The Trance

FADE IN
Scene 1
Belsen, Germany, 1946
INT. Night. A small bar in the Belsen suburbs. The room is dimly lit with candles.
A number of people sit in the smoky room, drinking and smoking.
The corner table. Benjamin and Jacobson, both middle aged, are seated in their chairs, facing each other.
Holding his drink in his hand, Benjamin watches Jacobson.
Jacobson looks at the burning cigarette in his hand. He wipes his nose with a handkerchief.
The barman behind the counter. He takes a pull from his cigar. Exhaling smoke, he watches the people in the smoky haze.
The corner table. Benjamin peers at Jacobson’s face.
Benjamin: (in Yiddish) “You said all of them are dead. Then why did you come back to Belsen…to collect their death certificates?”
Jacobson takes a drag from his cigarette.
Jacobson: “We all know there are no such certificates. I belong to Belsen, though I live in Norway...with my daughter. The war is over... that’s what they say. And I came back...whether or not I could find anyone I knew.”
Benjamin drinks and watches Jacobson.
O.S: the clatter of something falling, somewhere in the room.
Jacobson takes another drag from his cigarette.
Jacobson: “It’s not that I hoped to find anyone back here. You know...memories haunt a man...whatever the situation is.”
Jacobson sobs.
An old man sitting at the next table turns and looks at Jacobson. With a frown, he takes a sip from his glass.
Jacobson: “You said you are from Flensborg. What are you doing in Belsen?”
Benjamin looks at the glass in his hand.
Benjamin: “There are only a few of us left in Flensborg...I mean, our people. I lost my family in ‘43. I tried to find their graves...but in vain. I don’t think I will see any of them again. Now, I hate to live in Flensborg. So....I am wandering. I know...I must face the truth...but I can’t.”
His eyes brimming with tears, Jacobson closely watches Benjamin.
Jacobson: “Some truths don’t seem like truths at all.”
Benjamin pats Jacobson’s hand.
Benjamin: “It’s alright Jacob. Tell me everything again. I mean... from the beginning.”
Watching Jacobson, Benjamin takes another sip from his glass.
Benjamin: “I couldn’t grasp everything you said.”
A waiter comes and places a bottle of beer on the table and goes back.
Benjamin takes the bottle and pours a drink into Jacobson’s glass.
Benjamin: “Come on...drink it...and tell me everything once more. You said something about the baby cry.”
Jacobson raises his hand.
Jacobson: “Shh...I know what I said.”
He looks at his glass. He slowly picks up the glass and takes a sip.
Jacobson: “Yes...the baby cried...and that ended everything...everything...”
He suppresses a sob and looks at the glass with wet eyes.

Scene 2
Cut to: Ext. Dusk. The woods behind a Belsen village.
Head lights of army trucks moving through the village street.
Jacobson: V.O: “It was in 1942. It was very cold...but we had to hide somewhere... somewhere in the woods. They were combing all the villages...systematically...looking for our people...and the communists. The brown shirt bastards...all over Belsen.”
The woods. A group of people including men, women and children move cautiously through the woods in the semidarkness. Some women hold their babies in their hands. Shivering in the cold, they move slowly and silently through the woods. They are a close pack, holding each other and looking around with panic stricken eyes.
O.S: A twig snapping somewhere near.
They stop walking and stand still.
Jacobson watches the dark woods. He looks at his wife, who is holding their baby in her hands.
Jacobson’s wife looks back at him. She looks down at their daughter Hannah, 9 years old, who is standing near them.
Jacobson turns around and looks back at the village.
The village. Burning houses. Thick black smoke shoots up to the sky.
With sad eyes, Jacobson’s wife and Hannah watch the village burn.
Cut to: The village. The half eclipsed moon hangs above the tree line, occasionally visible through the gaps in the spreading smoke.
Squinting his eyes, Jacobson watches the moon.
The group of people watch Jacobson. One of them whistles in a low voice.
Jacobson turns. Holding his wife’s hand, he hurriedly walks towards his men.
Hannah watches the village burning. She reluctantly turns around and walks towards the group.
Jacobson: (In Yiddish) “Shh...wait.”
The whole group stands still, in silence.
Jacobson slowly looks around.
The group watches Jacobson, in silence.
The woods rustle in the slight breeze.
O.S: The barking of dogs, somewhere near.
Jacobson’s wife holds the baby closer to her body and looks around.
Hannah holds her mother’s shoulder and looks around with frightened eyes.
The village. The almost fully eclipsed moon in the sky above the smoldering houses.
Jacobson. V.O: “The moon was going behind the shadow. Then I saw them”.
Cut to: The woods. A group of men in hooded black robes walk in a line through the woods, carrying lighted black candles in their hands.
V.O: The low voice of rhythmic chanting.
Jacobson and the group watch the line of men in the black robes.
Still chanting, the men in the black robes walk towards a lighted area in the woods.
Jacobson : “Shh...don’t move...stand still”.
The wind rustles through the trees.
The men in black robes walk through the woods towards an area lighted with wooden torches fitted on the ground.
The village. The burnt down houses. The smoke filled sky above. The fully eclipsed moon is visible through the shifting gaps in the smoke.
The woods. Jacobson motions with his hand to his team to stay where they are. He carefully walks towards the group of the men in the black robes.
Jacobson’s wife watches Jacobson disappear into the darkness of the woods.
The lighted area in the woods. About 30 people in black robes carrying lighted black candles, stand in a circle around a crudely made wooden altar. A semiconscious girl of about 11 years lies on the altar as if she is drugged. The area is lit up with large wooden torches fitted on the ground. A tall man in a hooded red robe stands behind the altar, carrying a small leather bound book in one hand and a gleaming stiletto in the other.
V.O: The rhythmic chanting in German.
“Hail Loki...the mighty lord of all beasts...
Hail Ferniz...the glorious son of Loki...
Hail Loki...the lord of all living creatures...
Hail Ferniz...the glorious prince of all days and nights.”
The man in the red robe looks up at the sky. His face is clearly visible in the torch and candle lights.
Jacobson moves closer to the lighted area. Carefully, he approaches a tree and hides behind it. He looks around suspiciously as if he heard something. Cautiously craning his neck, he looks at the group in the lighted area.
The lighted area. Smoke from some incense spreads all over the place.
V.O: The rhythmic chanting.
Jacobson watches the 4 or 5 SS men in uniforms standing in the lighted area, holding Dobermans in leashes. He watches the hounds look around impatiently. One hound barks, looking towards where he is hiding.
The SS man pats the dog.
The SS man: “Hush...easy...”
The man looks around the woods.
The lighted area. The man in the red robe watches the fully eclipsed moon.
He looks down at the girl, lying on the altar.
One restless dog looks around and barks.
V.O: The chanting.
“Hail Loki...The mighty lord of all beasts and men...
Hail Ferniz...The glorious son of Loki...”
Jacobson watches the scene with wide open eyes.
The lighted area. The man in the red robe raises his hand and looks around.
The men in the circle stop chanting and watch the man in the red robe.
The man in the red robe reads from the book in his hand.
The man in the red robe: (In German) “You come from beyond the primitive darkness, oh lord, to carry the infinite glory of the cosmic elements unto the end of time...”
The flames of the torches and the candles dance in the wind. The smoke from the incense spreads rapidly.
Still hiding behind the tree, Jacobson watches the scene.
The lighted area. The man in the red robe continues to read.
The man in the red robe: (continues) “...and we have to go through the act of establishing the glory of the superior kind. Mighty Ferniz, reincarnate in our weak hearts and lead us in our quest for the shining path. Lord...relish the feast of this night and no night shall go without thy presence among us.”
The men in the circle: “Hail Ferniz...the mighty lord of all beasts... Hail Ferniz...the glorious prince of darkness...”
The girl’s POV: Straining, the girl on the altar opens her eyes and looks up at the man in the red robe.
Holding the stiletto, the man in the red robe raises his hand.
The burning torches, their flames shimmering in the wind.
Jacobson closely watches the scene.
The lighted area. The man in the red robe looks up.
The fully eclipsed moon in the sky
The man in the red robe: (continues) “…mighty Ferniz, let the links of the chain strengthen the fraternity of the beasts.”
He looks down at the girl on the altar and in a swift motion, brings down the stiletto.
Jacobson gasps.
Hannah. V.O: “Oh...Papa...”
Jacobson suddenly turns around and sees his daughter Hanna standing behind him.
Hannah watches the scene with horrified eyes. She is about to scream.
Jacobson suddenly covers Hanna’s mouth with his hand and holds her tightly against him.
V.O: A baby cries from where Jacobson’s team is waiting.
The lighted area. The man in the red robe swiftly turns and looks towards the woods from where the baby’s crying was heard.
Still cupping her mouth with his hand, Jacobson holds Hanna tightly against him.
The lighted area. The man in the red robe takes a step forward.
The man in the red robe: “What? Who is out there? Find them....find them now. Don’t let anyone escape”.
Holding the leashed dogs, the SS troopers storm towards the woods from where the baby’s crying was heard. Some men in the black robes, their hoods pulled back and guns in hand, follow the SS men.
Cupping his daughter’s mouth and pulling her down with him, Jacobson crouches and hides in the bushes below the tree.
The SS troopers rush into the woods, shouting orders.
O.S: The dogs’ barking.
One of the SS men passes by with his dog, a few yards away from where Jacobson and Hannah are hiding. They rush through the woods without noticing Jacobson and Hanna.
V.O: The baby cries again.
Holding Hanna, Jacobson shuts his eyes and leans his head against Hanna’s shoulder.
Hanna watches the man in the red robe.
The lighted area. His face visible in the light of the torches, the man in the red robe looks straight at where Hanna is hiding.
The girl lies on the altar, her body limp and drenched in blood. The stiletto lies near her bloodied neck.
Flames of the wooden torches dance in the wind, giving a red glow to the incense smoke.
Hannah’s wide open eyes watch the man in the red robe.
V.O: People shouting and the sound of gunfire, continuous and deafening. Loud cries of women and children.
Jacobson, his face pressed against Hanna’s shoulder, suppresses a sob.
Hanna, with a dazed look in her eyes, watches the man in the red robe.
Flashes and smoke from the gunfire, visible through the trees and foliages.
O.S: The incessant gunfire. The sudden silence.
Holding Hanna tightly against him, Jacobson crouches in the bushes.
The lighted area. The man in the red robe and some men in the black robes stand amidst the wooden torches in complete silence.
Scene 3
Cut to: INT. Night. The Belsen bar.
Holding the glass in his hand, Jacobson sits in his chair, looking at Benjamin.
Benjamin watches Jacobson for a long moment.
Benjamin: “The dogs didn’t see you? I mean...the dogs couldn’t even smell you?”
Still keeping his eyes closed, Jacobson shakes his head.
Jacobson: “No. Maybe the wind...the wind saved us.”
He opens his eyes, looks at Benjamin and takes a sip from his glass.
Jacobson: “Maybe there was something else...”
Benjamin: “Something else, what?”
His eyes riveted to the glass, Jacobson slowly shakes his head.
Jacobson: “I don’t know... but, I had a feeling... that something else was in those woods...I mean...besides those people and the dogs”.
He shakes his head again.
Jacobson: “And I thought those dogs were a little scared…scared of something in those woods. Still, I don’t know... what it was... that scared those Dobermans”.
Jacobson takes another sip from his glass and looks at Benjamin.
In the flickering light of the candle, Benjamin watches Jacobson, in silence.

Scene 4
Concord suburbs, New Hampshire, 1972.
EXT. Day. The street in front of a big house with an iron gate and a driveway reaching up to the house.
In the breeze, dry leaves rustle through the street. A pick up van passes by.
Cut to: INT. House. Living room. Thomas Cray, aged 62, fumbles with a suitcase which is lying on a couch. He frantically tries to fold some clothes and put them into the suitcase.
Leaning on the wall and her hands folded across her chest, Ellis, 52 years old, watches Thomas Cray.
Cray hurriedly walks towards the window and looks out to the street.
EXT. The open gate.
INT. Cray gets back to the suitcase, closes it and presses it hard. The lock clicks into place.
Cray: “Ellis, he will be here any moment. Do you remember everything I told you?”
Ellis: “Yes Thomas, I remember everything. Every word you told me”
Cray watches Ellis closely.
Cray: “You are sacred, isn’t it?
Ellis: “Yes... I am scared. But, don’t worry. I will do everything as you have instructed.”
Walking towards the corner of the room, Ellis takes a shot gun from there. She holds it in her hands and studies it.
Cut to: Ext. Street. A black car slowly eases to a stop in front of the gate. Opening its front doors, Hyde and Rick, two crew cut young men in their early thirties, get out.
INT. Room. Cray watches Ellis studying the gun. Suddenly he turns and runs towards the window. He looks out at the gate and turns around with a gasp.
Ellis: “What’s it, Thomas?”
Cray looks at Ellis in bewilderment.
Cray: “It is not Sam. These are Hansen’s men.”
Cray slowly shakes his head.
Cray: “They didn’t give me much time. I told Hansen I am going to Ottawa. But, somehow he knew.”
EXT. Street. The young men look at the house through the open gate.
Hyde: “He had left the gate open. But his car is still in there.”
Rick: “May be Mr. Cray is in a hurry”.
INT. Room. Carrying the gun in her hands, Ellis hurriedly walks up the stairs to the 1st floor. Reaching up the landing, she turns around and crouches in a firing position, hidden behind the banisters.
Cray: “Ellis...you must do exactly as I had told you. Don’t forget the basement, and the candles. Just go on as usual...for your own safety.”
Ellis nods frantically. Hiding behind the banisters, she points the gun down into the room.
EXT. Street. Another car passes by. Hyde and Rick watch it move away. They watch the deserted road and look back at the house.
INT. Room. Cray looks out through the window.
Ellis watches the room, the gun steady in her hands.
EXT. Street. Closing the gate behind them, Hyde and Rick walk up the driveway.
INT. Room. Cray takes in a deep breath and rubbing his hands together, he stands upright.
EXT. Driveway. Hyde and Rick approach the garage. Standing near Cray’s car, they look at each other, their long overcoats flapping in the wind.
Rick nods and Hyde walks towards the front door. Hesitating for a moment, he presses the door bell.
INT. Room. Ellis listens to the sound of the bell and squint her eyes to watch the scene below. Cray slowly walks towards the door. He looks back at Ellis, turns and holding the door knob, pulls open the door
EXT. Hyde stands in front of the door. He looks at Cray with a grin.
Hyde: “Hello Thomas...long time, no see”
Standing behind Hyde, Rick grins.
Cray looks at the two young men and shifts his gaze towards the closed gate.
Hyde: “Are you in a hurry, Mr. Cray? Why don’t you invite us in?”
Cray looks at Hyde for a moment.
Cray: “What do you want, Hyde?
Hyde: “You know what we came for. Now, Thomas, you just relax. We’re not looking for trouble. Mr. Reinhard sent us to get back his... er... his package.”
Cray: “What package, Hyde?”
Rick: “Come on, Mr. Cray...”
INT. Room. Ellis overhears the conversation, from where she is hiding.
Rick: V.O: “We don’t have much time to waste...you know. Mr. Reinhard is so mad that he will blow our brains out if we don’t get back soon”.
Cray watches Rick without any expression on his face.
Cray: “Okay Hyde, come inside. We will talk”.
EXT. From the POV of the gate. Hyde and Rick get into the house. The trees near the house sway in the breeze.
INT. Room. Hiding behind the banisters, Ellis watches Cray and the young men walk into the room.
Hyde looks around the room and watches the suitcase on the couch.
Hyde: “So you’re all set to go, Thomas?”
Cray slowly walks towards the couch and looks down at the suitcase.
He turns and looks at Hyde.
Cray: “Yes...I’m going to Canada. Yesterday I told Reinhard... that I’m going to Canada.”
Hyde laughs. He turns and looks at Rick.
Hyde: “Did you hear that Rick? Mr. Cray is going to Canada. He will go to Canada and Reinhard can have our brains as dessert for his dinner.”
Rick: “Mr. Cray, you go to Canada or Canaris, we don’t care. Just hand over the package and go wherever you want.”
Ellis nervously watches the trio from behind the banister, the gun in her hands at the ready.
Cray looks at Rick.
Cray: “Who are you? I haven’t seen you before”.
Hyde: “Don’t worry, Thomas...he is a friend. Rick launders Reinhard’s conscience thrice a day.”
Hyde chuckles.
Rick grins.
Cut to: EXT. POV of the ‘thing’. From the bushes at the backyard of the house, something watches the house.
O.S: Something like the panting of a dog.
INT. Room. Rick watches Cray with a mean look in his eyes.
Rick: “Don’t burn your brains old man. Mr. Reinhard badly wants his package. After all, you stole it from him. But you’re pardoned. He sent us to collect it and leave you free to live.”
Cray looks straight into Rick’s eyes.
Cray: “There is no package. Now, you get out of my house. I will talk to Hyde.”
Rick pulls out a magnum from his waist.
Ellis tensely watches and takes aim with her gun.
Cut to: EXT. The back yard. The ‘thing’s POV. From the bushes, the ‘thing’ watches the house.
O.S: An angry, dog like snarl.
INT. Room
Rick: “Playtime is over Mr. Cray. We didn’t come here to chat with you about your flight to Canada. Tell me...why is that old woman hiding up there… behind that staircase?”
In a swift motion, Cray pulls out a pistol from under the pillow on the couch. He turns around, crouches and fires at Rick.
Rick is thrown back by the impact of the shot, hits the wall and falls down.
In reflex action, Hyde pulls out his gun and shoots at Cray, twice.
Cray falls over the couch and then on to the floor.
Squinting her eyes, Ellis takes aim and pulls the trigger of her gun.
Hyde suddenly turns around to look up at the staircase. Ellis’s shot hits him in the chest and he is thrown back to where Cray is lying.
The smoke filled room in the silence. The three dead bodies scattered on the floor.
Cut to: EXT. Backyard. The ‘thing’s POV. The thing is now much closer to the house. It watches the window of the living room.
O.S: An angry, dog like growl.
INT. room. Ellis slowly stands up from where she was crouching. Still holding the gun in her hands, she walks down the stairs and looks at the dead body of Cray.
Cut to: EXT. Backyard. The POV of the ‘thing’. The ‘thing’ watches the window.
O.S: The low growling.
INT. Room. Ellis suddenly turns as if she heard the growling. She looks around the room and walks towards the body of Cray. She looks down at the dead man for a long moment.
Cut to: EXT. Backyard. The POV of the ‘thing’. It is much closer to the window now.
O.S: The low growling.
INT. Room. Ellis turns around suspiciously. Holding the gun in her hand, she slowly walks towards the window that opens to the backyard. Coming close to the window, she parts the window curtain with the barrel of the gun.
Cut to: EXT. Backyard. A full grown wolf watches Ellis through the window pane.
INT. Room. With panic stricken eyes, Ellis looks straight into the gleaming eyes of the wolf.
Scene 5
Manchester, New Hampshire, 1994. The Baxter residence.
NIGHT. INT. Timothy Baxter’s study room.
Timothy, 52 years old, sits on his chair behind the table. In the light of the table lamp, scattered papers lie on the table. In the partial light of the table lamp, Timothy watches the whisky glass in his hand. He places the glass on the table and takes a yellow envelope from the paper heap. He slips a photograph half out of the envelope and stares at it for a long moment.
Rosemary Baxter: V.O: “No Tim... there is nothing to be ashamed of it. Nothing, my son. You must understand that...he liked me very much... but... you know the circumstances...he had to leave me...Tim...please understand”.
Timothy raises his head as if he heard something and looks around. He pushes the photograph back into the envelope and put the envelope into the drawer of the table. Taking the whisky glass in hand, he gets up from the chair and walks towards the window.
The window curtains slightly move in the wind.
Moving close to the window, Timothy parts the curtain and looks out.
Cut to: EXT. The half moon above the tree line in Timothy’s courtyard.
INT. Room .Standing in the semi darkness, Timothy looks out.
O.S: An owl hoots, somewhere.
He slowly takes a sip from the glass.
Scene 6
EXT. Dusk. The park.
Sophie, 9 years old, swings on a swing, her hair flying wildly in the wind.
Timothy sits on a bench near by, reading a newspaper in the diminishing daylight. The newspaper partially covers Timothy’s face from Sophie’s view.
Her eyes closed, Sophie swings.
Sophie: “Daddy...let me swing some more...please daddiee...”
Timothy: (without looking up from the paper) “Enough Sophie... we have to go home ...it’s too late.”
Sophie: “Hmm... I don’t want to go...please daddiee...”
Sophie’s swinging slows down. She slowly opens her eyes and looks around.
Slowly lowering the news paper, a man in a black hooded parka looks at Sophie from the bench where Timothy was sitting.
With frightened eyes, Sophie watches the man.
The man’s face, barely visible in the twilight, looks straight at Sophie.
The swing comes to a stand still. Sophie tries to call out something, but her voice barely comes out.
The man in the black parka slowly nods his head.
The man: “Come on Sophie... it’s time to go. Come darling...we have a long way to go.”
With wide open eyes, Sophie stares at the man and slowly slips down from the swing.
The deserted park, except for Sophie and the man.
Sophie stares at the man. A wind blows, rustling the plants around.
The man: “Come on, Sophie... we have to go, sweetie.”
Sophie turns and runs towards the woods on one side of the park.
Sophie : “Daddy... Daddiee.”
Suddenly she stops running and looks back at the bench.
The empty bench.
Sophie continues to run. She enters the woods. Breathing heavily, she holds on a tree and closes her eyes.
O.S: The low sound of something snarling.
She opens her eyes and looks around. Her dazed eyes fix on one point.
The wolf watches her from the dark shade of another tree. It looks straight at Sophie’s eyes.
Sophie gasps and begins to run again through the woods
Sophie : “No... noo... Daddiee... help me...”
Sophie stops running and breathing heavily, she stands in front the gate of her house.
She holds on the gate and pulls hard. The gate doesn’t open. With horrified eyes, Sophie watches the chain and padlock with which the gate is locked.
Sophie pulls again.
Sophie: “Daddy...open the gate... please... daddiee...”
She stops pulling and slowly looks back.
The wolf stands a few feet away from Sophie, staring at her.
Sophie watches the wolf. She opens her mouth to cry, but no sound comes out.
Baring its fangs, the wolf takes a step towards her.
Still watching the wolf with sheer terror in her eyes, Sophie leans on the gate.
Suddenly, with an angry growl, the wolf lunges at Sophie.
Sophie screams.
Sophie : “No... nooo...”
Scene 7
INT. Sophie’s room. Sophie suddenly sits upright on her bed, panting.
Sophie: “Daddy... Daddiee...”
Cut to: INT. Timothy’s study. Standing by the window, Timothy stiffens and turns around.
Sophie: V.O: “Daddie... daddiee...”
Timothy hurriedly walks towards the table and places the whisky glass on it. Getting out of his room, he runs up the stairs to Sophie’s room.
Cut to: INT. Sophie’s room. Sophie sits on her bed, her eyes closed.
Sophie: “They are here daddy...”
Timothy rushes into Sophie’s room and switches on the light. Seeing her sitting on the bed, he looks around.
Sophie begins to sob.
Timothy: “Sophie...what’s it darling...why are you crying? You had a bad dream? Sophie...open your eyes, baby...”
Timothy sits near Sophie and holds her.
Sophie desperately hugs Timothy. She opens her eyes and slowly looks around.
Sophie: “I saw it daddy... It’s out there...near the gate.”
Timothy: “No darling. Nothing is out there. You just had a nightmare...that’s all. Now, calm down. Nothing is going to hurt you.”
Sophie slowly shakes her head.
Sophie: “I saw it daddy. It came for me. Please, don’t leave me alone”.
Timothy: “No baby... Daddy is not going anywhere. Now, you lie down and try to get some sleep. There is nothing out there.”
He slowly lays Sophie back on the bed. He eases her hands from his shoulders and covers her with a blanket.
Timothy: “You try to get some sleep...okay?”
Sophie looks at Timothy and slowly nods. She turns on her side and pulls the blanket over her head. Timothy stands, watching Sophie for a long moment. He looks around.
He looks at the Madonna on the wall and walks towards the window. Pulling the curtains to one side, he looks out of the window.
Cut to: EXT. The courtyard. POV of the ‘thing’. Something watches Timothy stand by the window. It watches Timothy pull back the curtain.
INT. Sophie’s room. Timothy pulls the curtain back to place and turning back, looks at Sophie. He switches off the light and slowly walks out of the room.
INT. The corridor. Without making any sound, Timothy closes the door of Sophie’s room. Standing there, he takes in a deep breath.
EXT. Timothy’s house in the dim moonlight.
Scene 8
EXT. Day. Dr. Jane Pat’s psychiatric clinic.
INT. Jane’s room. Jane, aged 39, Timothy and Fr. Jason Janowski are sitting on couches.
Fr. Jason Janowski, aged 70, sits with his hand around Sophie, who is nervously standing near him.
Sophie holds her ‘animal picture book’ close to her chest.
Fr. Jason: “Have you seen any of her wolves, Mr. Timothy?”
