MARY shuffles down the hallway towards the studio. JEFF watches her go.
CUT TO:
INT. – STUDIO CONTROL ROOM – NIGHT
GRAMS: ‘LO! THE BIRD IS FALLEN’
We hear acoustic guitar playing coming through from the live room. CLARE is setting levels. JEFF is sitting sipping a beer and watching how CLARE works.
DISSOLVE TO:
INT. – LIVE ROOM – NIGHT
GRAMS: (CONTINUE)
MARY sits in front of a couple of mics playing her guitar. Her eyes are closed. She plays as if in a trance. She begins to sing.
MARY
(sings)
Three cheers for Edward Jolly, Who fought a doughty fight!
When the rebels from Preston,
He drove in headlong flight.
DISSOLVE TO:
EXT. – YARD – NIGHT
GRAMS: (CONTINUE)
The yard is empty. All lights are off in the house. The only light comes from the full moon.
MARY (V.O.)
(sings)
From the fleet at Marton,
In aid of good King George,
He marched with Cotton's Regiment,
A victory to forge.
DISSOLVE TO:
EXT. – HILLSIDE – NIGHT
GRAMS: (CONTINUE)
We move across the empty fields.
MARY (V.O.)
(sings)
With pride he bore his
fowling piece,
Against whose cannonade,
EXT. – WOODS – NIGHT
GRAMS: (CONTINUE)
DISSOLVE TO:
We move through trees in the dark woods, occasional patches of moonlight illuminate the ground.
MARY (V.O.)
(sings)
No duck, no goose, no rebel,
Might raise a barricade.
DISSOLVE TO:
EXT. – WELL SPRING – NIGHT
GRAMS: (CONTINUE)
We move to a clearing. There's a well spring, gently gurgling. The water begins to glow – gently at first – then with an increasingly bright white light. Something very strange is happening.
MARY (V.O.)
(sings)
In town the traitor Mayfield,
In defiance gave no quarter,
LEN steps into view. He stares at the well spring with a slightly sneering expression. He pulls something from his pocket.
C.U. on the two silver coins in the palm of his hand.
MARY (V.O.)
(sings)
When troops of Wills and Carpenter,
He fired upon in slaughter.
LEN tosses one coin into the glowing water.
F/X SHOT: The coin seems to land on the surface of the glowing white water. It glows a bright red then seems to dissolve into the water.
LEN tosses in the next coin. The same thing happens. LEN shakes his head, seemingly disappointed.
As he watches, the water glows brighter and brighter.
WHITE OUT:
FADE IN:
INT. – SPARE ROOM – NIGHT
GRAMS: (CONTINUE)
BEV is sitting up in bed in the spare room. It's a decent size but looks a little unloved, with some spare bits and pieces stashed to one side. The room is illuminated only by a bedside lamp. BEV applies her moisturizer from a small jar. She finishes then switches off the lamp and snuggles down into the bedding. A moment later JEFF enters. He assumes she's asleep and quietly slips out of his clothes and into bed. They lie together silently for a moment.
GRAMS: (DIP TO BED)
BEV
What do you think of Len?
JEFF
Erm. I dunno. He's not like any of her other boyfriends. What do you think of him?
BEV
I don't like him. I dislike him.
JEFF
Why?
BEV
The way he does things, the way he says things. Stuff like that.
JEFF
That's pretty comprehensive disliking.
Beat.
BEV
I'm not sure about staying here.
JEFF
Give it a chance. It won't be for long. Clare says Len's out most of the time anyway.
BEV
That'd be good.
GRAMS: (SWELL)
They lie silently together in the darkened room.
CUT TO:
EXT. – CLARE’S FARMHOUSE – MORNING
GRAMS: THE FALL – ‘LOADSTONES’ (00:00)
CUT TO:
Establishing shot. A large van drives up and in through the gateway.
