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YOU HAVE
7 DAYS TO LIVE
Screenplay for a cinema feature
by
Dirk Ahner
2nd draft
May, 1999
INDIGO Filmproduktion GmbH
Bavariaring 26
D - 80336 München
Tel.: (+49) 89 - 272 94 00
Fax : (+49) 89 - 271 01 15
E-Mail: IndigoMuc@aol.com
FADE IN
1. OUTSIDE COUNTRY HOUSE - EXT. / NIGHT
An ancient house, standing lonely in the middle of a deserted
landscape in Northern Germany; lying there like a sleeping
giant under the starry sky.
But something seems strange: All of the windows and doors have
been nailed shut.
Text chart: "1976"
The headlights of a car pierce the darkness. A car halts in
the yard. Three MEN step out. One of them is wearing a police
uniform. The men switch on their flashlights and look around.
MAN #1
How long has the house already been
like this?
KARL LINDNER, a keen police officer in his late thirties,
approaches the entrance door. He speaks in a calm, hoarse
voice.
LINDNER
No idea. I haven't seen them in
weeks.
Lindner makes himself a picture of the situation.
He rings the doorbell. Nothing stirs inside the house. Then,
he tries to get a look inside through one of the nailed-shut
windows.
Through the cracks, he can barely make out a faint pulsating
light.
LINDNER
I haven't seen them in weeks.
The three men exchange looks.
With a heavy heart, Lindner makes his decision:
LINDNER
We're going in.
The third man fetches a crowbar and prepares to open the door
with it.
2. ENTRANCE AREA / COUNTRY HOUSE - INT. / NIGHT
The house door breaks open with a loud crack.
On the floor below the mail slot, there are piles of mail and
unread newspapers which the door pushes out of the way as it
opens.
The three men cautiously enter. They look around. The hallway
is as dark as night. Lindner tries the light switch - nothing.
The only light comes from a TV-set running in the living room.
3. LIVING ROOM - INT. / NIGHT
The three of them enter the living room. Disgusted, the first
man holds a handkerchief to his mouth.
MAN #1
Pooh, what a stench...
There is a massive armchair in the center of the room, in front
of the television. - There seems to be someone sitting in it.
In the darkness we cannot recognize who it is.
Lindner carefully steps closer.
The second man stops in front of a large, dark stain on the
wall. He touches it, draws back his hand and inspects it -
blood.
Lindner slowly walks around the armchair.
LINDNER
My God... Marlene...!
During the next flicker of light from the television, we
recognize the corpse of a woman around forty years of age.
Suddenly, Lindner hears something behind him - breathing!
He turns around.
Indeed, hidden in the semi-darkness, there is the shadow of a
figure squatting on the floor.
LINDNER
Frank... Hell, what happened in
here?
Lindner carefully approaches the figure.
It is a man, FRANK KOSINSKI. He looks scrawny, all skin and
bones, with a pale and hollow face.
He doesn't pay the least attention to Lindner. Mesmerized, he
just stares at the dead woman in the armchair.
The "first man" follows the direction the man is looking in
and takes a careful look at the dead woman. Something seems to
be irritating him.
MAN #1
Now that's really odd.
MAN #2
What? What is it?
MAN #1
I'd say she drowned...
Lindner leans over to the lethargic man in the shadows.
LINDNER
Frank...!?
He gently touches his shoulder. At the same moment, Kosinski
seems to snap out of it.
He begins to scream in wild panic - loud, heartrending!
CUT TO:
4. TITLE SEQUENCE
A photo montage of corpses, preserved in the swamps over
hundreds and thousands of years: children, old people,
warriors, farmers with hair stained red from the humin acid,
bony extremities and shriveled faces with skin that resembles
an ancient landscape ...
... FADE TO:
5. LANDSCAPE OF SWAMPS IN NORTHERN GERMANY - EXT. / DAY
The structures of the corpses' skin fade into pictures of a
vast landscape of heaths, forests and moors.
An expensive offroad vehicle is leading a sports car along a
deserted country road. It's a wonderful late-summer's day.
The two cars take a bend...
6. OUTSIDE COUNTRY HOUSE - EXT. / DAY
... into the driveway of the same old house. It lies
peacefully in the afternoon sun. The gravel crunches
underneath the tires.
A large moving truck is already parked outside.
Title chart: "23 years later"
7. OFFROAD VEHICLE - INT. / DAY
Driving the Jeep is ELLEN STRAUB, an attractive, self-assured
woman of approx. 30 years.
Asleep on the passenger's seat beside her is her husband
MARTIN, who in no way resembles the cliché of the successful
author - he has a rather boyish charisma and is a bit too
attractive.
Ellen stops the car and takes out some house keys. She holds
them right up to her sleeping husband's ear. Then, she shakes
them. They tinkle.
ELLEN
(playful)
Sir, we have arrived at your
residence.
Martin blinks and takes the keys.
MARTIN
Thank you, James.
The two of them step out of the car.
8. IN FRONT OF THE HOUSE - EXT. / DAY
Also getting out of their sports car are PAUL - a dynamic
looking man in his mid-forties - and his wife CLAUDIA. Despite
their careful choice of casual dress, they still look like the
epitome of snobbish city people.
They take a look around. Time has left it's marks on the old
house: Like an enchanted castle, it is camouflaged in waist-
high grass and wildly ranking shrubs.
Paul and Claudia exchange skeptic looks.
PAUL
Well, look here!
MARTIN
Ladies and gentlemen: The "Straub
country-residence".
CLAUDIA
It looks more like the "Straub
ruins".
PAUL
Welcome to the far end of the
world.
Ellen contradicts.
ELLEN
The lap of nature. Where's your
famous optimism?
Two REMOVAL MEN climb out of the truck. One of them is still
chewing on his lunch.
He points at his watch as he addresses Martin.
REMOVAL MAN
Lunch break is 'til one o'clock.
MARTIN
(sarcastic)
Sure, take your time.
(to Ellen)
They get a lunch break before they
even start working.
Cool job.
Laughing, the four of them enter the house.
9. ENTRANCE AREA - INT. / DAY
They step into the entrance area. The golden sunlight shines
in stripes through the shutters. The house is old, monumental.
One senses the centuries.
A staircase leads upstairs, the rooms on the first floor are
the kitchen and living room. A heavy wooden door opens to the
cellar stairs.
MARTIN
The country residence offers
everything the doctor ordered for a
stressed author needs: fresh air,
clean water and - most of all -
absolute peace and quiet.
Paul walks upstairs. The staircase creaks.
PAUL
This wood is pretty decayed. Hope
I don't land a floor lower.
ELLEN
Although it would give you a
perfect opportunity to visit our
new wine cellar.
CLAUDIA
How old is this shack, anyway?
ELLEN
Four hundred years. Come on, I'll
give you a tour of the museum...
(blinking an eye at Martin and
Paul)
...while our husbands already get
to work.
CUT TO:
10. IN FRONT OF THE HOUSE - EXT. / DAY
Martin and Paul are lugging a heavy desk out of the truck. As
opposed to the two removal men, they are really working hard.
PAUL
Damn, this thing is heavy. Where do
you want to have it?
MARTIN
Tenth floor.
PAUL
Very funny.
CUT TO:
11. STUDY - INT. / DAY
Sweating, Martin and Paul are trying to push the desk through
the narrow door to the study. They are doing a pretty awkward
job of it.
Martin's hand brushes the door frame - a splinter.
MARTIN
Shit!
Martin draws back his hand. He's hurt.
PAUL
What's the matter?
Martin presses a handkerchief on the wound and has a closer
look at the door frame.
It is totally splintered, as if someone had forcefully broken
the door open!
MARTIN
Look at this. The lock is totally
demolished.
PAUL
I guess someone lost their key.
You did get your tetanus shots, I
hope?
Martin is still looking at the broken lock.
MARTIN
I mean, seriously: It is strange,
isn't it?
Paul puts it off. Only now does he have a better look around
the room.
PAUL
So what if it is. There hasn't
been anyone in this house for at
least ten years.
The study is covered with dust, the walls are stained and full
of cobwebs - blind, high arched windows. Single pieces of
furniture that the previous owner left behind in this spacious
room.
MARTIN
Twenty-three, to be exact.
PAUL
I wonder how you guys figure on
renovating this whole place. You
can afford to spend some money. If
I was you, I'd spare myself all the
hard work. Besides, didn't you
want to start writing again?
Martin suddenly seems lost in thought.
MARTIN
Yeah sure, I will. Give me a little
more time.
Paul gives him a downcast look.
PAUL
If you throw away your career, that
won't change anything either. Now
don't get me wrong, but I'm telling
you this as your friend: Your last
books were awful. The publishing
house isn't even sure whether to
extend your contract.
Martin takes the handkerchief from his wound and looks at it.
MARTIN
I don't care about my career right
now, Paul. Ellen and I need to get
our minds on other things, first.
After everything we've been
through.
12. KITCHEN - INT. / DAY
Ellen is dragging a moving carton full of dishes into the
kitchen. It seems to be very heavy. Claudia hooks up a radio
and switches it on. We hear a cheerful oldie (Life could be a
Dream).
The song seems to bring back memories to Ellen: She stares at
the radio.
(Transformation from radio to:)
13. DINING ROOM OF CITY APARTMENT - INT. / DAY
Flashback:
Ellen, Martin and their son THOMAS (8 years old) are joined at
the breakfast table. The radio is on - it's playing the same
tune.
The little boy is totally absorbed with his Game-boy.
Martin sets a bowl of cornflakes and fresh fruit on the table.
MARTIN
Here, partner: A breakfast for
champions.
The little boy rolls his eyes and turns back to his Game-boy.
THOMAS
I can't right now! I'm about to
break the high-score!
Ellen gets into the discussion.
ELLEN
You do that. But first, eat your
breakfast, Tommi.
Now, Thomas reacts. He puts the Game-boy on the table.
He continues the game with one hand, while he obediently
shovels the breakfast cereal into his mouth with the other.
MARTIN
Goes to show again who's in command
around here.
Martin gives Ellen a playful pat on the behind and kisses her.
ELLEN
(joking)
Sometimes I get the feeling you
only love me for my body.
Martin grins.
MARTIN
Why else?
ELLEN
Come on, say it. You know...
Martin seems to know exactly what Ellen wants to hear.
MARTIN
Oh no, not again. I just said it
for you last week.
For a moment, the two of them stop paying attention to their
son. Suddenly, Thomas grabs his throat. He swallowed wrong.
He chokes without making a sound.
ELLEN
Say it anyway. Come on, how much
do you love me?
MARTIN
(quotes)
"With you, my life began
and with you shall it end..."
Ellen gives him her most beautiful smile. Martin responds with
a short kiss.
At the same time, they hear the Game-boy fall to the floor. It
immediately draws their attention to Thomas.
The little boy is desperately gasping for air. His face is
already starting to turn blue.
Martin runs to him.
MARTIN
Tommi, what's the matter?
He pats Thomas on the back, attempting to clear his throat.
ELLEN
What is it? What's wrong with him?
Thomas coughs, choking, but he can't get his throat clear.
Martin recognizes the situation.
MARTIN
(yells)
This is serious! Quick, call
emergency!
Ellen hurries to the phone.
Martin realizes that hitting Thomas' back is not doing any
good. He uses his finger to try to get the swallowed piece out
of his son's throat.
For Thomas, it is a battle against death.
Ellen has gotten through to the emergency line. She speaks
into the phone with distress.
ELLEN
This is Straub. You have to come,
fast! My son, he swallowed
something... Quick, he's choking to
death...
Martin's attempts at helping his son remain futile. Thomas is
beginning to lose conscience.
Martin sweeps the table free of dishes in a single move and
lays the little boy down flat. He reaches for a sharp fruit
knife.
Ellen comes running.
ELLEN
What are you doing?
Martin holds the tip of the knife to the boy's throat. It's
not easy, since his son is wildly kicking around himself.
MARTIN
I have to cut his windpipe...
ELLEN
(horrified)
You're not a doctor, you'll hurt
him!
MARTIN
(screams)
What else should I do, damn it,
he's dying!
Again, Martin prepares to cut - he holds the knife to the
larynx. The boy's movements grow weaker.
ELLEN
Too high, you're way too far up...
you have to cut here...
She points at the spot below the larynx while holding her
little son tight.
MARTIN
Ellen, move aside...
ELLEN
Oh God, Tommi...
Martin prepares to cut, but he can't - his trembling hand
refuses to move. Endless seconds pass. The voices blur, like
in a dream. The music playing on the radio seems to become
louder and louder (Life could be a Dream).
ELLEN
What's the matter? Come on, cut...
Martin looks up at his wife. He can't do it.
CLAUDIA (O.S.)
Ellen!
14. KITCHEN - INT. / DAY
Ellen starts.
CLAUDIA
Ellen, are you alright?
Claudia has already started unpacking the carton.
Ellen quickly switches the radio off. She tries to act as if
nothing happened.
ELLEN
I'm fine. I was just distracted
for a moment.
Claudia notices how upset her friend is and wants to put her
arm around Ellen's shoulder.
But just then, the removal men push their way past them with a
cupboard.
