 1754.

THE ENTIRE CREW DIED,

BUT A FEW HORSES SWAM HERE TO SAFETY,

AND THEY'VE BEEN HERE EVER SINCE.

AND THEY'VE NEVER BEEN OFF THE ISLAND?

I CAN THINK OF WORSE.

YEAH.

LISTEN, I'M JUST PUTTING SOME DINNER ON. YOU'RE WELCOME TO STAY,

HAVE SOMETHING TO EAT.

I CAN TELL YOU EVERYTHING YOU NEED TO KNOW ABOUT LIGHTHOUSES.

THANKS, I NEED TO GET BACK.

I'M STILL UNPACKING BOXES.

WELL, LOOK, MAYBE NEXT WEEK.

SAME TIME?

I'LL COOK SOME EXTRA AND IF YOU DON'T SHOW,

I'LL EAT WITH THE HORSES.

WE SHOULD BE FRIENDS.

WE'RE NEIGHBORS NOW.

WE SHOULD.

(gasps)

Rachel's voice:"TO MY LOVE IN HONOR OF WHATWE DECIDED YESTERDAY."

"FOREVER YOURS, K."

"PAGE 145, LINE 7."

"TODAY I BEGIN TO UNDERSTAND WHAT LOVE MUST BE,

IF IT EXISTS.

WHEN WE ARE PARTED,

WE EACH FEEL THE LACK OF THE OTHER HALF OF OURSELVES.

WE ARE INCOMPLETE,

LIKE A BOOK IN TWO VOLUMES

OF WHICH THE FIRST HAS BEEN LOST.

THIS IS WHAT I IMAGINE LOVE TO BE...

INCOMPLETENESS IN ABSENCE."

Action Man: I'll get you wherever you are!

(eerie music playing)

THOMAS.

THOMAS.

MAMA.

IT'S OKAY, MOM.

DON'T GO.

- DON'T RUN, DON'T GO. - I WON'T.

COME. BE WITH ME.

(gasping)

(sizzling)

AH!

HELLO.

YOU TURNED UP AT LAST.

GOOD TIMING I'M JUST BURNING THE FISH.

IT'S GOOD TO SEE YOU.

HOW'S YOUR RESEARCH COMING?

WELL, IT'S ALL RIGHT. COULD BE BETTER.

THAT'S WHY I'M HERE. I WAS HOPING I COULD GET A TOUR.

OKAY.

HOW ABOUT SOME LUNCH BEFORE THE TOUR? (chuckles)

IS THERE ANYTHING ELSE ON THE MENU?

WHY IS IT THAT EVERYONE PAINTS THEIR BOATS

THE EXACT SAME COLOR AS THEIR HOUSES?

WELL, THAT'S ACTUALLY A TRADITION HERE.

THE WIFE NEEDS TO BE ABLE TO LOOK OUT ON THE WATER

AND KNOW HER HUSBAND'S OKAY.

THAT'S VERY ROMANTIC.

AND WE ALSO GET A TAX BREAK ON THE PAINT.

WHICH IS ALSO VERY ROMANTIC.

VERY ROMANTIC.

Rachel: I CAN'T MAKE IT!

QUICK.

DO YOU EVER GET LONELY WORKING OUT HERE?

YOU NEVER GET LONELY SITTING AT YOUR TYPEWRITER?

SOMETIMES.

I LIKE BEING ALONE.

DO YOU REALLY LIKE IT?

OR DO YOU THINK IT'S JUST SOMETHING YOU'VE GOTTEN USED TO?

OR MAYBE I LIKE IT BECAUSE I'VE GOTTEN USED TO IT.

- I LOVE IT OUT HERE. - WHO DO YOU TALK TO?

WHO DO YOU TALK TO?

ISN'T THAT WHAT YOU LOVE ABOUT WRITING?

THE SOLITUDE?

I WRITE BECAUSE...

WELL, I DON'T FUNCTION VERY WELL AS A HUMAN BEING

UNLESS I'M WRITING

WELL, WHAT ARE YOU WRITING NOW?

I'M NOT.

Rachel: DON'T TELL ME YOU PAINT AS WELL!

OH, NO.

KATE, MY WIFE.

SHE...

WE HAVEN'T SEEN EACH OTHER FOR A LONG TIME.

SHE LOVED IT OUT HERE AT FIRST.

BUT IN THE END, THE ISOLATION WAS TOO MUCH FOR HER.

LONELINESS CAN MAKE YOU A LITTLE CRAZY, I THINK.

COME ON.

WOW!

KATE COULD NEVER UNDERSTAND WHY I WOULDN'T LEAVE HERE.

BUT MY FATHER LIVED HERE

AND HIS FATHER BEFORE HIM.

MY GREAT-GRANDFATHER,

HE BUILT THE BALCONY

FROM WOOD THAT WAS WASHED ASHORE FROM A SHIPWRECK.

