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INT. MUSUEM - HALLWAY - NIGHT
The hallway is dimly lit, the darkness obscuring the works
of art that are scattered along the hallway walls.
VINCENT CARTER, a twenty year old security guard on the
attractive side of average is making his way down the
hallway. He is humming 'an Ode to Joy' to himself in a
bored way as he makes his rounds absently swings his radio
from his left hand.
INT. MUSUEM - WINDOM HALL - NIGHT
A dark robed FIGURE moves through the darkness. The hood of
the figure is pulled low hiding the face of the wearer. The
out line of the figure is lose so we cant tell if its male
or female.
Around the room there are objects in display cases: a large
ornate dagger, an ancient clay urn etc. The hooded figure
passes them all with out so much as a look. That is, until
it stops in front of a large mirror in a glass case.
Looking up at the mirror the figure takes a very onrnate
delicate golden gauntlet from within its rode. On the back
of the gauntlet is a clear vile that is cut to look like a
jewel. The figure slides its left hand into the gauntlet
and snaps it shut. There is a small grunt of pain from the
figure as the jewel begins to fill with a dark red liquid.
The clear vile now looks like a blood red ruby.
INT. MUSUEM - HALLWAY - NIGHT
Vincent is continuing down the hallway shining the light of
his torch a head of himself. He is still humming to himself
absently.
On one wall is a large cabinet with a glass front, Vincent
catches sight of his reflection in it and stops. Looking at
his reflection Vincent sucks in his stomach and tries to
look as hero like as he can.
He holds it for a few seconds studying his reflection then
relaxes and sages back to his normal slouchy stance.
VINCENT
(to himself)
Oh forget about it.
Vincent notices something moving in the reflection behind
him.
At the end of the hallway a faint light moves under a large
set of double doors.
VINCENT
(to himself)
Hello?
He crosses to the door's quietly to see what's going on.
Beside the double doors a sign reads "The History of Magic:
Mysteries through the ages".
INT. MUSUEM - WINDOM HALL - NIGHT
The glass case that held the large mirror is now open and
empty. The figure is putting the mirror down in the centre
of the room. For such a large mirror the figure moves it
with unexpected ease.
The figure removes a container from within its rode. The
figure opens the jar and starts to pour the contents over
the face of the mirror. The mirror is slowly coated in a
lick red liquid.
INT. MUSUEM - HALLWAY - NIGHT
Vincent is peeking through the door. He pulls his head back
into the hallway closing the door silently.
VINCENT
(to himself)
OK... That's not normal.
Vincent picks up his radio.
VINCENT
Eric, Eric come in.
(pause)
Eric, you useless bag of blubber
pick up the radio or i swear...
ERIC (O.S.)
(from radio sounding
breathless)
Take your finger off the button
or I'll break it.
VINCENT
We have a problem.
ERIC (O.S.)
If you're playing some dumb game
you are dame right we have a
problem.
VINCENT
No, no, no we have a real
problem. Like a 'Break in'
problem.
ERIC
Cameras are clear.
VINCENT
Well its not flipping well clear
down here in windom Hall. There
is some guy in there painting a
mirror.
ERIC
Painting a mirror, are you high?
VINCENT
Its what's happening(!)
ERIC
Well then bloody do something to
stop him.
VINCENT
Are you insane? Its a break in,
he could have a gun or something.
ERIC
Oh for crying out loud, all right
little orphan Annie hold on to
your undies I'm coming. If this
is a game you are so dead.
The radio clicks dead.
VINCENT
Twat.
INT. MUSUEM - WINDOM HALL - NIGHT
The figure is now kneeling on the floor in front of the
mirror. The mirror, which is now coated in a thin layer of
the red liquid, reflects the room in its blood red stain.
At the back of the room Vincent is sneaking through the
shadows. He ducks down behind a large display case out of
sight.
VINCENT
(Whispering to himself)
Oh, this is so stupid.
Poking his head around the side of the display Vincent sees
the figure still kneeling in front of the mirror. The
figure is muttering to itself but its to quiet to make out
the words.
The stained surface of the mirror seems to shimmer
slightly, the reflection ripples like its the surface of a
pond.
The figure picks up the large ornate knife that was
previously in the display case it passed on its way into
the hall.
Vincent ducks out of sight again.
VINCENT
That's not good.
FIGURE
No, its not.
The figure is crouching very close to him, the hood is
still pulled low and we cant see its face.
VINCENT
Christ!
Vincent flinches away in shock but the figure is way to
fast. It grabs Vincent by the throat and throws him across
the room.
FIGURE
Hardly.
Vincent slides to a stop on the floor but before he can get
up the figure is lifting him up by the thoat and slamming
him backwards into the wall.
A dazed Vincent fumbles with his radio but he drops it
VINCENT
Eric...
(to figure)
Please don't...
The figure throws Vincent clear across the room in destain
not really looking where he is throwing him. As he tumbles
through the air Vincent ricochets off of a large case
spinning him unexpectedly into the surface of the large
mirror that the figure was so interested in.
When Vincent does hit a surface its not the wall or even
the floors its the blood stained mirror.
FIGURE
No!
Vincent doesn't drop to the floor he is stuck to the
surface of the mirror like a dart in a bored.
The figure moves quickly towards the mirror. Clearly
Vincent hitting it was unintentional and a mistake.
The silver surface of the mirror seems to be seeping
through its broken glass front and starts to envelop
Vincent.
He tries to move but he cant, his eyes go wide with terror
as the silver and red liquids slowly seep over him,
enveloping him.
VINCENT
This cant be real... This is a
nightmare...
The figure is again in its position infront of the mirror,
it picks up the knife. Vincent is finally totally when the
figure raises the knife over its head, ready to strike. The
last thing we see of Vincent are his eyes wide with terror
as the liquids pool into them.
With sudden amazing ferocity a burst of power shoots from
the mirror knocking the figure backwards off its feel. The
silver liquid surface that has covered Vincent goes dark
and in a few seconds has become an empty black hole.
A gaping void in the shape of Vincent's body. Deep within
the darkness of the Vincent void something moves. The
darkness that is the hole changes in an instant to a
brilliant beam of light. Like a spotlight from within the
mirror creating a corridor of light.
Silhouetted in the light is a figure that seems to step out
of the mirror. Its the shape of an athletic man but we cant
make out the features. The light fades and the figure
vanishes again in the darkness.
A few seconds later the light is back and there is a new
figure silhouetted in it, this time of a taller man more
muscular and imposing in stature.
Again the light fades and when it returns the imposing man
is gone and a creature is crawling out of the tunnel of
light.
Against the wall the figure in the red robe gets to its
feet unsteadily. The pulses of light from the mirror are
increasing and there is the sounds of things moving around
the room.
The light from the mirror is now going so fast it seems to
strobe faster and faster letting more things though the
mirror. When the light is flashing so fast its a constant
beam again a huge figure steps out of it and into the room.
There is the sounds of things crashing around the room and
the red robed figure dives out of the way as something
crashes past it.
EXT. MUSUEM - NIGHT
The wall of the musuem exploded open as something bursts
out from with in.
The blinding light from the mirror is still steady as we
see silhouettes and shadows of people and/or creatures
escaping out of the musuem into the night. Some fly some
run out of the hole scrambling over the rubble and away
into the darkness of the city.
INT. MUSUEM - WINDOM HALL - NIGHT
The light is fading slowly but one last figure is moving
towards the world. Its a large creature that emerges. Its a
large dark gray skinned dog of some sort, but no normal dog
is like this creature. Its the size of a lion and hare
large black claws on each of its powerful paws. The
creature looks around the room with slow almost regal
bearing.
The light from the mirror has faded away to nothing now as
the red robed figure steps forward so the creature can see
it.
FIGURE
(in quiet reverence)
Goddess.