Claudia drops the issue with a look of sympathy.
CUT TO:
15. IN FRONT OF THE HOUSE - EXT. / DUSK
The old house is resting peacefully in the sunset. The last
rays of sunlight paint the horizon orange. Warm light shines
out through the windows of the house.
16. KITCHEN - INT. / NIGHT
The four friends are joined at the dinner table, surrounded by
packing cartons. Their shadows are silhouetted outside the
large window. Behind them lie the vast, lonely moors.
Martin opens himself a beer, raises it for a toast.
MARTIN
To our hard-working wives.
CLAUDIA
Don't rejoice too soon. The bill
is already on it's way.
They toast with their bottles. Ellen takes herself a
cigarette. Martin notices it with disapproval.
CLAUDIA
I still can't picture it: The two
of you as country folk. I'm
telling you, in six weeks you'll be
back in the city.
PAUL
Hold it right there! I hate to
play the big boss, but as Martin's
publisher I can only say: Make the
best of the peace and quiet, the
fresh air and all that - and write
a new masterpiece!
Ellen gives Martin a skeptical look - the moment of silence is
almost too long.
MARTIN
First things first. Now it's our
turn - just the two of us.
Martin's hand wanders over to Ellen's. She reacts a bit
hesitantly at first, but then they hold each other tight.
CUT TO:
17. BATHROOM - INT. / NIGHT
Ellen is taking a shower, washing off the dirt from a hard
day's work.
The bathroom fills with steam.
Ellen turns off the water faucet and steps out of the shower
cabin. She reaches for a towel and wraps it around herself.
Something catches her eye in the fogged-up mirror.
There is a number, as if someone had used a finger to write it
into the moisture: "7".
She wipes the mirror clean and looks at it.
FADE TO:
18. IN FRONT OF THE HOUSE - EXT. / DAY
The following day:
A warm late-summer's morning. The house stands lonely in the
rays of the rising sun. Occasional dew drops glitter in the
grass.
19. BEDROOM - INT. / DAY
Ellen is asleep in her bed, despite the sun shining right in
her face.
Martin enters the room with a tray loaded with breakfast
delicacies. He holds it under Ellen's nose.
MARTIN
(acting gallant)
"Wake up, wake up, it's break of
day." Paul and Claudia have
already left, you sleepyhead.
Ellen hides under her blanket. Martin sets down the tray.
MARTIN
You're right. Forget about getting
up. We'll have breakfast in bed.
Ellen resurfaces with a grin. She is still sleepy.
Martin jumps into bed and crawls under the blanket.
ELLEN
How romantic!
He playfully burrows around under the blanket, making silly
grunting sounds.
Ellen giggles. Suddenly, Martin sticks his head out.
ELLEN
(laughing)
Stop that!
MARTIN
(with a grunting voice)
You'll never get away from me!
He grabs her and pulls her under the blanket. Ellen screams,
and laughs.
20. STUDY - INT. / DAY
Martin is working at his computer. Everything is still set up
a bit provisionally. Only Martin's novels have already been
sorted into a shelf, with 10 copies of "Cherry-red Tears" in
front.
He is trying to write, but by the look on his face and his
hesitant typing, we can tell that it's obviously not going so
well.
Ellen carefully approaches him from behind, hugs him and gives
him a kiss on the cheek.
ELLEN
So, how does it feel to be kissed
by two women?
MARTIN
They say it's fantastic. At least
that's what I read in a men's
magazine. So who are the two lucky
ones?
ELLEN
Me and the muse, of course. How is
your book coming along?
He grins and takes her in his arms.
MARTIN
Oh, the muse... we're still having
our differences. You know how it
is with women.
ELLEN
Well then, I guess I'd better leave
the two of you alone. But don't
forget...
Martin finishes her thought.
MARTIN
... we wanted to take some time out
for ourselves. I know. And I'll
only work a little while, I
promise.
Just as Ellen prepares to leave, she catches sight of an old
photograph lying on top of one of the cartons. She picks it up
and takes the dust off of it.
Under the dust, she finds an old black and white picture of a
couple with very earnest looks. The retouched, pitch-black
eyes give the photo a somewhat eerie touch.
All of a sudden, unexpectedly, the man on the photo turns his
head.
His dead eyes look straight at Ellen!
Startled, she drops the picture to the floor.
Martin spins around.
MARTIN
What's the matter?
Ellen hesitantly picks up the picture and looks at it again.
It was only her imagination. It is a normal, old black and
white photo.
ELLEN
(irritated)
Oh, nothing. Where did this
picture come from?
Martin turns back to his work.
MARTIN
I found it here. It's kind of
creepy, don't you think?
Ellen makes a face.
ELLEN
Yeah. It is, kind of.
She puts the picture back and leaves.
21. LIVING ROOM - INT. / NIGHT
Ellen comes out of the kitchen and walks into the dark living
room. She is carrying some sandwiches on a tray.
The room is only lit by the flickering of the television set.
A spooky atmosphere.
In front of the TV is a large, old armchair (the same one from
the opening sequence!). Ellen frowns. She slowly walks closer
to it.
ELLEN
Martin?
Suddenly, Martin's voice comes from behind the armchair.
MARTIN
Damn!
Martin pounds his flat hand against the television. The screen
shows no image, only snow.
Ellen sets down the tray.
ELLEN
What kind of a horrible thing is
that?
MARTIN
It still worked in town.
ELLEN
I mean the armchair!
MARTIN
Oh, that was upstairs. A real
antiquity! I think it's great.
Ellen instinctively feels appalled by the old piece of
furniture.
ELLEN
I don't know.
Martin is still fighting with the TV-set, trying to find a
channel.
ELLEN
Maybe the antenna's broken.
MARTIN
We're probably lucky that we even
have running water and electricity!
Damned box!
He hits the TV with his fist.
Suddenly, everything is dark!
ELLEN
Hey... the fuse.
MARTIN
Oh, damnit!
He looks for a flashlight and switches it on.
ELLEN
Do you know where fuse box is?
MARTIN
In the cellar, I think.
Wait, I'll take care of it.
He leaves the room.
22. CELLAR - INT. / NIGHT
Martin opens the fuse box and shines inside with his
flashlight: A moldy mess of half-corroded wires leading into
various ancient switches. The entire construction makes a
dangerous impression.
MARTIN
(talking to himself)
God, look at that...
The cellar seems even older than the house. It is a large,
cold sandstone catacomb. Several pillars support the ceiling.
The walls are clammy and cold.
Martin is standing in the darkness. Something approaches him
from behind - slowly, threateningly.
Martin is looking for the blown fuse.
The thing comes closer. Finally, it grabs him.
ELLEN
Boo!
Martin spins around, startled.
MARTIN
Jesus Christ!
Ellen laughs.
ELLEN
I wanted to know what's taking you
so long. You've been down here
forever.
(looks around, shivering)
It sure is cold down here. We
certainly won't be needing a
freezer.
She catches sight of an old shelf loaded with all kinds of
strange old junk. The shelf looks old and rickety. Ellen
shakes at it, testing its stability.
ELLEN
We'll sure be sorting a bunch of
this stuff out.
Martin points to the fuse box.
MARTIN
Look at this! We'll have to fix
the whole wiring. This stuff is
dangerous as hell.
ELLEN
We'll call for someone from town
first thing in the morning.
MARTIN
Are you crazy? That costs a
fortune!
ELLEN
Do you have a better idea?
MARTIN
I'll do it myself.
ELLEN
You?
MARTIN
My father was an electrician.
Already forgot that?
ELLEN
My father was a pilot. And do I
know how to fly?
There's a lot more Ellen would like to say about this, but she
contends herself with a meaningful look.
ELLEN
Just do me a favor and don't get
yourself roasted!
Martin fumbles with one of the bigger switches, finally flips
it to the other side. Click! The catacomb is lit: A lonely
40-Watt lamp dangling from the ceiling casts a dim light.
Martin gives Ellen a triumphant smile.
CUT TO:
23. OUTSIDE OF THE HOUSE DOOR - EXT. / NIGHT
Ellen is leaning against the door frame, dreamily gazing into
the night. She is smoking a joint.
Martin steps up from behind and takes the hand-rolled
"cigarette" out of her hand with a swift move. He tosses it
away.
MARTIN
Hey, flower child, the sixties are
over. And this stuff is hazardous
to your health.
ELLEN
Yes, daddy.
She gives him a hasty kiss and walks to the car.
MARTIN
Where are you going?
ELLEN
Well, if you won't let me smoke
grass, then at least I'll go get
myself some cigarettes.
Ellen gets in the car and takes off.
Martin contemplatively watches her go.
MARTIN
That stuff is gonna end up killing
you.
CUT TO:
24. COUNTRY ROAD / INSIDE CAR - EXT. / NIGHT
Ellen is behind the steering wheel. She lights up a cigarette
as she drives down a lonely road. There is a small bridge in
the distance.
Ellen slows down. She glances at a road sign.
Suddenly, her eyes widen. She takes a second look.
The road sign clearly reads:
"You have 6 days to live"
The shock hits her like a fist.
It takes her a moment to react. Then, she slams her foot on
the brake pedal.
The car halts with screeching tires. Ellen shifts into reverse
gear and drives back. She stops by the sign.
She reads: "Max. 6 t. Agricultural vehicles pass" - a
perfectly normal sign.
Ellen is confused. How creepy. She continues on her way,
feeling a bit sick to the stomach.
25. IN FRONT OF THE HOUSE - EXT. / NIGHT
Ellen parks in front of the house and steps out of the car.
She looks worn-out.
Martin has piled up all of the old furniture from the house.
Ellen walks over to him.
ELLEN
What are you doing?
MARTIN
Making our very own solstice fire.
A match lights up. The stacked furniture quickly catches fire.
Only now does Martin notice the state his wife is in.
MARTIN
Is everything alright? Aren't you
feeling well?
ELLEN
I just had a really strange
experience.
Martin gives her a questioning look.
ELLEN
On an ordinary traffic sign, I
read...
Ellen interrupts her sentence. She's just too embarrassed to
say it.
ELLEN
Oh, nothing. I guess I just still
haven't recovered as well as I try
to make everyone believe.
Martin puts his arm around her and holds her close.
ELLEN
Maybe I should talk to Dr. Roth
about it.
MARTIN
Hey, take your time. You know time
heals better than any shrink ever
can.
Arm in arm, Ellen and Martin stand by the burning pile of
furniture, staring into the fire.
ELLEN
I have a funny feeling. Do you
think we'll get over all that's
happened?
MARTIN
We just have to make a new
beginning.
ELLEN
Cherry-red Tears.
MARTIN
What?
ELLEN
Cherry-red Tears, your first book.
I read it at least nine times. And
then I found out you were going to
attend some kind of book fair.
MARTIN
Not a book fair. I was signing
autographs in a department store.
ELLEN
I was so excited about meeting you.
Again and again, I kept getting in
the back of the line so I could be
the last to talk to you.
MARTIN
And two months later, we got
married. And all because of one
sentence:
(quotes)
"With you, my life began
and with you shall it end..."
This sentence strikes a chord within Ellen. It hardens her
heart.
ELLEN
Don't say that. Please.
A short moment of silence. Ellen's eyes well up with tears.
ELLEN
I miss Tommi so much.
MARTIN
So do I, believe me.
ELLEN
Do you really think anything can
ever be like it was before?
MARTIN
Maybe different. I don't know,
Ellen.
ELLEN
If we stand a chance at all, it's
only by sticking together.
Martin gives her a tender kiss. The fire casts a warming shine
on the two of them and the old house - in the loneliness of the
moors.
CUT TO:
26. KITCHEN - INT. / DAY
Ellen is wearing a paint-stained flannel shirt. She is busy
painting the kitchen walls.
The RADIO is playing in the background.
RADIOBROADCASTER
"... a very special day today.
Exceptionally hot, even for this
time of year. And all the windows
in my studio are already wide
open..."
Ellen isn't paying much attention to the radio. Suddenly, the
tone of the radiobroadcaster's voice gets a more penetrating
touch.
RADIOBROADCASTER
By the way, Ellen:
You have five days left to live.
Ellen freezes. She turns pale.
Then suddenly, a noise - someone is knocking on the window.
Ellen spins around and, startled, tips over a bowl. It smashes
on the floor.
Standing by the open window is Karl Lindner, a total stranger
to Ellen.
Obviously, he is much older now. His face is caved in, his
hair gray. However, his pleasant demeanor has stayed the same.
He realizes that he's startled her.
LINDNER
Oh, sorry. I didn't mean to scare
you.
For a moment, Ellen is at a loss for words. She looks back to
the radio, where the normal program is being continued.
RADIOBROADCASTER
"... and matching today's weather
it's time for some more of the
hottest music of the North..."
Ellen turns the radio off.
ELLEN
Hello. Can I help you?
LINDNER
Does this dog here belong to you?
Sitting next to him is a large mixed-breed with friendly eyes.
ELLEN
No, I've never seen him before.
LINDNER
You know, I saw him sitting outside
your gate... Oh, I'm sorry, I'm
forgetting my manners again! I
haven't even introduced myself yet.
