YOU HAVE

16.       kitchen – int. / night

The four friends are joined at the dinner table,  surrounded by packing cartons.  Their shadows are silhouetted outside the large window.  Behind them lie the vast, lonely moors.

Martin opens himself a beer, raises it for a toast.

martin

To our hard-working wives.

Claudia

Don’t rejoice too soon.  The bill is already on it’s way.

They toast with their bottles.  Ellen takes herself a cigarette.  Martin notices it with disapproval.

Claudia

I still can’t picture it: The two of you as country folk.  I’m telling you, in six weeks you’ll be back in the city.

Paul

Hold it right there!  I hate to play the big boss, but as Martin’s publisher I can only say:  Make the best of the peace and quiet, the fresh air and all that - and write a new masterpiece!

Ellen gives Martin a skeptical look – the moment of silence is almost too long.

martin

First things first.  Now it’s our turn - just the two of us.

Martin’s hand wanders over to Ellen’s.  She reacts a bit hesitantly at first, but then they hold each other tight.

CUT TO:

17.       bathroom – int. / night

Ellen is taking a shower, washing off the dirt from a hard day’s work.

The bathroom fills with steam.

Ellen turns off the water faucet and steps out of the shower cabin.  She reaches for a towel and wraps it around herself.

Something catches her eye in the fogged-up mirror. 

There is a number, as if someone had used a finger to write it into the moisture: “7”.

She wipes the mirror clean and looks at it.

FADE TO:

18.       in front of the house – ext. / day

The following day:

A warm late-summer’s morning.  The house stands lonely in the rays of the rising sun.  Occasional dew drops glitter in the grass.

19.       bedroom – int. / day

Ellen is asleep in her bed, despite the sun shining right in her face.

Martin enters the room with a tray loaded with breakfast delicacies.  He holds it under Ellen’s nose.

martin

            (acting gallant)

 “Wake up, wake up, it’s break of day.”  Paul and Claudia have already left, you sleepyhead.

Ellen hides under her blanket.  Martin sets down the tray.

martin

You’re right.  Forget about getting up.  We’ll have breakfast in bed.

Ellen resurfaces with a grin.  She is still sleepy.

Martin jumps into bed and crawls under the blanket.

ellen

How romantic!

He playfully burrows around under the blanket, making silly grunting sounds.

Ellen giggles.  Suddenly, Martin sticks his head out.

ellen

            (laughing)

Stop that!

martin

            (with a grunting voice)

You’ll never get away from me!

He grabs her and pulls her under the blanket.  Ellen screams, and laughs.

20.       study – int. / day

Martin is working at his computer.  Everything is still set up a bit provisionally.  Only Martin’s novels have already been sorted into a shelf, with 10 copies of “Cherry-red Tears” in front.

He is trying to write, but by the look on his face and his hesitant typing, we can tell that it’s obviously not going so well.

Ellen carefully approaches him from behind, hugs him and gives him a kiss on the cheek.

ellen

So, how does it feel to be kissed by two women?

martin

They say it’s fantastic.  At least that’s what I read in a men’s magazine.  So who are the two lucky ones?

ellen

Me and the muse, of course.  How is your book coming along?

He grins and takes her in his arms.

martin

Oh, the muse... we’re still having our differences.  You know how it is with women.

ellen

Well then, I guess I’d better leave the two of you alone.  But don’t forget...

Martin finishes her thought.

martin

... we wanted to take some time out for ourselves.  I know.  And I’ll only work a little while, I promise.

Just as Ellen prepares to leave, she catches sight of an old photograph lying on top of one of the cartons.  She picks it up and takes the dust off of it.

Under the dust, she finds an old black and white picture of a couple with very earnest looks.  The retouched, pitch-black eyes give the photo a somewhat eerie touch.

All of a sudden, unexpectedly, the man on the photo turns his head.

His dead eyes look straight at Ellen!

Startled, she drops the picture to the floor.

Martin spins around.

martin

What’s the matter?

Ellen hesitantly picks up the picture and looks at it again.  It was only her imagination.  It is a normal, old black and white photo.

ellen

            (irritated)

Oh, nothing.  Where did this picture come from?

Martin turns back to his work.

martin

I found it here.  It’s kind of creepy, don’t you think?

Ellen makes a face.

ellen

Yeah.  It is, kind of.

She puts the picture back and leaves.

21.       living room – int. / night

Ellen comes out of the kitchen and walks into the dark living room.  She is carrying some sandwiches on a tray.

The room is only lit by the flickering of the television set.  A spooky atmosphere.

In front of the TV is a large, old armchair (the same one from the opening sequence!).  Ellen frowns.  She slowly walks closer to it.

ellen

Martin?

Suddenly, Martin’s voice comes from behind the armchair.

martin

Damn!

Martin pounds his flat hand against the television.  The screen shows no image, only snow.

Ellen sets down the tray.

ellen

What kind of a horrible thing is that?

martin

It still worked in town.

ellen

I mean the armchair!

martin

Oh, that was upstairs.  A real antiquity!  I think it’s great.

Ellen instinctively feels appalled by the old piece of furniture.

ellen

I don’t know.

Martin is still fighting with the TV-set, trying to find a channel.

ellen

Maybe the antenna’s broken.

martin

We’re probably lucky that we even have running water and electricity!  Damned box!

He hits the TV with his fist.

Suddenly, everything is dark!

ellen

Hey... the fuse.

martin

Oh, damnit!

He looks for a flashlight and switches it on.

ellen

Do you know where fuse box is?

martin

In the cellar, I think. 

Wait, I’ll take care of it.

He leaves the room.

22.       cellar – int. / night

Martin opens the fuse box and shines inside with his flashlight:  A moldy mess of half-corroded wires leading into various ancient switches.  The entire construction makes a dangerous impression.

martin

            (talking to himself)

God, look at that...

The cellar seems even older than the house.  It is a large, cold sandstone catacomb.  Several pillars support the ceiling.  The walls are clammy and cold.

Martin is standing in the darkness.  Something approaches him from behind – slowly, threateningly.

Martin is looking for the blown fuse.

The thing comes closer.  Finally, it grabs him.

ellen

Boo!

Martin spins around, startled.

martin

Jesus Christ!

Ellen laughs.

ellen

I wanted to know what’s taking you so long.  You’ve been down here forever. 

            (looks around, shivering)

It sure is cold down here.  We certainly won’t be needing a freezer.