Timothy: “Not yet, Father. But, in my mind, I can see them as perfect as she sees them”.
Sophie uneasily looks at her picture book.
Fr. Jason: “Don’t worry Sophie. Wolves aren’t as bad as you think. We can even tame them if we try hard.”
Sophie looks at Fr. Jason’s face. She frees herself from Fr. Jason’s hold and walks towards the window that overlooks the street.
Jane: “You know Tim, Fr. Jason was my professor at New York. He knows all about Sophie. I had discussed her case with Fr. Jason, many times.”
Timothy watches Jane and Fr. Jason.
Timothy: “Fr. Jason, I am grateful to you for taking so much concern in my daughter’s problem. I don’t know how to explain...”
Fr. Jason raises his hand.
Fr. Jason: “You don’t have to, Mr. Timothy. I have my own reasons to see your daughter. In fact, I was waiting to meet her as soon as I could.”
Fr. Jason looks at Sophie, who is looking out of the window.
Timothy: “It is getting worst.”
Fr. Jason turns and looks at Timothy.
Fr. Jason: “Mr. Timothy, the reason I wanted to see your daughter is not entirely clinical. It has something to do with my own past. When Jane told me about your daughter’s visions...if I may call it so...I was so fascinated that I had a premonition about the outcome of this meeting.”
EXT. Street. (Through Sophie’s POV) Occasional cars pass by in the drizzle. People in raincoats and some people carrying umbrellas walk through the side walk. A group of children in bright hooded parkas pass by.
INT. Jane’s room. Jane gets up from the couch and walks towards her table.
She takes a file from the table.
Jane: “Tim, I had shown Fr. Jason all her medical records.”
Fr. Jason keenly watches Sophie, who is still looking out of the window.
Sophie watches the people walk through the side walk.
Timothy: “Yesterday, she had that nightmare again.”
Fr. Jason looks at Timothy.
Timothy: “She was shouting as if she had some real experience. She doesn’t take them as her dreams.”
Sophie turns and looks at Timothy.
Jane: “Her medical records are not bad. She is intelligent and logical in thinking.”
Suspiciously, Sophie listens to their conversation.
Fr. Jason looks at Jane for a long moment and turns to look at Timothy.
Fr. Jason: “What if her experiences are real? What do you think of it?”
Sophie watches Fr. Jason.
Timothy: “But...that is so absurd, Father.”
Fr. Jason: “Absurd in the sense as we see things, Mr. Timothy. May be your daughter has got her own kaleidoscope.”
Sophie looks out of the window and gasps.
Jane, Timothy and Fr. Jason turn to look at Sophie.
Sophie, her face ashen, looks out of the window and closes her mouth with her hand.
Sophie’s POV. A tall man in a black hooded parka slowly walks through the side walk. He turns and looks up at the window where Sophie is standing.
Timothy gets up from the couch and walks towards Sophie.
Timothy: “Sophie...what’s it? You look pale.”
Her eyes wide open with fear, Sophie watches the man in the black hooded parka. She watches him turn back and look at her. Suddenly she screams.
Sophie: “He is here. Look daddy...that man is here...”
Fr. Jason gets up and rapidly walks towards Sophie.
Fr. Jason: “Who’s here Sophie...what did you see?”
With horrified eyes, Sophie looks at Fr. Jason.
Sophie: “That man... in the black coat.”
She bursts into tears.
Sophie: “Daddy... let’s go home.”
Timothy looks out of the window. He watches people in bright raincoats walk by. He places his hand around Sophie’s shoulder.
Timothy: “There’s no one out there in a black coat. Sophie...you are imagining things.”
Jane watches the scene with surprise.
Timothy: “Look out Sophie... there’s no one out there to frighten you. Come on...look out.”
Sophie slowly turns and looks out to the street. After a moment, she looks up at Timothy.
Jane walks towards Sophie. She takes hold of Sophie’s hand and looks out of the window.
Fr. Jason walks back to the couch. He turns and looks at Sophie.
Fr. Jason: “Who did you see Sophie? Tell me...was it anyone you knew?”
Jane looks at Sophie. Placing her finger under Sophie’s chin, she raises up Sophie’s head.
Jane: “Sophie, Tell Fr. Jason what you saw. Don’t be scared. We’re all here and no one will come in here to hurt you. What did you see?”
Sophie looks around with frightened eyes.
Sophie: “The man...the man...no, I can’t tell it. I won’t”
Timothy kneels in front of Sophie and places his hand around her shoulder.
Timothy: “Baby, you tell Fr. Jason what you saw. He won’t let anyone hurt you.”
Sophie begins to sob.
Sophie: “The man... the man in grandma’s room.”
Sophie’s gaze shifts out of the window.
Sophie: “He is out there... I saw him.”
Timothy looks at Sophie in total disbelief.
Jane and Fr. Jason look at each other.
Holding Sophie’s shoulder, Timothy shakes her.
Timothy: “Sophie, have you gone out of your mind? What are you talking about?”
Jane looks at Timothy in surprise.
Jane: “Tim, what is she talking about?”
Scene 9
INT. Day. Timothy’s house. In the silence, Sophie stands in front of Rosemary’s room, watching the closed door.
O.S: The weak wail of a police car siren.
Sophie watches the door with wide frightened eyes. She slowly raises her hand and pushes the door. The door slowly opens with a creaking sound. Sophie watches the dark room in silence.
V.O: In a male voice: “Are you ready to go?”
Sophie gasps and covers her mouth with her hand.
V.O: “Come on...Sophie, its time to go.” Sophie turns and begins to run.
V.O: Come on darling...”
The sound fades away.
Scene 10
INT. DAY. Timothy’s car. Watching the traffic in front of him in the drizzle, Timothy drives.
Sophie sits upright near Timothy, her eyes closed and her hands clutching the picture book.
Timothy turns and looks at Sophie.
Timothy: “But you didn’t tell me anything about grandma’s room.”
Timothy shakes his head.
Timothy: “Grandma’s room…you were imagining that too. Jesus...Sophie, you’re making up a big load of new stories.”
EXT. Street. In the drizzle, Timothy’s car moving amidst other vehicles.
INT. Car. Sophie opens her eyes and looks at Timothy. She slowly shakes her head.
Sophie: “No...I saw him in grandma’s room, daddy. He is living in grandma’s room”.
Impatiently, Timothy looks at Sophie.
Timothy: How can that be Sophie? Your grandma’s room had been locked for the last 32 years. 32 years, you know. We open it only once in a year, for cleaning. Then, how can you see him in there? Sometimes you are talking big nonsense.”
The car stops at a signal. Both Timothy and Sophie watch pedestrians cross the road.
Sophie: “Daddy... I am sorry. I was scared...to tell you this. I thought you would leave the room open...and that man will come out...and take me to the wolves.”
Timothy stares at Sophie.
Sophie begins to sob.
Sophie: “Jane told me Fr. Jason is a very bold man. I thought Fr. Jason will beat that man out of grandma’s room. So that he won’t come back again...”
Timothy shakes his head in total disbelief.
EXT. Street. The signal change and Timothy’s car moves among other vehicles.
Scene 11
INT. Jane’s room. Sitting on the couch, Fr. Jason sips a cup of coffee. Looking out, Jane stands near the window.
Fr. Jason: “You know, people sometimes have strange visions with certain meta dimensions. I had seen it so many times. In Poland...and in this country. Most of those who came alive out of the Krakow ghetto were classic examples of great story tellers. They mesmerized people with their strange visions. In fact, most of them were telling the truth.”
Fr. Jason takes a sip from his coffee and looks at Jane.
Fr. Jason: “All these years I was trying to deduce some meaning out of seemingly meaningless occurrences.”
From where she stands, Jane watches Fr. Jason.
Jane: “Father, I know this kid for a long time. I mean... since Tim brought her to me for medical treatment.”
Fr. Jason: “Treatment for what? Do you think that girl is crazy?”
Jane walks towards Fr. Jason and standing near the couch, she looks at him.
Jane: “I am not sure. That’s why I wanted you to meet her. I thought you could help her...with your.... so called experiences.”
Fr. Jason looks up at Jane and nods.
Fr. Jason:” Every experience has its own meaning...and value.”
Fr. Jason gets up from the couch, takes another sip of his coffee and places the cup on the table. He turns and looks at Jane.
Jane: “Anyway you promised Tim that you will visit his house, tomorrow.”
Fr. Jason walks towards the window and looks out. Silently he watches the sparse traffic for sometime. He turns and looks at Jane.
Fr. Jason: “Yes, I told him that... and I will go. Mr. Timothy thinks that girl has some sort of mental disorder. You are not sure whether she is normal or not. Then what bothers that poor girl is something we have to find out and make her understand. I have certain ideas about her convictions of what she experiences.”
Scene 12
INT. Day. Timothy’s house. Holding Sophie’s hand, Timothy slowly walks through the corridor towards Rosemary’s room.
As they come close to the closed door, Sophie tightens her grip on Timothy’s hand.
Timothy and Sophie stand in front of the closed door.
Scene 13
INT. Day. Jane’s room. Her hands folded across her chest, Jane stands near Fr. Jason.
Both of them watch the street in silence. An ambulance, its sirens wailing, passes by. Pigeons fly up from the sidewalk and disappear beyond the buildings.
Fr. Jason: “The Carpathian woods. That’s what that girl’s stories remind me of.”
Astonished, Jane watches Fr. Jason.
Scene 14
INT. Day. Timothy’s house. Timothy and Sophie stand in front of the closed door of Rosemary’s room. Timothy looks down at Sophie.
Timothy: “Sophie, you want me to open that door....so that you can check out whether your ghost man is in there?”
Sophie looks up at Timothy in fear.
Sophie: “No. Don’t open it now. He is in there...waiting for someone to open the door.”
Timothy looks at Sophie with sad and worried eyes.
Scene 15
INT. Day. Jane’s room. Standing near the window, Fr. Jason watches the trees on the sidewalk.
Fr. Jason: “You know... some things travel through centuries. They repeat themselves as if in a cyclic process. And wherever they are, they cast their spell around them. May be I am wrong... but, I can feel the unmistakable stench of it.”
Fr. Jason slowly touches his clerical collar and keeps his finger there.
Fr. Jason: “The stench of all those rotten bodies... scattered all over the forests... and the moors...”
Slowly shaking his head, Fr. Jason watches the pigeons come back to the trees on the sidewalk.
With a trace of fear on her face, Jane watches Fr. Jason.
Jane: “Father...what are you talking about?”
Fr. Jason turns and looks at Jane. He blinks his eyes and looks at his wrist watch.
Fr. Jason: “Oh...it’s late. I am sorry Jane, I have to go. I have an important appointment.”
Confused, Jane watches Fr. Jason.
Jane: “Are you alright? You look pale.”
Fr. Jason takes in a deep breath and holding Jane’s shoulder with his hand, he smiles.
Fr. Jason: “Don’t worry Jane. I am perfectly alright”.
Scene 16
INT. Night. Timothy’s study. Sophie sits on a couch, sipping a glass of orange juice.
Sitting on the floor near Sophie, Timothy shows her a photograph.
Timothy: “You haven’t seen this one. Look...this is your grandmother, with grandpa.
They took this photograph in Germany. It was war time. Your grandma went there to collect her dear most art pieces. Paintings...sculptures... such things. See...those paintings”.
Timothy points to the wall.
Two 19th century German expressionist paintings hang on the wall. In one corner of the room stands the bronze statue of an angel, pointing a sword upwards with both hands. The statue is fitted on a long metal pedestal.
Sophie watches the angel for a long moment.
Sophie: “Why didn’t grandpa come back with grandma? You told me that she came back alone.”
Timothy watches the window curtain slowly move in the wind.
Timothy: “I also told your grandpa was killed in a bomb raid.”
Timothy looks at the photograph.
Timothy: This photograph was taken a few days before his death”
EXT. Night. Timothy’s house in the moonlight, still and silent.
The POV of the ‘thing’. Something watches Timothy come near the window.
INT. Night. Holding the photograph in his hand, Timothy stands near the window and watches Sophie drink her orange juice.
Cut to: Timothy sits in his chair, watching Sophie sleep on the couch. He opens the drawer of the table and drops the yellow envelope in it.
Cut to: INT. Bathroom. Pouring water over his face from the wash basin, Timothy washes his face. Taking a towel from the rack, he wipes his face. He watches his reflection in the mirror and rubs his face again.
EXT. Timothy’s house. In the moonlight, trees slowly sway in the wind.
O.S: Some where in the distance, the long howl of a wolf.
Scene 17
EXT. Day. The graveyard. Timothy and Sophie stand in front of Rosemary’s tomb.
A bouquet of red roses lies on the tomb. Inscribed on the tomb stone are the words,
‘Rosemary Baxter, 1910-1964’.
Sophie stands holding Timothy’s hand, her eyes closed.
Timothy: (as a continuation of his prayer) “...holy Mary, mother of God, pray for us sinners, now and at the hour of our death.”
Both Timothy and Sophie: “Amen.”
Timothy watches the tomb in silence.
Opening her eyes, Sophie looks around.
Tomb stones in the sunlight.
Holding Sophie’s hand in silence, Timothy walks towards his car.
Sophie stops walking and looks up at Timothy.
Timothy looks down at Sophie.
Sophie: “Daddy... who was that other man?
Timothy: “What other man?”
Sophie: “The other man in that photograph... with grandma and grandpa?”
Astonished, Timothy stares at Sophie. He holds Sophie’s hand and gets in the car and moves.
INT. Car. Sophie watches the rosary hanging above the windshield.
The rosary moves to and fro like a pendulum.
Timothy: “They all lived together. I mean... your grandma and grandpa... and his cousin. Your grandma was in Germany for a long time. It was war time. All they had to move to safer places ... and one day your grandpa was killed... in a bomb raid.”
Sophie watches the dangling rosary.
Timothy: “She was pregnant at that time. I mean... she was carrying me and she had to leave Germany...in order to save herself... and me”.
Scene 18
INT. Night. Timothy’s study. Sitting in his chair, his face partially lit by the table lamp, Timothy stares at the paintings.
In the dim light, the paintings on the wall.
The statue of the angel reflects a speck of light from the table lamp.
INT. Sophie’s room. Sophie sleeps on her bed, a blanket pulled up to her neck.
A photograph of Timothy and a little Sophie rests on the table by the bed.
The Madonna on the wall.
Sophie’s animal picture book lies on the bed.
INT. Timothy’s study. Sitting in his chair, Timothy watches the statue.
The statue watches Timothy.
Scene 19
EXT. Day. Jane’s car moves through the traffic in the slight drizzle.
INT. Car. Jane drives. Fr. Jason watches the traffic through the motion of the wipers.
Fr. Jason: “Why did she leave Timothy... and that child? After all she is her daughter.
Why did she leave them just like that? There should be some good reason...”
Jane: “She was scared... from what Timothy told me. Sort of a paranoiac...and an alcoholic. I had seen her only once.”
Fr. Jason: “Scared of what?”
Jane drives silently. She slowly shakes her head.
Jane: “I don’t know. Timothy told me she wanted to sell their house...and go somewhere else. But he wouldn’t do that. It has something to do with that house.”
Scene 20
EXT. Day. Timothy’s house in the drizzle. The trees around the house sway in the slight wind.
Scene 21
INT. Day. Jane’s car.
Fr. Jason: “She thought that house was haunted? Why should she think like that? And now...that girl has all these strange visions.”
Jane: “Sophie began to act strangely after Carrie went away. May be an abandoned feeling pulled her into some fancy thinking.”
Fr. Jason watches the traffic in silence.
Scene 22
INT. Day. Timothy’s study. Carrying the picture book in her hand, Sophie stands watching the statue of the angel.
Timothy sits in his chair, his hands folded across his chest and his eyes closed, as if he is asleep.
Sophie: “I don’t like this angel. Why is it carrying that sword? Why did grandma bring it here? I don’t like her...”
Timothy opens his eyes and watches Sophie.
Timothy: “Don’t like whom…your grandma or that angel?”
Sophie looks at Timothy in silence. She looks back at the angel.
Timothy: “She was an art dealer... like her father. He was a wealthy man.”
The angel watches.
Timothy: “I got my family name from him. Not from my father.”
Sophie turns and looks at Timothy.
Timothy watches Sophie for a long moment.
Timothy: “...not from my father”.
Sophie: “Why?”
Timothy: “My father had no name... and he was dead when I was born.”
Scene 23
INT. Jane’s Car. Fr. Jason watches pedestrians walk through the wet side walk, carefully avoiding little puddles of water. He rubs his eyes with both palms.
Jane: “Blasted traffic...it is always like this in the rain”.
Fr. Jason turns and looks at Jane. He touches Jane’s shoulder with his finger and smiles.
Fr. Jason: “Don’t swear Jane. Patience always pays”.
Jane looks at Fr. Jason and she smiles too.
Scene 24
INT. Day. Timothy’s study.
Timothy: “Your mother didn’t like it, too...I mean the angel. She never liked anything in this house. That’s why she went away”.
Sophie suddenly bursts into tears. She holds the picture book against her face and sobs.
Timothy gets up from his chair and walks towards Sophie.
Timothy: “Don’t cry... please baby, don’t cry.”
Timothy kneels down near Sophie and holds her in his hands.
Timothy: “I didn’t mean to make you sad. Don’t cry Sophie.”
Timothy looks at Sophie’s face, his eyes wet.
Her eyes closed, Sophie holds the picture book close to her face and sobs again.
Sophie: “I hate her too...don’t talk to me about her.”
Timothy holds Sophie close to him.
Timothy: “No darling...I won’t.”
The statue of the angel watches them.
Holding each other, Timothy and Sophie sit in front of the statue.
EXT. Day. Timothy’s house.
O.S: The rumble of distant thunder.
Scene 25
INT. Day. Jane’s car. Fr. Jason watches Timothy’s house as Jane slowly drives the car up the driveway to the house.
Scene 26
EXT. Day. Timothy’s house. The ‘thing’s POV slowly moves around the house, from the driveway through the wet trees and foliage. From a point in the foliage, the ‘thing’s POV turns and watches the house. It focuses on the open window of Rosemary’s room.
INT. Day. Rosemary’s room. Fr. Jason stands by the open window and looks out at the foliage in the courtyard. He turns and looks at the bed. An assortment of things lie scattered on the bed. Letters, small photographs with metal frames, cloths, two 2nd world war German war medals and an open suitcase lie on the bed. A leather bound package, tied around with a slim leather thong and a seal of wax on its knot lies above the cloths on the bed.
Leaning on the wall, Timothy watches the assortment without any expressions on his face.
Standing near Timothy, Jane looks around the room and watches the photographs on the wall.
On the wall hang several photographs of Rosemary Baxter. Rosemary with Timothy at a younger age, Rosemary with baby Timothy, Rosemary with a group of men in military uniforms, Rosemary with a crew cut young man in a black windcheater, standing near a horse.
Fr. Jason closely watches the leather bound package.
Hiding behind the door, Sophie stands outside the room and looks at the package with total panic in her eyes.
Timothy: “I haven’t moved her things after her death. It was kept under the bed for the last 32 years. I mean...except for the time when we open this room for cleaning...once in a year.”
Jane: “Why do you keep this room closed...even after all these years?”
Timothy looks at Jane and slowly shakes his head.
Timothy: “I just didn’t want to open it. I was 19 years old when she died”.
With frightened eyes, Sophie watches the package.
Timothy: V.O: “I never wanted to invade her privacy.”
Fr. Jason: “Even after her death? You must have ample reasons for that.”
Sophie turns and looks at Fr. Jason.
Sophie: “Daddy knows...Daddy knows he is living in this room.”
Astonished, Timothy looks at Sophie.
Cut to: EXT. Day. The foliage. The POV of the ‘thing’. Fr. Jason stands by the window.
INT. Day. The room. Fr. Jason looks at Sophie’s frightened face. He slowly turns and looks at the leather bound package.
Fr. Jason: “About twenty years ago, a woman told me the same story. The story of her visions about wolves and men in black robes. She was a housemaid...in Concord.”
Fr. Jason looks at Timothy.
Fr. Jason: “Mr. Timothy, do you know what’s in that package?”
Timothy watches the package and slowly shakes his head.
Timothy: “No... I don’t.”
Cut to: EXT. Day. The POV of the ‘thing’. Fr. Jason stands by the window.
O.S: A dog like snarl.
INT. Day. Room. Fr. Jason looks at Sophie.
Fr. Jason: “If it’s what I think it is, no wonder your daughter is in such a mess”
Jane turns and looks at Sophie.
Sophie watches Fr. Jason with frightened eyes.
Fr. Jason: “In a way, your daughter is right. The devil himself lives in that package”.
With a gasp, Sophie takes a step backward.
Cut to: EXT. Day. The foliage.
O.S: the persistent sound of a dog like snarl.
INT. Day. Rosemary’s room. V.O: Sophie screams.
Sophie: V.O: “Daddy...I told you... he’s in here.”
INT. Day. Sophie’s room. Opening the door, Sophie storms into the room.
Sophie: “He’s in here...daddiee...”
INT. Day. Rosemary’s room. Timothy walks briskly towards the door.
Timothy: “Sophie... Sophie...”
O.S: The door of Sophie’s room being closed with a loud thud.
Timothy shakes his head.
Timothy: “I’m sorry, Fr. Jason. She’s out of her mind.”
INT. Day. Sophie’s room. Tears flowing down her cheeks, Sophie leans against the closed door. She slowly looks around.
INT. Day. Rosemary’s room. Fr. Jason takes a step towards the bed and stares at the package.
Fr. Jason: “No wonder, Tim...”
Fr. Jason looks up at Timothy’s face.
Fr. Jason: “... if I may call you so.”
With a sad smile on his face, Timothy looks at Fr. Jason.
Fr. Jason: “Its presence is so evil and powerful... most people won’t stand the spell of it. You think your wife left you without any reason?”
INT. Day. Sophie’s room. Sophie lies on her bed, covering her face with the pillow.
Her body shakes from her sobs.
The animal picture book lies on the table, near the photograph of Timothy and Sophie.
Sophie suddenly raises the pillow from her face and looks at the window.
The closed window.
Sophie places the pillow back on her face.
INT. Day. Rosemary’s room. Fr. Jason cuts the thong around the package with a scissor and slowly opens the package.
Timothy and Jane watches in silence.
Fr. Jason drops the scissor on the bed and intently looks at the open package.
Cut to: EXT. Day. The foliage.
OS: The angry dog like snarl turns into an anguished wail.
INT. Day. Rosemary’s room. In the open package lies an ancient looking leather bound book and a small rusted stiletto.
Fr. Jason takes in a deep breath and closes his eyes.
Scene 27
INT. Basement of the Concord house. The room is brightly lit with numerous big black candles on a big pewter candelabra. In the centre of the room, a big magic circle is crudely painted on the floor. Men in hooded black robes, carrying burning black candles in their hands stand around the circle. A small girl in a flimsy white gown lies inside the magic circle. The room is filled with smoke from the burning incense.
V.O: Rhythmic chanting in a low voice.
A man in a scarlet robe stands near the altar, carrying a small open leather bound book in one hand and a gleaming stiletto in the other. The candle lights in the smoke.
The chanting slowly fades away.
Scene 28
INT. Day. Rosemary’s room. Fr. Jason opens his eyes. He looks at the book and the stiletto.
Fr. Jason: “The book of the beast.”
Fr. Jason crosses himself and turning around, walks back to the window.
Cut to: EXT. Day. The foliage. The POV of the ‘thing’. Fr. Jason stands by the window.
The dripping trees in the silence.
INT. Day. Rosemary’s room. Timothy steps forward as if to take the book.
Fr. Jason turns and looks at Timothy.
Fr. Jason: “Don’t touch it, Tim. Just leave it there. I will take care of it.”
Jane takes a step forward and places her hand over Timothy’s shoulder.
Timothy stiffens and looks back.
Jane: “What’s wrong with that book, Father?”
Fr. Jason: “That book is bound with human skin. And the text in it is written with human blood.”
Timothy and Jane stare at the book with shocking looks on their faces.
Jane: “Are you... are you serious?
Fr. Jason: “That stiletto is a ritual tool. It was probably used to perform human sacrifices.”
Jane steps back with a gasp, her hand over her mouth.
Scene 29
INT. Day. Sophie’s room. Sophie rolls over on her bed. Accidentally her hand touches the picture book and it falls down from the table. Craning her neck, Sophie looks at the book lying on the floor. Its pages open, the book lies on the floor. In one page, Sophie watches the picture of a stag surrounded by some wolves, their teeth bared in angry snarls. Sophie watches the picture with horrified eyes. She suddenly rolls over to the other side, her eyes closed and her breathing heavy.
Scene 30
INT. Day. Rosemary’s room.
Fr. Jason: “Tim, where did your mother get this from?”
Timothy slowly shakes his head.
Timothy: “I don’t know. I’m seeing this for the first time.”
Fr. Jason looks at Timothy for a long moment. He slowly walks towards the bed and closes the leather strip containing the book and the stiletto.