Hi, my name's Lindner.
Karl Lindner.
He offers her his hand through the window.
ELLEN
Ellen Straub.
LINDNER
It's a pleasure. You're from the
city, right?
ELLEN
Do I look like it that much?
LINDNER
Village gossip. You're a real
attraction here.
Ellen is still shook up by the radio announcement, but
nevertheless tries to hold up a conversation.
ELLEN
You're from around here, aren't
you? There's something I've been
wondering about the whole time:
This house, why has it been empty
all these years? I mean, I doubt
if it was the price.
Lindner suddenly turns evasive and cool.
LINDNER
I guess it's too lonely for most
folks.
(glances at his watch)
It's time for me to get going. It's
been a pleasure meeting you.
ELLEN
Wait, won't you join me for a cup
of coffee?
He turns down the offer, a touch too vehemently.
LINDNER
No, thank you. I need to get back
home. My wife is waiting.
He leaves. Ellen contemplatively watches him go.
Martin enters the kitchen and puts his arms around her.
MARTIN
Who was that?
ELLEN
Someone from the village.
She turns around to face him.
ELLEN
Martin, there's something I...
uh... need to tell you about.
CUT TO:
27. LIVING ROOM - INT. / DAY
Martin is seated in the old armchair. Ellen across from him.
He is grinning.
MARTIN
Okay, now let me see if I've got
this straight. First you get
warnings from a road sign and then
from the weather forecast. Which
one of us two was the author again?
Ellen feels disappointed and misunderstood.
ELLEN
Martin, it's not funny!
MARTIN
You know, it's not always easy for
me, either. But at least I try not
to give in to each and every
neurosis.
Now he's got her angry.
ELLEN
Well, apparently it was a big
mistake to try talking to you.
Don't you remember what we promised
to each other? Honesty - trust!
MARTIN
Come on, this isn't about honesty.
You just need a good night's sleep.
The way you toss and turn all
night, even I hardly get any sleep.
Ellen realizes there is no use in discussing this any further.
ELLEN
Well, excuse me for having bothered
you with my problems.
She leaves the living room and walks out on Martin.
28. HALLWAY - INT. / DAY
Ellen is using a spatula to scratch the old-fashioned, yellowed
wallpaper off of the walls. She is still upset, and really
taking it out on the wallpaper.
Martin comes walking up the steps. He is carrying a plate full
of small, deformed cakes.
MARTIN
For you.
He holds out the plate to her. Ellen throws a skeptical look
at the mishap pastry. She won't be bribed this easily.
ELLEN
Now, what did I do to deserve this?
MARTIN
Come on, at least try one. It took
me two hours to make these.
Ellen goes back to scratching off the wallpaper. Martin
changes his tactic.
MARTIN
What I really meant to say was: I'm
sorry. I'm a real bonehead
sometimes. But it's just that I'm
worried about you. I'm afraid you
might get carried away with
something like that.
Ellen interrupts her work and takes one of the cakes. She
tastes it.
ELLEN
Tastes awful.
She grins. Martin returns a smile.
MARTIN
But baked with lots of love.
Martin helps himself to a small cake, too. He bites off a
piece, and makes a sour face. Then, he takes Ellen's piece out
of her hand.
MARTIN
I think I'd better get rid of this.
After all, I don't want to kill
you.
He turns to leave.
ELLEN
Martin...
Martin stops at the bottom of the staircase.
ELLEN
...Maybe you're right and I just
need to get some sleep. Don't
worry. I'll get settled in sooner
or later.
CUT TO:
29. IN FRONT OF THE HOUSE - EXT. / NIGHT
The farmhouse lies in the loneliness of a starless night.
Silhouettes of gnarled trees reach for the sky like black
claws.
30. ENTRANCE AREA - INT. / NIGHT
It's dark. An eerie silence fills the house.
Suddenly, there is a CHILD'S VOICE calling in the distance.
CHILD'S VOICE
Mommy...
31. BEDROOM - INT. / NIGHT
Martin and Ellen are asleep in their bed.
CHILD'S VOICE
Mommy!
Ellen wakes up out of her light slumber. She opens her eyes
and looks around, searching.
ELLEN
Tommi...?
The voice clearly echoes through the house. (It sounds like
Thomas' call before the accident.)
CHILD'S VOICE
Mommy...
Ellen silently sits up. She is wide awake. She tries to wake
up Martin.
ELLEN
(whispering)
Martin... did you hear that?
No chance - Martin only mumbles a few unintelligible words and
continues to sleep.
Ellen gets out of bed.
CUT TO:
32. ENTRANCE AREA - INT. / NIGHT
Almost mechanically, the child's calling repeats itself.
CHILD'S VOICE
Mommy...
Ellen carefully heads down the stairs, toward the entrance
door. The voice seems to be coming from outside.
Ellen opens the door, frightened.
33. IN FRONT OF THE HOUSE - EXT. / NIGHT
The pale moonlight dips the landscape into a ghostly
atmosphere.
Ellen's eyes search through the darkness.
There! There is something in the distance. A child! The
child is standing in the tall grass, looking toward Ellen.
ELLEN
Tommi?
She cannot believe her eyes.
It really is her little Thomas! He smiles. There is something
about the way he moves that makes it look as if he's floating.
ELLEN
(louder)
Tommi!
The little boy laughs. He turns around and runs away in the
grass; as if in play.
Ellen snaps out of her stiffness and chases after him.
The small figure slowly disappears in the increasingly tall
grass.
34. FOREST IN THE MOORS - EXT. / NIGHT
Ellen is running farther and farther away from the house. She
stops.
ELLEN
Tommi, wait!
But the little boy keeps running further.
Ellen follows him, but her path grows increasingly toilsome.
Her feet sink deeper and deeper into the moor.
Now, the child is out of sight.
Ellen is devastated. She trips and falls to the ground. The
swamp encloses her. Ellen fights against the marsh that she is
sinking into deeper and deeper.
Suddenly, the little boy steps back out of the darkness. He
stays a few feet away from Ellen. He smiles as he watches
Ellen sink into the deadly swamp.
With a sudden jerk, an unknown force pulls her down into the
moor. She is swallowed by the earth.
35. BEDROOM - INT. / DAY
Ellen abruptly wakes up from her NIGHTMARE!
She looks around herself. She is in her comfortable bedroom
flooded with the warm rays of the morning sun. Martin's side
of the bed is already empty.
Then, she hesitates. Something feels wrong. Ellen throws back
her sheets. Horror - her bed is full of mud.
Ellen wants to scream. She barely manages to suppress it.
CUT TO:
36. STUDY / HALLWAY - INT. / DAY
Martin is sitting at his computer, busily typing. He seems to
be making progress on his book.
In the background, Ellen hurries past the study. She is
carrying the dirty sheets under her arm. Without looking up
from the monitor, Martin calls through the open door:
MARTIN
So, did you sleep good?
37. KITCHEN - INT. / DAY
ELLEN
(calling to Martin)
Yeah... I have to go to town.
Ellen enters the kitchen. She hastily stuffs the bed-sheets
into the washing machine.
ELLEN
Is there anything you need?
She turns the washing machine on and heads for the door.
38. ENTRANCE AREA - INT. / DAY
Ellen is about to leave the house. The door is already open.
In the entrance area, she finds the dog (that Lindner had
previously discovered in their garden) sitting in front of the
cellar door.
Ellen pets him in passing.
ELLEN
(to the dog)
Hey, you're still here. I suppose
you like it here with us.
MARTIN (O.S.)
(calling from the study)
No, thanks. I have everything I
need. Drive safely, you hear?
Ellen is already out the door. She pulls it shut behind her.
CUT TO:
39. CONSULTING ROOM OF PROF. ROTH - INT. / DAY
A pleasantly decorated consulting room. Standing by a window
is PROF. ULRICH ROTH (Professor of Psychiatry), a distinguished
man around 50 years of age.
PROF. ROTH
You see, there are various
approaches to an explanation for
what you are currently going
through.
Ellen is hunched in a chair opposite of him.
Prof. Roth turns around to face her and takes a seat behind his
desk. The leather chair creaks.
PROF. ROTH
One of the latest theories claim
that at certain frequencies, air
conditioners create an oscillation
that can, in fact, cause
hallucinations. They may also be
due to the interior pressure of
your eyes and so on and so forth.
Personally I believe that all of
this is nonsense. The loss of a
child is a traumatic experience.
Subconsciously, you may still be
blaming yourself for it, and maybe
now believe that your son should
punish you...
Ellen impatiently cuts him short.
ELLEN
Listen, it's one thing to have a
guilt complex. But I know the
difference between when I'm
overstrung and when I'm seeing
things that are simply not there!
Besides, it only began after we
moved!
PROF. ROTH
(hesitantly)
There is, of course, another
possible explanation which I dearly
hope is not the case.
Lost in thought, Prof. Roth taps his pen on his desktop.
ELLEN
And that is?
PROF. ROTH
A tumor - which could cause
pressure on certain parts of the
brain and, thus, influence your
perception.
Ellen stares at him, shocked.
PROF. ROTH
Just to be on the safe side, I
would like to have a few tests
done.
CUT TO:
40. COMPUTER TOMOGRAPH - INT. / DAY
Ellen is lying on a stretcher, slowly being moved into the
opening of the computer tomograph. She is wearing a pale-green
hospital garment.
The penetrating sound of the machines - technical coldness.
41. DOCTOR'S OFFICE - INT. / DAY
Blood is filled into a cannula.
Ellen is sitting on a stretcher. The NURSE pulls the needle
out of her arm.
DR. SCHLETH, a man who makes a somewhat lethargic impression,
enters the room and fastens the tomograph shots in front of an
illuminated surface on the wall.
DR. SCHLETH
Congratulations. You are
definitely the healthiest person
I've had in CT for years.
Ellen heaves a sigh of relief.
DR. SCHLETH
Dr. Roth gave me these for you.
Three times a day, after meals.
He hands her a box of tablets.
ELLEN
What is this?
DR. SCHLETH
Fluctin. A pretty strong
antidepressive... If you asked me,
I'd try to do without them first.
He takes a look into her health records.
DR. SCHLETH
You come from Goldmoor?
Ellen answers absent-mindedly.
ELLEN
We just moved there.
DR. SCHLETH
(by-the-way)
One time, when I was in college, we
examined a swamp corpse in
pathology. They had excavated it
there.
Now he has Ellen's attention.
DR. SCHLETH
Three or four thousand years old.
But I didn't deal with the subject
any more than necessary. You know,
I never liked pathology. Somehow,
I always felt it reduced humans to
something they are not.
Suddenly, Dr. Schleth's beeper goes off. He takes a quick
glance at it and turns to leave.
ELLEN
Dr. Schleth.
The doctor stops at the door.
ELLEN
What do you believe happens to a
human after he dies?
The otherwise reserved Dr. Schleth suddenly seems very human.
DR. SCHLETH
You mean, do I believe in something
like a soul?
He smiles mischievously.
DR. SCHLETH
I haven't seen one on any of my x-
ray pictures, yet. But then again,
what would x-rays know?
He turns around and walks out. Lost in thought, Ellen watches
him leave.
42. IN FRONT OF THE HOUSE - EXT. / NIGHT
Ellen steers the car into the driveway and climbs out. The dog
runs to greet her, wagging its tail. Ellen kneels down in
front of the dog and pets it.
ELLEN
Hey, girl! Here, I brought you
something.
She takes a collar with a little bell on it out of her purse
and puts it around the dog's neck.
ELLEN
Now all we need is a name for you.
How about Clara - okay, then:
Clara.
She walks to the house door. The dog follows her inside as if
it were the most natural thing to do. The bell jingles.
43. ENTRANCE AREA - INT. / NIGHT
Ellen enters the hallway. At the same time, Martin comes
upstairs from the cellar.
ELLEN
Hi, love. Trouble with the fuses
again?
Martin locks the door behind him.
MARTIN
It's a real mess. I think it'd be
better for you not to go down there
for a while. It's just too
dangerous.
He drops the key for the cellar into his pocket. Ellen watches
this with irritation. Martin's entire behavior seems odd.
Behind Ellen, the dog trots into the corridor.
MARTIN
Don't tell me you've made friends
with that wandering flea circus?
ELLEN
Why not? She can guard the house.
By the way, I gave her a name:
Clara.
She pets the dog, not noticing the frown on Martin's face.
MARTIN
Where have you been all day?
ELLEN
I went to see Prof. Roth! You
know, I had another one of those
dreams last night. I saw Tommi!
Suddenly, the look on Martin's face softens again. He takes
Ellen into his arms to comfort her.
MARTIN
Ellen... our Tommi is dead. And
there's nothing we can do about it.
Ellen rests her head against his shoulder.
ELLEN
You know, Martin, since we moved to
this house... sometimes I just get
the feeling that the past is
catching up to us again...
Martin interrupts her with unexpected ill temper and frees
himself from the hug.
MARTIN
Oh! Now we're getting to the
point! So all of a sudden, it's
the house. Yesterday, it was a
road sign. And the first thing you
do is go and run to "Dr. Freud"!