The creature moves past the figure and through the hole in
the wall. The red robed figure looks back at the mirror for
a second but quickly turns and follows the creature out of
sight.
The room is now dark and empty and very still. Nothing
moves until Vincent crashes to the floor in front of the
broken mirror. His eyes are closed and he is bleeding, he
doesn't move as he lays in the glass and rubble of the
wrecked room.
INT. MUSUEM - WINDOM HALL - MORNING
The bright light of day fills the room and the carnage of
what happened the night before is clearly evident. Display
cases have been smashed and knocked over, its not clear
what, if anything, was taken.
Around the room there are forensic detectives looking over
the place, taking pictures and samples of everything. There
is a small pool of blood at the base of the broken mirror.
A police officer is standing over it looking down. This is
detective SARGENT CRANE, mid forties, in good shape and a
cheap suit.
A younger man approaches Crane this is detective inspector
Richardson. Richardson is in his mid thirties and has quick
sharp eyes. He is wearing a much nicer suit than crane and
has an air of authority about him.
CRANE
Morning sir.
RICHARDSON
Morning crane, so this is a night
in the museum?
CRANE
Quite a night sir.
RICHARDSON
What have we got?
CRANE
The lab boys are still doing
their thing but so far it looks
like a snatch and grab, all be it
on a large scale.
RICHARDSON
Really?
CRANE
Yes sir, place was basically
taken apart, artifacts are
definitely missing. I'll have a
full inventory asap.
RICHARDSON
(looking at the mirror)
And what happened here?
CRANE
My guess is they wanted to get
this out of here but wee
interrupted. Must have got broken
moving it so they just smashed
and ran.
RICHARDSON
I was told there was a witness.
CRANE
Yes sir, security guard. He was
taken to the hospital.
RICHARDSON
Badly hurt?
CRANE
Cuts and bruises as far as i
could see but they took him in
anyway. Better to play it safe.
RICHARDSON
Quiet, make sure you get a full
statement from him asap. Any
prints yet?
CRANE
Early days yet sir, I'll let you
know as soon as we have any hits.
(pause)
Are you alright sir?
RICHARDSON
The blood.
CRANE
Sir?
RICHARDSON
On the mirror, its covered with
blood. Thought the guard wasn't
hurt that badly.
CRANE
Knocked around for sure but I
wouldn't have said hurt that bad.
RICHARDSON
Make sure you get it tested, just
in case.
CRANE
Yes sir.
RICHARDSON
So, how you think the perp got
out of here Sargent?
They both turn and look through the large hole that was
left in the wall. The street is beyond filed with rubble.
CRANE
Might have one or two ideas sir.
INT. HOSPITAL - VINCENT'S ROOM - DAY
Vincent is in bed asleep, his eyes flicker behind his eye
lids rapidly. Whatever dream he is having he is not
enjoying it and he wakes with a start.
For a second he doesn't know where he is and look up in
shock then a throb in his head kicks in and he holds his
temples in pain.
VINCENT
Ow... Pain.
CRANE
There you are.
Vincent looks over and sees that Crane is sitting in the
corner of his room with a gardening magazine.
VINCENT
Who the hell are you?
Crane puts the magazine down and comes over to Vincent's
bed.
CRANE
D.S. William Crane, I'm looking
into the incident last night,
wanted to get a word with you
while it was fresh in your head.
VINCENT
Oh come on my head is killing me
cant we do this another time?
CRANE
I'm sure you have had worse
hangovers. I need to get a
statement so we can get a move on
with this.
VINCENT
Seriously, my head is killing me
i cant do this now.
CRANE
Seriously Oh well in that case,
by all means take some time,
didn't mean to push you, just let
me know when u are ready.
VINCENT
Thanks man.
CRANE
Totally understandable.
Vincent lays back down expecting to hear the door click. It
doesn't and he looks up and sees that crane is watching
him, he hasn't moved.
CRANE
All better?
VINCENT
Are you kidding?
CRANE
Son, this is a criminal
investigation. I'm not going
anywhere till I find out what
happened last night.
VINCENT
This cant be right.
CRANE
Annoying i know but the quicker
you tell me what happened the
quicker you can get back to your
quiet little world.
VINCENT
Christ, what do you want to know?
CRANE
Tell me everything that happened
yesterday.
INT. VINCENT'S FLAT - BEDROOM - MORNING
Vincent wakes up in his bed. He has bed hair and looks
around sleepily.
INT. VINCENT'S FLAT - KITCHEN - MORNING
Vincent is standing by a sink eating cereal from a bowl
nosily.
INT. HOSPITAL - VINCENT'S ROOM - DAY
Crane is looking at Vincent with annoyance.
CRANE
I think we can skip ahead.
VINCENT
You said you wanted to know
everything that happened
yesterday.
CRANE
You think being a smart arse is
going to make this go quicker or
slower? What time you get to the
museum?
VINCENT
About five thirty.
CRANE
Your shift didn't start till
seven, what happened
VINCENT
I was having dinner with a
friend, she was working late so i
brought her some dinner.
CRANE
And your friend is?
VINCENT
Ruth, Ruth Sinclair, works in
restoration.
INT. MUSUEM - RESTORATION - EARLY EVENING
Vincent is standing by the door watching RUTH who is
sitting at a large wooden table working on a piece of
medieval armour. Ruth is in her mid twenties, petite in
size but with any air of confidence.
She looks up to see Vincent standing in the door and cant
suppress a small grin.
RUTH
Hey loser.
VINCENT
Bookworm.
Ruth's grin fades when she see's Vincent's hands are empty.
RUTH
Where the hell is my food?
VINCENT
Like I would be dumb enough to
enter the cage with nothing to
feed the animals. How stupid do I
look?
RUTH
That one's rhetorical isn't it?
Vincent picks up a bag from just outside the door way and
holds it up to show ruth.
RUTH
Good boy.
Vincent smiles and takes the bag to the desk.
INT. HOSPITAL - VINCENT'S ROOM - DAY
Crane is making notes on his pad.
CRANE
She your girlfriend?
VINCENT
No.
CRANE
You gay?
VINCENT
What? No.
CRANE
So she not your type or
something?
VINCENT
Well... That's...
The door bursts open and Ruth barges her way in.
RUTH
What the bloody hell have you
been doing?
VINCENT
(to Crane)
No, not really.
RUTH
You tried to stop a break in? Are
you brain dead?
CRANE
Excuse me miss I'm conducting an
interview.
RUTH
Don't 'miss' me I'm not talking
to...
(notices crane)
Oh hello.
VINCENT
Don't start Ru'.
RUTH
(to crane)
You're very nice. Who are you?
CRANE
D.S. Crane, I'm investigating
what happened last night and as i
said we are in the middle of an
interview.
RUTH
You can interview me.
CRANE
Where were you last night around
eleven?
RUTH
In bed. Alone.
CRANE
I think I'll focus on Mr. Carter
for now.
VINCENT
Oh you remembered I'm here, how
nice.
CRANE
What time did you leave the
museum last night miss?
RUTH
About quarter to seven, and
please call me ruth.
VINCENT
My head is killing me. You are
keeping me up for this can we
please get on with it.
RUTH
Don't be mouthy
CRANE
So what happened after miss...
Ruth left you?
VINCENT
Well...
INT. MUSUEM - CHANGING ROOM - EARLY EVENING
Vincent takes off his shirt to change into his uniform.
INT. HOSPITAL - VINCENT'S ROOM - DAY
RUTH
Oh god, like i need that image in
my head.
VINCENT
No one asked you to stay Ru'.
INT. MUSUEM - CHANGING ROOM - EARLY EVENING
Vincent finishes getting changed and locks his locker.
INT. MUSUEM - HALLWAY - EVENING
Vincent walks down the hallway to the security office.