THIS IS HIM.

I COULD NEVER LEAVE HERE.

YOU'LL SEE WHY.

COME ON.

BY THE WAY, I'VE BROUGHT YOU SOMETHING

AS A THANK YOU FOR THE TOUR.

IT'S ONE OF MY BOOKS.

- I HAD IT SENT. - THANKS.

"DREAMERS AWAKE," BY RACHEL CARLSON.

I'M IMPRESSED.

IS IT A COMEDY OR A TRAGEDY?

WELL, IT'S A MYSTERY.

BUT PLEASE BE KIND... IT IS THE FIRST NOVEL I HAD PUBLISHED.

WELL...

I'LL FIND OUT ALL ABOUT YOU.

MAYBE.

IF YOU NEED ANY HELP, JUST SEND OUT A FLARE.

- I'LL KEEP AN EYE OUT FOR YOU. - THANK YOU. I REALLY...

I REALLY ENJOYED THAT TODAY.

AYE. ME TOO.

Sharon: SO HAVE YOU SLEPT WITH HIM YET?

Rachel: IT'S JUST NICE TO HAVE SOMEONE TO TALK TO.

MEANING YOU HAVEN'T SLEPT WITH HIM.

YOU KNOW, YOU'RE STARTING TO SOUND

LIKE YOU'RE CONDUCTING A TABLOID INTERVIEW, MY FRIEND.

YOU KNOW ME, ALWAYS WORKING,

ALWAYS LOOKING FOR THE ANGLE.

AND YOU KNOW I RELY ON YOU FOR MY KICKS.

(chuckles)

IS THAT THE SEA I CAN HEAR?

YES, IT'S LESS THAN 10 FEET AWAY.

- CAN YOU HEAR THE CRASHING? - Wow, look at you.

NUMBER ONE BEST SELLERS,

WAVES AT YOUR FEET, ROMANCE ON A DESERTED ISLAND.

TOUGH LIFE.

RACHEL, I'M SORRY. THAT CAME OUT WRONG.

SHARON, FORGET IT. IT'S OKAY.

LOOK, I WOULDN'T HAVE MADE IT THIS FAR WITHOUT YOU.

I MEAN IT. I'LL CALL YOU TOMORROW, OKAY?

OKAY.

OKAY, DON'T PEEK.

(beeping)

QU... QU... QU-QUICK QUICK QUICK.

READY?

- Rachel: SMILE. - OKAY.

(camera shutter clicks)

Rachel: AND NO FACES THIS TIME.

HURRY HURRY, COME ON, COME ON.

WAIT WAIT WAIT. IT'S GONNA COME.

- YOU SMILING? YOU PROMISE? - YES.

- YES. - YOU PROMISE?

Angus: RACHEL...

ARE YOU OKAY?

RACHEL?

IS SOMETHING WRONG?

WHAT'S WRONG?

I THINK I NEED TO GET BACK.

WHY?

I'M SORRY.

- AFTERNOON, RACHEL. - AFTERNOON.

ARE WE GONNA SEE YOU HERE ON SUNDAY?

I DON'T THINK SO. YOUR MAN AND I AREN'T ON VERY GOOD TERMS.

DON'T YOU WORRY ABOUT THAT. ALL THE MORE REASON TO COME.

YOUR CROSS IS BROKEN.

I KNOW.

IT'S THIS WEEKEND'S CHORE.

IT'S THE GATE, ISN'T IT?

WHAT?

WHY YOU'RE SO SAD.

YOU LEFT THE GATE OPEN.

YOU HAVEN'T BEEN ABLE TO GO OUT THERE SINCE HE DIED, HAVE YOU?

Rachel: ALL RIGHT, READY?

ALL RIGHT, HERE WE GO.

NOW FACE THIS WAY. OKAY, GOOD.

OKAY, LET'S SMILE.

SMILE.

Morag: HE'S BESIDE YOU, YOUR SON.

HE'S DRIPPING WET.

HE FOLLOWS YOU EVERYWHERE.

HE'S TRYING TO HOLD YOUR HAND.

WHAT'S SHE BEEN SAYING?

MORE OF HER PSYCHIC MUMBO-JUMBO?

LISTEN, DON'T WORRY, SHE'LL SAY ANYTHING TO GET SOMEBODY TO TALK TO HER.

WATCH YOUR FINGERS. JIM, GET US THAT DUSTPAN AND BRUSH.

(knocking on door)

Morag: YES YES, I CAN HEAR HER. I'M NOT ANSWERING.

- Rachel: IS ANYBODY HERE? - I SHOULD HAVE NEVER HAVE GONE TO SEE HER.

I DON'T WANT TO TALK ABOUT IT ANYMORE.

I'M NOT LISTENING.

YOU CAN KEEP TALKING, BUT I'M NOT LISTENING.

I'M NOT GETTING OUT OF THIS CHAIR

FOR THE LOVE OF GOD OR MONEY.