Scene 31
Cut to: EXT. Day. Foliage. The POV of the ‘thing’. The window of Rosemary’s room.
O.S: Sound like a dog growling in anger.
Scene 32
INT. Day. Fr. Jason and Jane stand outside Rosemary’s room, watching Timothy lock the room with a key. Fr. Jason carries a paper bag in his hand. All three of them stand there for a moment, watching the closed door.
Fr. Jason looks at Timothy.
Fr. Jason: “Tim, we have some stories to tell each other... don’t we?”
Timothy watches Fr. Jason.
Timothy: “Do you think so?”
Scene 33
EXT. Day. Timothy’s house. The house and the trees, still and silent.
Scene 34
INT. Day. Timothy’s study. Timothy sits in his chair, his eyes riveted to the yellow envelope lying on the table. Sitting on a couch, Fr. Jason watches Timothy in silence.
Sitting near Fr. Jason, Jane watches the statue of the angel.
Fr. Jason gets up from the couch. He walks towards the statue and touches the tip of the sword. He turns and looks at Timothy.
Fr. Jason: “Tim...I had my reasons to ask you to show me your mother’s room. I mean...after what your daughter told me about her ghost...the ghost who lives in that room. You know Tim...mystery and miracle are two sides of the same coin.”
Fr. Jason turns and looks at the statue.
Fr. Jason: “I had heard such a story...in 1972...from a woman named Ellis. She was accused of having connection with a mass murder committed in a house near Concord. A man called Thomas Cray and two other unknown men were killed in a shoot out.”
Fr. Jason turns and looks at Timothy.
Fr. Jason: “The book and the knife in your grandma’s room were found in that house in Concord, at the time of the killings...I mean, after the incident.”
Timothy watches Fr. Jason in surprise.
Timothy: “What do you mean? My mother’s things were in her room since she came back from Germany. Nothing was taken away from there...at least after her death.”
Fr. Jason walks towards the window and looks out. He turns and looks at Timothy.
Fr. Jason: “Then...that might be another book...similar to this one.”
Jane watches Fr. Jason in surprise.
Jane: “How do you know all these things, Father?”
Fr. Jason: “Because, I had kept that book with me for sometime, before it was taken away from Larry’s car”.
Scene 35
INT. Night. The basement of the Concord house. Sitting in a rocking chair, Ellis, now 74 years old, watches Mathau light the black candles on the big pewter candelabra with the small lighted candle in his hand. Rocking the chair slowly, Ellis closes her eyes.
Ellis: “Mathau...”
Mathau Graham, 76 years old, turns and looks at Ellis.
Mathau: “What?”
Ellis: “I have a feeling... a bad feeling”.
Mathau watches Ellis, in the shifting light of the candle flames.
Ellis slowly rocks in the chair.
Ellis: “I’m scared Mathau. All my life I was living in fear…and now... that man is coming back... to destroy whatever little peace we have.”
Mathau watches Ellis for a moment and walks towards her, holding the candle in his hand. He studies her face closely in the candle light.
Mathau: “Ellis...are you alright?”
Ellis opens her eyes and watches Mathau for a long moment.
Ellis: “That priest...that man from Poland.”
Mathau looks at Ellis in surprise.
Mathau: “You mean...Fr. Janowski? How do you know...and what for? You told him everything, back in ‘72. Why should he come back now?”
Ellis slowly looks around.
The burning black candles, their flames still in the silence.
Ellis: “We’re still going on with the game.”
Mathau: “Ellis...you think this is a game? Maybe age is distorting your thoughts. Game...If Mr. Reinhard hears what you say, he will kill both of us.”
Ellis watches Mathau in fear.
Ellis: “I had enough Mathau.”
She looks around.
Ellis: “All these years... of blood and fire.”
The candles burning in silence.
Ellis: V.O: “All these years...I was here. I was here when Thomas was killed. I couldn’t do what he told me to do. You know... the police took away that book. Thomas told me to take it and give it to a man from the clan...in case anything happened to him. Clan...that’s what he said.”
Ellis looks at Mathau.
Ellis: “That man Sam came too late.”
She takes in a deep breath.
Ellis: “Hmm...I had told you these stories so many times.”
Mathau: “That book belonged to Mr. Reinhard. Thomas stole it from him. It’s alright Ellis... we don’t have to repeat the story for nothing.”
Ellis slowly gets up from the rocking chair and holds Mathau’s shoulder.
Ellis: “I am tired Mathau. Let us go back to the outhouse. I want to get out of this stinking room”.
Scene 36
Cut to: EXT. Night. Holding a flash light in his hand, Mathau walks through a narrow stone path amidst the trees and foliage. Holding his shoulder, Ellis walks slowly.
Mathau: “You know Thomas was cheating Mr. Reinhard. But you didn’t do anything to stop him.”
Ellis looks around, her hand still holding Mathau’s shoulder.
O.S: A bird flies away from a tree.
Mathau and Ellis stop walking and look up. Mathau scans the tree tops with his flash light.
Ellis: “Thomas was tired of the game. Yes... game. He wanted to get out. He said it was useless. And I was having those visions... I couldn’t stand it anymore.”
The Concord house in the moon light, still and silent.
O.S: The faint howl of a wolf from somewhere in the woods.
Ellis looks around with frightened eyes.
Ellis: “They’re still here. They won’t let us live in peace...Let’s leave this place. Mathau...please...I can’t go without you.”
Pointing his flash light, Mathau looks around the woods.
Mathau: “No Ellis... we can’t leave like that. Mr. Reinhard entrusted us with something important. We have no way out. It’s too dangerous.”
Squinting her eyes, Ellis watches Mathau.
Ellis: “How can you? Haven’t you seen those little girls. The police won’t touch Reinhard or his people. They are in it with him... all of them.”
A sudden gust of wind shakes the trees.
O.S: Another long howl, somewhere from the courtyard of the house.
Scene 37
INT. Night. Timothy’s house. Sophie sleeps on her bed.
INT. Night. Timothy’s room. Holding the paper bag in his hand, Fr. Jason stands near the statue.
From his chair, Timothy watches Fr. Jason.
Jane sits on the couch, her eyes closed and her hands folded across her chest.
Timothy: “What have you got to do with the FBI? You are not an investigator or anything.”
Fr. Jason walks towards Timothy’s table and place the paper bag on it.
Fr. Jason: “Tim, I can’t explain everything now. You know...I am a practicing clinical psychologist...and a teacher...as well as a priest. Some similarities in my experiences brought me to your home.”
Fr. Jason turns and looks at Jane, who is watching him. He turns back to look at Timothy.
Fr. Jason: “As an advocate of spirituality, I have to go way beyond the rational. A friend of mine working with the FBI wanted me to join him to investigate a special case”.
Fr. Jason looks down at the paper bag.
Fr. Jason:” He is retired now. I want both of you to meet him.”
Fr. Jason looks up at Timothy.
Fr. Jason: “His name is Larry Bates. He was the FBI officer who investigated the Concord massacre case.”
Scene 38
INT. Night. Jane’s car. Jane drives and Fr. Jason sits near by.
Fr. Jason watches the night traffic in front of him.
Fr. Jason: “We were tracing a chain of events from the past. Larry and me. We couldn’t convince anybody anything. But we could find a pattern...a pattern of events connected to one another”.
EXT. The car moves in the traffic.
INT. car. The paper bag in the back seat.
Fr. Jason: V.O: “Why has Tim let that dog loose in his compound?”
Jane turns and looks at Fr. Jason.
Jane: “What...what dog?”
Fr. Jason: “Tim’s German Shepherd.”
Jane looks at Fr. Jason with a startled look on her face.
Jane: “German Shepherd? What are you talking about?”
With a trace of surprise on his face, Fr. Jason looks at Jane.
Fr. Jason: “Tim doesn’t have any dogs?”
Jane slowly shakes her head.
Jane: “Tim doesn’t have... I mean... he never had any pets in his house since I had known him. Why did you ask?”
Fr. Jason stares at Jane for a long moment.
Fr. Jason: “Are you sure he doesn’t have any... I mean, now?
Jane: “I’m sure about it. How can he do that when Sophie is so scared of wolves...or any animals, pet or not...”
Fr. Jason looks straight ahead in silence. He turns and looks at the back seat.
The paper bag, in the semidarkness of the back seat.
Fr. Jason: “Then why is she carrying that animal picture book with her...all the time?”
Jane: “Because, I told her to. I thought that might somehow ease off her fear of animals.”
Fr. Jason looks out at the traffic.
EXT.The road. The car moves amidst the traffic.
Scene 39
INT. Night. Timothy’s study. Timothy sits in the partial light of the table lamp. He stares at the statue of the angel.
Scene 40
EXT. Day. Park. Some people watch their kids play in the park.
Sophie swings on a swing, her hair flying wildly in the wind.
Holding a newspaper, Timothy sits on the bench. He watches Sophie swing.
Sophie swings with her eyes closed and a happy look on her face.
Timothy: “Sophie... how do you feel, darling? You look happy today”.
Sophie smiles at Timothy. Slowly stopping her swinging, she sets her foot on the ground. She looks around as if looking for something.
The woods around the park gently move in the wind. A number of little birds fly away from a tree.
Sophie watches the woods with a trace of fear on her face.
Timothy: “What’s it baby...had enough fun?”
Sophie turns and looks at Timothy.
Sophie: “Let’s go daddy... I had enough. Come, let’s go”.
Timothy watches Sophie with an amused look on his face. He gets up from the bench.
Holding the swing with her hands, Sophie watches the woods.
Timothy walks towards Sophie. Putting his hand around her shoulder, he follows her gaze.
Both of them watch the woods, in silence.
In the park, some kids play frisbee.
V.O: The kids’ laughter.
Timothy: “There’s nothing to worry about, darling. There are no more wolves in there. Fr. Jason chased away all of them. Come...let’s go home.”
Timothy and Sophie walk side by side through the park.
The woods watch them walk away.
Scene 41
EXT. Day. Larry’s hill top house. Sitting on his wheel chair on the lawn, Larry, a black man of 64, watches Timothy’s car drives up the road towards his house.
Little birds chirp loudly in the bird cage in front of the picture window of the house.
V.O: The chirping of the birds.
The car drives up the hill road.
Opening the front door of the house, Larry’s wife Esther, aged 54, comes out. She walks towards Larry and standing behind him, watches the approaching car.
Larry: “Fr. Jason called me yesterday night”.
He pauses for a moment.
Larry: “He told me the beast is back”.
Esther: “You stay out of it Larry. You aren’t as healthy as you used to be.”
Larry chuckles.
Larry: “Don’t worry Esther. Everybody can see the state of my health.”
The car comes to a stop on the driveway near the lawn.
Cut to: INT. Car. Sitting on the front seat, Timothy and Fr. Jason watch Larry and Esther.
Jane sits on the back seat with Sophie leaning on her shoulder.
Fr. Jason: “Jesus...Larry looks old. Older than I thought.”
EXT. Larry and Esther watch Fr. Jason and Timothy get out of the car.
The bird cage. The birds suddenly stop chirping and sit still in the cage.
Standing near the car, Fr. Jason looks at Larry for a long moment. Then he looks around the house.
Fr. Jason looks back at Larry.
Fr. Jason: “Hello Larry, having all the fun in this remote paradise?”
Larry looks at Fr. Jason with a smile.
Larry: “Everything except my natural crutches. Where are the others?”
Cut to. INT. Day. Larry’s living room. A variety of African tribal masks decorate the wall. Timothy and Fr. Jason sit on the couch. Jane looks out to the woods through the picture window.
Esther leans on the door, holding Sophie close to her.
Sitting in his wheel chair, Larry watches the leather bound book and the stiletto, spread on the low table in front of Timothy and Fr. Jason. He takes a pull from his cigar.
Larry: “Looks like the one we had seen before.”
Jane turns and looks at Larry.
Sophie watches the book and the stiletto with apparent fear on her face.
Fr. Jason: “Yes…but different. This belonged to Tim’s mother. It was never taken out of her room since her death, 32 years ago.”
Larry: “Amazing.”
He turns and looks at Sophie.
Larry: “Esther, why don’t you take her inside and give her some of your special cookies?
Jane looks at Sophie.
Jane: “No...we will go out for a walk in the lawn...and have a look at those birds. Come on Sophie.”
Larry: “Those birds aren’t in their normal senses. I don’t know why.”
Fr. Jason looks at Larry.
Watching Jane and Sophie go out through the front door, Larry takes a pull from his cigar.
EXT. The bird cage. In absolute silence, the birds watch Jane and Sophie come out of the house.
INT. Esther walks towards the picture window and looks out.
Esther’s POV. Jane and Sophie, hand in hand, walk across the lawn.
INT. Larry looks at Timothy.
Larry: “Mr. Baxter, I want to show you something. A big load of something.”
Larry turns and looks at Esther
Larry: “Esther, bring that file over here.”
Esther watches Larry with a scowl on her face, turns and walks into another room.
Larry looks at Fr. Jason.
Larry: “That file is a bit thicker than you saw it last time.”
EXT. Standing at the edge of the lawn, Jane and Sophie watch the slope of the hill.
In the slope, the trees roll in the wind.
Sophie watches the trees in total silence.
Jane: “Nice, isn’t it, Sophie?”
Sophie continues to watch the trees in silence. She slowly turns and looks at the bird cage.
The bird cage. The silent birds.
With a pale look on her face, Sophie turns and looks back at the trees.
Sophie: “It’s out there... in the woods”.
Cut to. INT. Living room. Larry and Timothy watch Fr. Jason open a thick file and spread the contents on the low table.
Cut to: INT. Kitchen. Esther lights up the stove.
Cut to. INT. Living room. Watching the contents of the file, Larry takes a drag from his cigar.
Larry: “In 1972, a man called Thomas Cray and two other men were killed in a shoot out at a house in Concord. This file contains the paper clippings and other details about that event”.
Timothy watches the bulk of paper clippings, photographs and other printed matter.
Headlines such as ‘Mass murder in mysterious house’, ‘Three men killed in shoot out’, ‘Ex-Nazi and two others shot dead’. A photograph of a young man in SS uniform. Another photograph of the dead bodies lying on the floor.
Timothy: “Yes, I knew of it. His name wasn’t Thomas Cray”.
Timothy watches the tribal masks on the wall.
Timothy: “His name was Martin Kroger. A war criminal...and the cousin brother of another Ex-Nazi, Hansen Kroger.”
Larry looks at Timothy in surprise. He turns his head and looks at Fr. Jason.
Larry: “Fr. Jason, your friend has done his home work well. Mr. Baxter...I was in charge of that case and I found out certain strange things... things not that easy to explain.”
Cut to. EXT. Jane sits on the lawn, watching Sophie in surprise.
Jane: “What’s out there? Sophie... you are making up things again. There’s nothing out there.”
Sophie slowly shakes her head.
Sophie: “No...It’s out there... in the woods. I heard it growl.”
Cut to: INT. Kitchen. Esther pours coffee to mugs from a kettle. She stiffens as if she heard something and looks around.
Cut to. INT. Living room. Larry slowly moves in his wheel chair towards the picture window and looks out.
Fr. Jason looks at Timothy
Fr. Jason: “Tim, have you heard of the concept of the werewolf?”
Exhaling smoke, Larry turns and looks at Timothy.
Timothy watches Fr. Jason for a long moment and nods.
Timothy: “Yes, I have heard stories about it. Why do you ask?”
Fr. Jason: “Because, what your mother brought from Germany is the ultimate text to provoke the werewolf. To be precise, the werewolf god Ferniz. It’s called the book of the beast”.
Timothy watches Fr. Jason in surprise.
Timothy: “What are you talking about? I don’t understand.”
Larry: “The legend is very old Mr. Baxter. Many centuries old. Some say it originated in the Carpathian mountains. The werewolf cult is an age old story.”
Timothy stares at the book in astonishment.
Timothy: “But... but what have my mother got to do with it?”
Larry: “If you don’t know anything about it...we are probing in the dark.”
Cut to: EXT. The bird cage. One bird suddenly makes a shrieking sound.
Sophie gasps and turns to look at the bird cage.
Cut to: INT. Kitchen. Esther stands still as if listening to something.
INT. Living room. Larry: “The only eye witness to those murders in that house in Concord was a woman. She admitted she killed one man to defend herself. Anyway, the court acquitted her on the basis of apparent insanity.”
EXT. Jane and Sophie watch the bird cage from where they stand.
INT. Living room. Timothy rubs his face with his palms. He looks at Fr. Jason with tired eyes.
Timothy: “Father, why did you want me to meet Mr. Larry?”
Fr. Jason picks up a paper clipping from the low table. He looks at the photograph of the SS man in it.
Fr. Jason: Thomas Cray... sorry, Martin Kroger used that house in Concord to conduct human sacrifices...to provoke the werewolf God.”
Cut to: INT. Kitchen. Esther slowly walks towards the door to the back yard.
O.S: The birds begin to shriek louder and louder.
Cut to. INT. Living room. Larry listens to the sound of the birds. He looks at Timothy.
Larry: “He used a replica of this book and stiletto to perform the rituals. They were found from the basement of that house.”
Cut to: INT. Kitchen. Esther carefully turns the door knob.
EXT. Sophie stares at the house.
INT. Kitchen. Esther suddenly pulls open the door.

EXT. The backyard. Trees and foliage slowly move in the wind.
O.S: The birds’ shrieking
Cut to: INT. Kitchen. Holding the door knob, Esther slowly looks around and watches the backyard for sometime and slowly closes the door.
EXT. The lawn.
Jane:“Sophie, are you alright? You look awful. Come on...let us go back to the house.”
Sophie closes her eyes and slowly shakes her head.
Sophie:“No....I don’t want to go in there. I want to go home... oh...daddy.”
Sophie sobs desperately.
Jane: “Sophie...don’t be silly. There is nothing to be scared of. Alright, we will go home.
Let’s go back to your daddy.”
Jane suddenly stops talking and looks around.
OS: the low voice of a dog like snarl, from the woods.
INT. Living room. Larry moves in his wheel chair, towards Timothy. He looks at the book on the low table.
O.S: The birds’ shrieking.
Larry: “Martin Kroger wanted to sell the book to some one in the Klan.”
Timothy: “What clan?”
Fr. Jason closely watches the photograph in the paper clipping. He slowly looks up at Larry.
Larry looks at Timothy.
Larry: “The KKK.”
Cut to: INT. Kitchen. From the kettle, Esther pours coffee to mugs. She stiffens and squint her eyes as if to listen to something.
INT. Living room. Fr. Jason drops the paper clipping back on the low table.
Fr. Jason: “Ellis told us that much. She said Cray... I mean, Kroger was fed up of the game and wanted to get out. Some one in the Klan wanted that text and the knife and Kroger was offered a big price for them.”
Larry : “Except, Reinhard didn’t give him much time to go on with the deal.”
Cut to: INT. Kitchen. Esther stands listening to the growl from the backyard, which is clearly audible above the sound of the birds. She slowly places the kettle on the kitchen table and walks towards the door to the backyard.
INT. Living room.
Timothy : “Who is Reinhard?”
Larry: “He is the owner of that house in Concord. The house in which Kroger used to conduct ritual sacrifices...of little girls.”
EXT. Lawn. Jane listens to the growl with a shocked look on her face. She gets hold of Sophie’s hand.
Jane: “Sophie... you’re right. There’s something out there.. maybe some wild animal... come on...let’s go”
Pulling Sophie along with her, Jane hurriedly begins to walk towards the house.
Sophie looks at Jane with horror stricken eyes.
Sophie: “No... Noo...I don’t want to go in there.”
Pulling Sophie along with her, Jane begins to run towards the house.
Cut to: INT. Kitchen. Esther slowly turns the door knob and suddenly pulls open the door.
EXT. The backyard. A big wolf stares at Esther, baring its fangs in an angry snarl.
INT. Kitchen. Esther gasps, her eyes wide open in shock.
Esther: “Larry... Larriee”.
INT. Living room.
V.O: Esther’s scream.
Larry leaps forward as if to get up from his wheel chair.
Larry: “Esther... what is it? Esther...”
EXT. Lawn. Sophie and Jane run towards the house.
The bird cage. The birds’ screeching reaches a crescendo.
INT. Kitchen. Esther suddenly closes the door with a loud thud.
INT. Living room. Timothy and Fr. Jason run towards the kitchen.
O.S: The voice of things falling and breaking.
Larry watches Jane and Sophie storm into the room through the front door.
INT. Kitchen. Timothy rushes into the kitchen followed by Fr. Jason.
Esther lies on the floor, the mugs shattered around her, spilt coffee all over the floor.
Standing behind Timothy, Fr. Jason looks at Esther and gasps.
Fr. Jason: “Esther... what happened? Esther....”
Running towards Esther, Fr. Jason kneels beside her and helps her get up from the floor.
Esther breathes heavily.
Esther: “Father...don’t open that door. It’s there. Don’t open it.”
Fr. Jason and Timothy look at each other and look at the door.
O.S: The angry growl of the wolf.
INT. Living room. Panting heavily, Jane and Sophie lean on the closed front door.
Larry watches Jane and Sophie, in awe.
O.S: The subsiding sound of the birds.
Jane and Sophie slowly regain their composure. They look at Larry with apparent fear on their faces. Jane holds Sophie close to her.
O.S: The birds’ shrieking slowly comes to a stop.
Larry watches Jane for a long moment.
Larry:“The beast is out there... isn’t it?
Jane stares at Larry with wide open eyes.
Holding Esther by her shoulder, Fr. Jason and Timothy enter the room. Esther’s clothes are soiled with the spilt coffee, her face ashen.
Shocked, Larry, Jane and Sophie watch Esther.
EXT.The bird cage. The birds are still and silent.
INT. Living room. Sitting on the couch, Esther watches Jane leaning on the door, her legs outstretched and Sophie lying, hiding her face in Jane’s lap. She turns her head and looks at Larry, who is looking out through the picture window. Shifting her gaze, she watches Fr. Jason and Timothy sitting on the couch opposite to her. A sob escapes her.
Larry turns and looks at Esther.
Larry: “Esther, how do you feel now?”
Esther looks at Larry, her eyes wet.
Esther: “Larry...I told you not to go along with it. After that accident you had... you should’ve known better.”
Larry: “(in a whisper) The power of the presence... I can’t believe it.”
Timothy watches Larry with an agitated look on his face.
Timothy: “Mr. Larry, what’s happening? What’s happening to my daughter?”
EXT. The bird cage. The silent birds.
INT. Living room.
Timothy: “Do you know... do you know, Mr. Larry? My daughter had never spoken of anything except of her fears for the last 5 years. She had to quit her classes, because she was scared of something absurd that I could never understand. My wife left me...leaving my little baby with me. She didn’t even explain why she’s leaving. She just said she was afraid to live in my house. I still don’t know what her problem was. Now...look at my daughter.”
Timothy suddenly bursts into tears. He covers his face with his hands.
Timothy: “What’s happening to my daughter...my God...”
Timothy sobs.
Fr. Jason places his hand on Timothy’s shoulder.
Fr. Jason: “Everything is going to be alright. Trust me, Tim.”
Sophie, with a dazed look in her eyes, watches one of the tribal masks. She slowly
turns and looks at Timothy.
Sophie: “Daddy... let’s go home...please daddy.”
Esther looks at Sophie.
Esther: “Is that wolf still outside? If it is...how can you go out? We will have to call for help...maybe the police...”
Everybody in the room is silent. Fr. Jason slowly gets up from the couch and walks towards the picture window and looks out.
Fr. Jason’s POV. Timothy’s car by the lawn. Behind it, the trees in the gentle breeze.
INT. Living room. Timothy walks towards the kitchen.
INT. The kitchen. Standing in the kitchen, Timothy listens, his ears close to the door to the backyard. He slowly turns the door knob and opens the door a little and peers out.
EXT. The backyard. The trees and the foliage slowly moving in the wind.
INT. Kitchen. Timothy opens the door a little more and craning his neck, looks around the backyard.
EXT. Backyard. A gust of wind rustles through the foliages.
The face of Timothy looking out from the half open door.
Cut to. INT. Living room. Larry sits in his wheel chair, his eyes closed.
Larry: “After Ellis confessed everything to me, I called Fr. Jason to have a close look at that damned book. Some times Fr. Jason collaborated with us...to probe into certain... absurd problems, in which his experience as a psychologist and as a priest was most helpful.”
Larry turns and looks at Fr. Jason, who looks back at Larry.
Larry: “I wanted him to have a close look at that book. So we kept it with us for sometime. But it was taken away...from me.”
Scene 42
INT. Night. Larry’s car. Intently watching the road in front of him, Larry, now 42 years old, drives the car.
EXT. The car moves through the deserted road.
Larry: V.O: Sometimes, I took that book with me to my house from my office. Whenever I was carrying it with me, I had a strange sensation of being watched or followed by something.”
INT. Car. Larry turns and looks at the attache case lying beside him on the seat. He turns back and watches the road.
Larry: V.O: “That was a moonlit night. The cliffs and the drop were a little ahead up the road. I could see the curve was brightly lit by something... something much brighter than the moonlight.”