INT. MUSUEM - SECURITY OFFICE
Vincent opens the door to see ERIC and MS MCSWEENY. They
shift uncomfortably looking flustered and stand offish.
Eric is over weight in his late thirties his uniform
unbuttoned and looking ruffles. Ms McSweeny is in her early
fifties and slight of build. She is attractive in a very
stern school mistress type way with her hair pulled into a
tight bun.
VINCENT
Evening.
MS. MCSWEENY
You are late.
ERIC
And short.
VINCENT
Witty, very witty.
INT. MUSUEM - HALLWAY - NIGHT
A repeat of the first scene shows Vincent walking down the
hallway humming to himself and swinging his radio.
VINCENT (V.O.)
I was doing rounds and...
INSERT
Flash of the windom hall and the mirror covered in blood.
INSERT
Flash of the figure in the red rode with the hood pulled
low.
INSERT
The gauntlet hand griping Vincent's throat.
INSERT
The silver of the mirror pooling into Vincent's eyes.
INSERT
Bare feet stepping down from the mirror onto the floor of
the windom hall.
INSERT
The large demon dog leaping snarling towards us.
INT. HOSPITAL - VINCENT'S ROOM - AFTERNOON
Crane and ruth are both looking at Vincent expectantly.
Vincent is holding his temples trying to make his head make
sense. He looks up at the pair who are watching him.
CRANE
Well?
VINCENT
Nothing, just a jumble of images
that don't make sense.
CRANE
Images, like what?
VINCENT
Like the kind that don't make
sense.
CRANE
Give me an example.
VINCENT
I don't know, a mirror, that big
one in the hall. A gold glove
thingy, darkness and feet, bare
feet.
RUTH
A bears feet?
VINCENT
No not a bear 'grrr' bare as in
no shoes. But they weren't all
people there was animals... Or
something.
CRANE
Animal feet.
VINCENT
Oh and a dog that wasn't a dog.
Not really.
CRANE
Took quiet a whack on the noggin
didn't you.
VINCENT
I'm only telling you what i
remember.
The sound of Crane's phone ringing from inside his coat
interrupts the conversation.
RUTH
Bad boy, that meant to be off.
Hospital.
CRANE
(to ruth)
Police.
(to phone)
Crane here.
RUTH
(to herself)
I'm very aware of that.
VINCENT
And suddenly I'm feeling sick.
Crane moves towards the door but looks back
CRANE
I'm going to have to take this.
He leaves the room Ruth checks out his ass.
RUTH
I like him.
VINCENT
Are you trying to make my brain
dribble out of my ears?
INT. MUSUEM - WINDOM HALL - AFTERNOON
The double doors to the hall have been sealed up with
police tape as has the hole in the wall.
Richardson is standing near the mirror talking on his
mobile.
RICHARDSON
Animal feet. Well that's very
helpful.
(pause)
You think he knows more?
(pause)
Fine, follow it up, oh and by the
way. The preliminary report is
back on the blood. Some was the
guards some wasn't.
(pause)
Badger, weird huh?
Ms. McSweeny is now standing in the doorway glaring at
Richardson through the police tape.
MS. MCSWEENY
Inspector Richardson.
RICHARDSON
I'll check in with you late. I'm
getting the evil eye from the
locals.
He hangs up the phone and crosses to the doorway.
MS. MCSWEENY
Inspector i want a word with you.
RICHARDSON
Yes Ms.. McSweeny, i know this is
an inconvenience but this is a
police investigation.
MS. MCSWEENY
I'm very aware of that, you have
had people rummaging around all
day and as far as i can tell you
have absolutely nothing to show
for it.
RICHARDSON
We have collected evidence and
have several promising leads.
As Ms McSweeny is talking an elderly man with a cain that
has appeared around the corner behind her. He appears more
than a little disoriented; bumping off a statue in the hall
as he comes down it.
MS. MCSWEENY
That would be fine if you were
looking for a labrador but since
i very much doubt that Cujo and
co. broke in this is pointless. I
don't think you understand how
important this show is for the
musuem, its our grand reopening.
The elderly man, whose name is MICHAEL GRIFFITH, is closer
now and we can see he is in his early seventies and quite
frail. He sees Ms McSweeny conversing with Richardson and
makes his way towards them.
RICHARDSON
This is a crime scene. It will
remain so until I'm satisfied.
GRIFFITH
Oh dear lord, is it hurt? Is it
safe?
MS. MCSWEENY
Oh dear.
RICHARDSON
And who the hell is this?
MS. MCSWEENY
Calm down Michael.
(to Richardson)
This is Michael Griffith. He
donated the mirror and several
other artifacts to the museum for
the display.
RICHARDSON
He did huh? So Mr Griffith where
were you last...
GRIFFITH
Oh dear lords in heaven, sweet
holy mother its been...
Shattered!
RICHARDSON
Yes, OK calm down.
GRIFFITH
Calm down? Calm down? Do you have
any idea what this means? How
much that mirror is worth?
RICHARDSON
Not as of yet but we are going to
find out who did this.
MS. MCSWEENY
The police are doing what they
can Michael.
GRIFFITH
That mirror is priceless, i cant
believe i was eve foolish enough
to be talked into loaning it to
you people. This is so typical.
Nothing works how it should. Its
all a complete let down.
RICHARDSON
Its upsetting, I'm getting that.
GRIFFITH
Its typical that what it is.
Nothing ever works how it should
nothing ever reaches it
potential. Its all and utter
waste. Pointless technology that
doesn't work... don't even have a
jet pack.
RICHARDSON
I have no idea what he is going
on about.
GRIFFITH
Very traumatizing. Very bad.
(to Ms. McSweeny)
I'll have my people call you.
(to himself)
utter disappointment, don't you
get that?
RICHARDSON
Er, sorry?
Michael moves off down the hallway muttering to himself.
GRIFFITH
When I was a boy I dreamed it
would all be so different. I
wanted wonder and awe... All
anyone ever gets is blunder and
dour. Such a waste such a
pointless pathetic waste.
RICHARDSON
(to Ms. McSweeny)
Is he always like that?
MS. MCSWEENY
Michael Griffith is one of the
foremost collector of mystic and
mythologically inspired artifacts
in the world.
RICHARDSON
Mythologically inspired?
MS. MCSWEENY
As in inspired by myth. That
mirror was his prized piece. He
believe that is was the mirror of
an ancient sorcerer.
RICHARDSON
Really
MS. MCSWEENY
There are more things in heaven
and earth,
RICHARDSON
Yeah i get it, he's a fruit loop.
MS. MCSWEENY
Ah the sign of every great
detective, closed minded
ignorance.
INT. HOSPITAL - VINCENT'S ROOM - NIGHT
Vincent is having a dream that is clearly upsetting. As he
sleeps his fingernails seem to almost darken and grow into
pointed claws. Under his eye lids the eyes flicker faster
and faster.
Suddenly, his eyes open but instead of his normal hazel
eyes they are empty like the void in the mirror and black.
EXT. PARK - NIGHT
Something is moving through the bushes and under growth.
Its like we are looking out of the eyes of something hiding
out of sight. It moves silently though the foliage.
Through a gap in the undergrowth we see people going about
their business. A couple of old men gossiping on a bench.
Moving past them a young guy wearing a hoodie wandering
along the path.
We follow him until he crosses path's with a young woman
and then she takes the focus.
The woman is named WENDY NOBEL, an eighteen year old young
lady, she is walking through the park with her coat pulled
tight against the wind. She is walking with purpose clearly
on her way somewhere and with her mobile phone to her ear.
WENDY
(to mobile phone)
She is just so annoying. Why cant
she just let me do it my way?
(pause)
Yeah i know, I'm just saying.
(pause)
I'm on my way now, you want me to
pick up some food?
(pause)
How about that nice little
Japanese place?
The sound of something shifting from the bushes where we
are watching her from startles her. She stops walking and
glances our way nervously.
