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by
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 FADE IN
EXT. BATTLEFIELD - DAY
ARCHIVE FOOTAGE OF TRENCH WARFARE.
SLOW MOTION on a German soldier...
NARRATOR (V.O.)
(German accent)
If I shall plunder on the fields of
war, my love, then remember only
this. As our rings bind us in
marriage, I pledge my love to
you... I shall remain by your
side... always... until the day
that we become one again... this is
my promise to you.
FADE TO WHITE
TITLE: Ghosts of war
EXT. OFFICE - DAY
Typical office set up - desk, PC...
MARK JENKINS; early 40’s, a suit; sits at the desk reading a
report.
The telephone rings...
MARK
(Into ‘phone)
Mark Jenkins...
(Beat)
My father... yes...
He listens momentarily to the caller, but suddenly his face
drops.
MARK
When?
INT. HOSPITAL - WARD - CONTINUOUS
CHARLES JENKINS; early 60’s, grey receding hairline; lies in
a hospital bed, a mask delivering a flow of oxygen. He is
wired up to a machine next to the bed, which monitors his
vitals.
His eyes are fixed... almost trance-like. (HOLD ON HIS FACE)
DOCTOR (V.O.)
Your father managed to pull the
emergency cord at his Bungalow
before he became unconscious. The
Police made a forced entry.
 2.

MARK (V.O.)
What’s wrong with him, Doctor?
EXT. STREET - DAY
Mark walks with a speeded gait...
DOCTOR (V.O.)
A little early to tell, really. His
stats were a little all over the
place when he first came in.
They’ve settled now. He is
conscious, but we’re still waiting
for the test results to come back
from the Lab to confirm anything.
We’re assuming at this stage,
either some form of Stroke or a
Heart attack.
EXT. HOSPITAL - DAY
Mark walks towards the entrance to the hospital...
MARK (V.O.)
Heart attack! Can’t be. He’s as fit
as a butcher’s dog. He ran the
London Marathon last year!
INT. HOSPITAL WARD - DAY
Mark walks in... eyes his father with uncertainty.
DOCTOR (V.O.)
There is something else I think you
should know. The Paramedics report
that whilst in the ambulance, your
father was muttering... well, words
of ghosts, evil spirits and the
like...
He takes Charles’ hand.
MARK
Dad... dad...
Mark’s voice seems to bring Charles back to full
consciousness. He looks to his son, and quickly grabs him...
CHARLES
(Hysterical)
I seen him, Mark... he was there...
he was there... his eyes... my god
his eyes...
He returns to his trance-like pose.
Mark’s face is that of uncertainty... apprehension.
 3.

EXT. BUNGALOW - DAY

Mark eyes his father’s Bungalow momentarily, then makes his
way to the door, pulling a key from a pocket.
INT. BUNGALOW - HALLWAY - CONTINUOUS
A large photograph of a young man in early 1900’s military
uniform is prominent on the wall. The front door opens and
Mark walks in.
INT. BUNGALOW - LIVING-ROOM - CONTINUOUS
Mark cautiously enters the living-room, his eyes stealthily
taking in the entire room... a beat... but nothing... only a
mess of scattered ornaments!
He exhales, a sigh of relief... then shakes his head.
MARK
(To himself)
What am I doing?
He begins to straighten the room up.
INT. BUNGALOW - BEDROOM - MOMENTS LATER
Mark enters his father’s bedroom and opens a wardrobe, and
immediately takes a hold of several coat hangers with various
items of clothing attached. He places them on the bed, then
opens a closet, taking a suitcase... but something catches
his eye.
He lifts an old BISCUIT TIN from the floor, then takes a seat
on the bed. He opens the tin to find several old photographs,
newspaper articles etc...
He examines several tickets that are labelled ‘Battlefield
tours’. Each one has a different location printed on it.
Mark’s mind wanders... he remembers... (SLOW ZOOM ON HIS
FACE)
FLASHBACK...
EXT. THE SOMME - DAY
(hazy, distorted image)
MARK
This is it, dad... the Somme, where
your Grandfather was killed in
1916.
CHARLES
It’s different than what I thought
it would be. I can’t believe I’ve
never been here before.
 4.