I CAN'T SAVE HER.

I CAN'T SAVE ANYONE.

THINGS ARE GONNA GET WORSE.

RACHEL. COME IN.

DO YOU THINK IT'S POSSIBLE?

DO YOU THINK I COULD BE GETTING MESSAGES FROM HIM?

I DON'T KNOW.

MAYBE.

MAYBE THE DEAD MISS US

EVEN MORE THAN WE MISS THEM.

I'VE REPLAYED IT SO MANY TIMES.

IF I'D ONLY GONE OUT TO PLAY WITH HIM LIKE I SAID I WOULD,

THAT THIS NEVER WOULD HAVE HAPPENED.

AND I KEEP THINKING OF HIM

IN THE WATER, STRUGGLING, AND I WASN'T THERE.

I'M THE MOTHER.

I'M SUPPOSED TO BE THERE TO PROTECT HIM, AND I WASN'T.

I CAME HERE THINKING THAT I COULD WRITE,

AND THAT EVERYTHING WOULD BE OKAY.

AND YOU KNOW WHAT? IT'S NOT OKAY.

IT'S NOT OKAY, AND I'M NOT OKAY.

RACHEL, SHH.

SHH SHH SHH.

(romantic music playing)

(Celtic ballad playing)

WHAT IS THIS?

IT'S AN OLD CELTIC BALLAD.

"CAILEAG AN STOIRM."

"GIRL IN THE STORM."

IT'S BEAUTIFUL.

I FINISHED YOUR BOOK.

DID YOU LEARN ALL ABOUT ME?

MAYBE.

HERE.

I MADE SOMETHING FOR YOU.

TO INSPIRE YOU.

I'LL LEAVE A KEY OUT FOR YOU...

SO YOU CAN COME UP WHENEVER YOU WANT TO,

IN CASE I'M OUT FISHING OR SOMETHING.

LOOK, IT'S MOTHER-OF-PEARL.

I LOVE THESE.

DO YOU KNOW THE OLD CELTIC LEGEND ABOUT THEM?

- ABOUT THOSE? - YEAH.

NO.

COME ON.

FIRST, WE HAVE TO BURY IT TOGETHER.

- TOGETHER. - RIGHT.

AND THEN IF ONE OF US EVER RETURNS

AND DIGS IT UP, THEN...

THEN WE WERE MEANT FOR EACH OTHER?

WELL, ACTUALLY, I DON'T KNOW BECAUSE I JUST MADE IT UP.

VERY CELTIC OF YOU.

YOU KNOW, I WAS THINKING THAT EXACT SAME THING.

DO YOU KNOW MARY, FINLAY'S WIFE?

SHE'S HAVING A LITTLE BIRTHDAY THING

IN THE VILLAGE TOMORROW,

AND I WAS THINKING THAT MAYBE YOU'D LIKE TO GO.

I'D LOVE TO GO.

SO LIKE, 2:00?

.2:00

HEY, RACHEL.

I'LL SEE YOU TOMORROW.

(motor turns over)

2:00, RIGHT?

Rachel's voice:"SHE LAY THERE

IN THE HALF LIGHT OF THE CABIN

UNABLE TO SLEEP.

IN THE MORNING, SHE TOLD HIM SHE HAD,

FOR THERE WERE STILL SOME LIMITS

TO THE THINGS SHE COULD SAY TO HIM THEN.

BUT MOST OF THE NIGHT, SHE WATCHED HIS EYELIDS

AND HIS LIPS AND HIS FACE.

AND IN THE STILLNESS,

SHE FELT PEACE."

(folk music playing)

- ARE YOU ALL RIGHT? - OH, I'M ALL RIGHT.
- HEY, RACHEL, HOW YOU DOING? - HELLO.
RACHEL, YOU MADE IT!

OH, GREAT.

- THERE YOU GO, HONEY. - I'VE GOT SOMETHING FOR YOU. HAPPY BIRTHDAY.

THAT'S SO SWEET OF YOU. THANKS VERY MUCH.

WOULD YOU LIKE A DRINK?

- A LAGER. - IT'S ON THE WAY.

RACHEL, YOUR GLASS IS EMPTY.

HAPPY BIRTHDAY TO YOU

HAPPY BIRTHDAY TO YOU

HAPPY BIRTHDAY, DEAR MARY

HAPPY BIRTHDAY TO YOU.

(cheers and applause)

HAPPY BIRTHDAY.

EXCUSE ME, MARY, I'M SORRY TO INTERRUPT.

I'M MEETING A FRIEND HERE ANGUS McCULLOCH.

- I THOUGHT YOU MIGHT HAVE SEEN HIM. - WHAT ARE YOU TALKING ABOUT?

WELL, HE WAS SUPPOSED TO BE HERE AN HOUR AGO.

THE LIGHTHOUSE KEEPER.

AYE, I KNOW WHO HE IS.