WENDY
Huh? Oh, nothing, just freaking
myself out i guess.
(pause)
Yeah, see you in about twenty
min.
(pause)
You to.
She hangs up the phone and glances around one last time
then heads off down the path continuing her journey.
Suddenly a MUGGER appears on the path in front of her and
clamps a hand over her mouth and pushes her out of sight
into some bushes on the far side of the path.
WENDY
No, please, help!
She is clearly scared and fighting but the mugger has her
pined under him.
We move closer and she catches sight of us. Its only then
that her eyes truly go wide with terror.
WENDY
AHHHHHHHHHHHHH!
The mugger looks over his shoulder at us and when he sees
us his eyes go wide in terror just like Wendy's. With a
guttural roar we charge forward and there is the splash of
blood on the damp grass. The world goes dark.
INT. HOSPITAL - VINCENT'S ROOM - MORNING
Vincent is sound asleep in bed when a hand touches his
shoulder. He wakes with a start but its just Ruth.
RUTH
Hey lazy, get you backside out of
bed.
VINCENT
Ah, the dulcet tomes of a caring
mate.
RUTH
Its nearly ten, they told me to
get your titanic tush out of bed.
Ruth yanks the covers pulling them half off him.
VINCENT
This is the tender care i get,
nice.
Vincent sits up he hands finding that the sheet under him
has been ripped in. It looks like it was done by an animal.
VINCENT
(to himself)
What the hell.
Ruth is looking through draws and cupboard's.
RUTH
I was here when you told that
very nice office your story
yesterday. I know there is
nothing wrong with you. Where are
your trousers?
VINCENT
I Don't know, why?
RUTH
Well if we cant find them you
walk home with your butt hanging
out for the world to see.
Vincent roles out of bed and stretches
VINCENT
Oh for the love of ...
Ruth sees the sheets.
RUTH
Wow, good night?
Vincent looks at the covers then to her, he shrugs not
knowing what happened.
VINCENT
I guess, Don't remember.
RUTH
Come on, lets get you out of here
before someone notices and makes
you pay for new ones.
Vincent is still looking baffled at the sheet.
VINCENT
(to himself)
Really Don't remember...
RUTH
Found them.
Vincent looks over at her as his trousers hit him in the
face.
EXT. HOSPITAL - MAIN ENTRANCE - MORNING
Vincent and ruth are leaving by the main door. Vincent
looks a little ruffled as he is just finishing dressing.
RUTH
So what the hell were you doing
last night?
VINCENT
I'm trying not to think about it.
Just looking forward to getting
home and having a bath.
RUTH
A bath? What exactly were you
doing?
VINCENT
Nothing, i wasn't... Lets just
skip it shall we?
RUTH
(teasingly)
Pervert.
VINCENT
(with a tired grin)
Don't start.
The figure of Sargent crane meets them on the road.
CRANE
Well good morning.
RUTH
Hi.
VINCENT
Oh what now? I told you
everything.
CRANE
I believe you, i just want you to
take a look at some photo's see
if it sparks anything.
VINCENT
And then you'll leave me alone?
CRANE
I do hope so. This way.
VINCENT
Where are we going?
CRANE
My car i can give you a lift to
the station.
VINCENT
The station? I thought you just
had a couple of pictures with
you... Why do i have to go to the
station?
CRANE
Its where the photos are.
RUTH
Men in uniform, count me in.
CRANE
I'm really not sure you will be
needed miss.
VINCENT
Yeah that's not going to stop
her.
RUTH
Just try and stop me. And do call
me ruth.
With a role of his eyes crane heads off to his car. Ruth
links arms with Vincent and drags him after crane.
INT. POLICE STATION - CRANE'S OFFICE - AFTERNOON
Vincent is looking through a large book of mug shoots.
There is a pile of three similar books next to him that he
has already looked through.
A fat police man walks past ignoring him, ruth watches the
police man walk past and is clearly unimpressed.
RUTH
OK this is not fun.
VINCENT
Nope, none at all.
RUTH
You found anything yet because
I'm about to kill myself.
VINCENT
Nothing. Well a picture of my
dentist which is a bit of a
worry.
RUTH
Vincent this is so dull.
Entertain me, i need to be
entertained.
The door opens and crane enters.
CRANE
Any luck?
RUTH
And as if by magic.
VINCENT
There is nothing here. Sorry but
i didn't see his face.
CRANE
You're sure.
VINCENT
Very. Id like to help but... I
don't know what to tell you.
CRANE
Alright, was worth a try.
RUTH
Words to live by.
INT. POLICE STATION - FRONT DESK - MOMENTS LATER
DAVID SINCLAIR is talking to the DESK OFFICER and is
clearly worried. David is in his early twenties and skinny
while the desk office is in his late forties and slightly
over weight.
DAVID
You have got to do something!
DESK OFFICER
I know you're worried but you
have got to calm down.
The side door opens as crane is showing Vincent and ruth
out of the station.
CRANE
I mean it, any new thoughts and
you call me.
RUTH
He hasn't had a new thought in
months.
DAVID
don't tell me to calm down, my
girlfriend is missing.
DESK OFFICER
I understand but if i cant get
the information i cant do
anything.
CRANE
(to desk office)
Problems?
DAVID
Are you in charge? I need someone
to listen to me.
DESK OFFICER
He's upset sir but I'm handling
it.
DAVID
You aren't even listening to me.
CRANE
OK, what's happened to your
girlfriend?
DAVID
Wendy, Wendy Nobel, she was
coming home last night and never
got there... Here.
David hands crane a picture of Wendy that he was showing
the desk office.
CRANE
This happened last night.
Vincent sees the picture over Crane's shoulder and she
looks familiar.
DAVID
Yeah she was going to get dinner
but i don't know what happened.
CRANE
Ah well you see the problem is
that a person has to be missing
for twenty four
DAVID
Don't tell me that, that's all he
was saying. This is different
something has happened.
RUTH
She's pretty.
VINCENT
Lets go ruth.
RUTH
Coming.
(to David)
Good luck.
CRANE
Anything new...
VINCENT
(over his shoulder)
I know, I'll call.
CRANE
(to David)
Right how about we take a
statement and then see what we
can do?
DAVID
Yeah OK.
Vincent looks back through the door at David and crane
looking worried. He turns and goes off down the street with
ruth.
EXT. PARK - AFTERNOON
The park looks different that it did last night. With the
light of day is friendly and open. Vincent is looking
around like he has lost something while ruth watches him in
confusion.
RUTH
What are we doing here? I thought
you wanted to go home?
VINCENT
I do...
RUTH
So? Vincent this is stupid, and
not the kind of stupid where you
have a couple of drinks and get
off with an ugly guy.
This is major stupid. What the
hell are you doing?
Vincent stops cold as he notices a clump of grass has been
pulled up by a large group of bushes near the side of the
path.
VINCENT
Freaking out.
RUTH
Why? What you done?
VINCENT
Nothing... I... There is someone
in the bushes.
RUTH
What? A perv?
VINCENT
No, someone's dead.
RUTH
OK that's not funny.
VINCENT
Not going for funny.
RUTH
Please be kidding.
VINCENT
Look.
RUTH
You look!
VINCENT
I cant...
Ruth glares at him and goes over to the group of bushes
cautiously. She pulls back some of the foliage and a hand
falls out.
RUTH
Oh God!
VINCENT
Its her, oh God, i think... I
think i...
RUTH
How did you know he was here?
VINCENT
He?
Vincent finally looks into the bushes and we see the body
of the mugger looking up at him.
Ruth has her mobile out and is already calling the number.
VINCENT
Its the mugger, where is she...
RUTH
I'm calling the police. Don't
touch anything.
EXT. PARK - LATER
The police have arrived and cornered off the area to
investigate. Ruth and Vincent are off to one side when
Sargent Crane joins them.