MARK
Visiting the sites is important,
dad. It shows you care.
END FLASHBACK...
INT. BUNGALOW - BEDROOM - MOMENTS LATER
(Begin on Mark’s face)
CHARLES (V.O.)
I know. Your Grandad used to visit.
I was just never really
interested... until now.
Mark smiles to himself momentarily, then eyes something else
in the tin.
He reaches out and lifts away a RING.
He reads an inscription on its inner surface...
MARK
(To himself)
Helga?
Puzzlement plasters his face, but suddenly, the TELEPHONE
begins to ring in the Living-room.
He quickly ushers everything back into the biscuit tin and
places it away, before running to the ‘phone.
A GUST OF WIND fills the room... the latch on the closet door
clicks and the door opens slightly, revealing the tin.
Momentarily, a SHADOW of a hand passes over it.
EXT. CUL-DE-SAC - DAY
A cul-de-sac of detached houses of modern design.
Mark parks up his car outside his house. He gathers his
thoughts momentarily, exhales his anguish and pushes the door
open.
INT. MARK’S HOME - KITCHEN - LATER
LIZ JENKINS; Mark’s wife, late 30’s; is stirring a pan on a
hob, whilst AIMEE; 5, ponytails; is colouring a picture at
the table.
Mark walks in... saddened. He kisses his daughter on the
head.
LIZ
How is he?
 5.

MARK
Well you know my dad, doesn’t stay
down for long. The doctor says
he’ll be fine.
(Beat)
He’s asked if we can stop at his
place until he’s better, is that
alright?
LIZ
Of course. Have they said when he’s
likely to come home?
Mark considers the question.
MARK
Not yet. They want him to have a
psychiatric evaluation. Check his
mind, you know!
Liz can tell that the conversation is difficult for Mark.
LIZ
You okay?
A beat.
MARK
Yeah, yeah. Em... we’ll go after
tea, yeah?
LIZ
Fine.
Mark walks off, as Liz follows him with her eyes.
EXT. BUNGALOW - SUNSET
An illuminated window.
AIMEE (O.S.)
When is Grandad coming home, mummy?
INT. BUNGALOW - BEDROOM - CONTINUOUS
Liz tucks Aimee into bed.
LIZ
Soon, baby. You like staying at
Grandad’s house, don’t you.
Aimee smiles and nods her head.
Liz kisses her daughter on the head.
LIZ
Good night, Sweetheart.
 6.

Aimee closes her eyes, and snuggles into a soft toy.

Liz pushes herself to her feet and moves off, leaving the
door slightly ajar.
INT. BUNGALOW - LIVING-ROOM - MOMENTS LATER
Liz walks into the living-room and takes a seat on the
settee.
Mark joins her momentarily carrying two cups of coffee. He
passes one to Liz then joins her on the settee.
MARK
Has she gone down?
LIZ
Straight off.
MARK
Won’t be long myself, got a lot on
tomorrow!
Liz cuddles into Mark’s side as he points the remote control
towards the television.
EXT. BUNGALOW - NIGHT
A strong breeze pushes several LEAVES along a path towards
the Bungalow.
INT. BUNGALOW - LIVING-ROOM - CONTINUOUS
Mark and Liz are cuddled up on the settee asleep.
The television is playing a late night film, but suddenly
changes to STATIC... white noise.
INT. BUNGALOW - HALLWAY - CONTINUOUS
CREAKING FLOORBOARDS echo aloud, drawing in from the front
door towards the Living-room.
INT. BUNGALOW - LIVING-ROOM - CONTINUOUS
Liz awakens. She yawns but her attention is drawn towards the
hall and the creaking floorboards. She turns her head towards
the door but SEES something strange... a SHADOW... like a
figure of a person, a picklehaub (German WW1 Helmet) on its
head. She eyes it with uncertainty, then gives Mark a shake.
He opens his eyes...
MARK
(Half asleep)
What’s up? what time is it?
 7.

LIZ
(Apprehensive)
Mark... what’s that?
He rubs his eyes and gives out a stretch.
MARK
What? what’s what?
LIZ
There. At the door. Look... what is
that?
Mark eyes the shadow momentarily then exchanges a look of
uncertainty with Liz...
MARK
I have no idea.
Mark can see that Liz is obviously frightened.
MARK
It’s just the moon casting a light
on something in the hall.
LIZ
(Fearful)
And what the hell in the hall is
that shape?
Mark considers the question, then pushes himself to his feet.
MARK
Well, there’s only one way to find
out!
LIZ
Hang on.
She stands up and grips his arm.
LIZ
You’re not leaving me here.
He shrugs her off.
MARK
Don’t be daft.
They take a step towards the door, but are distracted as the
television suddenly returns to a late night film... loud.
LIZ
(Startled)
Oh, Jesus!
Mark turns the volume down with a remote control, then looks
back to the door... but the shadow is gone.
 8.