CUT TO:
EXT. – YARD – MORNING
GRAMS: (CONTINUE)
The van pulls up. A moment later, THE FALL climb out of the van: KIERON is the close cropped and muscular drummer, PETER the guitarist is lean and wiry, ELENA the keyboardist is dark haired, pretty and elfin, DAVE is the handsome bearded bassist.
CLARE comes out of the studio to greet them.
GRAMS: (DIP TO BED)
CLARE
Hi, I'm Clare. Nice to meet you.
ELENA
Elena. Hi.
They shake hands.
ELENA (CONT’D)
Are we okay to just start bringing things in?
CLARE
Yeah sure.
CUT TO:
INT. – LIVE ROOM – DAY
KEIRON is putting his drum kit together. PETER is tuning up. DAVE is stringing his bass and ELENA is setting up her keyboard. They are chatting and CLARE is positioning various mic stands etc.
CUT TO:
INT. – KITCHEN – DAY
BEV is doing the washing up. JEFF is drying.
BEV
I didn't sleep that brilliantly last night.
JEFF
I was out like a light.
BEV
Yeah. A loud, snorey light.
BEV rinses the last piece of crockery and pulls the plug. JEFF still has quite a bit of drying to do. LEN enters. He's wearing overalls and his hands are dirty from working on his bike.
BEV (CONT’D)
Hi.
LEN
Morning.
JEFF
A’right? We were wondering if there was much of interest round here.
LEN
Interest?
BEV
Places to go and see.
LEN
No.
(snorts)
There's the well spring.
BEV
Oh lovely.
LEN
The water's ice cold. In the 18th century it produced wondrous things. It's supposed to protect the land.
JEFF
Yeah?
LEN
But the locals abused it for sexual pleasure. The drumming up of angel babes for the infertile.
JEFF is uncertain how to respond.
BEV
Sounds like an afternoon out.
Right, I'm gonna see if Clare needs any help in the studio.
JEFF
Hark at Phil Spector.
BEV smiles and exits.
LEN
Very tasty.
JEFF
Uh?
LEN
Your Bev, very tasty.
JEFF
(nods awkwardly)
Yeah. She's lovely.
LEN
Bev told Clare that you're a good mate of this Mark E. Smith feller.
JEFF is a little awkward.
JEFF
Not exactly a mate. Been to a lot of Fall gigs. I've met him two or three times in Manchester.
LEN
So you lied to her?
JEFF
No, you know what it's like when you meet a girl – trying to impress – we all do it! I know him to say hello to like. Why, have you got tapes or music to pass on?
LEN
(with scorn)
Taaapes? Music?
LEN shakes his head. JE
FF goes to fill the kettle.
LEN (CONT’D)
Can I ask you something serious Jeff?
JEFF tries to lighten the mood.
JEFF
Sure, potential bro-in-law.
LEN
Did he send you here?
JEFF
What? Who?
LEN
Smith.
JEFF
(genuinely confused)
What? No! What d’yer mean?
LEN
Is he ‘prezzy’?
JEFF
(uncertain)
Does that mean cracked round ‘ere like?
LEN
No! Answer. Is he prezzy?
JEFF
From Preston?
LEN
Pres-by-terian.
JEFF
Oh. No. Not as far as I know.
LEN grunts.
JEFF (CONT’D)
Is that important? Are you… religious?
LEN
(snorts)
I'm a Son of a Witch. We have our own beliefs.
JEFF
What er… what are they then?
LEN looks at him for a moment then changes the subject and seems suddenly friendly.
LEN
You like bikes yeah?
JEFF
Erm, yeah.
LEN
Good.
CUT TO:
EXT. – WOODS – DAY
MACFISK and ALUN are walking slowly through the woods. They are tired. Their spirits low.
MACFISK
I'm cold.
Beat.
ALUN
I'm fuckin’ cold.
They walk on.
ALUN (CONT’D)
Fuckin’ Lancashire.
MACFISK
Wish I were with the main army in Preston.
ALUN
I dunno. At least we're safe here.
MACFISK
(annoyed)
I didnae sign up to be safe! I did it coz I wanna see a Stuart
King back on the throne!