EXT. The curve in the road in the bright light.
INT. Car. Squinting his eyes, Larry watches the curve and slowly turns the car. He watches in astonishment, a burning wooden cross fitted in an empty barrel on the centre of the road, a little ahead of the curve. Slowing his car, Larry looks at the intensely burning cross.
Larry: V.O: “Then I saw the man.”
EXT. The burning cross. A tall man in a hooded white robe steps into the centre of the road from one side, holding a handgun in his outstretched hand.
INT. Car. Larry’s eyes open wide in confusion and fear. He watches the man shoots at the car and the shot shatters the wind shield. In reflex to the shot, he turns the steering wheel to one side and the car skids sideways.
EXT. The car in the light of the burning cross. The man in the white robe shoots again, hitting the car’s side.
INT. Car. Larry frantically twists the steering wheel.
Larry: V.O: “And the drop was right beside me, as if I had never seen it before”.
EXT. In the smoky haze in the light of the burning cross, the car skids and tumbles down into the drop.
O.S: The sound of the car hitting on rocks, down in the drop.
The man in the white robe walks towards the edge of the road and looks down into the drop.
In the semi darkness, the car lies upside down on the bottom of the drop
INT. Car. Larry lies in an awkward position in the car, his hand reaching out to hold the attache case.
EXT. The road. Two other men in white robes emerge from the shadows behind the burning cross. They join the first man and look down into the drop.
INT. Car. His eyes open, Larry lies in the car,. Rolling his eyes, he watches the dark woods outside the car through the shattered wind shield.
Larry: V.O: “Then I heard the growls. I couldn’t see anything properly. I couldn’t move... But I could see two or three pairs of glowing eyes in the darkness. I knew the beasts were close by the car... and slowly everything began to fade away.”
EXT. Road. The burning cross. The men in the white robes stand looking down into the drop.
Scene 43
INT. Day. Larry’s living room.
Larry: “I woke up in the hospital. Eventually I knew I will never walk again.
And that book and the knife... they took it away.”
Jane watches Larry with amused eyes.
Jane: “How did they know that you were carrying that book?”
Larry: “I don’t know. May be somebody gave them a tip. Someone who knows what happens in my office.”
Timothy looks at Larry.
Timothy: “Why didn’t they kill you, Mr. Larry?”
Larry: “I don’t know that too. May be they thought I was dead. May be they wanted me to live and remember everything”.
Scene 44
EXT. Night. The outhouse behind the Concord house. From the outhouse dim light pours out through the glass window.
OS: Somewhere, a bird screeches.
INT. Outhouse. Her head bent down, Ellis sits on an old leather couch in the light of the candle on the table. Holding a rosary in her hand, she prays.
Facing her, a crucifix hangs on the wall.
Drinking soup from a bowl, Mathau sits in a chair nearby. He watches Ellis praying.
Mathau: “Ellis, whom do you pray to?”
Without any response, Ellis continues to pray.
Mathau: “All these years of burning those candles... and now you have converted.”
Ellis raises her head, her hand still fumbling with the rosary. She opens her eyes and sharply looks at Mathau.
Ellis: “Evil, Mathau...living with evil... all around us. Thomas was right...to get out of this”.
Ellis looks at the crucifix on the wall.
Ellis: “Oh...those poor little girls”.
Mathau: “But he couldn’t get away. And we haven’t had any more girls since his death. We only light up those candles on certain nights...as we’re told. We have to go on living, Ellis. Where else can we go?”
Ellis turns her head and watches Mathau.
Ellis: “We have to get out of here... before anything terrible happens.”
Holding a spoonful of soup in his hand, Mathau slowly shakes his head.
Mathau: “No Ellis...we have no where to go. Reinhard won’t let us leave this place, alive”.
The candle on the table, its flame slowly quivering.
Ellis looks down at the rosary in her hands and closes her eyes.
Mathau drinks the soup.
Mathau: “Ellis...still I don’t know why Reinhard let you ...I mean ...let’s go on living here, even after you confessed everything to the police.”
Ellis sits with her eyes closed.
Ellis: “I didn’t tell everything to the police. He still trusts me as an accomplice.”
Mathau watches Ellis in silence.
Ellis: “Reinhard didn’t know what I was to Thomas. If he had known...”
EXT. The outhouse in the moonlight.
O.S: the low voice of a howl from the woods.
Scene 45
INT. Night. Jane’s dining room. Jane and Fr. Jason are having dinner.
Jane mouths a forkful of food and watches Fr. Jason.
Fr. Jason sips his coffee, his face immersed in thought.
Jane: “Why does Tim want that book back?”
Without any response, Fr. Jason shifts his gaze towards Jane.
Jane: “I think he didn’t believe in those stories...what was told about that book. Sophie was almost delirious when he asked you to give it back.”
Fr. Jason finishes his coffee and places the mug on the table and wipes his mouth with a napkin.
Fr. Jason: “He told me he can’t just abandon something his mother kept with her all her life.”
Fr. Jason gets up and watches Jane for a moment.
Fr. Jason: “He has some other ideas in his mind. That’s why he wants to go to that house at Concord...where that man Martin was killed.”
Scene 46
INT. Night. Timothy’s house.
Rosemary’s room. The leather bound package lies on the bed.
Looking out, Timothy stands near the window.
Cut to: INT. Sophie’s room. Sophie lies on her bed, staring at the ceiling.
INT. Rosemary’s room. Through the window, Timothy looks up at the sky.
EXT. The moon, partially visible through the branches of a tree.
INT. Rosemary’s room. Timothy turns and walks towards the bed and stares at the package. He slowly opens it and takes out the stiletto. Holding its grip with both hands, he raises the stiletto to his eye level.
Timothy:(in a whisper) “Why mother…why did you bring this here? Who gave you this?”
Staring at the stiletto, Timothy slowly shakes his head.
Timothy: “Christ...that’s impossible.”
A sudden gust of wind sweeps the window curtains inside. Timothy turns back to look at the window.
Cut to. INT. Sophie’s room. Sophie lies asleep on her bed. She mutters something in her sleep and rolls over to one side and grips the pillow with one hand.
EXT. Timothy’s house in the moonlight.
Scene 47
EXT. Dusk. Leaning on Timothy’s car, Timothy and Fr. Jason watch the Concord house. They watch Mathau walk down towards them through the driveway.
Watching Timothy and Fr. Jason, Mathau walks towards the gate.
Cut to. INT. Dusk. From the window of a dimly lit room in a small building opposite to the Concord house, Cole, a middle aged man, watches Fr. Jason and Timothy through a field glass.
Cut to: EXT: (view through the field glass) Fr. Jason, Timothy and Mathau stand near the gate.
EXT. Standing near the closed gate, Mathau watches Fr. Jason. Holding the gate with both his hands, he intently stares at Fr.Jason.
Fr. Jason: “Hello Mathau...we came a long way to see you.”
Mathau stares at Fr. Jason.
Mathau: “What do you want, Fr. Jason? Why did you come back...after all these years? Ellis had a premonition that you are coming....even before you called me. What do you want?”
Scene 48
INT.Cole’s Room. In the diminishing day light, Cole watches the trio through the field glass.
Cole: “Stein...come over here. Looks as if we have company.”
Stein, a young man in his early thirties, sitting on a chair and smoking a cigarette, looks up.
Stein: “Company...Who’s it Cole?”
Cole: “I don’t know. You better take the camera and come here.”
Scene 49
Cut to. EXT. Dusk. Gate. Mathau nervously watches Fr. Jason.
Mathau: “Look father, Ellis is sick. And I can’t let you in. If Mr. Reinhard finds out
that I let you in...”
Mathau slowly shakes his head.
Mathau: “It’s too dangerous.”
Scene 50
INT. Cole’s room. Cole and Stein near the window. Cole still watches the trio through his field glass. Stein focuses a camera fitted with a telescopic lens and clicks several times.
Cole: “Mr. Reinhard wanted us to wait here and look out for strangers coming to that house. Well, we have a strange pair here.”
Stein: “Mathau seems to know those people”.
Scene 51
Cut to. EXT. Dusk.gate. Mathau watches Fr. Jason and Timothy from inside the gate.
Mathau: “What do you want Father?”
Fr. Jason: “You forget that we have a deal. Tim wants to have a few words with Ellis, and I want to have a look at the basement.”
Reluctantly Mathau looks around and opens the gate.
Timothy stares at the house.
The Concord house in the diminishing day light.
Scene 52
Cut to. INT. Cole’s room. Stein takes a few more clicks with his camera.
Stein: “I don’t know how the prints will come out. The light’s so down out there.”
Cole shrugs.
Cole: “What can we do...use flashes?”
Cole and Stein watch Fr. Jason, Timothy and Mathau walk up the driveway in the semidarkness.
Scene 53
INT. Night. The basement of the Concord house in the light of a single electric bulb. In one corner of the basement stands a huge pewter candelabra with the half burnt black candles still on it. There is a trace of lingering smoke in the room. The rocking chair lies on another corner. A barely visible ritual magic circle, on the centre of the floor.
Fr. Jason, Timothy and Mathau watch the room in silence.
Fr. Jason:” Nothing had changed since I last saw this place. Except, those candles look almost new.”
Scene 54
INT. Night. Outhouse. Straining, Ellis gets up from the chair and slowly walks towards the front door.
Scene 55
Cut to. INT. Cole’s room. Stein watches the dark Concord house.
Cole talks into his cell phone.
Cole: “Connect me to Mr. Reinhard.”
Stein, still watching the house, lights a cigarette.
Angrily, Cole looks at Stein.
Scene 56
INT. Night. Basement.
Mathau: “Mr. Cray used that rocking chair. He used to sit on it and watch the candles burn. He preferred to be alone in here.”
Fr. Jason: “And watch something else too?”
Timothy turns and looks at Fr. Jason.
Fr.Jason: “Can you light those candles now, Mathau?”
Mathau gasps. He turns and looks at Fr. Jason.
Mathau: “No...I can’t do that. It’s against the rules.”
Timothy looks at the candelabra for a long moment.
Timothy: “You are being well paid to break some rules.”
Mathau: “But...our lives may be in danger...and you didn’t mention it in our deal.”
Scene 57
INT. Night. Outhouse. Ellis slowly pulls open the front door. The door opens with a creaking noise.
EXT. Still holding the door knob with her hand, Ellis slowly gets out. She watches the darkness outside. Squinting her eyes, she peers at the narrow stone path leading to the Concord house.
Scene 58
INT. Cole’s room. Cole talks to the phone.
Cole: “No, sir, we are sure we haven’t seen them before. (pause) Craig was in charge of the surveillance, before us. May be he will recognize them. (pause) Yes sir...I will do it. Then we will bring in the photographs. (pause) No sir...there won’t be any delay.”
Cole switches off the cell phone and looks at Stein.
Stein turns back and looks at Cole.
Stein: “It’s kind of absurd. You told me that house is under Mr. Reinhard’s surveillance for the last 22 years...since that man Cray was killed in there.”
Stein laughs sarcastically.
Stein: “May be we are under police observation as well...who knows.”
Cole: “Shut up Stein. You do what you are told to do. At least you have a well paid job now...whatever it is.”
Cole walks towards the window and watches the house, now a silhouette against the darkening sky.
Scene 59
INT. Night. The basement. The lighted candles in the smoky haze. Mathau sits on the rocking chair, watching the candelabra.
Timothy and Fr. Jason watch the scene in absolute silence.
Scene 60
Cut to: EXT. Ellis slowly walks through the narrow stone path leading to the Concord house, her fingers tightly holding the rosary. A sudden flow of wind shakes the branches of the trees. Ellis stops walking and looks around in fear.
Ellis: “Jesus...I told him not to let them in.”
O.S: The low sound of a wolf’s howl.
Ellis shudders in shock and in her attempt to run towards the house, she stumbles over a stone and falls down with a muffled scream.
Scene 61
INT. Cole’s room. Cole watches the change in the atmosphere with an amused look on his face.
Cole: “Hmm...it looks as if those strangers brought some bad weather with them. I think it’s going to rain.”
Stein winds the camera mechanism and takes the film out of it. He turns and looks out of the window. He watches the darkness outside as if listening to something.
Stein: “Did you hear it, Cole…those howls. Where do these foxes come from? Some days back, I couldn’t sleep properly, because of those damned howls...throughout the night.”
Cole looks out into the darkness. He watches the dim lights from the Concord house.
Cole:“Wolves, man…Mr. Reinhard’s wolves. That’s what they are.”
Stein stares at Cole in total disbelief.

Scene 62
INT. Night. Basement. Fr. Jason takes out the leather bound book and the stiletto from the pocket of his over coat.
Timothy watches Fr. Jason in surprise.
Timothy:(in a whisper) “What are you doing?”
Fr. Jason: (also in a whisper)” I want him to get the heat of it.”
Holding the book in one hand and the stiletto in the other, Fr. Jason walks towards the centre of the magic circle on the floor.
Timothy watches from where he stands.
Fr. Jason stands, facing Mathau.
Mathau slowly gets up from the rocking chair and supporting his hand on the wall, looks at the book in Fr. Jason’s hand with panic stricken eyes.
Fr. Jason slowly opens the book and watches Mathau for a moment. Then he begins to read from the book.
Fr. Jason: (In German) “You come from beyond the primitive darkness. You are powerful enough to take all the cosmic elements unto the end of time. You dwell beyond the reach of all living creatures. You carry fire inside you...”
Mathau shrieks.
Mathau: “No...it can’t be...”
Mathau suddenly closes his eyes and turns around. Facing the wall, he covers his face with his hands.
Fr. Jason stops reading and watches Mathau.
He continues to read.
Fr. Jason: “You carry fire inside you. You walk over days and nights, using them as steps to place your paws...”
Fr. Jason looks at Mathau.
Fr. Jason: “Paws? Why paws, Mathau?
Mathau stands still.
Mathau: “It can’t be. How can it be? Sam took it away from that black man...”
Timothy watches Fr. Jason and Mathau with horror stricken eyes.
The burning candles in the smoky haze of the room.
Fr. Jason closes the book and holds it along with the stiletto.
Fr. Jason:” What else do you know Mathau? Ellis didn’t tell us everything. She was apparently insane. And you pretended as if you didn’t know anything. Who took away that book from Larry?”
Mathau: “You are holding it, you bastard.”
Timothy stares at Mathau.
Timothy: “You are mistaken Mathau. That book belongs to my mother. It was kept in our house for the last 50 years.
Mathau suddenly turns around and stares at Timothy in astonishment. He rolls his eyes and looks at the book in Fr. Jason’s hand.
Scene 63
Cut to: EXT. Panting heavily, Ellis crawls towards the house on her knees and elbows. She stops and looks around the trees.
The trees violently shake in the wind.
Her eyes rolling, Ellis looks around as if she had gone out of her mind.
Ellis: “Mathau...they are all around me. Mathau...please come...my God...”
Ellis bursts into tears.
Ellis: “Mathau…where are you?”
Straining, she begins to crawl through the stone path leading to the back door of the Concord house.
Scene 64
INT. The basement. Mathau stares at Fr. Jason.
Mathau: “Who is this man’s mother?”
Fr. Jason looks at Mathau.
Fr. Jason: “Her name was Rosemary. She died 32 years ago.”
Mathau hurriedly walks towards Fr. Jason to take a closer look at the book. He slowly touches the book with his shaking hands.
Mathau: “God...this must be the original text. The one Ellis told me about.”
Scene 65
Cut to. INT Cole’s room. Cole and Stein prepare to go out. From the pocket of his over coat, Cole takes out a gun, checks it’s magazine and puts it back in his pocket.
Standing near the door, Stein watches Cole.
Cole walks towards the window and looks out at the Concord house.
Cole: “May be they are inside the house...or behind the house, in that out house. We have to check it out. Let’s go.”
Cole switches off the light in the room and both he and Stein walk out of the room.
Scene 66
INT.Basement. Timothy watches Mathau for a long time.
Timothy: “What did Ellis tell you?”
Mathau looks around the room and watches the candles for a long moment.
Mathau: “If Mr. Reinhard comes to know about this...my God...”
Fr. Jason: “Speak out Mathau. Who has the other book?”
Mathau puts his finger to his lips.
Mathau: “Listen. Did you hear that...someone out there...screaming.”
Fr. Jason slowly shakes his head.
Fr. Jason: “No...I didn’t hear anything.”
He turns and looks at Timothy, who is keenly watching Mathau.
Fr. Jason: “Did you hear anything, Tim?
Without answering Timothy silently watches Mathau.
Mathau looks at Timothy.
Mathau: “Ellis told me some American woman stole the book from Mr. Reinhard.”
Timothy closely watches Mathau.
Scene67
EXT.Night. Holding their guns in their hands, Cole and Stein cautiously walk up the driveway to the house. Cole stops walking and looks around.
The trees in the wind in the semi darkness.
Holding his gun in his outstretched hand, Stein looks around.
Cole and Stein reach the house. They stop walking and listen.
The house in the darkness, except for the dim light seen through the windows.
O.S: A long howl from behind the house.
Stein: “You said those are wolves. They are right behind the house.”
Cole puts his finger to his lips.
Cole: “Shh...be quiet.”
His face intent, Cole stands watching the house.
Cole and Stein stand still, listening to the muffled prayers of Ellis from behind the house.
Cole: (in a whisper): “Someone is out there.”
Stein: “I think it’s that old woman.”
V.O: Ellis crying, her mumblings barely audible.
Cole: “What’s she doing out there?”
Pointing his gun, Stein looks around.
Stein: “Man...those wolves must be some where near.”
Cole: “Come on Stein...If some wolf comes to attack you, close your eyes. Now move.”
Cole and Stein cautiously move further towards the back yard.
Scene68
Cut to: INT Basement. Fr. Jason, Timothy and Mathau stand in the smoky haze of the room. The shifting flames of the candles cast moving shadows on the wall.
Mathau: “I don’t have much to tell Father. Thomas Cray was Reinhard’s cousin. Way back from the time of the war, they were associated with the wolf clan. You know...the book of the beast was written in three volumes. Reinhard had all three of them. Some woman stole one from him, back in 1944.”
Timothy stares at Mathau.
Mathau walks towards the rocking chair and sits on it.
Mathau: “Thomas stole another volume from Reinhard and tried to sell it to Sam. I mean...Sam Mc Creedy...which in fact, was useless. Only the combination of the three volumes can completely provoke Ferniz, the prince of the beasts. But now, Mc Creedy and Mr. Reinhard do it separately...and in vain.”
Fr.Jason: “So Sam Mc Creedy was the man who attacked Larry and took away the book?”
Mathau nods.
Mathau: “He didn’t get time to buy it from Thomas. So he took it by force, from the FBI. He still keeps it with him. Sam was a greedy man. He wanted to control every events. But, Reinhard didn’t let him.”
He takes in a deep breath and slowly exhales.
Mathau: “Once they were doing it together. But, not anymore. Not since Thomas died.”
Timothy watches Mathau with horror in his eyes.
Timothy: “How did you know all these details? Reinhard told you?”
Mathau watches the candles and slowly shakes his head. He slowly gets up from the rocking chair.
Mathau: “Alright Fr. Jason...there is no point in hiding anything. Not any more. I’m so tired...tired of everything.”
Mathau looks at Timothy, who is leaning on the wall and watching him.
Mathau: “Ellis told me all about it. You know....Ellis was not only my wife...she was also Thomas Cray’s mistress. She learned all the secrets from Thomas. She was his aid in cheating Reinhard. My God, I can’t carry it anymore.”
Mathau covers his face with his hands, tears rolling down his cheeks.
Fr. Jason slowly walks towards Mathau and stands in front of him, watching his face.
Fr. Jason:” Mathau...why did you accept our deal...after all these years of your team work?”
Mathau slowly takes his hands away from his face and looks at Fr. Jason.
Mathau: “Bacause...because I buried those little girls, Fr. Jason. Far behind that outhouse, I buried them. It has to stop...somehow...it has to stop.”
Timothy closely watches Mathau.
Timothy: “What do you mean...that it has to stop? Is it still going on?”
Mathau looks at Timothy and turning his head, watches the candles.
Scene69
EXT. Night. Ellis crawls on her knees and elbows through the stone path, her head hanging down as if her neck is broken. She pants like a dog. She slowly raises her head and look at the back door of the house.
Ellis: (in a scream) “Mathau...they are right behind me...God...Please, Mathau.”
Ellis sobs desperately.
Cut to: The POV of the ‘thing’. The thing is closing in on Ellis through the thick foliage by the side of the stone path.
Ellis stiffens and slowly turns her head towards where the ‘thing’ is. Suddenly her eyes open wide in terror.
Ellis: “Noo...”

Scene70
INT. Basement. Mathau suddenly turns around and begins to run towards the door of the basement.
Mathau: “You heard it Father...it is Ellis. Something terrible had happened to her. Listen...she is screaming.”
Fr. Jason and Timothy watch Mathau.
Timothy places his hand over Mathau’s shoulder.
Timothy: “Mathau...you answer my question. Is it still going on?”
Mathau wrenches free of Timothy’s grip on his shoulder and runs up the steps from the basement.
Mathau: (in a shout) “Ellis...I am coming.”
Mathau runs up the steps and disappears.
Fr. Jason briskly walks towards Timothy.
Fr. Jason: “Come on Tim, I think something is going on up there. Come on...let’s go.”
Timothy closes his eyes and leans on the wall.
Timothy: “Father...It’s so terrible. Sophie...my poor girl.”
Timothy shakes his head as if in great anguish.
Fr. Jason watches Timothy in astonishment.
Fr. Jason: “Tim...what are you talking about?”
Holding Timothy’s shoulder, Fr. Jason shakes him.
Fr. Jason: “Tim...come on...let’s go.”
Timothy suddenly opens his eyes and stares at Fr. Jason.
Timothy: “Oh...I’m sorry Father. Come...let’s get out of here.”
Timothy turns and walks up the steps.
Fr. Jason follows Timothy.

Scene71
EXT. Cole and Stein at the back yard of the house. Hiding behind a tree, they stand watching Ellis, who is lying down on her face near the back door of the house.
Ellis lies on the ground, her hands weakly fumbling with the step in front of the door.
Ellis: “Ohh....Nooo...”
Stein watches in awe.
Stein: (in a whisper) “What happened to her? Is it the wolves?”
Cole presses his fingers on Steins shoulder.
Cole: “Be quiet...”
The door suddenly opens and Mathau steps out.
Seeing Ellis lying on the ground, Mathau stops. He stares at Ellis, who is clearly visible in the light coming out from the room.
Mathau: “Ellis…my God...”
Mathau kneels beside Ellis and takes hold of her shoulder.
Pointing his gun at Mathau, Cole steps forward from behind the tree.
Scene72
INT. Fr. Jason and Timothy hurriedly walk towards the back door.
Scene73
EXT. Cole takes one more step forward.
Cole: (in a shout) “Mathau...”
Mathau gasps and stands up. He turns and watches the dark trees with wide open eyes.
Mathau: “What? Who is out there?”
Scene74
INT. Fr. Jason and Timothy stop walking in midway. They stand still and watch the open back door.

Scene75
Cut to: EXT. Cole points his gun at Mathau.
Cole: “Mathau...Master sends his regards. Have a nice trip.”
Cole fires his gun, twice.
By the impact of the shots, Mathau staggers and falls down with a cry.
Ellis: “Noo...”
Scene76.
INT. Fr. Jason and Timothy look at each other in fear.
Fr. Jason: “Jesus Christ, someone shot Mathau”.
Scene77
EXT. Cole steps back and turns towards Stein.
Cole: “Come on...let’s go.”
Stein: “But…there are others…”
Cole: “Forget the others. I was told to take care of Mathau...nothing else. Come on, move.”
Cole and Stein turn around and walk torwards the driveway, in silence.
Scene78
INT. Fr. Jason and Timothy stare at the back door in silence.
Scene79
EXT. Ellis and Mathau lying on the ground. Mathau lies still and Ellis slowly moves her hand, fumbling with the step.
Scene80
INT. Basement. The burning candles in the smoky haze.
Scene81
Cut to. INT. Day. Timothy’s house. Dining room. Timothy watches Sophie having lunch.
Using a fork, Sophie eats spaghetti. Without interest, she stares at the food.
Timothy: “Come on baby...eat it. And don’t tell me you are not hungry.”
Sophie twists the spaghetti with the fork. She looks at Timothy and reluctantly eats a forkful. She puts the fork down on the plate and drinks some water. Her other hand is lying on the picture book on the table.
Sophie looks up at Timothy.
Sophie: “Jane told me why mama left you.”
Timothy looks at Sophie, in surprise.
Timothy: “What did she tell you?”
Sophie takes another sip of water. She looks at the picture book and pushes it away.
Sophie: “She told me mama was having bad dreams...like the one I am having.”
Timothy gets up from the chair. Circling the table, he stands behind Sophie’s chair. He places one hand on Sophie’s shoulder and closes his eyes.
Timothy: “At least you are now convinced that those are only dreams. Tell me, did you have any bad dreams yesterday?
Sophie stares at the glass she is holding.