He heads for the study, leaving Ellen behind. Ellen calls
after him:
ELLEN
But that's not the point!
What if all these things are
somehow connected?
MARTIN
Oh, baloney. You should just hear
yourself talk!
He treads up the staircase.
MARTIN
I'll be in the study, just in case
you decide to get reasonable, after
all.
Ellen watches him with consternation. She goes into the
kitchen, worried.
44. KITCHEN - INT. / NIGHT
Lost in thought, Ellen takes out a cup and pours herself a cup
of coffee from a thermos.
She takes the pills that she got from Dr. Schleth out of her
purse and studies them.
She looks out through the window, at the dreamlike landscape of
the moors. There is a warm evening breeze.
Suddenly, Ellen's eyes focus on the reflection of her face in
the window. She faintly discerns something strange on her
forehead: "4"!
Startled, she touches her forehead. There is nothing on it.
When she takes a second look at her reflection, everything is
normal again.
The dog trots up to Ellen, whining balefully.
ELLEN
(to the dog)
Either Martin is right or I am
really starting to lose my mind...
For a moment, she considers taking one of the tablets. But
then, she determinedly throws the whole package in the trash
can.
CUT TO:
45. IN THE VILLAGE - EXT. / DAY
Ellen parks her car in the center of the nearby village. The
small township is smothering in a humid summer's heat.
Ellen heads for a bookstore with Clara trotting in behind.
46. AT THE BOOKSTORE - INT. / DAY
Ellen enters the shop. It is unusually dark and quiet in here.
She runs her fingers across the shelves, searching.
She passes by a stand with pocket books, also including several
copies of "Cherry-red Tears" next to Stephen King's
"Shining". She stops for a moment. Smiles.
Then, she finds the department for books on psychology. She
pulls out a book titled "The Inner Child - The Ghosts of the
Past". Leafs through it. She stops at a certain page:
ELLEN
(quietly reads to herself)
"...certain places arouse
recollections and links within
us..."
Suddenly, Ellen hears a voice behind her.
SALES LADY (O.S.)
First buy it, then read it!
Ellen looks up. The sales lady is standing in front of her: a
skinny woman with small eyes suspiciously beaming at Ellen.
ELLEN
Yes, of course... I'll take it.
She places the book on the counter. All of a sudden, the sales
lady has turned into the world's most friendly person. Ellen
follows her to the cash register and gives her the book.
The sales lady skeptically eyes the psychology book while she
notes the price.
Ellen puts the money on the counter and turns to leave the
store, when the sales lady speaks up again.
SALES LADY
You're the wife of that author,
aren't you?
Ellen turns back to face her.
ELLEN
Martin Straub, yes.
SALES LADY
Used to write some nice books, your
husband. But that last one was
awful. A terrible book. Didn't
sell, either.
Ellen really can't think of an answer to that.
SALES LADY
I read it - violent trash. My
husband said so, too.
ELLEN
Well, I've got to get going...
'bye.
Ellen walks out of the shop. The sales lady keeps talking.
Her eyes are cold.
SALES LADY
(loud)
It's bad and it's violent. I don't
like that kind of stuff. Tell that
to your husband.
47. OUTSIDE BOOKSTORE - EXT. / DAY
Clara is still waiting in front of the bookstore when Ellen
comes back outside.
ELLEN
Come on, Clara. Let's get out of
here.
Just as she sets out for her car, she discovers Karl Lindner
and his wife. He seems to want to pass by her without saying
hello.
ELLEN
Mr. Lindner!
Lindner realizes he has no way out of this situation.
LINDNER
Oh, Mrs. Straub. May I introduce
you to my wife?
MRS. LINDNER
Just call me Elisabeth.
She seems like a truly honest person and very awake, despite
her advanced age. Ellen shakes hands with her.
ELLEN
Ellen.
MRS. LINDNER
You're doing fine, aren't you? I
mean... the two of you alone in
that house, so far out in the moor.
Lindner nudges his wife with his elbow.
ELLEN
In the moor? What do you mean by
that?
Mrs. Lindner wants to answer something, but her husband heads
her off.
LINDNER
Stop scaring people. Let's go.
We need to be on our way.
MRS. LINDNER
Excuse us. But do stop by for a
visit sometime! You are welcome
anytime.
Lindner manages a smile and leads his wife away by the arm.
LINDNER
Have a nice day.
As soon as they are out of hearing distance, Mrs. Lindner tells
her husband with obvious anger:
MRS. LINDNER
(quiet, reproachfully)
You didn't tell her!
LINDNER
We should leave the past alone.
MRS. LINDNER
Well, it will never leave us alone
as long as you ignore it.
Back to Ellen: She watches the two of them go for a moment.
Then, she gets into her car and drives off.
CUT TO:
48. STUDY - INT. / DUSK
Martin is in the study, working at his computer. He is in a
writing frenzy, typing in the words like a madman. Ellen comes
through the door. She is carrying the book about Goldmoor in
her hand. At first, Martin does not react to her. He keeps on
typing.
ELLEN
It seems to be going well for you.
Martin continues to type as he speaks.
MARTIN
Where have you been?
ELLEN
In the village. Look what I found.
She opens the book to a certain page and holds it under his
nose.
Martin is annoyed for having to interrupt his work.
MARTIN
Psychology, huh? So, what side of
the rainbow are we on today?
Ellen points out a certain passage in the book.
ELLEN
(reads out loud)
"Events commonly interpreted as
haunting apparitions often result
from psychic disharmonies or
undigested traumatic ordeals..."
MARTIN
(impatient)
Ellen, what are you trying to
prove, anyway? That we've created
ourselves a ghost? Come on!
Ellen persistently tries to get through to him.
ELLEN
It's just a feeling. Don't you
sense it, too?
MARTIN
What? What am I supposed to sense?
ELLEN
The house - Tommi - something just
doesn't jive here...
Suddenly, Martin's voice gets disproportionately loud.
MARTIN
Now you go starting that again.
We decided together, to build up
something new here. I, for my
part, am working on it very hard.
But oddly, you seem to have changed
your mind.
Ellen wants to reply something but just then, the doorbell
RINGS.
MARTIN
Who's that?
ELLEN
I haven't the slightest idea.
When she sees that Martin does not intend to answer the door,
Ellen goes downstairs herself.
49. ENTRANCE AREA - INT. / NIGHT
Ellen opens the door. Standing in the doorway are Paul and
Claudia, both in the best of moods.
PAUL AND CLAUDIA
Surprise!
Ellen hugs them, her mind still halfway on Martin.
ELLEN
Well, this really is a surprise!
Come on in!
Martin comes downstairs. He seems anything but pleased by the
company.
Paul gives him a jovial pat on the shoulder.
PAUL
Hey, my man! How's the masterpiece
coming along?
MARTIN
Not so bad, if I could get some
peace and quiet around here.
Paul understands the side-swipe.
PAUL
Hey, hey, hey! Say no more until
you've seen what we brought:
He puts a wide grin on his face. Ellen and Martin exchange
quick looks. Paul pulls something out from behind his back.
PAUL
Scrabble!
CUT TO:
50. LIVING ROOM - INT. / NIGHT
Martin looks annoyed. The four friends are comfortably seated
around the living room table. Each of them has a glass of
wine.
While they play Scrabble, Paul tells a dirty story.
PAUL
God, you should've seen him! Elke
Schneider enters the room and
storms up to him. She is
tremendous. Her breasts are so big
that just recently, there was a
discussion about whether they
should be given country names of
their own.
Laughter all around the table. Martin is the only one who is
not delighted. But Ellen is clearly relieved by this moment of
normality in the house.
ELLEN
Paul, you and your stories... I've
really missed you!
Claudia looks around the living room. Apparently, she likes
what she's seeing.
CLAUDIA
I'm impressed! You two have really
gotten quite a bit done, already.
The sack with the Scrabble-letters is passed on to Ellen. She
reaches inside.
ELLEN
What do you think? We worked our
fingers to the bone and now, we're
both about to have a nervous
breakdown.
Ellen places the letters on the table in front of her and
begins to shuffle them back and forth.
CLAUDIA
I really wouldn't have thought you
two could stand it out here for
this long. To tell the truth, we
even have some bets going with a
couple of people...
But Ellen isn't paying attention to Claudia's words any more.
Terrified, she stares at her Scrabble-stones, which she has
already put together. The letters form the words:
T-H-R-E-E--D-A-Y-S
Everyone is waiting for her to make her turn. Paul starts
nagging.
PAUL
Well? Are you going to play?
Ellen feverishly gathers up her letter stones and throws them
back into the sack. She shakes it with special thoroughness
and draws anew.
ELLEN
I pass.
Paul is pleased. He puts down his word.
PAUL
Triple word score, that makes 72
points. Now what do you say to
that, honey-bunny?
CLAUDIA
My hero.
They kiss.
Ellen lines up her newly drawn stones in front of herself
again. Martin watches her.
Ellen cannot believe her eyes. Again, her letter combination
spells out:
T-H-R-E-E--D-A-Y-S
This time, the others notice the look on Ellen's face, too.
CLAUDIA
Ellen, what's wrong?
It takes Ellen a moment to answer.
ELLEN
I just got exactly the same letters
for the second time.
She gives Martin a significant look and shows him her letter-
board. This time, she has proof!
MARTIN
(sarcastically)
Oh, "three days". A new message!
He turns to Paul and Claudia.
MARTIN
Because - you know - Ellen is
receiving messages from road signs,
radio broadcasters and now from
Scrabble game stones.
He turns Ellen's letter-board around for the others to see.
Martin's reaction hits Ellen like a fist. She feels
humiliated. She is at a loss for words.
MARTIN
And the best part is: She thinks
the messages are meant to announce
her death.
(makes a "spooky" noise)
Hooooo...
Claudia looks back and forth between Martin and Ellen. She
realizes how serious the situation is. As opposed to Paul, who
pulls out a news ARTICLE.
PAUL
Talk about spooky. Martin, do you
remember that splintered door to
the study? I guess there was more
to it than just a lost key.
The headline of the article reads: "Murder in Goldmoor - Many
questions remain unanswered".
ELLEN
Let me see that!
Ellen takes the article. The picture underneath shows Karl
Lindner in police uniform, 23 years younger.
Before she even has a chance to read the article, Martin grabs
the newspaper out of her hands.
He crumples up the paper and angrily turns to Paul.
MARTIN
Just perfect, Paul! Well done!
Can't you tell that my wife is
upset enough already? And then you
come up with this kind of a story?!
Ellen has regained her composure. She is still outraged.
ELLEN
What do you think you're doing,
anyway? Now give me back that
article!
Martin shows no sign of reaction.
MARTIN
Ellen, I just don't want you to get
upset for no reason.
He tries to conciliate by putting his arm on her shoulder. But
Ellen shakes him off.
ELLEN
(sarcastic)
How thoughtful of you!
An unpleasant moment of silence. Ellen looks at Claudia and
Paul - she doesn't want to make a fool of herself.
ELLEN
Excuse me for a moment.
She storms out of the room.
Paul and Claudia both look a bit sheepish.
Martin holds the article to a candle and burns it in an
ashtray.
MARTIN
She shouldn't be worrying about
this stuff. Lately, she's been
acting strange enough already.
51. IN FRONT OF THE HOUSE - EXT. / NIGHT
Ellen is standing in front of the house. Lost in thought, she
takes a drag from her cigarette.
Claudia comes out of the house and joins her.
CLAUDIA
What's this going on between you
two?
ELLEN
Oh, I don't know. I was hoping
things would get better once we
moved.
CLAUDIA
But nothing got any better?
Ellen's eyes wander over the vast landscape of moors which the
darkness of the night has transformed into a surreal shadow
painting.
ELLEN
Lately, Martin hasn't been his
normal self. The work, the
relocation...
CLAUDIA
You have to give him some time,
Ellen. He's under enormous
pressure right now. He hasn't
written a single decent sentence
since the accident.
Ellen takes a last long drag from her cigarette, throws it on
the ground and puts it out with her foot.
ELLEN
Yes, I know. I try my best. It's
just that... sometimes I wonder if
we made a mistake by moving here.
52. LIVING ROOM - INT. / NIGHT
Martin and Paul are still seated opposite each other. A
strange atmosphere. Paul is trying hard to keep up a
conversation.
PAUL
So, work is going well, you say?
Martin makes a very calm impression. In the background, the
dog is barking at the cellar door.
MARTIN
(calmly)
Yes. Splendid. I finally found a
story that's both: thrilling and
true to life.
Now, Clara starts to bark at the cellar door.
PAUL
I'm glad to hear that. You know...
Martin has a sudden outburst and yells:
MARTIN
(to the dog)
NOW SHUT UP, YOU STUPID BITCH !
Paul is all confused now. He throws a helpless look toward the
entrance door.
PAUL
You know, I think I have to get up
early in the morning. We ought to
get going.
53. ENTRANCE AREA - INT. / NIGHT
Clara is still barking at the cellar door. Then, she starts to
claw at the crack below the door, as if she had discovered
something behind it.
CUT TO:
54. IN FRONT OF THE HOUSE - EXT. / DAY
The next morning:
The house is enclosed in a light curtain of early morning fog.