CRANE
What the hell happened here?
RUTH
We found him.
CRANE
You found him? Just like that? In
the middle of the park.
VINCENT
He mugged her didn't he.
CRANE
What?
VINCENT
The man in the bushes. He mugs
that Nobel girl.
RUTH
What are you talking about?
VINCENT
The guys girlfriend, from the
station.
CRANE
How do you know that?
VINCENT
I saw it.
CRANE
You what?
VINCENT
Last night, i saw her... I
thought she was the one who...
RUTH
OK, he's delirious or something.
CRANE
You were in hospital last night.
VINCENT
I know. But i saw her. Maybe i
sleep walked or dreamed it... My
head hurts.
RUTH
(to crane)
How do you even know there was a
girl?
CRANE
We found her bag by him. ID was
for Wendy Nobel.
RUTH
This is to weird.
VINCENT
I was asleep... I don't
understand what's going on.
CRANE
Neither do i but I'm going to
find out.
RUTH
I'm going to take him home. He's
a wreck.
CRANE
Alright, I know where you will
be. I am going to have more
questions.
VINCENT
Me to...
Crane crosses to Richardson who is standing by the bushes
where the mugger was found as Ruth leads Vincent away.
RICHARDSON
What he say?
CRANE
There is more to him than i think
we know.
RICHARDSON
Oh he is a person of interest
that's for sure.
CRANE
He says he saw this happen last
night.
RICHARDSON
He was under guard at the
hospital.
CRANE
I know. But he certainly knows
more than he is saying.
RICHARDSON
Yes. Alright see where he leads
you.
INT. MUSUEM - HALLWAY - LATER
Vincent is walking down the hallway with ruth.
RUTH
This isn't you going home!
VINCENT
Something happened here. This
must have had something to do
with it. That mirror thing.
RUTH
The druids mirror?
VINCENT
Yeah, what do you know about it?
RUTH
"The druids mirror, sometimes
called the chariot of Morgan the
wealthy, legend tells us that
this mirror was once the tool of
the worlds most powerful
magicians. He used his magic to
see his enemies in the mirror.
His powerful magic's preventing
from infecting the world with
evil" its what the guide book
says anyway.
VINCENT
Is it mad that I'm starting to
believe that?
RUTH
Don't be so melodramatic, its a
cool story but it is just a
story.
VINCENT
Something must have happened
though. How else could i have
seen that guy get ripped...
Vincent head suddenly throbs in pain
RUTH
Cos this isn't carry on screaming
dummy. This is the real world.
There isn't an evil infections.
MS. MCSWEENY (O.C.)
Carter!
RUTH
Then again.
Ms McSweeny is approaching them down the hallway with a
look of accusation on her face.
MS. MCSWEENY
There you are.
RUTH
Bloody hell.
MS. MCSWEENY
What the devil do you think you
were playing at?
VINCENT
Ms McSweeny, I'm OK really.
MS. MCSWEENY
You irresponsible fool. Have you
seen the danger that you have
wrought on windom hall?
VINCENT
I didn't mean to.
MS. MCSWEENY
Oh, you never mean to! Trusty old
reliable Vincent. Every chance he
gets he will bring the house
down.
RUTH
Its not his fault.
Another wave of throbbing pain runs through Vincent's head.
MS. MCSWEENY
Wasn't his fault? Then who
disregarded all the training he
received
RUTH
Training? Two weeks in Bogner?
VINCENT
(quietly)
My head hurts.
MS. MCSWEENY
He was given adequate training
and he ignored it. That action
has resulted in major losses to
this museum and the Griffith
collection.
Vincent looks at his hand as if they are tingling. His
nails are growing darker just like the night before.
VINCENT
I've got to get out of here.
He bolts off down the hall in terror.
MS. MCSWEENY
Don't you just walk away from me!
Truth follows after him leaving Ms. McSweeny standing in
the middle of the hallway.
RUTH
Vincent!
EXT. MUSUEM - MAIN ENTRANCE - EVENING
Vincent is buckled over in pain when Ruth finds him he is
clearly freaked out.
RUTH
Vincent? You OK?
He wont face her.
RUTH
You are seriously freaking me
out.
He is looking at his hands and still cant face her.
RUTH
Vincent?
He finally looks up at her; his eyes are now the black
empty voids, his fingernails have also become black and
like small claws, this time through the darkness is
spreading out of his nails and across his hands.
VINCENT
Help me.
INT. CRAINE'S CAR - CONTINUOUS
Crane is watching then with mild interest/annoyance.
CRANE
Now what the hell are you doing?
EXT. MUSUEM - MAIN ENTRANCE - CONTINUOUS
Vincent is trying to control his terror as the blackness
seeps further up his for arms. His hands are clenched in
fear as Ruth steps back in terror.
RUTH
What...
VINCENT
It hurts, what's happening...
Vincent looks back at his hands in horror, he really is a
monster.
VINCENT
Ruth, please... I hurt...
RUTH
You're a ...
VINCENT
Monster.
Out of nowhere the demon dog that emerged from the mirror
leaps out snarling at him.
The dog charges forward and jumps at Vincent. It knocks him
backwards and into Ruth pushing her over.
RUTH
What the hell is that?
VINCENT
Scary.
The dog leaps at them, they drop to the ground and the dog
sails over them and smashes into the wooden sign for the
museum.
It doesn't faze the dog who bounds off the ground and
ricochets off of the wall and lands a few feet away from
them both. The dogs eyes narrow as it snarls menacingly
creeping towards them.
RUTH
Vincent?
VINCENT
I don't know.
The dog lunges at them both again, its teeth lashing mere
inches away from Vincent's arm as he manages to dodge the
dog again, but only just.
Ruth is on the grass where she fell and her hand finds a
large broken piece of sign that was broken by the dog.
Using the chunk of wood as a club, Ruth smashes it on the
back of the dog who is moving closer towards Vincent. The
sudden attack on its back gets the dogs attention and it
pivots around to face Ruth with savage menace.
VINCENT
No!
Without thinking Vincent runs at the dog and hits it with
both hands as hard as he can in the side. The dog feels the
punch and yelps in pain flinching away. It circles back on
him with anger in its eyes.
The dog leaps at Vincent with bared teeth. On shear reflex
Vincent grabs the front legs of the dog holding it tight in
its grip. They hold each other there for a few seconds the
dog on its hind legs looking like they are wrestling but
the dog continues to snarl and gnashing at Vincent's neck
but never quite managing to tear the skin.
Out of nowhere Inspector Crane appears and with his police
issue baton swiped away the dogs hind legs. The dog crashes
to the floor with Vincent almost falling over on top of it.
Keeping his eyes on the dog crane backs over to Ruth who is
laying on the ground. Crane takes a fraction of a second to
check Ruth looks OK. Turning back he sees Vincent standing
over the dog his hands as black as midnight and he eyes
like deep empty voids.
CRANE
What the fu...
Crane and ruth look on as the dog lashes out at Vincent. He
tries to grab it again but the dog catches his leg its
teeth sinking in. The weight of the dog knocking Vincent
over and it actually starts to drag him away across.
Vincent in desperation slams his fingers into the grass
trying to stop the dog. His fingers slip and then dig in
again.
Then the amazing happens, where Vincent's fingers are in
the ground it starts to unpeal. The ripping grass doesn't
reveal the dirt beneath the turf but a gapping void. A hole
in the world just like the mirror and vincent's eyes.
This unexpected event seems to shock even the dog who's
teeth slip. Vincent pulls his leg free leaving the dog with
the blood stained trouser leg that it ripped free.
With the blood stained cloth in its mouth the dog looks
back at crane and Ruth who race to Vincent picking him up.
With the cloth still in its mouth the dog turns and with
amazing ease, vanishes into the night.