Timothy: “Tell me darling...did you sleep well?”
Sophie turns and looks at Timothy.
Sophie: “I...I saw grandma in my dream.”
Timothy looks at Sophie.
Timothy: “How did you know it was your grandma?”
Sophie: “She was exactly like in that photograph...except she was wearing a black dress...like that man. That man in the park.”
Timothy watches Sophie for a long time. Rubbing his face with his palms, he walks towards the window and looks out.
EXT. The trees, wet and still.
Scene82.
Cut to. INT. Day. Larry’s house. Living room. Larry watches the TV, in which the backyard of the Concord house is being shown. Larry watches the yellow tapes covering the area where Mathau was shot. Two or three policemen walk around the area.
Larry: “Esther…will you come over here?”
EXT. The silent birds, in the bird cage.
INT. Living room. Esther stands behind Larry’s wheel chair, wiping her hands on her apron and watching the TV.
Larry: “Something terrible had happened.”
The TV reporter: (on the monitor) “ Mathau Graham was 76 years old and is supposed to be shot from a close range that the shots killed him immediately.”
A photograph of Mathau’s face.
The TV reporter: (on the monitor) “His wife Ellis is in the county hospital, under police observation. She is in a state of delirium and is unable to give a clear account of the event.”
Larry and Esther watch in shock.
EXT. The bird cage.
TV reporter: V.O: “The house belongs to the timber giant Reinhard Claus who lives in Maine and the deceased Mathau Graham was his house keeper for the last three decades. The police said that in 1972, three people were killed in a shoot out in this house and one of them was the Nazi war criminal Martin Kroger. There is no information on the people who shot Mathau Graham and Mr. Reinhard is currently unavailable to give any comments on the event.”
INT. Living room.
Larry: “Fr. Jason and Timothy were in there, yesterday. Fr. Jason called me just before they went to that house.”
The TV reporter: (on the monitor) “The police said that they have some description on two men who were supposedly living in a building opposite to Mr. Reinhard’s house. Anyway, nothing was found there that connects these two men with the murder.”
Esther holds Larry’s shoulders.
Esther: “Larry...I am scared.”
Larry touches Esther’s hand.
Larry: “Me too Esther...I wonder why Fr. Jason didn’t call again.”
The TV reporter: (on the monitor) “The police said that before the murder of Martin Kroger, this house was used by certain occult groups to conduct ritual sacrifices of little girls. Mr. Reinhard had given the house to Martin Kroger on long term lease and nothing was found to connect Mr. Reinhard to these so called sacrifices.”
Scene 83
Cut to. INT. Day. Timothy’s house. Dining room. Standing by the window, Timothy watches the trees in silence.
Sophie: “Grandma told me you are going to take me to the wolves.”
Timothy sharply turns and looks at Sophie.
Sophie begins to sob.
Sophie: “She told me to stay...away from you.”
She begins to cry.
Sophie: “Are you going to take me to the wolves?”
Sophie sobs desperately.
Timothy covers his face with his hands. Tears roll down his cheeks and he is caught in a fit of sobs.
Timothy: “My God...is this never going to end?”
Sophie runs towards Timothy and hugs him.
Timothy slowly kneels down and embraces Sophie. They are locked in an embrace of pitiful passion.
Timothy: (in a calm voice) “No darling. I won’t give you to the wolves. Don’t cry. I am going to find that wolf and kill it.”
Sophie: (in a frenzied voice) “Kill it...kill it daddie.”
Timothy holds Sophie by her shoulder and looks at her for a long moment.
Timothy: “Yes baby...we are going to find it...and kill it.”
Sophie slowly leans her face on Timothy’s shoulder and closes her eyes.
Scene84.
Cut to. INT. Dusk. The Reinhard residence in Maine.
Reinhard’s room. A dimly lit room with darkly painted walls and deep red curtains in the windows. Reinhard Claus, aged 84, sits in his chair behind an antique table. With the help of a magnifying glass, he watches a photograph, in the light of a table lamp.
Watching Reinhard, Cole stands near by.
Reinhard raises his head and looks at Cole. He moves a finger over a figure in the photograph.
Reinhard: “This is that priest, Cole. Do you remember him? He was an associate of that black police officer, back when Martin was killed. He was some how connected with the case.”
Cole keenly looks at the photograph.
Cole: “Not exactly, sir. It was a long time ago and I was too young.”
Cole again looks at the photograph and slowly shakes his head.
Cole: “No...I couldn’t identify him when I saw him there.”
Using the magnifying glass, Reinhard examines the photograph closely.
Reinhard: “And the other man with him...who is he? And what did they want from Mathau?”
Cole: “We will find out sir. We have the license plate number of their car.”
Reinhard drops the photograph on the table.
Reinhard: “We don’t know what business Mathau had with them. But, he broke my orders...not to let anyone in my house with out my permission. That’s why I told you to dispose him off. Any way, find who they are, Cole. We have to know what those people are up to.”
Cole: “We will, sir. You can count on it.”
Reinhard takes a thin cigar from a cigar box and lights it with a lighter. He exhales smoke and switches off the table lamp.
Reinhard: “The team must know what’s going on. We have another event at hand.”
Cole: “We have everything under control, sir.”
Reinhard: “We can’t afford to make any mistakes.”
Cole: “I am very much aware of the situation, sir.”
Reinhard: “Then go. Do your work.”
Cole turns around and briskly walks out of the door.
Reinhard watches Cole get out of the room, silently closing the door behind him. He slowly gets up from the chair and walks towards the corner of his room. Using his lighter, he lights up the black candles fitted on an ornate silver candelabra and watches the burning candles for a few moments. He looks around the room.
The red curtains slowly move in the wind.
The flickering flames of the candles.
Reinhard: (to himself in German) “Sorry priest...I can’t let you in my way. Not this time.”
Reinhard drops the lighter on the table and takes a pull from his cigar. He exhales smoke and slowly shakes his head.
Reinhard: “Not this time...”
Scene 85
Cut to. INT. Day. A dimly lit room in the county hospital.
Wearing a clerical collar, Timothy kneels by a bed on which Ellis is lying. His face is close to Ellis’s face and his eyes are squinted in concentration.
The corridor. Leaning on the wall, two policemen stand outside the room.
One policeman turns and peeps into the room.
The policeman: “It’s almost an hour. What’s that priest doing in there?”
The 2nd policeman: “He said he wanted to hear her confession. Let him take his time. I think she is about to go.”
Cut to: INT. Room. Timothy closely watches Ellis’s face.
Timothy: (in a low voice) “Ellis...can you hear me?”
Breathing heavily, Ellis slowly opens her eyes. Trying to focus her vision, she watches Timothy.
Ellis: “Father...I told you...what I know...always...always watch the moon.”
Ellis breathes heavily.
Ellis: It’s... so close, Father...I told you...so close...”
Timothy closely watches Ellis.
Timothy: “The moon? What about the moon? Ellis...what’s it?”
Ellis begins to lose consciousness.
Ellis: “The moon...oh my...God...”
Ellis makes a wailing sound and she is caught in a fit of coughs.
The policeman turns and looks into the room.
The policeman: “Father....is she alright?”
Timothy slowly gets up, turns around and faces the policeman.
Timothy: “Officer...I think we have to call the doctor.”
Scene 86
INT. Night. Timothy’s study. Timothy sits in his chair in the partial light of the table lamp. He looks at the yellow envelope in his hand.
The statue of the angel, reflecting a speck of light from the table lamp.
Putting the yellow envelope into the drawer of the table, Timothy gets up from his chair and walks towards the door.
Timothy stands in front of Rosemary’s room. He takes in a deep breath and opens the door with a key.
Cut to. INT. Rosemary’s room. Timothy switches on the light and looks around the room. The suitcase lies on Rosemary’s bed. Timothy’s eyes move around the room, watching the photographs on the wall. Rosemary stands with her friends, Rosemary with Timothy at his younger ages, Rosemary with a crew cut young man in a black windcheater, standing near a horse. The man is watching the camera with a smile. From where he stands, Timothy watches that photograph for a long time. He walks towards the window and opens it. The sudden gust of wind ripples the window curtains. Timothy stands by the window and looks out.
Cut to: EXT. The POV of the ‘thing’. Timothy stands by the window, silhouetted against the light in the room.
Cut to. INT. Timothy turns and watches the photograph of Rosemary with the crew cut man. He slowly closes his eyes.
O.S: The rumble of distant thunder.
A lightening lights up the room for a second. The white window curtains fly up in the wind. The rumble of the thunder slowly fades away. In the dimly lit room, Rosemary Baxter, aged 54, sits on the bed, watching Timothy. Standing near the window, Timothy, now 19 years old, watches Rosemary. Slowly he covers his face with both his hands.
Timothy: “Mother, why did you tell me? Why...I didn’t even ask you to tell me anything.”
Timothy bursts into tears.
Rosemary watches Timothy with weak and wet eyes. She has an emaciated look about her. She wipes her eyes and nose with a handkerchief.
Rosemary: “Come over here, my dear.”
Taking his hands from his face, Timothy watches Rosemary. He doesn’t move.
Rosemary: “Tim, you don’t have to hate him. Hate him for anything he had done. It was war...you know. He was good to me all the time. He didn’t abandon me.”
Timothy leans on the window and looks at Rosemary.
Rosemary watches Timothy standing in between the dancing curtains.
Timothy: “I had heard his name...and I know what he did. I had read about what he had done to those innocent people...in Germany.”
Timothy turns around and looks out.
EXT. The trees suddenly light up in a flash.
O.S: The rumble of thunder.
INT. Rosemary looks at Timothy. She takes a yellow envelope from under the pillow. She takes a photograph out of it and watches it for a long moment. She puts it back in the envelope.
Rosemary: “Come over here, Tim....I want you to keep this. His photograph, in his uniform. I want you to be proud of him. He was a war hero.”
Timothy stares at Rosemary. He points towards the photograph on the wall, in which Rosemary stands with the crew cut young man and the horse.
Timothy: “All these years that photograph was in here. You told me he is my father. But you didn’t tell me who he really was. Why...why mother?”
Rosemary turns and looks at the photograph. A moment later she turns back to Timothy.
Rosemary: “Believe me, Tim. I wanted you to grow up. I wanted you to be matured enough, so that you will understand. You are grown up now...and I am sick...too weak...I have to go, Tim. Go soon...”
Timothy bursts into tears. He walks towards the bed and sits near Rosemary.
He slowly takes hold of her hands and leans his face on her shoulder.
Timothy: “Mother...I am sorry. But, how can I...how can I tell others? I can’t mother...I just can’t...”
Rosemary puts the envelope on the bed. She hugs Timothy and kisses him on his head.
Rosemary: “Tim...I love you, my son. Don’t tell anyone if you don’t feel like it. But...I have to tell you the truth. You have to know...”
Cut to: EXT. Another flash lights up the trees.
Cut to. INT. Rosemary: “No, Tim...there is nothing to be ashamed of it. He loved me. You know the circumstances. It was war and he had to leave me...and I was carrying you inside me...I had to come back. I left everything back, except those paintings and that angel.”
Scene 87
INT. Rosemary’s room. Timothy, now in his present age, stands leaning on the window and watches the photograph of Rosemary with the crew cut young man.
Timothy: “Yes mother...I understand. I began to understand things...since that man Martin was killed in Concord. Things that I couldn’t perceive much...”
Timothy closes his eyes.
EXT. The moon, partially seen through the clouds, hangs above Timothy’s house.
Scene 88
INT. Day. Larry’s house. Dining room. Larry, Fr. Jason, Timothy, Jane and Sophie are having lunch. Esther comes in from the kitchen, holding a bowl in her hands.
She places it on the table.
Holding a spoon in his hand, Fr. Jason chews and swallows his food.
Fr. Jason: “We had to slip out of that house without being seen by anyone. Of course, whoever they are, they had seen us or at least our car. They may have noticed our license plate number. Soon after, we called the police and told them what happened. No...we didn’t identity ourselves.”
Sipping a glass of water, Larry watches Fr. Jason.
Larry: “You went into that basement, didn’t you?”
Fr. Jason: “Yes ...we went in there. Tim and me...with Mathau.”
Fr. Jason watches Larry for a silent moment.
Fr. Jason: “It was exactly like the last time we saw it. Only the candles looked new.”
Jane and Sophie watch Fr. Jason with a trace of fear on their faces.
Standing behind Jane and Sophie, Esther watches Fr. Jason.
Fr. Jason: “Tim, tell Larry what Ellis told you.”
Timothy takes a forkful to his mouth and looks up at Fr. Jason.
Larry looks at Timothy in surprise.
Larry: “You saw Ellis? I thought she is in a hospital, under police observation.”
Timothy: “Yes. But I had to see her and talk to her. It was so important that I had to borrow Fr. Jason’s clerical collar for some time. Yes...I talked to her.”
Larry: “What did she tell you?”
Timothy watches Larry for a long moment.
Timothy: “She told me certain facts, which I don’t wish to disclose...I mean...now. But, one thing she told me repeatedly.”
Fr. Jason: ‘What’s it?”
Timothy: “It’s so close. So close.”
Larry stops chewing and looks at Timothy.
Larry: “So close, what?”
Timothy looks at Larry.
Timothy: “And... to watch the moon. Then she died.”
Cut to: EXT. The birds in the cage silently watch the lawn.
Cut to. INT. Dining room.
Larry: “She told you that?”
Fr. Jason raises his head and looks at Larry.
Sophie places her hand on Jane’s shoulder.
Jane turns and looks at Sophie. She pats Sophie’s hand and looks at Larry.
Larry: “Mr. Baxter...we...I mean, the FBI, kept a classified file on the ritual sacrifices of...”
Pausing, Larry turns and looks at Sophie.
Sophie flinches and looks down.
Larry turns and looks at Timothy.
Larry: “...of those little girls. A file, not known to many people.”
Timothy: “What was in it?”
Larry: “We found out a pattern in those ritual killings. All of them were performed on eclipse nights…total lunar eclipse nights.”
Holding tightly on Jane’s shoulder, Sophie looks at Larry.
Larry: “It’s not only in Concord. All over the country, so far 18 similar cases are recorded… all in the same pattern.”
Sophie suddenly screams.
Timothy gets up from his seat and briskly walks towards Sophie.
Timothy: “Sophie, what’s it, darling?”
Sophie watches Larry with dazed eyes. She looks as if she is in a trance.
Sophie: “That man...told me...”
Timothy shakes his head.
Timothy: “Come on, Sophie. Not again...”
Jane places her hand on Sophie’s lap.
Jane: “What did he tell you?”
Her face pale, Sophie gulps.
Sophie: “He told...the black moon is waiting for me...and not to tell it to anyone. He said...it’s a secret.”
Timothy stares at Sophie.
Fr. Jason: “Did he tell you anything else?”
Esther watches Sophie with surprised eyes.
Sophie: “Yes...he told me to be ready...”
Timothy: “Ready for what?”
Sophie watches Timothy in despair.
Sophie: “To go to the woods. Daddy...I am so scared...”
Sophie begins to sob.
Timothy watches Sophie with total desperation in his eyes.
Cut to: EXT. The birds, silent in the cage.
INT. Dining room. Everybody watch Sophie sob.
Scene 89
INT. Day. Reinhard’s room. In the almost dark room, Reinhard sits in his chair, his eyes closed. The photograph of Fr. Jason, Timothy and Mathau lies on the table.
Reinhard opens his eyes and looks up.
Watching Reinhard, Cole stands in front of the table.
Reinhard takes a pull from his cigar and exhales smoke.
Reinhard: “You said his name is Baxter. Baxter, isn’t it?”
Cole: “Yes sir. That car belongs to a man called Timothy Baxter. He lives in Manchester.”
Reinhard gets up from his chair and walks towards the candelabra. He watches the unlit candles for a long moment, turns and looks at Cole.
Reinhard: “Cole...find this man. Find who else is living with him. And you have to do it fast. I want every detail about that man…tomorrow itself.”
Surprised, Cole watches Reinhard.
Cole: “I will do what I can, sir. I will leave now it self.”
Reinhard: “Wait. When you find that man, there is something else you have to do...”
Cole silently watches Reinhard.
Reinhard takes another pull from his cigar.
Exhaling smoke, he watches Cole for a long moment.
Reinhard: “You have to find a lost treasure, Cole. Once you find the man...you will find that treasure too.”
Scene 90
INT. Day. Larry’s living room. Larry sits in his wheel chair and looks out through the picture window.
Timothy sits on the couch, watching Larry.
Fr. Jason stands behind Timothy, holding one of the tribal masks in his hand and studying it. He sets the mask back on the wall and turns around.
Fr. Jason: “Your daughter’s visions are extraordinary, Tim. I feel it’s more than...real.”
Larry looks out through the picture window. He watches Jane, who is leaning on Timothy’s car and holding Sophie closely. He watches Esther stand close by, her hands folded across her chest and looking at the house.
Scene 91
EXT. The lawn. Esther watches the house.
Esther: “No. I haven’t seen any other wolves in all these years. I had seen deer and foxes. Sometimes poachers came here to snare them. And lot of birds too…nothing else.”
Sophie silently watches the woods.
Cut to: The bird cage. The birds sit, frozen in silence.
Esther: “I haven’t seen any wolves before or after that day. Before Larry had that accident ...”
Choking, Esther stops talking. She closes her eyes and a tear drop falls down her cheek.
Esther: “Before Larry had that accident, he sometimes mentioned wolves. He thought he saw wolves following his car...or watching him from the woods. He was restless on those days...but, he didn’t tell me much. Then he had the accident.”
Tear drops roll down Esther’s cheeks.
Uneasily, Jane and Sophie watch Esther.
Jane places her hand around Esther’s shoulder.
Jane: “You still haven’t gotten over it.”
Esther wipes the tears with the back of her hand.
Esther: “No...There are no wolves in this place. Come on...let’s go back to the house.”
Esther walks towards the house.
Jane watches Esther for a moment and holding Sophie by her hand, follows Esther.
INT. Living room. Through the picture window, Larry watches the trio walking towards the house.
EXT. The bird cage. The birds silently watch Esther, Jane and Sophie approach.
INT. Living room. Timothy opens his eyes and turns to look as Esther open the front door and enter, followed by Jane and Sophie. He watches Sophie, closely.
Sophie returns Timothy’s gaze and walks towards him. She sits near him.
Timothy puts his arm around Sophie.
Timothy: ‘You alright, Sophie?”
Sophie nods and sits with her head bent down.
Scene 92
EXT. Dusk. The street in front of Timothy’s house. Some cars pass by. A black car slowly comes to a halt in front of Timothy’s gate.
Timothy’s house in the twilight.
INT. Car. Cole and Stein sit in the car. Stein sits holding the steering wheel and Cole watches Timothy’s house. He rolls down the window and watches the house with a field glass.
Cole: “Here is Timothy Baxter’s house.”
Stein holds a cigarette in his mouth and clicks on a lighter.
Cole sharply turns and looks at Stein.
Cole: ‘Put that out, you stupid. You know I don’t like smoking in my car.”
Stein clicks off the lighter and reluctantly takes the cigarette from his mouth.
In the semidarkness inside the car, Cole spreads a map on his lap and checks it. He raises his head and looks at the house.
Cole: “There’s no mistake. This is our place. I have a hunch that nobody is in there. See... no lights. And that gate is locked.”
Stein watches the house.
Stein: “Shall we go in and have a look?”
Cole: “We can’t break in now. It’s better to make sure that no one is in there...so, we won’t have to make a mess out of anything. Let’s wait.”
Stein sweeps his hair back with both hands, leans on the seat and closes his eyes.
Stein: “Yeah...like, wait until dark.”
Scene 93
EXT. Dusk. Larry’s house in the semi darkness. Light from inside the room fall on the lawn through the picture window.
INT. Larry’s living room. Holding the leather bound book in his hand, Fr. Jason stands near Larry. He stares at the open book for a long moment and closes his eyes.
Sitting near Timothy on the couch, Sophie watches Fr. Jason with fearful eyes.
Larry watches Fr. Jason from his wheel chair, his hands folded in his lap.
Larry: “Tell them everything, Father. Everything you know.”
Fr. Jason opens his eyes and looks around.
Fr. Jason: “Well, every story has a beginning... except this is no story. This is reality at its worst, if I may say so.”
Fr. Jason watches Timothy for a long moment.
Fr. Jason: “Tim, did Ellis tell you why Reinhard didn’t abandon that house at Concord, even after that Nazi was killed in there?”
Timothy looks at Fr. Jason.
Timothy: “Yes...she told me. She told me that house is a power point of the werewolf cult. She said Reinhard can’t abandon that house...just like that.”
Jane: ‘Power point...what’s it? I don’t understand.”
Fr. Jason: “Power points are where the werewolf cult performs their ritual human sacrifices. To make it simple, power points are where their rituals attain maximum effect. I mean...as they see it.”
Larry watches the darkness outside the picture window.
Cut to. EXT. The bird cage in the partial light coming from inside the living room.
Cut to. INT. Living room. Fr. Jason: “Power points possess maximum receptivity of the blood magic, on lunar eclipse nights.”
Sophie gasps. She covers her mouth with her hands and looks fearfully at the book in Fr. Jason’s hand.
Timothy slowly places his hand on Sophie’s shoulder.
Timothy: “Are you scared, Sophie?”
Standing behind the wheel chair and holding Larry’s shoulders, Esther looks at Sophie.
Esther: “Larry...I think it’s enough .That girl is almost scared to death.”
Fr. Jason turns and looks at Esther.
Fr. Jason: “No Esther. This is something we should know and understand. Somehow we are involved in it. In one way, or another.”
Larry pats Esther’s hand.
Larry: “Don’t worry Esther. There are no werewolves around here...at least, for the time being.”
Esther: “You had the most painful experience of all. Don’t forget it, Larry.”
Larry sits in silence. Everybody in the room is silent.
EXT. Larry’s house in the darkness.
OS: Somewhere, a bird screeches.
Scene 94
EXT. Night. Cole’s car in front of Timothy’s gate.
INT. Car. Cole and Stein sit in silence. Cole looks at his watch. He looks up and
watches the tail lights of a passing car.
Cole: “We wait for some more time. Let him turn up or not...we have to go in there. Mr. Reinhard wants to know about that angel, tonight it self.”
Stein turns and looks at Cole.
Stein: “Angel? What are you talking about?”
Cole watches the house, now a dark silhouette against the sky.
Cole: “We have to make sure whether the statue of an angel is in there. That’s what Mr. Reinhard told me to do. So, don’t be so nosey. Just do what I tell you to do.”
With a scowl on his face, Stein looks out.
Scene 95
EXT. Night. Somewhere in the Carpathian mountains. The dark ages.
Numerous people in shabby robes, some hooded, walk through the woods, carrying lighted wooden torches in their hands. Many of them wear crudely made wooden wolf masks. Some are riding on ponies, carrying wooden torches and swords in their hands.
OS: The whining of horses.
Fr. Jason: V.O: “It’s believed to be started even before the crusades. People were fighting each other and they were searching for new ways to achieve power. More power than their rivals. They wanted some kind of a symbol or deity that would give them supreme power over their enemies.”
People, both men and women are gathered around a stone altar, bright in the light of the wooden torches they are carrying.
V.O: The murmur of chanting.
The half eclipsed moon in the sky.
The still and silent woods.
O.S: Dogs’ barking.
More people in shabby outfits, some carrying lighted wooden torches and some carrying axes raised up in their hands, approach the altar.
V.O: The chanting, louder now.
Fr. Jason: V.O: “People wanted extraordinary power. Something more powerful than any beast or man. So they combined the power of the beast with the intelligence of the human being. And the beast they chose to mate with the human race was the most ferocious beast of all. The wolf.”
The woods in the eclipsing moon light.
Behind the circle of the people, several men on horseback stand around the altar.
Some carry axes and swords that reflect the light of the torches.
V.O: (In some primitive Romanian dialect) “Hail Loki...the mighty lord of all beasts. Hail Ferniz...the glorious son of Loki.”
The altar in the spreading smoke of incense.
The almost fully eclipsed moon in the sky.
Fr. Jason: V.O: “So...they invented the ultimate symbol of fear and death. They called it the werewolf. Half beast...half man. The black power that stalked and spread havoc and death...all over Europe. The werewolf. And, most people believed in it. “
From a distance, a man on horse back watches the people around the altar. Wearing a metal armour and holding a sword in hand, he watches the people.
Scene 96
Cut to: INT. Cole and Stein in the car. Cole looks at his watch again.
Cole: It is late. Why doesn’t he come back...or are they in that house?”
Cut to: EXT. Timothy’s house in darkness.
Another car passes by.
Cut to: INT Car. Cole watches the passing car.
Cole: Alright...we can’t wait anymore. Come on Stein...let’s move.”
Stein, who is half asleep, opens his eyes and looks out at the house. He yawns.
Stein: “Yeah...we could have done this a little bit earlier.”
Cole watches Stein in disgust.
Cole: “Look Stein...we are here to do something very important. Important to Mr. Reinhard. So, I will tell you what to do and when. You understand?”
Stein turns and looks at Cole. He is alert now, with a trace of fear in his eyes.
