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YOU HAVE
7 DAYS TO LIVE
Screenplay for a cinema feature
by
Dirk Ahner
1st draft?
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 -
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