Everything seems oddly quiet. Not a single bird is chirping.
The calm before the storm.
55. BEDROOM - INT. / DAY
Ellen wakes up out of her light sleep. She looks around.
Martin's side of the bed is empty and unused. Martin did not
spend the night by her side.
CUT TO:
56. KITCHEN - INT. / DAY
Ellen enters the kitchen in her bathrobe. She puts on a pot of
coffee. Martin comes in.
MARTIN
Hi, darling.
Ellen turns around to face him. She is terror-stricken.
His hands are covered with blood. He seems to be oblivious to
it. In the best of moods, he walks to the kitchen sink while
he continues to speak.
MARTIN
At last, I'm back on top! Seventy
pages in one night! I'd say that
just about breaks the record...
He starts washing his hands with meticulous care. The red-
stained water runs into the drain.
Ellen closes her eyes and fights the panic welling up inside of
her.
MARTIN
Ellen? Is everything alright?
She opens her eyes again. She takes a second look and sees
that what she thought to be blood is only wall paint. She
discovers a bucket with a paintbrush beside the kitchen door.
She tries to conceal her thoughts.
ELLEN
Oh, sure. I'm just a little...
dizzy.
She hastily grabs the dog's food dish and fills it. - Simply to
be doing something; anything.
ELLEN
I ought to give Clara something to
eat.
Ellen goes outside.
57. IN FRONT OF THE HOUSE - EXT. / DAY
Ellen carries the dish outside and starts searching for Clara.
ELLEN
Clara!
Nothing stirs.
ELLEN
Come here, Clara! I've got
something yummy for you.
Then, she catches sight of something dark lying a bit away in
the grass.
Ellen puts down the dog food and runs toward the spot.
There, lying in the tall grass she finds the dog. It's dead!
It looks as if a wild animal had attacked Clara.
ELLEN
Oh, no!
(loud)
Martin!
She kneels down beside the animal's dead body.
ELLEN
(screams)
Martin!
Martin comes out of the house and stops at the door. He is
calm - too calm.
MARTIN
What?
ELLEN
Look at this! The dog! She's
dead!
Martin shows no reaction. He doesn't even seem to find it
worth the trouble to go over to Ellen who is still kneeling in
the grass.
MARTIN
She was old.
ELLEN
Old?! Come look at this! She has
wounds. Wounds on her head. Like
thrashes. Or bites.
MARTIN
Maybe an animal.
ELLEN
(furious)
An animal? What kind of animal?
A goddamned T-Rex, or what?
Martin is still apathetically standing in the doorway.
MARTIN
She spent a couple of pleasant days
with us, and now she's dead.
That's the way it is. I'm sorry.
I have work to do.
He goes back inside.
Ellen watches him.
This very instant, she realizes that this is not the man she
once married. She knows that the time has come to take up
action.
CUT TO:
58. MOOR - EXT. / DAY
A short distance away from the house, Ellen has buried the dog.
She sticks a small, self-built wooden crucifix into the soft
earth.
She stands there for a moment. She looks over at the house.
Silence. Loneliness.
Then, she hangs Clara's collar over the cross. The little bell
jingles.
CUT TO:
59. COUNTRY ROAD - EXT. / DAY
Ellen speeds down the country road in her car. She passes the
town sign of Goldmoor. She has a tense look on her face.
CUT TO:
60. IN FRONT OF LINDNER'S HOUSE - EXT. / DAY
Ellen rings the doorbell.
She is standing in front of Lindner's house. While she waits,
she looks up and down the street. There is no one in sight.
The entire village seems deserted.
Elisabeth Lindner opens the door. She doesn't seem very
surprised to see Ellen.
MRS. LINDNER
Oh, Ellen! I've been wondering
when you'd come. Why don't you
step in.
ELLEN
Thank you.
Ellen enters the house.
61. HALLWAY IN LINDNER'S HOUSE - INT. / DAY
The hallway is dark. The wood-paneled walls are decorated with
pictures and certificates from Karl Lindner's years as a police
officer.
MRS. LINDNER
My husband is in his study in the
back.
Mrs. Lindner leads Ellen through the corridor.
ELLEN
I really hate to bother him, but...
MRS. LINDNER
Oh no, no. You're not bothering
him.
(she winks an eye)
He has lots of time since he's been
retired.
CUT TO:
62. LINDNER'S STUDY - INT. / DAY
Ellen enters the spacious study. Lindner is seated in front of
an easel, dexterously painting lines onto a canvas. He is
working on a still life of flowers.
Without turning around to Ellen, he says:
LINDNER
Come in.
Ellen takes a look around the room. It is also furnished in
dark colors, and there are dozens of oil paintings standing
around the room. Every single one a still life of flowers.
ELLEN
You only draw flowers? A little
unusual for a former policeman.
Lindner obstinately continues to work on his painting.
LINDNER
You know, after doing that job for
so many years, you learn to
appreciate the simple things in
life. Flowers incorporate a beauty
that I always missed in life. But
certainly, you're not here to chat
about my hobbies.
ELLEN
1976. What happened back then?
With a heavy heart, he puts down his paintbrush and turns to
face Ellen.
LINDNER
Do yourself a favor: Don't ask.
ELLEN
I appreciate your concern, but we
live in that house. I need to know
what happened in there.
Lindner turns back to his painting and continues to draw. He
seems introverted, as if he were talking to himself.
LINDNER
We found the wife about a week
after she had died, hunched in her
TV-chair. Her husband was sitting
in front of her; the whole time, he
sat in front of her dead body. A
whole damn week. Her death
certificate says that she drowned,
and her husband was convicted, but
God alone knows what really
happened back then.
Ellen is shocked. Still, she persists.
ELLEN
What made him do it?
Lindner doesn't answer.
ELLEN
That man, is he still alive? Where
is he? Can I talk to him?
Lindner turns around to her again. This time, he looks
determined.
LINDNER
Why don't you just leave the past
alone and now go - please.
Ellen sees that it's no use. She turns to leave. But she
stops at the door and turns back once more.
ELLEN
If there's one thing I've learned
lately, it's that you can not run
away from the past. Believe me.
She leaves the old policeman behind. Once alone, he lowers his
eyes.
CUT TO:
63. IN FRONT OF LINDNER'S HOUSE - EXT. / DAY
Ellen leaves the house, reflective. Just as she heads through
the gate, Mrs. Lindner catches up with her.
MRS. LINDNER
Ellen! Wait!
She hands Ellen a small note.
MRS. LINDNER
Frank Kosinski. Here's the
address. Go see him. Ask him.
ELLEN
Thank you. Elisabeth, I didn't
mean to...
Mrs. Lindner puts it off with a smile.
MRS. LINDNER
That's alright. Don't
misunderstand my husband. It's
only that he's already had enough
problems with this case.
And who would believe him if he
told the truth?
ELLEN
But what is the truth?
MRS. LINDNER
I don't know all about what
happened back then. But it always
stood between me and my husband.
Ellen nods and leaves.
CUT TO:
64. PSYCHIATRY - EXT. / DAY
Ellen parks her car in front of the large, old building. She
opens the heavy double doors of the entrance.
65. PSYCHIATRY - INT. / DAY
A long, wood-paneled hallway with small resting areas. Some of
the elderly people are sitting around, others are playing cards
or staring at a television - a strange atmosphere.
Ellen approaches a SOCIAL WORKER, who is pushing an OLD LADY
through the hallway in a wheelchair.
The old lady giggles, as if she were mentally disoriented.
ELLEN
Excuse me, I'm looking for Frank
Kosinski.
The young man is of the silly, bored type.
SOCIAL WORKER
Kosinski...
(thinks for a moment)
Oh - you mean K.K.!
ELLEN
Sorry?
The social worker grins. He seems to think he's very funny.
SOCIAL WORKER
Killer-Kosinski, that's what they
call him around here. He did away
with his wife.
Now, the old lady joins in on the conversation.
OLD LADY
I'm so glad you finally came.
We've all been waiting for you.
She gently touches Ellen's hand. - The old lady seems to be
taking Ellen for someone else.
ELLEN
(softly, to the old lady)
You must be mistaking me.
(to the young man)
Where can I find the man?
SOCIAL WORKER
He's in the closed psychiatry. This
here's the open section. Go down
the hall, third door to the left.
ELLEN
Thank you.
The old lady keeps on persisting.
OLD LADY
Are you doing better yet?
Ellen is too preoccupied to worry about the old lady. She
leaves them with a quick nod and hurries on.
The social worker starts pushing the wheelchair forward again.
Walking away, Ellen still hears the old lady's voice.
OLD LADY
(to social worker)
Poor girl. She only has two more
days to live, you know.
Ellen stops. She turns on her heels and runs back.
She excitedly stops the wheelchair and leans over to the old
lady.
ELLEN
What was that? What did you say?
The old lady doesn't seem to recognize her any more.
OLD LADY
What do you want from me?
ELLEN
What you just said, about the two
days...
OLD LADY
I didn't say anything!
Ellen looks at the social worker, hoping that he might help.
SOCIAL WORKER
I didn't hear anything. Sorry.
Ellen doubtfully looks back and forth between the two of them.
ELLEN
I'm sorry... I guess I was
mistaken.
She quickly turns her back to this embarrassing situation and
leaves.
66. HALLWAY OUTSIDE OF KOSINSKI'S CELL - INT. / DAY
The MALE NURSE turns the key. Before opening the heavy door,
he gives Ellen a questioning look.
NURSE
He has his clear moments every now
and then. But I wouldn't get my
hopes up high.
They both enter the cell.
67. KOSINSKI'S CELL - INT. / DAY
Frank Kosinski (approx. 70 years old now) is sitting at a desk.
He is busy putting newspaper articles into clear plastic
folders and carefully sorting them away.
Ellen enters the room. The nurse closes the door from inside
and stays standing next to it.
The room looks more like an office archive than the cell of a
closed psychiatric clinic. There are several shelves filled
with neatly lined up files.
ELLEN
Mr. Kosinski?
The old man takes no notice of her. Ellen steps up to him,
obviously feeling very uncomfortable about it.
ELLEN
Mr. Kosinski, my name is Ellen
Straub. I live in your house out
in Goldmoor... I mean, the house
where you used to live. There are
a few questions I would like to ask
you.
Kosinski does not react. He seems so lost in his own world
that he hasn't even registered her presence. He stubbornly
continues sorting his papers.
ELLEN
Mr. Kosinski! Can you hear me?
She waves her hand in front of his face. No reaction.
Ellen realizes that she'll have to come up with something else.
She walks to one of the shelves and pulls out a file titled
"1976". Leafs through it. She finds the article that Paul
had brought the other night.
She lays it on the desk, right in front of Kosinski's nose.
ELLEN
1976 - What happened back then?
You...
Now, she has his attention. As if she had pushed the button of
a tape recorder, Kosinski immediately begins to recite the
article. He seems to know it by heart.
KOSINSKI
"October 4, 1976. To this day, the
cold-blooded murder at the remote
homestead continues to bring up
questions. Investigations have
shown no satisfactory results. As
was announced by a police spokesman
..."
Ellen gives the nurse a questioning look.
NURSE
Never mind, it's his usual number.
ELLEN
Yes. That's right. What happened
back then?
Although Kosinski has the news article right in front of him,
he seems to be staring at the air. Ellen tests him by taking
away the news report. Kosinski continues to recite.
KOSINSKI
"... another unsolved mystery is
the question, why doors and windows
had been nailed shut. The murder
suspect and only witness is still
in a state of mental derangement.
..."
Again, Ellen tries to interrupt him.
ELLEN
Okay, fine. I read that. It's
written in the article. What I
want to know is: What really
happened back then?
Kosinski mechanically continues to speak. Absolutely
inanimate.
KOSINSKI
"... Friends and family describe
him as a friendly, reliable
husband. He had been forced into
closing his small trades business
after bankruptcy. It is uncertain
whether this might have been cause
for marital dispute..."
Ellen realizes that she cannot get through to him with words.
She finds a page on the desk that was torn out of a chronicle
about Goldmoor.
ELLEN
August 17, 1869.
KOSINSKI
"August 17, 1869. A messenger
found Mr. and Mrs. Eugen and
Wilhelmine Meister dead in their
house."
With both astonishment and dismay, Ellen listens to the old
man's monotonous lecture.
KOSINSKI
"...The police constable in charge
found no traces. The motive of the
crime remains a mystery..."
Ellen turns to the nurse.
ELLEN
Could I please speak with him alone
for a moment?
NURSE
Are you sure?
ELLEN
I'll be fine. Thank you.
The nurse leaves the cell with a frown.
Ellen takes Kosinski's chair and turns him around. She looks
straight into his blank eyes.
ELLEN
I am starting to get the impression
that all of this is some kind of
bad joke: I'm seeing things that
are not there, my own husband is
becoming a total stranger and your
old friend Lindner won't tell me
what he knows. I have no idea what
you're trying to prove with this
performance of yours, but I am not
leaving this room before I hear the
truth.
No reaction. Kosinski continues to stare at nothing in
particular.