Stein: “OK man...you are the boss. Let’s go and find out whether your sweet angel is in there.”
Stein draws his gun from the holster and opens the door of the car.
EXT. Night. Watching Timothy’s house, Cole and Stein stand by the car.
Cole: “We’ll have to jump over the gate.”
Stein: “Another golden rule of the game. I will go in first. You give me cover in case some smart ass cop tries to shoot me down.”
Stein crosses the road and walks towards the gate of Timothy’s house.
Scene 97
Cut to: EXT. Night. The Carpathian woods.
The fully eclipsed moon in the sky.
People who stand around the altar make way for the armoured man with the sword, who walks towards the altar.
V.O: (In some primitive Romanian dialect) the loud chanting.
“Hail Loki...the mighty lord of the beasts...
Hail Ferniz...the glorious son of Loki....
Hail Ferniz...the glorious prince of all beasts and men...”
The man in the armour raises his hand.
The chanting slowly dies out.
The men and women around the altar raise their wooden torches further high.
Fr. Jason: V.O: “Loki was the mythical lord of all the beasts in the jungle. Loki represented the wolf. And Ferniz was his son, who was neither beast nor man. He was...or maybe he still is the darkest power ever lived on earth.”
Standing behind the altar, the man in the armour raises both his hands, carrying the sword in one hand.
The man: (In some primitive Romanian dialect) “Brothers...this is the night of all nights which in fact, is no night at all. This is the dawn of the new coming.”
People raise their wooden torches further higher and make loud cries of approval.
The man: “We are here to give our mighty prince the noblest feast we can offer.”
In the torch light, people watch the man in the armour.
The fully eclipsed moon in the sky.
The man: “Our mighty lord is the one who protects us from our evil enemies who are closing in on us with their swords and axes.”
The wooden torches in the wind.
People stare intently at the man in the armour.
Scene 98
Cut to: EXT. Night. Timothy’s house. Cole and Stein stand in front of the front door of the house.
Cole looks around.
Cole: “Nobody is in there...let’s go in.”
Cole takes out a metal pin from his coat pocket and fumbles with the lock of the door.
OS: a clicking sound from the lock.
Cole once again looks around, opens the door and both he and Stein step into the house.
Scene 99
Cut to: EXT. Night. The Carpathian woods.
The torch flames dance, casting shifting shadows on the faces of people gathered around. The man in the armour stands with his hands raised. The smoke from the incense spreads all over the place. The man looks up at the sky.
The moon in the mystical aura of the eclipse.
The alter. A young girl of about 9 lies on the altar, her dazed eyes watching the scene around.
Cut to: The girl’s POV. The upraised torches in the smoke from the incense. The man in the armour stands, his hands raised up, holding the sword in one hand.
V.O: the chanting becomes louder.
“Mighty Loki...accept our offer...
Mighty Ferniz...come down on us...
Hail Loki...the lord of all beasts...
Hail Ferniz ...the glorious son of Loki...”
Scene 100
Cut to: INT. Night. Timothy’s house. The living room with the lights on. Cole and Stein, with guns in their hands, stand in the room looking around. Cole watches the paintings on the wall.
He points to a painting.
Cole: “Max Honne. If it’s an original, it will cost a fortune.”
Stein turns to look at the painting.
Stein: “Then...may be we are fortunate.”
Cole: “Wishful thought, Stein. We came here to take away something else. But I don’t see it anywhere in this room.”
Stein: “We will split and search in the other rooms.”
INT. Cole stands in front of Rosemary’s room. He switches on the flash light in his hand and using the metal pin, picks at the lock.
Stein in the kitchen. He switches on the light and looks around. He walks towards the refrigerator, opens it and looks inside. He takes out a can of beer and checks the label.
Cole inside Rosemary’s room. He switches on the light and looks around. He watches the various small artifacts on the table and the photographs on the wall.
Cut to: EXT. The ‘thing’s POV from the foliages. The thing watches the lighted window of Rosemary’s room.
INT. Rosemary’s room. Cole once again looks around the room and walks towards the door to get out. Suddenly he stiffens. He turns and walks towards the photograph of Rosemary with the crew cut young man and the horse. Standing in front of the photograph, Cole squint his eyes to have a better look. He looks perplexed.
The photograph of Rosemary and the crew cut young man, whose face has a striking resemblance with Reinhard. A much younger Reinhard.
Cole slowly raises his hand and touches the young man’s face with his fingers.
He slowly shakes his head.
Cole: (in a whisper) “It can’t be”.
Cole closely looks at the photograph.
Holding the beer can in his hand, Stein steps into the room.
Raising his gun, Cole suddenly turns around.
Stein: “Easy man...it’s me.”
Cole stares at Stein in disgust. He slowly lowers the gun and once again looks at the photograph. He turns and walks towards Stein.
Cole: “The next time you do something like this, Stein, you’ll have a hole in your head.”
Cole walks out of the room.
Stein watches Cole walk out of the room. Turning, he slowly walks towards the photograph Cole has been watching and looks at it.
The photograph stares back at him.
Stein watches the photograph for a long moment. He turns and walks towards the door. Stein steps out of the door and standing there, takes a sip from his beer can.
Cut to: EXT. The ‘thing’s POV. From the foliage, the thing watches the lit up window of Rosemary’s room.
INT. Timothy’s study. Cole stands still in front of the statue of the angel. He watches it as if he is in a trance.
Stein carefully walks into the room. Standing near the door, he looks at the statue.
Stein: “My God...so you were telling the truth. There is indeed an angel in here.”
Cole slowly turns and looks at Stein.
Cole: “Mr. Reinhard was right in his assumption. Stein...we have to take this out of here. We have to get this into the car.”
He looks at the statue.
Cole: “It looks heavy. Come on...we don’t have much time to waste.”
Stein places the beer can on the floor and walks towards the statue. Both Cole and Stein touch the statue with their fingers and look at each other.
101. Cut to: EXT. The Carpathian woods.
The blazing wooden torches in the drifting smoke from the incense.
The man in the armour: “It’s time to give our lord the noblest feast we can offer. Fresh, young and pure blood.”
The man looks up at the sky.
The fully eclipsed moon in the sky.
Holding their torches high, the people watch the man.
The man: (in a monotone) “You come from beyond the primitive darkness. You are the lord of the sky, land, sea, wind and fire. You dwell beyond the reach of any beast or man. You carry fire in your heart. Lord...we are powerless to quench your eternal thirst. Lord...show yourself and accept this offer. Hail Ferniz...the glorious lord of all living beings.”
In a quick motion, the man plunges his sword downwards.
Scene 102
EXT. Night. Larry’s house. The bird cage in the partial light coming through the picture window.
Fr. Jason: OS: The werewolf cult never died out. It spread like plague. Now...it’s here. Around us...or among us. And it needs more young blood to quench the thirst of its master.”
Scene 103
INT. Larry’s living room. Fr. Jason stands looking at the leather bound book in his hand. All the others in the room watch Fr. Jason in silence.
Larry looks out at the darkness through the picture window.

Fr. Jason: “And they have new partners now. Partners who made Larry incapable of walking on his legs again.”
Larry turns and looks at Fr. Jason.
EXT. Larry’s house in the darkness.
INT. Living room. Larry turns around in his wheel chair and looks at Timothy.
Larry: “I have a feeling, Mr. Baxter. A feeling that came to me when Fr. Jason told me about you, and your daughter.”
Timothy: “What’s it, Larry?”
Larry: “Earlier...you asked me why I wanted you to meet me.”
Timothy nods.
Larry: “I wanted you to see my present condition, Mr. Baxter...and why I am like this. I wanted to warn you about some thing.”
Timothy looks inquisitively at Larry.
Larry: “They did this to me for that book. I have a feeling that they will come after you too.”
Sophie gasps and looks at Timothy with frightened eyes.
Larry: “By now, they might have checked out the identity of your car. It might be dangerous to go back to your home now. It is my request that you stay here with us. We have to wait and see what is about to happen.”
Timothy looks at Larry and gets up from the couch.
Timothy: “Thank you, Larry. But I have to go home and get something from there… then go to some place. I am taking Sophie with me.”
Sophie leans against Jane, her eyes wide open in fear.
Jane holds Sophie tightly against her.
Fr. Jason looks at Timothy for a long moment. Holding the book, he slowly extends his hand towards Timothy.
Fr. Jason: “This belonged to your mother. And now...this is yours. Take this and go where you have to. I know it is a difficult task. I wish if I could come with you. But...I can’t. I have to go back to New York.”
Everybody watch Fr. Jason.
Timothy: “Why did you come to this country?”
Father Jason slowly lowers his hand. He watches Timothy for another moment.
Fr. Jason: “To get away from the memories of the ghettos. Many of my friends died in the ghettos. And I was ashamed to face those who came out of there, alive. I was so ashamed I wanted to run away from those living ghosts and their whisperings in my ear.”
Timothy watches Father Jason in silence.
Fr. Jason: “I was a seminarian at that time. After the war, I went back to the seminary, only to find the whole place in ashes. But I met one of my teachers there. He somehow managed to escape the Gestapo’s eyes. He was a priest. He helped me to get out of Poland and come to this country.”
Everyone watch Father Jason curiously.
Fr. Jason: “Eventually I found out this country have a multitude of ghosts. Ghosts of the dead...and the living.”
Timothy watches Father Jason for a long moment.
Timothy: “Is it a living or dead ghost that led you to me?”
Father Jason smiles. He shakes his head and looks at Sophie.
Sophie watches Father Jason with a frightened expression on her face.
Fr. Jason: “You will find it out yourself. I know how you feel, Tim. But it’s a man’s destiny to face his ultimate dragon...and I know you have no fear. You love your daughter that much.”
Scene 104
EXT. Day. The park.
Sophie swings on the swing, her hair flying in the wind.
Sitting on the bench nearby, Timothy watches Sophie.
Sophie: “Daddy...let me swing some more...daddie...please...”
Sophie’s sound fades away.
Scene 105
INT. Night. Larry’s living room. Timothy shakes his head as if waking up from a dream. He looks at Fr. Jason, who stands with his hand outstretched, with the book.
Timothy: “Yes Father...I want my daughter to be safe and intact. Thank you, Fr. Jason, for everything you have done for me...and for my daughter.”
Timothy takes the book from Fr. Jason’s hand and puts it in his coat pocket.
Timothy: “Ellis said it’s so close. Now I understand why she said it. In fact, it’s so close.”
Fr. Jason: “What do you mean?”
Timothy: “Next week, we have a total lunar eclipse in hand. That is why it’s so close, whatever that ‘it’ means.”
Everybody watch Timothy with shocked expressions on their faces.
EXT. Larry’s house in the darkness.

Scene 106
INT. Day. Reinhard’s room. Reinhard stands behind his table, tensely watching Cole and Stein remove a metal plate from the bottom of the pedestal of the statue of the angel.
Cole: “It’s about to come off.”
Cole puts the tip of the screw driver in between the metal plate and the pedestal and gives a twist. The metal plate falls down with a clatter.
Stein bends down and looks into the hollow pedestal.
Reinhard: “It’s...empty, isn’t it?”
Stein looks up at Reinhard.
Stein: “Yes sir...there is nothing in it. It’s empty.”
Cole stands up and watches Reinhard.
Reinhard closes his eyes and takes in a deep breath. He slowly exhales, opens his
eyes and looks at the statue lying on the floor.
The statue on the floor, staring at the ceiling of the room.
Reinhard: “So...somehow that bitch found it...and took it away. May be it’s still in her house. May be she gave it to someone else...we don’t know for certain. Either way...it has to do something with the visit of this man Timothy to my house in Concord.”
Cole: “Do you want us to search that man’s house, sir. I can arrange to do that immediately.”
Reinhard: “You can’t do it if that man and his daughter is in there.”
Cole: “May be I shall do it without having them around to watch us. “
Reinhard looks at Cole for a long moment.
Reinhard: “No...”
He slowly shakes his head.
Reinhard: “No.”
He walks towards the candelabra and watches the unlit black candles on it. He turns and looks at Cole.
Reinhard: “If that man Timothy has my book with him, we will have to find another way to get it back. A fast and sure way. “
Reinhard turns and looks at Stein.
Reinhard: “You take this statue out of here. Place it somewhere in the hall. It’s a medieval masterpiece. May be, some of our visitors will appreciate the angelic beauty of it. “
Reinhard turns to Cole.
Reinhard: “You stay here, Cole. I have something to discuss with you.”
Stein stands, looking down at the statue.
Stein: It’s heavy. I will go and get some help to take it down.”
Stein walks out of the room.
Reinhard watches Stein walk out of the room. He takes a thin cigar from the cigar box and lights it. Watching Cole, he takes in a deep pull and slowly exhales the smoke.
Reinhard: “Cole...if we are lucky enough, we can have two ducks with a single shot. I feel...at last glory is in our hands.”
Cole watches Reinhard, with an amused look on his face.
Scene 107
Cut to: INT. Reinhard’s hall. Stein stands in front of the statue where it is newly placed, intently watching it.
Cole: V.O: “Beautiful, isn’t it?”
With a start, Stein turns around.
Cole watches Stein with a grin.
Stein looks at Cole, his face pale.
Stein: “You frightened me, Cole.”
Cole: “Not me, Stein. That thing behind you frightened you”.
Cole smiles.
Cole: “Don’t be silly, Stein. Come on...we have work to do.”

Scene 108
EXT. Day. The street in front of Timothy’s house. Timothy’s car is parked in front of the gate.
INT. Car. Sitting inside the car, Timothy watches the house.
Timothy: “They may have found out where we live. Anyway, that doesn’t matter now. We are going away for a while.”
Timothy looks back at Sophie, who is sitting near Jane.
Timothy: “Come on, Sophie. Let’s go and pack our things.”
Timothy gets out of the car. Standing near his car, he watches his house.
Jane and Sophie get out of the car. Standing near Timothy, they also look at the house.
Timothy: “Come...let’s go in.”
Timothy walks towards the gate and using a key, opens it.
Timothy, Jane and Sophie walk up the driveway towards the house.
Jane stops walking.
Jane: “Tim, wait.”
Timothy and Sophie stop walking and look at Jane.
Jane: “Are you sure you want to take Sophie with you? Can’t she stay with me?”
Timothy watches Jane for a long moment and looks at Sophie.
Timothy: “What do you say, Sophie? Do you want to stay here with Jane?”
Without replying, Sophie watches the house. She turns and looks at the street.
Cut to: From the POV of the street. Timothy and Jane watching the house and Sophie looking at the street.
Sophie turns and looks at Timothy.
Sophie: “Daddy...I’m coming with you.”
Sophie watches the house with apparent fear in her eyes.
Sophie: “I want to be with you.”
Putting her hand around Sophie’s shoulder, Jane hugs her.
Jane: “Don’t worry Sophie. You will be safe with your daddy. Come on...let’s go in.”
Scene 109
INT. Day. Sophie’s room. Sitting on the bed, Jane closes a small suitcase. She turns and watches Sophie stand looking at the Madonna on the wall.
Scene 110.
INT. Timothy’s study. In the partial light of the table lamp, Timothy sits in his chair, watching the photograph in his hand. The photograph, in which a young Rosemary stands in between two young men in SS uniforms. One man, the same young man in the photograph at Rosemary’s room, holds Rosemary close to him. All they are beaming at the camera. Timothy raises his head and looks around the room. He puts the photograph back into the envelope. He stands up and looks around the dark room.
Scene 111
INT. Day. Car. In the slight drizzle, Timothy’s car moves through the street amidst other vehicles. Driving, Timothy watches the traffic in front of him. In the back seat, Jane sits with Sophie.
Jane: “Tim, where are we going?
Timothy: “To the airport.”
He watches the street in silence.
Timothy: “Jane, you should take back my car and park it somewhere no one else will easily find it.”
Jane looks at Timothy with a perplexed look on her face.
Jane: “Where are you going?”
Timothy: “To a small town in Maine. Ellis told me to go there...to find what I am seeking.”
Jane: “What are you seeking, Tim?”
Timothy watches the traffic in front of him and blinks.
Timothy: “An antique piece of my being.”
He turns, looks at Jane and smiles.
Timothy: “After all...I’m an inherited art dealer.”
Jane and Sophie watch Timothy.
EXT. The street. Timothy’s car among numerous other vehicles moves in the drizzle.
INT. Car. Timothy drives, looking straight ahead. He slows down the car and slowly pulls over to one side of the street. He sits in silence for a long moment, turns his head and looks at Jane.
Timothy: “The thought was haunting me for a long time. Only now, I could put it in place.”
Jane looks at Timothy in surprise.
Jane: “What are you talking about?”
Timothy looks at Sophie, who is leaning on the back seat and watching him.
Timothy: “Some one was in there.”
Jane: “Some one was in where?”
Timothy: “In my house. I knew something was odd and out of order. But, I didn’t know what it was. Now...suddenly it came to me. That beer can...in my room.”
Jane: “Beer can?”
Timothy: “Yeah...they took away the statue.”
Jane: “What statue?”
Timothy: “Mama’s angel...mama’s angel of her panic years.”
EXT. Street. Timothy’s car in the drizzle.
Scene 112
EXT. Dusk. The POV of the bus. The trees on both sides of the street move backward as the bus speeds forward through the road.
Hanna: V.O: “Nights are always like this in Rotwood. Cold, damp and dark. Sometimes the mist is all over here. People don’t talk much in this place. Always the weird silence...except those occasional howls. And those black candles...all over this place. As if they are here as an invitation to somebody...or something.”
Scene 113
EXT. Day. Larry’s house. Larry sits in his wheel chair, watching the birds in the cage. He talks into his cell phone.
Larry: “No, father...he didn’t call me. Yes, he had taken his daughter with him (pause). Yes, Father...Jane called me. She said Mr. Baxter has gone to some place in Maine (pause). No...I don’t know what it is.”
Leaning on the closed front door and her hands folded across her chest, Esther watches Larry.
Larry: “Thank you Father”.
He turns off the cell phone and looks at Esther.
Esther averts her gaze and looks out at the woods.
The trees slowly move in the gentle breeze.
Larry: “Esther...”
Esther: “Those wolves are back. Yesterday night, I heard them howling.”
Larry looks back at the bird cage in silence.
The bird cage. Chirping, the birds watch Larry.
Scene 116
EXT. Dusk. Rotwood. In the drizzle, a bus slowly comes to a halt in front of Pete’s pub.
INT. Pub. Four or five people sit in the pub, drinking and smoking. Sitting in his chair, old man Luke watches the bus stop in front of the pub. He takes a sip from his drink.
EXT. Street. Timothy and Sophie step out of the bus. Timothy holds a suitcase in one hand and Sophie’s hand with the other. Sophie holds her small suitcase close to her chest. They look around.
INT. Pub. Watching Timothy and Sophie, Luke puffs on a crumpled cigarette.
Luke: (in a mutter) “Welcome to Rotwood.”
Another man sitting in a chair near by, turns and looks at Luke.
The man: “What’s it grandpa...did you say something?”
Luke shakes his head and looks at the other man.
Luke: “No...nothing.”
Luke takes a pull from his cigarette.
Scene 117
Cut to: INT. Dusk. Hanna’s boarding house. Standing near the window of her room in the first floor, Hanna, aged 61, watches Timothy and Sophie. She watches the bus move forward and disappears from her sight.
EXT. Street. Timothy and Sophie walk towards the pub.
INT. Pub. Pete, the man behind the counter, strikes a match and lights a black candle in a candle stick on the counter.
EXT. Street. Standing outside the pub, Timothy watches the man light the candle.
Timothy looks down at Sophie.
Timothy: “Are you hungry?”
Sophie looks up at Timothy and nods. She looks back into the pub.
Cut to: INT. Pub. Pete looks out and watches Timothy and Sophie.
Pete: “Hello there...please step in. You know...we have these frequent power failures...almost every day. Don’t worry...the power will be back in no time.”
EXT. Street. Timothy looks at the black candle.
INT. Pub. The black candle, its flame gently moving in the wind.
EXT. Street. In the thin drizzle, Luke walks out of the pub into the street and watches Timothy and Sophie.
Luke: “If you are looking for a place to stay overnight, come with me.”
Timothy looks at Luke for a moment and nods.
Luke: “You are here for the first time, aren’t you?
Luke looks at Sophie and grins. He takes a pull from his cigarette.
Luke: “Nice place for an angel like you. You will like it here.”
Scene 118
INT. Hanna’s room. Still standing by the window in the semidarkness, Hannah watches the scene below. She watches Luke pointing towards her building and gesticulating.
Hanna: V.O: “So, they came to stay. What do they want in this place?”
Cut to: INT. Pub. Pete watches Luke talking to Timothy.
Pete: “Hey Luke...you are snatching my guests away from me.”
V.O: Laughter in the pub.
Pete: “Hanna is all set to close down her shack. See, as tourists are here now, she won’t have to do it. Some tourist place...Rotwood.”
V.O: laughter in the pub.
Scene 119
EXT. Day. A Farm house. Sitting in a chair on the verandah of a farm house,
Sam Mc Reedy, a well built man of 70, watches a young woman tending a horse on the lawn in front of the house.
The horse whines and jumps uneasily.
The young woman: “Easy....Storm...no one is going to tie you up. Easy...”
A middle aged house maid comes out of the front door, holding a cell phone in her hand.
The house maid: “Sam...one Reinhard is asking for you.”
Sam turns and stares at the maid.
Sam: “Reinhard?”
Sam extends his hand for the phone. When the maid is close enough, he grabs the phone from her hand. Hesitating for a moment, he presses the phone to his ear.
Sam: “Sam Mc Reedy.”
Cut to: INT.Reinhard’s room. Reinhard stands near his table, talking to the phone.
Reinhard: “I never thought I’ll have to talk to you again...or see you again (pause). How I got your telephone number? Don’t worry...we have some common friends. Now, listen. Long ago...you remember...you took away something that belonged to me (pause) yes...from that black policeman. I still don’t know why you wanted to keep it with you. We were together in the team and everything was going smooth. Then you took it away (pause) No...I didn’t want to take it back from you by force. I am not such a fool (pause) No...I didn’t call you to ask to give it back either. Anyway you have only piece of the puzzle...just like me. And all these years, we were performing an incomplete play, hoping some miracle will happen (pause) Why? I will tell you why. Once again, the time has come for the harvest. You too know that (pause) No...I want to make a request to you (pause) Yes...request. Let’s forget our egos for a while. This time, let’s do it together. For the new dawn (pause) For the time being, we’ll forget everything else (pause) No, we’ll do it here, in Rotwood.”
Reinhard watches the candelabra in the corner of the room.
The candelabra with the unlit black candles.
Reinhard: V.O: “Yes...I’ll tell you the reason. I think I just found out the missing link in the chain.”
Scene 120
EXT. Day. The farm house. Sam stands still with the cell phone pressed against his ear.
Sam: “Reinhard...you mean...the lost text?”
Scene 121
INT. Day Reinhard’s room.
Reinhard: (into the phone)” Yes...I’m positive (pause) It’s not for me, or for you. It’s for the cause...for all the years we have spent together. We had a common cause once. It’s still there. That’s why I called you (pause) Yes...send your men in. We’ll work it out together (pause) Trust me, Sam. I have a feeling that the puzzle in about to be solved (pause) Yes...I’ll contact you.”
Reinhard places the receiver back on the cradle.
Scene 122
Cut to: EXT.Day. The farm house. Sam looks blankly at the horse as if he doesn’t see it.
Sam: (in a whisper) “You better be right, Reinhard.”
Sam closes his eyes and takes in a deep breath and slowly exhales.
Scene 123
INT. Night. Timothy’s room in Hanna’s boarding house, which is close to Hanna’s room in the first floor. Sophie sits on the bed, covering her face with her hands.
Standing near the window, Timothy watches the street.
O.S: A distant howl amidst the sound of the cicadas.
He turns and looks at the door as if he heard something. He walks towards the door and pulls it open.
Sophie raises her head and looks at the door.
Hanna stands outside the door, holding a candle in her hand. She looks at Timothy.
Hanna: “I’m sorry, Mr. Timothy, but I forgot to give you this. Can’t say there won’t be another power failure.”
Timothy looks at Hanna and then at the candle in her hand.
Timothy : (in a low voice) “This is just an ordinary candle.”
Hanna watches Timothy in silence for a moment.
Hanna: “I thought may be you’ll need this.”
Timothy steps to one side to let Hanna in.
Timothy: “Aren’t you coming in?”
Hanna looks at Timothy and turns to look into the room.
Hanna: “Is your girl asleep?”
Hanna walks into the room.
Sophie watches Hanna enter the room.
Timothy: “You are expecting regular power failures?”
Hanna walks towards the table and fixes the candle on the candle stick on the table.
Hanna: “Not expecting, Mr. Timothy...regularly having it.”
She turns and looks at Timothy.
Hanna: “You know...Rotwood prefers candles more than electric power. Almost all the houses in this place enjoy a carnival of candle lights...as you saw in that pub down there.”
Sophie watches Hanna with curiosity.
Hanna: “As if it’s something customary.”
