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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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