WHAT DOES HE LOOK LIKE, YOUR ANGUS?

UM...

DARK HAIR, NICE BLUE EYES.

AYE, THAT SOUNDS LIKE ANGUS.

I'VE NOT SEEN HIM THESE SEVEN YEARS,

AND NEITHER HAVE YOU, 'CAUSE HE'S DEAD.

NO, THERE MUST BE SOME MISTAKE.

OH, HE'S DEAD ALL RIGHT, HIM AND THE WIFE.

I CHOSE THE DRESS WE BURIED HER IN.

NO, YOU'RE KIDDING, RIGHT?

REVEREND, YOU'VE BEEN OUT TO THE LIGHTHOUSE, HAVEN'T YOU?

NO, NOT FOR YEARS.

- NOBODY GOES OUT THERE ANYMORE. - BUT YOU KNOW ANGUS McCULLOCH.

I USED TO, AYE, BUT...

HE'S BEEN DEAD FOR SIX... NO, SEVEN YEARS.

IS THIS A JOKE?

RACHEL, THIS ISN'T FUNNY.

PEOPLE HERE DON'T LAUGH ABOUT THIS.

WHAT IS THIS?

WHY... WHY ARE YOU DOING THIS?

WHY... WHY ARE YOU DOING THIS?

(speaking foreign language)

ANGUS?

LONELINESS CAN MAKE YOU A LITTLE CRAZY, I THINK.

Angus's voice: KATE COULD NEVER UNDERSTAND

WHY I WOULDN'T LEAVE HERE.

BUT MY FATHER LIVED HERE,

AND HIS FATHER BEFORE HIM.

I COULD NEVER LEAVE HERE.

MAYBE THE DEAD MISS US EVEN MORE THAN WE MISS THEM.

Finlay: RACHEL.

WHAT ARE YOU DOING HERE?

YOU'RE GONNA STIR UP TROUBLE.

I CAME TO LOOK FOR ANGUS.

ANGUS McCULLOCH IS DEAD

AND BURIED.

I SAW HIM JUMP OFF THAT CLIFF OVER THERE.

I WAS WITH HIM, RIGHT HERE, LAST NIGHT.

YOU COULDN'T HAVE BEEN.

SEVEN YEARS AGO

I CAME OUT TO VISIT ANGUS,

JUST AS I HAD DONE DOZENS OF TIMES BEFORE.

THERE WAS A TAPE PLAYING... "CAILEAG AN STOIRM"...

ANGUS'S FAVORITE SONG.

I FOUND KATE INSIDE.

ANGUS CAME HOME EARLY FROM THE VILLAGE,

CAUGHT HER IN BED WITH A LOCAL FISHERMAN...

GORDON McLOUD.

IT HAD BEEN GOING ON FOR MONTHS.

ANGUS WAS THE ONLY ONE THAT DIDN'T KNOW ANYTHING ABOUT IT.

I CAUGHT A GLIMPSE OF HIM,

THROUGH THE WINDOW.

I FOLLOWED HIM UP TO THE BALCONY,

BUT I WAS TOO LATE.

I FELT FOR HIM.

WE ALL DID.

HE JUST WORSHIPPED KATE.

WHEN HE CAUGHT HER WITH GORDON,

HE MUST HAVE JUST SNAPPED.

I HEARD ALL THIS FROM KATE.

SHE LIVED LONG ENOUGH TO TELL ME THAT ANGUS DIDN'T KILL HER.

SHE CAME BETWEEN THEM IN THE STRUGGLE.

JUST BEFORE SHE DIED,

SHE PRAYED THAT ANGUS WOULD FORGIVE HER.

WE ALL KNEW WHAT WAS GOING ON.

NOBODY SAID ANYTHING.

THOSE THREE DEATHS ARE AS MUCH ON OUR HANDS AS THEY ARE ON HIS.

IT JUST CAN'T BE THE SAME MAN.

I...

I CAN PROVE HE WAS HERE.

IF I CAN JUST GET THIS FILM DEVELOPED.

THERE'S A PHOTO OF US TOGETHER, AND...

WELL, l... I MUST HAVE JUST MISPLACED THE FILM SOMEWHERE.

YOU COULDN'T HAVE MET ANYONE OUT THERE.

HE ALSO DID A CARVING FOR ME THAT...

- RACHEL. ...WAS RIGHT HERE.

RACHEL, NOBODY GOES OUT THERE ANYMORE.

THE LIGHTHOUSE WAS AUTOMATED AFTER THE MURDERS

SO WE WOULDN'T HAVE TO.

AND NOBODY'S LIVED IN THIS HOUSE SINCE THEN, EITHER.

WHAT DO YOU MEAN, THIS HOUSE?

WELL, THIS WAS GORDON McLOUD'S HOUSE.

HE AND KATE USED TO SIGNAL EACH OTHER WITH LIGHTS

WHEN ANGUS WAS AWAY.