Hanna walks towards the window and looks out.
EXT. Street. The dim light from the pub scattered on the road.
INT.Timothy’s room. Hanna turns and looks at Timothy.
Hanna: “Rotwood is timber country. Most people who live here are lumberjacks... all of them in the pay roll of Reinhard.”
Suddenly the power fails. Timothy strikes a match, walks towards the table and lights the candle.
In the dim light of the candle, Sophie watches Hanna.
Standing near the table, Timothy looks at Hanna.
Timothy: “Who is Reinhard?”
Hanna looks out at the street.
EXT. The street. A vehicle passes by.
INT. Timothy’s room.
Hanna: “Nights are always like this in Rotwood. Cold, damp and dark. Sometimes the mist is all over here. People don’t talk much in this place...always the weird silence. Except for those howls. And those black candles...all over this place...as if they are here as an invitation to somebody...or something.”
Sophie watches Hanna with frightened eyes.
Hanna: “And the occasional processions and the chanting.”
Sophie covers her mouth with her hand as if not to scream.
Hanna: “They’re his watch dogs. All of them...every one of them.”
Timothy: (in a whisper) “Whose watch dogs?”
Hanna looks at Timothy for a long moment.
Hanna: “Whose watch dogs...? If you don’t know that, why are you in Rotwood?”
Suddenly the power is back. Hanna looks at Sophie, who is watching her with frightened eyes.
She walks towards the table and blows out the candle.
Scene 124
EXT. Night. Street. Luke watches Hanna’s boarding house from the street. He looks down at the ten dollar bill in his hand and slowly shakes his head.
Luke: “Hmm...they won’t stay for many days.”
Luke walks towards the pub. He stands in front of the pub and looks in.
Cut to: INT. Pub. The black candle burns on the counter, even though the pub is dimly lit with electric bulbs.
O.S: Somewhere, a wolf howls.
EXT. Street. Luke looks around. He hurriedly walks into the pub and suddenly stops as he sees the head lights of approaching cars.
Two cars approach the pub, slow down and come to a halt, their head lights still on and engines idling.
Luke watches in bewilderment.
Cut to: INT. Ist car. The man on the front seat rolls down the window and watches Luke and then looks into the pub.
EXT. Street. Luke stands dumbfounded and looks at the man in the car.
INT. Car. The man watches the burning black candle on the counter.
INT. Pub. The four or five men in the pub silently watch the cars.
INT. Car. The man watches the candle.
The man: “Mmm...these people are keen on their home work. Come on...let’s move.”
He rolls up the window of the car.
EXT. Street: Luke watches the cars move forward. He watches the taillights disappear. He turns and steps in to the pub.
INT. Pub. Luke stretches out his hand and drops the ten dollar bill on the counter.
Pete looks at Luke and grins.
Pete: “Looks like happy nights are here again, old man?”
Scene 125
INT. Night. Reinhard’s room. Reinhard sits in his chair, smoking a cigar.
Watching Reinhard, Cole stands in front of Reinhard’s table.
Reinhard: “Are you absolutely sure they’re not in their house?”
Cole: “Yes sir...I’m positive. My men were closely watching that house since yesterday morning. They left by car and haven’t returned until now. There was a woman with them. There is no trace of them.”
Reinhard: “You know...that I contacted Sam. I had convinced him that I was telling the truth. Cole, we must find them. That little girl is the key to what we are looking for. If Timothy has my book with him or if he knows where it is, he will trade it...or tell us who has got it...for the life of his daughter.”
Cole silently watches Reinhard.
Reinhard: V.O: “We’ve only a few days left. Sam’s men are already on the move. We can’t take the risk of ruining things now.
Cole: “They can’t be gone forever. Sooner or later, they will surface.”
Reinhard: “We don’t have time for that later part. Find them, Cole. Find them, now.”
Cole turns around and walks out of the room.
Reinhard watches Cole close the door behind him. He turns and looks at the candelabra.
The unlit black candles.
Scene 126.
INT. Night. Timothy’s room at Hanna’s place Timothy suddenly sits upright on his bed and looks around. He watches Sophie sleeping near him. He slowly looks around and stiffens as he sees a bright glow through the window, flickering outside the building. He carefully looks at his watch and slowly gets down from the bed. He walks towards the open window and looks out.
EXT. Street: A ten foot high wooden cross, fitted in a wooden crate is burning on the middle of the street in front of the closed pub. Except for the crackling sound of the burning cross, the street is silent and deserted.
INT. Room: Timothy watches the cross.
Cut to: INT. Car. From a parked car about 100 yards away from the burning cross, two men in hooded white robes watch the burning cross.
1st man: “That makes things started. Let them get the heat of it.”
Cut to. INT. Room: Squinting his eyes, Timothy watches the cross.
Cut to. INT. Car. 2nd man: “Come...let’s go.”
EXT. Street: The car slowly moves forward.
INT. Room: Timothy sees the moving car. He watches its tail lights moving away. He shifts his gaze back to the cross, which has begun to burn out.
Timothy: (in a whisper) “So...they have begun the game.”
He turns and walks towards the bed and stands still as he sees Sophie sitting on the bed, watching him.
Sophie looks at Timothy.
Sophie: “What’s it, daddy?”
Timothy stares at Sophie in the semidarkness of the room.
Timothy: “Nothing baby...it’s just...a bonfire.”
Scene 127
EXT. Day. The Rotwood graveyard: Cathy, a middle aged woman in rags, stands in front of the graveyard, holding the closed gate with both her hands. She is wearing numerous rosaries around her neck, her hair matted and dirty. She slowly pulls open the gate and walks into the graveyard. Standing inside the graveyard, she looks around.
Tombstones of different sizes, surrounded by tall grass and weeds. Half lit candles and other debris are scattered all over the graveyard.
Cathy slowly walks towards a tomb and stands in front of it. She looks at the tomb stone, with blank eyes.
The tombstone: On it is written in fading letters, ‘Lucie Harliegh - Born 1973 - Died 1982’. The woman stares at the tomb stone and her face crumbles in sorrow. She kneels before the tomb and closes her eyes, her hand fumbling with the rosaries around her neck.
Cathy: “Lucy...my baby...my poor little girl...”
Tears roll down her cheeks.
The grass leaves and weeds shake in a sudden gust of wind.
Cathy opens her eyes and looks around suspiciously. She gets up and stands in front of the tomb for a long moment, watching the tombstone. Slowly she turns and walks towards the gate. Close to the gate, she stops walking and looks down. She picks up a broken wooden cross from the grass and watches it for a while and walks out of the graveyard, carrying the broken wooden cross in her hand.
Scene 128
INT. Day. Cole’s car: Cole drives and Stein sits near him, watching the street ahead. Squinting his eyes, Stein purses his lips in thought.
Stein: “It’s kind of...strange.”
Cole turns and looks at Stein.
Cole: “Strange, what?”
Stein: “I was thinking of that photograph...the one we saw in Timothy’s house.”
Cole silently drives the car. Some moments later, he turns and looks at Stein.
Cole: “What’s so strange about that?”
Stein: “Don’t you remember...the photograph you were watching...when I came into that room? You were kind of…startled, when I got in. The woman and the man, standing near a horse.”
Cole: “Yes...I remember. So what?
Stein: “The man in that photograph looked...familiar.”
Cole drives in silence.
Stein: “I thought...it’s just a thought...that man had a resemblance with Mr. Reinhard. I mean...in his younger age...when he was much younger. And how did that statue happen to be in there?”
Cole turns and stares at Stein.
Cole: “Haven’t you heard of the old phrase, Stein?”
Stein looks at Cole suspiciously.
Stein: “What phrase?”
Cole: “That...curiosity killed the cat.”
Stein’s face turns pale. He looks straight ahead the road.
EXT. Road: The car speeds through the road.
Scene 129
INT. Day. Timothy’s room at Hanna’s: Sitting on the bed, Timothy watches Sophie drink a glass of milk.
Timothy: “Did you sleep well, darling?”
Sophie nods.
Cathy: V.O: Repentance...repentance... the time has come for atonement.”
Timothy and Sophie turn to look at the window. Timothy gets up from the bed, walks towards the window and looks out.
EXT. Street: Cathy stands in front of Hanna’s place. Still carrying the wooden cross in her hand, she looks around.
Cathy: “Sinners...it’s time to repent. The time has come for atonement. You devils...Why are you burning crosses here? Why don’t you go back to hell with your godforsaken black candles? Why did you come back?”
INT. Timothy’s room: Timothy and Sophie watch Cathy through the window.
EXT. Street: Cathy looks up at Timothy and Sophie.
Cathy: “You...what are you doing up there? Come down and join me. The time has come for repentance...and atonement.”
INT. Timothy’s room: Sophie flinches and turns to go back to the bed. Holding Sophie by her shoulder, Timothy stops her,
Timothy: “Don’t be scared, Sophie. She is just a crazy woman.”
Sophie looks down at Cathy with frightened eyes.
Scene 129
EXT. The pub: Holding his drink in his hand, Luke comes out of the pub. He watches Cathy for a long moment.
Cathy turns and looks at Luke in disgust.
Cathy: “Why are you staring, you drunken devil?”
Luke: “Cathy... you don’t have to shout. All of us are repenting for what we had done with our goddamned lives. And we will repent for what we are going to do. But, atonement ...well, that’s an expensive affair...something we can’t afford to do.”
Cathy looks at Luke with increased anger.
Cathy: “You drunken fool...you are in it too. Watch out...your time is up. Get rid of your black candles...and repent.”
130. INT. Pub. Pete watches Luke and grins.
Pete: “Hey Luke, what did I tell you? Happy nights are here again, old man. See...Cathy is back with her good old cross. And we are going to see a lot more crosses in the coming days...like the old times.”
Luke turns and looks at Pete, his laughter gone from his face.
Scene 131
INT. Timothy’s room at Hanna’s: Timothy and Sophie watch the scene.
EXT. Street. Cathy: “I ask you...where have all the dogs gone? You know why? All the dogs have gone away from Rotwood. The devil is here. You saw that cross burning? Satan is here. Repent...the time has come for repentance, and atonement.”
Cathy stops talking and looks towards the far end of the street.
Scene 132
Cut to. INT. Cole’s car: Cole and Stein watch Luke and Cathy standing on the street.
EXT. Luke watches the approaching car and slowly gets back into the pub.
Cathy crosses herself, closes her eyes and begins to mumble.
Cathy: “Oh God...have mercy on my soul...they’re all around me...the wolves.”
INT. Timothy’s room: Timothy and Sophie watch Cathy in silence.
INT. Cole’s car: Coming close to Cathy, Cole stops the car.
Cole: “Old Cathy is back on the street. May be she is having her divine visions again.”
Cole casually looks around and up through the windshield of the car. He spots Timothy and Sophie standing near their window. Cole stiffens and intently watches Timothy.
Cole: “Stein...do you see what I see?”
Stein: “What?”
Stein looks at Cole and seeing Cole’s face, he looks up, following Cole’s gaze. He also spots Timothy and Sophie.
EXT. Street: Cathy slowly walks away. After taking a few steps, she stops and looks back at the car for a moment and walks again.
INT. Cole’s car: Cole watches Cathy walking away. He turns and looks at Stein.
Cole: “It’s him...Timothy Baxter.”
Stein stares at Timothy. He slowly turns and looks at Cole.
Stein: “Yes...It’s him alright. Our people are searching for him all over New Hampshire... and he is here in Rotwood. What’s he doing here...along with that little girl?”
Cole: “There is much more than that meets the eye, Stein.”
Stein: “Mr. Reinhard is in for a big surprise when he hears about this.”
Cole looks at Stein and opening the door, gets out of the car.
EXT. Street: Cole casually walks towards the pub. Standing in front of the pub, he looks straight at Timothy.
INT. Timothy’s room: Timothy watches Cole, without any expressions on his face.
INT. Pub. Pete looks at Cole and he hurriedly walks out with a look of respect on his face.
Cole turns and looks at Pete.
Pete: “Looking for some one, sir?”
Cole: “No Pete...just passes by.”
He again turns and looks at Timothy.
Cole: “Hanna has new guests...I guess...”
Pete turns and looks at Hanna’s place. He sees Timothy and Sophie watching him.
Pete: “Yes, Sir...they came in yesterday night. The gentleman and the girl.”
Cole watches Pete for a moment. He turns around and walks towards the car. Opening the door, he gets into the car.
INT. Cole’s car: Without saying anything, Cole starts the car and moves forward.
INT. Hanna’s room: Sitting on a chair with her hands in her lap, Hanna watches Cole’s car move forward and disappear.
Scene 133
INT. Day. Timothy’s room: Sophie lies on the bed, her face buried in the pillow.
Sitting near her, Timothy slowly moves his hand over Sophie’s hair.
Timothy: “Are you alright, Sophie?”
O.S: Knock on the door.
Timothy turns and looks at the door.
Timothy: “Come in...”
Opening the door, Hanna comes in, holding a tray of food in her hands.
Hanna: “Excuse me...I thought I should bring your lunch up here.”
Hanna places the tray on the table.
Sophie raises her head and looks at Hanna. Watching Hanna for a moment, she lowers her head.
Timothy: “She is a little upset, Hanna. Who was that woman down there, with that cross? Is she crazy?”
Hanna walks towards door to get out. She stops and looks at Sophie for a moment.
Hanna: “Yeah...she is crazy alright. She lost her daughter...she just couldn’t take in the fact.”
Timothy silently watches Hanna.
Timothy: “Lost? What happened to her?”
Hanna starts to go out. She hesitates and looks at Timothy.
Hanna: “Something happened to that child...about 12 years ago. One day she simply disappeared and after a few days... she was floating in the lake.”
Sophie slowly gets up and looks at Hanna with wide open eyes.
Timothy: “She was killed?”
Hanna watches Timothy with blank eyes. She slowly shakes her head.
Hanna: “No body knows what exactly happened.”
Hanna walks towards the door. Holding the door knob with her hand, she turns and looks at Sophie.
Hanna: “Children have weird ways to die in the Rotwood lake. Lucy was not the only kid to float in there.”
Closing the door behind her, Hanna walks out of the room.
Timothy stares at the door. He slowly turns his head and looks at Sophie.
Sophie sits on the bed, her hands folded across her chest and her head bent down.
Scene 134
INT. Day. Reinhard’s house. The hall:
Reinhard stands in front of the statue of the angel, talking to his cell phone.
Reinhard: “Are you absolutely positive it’s them (pause) I thought that Jew woman had closed down her shack and left town (pause) No, Cole...I know why he is here. It looks like my wildest assumptions are coming true. Mathau talked too much. We don’t know to what extent that man learned from them (pause) That priest is in this, big deal. There is no other way this Timothy could have learned about our Concord house. Any way...soon the mystery will be solved (pause) No...It’s a different story now. “
Reinhard looks at the eyes of the angel.
The angel watches Reinhard in return.
Reinhard (continues) “I want both...my text...and that little girl (pause) “Yes Cole...a different perspective is the key to the new dawn.”
Reinhard turns off his cell phone and looks at the statue. He touches the sword of the angel and smiles.
Reinhard: “You went away from me...a long time ago...taking my precious treasure with you. In this big country, I had no way to find you. That woman...left no address. Nothing. But you came back to me...to complete the circle.”
The angel stares at Reinhard.
Reinhard’s fingers slip down from the sword to the face of the angel. He slowly touches the lips of it.
Reinhard: “It’s about time to burn a few more candles. My lord is... thirsty.”
The angel’s face watches Reinhard.
Scene 135
EXT. Day. The woods: Cathy stands leaning on a tree, her eyes fixed to some distant point. The cross lies on the ground near her.
O.S: A bird flies away.
Cathy looks up and crosses herself.
Cathy: “Jesus Christ...save me. God... protect me...”
The branches of the trees in the wind.
Scene 136
INT. Day. Cole’s kitchen: Sitting in a chair, Cole eats his lunch. Holding the plate in one hand, he eats by using a fork.
Leaning against the kitchen counter, Stein watches Cole eat. He takes a sip from the beer can in his hand and takes a pull from a cigarette.
Stein: “Why does he insist on kidnapping that girl?”
Cole stops chewing and looks at Stein.
Stein: “What he wants is that godforsaken book. Why don’t we get it and leave the girl alone?”
Cole watches Stein for moment.
Cole: “You have your orders, Stein. “
Stein slowly shakes his head and takes another sip from the can. Wearily, he looks at the empty can. Placing it on the kitchen counter, Stein walks towards the refrigerator and opens it. He takes another can of beer and closes the refrigerator. He walks back to where he was standing and opening the can, takes a sip and looks at Cole.
Stein: “Cole...I don’t like this.”
Chewing his food, Cole raises his head and looks at Stein. He swallows.
Cole: “Nobody asked you to like anything. I told you what we have to do...and, we don’t have much time. Now...Stein, that’s the third beer you are having now. You know…we have work to do.”
Stein takes a pull from his cigarette. He exhales a stream of smoke and watches Cole.
Stein: “Cole, you don’t understand. I can’t go on like this. This is not my kind of job.”
Cole places the plate on the kitchen counter and wipes his mouth with a napkin.
He looks at Stein for a long moment and grins. He slowly shakes his head.
Cole: “Stein...you are impossible. You remember that day...two years back, when I picked you up from that Bronx street?”
Stein watches Cole in silence.
Cole: “You were broke to the core, running away from the cops and up to your neck in debts.”
Stein takes another sip from the can.
Stein: “So what?”
Cole gets up from the chair and taking the plate from the kitchen counter, he walks towards the wash basin. He drops the plate in the dish wash. He turns and looks at Stein.
Cole: “I straightened up the total mess you were in. Since then, I paid you bloody well for any odd jobs you were given. And I...I mean, we placed our trust in you. Stein...you are an insider now. You have to do what you are told to do.”
Stein: “Look, I have done everything you told me to do. But, I can’t kidnap little kids. I just can’t do that. We will go and get that blasted book from that man. Why should we snatch that little girl?”
Cole looks at Stein in surprise. Then he begins to laugh. His laughter becomes hysterical.
EXT. The woods. A gust of wind rustles through the trees.
V.O: Cole’s laughter.
INT. Cole’s kitchen. Stein watches Cole in surprised silence.
Cole slowly stops laughing and looks at Stein, his eyes filled with tears from the laughing.
Cole: “Stein...you miss the essence of the cause itself.”
Cole slowly shakes his head.
Cole: “You’re just a novice. You have to understand things in a deeper level. “
Stein: “Cause? What cause?”
Cole looks at Stein for a long moment.
Cole: “We haven’t had the big feast for a long time. I mean, for a long time, even before you joined us. And now...the time has come for one. You know...I’m closely associated with Mr. Reinhard for the last 25 years...and I had seen it so many times.”
Stein: “Seen what?”
Cole: “The harvest.”
Stein takes a last sip from the can and places it on the kitchen counter.
Stein: “What harvest?”
Scene 137
EXT. Day. Cole’s car speeds through the road.
INT. Car. Cole drives the car. Stein watches the road with blank eyes.
Cole: “Stein...the stage is set. You know...we have to consider our priorities.”
Stein takes a cigarette from a pack and lights it with a lighter.
Cole drives, looking straight ahead.
Cole: “Throw out that cigarette.”
Stein turns and looks at Cole. He hesitates for a moment.
Cole: “I said to throw it out.”
Squinting his eyes, Stein watches Cole. He turns and rolls down the window and throws out the cigarette. He slowly rolls up the glass.
Stein: “Where do you do it?”
Cole: “What?”
Stein: “Where do you take the girls to?”
Cole turns and looks at Stein. Moments later, he turns and looks at the road.
Cole: “You’re about to see it.”
EXT. Road. The car slowly turns to a mud track in the woods and moves forward.
INT. Car. Stein: “Where are we going?”
Cole: “Relax Stein...we are entering the sacred realm.”
EXT. The woods: The car slowly moves through the mud track. The track comes to a dead end and the car stops.
INT. Car. Cole and Stein silently sit in the car, watching the woods around them.
EXT. The woods: Cole and Stein get out of the car and shut the doors. For a few moments they stand near the car, in silence.
Cole: “From here, we have to walk up to the lake.”
The ‘thing’s POV: Something watches Cole and Stein from the foliage in the woods.
Cole begins to walk through a narrow path. Stein follows Cole.
The ‘thing’s POV: The ‘thing’ follows Cole and Stein, through the foliage.
Suddenly Stein stops walking. He stands as if listening to something and looks around.
Cole looks back at Stein. Seeing Stein standing still, he also stops walking.
Cole: “Hurry up, Stein...we have to get back soon.”
Stein looks around suspiciously.
Stein: “Is there any wild animals in these woods?”
Cole watches Stein for a silent moment.
Cole: “Why do you ask?”
Stein: “I thought I heard something. Like a growl.”
Cole looks around, his eyes keenly watching the woods. He slowly shakes his head.
Cole: “No...nothing. You better hurry, Stein.”
Cole and Stein hurriedly walk through the woods.
The ‘thing’s POV: Cole and Stein walks through the foliage.
Cole and Stein stop walking. Slowly turning their heads, they look back at the woods.
The woods and the foliage.
Cole and Stein continue to walk through the narrow path in the woods.
Cole, who is walking in front stops walking and watch the view in front of him.
The glittering lake seen through the woods.
Cole: “That’s it...the lake. Come on Stein, we’ll have a look and go back.”
Cole and Stein stand by the lake. Silently, they watch the lake.
The ‘thing’s POV: The ‘thing’ watches Cole and Stein through the foliages.
O.S: the low voice of a dog like snarl.
Cole points to the lake.
Cole: “You see that rock formation?”
Stein looks at a flat rock formation in the lake, about half a mile away from where they stand.
Cole: “That’s Mr. Reinhard’s most important power point.”
The ‘thing’s POV: The thing them from the bushes.
V.O: The low voice of the growl.
Cole slowly turns his head and looks back.
Stein watches the rock formation in silence.
Stein: “So, that’s where you do it...”
Cole turns and looks at Stein.
O.S: The angry growl of an animal.
Cole and Stein stiffen.
Stein: “What...what’s it, Cole?”
Cole: “Shh...I think it’s a wolf.”
Stein gulps and without looking back, watches the lake with fear filled eyes.
The rock formation in the lake.
Cole: V.O: “Don’t move, Stein. It’s right behind us.”
Drawing his gun from the holster, Stein suddenly turns around.
The bushes: A full grown wolf watches them from the bushes, its fangs bared in an angry snarl. It takes a step forward.
From where he stands, Cole watches Stein.
Cole: “Don’t shoot Stein. It’s against the rules.”
Stein watches the wolf with panic stricken eyes.
Stein: “Rules? What have you gotten me into, you bastard?”
Cole looks at Stein in surprise.
Cole: “Have you gone out of your mind?”
With an angry growl, the wolf takes one step forward.
With a shaking hand, Stein points his gun at the wolf.
Stein: “I told you...I don’t want any part of this. But... you wouldn’t listen.”
Stein suddenly turns around to face Cole and points his gun at Cole.
Stein: “Now... you get me out of this...baby killer.”
Cole watches Stein with cold eyes.
Cole: “Relax Stein...it will go away. Just leave it alone.”
Stein: “No...it won’t. It won’t go.”
Stein shifts his gaze and looks at the wolf.
Snarling, the wolf crouches as if to leap forward.
In reflex action, Stein points his gun at the wolf.
In a swift motion, Cole draws his gun and fires.
O.S: Birds flying away from the trees.
Stein staggers and falls backward, his gun slipping away from his hand.
Cole watches Stein fall.
Stein lies on the lake shore, his hand stretched out to the lake.
Still holding the gun in his hand, Cole looks at the the woods.
The Foliage in the slight breeze. There is no trace of the wolf.
Turning slowly, Cole looks at Stein for a long moment. Raising his head, he watches the lake.
The rock formation in the distance.
Cole stands near the lake, his gun still in his hand.
Scene 138
EXT. Night. The street: From the entrance of the pub, Luke watches an approaching procession.
Luke: “Pete...look, those hoods are back.”
INT. Pub. Pete sits behind the counter. In front of him, the black candle burns brightly on the counter.
Pete: “I know Luke...you come over here. You don’t have to stand there when they pass by.”
Once again, Luke looks at the approaching procession. He steps back into the pub, sits in a chair and takes a pull from his cigarette.
EXT. Street: A long line of men in robes of various shades, black, white and grey, all with their hoods pulled over their heads, walk through the street. All of them carry lighted black candles in their hands.
V.O: The low sound of rhythmic chanting.
Scene 139
INT. Night. Timothy’s room at Hanna’s: Standing near the window in the semidarkness, Timothy and Sophie watch the procession.
Sophie tightly grips Timothy’s elbow.
EXT. Street: The procession slowly passes by Hanna’s place.
V.O: The low sound of the rhythmic chanting.
INT. Timothy’s room: Timothy and Sophie watch the procession.
Scene 140
EXT. Night. Pub: Luke comes out of the pub and watches the procession moving away. He slowly shakes his head.
Luke: “It’s bad...too bad.”
INT. Pub. Pete looks up at Luke with suspicious eyes.