MARK
See. It’s gone.
Liz looks, too.
LIZ
But where?
SUDDENLY, a scream from Aimee sends their minds into turmoil.
LIZ
(Panic-stricken)
Aims!
Mark runs to the door, hitting a light switch as he moves.
EXT. BUNGALOW - CONTINUOUS
Across the Bungalow, lights are switched on.
(FX - Heavy footsteps echo aloud)
INT. BUNGALOW - AIMEE’S BEDROOM - CONTINUOUS
Aimee is sitting up in bed, screaming as loud as she can, a
pointed finger.
Mark bursts in, closely followed by Liz, whom hits the light
switch!
Mark hugs Aimee.
MARK
(Panicked)
What is it? What is it, baby?
AIMEE
Sp-id-er!
Both Mark and Liz turn towards the ceiling and see a spider,
then look to one another. Both exhale a sigh of relief.
Mark turns to Aimee.
MARK
(Chuckling)
Don’t do that to me, baby. Jesus!
Liz lifts Aimee into her arms.
LIZ
Come on, Sweetheart. You can sleep
with mummy and daddy tonight.
Mark exhales deeply, chuckles to himself, then follows Liz
out of the room, switching the light off as he goes.
 9.

A GUST OF WIND causes a wardrobe door to open. Through its

mirror, the same SHADOW again is prominent against the wall.
EXT. CITY - MORNING
The sun rises into the sky.
EXT. BUNGALOW - CONTINUOUS
Mark lifts Aimee into their car.
I/E. CAR - MORNING
Mark fastens Aimee into a child’s car seat. She is wearing a
school uniform.
He climbs into the driver’s seat and pushes a key into the
ignition.
FROM THE BUNGALOW WINDOW
Liz waves.
INT. BUNGALOW - LIVING-ROOM - CONTINUOUS
Liz walks through the living-room towards the kitchen passing
the television, which is airing a morning television
programme. The image suddenly turns to STATIC again.
INT. BUNGALOW - KITCHEN - CONTINUOUS
Liz opens a cupboard and serves herself a bowl of cereal.
LIZ’S P.O.V...
on a spoon to her left. She looks to the right and pours some
milk. As she looks back to the spoon it is gone.
Uncertainty plasters her face. She looks further to the left
where she sees the spoon towards the end of the work-surface.
She considers the moment but dismisses it, and reaches for
the spoon.
She makes herself comfortable on a stool by the table and
tucks into her breakfast.
SUDDENLY, an item of cutlery FALLS to the floor behind her
with a CLUTTER. She freezes... stops in her tracks. She tries
to look but can’t, as if something has locked her onto the
stool.
A beat.
She finally turns her head... but there’s nothing.
She exhales deeply.
 10.

INT. BUNGALOW - HALLWAY - LATER

Liz slides her Jacket on and makes for the front door, when
suddenly a LOUD CLATTER echoes along the hallway. She stops
and listens...
LIZ
Hello.
(Beat)
Is anyone there?
She listens intently... as a low TAPPING echoes from Charles’
bedroom.
She slowly edges her way through the hallway towards the
bedroom.
INT. BUNGALOW - BEDROOM - CONTINUOUS
LIZ’S P.O.V...
She pushes the door open and enters the room.
The closet door is slightly ajar, rattling purposely against
its lock.
She eyes it momentarily, uncertainty in her eyes, when
SUDDENLY, a GUST OF WIND blows the closet door wide open,
drawing the biscuit tin into view.
Liz freaks out and quickly scurries out of the room.
EXT. BUNGALOW - CONTINUOUS
Liz scurries from the Bungalow.
She stops at the gate, and looks back. Slightly panting, she
gathers her thoughts.
LIZ
(To herself)
What the hell was that?
INT. BUNGALOW - LIVING-ROOM - CONTINUOUS
SPIRIT’S P.O.V FROM THE WINDOW...
Liz checks her wristwatch then walks off.
EXT. MARK’S HOME - LIVINGROOM - DAY
Liz tidies up.
‘The Colin Fry’ show is on. Colin speaks to a ghost, a
relative of an audience member.
Liz gathers her thoughts.
 11.

FLASHBACK...
INT. BUNGALOW - LIVING-ROOM - DAY
Liz is sat on the settee chatting to Charles.
CHARLES
Did you hear that?
LIZ
What?
Charles pushes himself to his feet and looks towards the
hallway.
CHARLES
There! The floorboards are
creaking.
(FX - CREAKING FLOORBOARDS)
LIZ
(Dismissive)
Wind.
CHARLES
Open windows! What, with the prices
of fuel, these days! No open
windows here, my love.
They both listen...
(FX - the creaking continues)
LIZ
What do you think it is, then?
Charles re-takes his seat on the settee, his eyes locked on
the hallway. Finally, he turns to Liz...
CHARLES
I don’t know, but I can tell you
this... this here house has seen
some strange happens as of late.
Things disappearing, turning up
elsewhere...
(Gathers thoughts)
... unexplained banging, creaking
floorboards! Something’s not right.
LIZ
(A chuckle)
It’s old age, Charlie... you’re
imagining things!
Charles looks her in the eye... and shakes his head.
 12.