THIS WHO YOU MEAN?

THIS JUST DOESN'T MAKE ANY SENSE.

I'VE BEEN WITH HIM PRACTICALLY EVERY DAY THIS LAST MONTH.

WE'VE EATEN TOGETHER, WE'VE WALKED ON THE BEACH, WE'VE BEEN WITH THE HORSES.

IT'S NOT LIKE I'VE BEEN OUT THERE

TALKING TO MYSELF ALL THIS TIME.

WELL, IF YOU'VE BEEN FLIRTING WITH ANGUS McCULLOCH,

WHO'S THAT BURIED IN INGONISH CEMETERY?

(gasps)

YOU DIDN'T BELIEVE US, EH?

I DON'T KNOW WHAT TO BELIEVE ANYMORE.

YOU STILL HAVEN'T FIXED THE CROSS.

NO. NO, I HAVEN'T.

IT'S THIS WEEKEND'S CHORE.

EXCUSE ME.

YOU HAVE SOME NEWSPAPERS MISSING ON THE MICROFILM.

IT'S A MIRACLE WE HAVE ANY THERE AT ALL.

WHAT YOU LOOKING FOR?

ANYTHING AROUND FEBRUARY 12TH OR 13TH, 1998.

THE McCULLOCH MURDER.

KIDS PROBABLY PINCHED THEM.

GORY MURDERS... KIDS LOVE 'EM.

WHAT ABOUT INTERNET ACCESS?

(speaks foreign language)

THE COMPUTER'S BEING FIXED.

SORRY.

LOOK. I JUST NEED ANYTHING

THAT HAS A PHOTO OF ANGUS McCULLOCH.

TRY ULLAPOOL PUBLIC LIBRARY.

- (dials) - (ringing)

Man: You have reached Ullapool Public Library.

We are closed at this time and will reopen on Monday at 9:00.

(beeps)

(speaking foreign language)

- HE WASN'T THERE? - No.

I don't understand. His stuff, his boat...

- something must have been there. - NO NO, NOTHING WAS THERE.

IT WAS LIKE HE NEVER EXISTED.

THERE MUST BE SOME EXPLANATION.

YEAH. HECK, I'M LOSING IT,

THAT'S THE EXPLANATION.

MAYBE I SHOULDN'T HAVE COME.

HAVE YOU SPOKEN TO ROBERT?

NO. MAYBE HE WAS RIGHT

AND I SHOULDN'T HAVE GONE OFF THE MEDICATION.

Rachel, just come home.

Just get out of there and come back.

YOU KNOW WHAT? MAYBE I DID IMAGINE ANGUS.

HE SEEMED SO PERFECT.

AND THERE ISN'T ANYTHING THAT PERFECT.

- Is there? - LISTEN, I'M COMING TO YOU.

I'LL GET ON THE NEXT PLANE

AND I'LL BE THERE IN A FEW HOURS.

YOU JUST SIT TIGHT.

YOU STAY THERE, OKAY?

Okay.

I'LL SEE YOU SOON.

(dings)

- (banging) - (gasps)

(wind howling)

RACHEL! WHAT ARE YOU DOING HERE?

I KNEW YOU'D BE HERE!

RACHEL! COME DOWN AND MEET ME INSIDE.

SHARON, HE'S HERE... ANGUS.

- WHAT? - HE WAS ON THE BALCONY.

I SAW HIM, THEN I SAW YOU, AND THEN HE WAS GONE.

YOU DIDN'T SEE HIM. YOU DIDN'T SEE ANYTHING.

- YOUR MIND IS PLAYING TRICKS ON YOU. - NO NO.

- NO. - COME ON, LET'S GO HOME.

SHARON, HE'S RIGHT THERE, IN THE DOORWAY.

- THERE'S NO ONE THERE. - TURN AROUND.

I AM NOT GONNA TURN AROUND.

I'M NOT BUYING INTO THIS FANTASY.

THERE'S NOBODY THERE.

LISTEN TO ME.

I WANT YOU TO DO SOMETHING FOR ME.

CLOSE YOUR EYES. DO THIS.

CLOSE YOUR EYES AND WHEN YOU OPEN THEM AGAIN,

HE'LL BE GONE. YOU HAVE TO DO THIS.

YOU MAKE HIM GO AWAY NOW, AND HE'LL NEVER COME BACK AGAIN.

CLOSE YOUR EYES.

CLOSE YOUR EYES.

AND NOW HE'LL BE GONE.

HE'S COMING TOWARDS US.

HE'S RIGHT BEHIND YOU.

SEE?

NOTHING.

NOTHING.

CAN WE GO NOW?

Woman: LEGS, 11. WE HAVE LEGS, 11.

NOW WHAT ABOUT 1 AND 6? IT'S SWEET 16.

WE'LL NOT SEE THAT AGAIN, WILL WE?