Pete: “What’s so bad, old man?”
EXT. Street: Standing in front of the pub, Luke looks at Pete.
Luke: “That we don’t have a candle factory in Rotwood.”
INT. Pub. Angrily, Pete watches Luke.
Pete 141
INT. Night. Hanna’s room: Facing the window, Hanna sits in her chair. She looks blankly out at the dark street.
Hanna: (in a whisper) “Oh God...not again.”
Hanna covers her face with her hands and sobs.
Pete 142
INT. Night. Timothy’s room: Leaving her grip on Timothy’s hand, Sophie walks towards the bed.
Timothy watches the procession moving away in the distance. He turns and looks at Sophie.
Sophie sits on the edge of the bed.
Sophie: “Daddy...why did you bring me here?”
Leaning on the window, Timothy looks at Sophie for a long time.
Timothy: “To understand the essence of certain realities, we have to go back to the beginning, baby. I want you to see the essence. The true face behind the mask of your ghost man.”
Sophie: “I’m scared, daddy.”
Timothy walks towards the table and stands looking at his suitcase.
Sophie watches Timothy open the suitcase. She watches him take out something from under the clothes in the suitcase. Suddenly the power fails.
Timothy: “Sit where you are. I will light the candle.”
Pete 143
Cut to. INT. Dusk. Timothy’s house: The corridor in front of Rosemary’s room. In the dim light, Sophie slowly walks towards the closed door of Rosemary’s room. She stands in front of the door and watch it. Slowly raising her hand, she touches the door knob. She stiffens as if she heard something and slowly looks around. She slowly turns the knob and pushes the door. The door opens with a creaking sound. With wide open eyes, she watches the man in the hooded black robe, sitting in a chair inside the dark room.
The man in room looks back at Sophie. He stretches his hand forward.
The man: “Come in, baby. And light the candle.”
With horror stricken eyes, Sophie covers her mouth with her hands and looks at the man. Suddenly she turns around and runs.
Pete 144
INT. Night. Timothy’s room at Hanna’s: Her eyes closed, Sophie screams.
Holding the lighted candle in his hand, Timothy turns, and looks at Sophie.
Timothy: “Sophie...what’s it?”
He places the candle on the table and hurriedly walks towards Sophie. He holds Sophie by her shoulder and shakes her.
Timothy: “What’s it, darling?”
Sophie stops screaming and slowly opens her eyes. She looks at Timothy with frightened eyes. She slowly turns her head and looks at the table.
In the flickering light of the candle, the leather bound book lies on the table.
Sophie watches the book with total horror in her eyes.
Timothy slowly turns and looks at the book. Then, as if he heard some sound, he turns and looks at the door.
By the half open door, Hanna stands looking at the book with blank eyes. She watches the book for a long moment and slowly shifting her gaze, looks at Sophie.
Hanna: “Yesterday night...I saw one of them...in the moonlight. It was standing in my backyard...watching me from the bushes. It was big... and silent. Like a German shepherd.”
Hanna looks back at the book.
The book, in the flickering light of the candle.
Pete 145
INT. Day. Timothy’s room: Timothy stands near the bed and watches Sophie sleep, a blanket pulled up to her neck. He turns and slowly walks out of the room, carefully closing the door behind him.
Pete 146
INT. Day. Hanna’s room: Looking out through the window, Hanna sits in her chair.
Timothy stands in front of Hanna’s room. He hesitates for a moment and knocks on the door.
Hanna: V.O: “Please come in ...”
INT. Hanna’s room: Hanna watches Timothy open the door and come in.
Timothy closes the door behind him, turns and looks at Hanna. He nods and looks around the room.
Five or six old family photographs on the wall. Amidst the photographs, an old cross bow hangs on the wall. .
Timothy looks at Hanna.
Hanna watches Timothy from where she sits.
Hanna: “Yes, Mr. Timothy...what can I do for you?”
Timothy walks towards Hanna. He looks at Hanna’s face for a long moment.
Timothy: “You wanted to know why I came to Rotwood...”
Hanna watches Timothy in silence.
Timothy takes out the yellow envelope from his coat pocket. He pulls out the photograph from the envelope, looks at it and shows it to Hanna.
Hanna gets up from the chair and looks at the photograph.
Timothy: “Have you seen this man...I mean the one who is holding that woman. Have you seen him anywhere?”
Hanna looks at the photograph in silence. She slowly takes the photograph from
Timothy’s hand and walking towards the window, looks at it closely.
Timothy watches Hanna as she studies the photograph.
Hanna looks at the photograph for a longtime. She slowly raises her head and looks out at the street.
Hanna’s POV. The street: A car passes by.
O.S: Some one laughing in the pub.
INT. Hanna’s room. Hanna turns and looks at Timothy. She slowly shakes her head.
Hanna: “No Mr. Timothy, I have never seen this man. I have no idea who these people are.”
Hanna stretches out her hand to give back the photograph.
Hanna: “Who are they, any way?”
Timothy takes back the photograph and looks at it.
Timothy: “This woman is my mother.”
Hanna watches Timothy closely.
Hanna: “And who are those men...in military uniforms?”
Without answering, Timothy puts the photograph back into the envelope. Looking at the cross bow on the wall, he pockets the envelope. He watches the cross bow.
Timothy: “Very old...I presume?”
Hanna follows Timothy’s gaze and looks at the cross bow.
Hanna: “My father used to hunt hares with it.”
Timothy walks towards the window and looks out.
Timothy’s POV: The woods around the place, gently moving in the wind.
INT. Timothy watches the trees.
Timothy: “You have lots of hares in these woods?”
Hanna walks towards the cross bow and looks at it for a long moment. She raises her hand touches it.
Hanna: “Not here, Mr. Timothy. In Belsen...Germany.”
Timothy looks at Hanna in surprise
Timothy: “You came here from Germany?”
Hanna turns and looks at Timothy.
Hanna: “I was born in Belsen. We came to this country a few years after the war. My uncle brought me here...after my father’s death.”
Timothy: “What happened to your father?”
Hanna walks towards the window. Standing near Timothy, she looks out.
EXT. A truck passes by. Dry leaves rustle through the road, behind the passing truck.
INT. Hanna watches the truck move away and disappears.
Hanna: “He died of...grief. He drank all the time and became sick...and one day, he died.”
Scene 147
Cut to. INT. Day, Timothy’s room. Sophie wakes up from her sleep and suddenly sits upright on the bed. She looks as if she had a bad dream. She slowly looks around.
Scene 148
Cut to. INT. Day. Hanna’s room: Hanna silently watches the street.
Looking at the photographs on the wall, Timothy sits in a chair near Hanna’s bed.
Hanna turns around and looks at Timothy.
Hanna: “Do you believe in destiny, Mr. Timothy?”
Timothy looks at Hanna, in surprise.
Timothy: “Destiny…why do you ask?”
Hanna: “Destiny brought me here. Of all places in this big country, I am destined to be here. Rotwood, we call this place.”
Scene 149
Cut to. INT. Day. Timothy’s room: Sophie slowly creeps out of the bed, as if she is in a trance. She sits on the edge of the bed and watches Timothy’s suitcase on the table with dazed eyes. Without taking her eyes from the suitcase, she slowly stands up.
Scene 150
INT. Day. Hanna’s room: Hanna stands leaning on the wall near the window and looks at Timothy.
Hanna: “My uncle was running this boarding house. Usually, lumberjacks from other places came to stay here...for one or two nights. They used to drink and play cards here. Tough guys. One of them killed my uncle.”
Timothy gets up from the chair and watches Hanna.
Timothy: “Killed him?”
Hanna: “He was stabbed to death. Don’t know what for. And, I was all alone in this place...with no one to help me.”
Timothy watches Hanna for a long moment. He slowly shakes his head in sympathy.
Timothy: “You might have had a hard time, Hanna?”
Hanna: “Yes. It was hard...and I was about to leave this place...forever.”
Hanna turns and looks out of the window.
EXT: The deserted street.
INT. Hanna’s room: Squinting her eyes, Hanna watches the street. She turns and looks at Timothy.
Hanna: “And one day...I saw him.”
Scene 151
Cut to. INT. Timothy’s room: Sophie stands near the table and stares at the suitcase. With shivering hands, she touches the suitcase.
Scene 152
INT. Hanna’s room.
Hanna: “I saw Reinhard...looking up at me from his car.”
Timothy: “I don’t understand.”
Hanna: “Suddenly all the black candles in this place began to make sense.”
Scene 153
Cut to. INT.Timothy’s room. Breathing heavily, Sophie frantically pulls out cloths from the open suitcase.
154. INT. Hanna’s room.
Hanna: “On that day, I changed my plan to leave this place. Some how, I managed to get hold of my nerves to run this place...In the hope that I will meet him in person...some day.”
Timothy stares at Hanna for a long time. He takes out the yellow envelope from his coat pocket and pulls out the photograph. He looks at the photograph for a long moment and raising his head, looks at Hanna.
Timothy: “You were lying, isn’t it?”
Hanna looks down and covering her face with her hands, she nods.
Hanna: “Yes...I lied to you.”


Scene 155
Cut to. INT. Timothy’s room. Sophie stands in front of the table, looking into the open suitcase. With shaking hands, she slowly takes out the leather bound book and the stiletto from the suitcase.
Scene 156
INT. Day. Pub. Luke suddenly stiffens in his chair and looks around with apparent fear in his eyes.
Luke: “Pete...did you hear it?”
Sitting in his seat behind the counter, Pete opens his eyes and blinks. He looks at Luke, suspiciously.
Pete: “What...?”
The other men sitting around turn their heads and watch Luke.
Luke: “Didn’t you hear it?”
Luke gets up from his chair, briskly walks towards the door and looks out.
Luke’s POV: The deserted street.
INT. Pub. Pete angrily watches Luke.
Pete: “Hear what? Have you gone crazy?”
Luke turns and looks at Pete.
Luke: “Pete...I swear I heard it. That howl. It was awesome.”
The men sitting in the pub look at each other.
One man: “Luke...what are you talking about? These days, you drink too much.”
Pete walks around the counter and then towards the door. Standing near the door, he cranes his neck and slowly scans the street.
Scene 157
Cut to. INT. Day. Hanna’s room: Hanna takes the photograph from Timothy’s hand. She looks at it with blank eyes. She slowly raises her head and looks at Timothy.
Hanna: “Yes...I had seen this man before...twice. The first time I saw him, I was about your daughter’s age.”
Scene 158
Cut to: EXT.Night. Belsen 1942: The woods behind the burning village. Standing behind the hiding Jacobson, Hanna, 9 years old, watches the man in the red robe, standing amidst the circle of the men in hooded black robes with burning black candles in their hands. She watches the man in the red robe reads from a small book in one hand and raises the other hand, holding a stiletto.
V.O: The rhythmic chanting in German.
“Hail Loki...the lord of all beasts...
Hail Ferniz...the glorious son of Loki...
Hail Loki...the master of all beasts and men...
Hail Ferniz...the glorious prince of all days and nights...”
The man in the red robe looks up at the sky and swiftly brings the stiletto down on the little girl lying on the altar in front of him.
Hanna watches with horrified eyes.
Hanna: “Oh...Oh Papa...”
Jacobson suddenly turns back and sees Hanna. He covers Hanna’s mouth with his hand and holds her tightly against him.
V.O: The shrill sound of a baby’s cry.
The man in the red robe stiffens. He looks towards from where the baby’s cry was heard.
The man: (in German) “What...? Who is out there?”
He turns and looks at the SS troopers in front of him.
The man: “Go...find them...don’t let anyone get away...go...”
Holding their Dobermans in leashes and pointing their machine pistols, the SS men storm towards the woods from where the baby’s cry was heard. Some men in the black robes, their guns drawn, join the SS men.
Holding Hanna tightly against him and covering her mouth with one hand, Jacobson crouches and hides in the bushes under the tree.
O.S: The barks of the Dobermans.
Still covering Hanna’s mouth, Jacobson crouches.
Hanna’s frightened eyes watch the man in the red robe.
The man in the red robe stares straight at where Hanna and Jacobson are hiding. The man’s face is clearly visible in the bright light of the wooden torches around him. He puts the stiletto down on the altar in front of him.
Her neck drenched in blood, the body of the little girl lies on the altar. The stiletto lies near her face.
O.S: The agitated cry of the baby.
Tear drops running down his cheeks, Jacobson crouches further. He suppresses a sob.
Holding Jacobson’s hand, Hanna watches the man in the red robe. Her gaze shifts down to the little girl lying on the altar.
O.S: The chattering of the gun fire. The sound of women and children cry.
Looking towards where Hanna and Jacobson are hiding, the man in the red robe stands like a statue.
Sound of the gunfire stops. In the sudden silence, Hanna watches the man in the red robe.
Scene 159
Cut to: INT. Day.Timothy’s room. With panic stricken eyes, Sophie watches the leather bound book and the stiletto in her hands.
Scene 160
INT. Hanna’s room. Hanna looks at the photograph.
Hanna: “This face was haunting me...ever since that night... my routine nightmare. How can I ever forget his face? Then...after so many years...”
Hanna raises her head and looks at Timothy,
Hanna: “I saw his face again...here...in Rotwood. He was old...much older than when I saw him first. But...the moment I saw him...I knew who he is.”
Timothy watches Hanna as if he is in a trance. He gulps.
Timothy: “Who is he?”
Hanna: “You know that better than me, Mr. Timothy. If you don’t, why do you carry this photograph with you?
Without answering, Timothy stares at the photograph in Hanna’s hand.
Slowly extending his hand, he takes the envelope from her hand. He looks at it for a moment and put it back in his coat pocket.
Hanna looks at Timothy for a long moment.
Hanna: “Who is the other man in that photograph...standing with your parents ?
Scene 161
INT. Timothy’s room: Breathing heavily, Sophie stares at the book and the stiletto in her hands.
Sophie: “No...nooo...”
Holding the book and the stiletto in her hands, Sophie runs towards the window. She hurls the book and the stiletto out on to the street.
Scene 162
INT. Hanna’s room: Timothy and Hanna stiffen as they hear Sophie’s scream. They look at each other.
Timothy: “It’s Sophie. My God...”
Timothy turns and runs out of Hanna’s room.
Scene 163
INT. Timothy’s room: Timothy storms into the room. He looks around and seeing Sophie stand near the window, runs towards her.
Timothy: “Sophie...what happened?”
Sophie turns and looks at Timothy with her tear smeared face. She looks back out to the street.
Sophie’s POV: The leather bound book lies on the street, its pages fluttering in the wind. The stiletto lies beside it.
INT. Timothy’s room: Timothy follows Sophie’s gaze and spots the book lying on the street. He stares at it.
Timothy: “Sophie...why did you do it?”
Sophie looks at Timothy, covers her face with her hands and begins to sob.
Sophie: “Daddy...don’t take it back...”
Timothy turns around and briskly walks out of the room.
Sophie watches Timothy walk out of the room.
Cut to: EXT. Street. From the entrance of Hanna’s place, Timothy walks towards the book and the stiletto lying on the street. He kneels on one leg and picks up the book and the stiletto from the street. He stiffens and raising his head, looks at the approaching car.
Coming close to Timothy, Cole’s car brakes with a loud screech and stops.
Holding the book and stiletto in each hands, Timothy slowly stands up and watches the car, without any expression on his face.
Cut to. INT. Timothy’s room. Standing near the window, Sophie watches Timothy and the car.
Sophie: “Daddy...Daddiee...”
She runs out of the room.
Cut to. EXT. Street. Timothy stands still and watches the car.
Sophie comes running out of Hanna’s place. She runs towards Timothy and clasps him around his legs with her hands.
Sophie: “Throw it away...please daddy...”
Opening the door, Cole gets out of the driving seat of the car. He looks at Timothy for a long moment. His gaze shifts to the book and the stiletto in Timothy’s hand. The trace of a smile spreads on his face.
Coming out of the pub, Luke, Pete and the other men silently watch Timothy and Cole.
Cole looks down at Sophie.
Sophie looks up at Cole and watches him in silence.
Cole: “How perfect, Mr. Timothy. My master was eagerly waiting to meet you...and your daughter. And you are right in front of us, as if in a miracle.”
Timothy silently watches Cole for a long moment.
Timothy: “Who are you?”
The back door of the car opens and Reinhard, in a black robe, gets out of the car.
Luke and Pete watch Reinhard with spellbound eyes. They look at each other.
Pete: (in a whisper) “It’s him.”
Luke crosses himself.
Reinhard looks around the place. With cold eyes, he looks at the book and the stiletto in Timothy’s hands. His gaze shifts to Sophie.
Sophie watches Reinhard with sheer horror in her eyes.
Reinhard: “You came a long way to give back my precious treasure, Mr. Timothy. I am grateful to you.”
Silently, Timothy watches Reinhard.
Reinhard: “I still wonder how your mother managed to take that statue out of Germany. I mean...under those circumstances. Some how...she did it. She was always fascinated by that angel...and she took it away...while I was on the war front.”
Timothy: “I didn’t come here to give you anything.”
Reinhard looks at Timothy for a long moment.
Reinhard: “If not, why are you in Rotwood?”
Sophie looks up at Timothy with wide open eyes.
Timothy: “I wanted to know whether you are real...or a ghost from my past...and I wanted to show my daughter the true horror behind her sleepless nights.”
With apparent surprise in his eyes, Cole turns and looks at Reinhard.
Timothy: “This evil book guided me to you...just like my car guided you to my house. Now, will you be kind enough to tell me something?”
Reinhard closely watches Timothy.
Reinhard: What’s it?”
Timothy: “Was she...I mean my mother...a part of your filthy game?”
Reinhard looks at Timothy and slowly shakes his head.
Reinhard: “I never play filthy games.”
He looks down at Sophie for a moment.
Reinhard: “Ah...your question...”
He looks up at Timothy.
Reinhard: “No...she was no part of anything. She was too weak in her heart...too weak. Just like my cousin, Martin.”
Timothy: “Is that why you had him killed?”
Reinhard: “Your mother unknowingly took away something which was a part of my grand plan. Martin deliberately stole another part of it...and I had to retaliate. Oh...I don’t have to explain. You had your sessions with Mathau...and Ellis.”
He looks down at Sophie.
Reinhard: “Hello, little darling...how kind of you to come to see your...”
Timothy: (in a shout) “No...She doesn’t have anything to do with your devious life.”
He calms down a little.
Timothy: “And don’t expect me to call you what I ought to call you.”
Reinhard closely watches Timothy.
Reinhard: “I don’t expect you to call me anything, Mr. Timothy.”
Reinhard pauses for a moment and curiously watches Timothy.
Reinhard: “Once that priest tried very hard...”
He pauses and looks at the book in Timothy’s hand.
Reinhard: “...very hard...and he came too close to the core.”
Cole looks at Reinhard’s face with a blank expression on his face.
Reinhard: “What have you got to do with that priest? Why didn’t he accompany you?”
Timothy: “I told him who you are...I mean what you are. And he had the decency to leave me alone...to face you on my own.”
Reinhard watches Timothy for a long moment. His gaze shifts and falls on Sophie.
Sophie flinches.
Reinhard: “Let it be so. Now, please get into the car with your daughter.”
With a gasp, Sophie looks at Reinhard.
Timothy: “I don’t intend to get into your car...or come anywhere with you. And...just leave my daughter out of your talks.”
Reinhard turns and looks at Cole, who is leaning on the car.
Reinhard: “Cole, get that book and the knife from him.”
Cole draws a gun from his shoulder holster.
Ext. The pub: The men in front of the pub gasp and slowly move back into the pub.
Scene 164
Cut to: INT. Pub. The startled faces of Luke, Pete and the other men.
Pete: (in a low voice) “Luke...light the candle.”
Astonished, Luke looks at Pete.
Scene 165
Cut to. EXT. Street: Cole points the gun at Timothy.
Cole:“We don’t have much time to waste, mister. Just give me the book...and that knife...and get into the car with your daughter.”
Sophie flinches and looks at Cole with horrified eyes. She shakes her head violently.
Sophie: “No...daddy...don’t let him take me away...please.”
Timothy looks at Reinhard with gleaming eyes.
Timothy:“Why...you want to take her to the altar, don’t you?”
Scene 166
Cut to. INT. Pub. Pete stands watching the burning black candle on the counter. He turns and looks at Luke.
Luke and the others watch Pete in silence.
Pete: (in a low voice) “Hail Ferniz...the glorious son of Loki...the mighty prince of all days...and nights.”
He closes his eyes.
Luke looks at Pete with a stunned look on his face.
Scene 167
Cut to. EXT. Street: Reinhard stares at Timothy for a long moment.
Reinhard: “When things close in to the right conclusions, how can anyone stop it, Mr. Timothy? I don’t have anything personal against you...or your daughter. I am beyond such petty emotions. But, I am under my own rules...and I can’t afford to ruin the objectives behind those rules.”
Timothy watches Reinhard.
Reinhard: “Cole, get them into the car.”
Frightened, Sophie looks up at Timothy.
Sophie: “No....noo...”
She releases her grip on Timothy’s legs and begins to run through the street.
Sophie: “Daddy...don’t let him touch me...”
Awkwardly, she awkwardly runs through the street.
Scene 168
Cut to. INT. Pub. The bewildered men in the pub watch Sophie running through the street.
Scene 169
Cut to. EXT. Street: Reinhard watches Sophie.
Reinhard: “Get her Cole...don’t let her get away.”
Timothy turns around and looks at the running Sophie.
Cole, startled, stiffens for a moment and begins to run after Sophie.
Timothy hurls the book away into the bushes on one side of the street. Holding the stiletto in one hand, he blocks the way of Cole.
Timothy: “No way, man. I won’t let you touch my baby.”
Pointing his gun towards Timothy, Cole hesitates for a moment.
Reinhard: “Shoot him, Cole...and get that girl.”
Hanna: V.O: “Stop...you murderer...I say...stop...”
Reinhard turns around and looks up at the window from where Hanna’s voice came. At that moment, the arrow hits him on the chest. Staggering, Reinhard looks down at the arrow in total surprise. He slowly raises his head and looks back at the window.
Scene 170
Int. Hanna’s room: Breathing heavily and still pointing the cross bow forward, Hanna watches Reinhard stagger.
Hanna: (in a low voice) “I got you...you murderer.”
Scene 171
EXT. Street: Cole and Timothy stare at Reinhard. Cole looks up at the window and sees Hanna.
Cole: “You bitch...”
In a fast move, Cole raises his gun and fires.
Scene 172
Cut to: INT. Hanna’s room. Hanna is thrown back by the impact of the bullet on her shoulder.
Scene 173
EXT. Street: Cole swiftly turns around to face Timothy.
In reflex action, Timothy plunges the stiletto in to Cole’s stomach.
Cole lurches forward and the gun slips away from his hand. He looks at Timothy, staggers and falls face down on the street.
Timothy looks at Cole for a moment. Turning his head, he looks at Reinhard.
The arrow jutting out from his chest, Reinhard sits leaning against the car, his legs outstretched and his head bent down as if his neck is broken.
Scene 174
INT. Hanna’s room: Hanna lies on the floor, her eyes open and staring at the window. A weak smile spreads on her face.
Scene 175
EXT. Street.Timothy looks at Reinhard for a long moment. He slowly walks towards Reinhard. Standing near Reinhard, Timothy takes the yellow envelope from his coat pocket. He looks at it for a moment and drops it down. He turns and looks over the street where Sophie had run. He sees Sophie standing on the street, looking up at some one.
Sophie stands on the street, looking up at Cathy.
Holding the rosaries in her neck with one hand, Cathy looks at Sophie. Slowly raising her other hand, she touches Sophie’s face with her fingers.
Cathy: “What is your name, child?”
Scene 176
INT. Pub. Luke watches the burning black candle for a moment and blows it out.
He turns around and looks at Pete.
Pete and the others watch Luke in silence.
Luke: “Pete, give me a drink, before the cops get here. I badly want to get that howl out of my head.”
Scene 178
EXT. Day. The Manchester grave yard: Timothy and Sophie stand in front of Rosemary’s tomb.
Timothy: (in a low voice)”We didn’t talk much. But he was different. Not at all like anything you said. He didn’t have much to tell me. And...he wanted to take away Sophie.”
Sophie looks up at Timothy.
Timothy: “He knew who she is...yet, he wanted to take her away.”
Sophie looks down at the tomb.
Timothy: “And he told me...you had nothing to do...with anything...anything.”
Timothy closes his eyes. A drop of tear falls down his cheek.
Timothy: “Thank you mother...I love you.”
Sophie raises her hand and holds Timothy’s fingers.
Slowly Timothy looks down at Sophie and smiles.
Timothy: “Let’s go home, darling.”
Hand in hand, Timothy and Sophie walk towards the gate of the graveyard, through the shining tomb stones.
FADE OUT


Written by:
M.JOY VARGHESE,
MULLOTH HOUSE, CHUTTUPADUKARA,
EDAPPALLY.P.O, COCHIN - 682 024,
KERALA, INDIA.
Tel: +91-484-93886 20916
e-mail: bawason@gmail.com