Ellen gives up. Shaking her head, she turns to the door.
KOSINSKI
It's a grave.
Ellen freezes and looks back at Kosinski. She walks back over
to him.
ELLEN
What?
Suddenly, Kosinski seems to have snapped out of his "autism".
He is holding an old book in his hands. The book contains
clippings, notes and among others, a page that seems to have
been torn out of another book.
It is an etching from the Middle Ages illustrating a man being
pushed into the swamp by several villagers.
Ellen reads the text underneath the illustration:
ELLEN
"...Execution in the moor..."
All of a sudden, Kosinski grabs Ellen and pulls her close. His
eyes have a feverish glow.
KOSINSKI
The moor... it's one big grave.
CUT TO:
68. ENTRANCE AREA / HALLWAY - INT. / NIGHT
Ellen enters the hallway. She runs into Martin who is on his
way up from the cellar.
When he sees Ellen, he shuts the cellar door and puts the key
into his pocket again. It seems as if he felt caught doing
something.
ELLEN
(sarcastic)
Let me guess: Another short
circuit?
MARTIN
Hi, darling.
Martin ignores her comment and starts to head up the stairs to
his study.
ELLEN
What is going on down there,
anyway? Why am I not supposed to
go in the cellar?
Martin stops at the base of the stairway.
MARTIN
I told you: It's too dangerous.
Besides, I have to work now.
He continues up the staircase. Ellen follows him.
ELLEN
Martin, we need to talk. I've done
some research. This lovely house
of ours has a history of murder
cases.
Martin does not stop walking, but his eyes show alarm.
ELLEN
Anyone who ever lived in this house
either quickly moved back out, or
fell victim to strange accidents,
or ended up killing each other.
69. STUDY - INT. / NIGHT
Martin sits down at his desk and immediately starts typing.
Ellen won't give up so easy.
ELLEN
I know you don't believe me, but at
least hear me out. Don't tell me
you haven't noticed that we've been
going through some strange changes
since we moved here!
We hardly talk to each other any
more, you're writing like a madman
and I'm having these visions.
Martin does not interrupt his work.
Ellen slams the articles from Kosinski on his keyboard.
ELLEN
Here, look at this! Did you know
that our house is built right on a
spot where during the Middle Ages
people were executed? They simply
threw the convicts into the moors,
alive.
Martin shakes his head. He smiles and shoves the articles
aside.
MARTIN
During the Middle Ages people were
executed at every corner. What's
your point?
ELLEN
This house, the whole damned area
around here is one mass grave...
Now you might call me crazy, but
there is something negative about
the place.
MARTIN
Okay, so the house has a history
and there might still be a couple
of corpses in the moors.
(mocking)
"There is something negative about
the place..." What the hell are
you trying to say? Come on! Spit
it out!
Ellen twists around.
ELLEN
It's like... a sickness! And it's
gotten into our heads.
Now Martin gets aggressive.
MARTIN
Will you finally cut it out? Just
in case you haven't noticed, I am
trying to write a book here. And
maybe - even with your birdbrains -
you can figure it's a pretty tough
job.
So why can't you just leave me
alone?
ELLEN
Damn it, look at you! Don't you
see what's happening with you? We
need to get out of here, don't you
understand? Out of this house!
Martin threatens her with his forefinger.
MARTIN
Now let me work!
Martin continues to write.
ELLEN
(hollers)
To hell with your damned work!
In a rash action, she suddenly pushes his computer monitor off
of the desk.
Martin jumps up from his chair. He grabs Ellen by the throat
and pushes her against the wall. Throbbing veins on his
forehead.
MARTIN
Don't you dare...
Ellen can hardly breathe. She is about to choke. Just in
time, Martin lets go.
Ellen slides to the floor and gasps for air.
Martin doesn't seem to care. He sets the monitor back onto the
table and gets back to work.
Ellen is deeply shocked. She drags herself out of the room.
Martin doesn't even deign to look up at her again.
70. HALLWAY - INT. / NIGHT
The door to the study falls shut behind Ellen.
Slowly, she sinks to her knees and starts to cry. Hopelessness
and despair.
ELLEN
(sobbing)
Martin... oh my God... what's
happening to us...
The house is dead-silent. Only the sound of Martin typing on
his computer keyboard in his study.
Suddenly, Ellen hears a noise - very quiet. It is the RINGING
of a bell.
Ellen looks up.
There it is again, very clearly: It's the bell on the collar
of the dead dog.
ELLEN
(quietly, to herself)
Clara...?
She stands up and heads for the staircase. Cautiously.
A shadow rushes through the entrance hall - the shadow of a
dog.
Ellen sneaks down the steps. Her eyes scan the darkness.
71. ENTRANCE AREA - INT. / NIGHT
Again, the BELL RINGING. The shadow. The animal seems to have
run into the cellar.
Now, Ellen notices that the door Martin had locked so carefully
earlier, is open.
A dirty-yellow gleam shines into the hallway from below.
Ellen looks up - Martin seems to be working: His steady typing
resounds throughout the house.
It takes Ellen all the courage she has, but finally she makes
herself go into the cellar...
72. STUDY - INT. / NIGHT
Martin stops typing in mid-sentence. He looks up. There is a
threatening gleam in his eyes...
73. CELLAR - INT. / NIGHT
Ellen carefully walks down the stairs to the cellar. It's
cold. The single light bulb at the ceiling hardly sheds any
light. An eerie and unsettling atmosphere.
No sign of the dog.
Ellen finds the fuse box. No difference - the wires are still
hanging out of the wall, tangled up and rotten.
All of a sudden, there is a voice coming from behind Ellen.
THOMAS (O.S.)
Mommy...
Ellen spins around.
There's something in the darkness - a figure: Tommi!
Ellen freezes. Her eyes are glued to the little boy, whose
figure melts together with the shadows. Like a tape recording,
he repeats:
THOMAS
Mommy...
Ellen fights up against the image as if she knew that it is
only a lie.
ELLEN
No...
The boy steps out of the shadow.
THOMAS
Mommy...
Ellen backs off.
ELLEN
My son is dead...
The little boy comes closer. Now, he is standing right in
front of Ellen. He raises his hands as if he wanted to be
hugged. Again, his sad voice repeats:
THOMAS
Mommy!
Finally, Ellen's heart wins over reason. She falls to her
knees and takes the boy into her arms.
ELLEN
My God, Tommi.
Tears run down her cheeks. She holds the child close. But
what she doesn't see: The boy's mean smile behind her back.
Suddenly, there is a strange transformation: Running through
Ellen's fingers - little at first, but then more and more:
mud!
Thomas' body has turned into liquid in her arms. Ellen is
devastated.
Right before her eyes, the child dissolves into swamp mud. It
drains away and disappears in the floor.
Time seems to stand still.
Suddenly, Ellen is grabbed by the hair and torn around.
It's Martin! He stares at her resentfully.
MARTIN
Didn't I tell you not to go in the
cellar?!
Ellen does not understand what's happening.
ELLEN
Martin, what-
MARTIN
It's simply too dangerous here!
But no, you always have to have it
your way.
She tries to squirm out of his grip - but it's no use.
Martin drags her up the stairs.
MARTIN
You know what I have to do now,
and believe me: I don't enjoy
doing this.
ELLEN
Martin, damnit, what are you up to?
Let go of me!
74. ENTRANCE AREA - INT. / NIGHT
Martin mercilessly drags Ellen along behind him.
MARTIN
Of course you'll give me the blame
again. Like back then. Just a
tiny cut and he could still be
alive today - isn't that right,
Ellen?
ELLEN
What are you talking about-
Ellen tries to find a way to free herself. But she hardly
stands a chance against Martin's strength.
MARTIN
Enough of that! I know what I have
to do now.
Sliding by, Ellen bumps into a tool box. She gets hold of a
screwdriver.
Panic-stricken, she thrusts it in Martin's direction.
A scream of pain. He collapses. Bleeds.
Ellen tears herself loose and runs out of the house.
75. IN FRONT OF THE HOUSE / CAR - EXT. / NIGHT
Ellen races to the car and jumps in behind the steering wheel.
Martin staggers out in pursuit of her. He is holding his
stomach.
Inside the car:
Ellen hastily crams out the car key. It slips out of her hand.
Martin is coming closer.
Inside the car:
Ellen gropes around in the darkness, trying to find the key.
Martin has almost reached the car.
Inside the car:
At last, Ellen has the key. She pushes it into the ignition,
turns it around. The engine roars up.
Ellen careens off in the car. She brushes Martin. He spins
away with a loud thud.
The car speeds off.
CUT TO:
76. CONSULTING ROOM OF PROF. ROTH - INT. / DAWN
Prof. Roth is in the middle of a conference with two INTERNS.
The door flies open. Ellen storms into the room with tears in
her eyes; she is totally frantic.
Her appearance surprises him.
PROF. ROTH
Mrs. Straub!
ELLEN
I've killed my husband!
PROF. ROTH
What?
ELLEN
I think I've killed him. Martin,
my husband, I've killed him! That
is, I'm not sure, but...
Prof. Roth immediately takes her arm and leads her to a sofa.
PROF. ROTH
Mrs. Straub! Now calm down first.
Ellen is totally distraught.
ELLEN
(hectic, loud)
It all went so fast. He was out of
his mind and then all of sudden
there was this screwdriver. I only
wanted to defend myself. You have
to call the police...
PROF. ROTH
We can do all of that later, but
first you need to calm down.
He stands up, fetches a glass of water and takes a tablet out
of a package.
PROF. ROTH
Here, take this.
Ellen takes the pill without a moment's hesitation and swallows
it with a drink of water.
ELLEN
I... I don't know which part of it
all really happened... It's all one
big nightmare...
Prof. Roth sees that she is not able to think clearly at the
moment.
PROF. ROTH
You are going to sleep for a little
while, now. And then, we'll talk
about it more calmly and sift
through all of this.
The tablet quickly begins to show an effect. In Ellen's eyes,
Prof. Roth's face gets blurry.
One of the interns speaks up.
INTERN
Should we inform the authorities?
Prof. Roth waves it off.
PROF. ROTH
Before everyone gets all nervous,
why don't you call her house.
Maybe that will clear things up.
Ellen only vaguely catches the last spoken sentences through a
curtain of haze. Then, she loses conscience.
FADE TO:
77. HOSPITAL ROOM - INT. / DAY
Ellen drowsily wakes up in a hospital room. She takes a
careful look around herself. The room is surprisingly nice and
pleasantly furnished.
78. HOSPITAL CORRIDOR - INT. / DAY
There is a lot going on in the hospital corridor.
MALE and FEMALE NURSES busily take care of their duties.
A hand picks up a syringe and an ampoule from a trolley.
79. HOSPITAL ROOM - INT. / DAY
The door is opened.
Ellen barely manages to lift her head in order to see who the
visitor is.
A man pulls a wheelchair inside with his back turned to her,
and closes the door.
ELLEN
Professor Roth?
The man turns around: It's Martin!
He is wearing his best suit. He shows no signs of a wound.
Ellen wants to call for help, but Martin is already up next to
her and holds her mouth shut with his hand.
MARTIN
Hello, darling. Are you feeling
better?
He thrusts the syringe into her leg.
Ellen desperately searches for the emergency button for the
nurses' room.
MARTIN
(whispers)
Shh... everything will be fine.
Tomorrow, it will all be over.
Just don't try to fight it.
Ellen has found the button, but the medication is faster: She
doesn't have enough strength to push the button any more.
Her tired eyes blink and fall shut for a moment...
FADE TO:
80. BEDROOM - INT. / NIGHT
... Ellen's eyes slowly open again. She wakes up to a loud
HAMMERING noise.
Only now does she realize that she is lying on the planking of
her own bed, with her hands and feet roped tight. Martin has
put a gag in her mouth. He is standing by the window, nailing
several large boards in front of it.
He is so preoccupied with his work that he hasn't yet noticed
that Ellen is awake. He quietly curses under his voice.
MARTIN
You stupid little bitch... think
you can toy around with people any
old way you like. But not me, no.
Ellen carefully tries to loosen the ropes. The sound catches
Martin's attention. He turns around to her. He is still
holding a nail in the corner of his mouth.
MARTIN
(sweetly)
Oh sweetheart, you're awake
already?
He takes the nail out of the corner of his mouth and opens his
suit jacket. Underneath, we see his blood-soaked shirt. But
he doesn't seem to feel any pain.
MARTIN
That really wasn't very nice of you
yesterday. I always thought you
loved me. You know, I bet any
other husband would be pretty upset
with you now.
He sits down on the bed next to her and begins to loosen her
gag.
MARTIN
But I believe in our relationship.
What are such trifles compared to
that.
He takes the gag out of her mouth. Ellen's voice is shaking.
ELLEN
Martin, for heaven's sake, tie me
loose!
Martin seriously shakes his head.
MARTIN
Believe me, I'd really like to.
But I have the feeling you're not
ready yet.
Ellen lies there, totally helpless.
ELLEN
Ready? For what? This is crazy!
Don't you see what's going on here?
He moves closer to her, caresses her cheek.
MARTIN
The last day, Ellen. Today is the
last day. The circle is closing.