As soon as Vincent's fingers let go of the rip the surface
of the world falls back into place like it nothing ever
happened.
Vincent rolls onto his back breathing Havel. Crane grabs
him and pulls him to his feet with ferocity.
RUTH
Hey!
CRANE
I want answers, now.
EXT. ROOF TOP'S - NIGHT
In the lights of the city below the dog bounds over the
rooftops the blood soaked cloth in its mouth.
INT. MUSUEM - RESTORATION - NIGHT
Ruth is tieing a strip of cloth around the bite on
Vincent's leg. Crane stands back across the room watching
them. Vincent looks at his hand which are now perfectly
normal. He looks past his hands into Ruth's eyes. There is
confusion and disbelief on both of their faces.
RUTH
To tight?
With no response she gets up and steps back to her table.
Across the room Crane's eyes haven't left Vincent.
VINCENT
Stop looking at me like I should
have some sort of answers.
CRANE
I want answers.
VINCENT
Well I don't have any, I have no
idea, how am I meant to know?
RUTH
It was like a dog or something
that looked like a dog.
CRANE
Oh I got the dog thing part.
Satan's best friend but what the
hell was it? And what was all
over your hands?
VINCENT
I have no idea.
CRANE
You have no idea? You have no
idea! How can you have no idea
how you did that?
RUTH
Do you know how your lymphatic
system works?
CRANE
And what has that got to do with
anything?
RUTH
That works and you have no idea
how, maybe its the same principal
for Vincent.
CRANE
Fine but my lymphatic system
never turned my hands to darkness
or ripped a hole in the world.
VINCENT
Valid point.
CRANE
Well?
RUTH
Have you tried?
CRANE
I'm going to call this in.
RUTH
And tell them what? A big demon
dog appeared out of nowhere,
attacked us and Vincent ripped a
hole in the world?
CRANE
I have got to do something.
RUTH
Quite the poster child for grace
under pressure aren't you.
CRANE
I have hand cuffs.
RUTH
Any other day that would be
titillating but right now I'm
worried about my friend.
VINCENT
The freak.
RUTH
No one called you a freak.
VINCENT
I didn't mean me, guess the label
fits, but no i meant that weirdo
freak that broke in here. Threw
me around like a rag doll. He
must have done something to me.
RUTH
The mirror.
VINCENT
It cant just be coincidence.
EXT. GRIFFITH HOUSE - GROUNDS - NIGHT
The dog leaps over the wall into the grounds of a large
slightly rundown house. It was once very grand and almost a
mansion but time has weathered it.
The dog crosses the ground and enters through open French
windows into the dark house.
INT. MUSUEM - WINDOM HALL - NIGHT
In the darkness of the hall there is only a pool of light
around the mirror as Crane, Vincent and Ruth all stare up
at it. Ruth is reading the information on the display.
RUTH
The druids mirror, sometimes
known as the chariot of Morgan
the wealthy...
CRANE
Its a mirror not a flipping horse
drawn carriage.
RUTH
I'm just reading what it says.
Fine I'll give you the cliff
notes version. Its ancient and in
a display about magic. See where
I'm going with this.
CRANE
Magic? Are you stupid?
VINCENT
What else would you call what's
going on?
CRANE
Unacceptable.
VINCENT
This is like some nightmare. Wish
I could wake up.
Crane slaps the back of his head.
CRANE
Woken up? No? Guess this is
reality.
RUTH
Are you two done? OK according to
this carbon testing has put the
mirror as being made in the early
tenth century. Apparently its of
local materials consistent with
this region. Guess it was made
around here.
CRANE
By who?
RUTH
Will I'm guessing a wizard or
something.
CRANE
This is crazy.
RUTH
It was donated to the museum
three months ago, its been down
in storage since then and got put
in to this display a couple of
days ago. That's about it we are
going to need to talk to someone
knows about this thing.
CRANE
Any ideas?
VINCENT
Elaine, she knows more about this
display than anyone.
INT. GRIFFITH HOUSE - LIBRARY - NIGHT
The dog enters the hall and finds the figure standing
amongst the stacks of books. The dog crosses to a large
table in the center of the room and the figure notices it.
The dog puts its front feet on the table and holds the
cloth over a shallow silver bowl and lets the blood drip
into it.
FIGURE
Is it enough?
The dog looks over at him and growls.
FIGURE
Then its time.
The figure approaches the table as the dog drops down to
the floor. The figure removes a large knife and lays it
across the bowl.
INT. MUSUEM - HALLWAY - NIGHT
Crane, Vincent and Ruth are all heading down the hallway at
a pace. Vincent's leg is still hurting but it's getting
better rapidly.
VINCENT
She should have been in her
office.
CRANE
She was here the night of the
break in wasn't she?
VINCENT
Yeah.
CRANE
And the security tapes.
RUTH
What about them?
CRANE
They were blank.
RUTH
You think she wiped them?
CRANE
We were thinking it was an inside
job.
The stop at the doorway to the security office.
VINCENT
Elaine did this to me?
RUTH
We don't know that, she might
have nothing to do with it. Lets
just find her and ask her about
the mirror.
VINCENT
She did it to me she turned my
world into this...
Vincent pushes the door open hard showing the security
office.
INT. MUSUEM - SECURITY OFFICE - CONTINUOUS
Eric and Elaine McSweeny are making out on the security
desk as the others stair at them through the door in
shocked horror.
VINCENT
Nightmare.
The couple on the desk freeze and look at the trio in the
door.
ERIC
Oh...
MS MCSWEENY
This isn't what it looks like.
Vincent removes his hand from the door and lets it close
between them.
INT. MUSUEM - HALLWAY - CONTINUOUS
The trio look at each other in number shock.
CRANE
That was unsettling.
RUTH
You don't think that when the
break in was going they were...
You know.
VINCENT
I think I just throw up a little
bit in my mouth.
CRANE
We should still question her.
VINCENT
You want to face that again?
RUTH
We could always ask the owner of
the mirror.
CRANE
Yeah, makes sense.
INT. GRIFFITH HOUSE - BASEMENT - NIGHT
The basement door opens and the figure enters. Breathing
heavily behind him the dog follows the figure down the
stairs. Reaching the bottom of the stairs the figure takes
the silver bowl with the knife on it from the library and
puts it down on a work bench.
Tied to one end of the work bench is the terrified Wendy.
The figure turns to face her and drops its hood revealing
the almost apologetic face of Mr. Griffith.
WENDY
Please let me go.
GRIFFITH
Don't be scared.
He picks up the large blood stained knife from the silver
bowl.
WENDY
Ahhhhhh!
GRIFFITH
Right that was just bad timing on
my behalf. Never mind, the walls
are sound proof, let it out.
WENDY
Ahhhhhhhh!
GRIFFITH
Alright, loud and annoying now.
Stop!
Wendy flinches back in fright as the dog growls in her
face.
GRIFFITH
Do you think you are more or less
likely to get out of here alive
with the screaming?
WENDY
(shakily)
What's that?
GRIFFITH
This is a big knife. I thought
that was clear when you were
screaming.
WENDY
What is that?
Griffin notices the dog glaring at he.
GRIFFITH
Oh, that is the Black Shunk
itself. An astonishing breed of
what no doubt would call a
demonic dog or hell hound. You
look less than convinces.
Griffith turns back to the table and what he was doing. He
dips the blade of the knife into the blood in the bowl.
GRIFFITH
You should learn to trust your
eyes. The legend of the Shunk
goes back centuries. It was sir
Arthur Conan Doyle's inspiration
for the hound of the
baskervilles. Well if you believe
wikipidea.
The Shunk moves away from Wendy and smells the air.
WENDY
What are you going to do with me?
GRIFFITH
Nothing my dear. I told you, you
have nothing to fear. In fact.
I'm in need of your assistance.