AND THE NEXT NUMBER IS 88... TWO FAT LADIES.

BINGO, BINGO!

WHERE'S FINLAY?

IS HE IN HERE?

WOULD YOU COME WITH ME? I WANT YOU TO COME WITH ME RIGHT NOW.

WHAT ARE YOU TALKING ABOUT? I CAN'T COME WITH YOU.

RACHEL, WHAT ARE YOU DOING?

(murmuring)

HE STABBED HER RIGHT HERE.

SO THERE'D BE BLOOD EVERYWHERE.

SHE WAS RIGHT HERE.

WELL, SHE'S NOT HERE NOW.

COME ON, LET'S GO.

SHE WAS HERE.

WE NEED TO DO SOMETHING. GET MORE POLICE HERE.

I'M NOT TAKING ANYONE ELSE OUT THERE.

I'M TELLING YOU, SOMEONE MUST HAVE MOVED THE BODY.

RACHEL, RACHEL.

I WANT YOU TO LISTEN TO ME.

ANGUS McCULLOCH IS DEAD.

AND I'LL BET YOUR FRIEND IS AT HOME RIGHT NOW

READING THE NEWSPAPER AND EATING SCONES.

(dialing)

(ringing)

Hi, it's Sharon. Leave a message after the beep.

(beeps)

SHE'S NOT THERE.

YES, BUT THAT DOESN'T MEAN SHE CAME UP HERE.

WHEREVER SHE IS, I'M SURE SHE'S ABSOLUTELY FINE.

I WANT YOU TO SPEND TONIGHT

WITH MARY AND ME.

I DON'T THINK YOU SHOULD BE ALONE.

WHAT DO YOU THINK, I'M MAKING THIS UP?

NOBODY'S OUT TO GET YOU.

LISTEN, IF THIS WAS ONE OF YOUR BOOKS,

WHICH WOULD YOU BELIEVE?

THAT THE HEROINE FELL IN LOVE

WITH A GHOST WHO THEN MURDERED HER BEST FRIEND,

OR...

THAT SHE IMAGINED IT

AND SHE NEEDS SOME HELP?

I'M NOT CRAZY.

WELL...

THE OFFER'S THERE.

I'M AT THE OTHER END OF THE PHONE.

Hi, it's Sharon. Leave a message after the beep.

- (beeps) - HI, IT'S ME.

I DON'T KNOW WHERE YOU ARE.

I DON'T KNOW IF YOU CAME OUT HERE.

I DON'T KNOW WHAT'S GOING ON,

BUT IF YOU COULD CALL ME WHEN YOU GET THIS...

OKAY?

(rings)

Hi, it's Sharon. Leave a message after...

Hi, it's Sharon. Leave a message a...

Leave a message after the beep.

Leave a mes...

(dialing)

(ringing)

- DR. FREEDMAN, TABLE FOR FOUR. - (cell phone ringing)

THIS WAY, SIR.

- HELLO. - Rachel: Robert, it's me.

RACHEL, LISTEN, I'M JUST IN A RESTAURANT,

- CAN I CALL YOU BACK? - NO NO NO.

LISTEN, I DON'T KNOW HOW TO EXPLAIN THIS,

BUT I THINK THAT SHARON CAME OUT HERE

and that she may have been hurt.

WHAT? WHAT ARE YOU TALKING ABOUT?

I NEED YOU TO DO ME A FAVOR, OKAY?

RACHEL, SLOW DOWN. WHAT'S HAPPENING?

I don't know what's happening. That's just it.

CAN YOU PLEASE JUST GO TO SHARON'S?

SHE'S NOT ANSWERING HER PHONE OR HER CELL.

WHAT FOR?

I JUST NEED YOU TO GO THERE, OKAY?

AND THEN CALL ME, OKAY?

WELL, WHY SHOULDN'T SHE BE THERE?

LOOK, I JUST NEED YOU TO GO THERE AND THEN CALL ME.

Listen, Rachel, can't this wait?

- I've got friends here. We're about to... - NO.

PLEASE, CAN YOU JUST DO THIS FOR ME? OKAY?

OKAY. I'LL GO THERE, AND I'LL CALL YOU.

OKAY, I'M GONNA BE WAITING.

Okay.

ALL RIGHT, SORRY ABOUT THAT. THANKS VERY MUCH.

THANK YOU. OKAY.

(toy jeep whirring)

(thuds)

I NEED TO TALK TO YOU.

COME IN.

THE SCOTS CALL IT "DA-SHEALLADH."

"SECOND SIGHT."

IT'S BEEN MY RUIN.

YOU THINK THE LIVING ARE FULL OF REGRETS?

YOU OUGHT TO HEAR THE DEAD ENDLESSLY LAMENTING.

"NEVER MADE UP WITH MY CHILDREN."

"IGNORED MY PARENTS."

"NEVER TOLD ANYONE I LOVE THEM."