Ellen suddenly understands.
ELLEN
You knew!
Martin slowly leans over and kisses her. Ellen tries to turn
her head away, but Martin holds it tight. Barbaric - there is
nothing tender about this kiss.
MARTIN
Oh, Ellen. My sweet Ellen...
Of course I knew.
ELLEN
We loved each other once. Have you
forgotten that?
Martin seems bitter.
MARTIN
Oh, yeah? Did we really? Think
about it, Ellen...
Just then, the DOORBELL rings. They both look toward the door.
Quick as a flash, Martin presses his hand on Ellen's mouth, so
she cannot scream.
MARTIN
Are you expecting company?
81. IN FRONT OF THE HOUSE - EXT. / NIGHT
Karl Lindner is standing at the door. He presses the doorbell
button. He is carrying one of his flower paintings under his
arm.
82. BEDROOM - INT. / NIGHT
Martin puts the gag back into Ellen's mouth.
MARTIN
Make yourself comfortable. I'll be
right back.
He stands up and leaves the room.
Ellen hears him lock the door from outside. She immediately
begins to tear at her ropes.
83. HALLWAY / ENTRANCE AREA - INT. / NIGHT
The doorbell RINGS again. While Martin runs downstairs, he
buttons up his suit jacket again in order to conceal the blood
stains.
He is still holding the hammer in his hand.
He walks to the door and opens it to Lindner.
LINDNER
Good evening. Karl Lindner. I'm a
friend of your wife. Is she in?
84. BEDROOM - INT. / NIGHT
Ellen is still tied to the bed. She faintly hears the two
men's VOICES from downstairs.
She moves her head, trying to get rid of the gag - in vain.
Ellen screams, but only muffled sounds come out.
She doubles her efforts and tears at her ropes with all her
might.
85. IN FRONT OF THE HOUSE / ENTRANCE AREA - EXT. / NIGHT
Martin is standing across from Lindner. He gives him a
friendly smile. He shows no apparent signs of the condition he
is in.
MARTIN
Ellen is home. But she isn't
feeling well. Can I give her a
message?
Lindner takes the painting out from under his arm.
LINDNER
Oh, then I guess that makes my gift
all the more appropriate. Maybe
I'll just give it to her real quick
and be on my way again.
Martin anxiously fingers the hammer in his hands.
MARTIN
Um, I don't think that's a good
idea. She went to lie down. I
think she's already asleep. She's
been pretty busy lately and needs
to rest.
86. BEDROOM - INT. / NIGHT
Ellen realizes that there is no way she can untie herself. But
slowly, she manages to loosen one of the bed planks that she is
tied to - bit by tedious bit.
87. IN FRONT OF THE HOUSE / ENTRANCE AREA - EXT. / NIGHT
Lindner peeks inside the house past Martin. He casually asks:
LINDNER
So, what's wrong with her?
Martin is still playing around with the hammer.
MARTIN
Just nerves. You know, the move
and all that...
Lindner realizes that it's no use asking further. He hands
over the picture.
LINDNER
Well, then. Would you please give
this to her for me? Tell her, I'd
like to talk to her when she's
feeling better. And tell her I
don't want to run away anymore.
She'll understand what I mean.
MARTIN
Sure, I'll tell her.
The old policeman walks to his car and climbs inside.
Martin smiles and waves him good-bye.
88. BEDROOM - INT. / NIGHT
Ellen has finally made it: She manages to disconnect the
plank.
She quickly tears the gag out of her mouth and yells as loud as
she can:
ELLEN
(screams)
Help! Help, I'm in here! Help me!
She listens if anyone heard her calling.
It's useless. Lindner has already started his car, and drives
off. The sound of his car engine fades away in the distance.
Ellen is desperate.
89. ENTRANCE AREA - INT. / NIGHT
Martin heard Ellen's calling. He grins self-consciously and
locks the house door. Then, he reaches for a board leaning
against the wall. He takes a nail out of his pocket and starts
to nail the door shut.
CUT TO:
90. LINDNER'S CAR / COUNTRY ROAD - EXT. / NIGHT
Karl Lindner is driving towards Goldmoor. He is lost in
thought. Something about the whole situation seemed strange to
him, but he can't put his finger on it.
He brakes and looks back toward the house once more (a moment
of hope for Ellen).
But then, he shakes his head and steps on the gas pedal again.
The car drives off into the distance.
CUT TO:
91. BEDROOM - INT. / NIGHT
Ellen gets rid of the rest of her ropes, immediately jumps up
and races to the door.
She checks the door: it's locked. She peeks through the
keyhole.
The key is sticking in the opposite side of the door. We hear
Martin hammering downstairs.
Ellen has an idea - an ancient trick from childhood days.
There is a book on the bedside table. She tears out a page and
slides it underneath the door, below the door lock.
There is a can of nails on the floor which Martin left behind.
Ellen takes out a nail and uses it to poke around in the
keyhole.
She pushes the key out of the lock. The key falls to the
floor, but it lands next to the sheet of paper.
Ellen pulls the book page in under the door - no key!
ELLEN
(quietly)
Damn.
She presses her face flat against the floor and looks
underneath the door crack.
There, on the other side, is the key.
Suddenly, the hammering stops.
Ellen holds her breath...
92. LIVING ROOM - INT. / NIGHT
...The living room windows are all nailed shut. Martin
prepares to attach the last board. He reaches into his pocket
- no more nails...!
93. BEDROOM - INT. / NIGHT
...The box of nails is lying on the bedroom floor. Ellen
senses that she is running out of time. She moves faster.
She pushes the book page under the door again and tries to
maneuver it underneath the key...
94. ENTRANCE AREA - INT. / NIGHT
...Martin comes out of the living room and heads for the
hallway...
95. BEDROOM - INT. / NIGHT
...Ellen has it! She has managed to get the key on top of the
sheet of paper. Carefully, she pulls it in under the door.
She picks it up and pushes it into the lock...
96. HALLWAY - INT. / NIGHT
...Martin comes up the stairs. He heads for the bedroom. When
he sees the open door, he stops.
He hesitates for a moment, looks around.
Then, he carefully approaches the door.
MARTIN
Is somebody trying to run away
here?! Darling, I'm really
disappointed. How can we ever have
a trusting marriage if you keep
running away from every conflict?
Martin has reached the bedroom door.
MARTIN
You little hardhead, I...
At that moment, the door slams into him. A loud crunch. The
wooden door hits him right in the head. Martin is knocked to
the floor.
Ellen comes running out of the bedroom. She has a wooden plank
in her hands. She wants to make sure that the job is done
right and clobbers Martin until he stops moving.
Then, she sprints to the staircase and runs down the steps.
97. ENTRANCE AREA - INT. / NIGHT
Ellen runs to the barricaded house door. She shakes at the
boards, but they are down tight. No matter how hard Ellen
tries, it's impossible for her to loosen them.
Horrified, she searches for another way out. She runs to the
living room door and looks inside the room...:
98. LIVING ROOM - INT. / NIGHT
...All of the windows are barricaded. There is no chance to
escape!
99. HALLWAY - INT. / NIGHT
Martin regains conscience. His head is wounded and bleeding.
He scrambles to his feet.
MARTIN
No matter what you do, Ellen...
you don't stand a chance. We're
not leaving this place anymore...
100. LIVING ROOM - INT. / NIGHT
Ellen looks around, helpless. We hear Martin's voice coming
from upstairs.
MARTIN (O.S.)
... not today. Not tomorrow.
Never again!
She discovers the remote control for the TV. And gets an idea.
She grabs it and runs out of the room.
101. KITCHEN - INT. / NIGHT
Ellen flees into the kitchen. The windows are all nailed shut
here, too. Ellen's heart is beating up to her neck. She jerks
open a drawer and takes out a big kitchen knife.
We hear Martin's footsteps coming down the staircase.
MARTIN (O.S.)
It's like you always wanted.
Us together. We'll make it through
anything, no matter how rotten the
situation is.
Ellen squats next to the door frame.
102. ENTRANCE AREA - INT. / NIGHT
Martin is walking down the last couple of steps. Out of the
corner of his eyes, he notices the open kitchen door.
MARTIN
Have you ever wondered why it
hasn't been working out between us
since it all happened? I've asked
myself that question. And you know
what the answer to that is? It was
never real. All just a big lie.
While he speaks, Martin slowly moves toward the kitchen.
103. KITCHEN - INT. / NIGHT
Martin has almost reached the kitchen.
Quivering, Ellen pushes a button on the remote control...
104. ENTRANCE AREA - INT. / NIGHT
...and the television jumps on in the living room, behind
Martin. The loud NOISE startles him; he spins around.
Martin smiles and taps the hammer in the palm of his hand.
Then, he heads towards the living room.
MARTIN
What you loved, was something
totally different. The successful
author, Martin Straub. "Mr.
Cherry-red Tears" - you married a
goddamned book.
Martin disappears in the living room.
105. KITCHEN - INT. / NIGHT
Ellen sees her chance, and takes it. She runs out of the
kitchen...
106. ENTRANCE AREA - INT. / NIGHT
...and up the stairs.
Martin sprints out of the living room. He is after her.
107. HALLWAY - INT. / NIGHT
Ellen runs into the study. Martin is right on her heels...
108. STUDY - INT. / NIGHT
...Ellen slams the door shut behind her and locks it. She
reaches for the telephone next to the computer.
CUT TO:
109. LINDNER'S BEDROOM - INT. / NIGHT
The lights are off in Lindner's bedroom.
Karl is lying in bed with his eyes open, staring at the
ceiling. His wife notices it.
MRS. LINDNER
You went to see the Straubs' today,
didn't you?
Lindner doesn't answer. The look in his eyes says it all.
MRS. LINDNER
I know you have something on your
mind. What is it?
He hesitates. Sighs. Finally, he says it:
LINDNER
I think it's starting again.
You know... there was something
peculiar. If only I knew...
MRS. LINDNER
Peculiar? You mean, like back
then?
LINDNER
Yes, something was...
Suddenly, it hits him.
LINDNER
My God, the hammer!
He jumps out of bed and into his clothes.
MRS. LINDNER
Hammer?
LINDNER
How could I fail to notice that!
- I have to go...
He hesitates, looks back at his wife.
LINDNER
I'm sorry, honey.
It is hard for Mrs. Lindner to let her husband go. But she
understands.
MRS. LINDNER
Go ahead. I know you have to do
this.
CUT TO:
110. STUDY - INT. / DAY
Ellen dials the emergency number for the police and races to
the window. She looks down - it's quite a ways down, and at
the bottom, hard stone pavement.
The phone RINGS at the other end of the line.
Martin rumbles against the door to the study. He is trying to
get inside.
111. HALLWAY - INT. / NIGHT
Martin is standing in front of the closed door to the study,
shaking the door handle. He listens.
MARTIN
Come on...
112. STUDY - INT. / NIGHT
Ellen still hasn't gotten through to the police.
MARTIN (O.S.)
... I know what you're up to. You
don't think that's going to work,
do you?
Ellen desperately looks around the room, searching for a way
out. She catches sight of the activated computer. There is a
text flickering on the slightly demolished monitor.
Finally, someone answers the phone at the police station.
TELEPHONE VOICE (O.S.)
Police headquarters, Webber...
Ellen excitedly speaks into the phone.
ELLEN
Ellen Straub here. You have to
help me...
113. HALLWAY / ENTRANCE AREA - INT. / NIGHT
Martin runs down the stairs to the entrance area. He heads
straight for the distributor box next to the cellar door.
One well-aimed blow, and the gray telephone box is demolished.
114. STUDY - INT. / NIGHT
ELLEN
... please come right away! My
address is...
CLICK! The conversation is cut off. The line is dead.
But Ellen hardly notices it anymore. Her eyes are glued to the
monitor. Something about it has drawn her full attention.
Her name is written on the monitor screen! Ellen begins to
read in disbelief.
ELLEN
(reads)
"Ellen woke up from the sound of
the door. She barely managed to
raise her head in order to see who
the visitor might be. His back
turned to Ellen, the man pulled a
wheelchair into the hospital room.
When he turned around, she
recognized him with horror:
Martin!"
Ellen's eyes grow wider with every word she reads. The text
abruptly stops here.
Martin must have known everything! Her whole story, everything
that happened to her, is described in his new novel.
ELLEN
What the hell...
From outside, we hear Martin's voice loud and clear. He
finishes her sentence for her:
MARTIN
...is going on here?
Before Ellen has a chance to give the situation a thought, the
door breaks open. The door frame splinters. Martin simply
kicked the door in.
MARTIN
The final chapter will finish
tonight. I bet you can't wait to
find out how the story ends!
Ellen grabs the knife and backs away.
ELLEN
My God, Martin. I don't understand
all this. How is it possible?
Slowly and threateningly, Martin comes closer. In his hands,
the hammer.
MARTIN
Do you like my new book? A real
page-turner, isn't it? I can just
see the critics: Martin Straub is
back! And better than ever.
Ellen is backed up against the wall. She raises the knife
against him.
ELLEN
Stay where you are! Not one step
closer!
Martin isn't fazed that easily.