The Shunk suddenly lunges at Wendy and pins her leg to the
floor under one large paw.
WENDY
Please, please don't hurt me,
I'll do anything.
GRIFFITH
Oh you are to kind.
Griffith suddenly lunges and drive the blood soaked blade
of the knife though the paw of the Shunk and into Wendy's
leg. As Wendy screams in pain light seems to flood out of
the wound.
GRIFFITH
The blood is the gateway!
The light floods the room for a few seconds and then fades
away. The girl that was Wendy is now standing over the
Shunk and Griffith who is still on his knees. She looks
down at them with the detachment of a child looking at an
ant farm. Griffith looks up at her with unrestrained awe.
She kneels down and puts her hand on the Shunk's paw, like
glows from her touch and the wound from the blade is
healed.
GRIFFITH
My goddess. My...
Just as he is reaching out to touch their feet in homage
there is the sound of the front doorbell ringing upstairs.
GRIFFITH
God! You have got to be kidding
me.
He looks from the door to the rest of the house and then
back to the girl.
GRIFFITH
I didn't do that, i mean I'm not
expecting anyone... You didn't do
that right?
With a slight inclination of her head the girl that was
Wendy looks at him. The bell rings again.
GRIFFITH
Fine! I'm coming! This is not
what was meant to happen.
Griffith gets to his feet with obvious effort and head out
of the room muttering to himself.
GRIFFITH
This is so typical. I raise a god
and someone wants a cup of sugar.
I'll give them sugar. Probably
that fat kid from next door who
looks like he eat a horse for
breakfast. Why does nothing work
out... Ridicules.
EXT. GRIFFITH HOUSE - MAIN ENTRANCE - NIGHT
Griffith wrenches the door open and is faced with Vincent,
Ruth and Crane. Thay are standing huddled under an umbrella
in the rain.
GRIFFITH
What do you want?
RUTH
Oh hello.
CRANE
Good evening.
VINCENT
Its raining.
GRIFFITH
Who are you people?
CRANE
Inspector Crane, sorry to disturb
you, hope you're not in the
middle of something.
GRIFFITH
You have no idea.
CRANE
Well its just a couple of
questions...
VINCENT
Still raining.
RUTH
Would it be possible to come in?
CRANE
I think that might be best.
GRIFFITH
I am doing things.
CRANE
We wont be long.
GRIFFITH
Right, right. Fine come in.
He reluctantly steps back allowing them to enter.
INT. GRIFFITH HOUSE - LIBRARY - NIGHT
Griffith leads then in to the library, Ruth and Vincent
rush to the fireplace to warm themselves.
CRANE
We really are sorry to disturb
you but like I said we just have
questions.
GRIFFITH
While I'm happy to assist the
police I'm really very busy and
not really sure how i can help
anyway.
VINCENT
What did that mirror do?
GRIFFITH
That what? I don't understand.
RUTH
The mirror you donated to the
museum.
GRIFFITH
The chariot of Morgan the
wealthy.
CRANE
Yes that's the one. Now we are
all aware of the story around the
mirror. How a supposed wizard
used its as a way to see his
enemies.
VINCENT
Like a foe glass in harry potter
right?
GRIFFITH
In what?
VINCENT
Harry potter, you know, mad eye
had one...
(to Ruth)
OK you talk now.
GRIFFITH
Inspector why are you here?
CRANE
We are trying to find out if the
mirror and any... special skills.
GRIFFITH
It can show you your reflection.
VINCENT
It did something to me. Something
magic.
GRIFFITH
Magic. Inspector what is going on
here.
VINCENT
Something is happening to me.
Something changed me... And there
is this beast. This thing that is
killing people.
GRIFFITH
Oh this is ridicules.
Griffith gets up and circles around them to the door.
GRIFFITH
Magic? Are you people on drugs?
Killer beasts. This is the most
ridiculous thing i have ever
heard. I would have expected this
from the youth of the day but
from an officer of the law. I can
believe it. I want you to get out
of my house. Killer beast's
indeed.
He opens the door to usher them out but the Shunk is
standing there looking at them.
GRIFFITH
This could weaken my argument.
The Shunk leaps into the room knocking ruth to one side and
pinning Vincent to the floor. Crane tries to go to his aid
but gets hit in the back of the head by Griffith.
INT. GRIFFITH HOUSE - LIBRARY - MOMENTS LATER
Griffith is just finishing tieing crane and ruth to the
wall. The Shunk is still perched on Vincent's chest, its
sniffing him.
GRIFFITH
Locked up tight, you people have
no idea how bad your timing is.
CRANE
You are under arrest.
RUTH
Are you serious.
CRANE
Are you listening your crazy old
man, you are under arrest, you
assaulted a policeman. Can you
hear me? This is false
imprisonment and that is a weird
dog!
GRIFFITH
This shouldn't be happening but
then nothing ever happens like it
should. I thought bringing her
here would change that. I must
have missed something?
VINCENT
Ow.
RUTH
Vincent, you OK?
VINCENT
Heavy! Crushing... Me.
RUTH
Get it off me.
CRANE
Its killing him!
GRIFFITH
Shunk, off.
The Shunk goes to Griffith's side, stepping off of
Vincent's chest allowing him to breath.
VINCENT
Oh, air....
CRANE
Shunk, you named that thing?
VINCENT
You pedestrian minded flat foot,
its is the Black Shunk... Does no
one read anymore?
Griffith picks up the delicate golden gauntlet and once
again places it on his wrist. Clamping it down and the
allowing the crystal vile to fill once again with the dark
red fluid.
GRIFFITH
Picked this up in Greece a few
years ago, the Gauntlet of Ares.
RUTH
Ares? As in god of war and
bloodshed?
GRIFFITH
Full marks, nice to see that some
form of education is still being
provided. The gauntlet does
require its tribute but it does
have its benefits.
The takes the chain that is holding Ruth and Crane to the
wall and squashes a link. The link flattens in his fingers
weakening but not breaking.
VINCENT
Christ almighty.
GRIFFITH
You, twenty seven years I have
been planning, researching a
method of freeing her and you
bumble in like a idiot four year
old.
CRANE
I don't understand.
RUTH
Even I'm getting sick of you
saying that.
GRIFFITH
You have no idea do you, the
years to find her, to confirm it
was the real mirror. The shear
amount of work to get the correct
location to awaken the portal and
you!
RUTH
He needed it to be in the museum.
That's why he gave it to us.
GRIFFITH
Burst in, interfering destroying
everything i worked for.
VINCENT
You throw me at the mirror.
Griffith grabs him and throws him at the wall. Smashing
into it Vincent's hits the floor, his eyes are suddenly
growing dark as that power in his rises to the surface.
The girls that was Wendy walks gently into the room. She
has an air of power mixed with a child like fascination
with everything she sees. By now it should be clear that
this is not Wendy Nobel anymore, she is now THE URD.
CRANE
Its the missing girl.
URD
You missed me?
GRIFFITH
My goddess, you speak.
RUTH
This just cant get any weirder.
Urd moves towards Ruth and reaches out to touch her face.
By the wall Vincent picks himself up and faces them both.
VINCENT
don't touch her.
Urd turns and faces Vincent and for the first time we see
something new on her face, recognition.
URD
You are the threshold?
GRIFFITH
Goddess, I freed you.
CRANE
Wendy, Wendy Nobel can you hear
me?
GRIFFITH
Silence! You will not talk to the
divine.
CRANE
Wendy. Miss Nobel?
RUTH
I don think she is all there.
The urd walks towards Vincent with the Shunk very close to
her side like a loyal pet. She reaches out and does touch
his face. When she touches him the darkness in his eyes
becomes vivid and total, his fingernails follow suit.
RUTH
You think its better or worse the
devils dog likes her?
URD
The threshold... Doorway to...
All.