ALUN
Aye, aye.
They walk on.
MACFISK
But the deeds expected of us…
ALUN
Hm?
MACFISK
Well it's no like fightin’. It's…
ALUN
It's what?
MACFISK
It's just devilment.
ALUN
Aye. Forster said he wanted us to make chaos.
MACFISK gives a weary shake of his head as they walk on.
ALUN (CONT’D)
See me, I nae had an education. Nae fit frae ought much. But chaos? Aye, I can do that.
MACFISK and ALUN walk on.
CUT TO:
INT. – LIVE ROOM – DAY
GRAMS: THE FALL – ‘INSTRUMENTAL 1’ (00.00)
ELENA, PETER, DAVE and KIERON are playing an instrumental track.
CUT TO:
INT. – STUDIO CONTROL ROOM – DAY
GRAMS: (CONTINUE)
CLARE is listening to the band and adjusting levels etc. BEV brings in a tray of coffees.
BEV
How's it going?
CLARE
Sounding great yeah.
How do you know about all this stuff?
CLARE
All what? The equipment?
(chuckles)
Um, it's a bit like your TV remote. Hundreds of buttons but you only need to know what a few of them do.
BEV
Yeah, but not just the machines. I mean how do you know about music full stop? I mean, I like music, but I don't know about it.
CLARE
To be honest with you, I can't really hold a tune, I can't properly play an instrument. But, I do know what sounds good, I know what sounds right.
BEV
Do blokes in bands treat you differently coz you're a woman?
CLARE
Sometimes. Not this lot. That's another reason why it's best if Len doesn't help.
BEV
What d’yer mean?
CLARE
Well if there's a bloke in here. People start acting as if he's the boss and I'm the assistant.
BEV
Of course. Of course.
GRAMS: (SWELL)
CUT TO:
EXT. – COUNTRY ROAD – DAY
A dark blue car is driving along the road.
CUT TO:
INT. – ED’S CAR – DAY
MARK E. SMITH is in the passenger seat. The driver is his mate ED – early 40s and matter-of-fact.
MARK
How much further?
ED
Not far. Wouldn't have thought this was you.
MARK
What?
ED
Recording in the countryside.
MARK
Could be okay. What you've got to remember is once the group are inside a recording studio it doesn't matter where it is. Coz they're not coming out ‘til the fucking job is done.
MARK and ED chuckle.
CUT TO:
INT. – GARAGE – DAY
CUT TO:
LEN is working on his motorbike. The garage door creaks open and JEFF enters. LEN looks up, his expression unreadable.
JEFF
Alright? Need a hand?
LEN
Just tinkering with the engine.
Beat.
JEFF
So you're a proper Hell's Angel then?
LEN
(snorts)
What's that mean?
JEFF
I dunno. Do you drink chicken's blood or —
LEN
(firmly)
— We're the Sons of Witches. And we don't discuss what we do with outsiders.
JEFF
Right.
An awkward moment. JEFF looks around the garage.
LEN
You're into bikes then?
JEFF
Er yeah. Never had anything like this though.
(nods to Len's bike)
I used to ride a Kawasaki. Then sold it when I got skint.
LEN pulls a dust sheet off another motorbike – a Harley Davidson.
LEN
Reckon you could handle this?
JEFF
(admiringly)
I'd definitely like to give it a go.
LEN
Take it out tonight. We'll have a bomb ‘round Pendle.
JEFF
Nice one. Yeah, love to.
JEFF kneels down and looks admiringly at the motorbike.
LEN looks down at the back of the kneeling JEFF. We can tell LEN is sizing him up and judging him as weak.
CUT TO:
EXT. – YARD – DAY
Ed's car pulls up into the yard. The passenger door opens and MARK gets out.
ED
Right, I'm off to Preston. See you later yeah?
MARK
A’right pal, see yer.
The car reverses out of the yard. As MARK lights a cigarette, something catches his eye. Over the wall, in an adjacent field, he can see MACFISK and ALUN staring over at the farmhouse.