THIS ISN'T SOME KIND OF GAME, IS IT?

I MEAN, YOU JUST WOULDN'T MAKE THIS UP.

MY SON DROWNED.

I JUST WANT TO KNOW THAT YOU...

THAT THIS ISN'T SOMETHING YOU WOULD TAKE LIGHTLY.

HE FOLLOWS YOU EVERYWHERE.

HE'S TRYING TO WARN YOU.

ABOUT WHAT? WHAT?

ANGUS?

WHAT ARE YOU SAYING?

- ARE YOU SAYING HE'S NOT DEAD? - OH, HE'S DEAD.

HIS GHOST'S OUT THERE WANDERING THE ISLAND.

SUICIDES ARE FOREVER TRAPPED

BETWEEN OUR WORLD AND THE NEXT.

WHEN I CROSS, I DON'T WANT ANYTHING ON MY CONSCIENCE.

DON'T GO BACK TO THE ISLAND.

LEAVE INGONISH COVE TONIGHT. YOUR LIFE'S IN DANGER.

THAT'S WHAT THOMAS HAS COME BACK TO TELL YOU.

I HAVE TO GO BACK TO GET THOMAS'S THINGS.

WELL, DO IT QUICKLY.

(phone beeps)

- WOULD YOU LIKE SOME OF MINE? - (cell phone rings)

YEAH, ONE SECOND. HELLO.

- Have you gone to Sharon's? - I CALLED HER. SHE'S NOT ANSWERING.

What's this all about?

- WOULD YOU EXCUSE ME A SECOND? - YEAH, SURE.

CAN I TRY A BIT?

ARE YOU AWAKE?

ROBERT. WHAT A SURPRISE.

I'M SORRY TO CALL YOU SO LATE. DO YOU HAVE A SECOND?

YES, I'M JUST DOING A LITTLE LATE-NIGHT EDITING.

- WHAT'S GOING ON? - SOMETHING STRANGE IS GOING ON WITH RACHEL.

SHE'S CALLED ME TWICE.

SHE'S GOING ON ABOUT SHARON BEING HURT SOMEHOW.

SHE'S NOT MAKING SENSE.

I KNEW SHE SHOULDN'T HAVE GONE OUT THERE BY HERSELF.

YOU DON'T THINK SHE'S GONNA DO ANYTHING TUPID, DO YOU?

THE WAY SHE SOUNDED, NOTHING WOULD SURPRISE ME.

CHRIST.

L-I WAS WORRIED ABOUT THIS.

WELL, LISTEN, I'M GONNA CALL HER NOW.

I THINK YOU SHOULD, AND GET SHARON TO ALSO.

YES, OF COURSE, OF COURSE.

WELL, THANKS FOR CALLING.

OKAY, TELL ME HOW IT GOES. I HOPE EVERYTHING'S OKAY.

Yes, I will.

BACK FROM THE DEAD?

YOU LOOK GOOD FOR A CORPSE.

WHERE'S THE REST OF IT?

- YOU GET IT WHEN WE GET IT. - WELL, MY PRICE JUST DOUBLED.

FOUR MILLION,

SLIGHTLY MORE THAN YOU TOLD ME.

DO YOU KNOW WHAT THE FUNNY THING ABOUT YOU AND BRIAN IS?

YOU ALWAYS TALK ABOUT HIM.

ALL THE WAYS THE TWO OF YOU ARE GOING TO...

ENJOY THE MONEY.

BUT BRIAN,

HE NEVER TALKS ABOUT THE MONEY,

AND HE NEVER TALKS ABOUT YOU.

HE ALWAYS TALKS ABOUT HER.

HER BOOKS, HER SUCCESS, HER IMAGINATION.

IT'S ENVY OF HER... ISN'T IT?

THAT BROUGHT YOU TWO TOGETHER?

YOU BOTH JUST WANT TO BE HER.

THE GHOST HAS A HEART, HUH?

IS THAT WHY YOU WERE ON THE BALCONY?

YOU WERE MEANT TO BE DOWNSTAIRS.

TONIGHT? I WASN'T ON THE BALCONY.

I WAS DOWNSTAIRS THE WHOLE TIME.

AND BESIDES,

YOU'RE THE ONES WHO HAVE BEEN IMPROVISING.

WHAT'S WITH ALL THE MESSAGES FROM HER DEAD KID?

WE NEVER DID THAT.

GOOD IDEA, THOUGH. BUT WE NEVER DID IT.

HOW DO YOU GET YOUR HANDS ON THE MONEY?

I THOUGHT YOU WERE THE GUY WHO NEVER ASKED.

"I DO THE JOB. THEY PAY ME.

I GO HOME."

YOU DID THE JOB, SO GO HOME.

YOU DIDN'T FALL FOR HER, DID YOU, PATRICK,

WHILE YOU WERE PRETENDING TO FALL FOR HER?