MARTIN
You still don't understand, do you?
Today is the last day. Your day,
Ellen.
With this, he jumps up to her, quick as lightning. He grabs
the knife by the blade and twists it out of Ellen's hand -
without the slightest feeling of pain.
He firmly pulls Ellen towards the door. They pass by the desk
with the computer. Ellen sees the electric cord for the
computer on the floor.
With a swift move of her foot, she tears at the cable, pulling
the computer off of the desk. It falls to the floor.
Martin screams in rage. For a second, he is distracted.
Ellen takes the opportunity to tear herself loose.
115. HALLWAY / ENTRANCE AREA - INT. / NIGHT
Terrified, Ellen races down the stairs. She is looking for a
way out.
Martin is close on her heels. In the entrance hall, he gets
hold of her.
But Ellen manages to break loose again. But doing so, she
slips. Falls.
And trips through the open cellar door...
116. CELLAR - INT. / NIGHT
... down the stairs.
Ellen crash-lands in brackish, brown water. The cellar is
flooded ankle-deep with swamp water. It is seeping in through
the crevices in the walls.
ELLEN
The moor...
Martin walks up to her, threateningly. Ellen scrambles to her
feet. She is hurt. But Martin walks past her and steps into
the center of the dark cellar.
Ellen glances back at the cellar door which is still open.
Suddenly, an invisible force slams it shut.
MARTIN
I told you, there is no way out.
He won't let you go.
ELLEN
'HE'? Whom do you mean-
Instead of answering, he gently puts his finger on her mouth.
MARTIN
(quietly)
Shh. Don't you hear that?
She looks around.
Then she hears it: The room is filled with quiet WHISPERS,
growing louder and louder - countless voices - the voices of
children!
MARTIN
It's important - he knows the last
chapter.
ELLEN
Your book - that's why you were
always in the cellar!
Just then, a figure steps out of the darkness. It is their
little son Thomas. Although he does not move his lips, he
seems to be the source of the whispers.
He stands next to Martin, who lays his arm around the boy's
shoulder.
MARTIN
Now look at this young man: He
supports me in what I do - quite
the opposite of you.
Terrified, Ellen stares at Thomas. She watches a thin strand
of mud flow out of the boy's shoulder, and - against the laws
of gravity - it crawls up over Martin's hand. Martin does not
seem to notice it.
MARTIN
You know, Tommi wants me to become
the man I used to be.
ELLEN
(laughs bitterly)
...So he's dictating you a new
bestseller? Whatever that is, it's
not our son.
Martin leans down to the child's figure and brings his ear
close to Thomas' mouth. The boy seems to be whispering
something in his ear.
ELLEN
(sharply)
Martin, don't you understand?
Tommi is dead! This... it knows
our weaknesses and it's using them
to bring us apart!
Martin stays leaned down to Thomas and listens. He throws a
stealthy glance at Ellen.
MARTIN
I'm afraid he doesn't like you very
much.
Martin smiles triumphantly. He reaches into the water and
pulls out a metal pipe.
He threateningly moves closer to Ellen. She backs away, until
she finds herself backed up against the wall.
Ellen looks around - there is no where to run. But she tries
anyway. She wants to make a run for it.
But Martin is faster. He grabs hold of her. Ellen slips and
lands in the water.
MARTIN
We've played this game long enough.
He mercilessly pushes Ellen's head under water. She tries to
put up a fight, but she doesn't stand a chance.
MARTIN
How sad. Drowned, like all the
others. But that's the way it's
got to be in a real horror novel.
I know what you're thinking: No
happy end - it'll never sell. But
to hell with commerce!
Ellen manages to fight her way above the water's surface. She
gasps for air. Her eyes catch sight of the old shelf, crammed
full with all sorts of junk, standing within reach of her feet.
ELLEN
It's lying, don't you see? This is
all an illusion. It lied to us and
to all of those who were here
before us...
Martin's eyes are beaming with hate. He does not notice Ellen
kicking for the shelf. It slightly tips forward, then back
against the wall again.
MARTIN
I'll tell you what really was an
illusion: Romantic family life, by
the side of your successful author.
Sorry if I wasn't able to live up
to your high expectations,
princess.
Ellen tries to get through to whatever is left of Martin.
ELLEN
It wasn't your fault, you hear!
Ellen gets another good kick against the shelf - it tips over
and collapses over Martin's head. Ellen grabs the chance to
free herself.
Martin furiously thrusts the shelf aside. There is an ugly
wound on his forehead.
ELLEN
Tommi is dead, you hear!
But you and me, we're alive.
Again, Ellen is backed up against the wall. Martin steps up to
her. He is still holding the metal pipe.
MARTIN
Be quiet.
Suddenly, he strikes her with the pipe. He grabs Ellen by the
throat and pushes her against the wall.
ELLEN
I love you, Martin!
For a short moment, something seems to break inside of Martin.
But then, he tightens his grip on her neck again.
Ellen is dazed, but she is not afraid any more.
ELLEN
Then kill me, because... "With you,
my life began and with you shall it
end..."
All of a sudden, some of Martin's strength seems to fail. His
look freezes. A single BLACK TEAR runs out of the corner of
his eye.
Ellen grabs the metal pipe and shoves Martin away.
She jumps over to Thomas...
ELLEN
I love you! Don't let a lie come
between us! Look at this!
...and slashes the pipe at him.
The metal penetrates the figure's "body" and destroys the
illusion: The facade of the little boy dissipates into mud.
For a second, Ellen believes to have seen the hideous figure of
a swamp corpse, but the creature instantly melts into the muddy
water covering the cellar floor.
At this very instant, a loud roll of thunder echoes throughout
the house.
Martin abruptly loses all of his strength. More and more
liquid begins to flow out of his eyes. The strands of mud
slither down his body like countless snakes and vanish into the
swamp water.
The house begins to quake. More and more mud seeps in through
the cracks. The cellar slowly floods. The walls quiver.
Ellen runs to the door: It is shut tight - there is no way
out.
The moor is rising. Ellen grabs Martin, who is still
unconscious and about to drown. She tries to wake him up.
ELLEN
Martin! We have to get out of
here!
There is a sudden noise. Ellen jumps.
Something has started to move in the back corner of the cellar:
A dark something arcs out of the water for a short moment. It
isn't over, yet!
ELLEN
My God...
She vigorously tries to wake Martin, but he does not react.
The "thing" is coming closer. It languidly rolls forward.
Its shape remains hidden underneath the water's surface.
Ellen feverishly searches for a way out. She notices the small
cellar hatch.
The house quakes more violently; dust flakes down from the
ceiling. Ellen realizes that the entire house is slowly
sinking into the ground. And at the same time, the moor is
rising dangerously high.
She grabs Martin by the shoulders. With all of her strength,
she somehow manages to pull him up onto a pile of crates below
the cellar hatch.
The black thing is coming closer. It rises up out of the moor.
Ellen tries to heave Martin outside through the hatch - but she
is not strong enough. Still, she puts up a desperate fight
against the odds.
The already small opening of the hatch is growing smaller and
smaller: The tremendous foundations of the house are sinking
deeper and deeper into the ground.
Suddenly, a hand reaches in through the hatch and grabs a hold
of Martin.
Ellen starts. She looks outside. It's Lindner!
LINDNER
Hurry, we don't have much time!
Lift him up higher!
Ellen pushes Martin a little bit higher. Behind her, an
amorphous, black mass is rising up out of the swamp water.
Numerous strands of mud branch out of it and begin to grope for
Ellen.
One of the "tentacles" wraps itself around Ellen's foot.
Ellen notices it, but can't do anything about it.
With one strong jerk, Lindner tugs Martin out of the cellar.
At the same time, Ellen loses hold on the crate. She is torn
downward and disappears under water.
Lindner sticks his head in through the hatch.
LINDNER
(shouts)
Ellen!
A brief moment of hesitation - then the old policeman
determinedly climbs down into the cellar. By now, the moor has
risen almost to his waist.
Lindner wades through the thick liquid. The surface is smooth
- no sign of Ellen.
Then, she suddenly dives back up, gasping for air.
Lindner immediately grabs her arm and helps her toward the
hatch.
ELLEN
It's right behind me.
Lindner keeps calm.
LINDNER
Don't worry. It only has power
over us if we run away.
He helps Ellen up onto the crates. Carefully, she climbs out
through the hatch. She hears Tommi's voice behind her.
THOMAS
Mommy...
She is tempted to look back. But Lindner stops her from doing
it.
LINDNER
No. Don't look back.
THOMAS
Mommy...
The hatch, the last possible exit into freedom, is slowly
shrinking to a narrow slit.
Ellen reaches out her hand to Lindner.
ELLEN
Come! Quick!
Lindner climbs onto the crates.
Again, the house quakes. Single bricks break out of the walls
and ceiling.
Ellen's curiosity wins over reason. She takes a last look into
the cellar.
There - in the dark back corner of the cellar - she sees
shriveled figures with hollow eyes, watching the two of them in
silence. Swamp corpses.
Lindner notices her horror, but still remains calm. He starts
to climb out through the window hatch.
117. IN FRONT OF THE HOUSE - EXT. / NIGHT
Once Lindner is safely outside, Ellen immediately rushes over
to Martin.
ELLEN
Martin!
Martin seems to be regaining conscience. He opens his eyes.
Ellen wants to say something, but the thunder in the background
suddenly swells up to an infernal noise.
Walls collapse, bricks and rubble crash down - the entire house
is swallowed by the depths of the moor.
The three watch with open-mouthed horror.
Then, silence.
Ellen leans over to her husband.
Martin is still totally worn out. He moans.
MARTIN
Smog...
Ellen musters him, confused.
ELLEN
What?
MARTIN
I have a yearning for... smog,
cars and many, many people...
A real dirty... big city.
What do you think?
Ellen gently strokes his cheek.
ELLEN
You're back.
Martin's eyes are still glued to the spot where the house used
to be. He is still a bit disoriented.
MARTIN
How did you get me out of there?
ELLEN
I wouldn't have made it by myself.
She looks at Lindner.
LINDNER
You were right: You can never run
away from the past. Especially if
it scares you.
Ellen nods her head.
Then, she turns back to Martin. They look at each other for a
long moment. Then, she puts her arms around him and kisses
him. It's all over now.
There's something else Ellen wants to say to Lindner. But when
she turns around, she finds that he's already walked a bit
away: He is going to his car.
ELLEN
Mr. Lindner!
The old policeman stops by his car.
ELLEN
Thank you.
Lindner smiles. Then, he steps into his car and drives away.
Ellen helps Martin to his feet.
ELLEN
Can you walk?
Martin is in pain, but brave.
MARTIN
No problem.
He takes a step, but then he flinches with pain. The movement
hurt.
MARTIN
For God's sake, what happened to
me?
ELLEN
You don't remember?
Martin shakes his head.
ELLEN
It's a long story.
Arm in arm, the two of them stagger to their car which is
parked next to the entrance gate, the last remnant of the
house.
They get into the car and drive off.
The car slowly vanishes in the distance, leaving behind the
vast, swampy landscape where there was once a house.
FADE TO:
118. APARTMENT HOUSE IN THE CITY - EXT. / DAY
A beautiful old building, located by a park in the city. Ellen
and Martin live in the penthouse.
Text chart: "1 year later"
119. APARTMENT - INT. / DAY
Ellen is standing by the window, looking over the small city
park. She looks happy.
Martin joins her at the window and hugs her.
MARTIN
What a sight: A few trees, a
couple of ducks in the pond.
That's all the nature I need.
Ellen laughs. They are about to kiss, when suddenly the
doorbell RINGS.
ELLEN
Are you expecting company?
Martin shrugs his shoulders and walks to the door. He opens it
to Paul and Claudia.
PAUL AND CLAUDIA
Surprise!
Paul is carrying a package under his arm. He walks straight
past Martin, to Ellen. Martin and Claudia follow him.
PAUL
This baby is a dream come true,
I tell ya! The third edition
within one year!
ELLEN
Wow! - Considering how it all came
about...
Paul tears open the box. It contains several copies of "You
have 7 Days to Live". Above the title, it reads: Ellen and
Martin Straub!
PAUL
You two are one hell of a team!
And as far as I'm concerned: In
case you plan on moving back to the
countryside, I'll be glad to lend a
hand.
Martin and Ellen trade looks.
MARTIN
Have you already told him about our
idea for the new novel?
Paul can't wait to find out.
PAUL
Yeah? What's it about?
Ellen grins ambiguously.
ELLEN
It's about this publisher who
constantly gets on his authors'
nerves.
Martin plays the ball back to her.
MARTIN
...until one day, he goes too far
and the two of them get really
mad...
120. APARTMENT HOUSE IN THE CITY - EXT. / DAY
We see the four of them standing behind the large window of
Ellen and Martin's apartment. The camera pans farther and
farther away from them, over the park.
They keep the joke running:
ELLEN
...and we mean: really mad!
The voices slowly fade with the camera's growing distance.
PAUL
Okay, okay, I get the message!
I was only trying to make a
suggestion, you know.
The camera travels further away... over the big city and it's
ever-busy activities.
- THE END -