Griffith moves to her side clearly not liking the way this
moment is heading.
GRIFFITH
Great Urd, I am your liberator. I
heard your call and joined your
banner. I am your willing
servant.
URD
(still looking at
Vincent)
Servant, yes, nice. But you are
my liberator.
GRIFFITH
No goddess, i released you.
URD
(to Vincent)
That path and the gate, the lock
and the guardian.
CRANE
Miss Nobel I don't know what this
sicko has done to you but you
shouldn't be here.
Griffith is losing it and rushes him. Grabs him and try's
to throw him away. The chain means he doesn't go far but
falls back like a dog on a leash.
GRIFFITH
Silence you worthless idiot.
Crane is still laying on the floor where he fell.
CRANE
(to himself)
I'm so sick of that.
GRIFFITH
She is the Urd. The moment of
choice, the fulfilment of
potential
VINCENT
(to Urd)
What are you doing to me?
Urd is now walking around him very slowly tracing her hand
over him.
GRIFFITH
You have no comprehension of the
world she has awakened. Her
presence will reshape everything.
URD
Everything can happen.
Griffith now stands in front of the Urd making her look at
him.
GRIFFITH
I can become everything i could
be.
URD
You wish your reward?
GRIFFITH
I want everything I could have,
you are free, your world awakens
around you like the ripples of
the pool. The unexpected, the
remarkable the magical.
CRANE
Oh so it was a magic mirror.
GRIFFITH
Make me all I can be.
URD
All you can be.
The urd lays her hands on his chest and he seems to swell
as his body floods with power and strength. He looks down
at the gauntlet on his hands, he unclasps it and drops it
at his feet in contempt. He then looks back at the Urd.
GRIFFITH
I am everything.
Crane pulls as hard as he can on the weakened chain that
binds him to the wall. He lashes out with the chain but
Griffith catches it in mid air and pulls him towards him
with a yank.
The Shunk leaps at cranes back but Vincent catch its back
leg spinning it off course. The Shunk turns back to face
Vincent and the animal fury burns in its eyes.
VINCENT
I'm in trouble.
Once again the Shunk leaps at him and again Vincent locks
hands with the beasts front two legs holding it in place.
Ruth takes this chance to untangle herself from the
remaining chains. She tries to make a grab at The Urd. With
a turn of her head Ruth is frozen in place only her eyes
able to move.
URD
I like your hair.
Griffith is stomping on Crane who lays at his feet. He
picks him up and starts to strangle the life out of him.
GRIFFITH
Finally s present worthy of me.
His fingers tighten and crane's eyes start to roll back in
his head.
Ruth's eyes stream tears as she sees her Vincent's grip
slip and the Shunk make a vicious slash at his neck. At the
same time Griffith drops Crane to the floor he is gasping
for breath.
GRIFFITH
You aren't a worthy challenge.
With sudden ferocity Griffith kicks the Shunk in the side
sending it skidding away. He then hits Vincent in the face.
GRIFFITH
Now this is fun.
Vincent thumps Griffith in the stomach phasing him for a
second but he looks up with a grin. And hits him again in
the face making him fall back.
The Urd sees the tear on Ruth's face and touches it with
gentle interest. Without looking at Griffith she mutters to
herself.
URD
Present is past.
Suddenly griffith buckles in pain holding his arm. Fear
suddenly crossing his face.
GRIFFITH
What, what's happen...
Griffiths knees buckle under him and the realization that
his body is failing in appears on his face.
URD
You will learn that which i can
never know.
Griffith collapses and shivers with convulsions.
URD
A new present dawn.
Crane stirs on the floor he looks over at the gauntlet that
Griffith drop and reaches out for it. The Shunk appears
close to his face snarling and he flinches back.
Vincent kicks that Shunk away but it bounds back at him
head butting him knocking him back in to the wall. Crane
tries to make a grab at the gauntlet again but the Shunk
has kicked it across the room. Vincent runs at the Shunk
and jumps into its back both feet first. The attack kicks
makes the Shunk yelp in pain.
The Urd seems to darken, almost like the lights around her
alone are fading.
Vincent helps crane up and they both back away from the
wounded Shunk.
CRANE
Any ideas?
VINCENT
Nothing.
CRANE
Oh good.
They have backed themselves into a corner and the Shunk is
snarling ever closer. Vincent's hands find what seems like
a crack in the wall.
The Shunk leaps at them again claws and teeth bared.
Vincent instinctively kicks crane one direction while
rolling across the room in the other. As he rolls away the
surface of the wall seems to go with him.
The rip is like outside the museum. But this time the Shunk
is to close to the rip to stop itself falling in. The Shunk
howls in terror as in tumbles out of our world and into
where ever the void takes it.
Vincent lets go of the edge of the tear and the wall
reseals itself.
Crane, Vincent and Ruth look around at the empty room for
the Urd has completely faded away, the Shunk has fallen
through the rip like it was never there and Griffith lays
dead on the ground. In silent exhaustion the trio stand in
the rubble of the room.
EXT. GRIFFITH HOUSE - MAIN ENTRANCE - MORNING
There are police cars on the drive and officer who are
standing around and collection evidence. Richardson is
standing with crane by the front step.
RICHARDSON
You crazy sod. You should have
called me.
CRANE
Sorry, sir there just wasn't
time.
RICHARDSON
Wasn't time? You have a radio on
the car for god sake.
CRANE
Yes sir.
RICHARDSON
You sure this is the guys
responsible for the break in?
CRANE
Yes sir, the missing artifacts
are inside.
RICHARDSON
I'll make sure that lab boys get
to it. You just get fixed up.
What the hell happened with the
civilians?
Crane looks over at the ambulance where Ruth and Vincent
are waiting to be let go.
CRANE
Oh they are just in the wrong
place at the wrong time.
RICHARDSON
You are sure?
CRANE
Yeah, they are nothing special.
RICHARDSON
Fair enough.
Richardson enters the house as Crane gets up. Crane looks
over at Vincent and Ruth and gives them a silent nod.
INT. MUSUEM - RESTORATION - AFTERNOON
Ruth, Vincent and Crane are again all gathered around the
main work table. They are still ill at ease with what's
happened to their very ordinary lives.
CRANE
So how's the leg?
VINCENT
Its OK. What happened with the
house?
CRANE
Nothing, lad guys went through it
with a fine tooth comb. There was
a couple of the missing artifacts
from the break in. There was
quiet the collection of artifact
actually, no sign of
documentation so they are looking
into ownership but that's it
really. No sign of anything else
at all.
RUTH
The Urd?
CRANE
Nothing, not even a hair.
VINCENT
So that Wendy girl is really
gone.
CRANE
There is no evidence she was even
there, officially she is still
missing.
VINCENT
What was she?
CRANE
Not a clue.
RUTH
I may have an answer for that.
CRANE
You do?
RUTH
Alright, I know how weird this is
going to sound but go with me
here. I think she was a fate.
VINCENT
A fate?
RUTH
A fate, the fate of present if
you believe what griffith said.
She is the personification of the
moment of the even. She could
really change the world.
CRANE
I'm not following.
RUTH
You know how there are legends of
magic in the part? Merlin,
Arabian knights, Jini's? Legends
saying that magical things have
happened.
VINCENT
Yeah.
RUTH
And there is the future, the
possibility that anything could
happen. That dragon's could awake
or the dead could rise or
whatever. You get the idea. I
think her being trapped in the
mirror is the only thing that
stopped it from ever happening.
CRANE
So by her getting let out?
RUTH
Yeah anything that can happen.
Can actually happen now. No
matter how unlikely.
VINCENT
So what do we do?
RUTH
I'm not sure there is anything
that we can do.
VINCENT
So this is our world now?
RUTH
And there are no rules now,
anything could happen next.
VINCENT
Bugger.
FADE TO BLACK.
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