YOUR WHOLE LIFE MAY HAVE JUST COLLAPSED.

DO YOU REMEMBER

WHAT I WAS DOING

WHEN WE FIRST MET?

YEAH.

I THOUGHT YOU MIGHT.

I WANT THE REST OF THE MONEY.

I WON'T TELL YOU AGAIN.

SHARON.

IT WAS A PLEASURE KILLING YOU.

Man: ALL ABOARD!

SIR!

ALL ABOARD!

(whistle blows)

(tapping)

(wind blows)

(tapping continues)

(tapping continues)

(tapping continues)

(wind blowing)

(tapping continues)

(tapping continues)

Rachel's voice: I LOVE THESE.

DO YOU KNOW THE OLD CELTIC LEGEND ABOUT THEM?

FIRST, WE HAVE TO BURY IT TOGETHER.

TOGETHER.

AND THEN IF ONE OF US EVER RETURNS

AND DIGS IT UP, THEN...

Angus's voice: THEN WE WERE MEANT FOR EACH OTHER?

WELL, ACTUALLY, I DON'T KNOW BECAUSE I JUST MADE IT UP.

RACHEL.

(Celtic ballad playing)

(gears clicking)

(screaming)

Just room for one more inside.

Mary: SO THERE WAS NOTHING AT ALL OUT THERE ON THE ISLAND?

Finlay: NO, POOR GIRL MUST BE CRAZY.

SHE'S GOT "GHOSTS IN THE ATTIC."

HEY, I LOVE THIS BIT. IT'S GREAT.

THIS IS WHERE HUGO THE DUMMY COMES ALIVE.

- (knock on door) - IT'S NEARLY MIDNIGHT.

- FINLAY, I NEED YOUR HELP OUT ON THE ISLAND. - FOR GOD'S SAKE.

RACHEL'S IN DANGER. IT MIGHT BE TOO LATE ALREADY.

IT'S VERY LATE TONIGHT. YOU COME BACK IN THE MORNING.

FINLAY, PLEASE, I NEED YOUR HELP...

FINLAY. THE LAST TIME SHE TRIED TO WARN US ABOUT SOMETHING,

WE ALL IGNORED HER.

AND WE HAD THREE FUNERALS THE NEXT SUNDAY.

- Sharon: BRIAN, WAIT. - LOOK, RELAX.

EVERYTHING'S GONE PERFECTLY.

EVERYONE THINKS SHE'S CRAZY...

THE WHOLE VILLAGE, EVEN HER OWN SHRINK.

SHE'S IN LOVE WITH A GHOST.

SHE SEES MURDERS THAT DON'T HAPPEN.

NO ONE...

NO ONE'S GONNA BLINK AN EYE WHEN SHE KILLS HERSELF.

THEN HER GRIEVING HUSBAND INHERITS 4 MILLION.

AND YOU THOUGHT

I HAD NO IMAGINATION.

Brian: JUST IN CASE SHE LOSES COURAGE,

JUST IN CASE SHE WANTS TO SAVE HERSELF AT THE LAST MOMENT...

SHE THROWS THE KEY OUT OF REACH.

- THROWS THE ANCHOR OVERBOARD. - WAIT!

- WHAT? - THERE'S SOMEONE OUT THERE.

Brian: DID YOU SEE PATRICK GET ON THE TRAIN?

Sharon: NO.

IT'S GOTTA BE HIM.

WHAT'S HE DOING?

I DON'T KNOW.

WE'VE GONE TOO FAR TO STOP NOW.

BRIAN, SHE'S AWAKE.

DON'T LOOK.

DON'T LOOK.

IT'S OVER.

WE'VE GOTTA SEE ABOUT PATRICK.

Thomas's voice: DON'T FORGET LOOK BEHIND YOU.

HE'S NOT HERE.

THIS PLACE GIVES ME THE CREEPS.

WHAT IF PATRICK WAS TELLING THE TRUTH?

WHAT IF HE WASN'T ON THE BALCONY?

REMEMBER ALL THOSE SAILORS WHO SAID THEY SAW ANGUS'S GHOST ON THE ISLAND.

YEAH, DRUNK SCOT SAILORS...

VERY RELIABLE.

HE'S NOT HERE. LET'S GO.

START TYING YOURSELF UP!

THIS ISN'T ONE OF YOUR STORIES, RACHEL.

THERE'S NOT GONNA BE A HAPPY ENDING.

PATRICK.

(distorted) NO, NOT PATRICK.

(groaning)

NO!

IT'S BETTER THIS WAY, YOU KNOW?

THANK YOU.

WE'LL KEEP PEOPLE OFF THE ISLAND.

MAYBE THEN ANGUS CAN REST IN PEACE.

YOU READY?

DO YOU KNOW WHAT THOMAS WOULD'VE WANTED?

LET GO OF HIS DEATH.

REMEMBER HIS LIFE.

(orchestral music playing)

(orchestral music playing)