CHARLES
(Stern)
It’s more than that!
END FLASHBACK...
INT. MARK’S HOME - DAY
Liz looks back to the TV screen momentarily, then pushes
herself to her feet. Grabs her jacket.
INT. HOSPITAL - WARD - LATER
Charles is lying in his bed, still quiet, still traumatised.
Liz walks in.
LIZ
Hey. How are you feeling?
Charles pushes himself up in the bed.
CHARLES
Didn’t expect to see you today!
LIZ
Mark’ll be in tonight.
(Beat)
Charlie, I need to ask you
something.
CHARLES
Hope you are watering my flowers.
My Cactus plants needs watering
twice a day.
Liz dismisses his words and takes a seat by the bed.
LIZ
Do you remember a while back when
you mentioned...
(Beat)
... you said that you thought that
there were strange goings on in the
house... noises, things moving?
Charles’ eye widen.
CHARLES
You’ve seen something, too, haven’t
you?
Liz looks to him with worry in her eyes.
EXT. OFFICE - DAY
Mark is typing up a report at a computer terminal when his
mobile ‘phone rings.
 13.

He answers it.
MARK
(Into ‘phone)
Hi, Love.
(Beat)
Whoa, whoa, slow down. Say that
again.
(Beat)
You are kidding?
He listens momentarily to his wife... then exhales loudly.
MARK
Alright, Love. Yeah, okay.
He clicks his phone off... then shakes his head in dismay.
MARK
The world’s going mad.
INT. BUNGALOW - LIVING-ROOM - LATER
Mark is sitting reading a newspaper, whilst Liz is sitting on
the settee with a laptop on her knee. She is using the
internet.
LIZ
(Reading aloud)
There are several elements to
clairvoyancy. Whilst there are few
who can communicate fully with
spirits or ghosts, most are limited
to partial skills of communication.
She types a request into a search engine and presses return.
The screen flashes momentarily... she reads the display, then
looks to Mark.
LIZ
Here we go!
Mark shakes his head. He still can’t believe it!
MARK
Ghosts!
INT. BUNGALOW - HALL - MORNING
Several LETTERS are pushed through the letter box.
INT. BUNGALOW - LIVING-ROOM - CONTINUOUS
Mark is sitting on the settee, watching TV. Liz walks in
carrying the ‘mail’. She places them on a bookcase, then
makes her way to the window.
 14.

MARK
I’m still not sure about this, Liz.
Don’t you think it’s a bit extreme?
LIZ
Well, we’re about to find out...
she’s here!
Liz makes her way to the front door.
Mark shakes his head...
MARK
(Sarcastically)
Great!
He folds the newspaper and places it on a coffee table.
Momentarily, Liz escorts MARGARET EVANS; mid 40’s, a
clairvoyant; into the Living-room.
LIZ
Mark, this is Margaret Evans, the
Clairvoyant I told you about.
Mark pushes himself to his feet.
MARK
Alright?
She acknowledges him with a smile , then immediately sets to
studying the room.
A beat.
MARGARET
Oh yes...
(Beat)
... you were right!
LIZ
Then, there is a ghost?
MARGARET
There is a Spirit present in this
house, yes.
MARK
(Scrutinising)
Who?
Margaret ignores Mark’s question then takes a seat on the
settee and pulls a Dictaphone from a briefcase and positions
it on the coffee table.
MARGARET
Shall we begin?
 15.

LIZ
Please.
Margaret takes a deep breath, then closes her eyes, a state
of concentration.
Mark looks to Liz and imitates a ghost with his hands and
mouth.
LIZ
(Beneath her voice)
Stop it!
But SUDDENLY, the television goes STATIC... only white noise.
Mark’s face drops and he immediately looks to Liz.
Margaret opens her eyes and looks to them.
MARGARET
There is a man with us...
Liz quickly joins Mark, who immediately circles the room with
his eyes.
MARGARET
Would you understand a man that
is... unkept, dirty in his
appearance. He’s wearing a long
grey coat.
Mark and Liz look to one another momentarily, then to
Margaret.
MARK
No.
LIZ
What does he want?
Margaret eyes her, but suddenly becomes uncomfortable.
MARK
What?
MARGARET
(Saddened)
I can feel his pain... it’s awful.
This man died an horrendous death.
Mark and Liz eye one another with uncertainty.
Margaret inhales deeply.
MARGARET
I can smell burning... maybe
gunpowder. It was a war.
 16.

MARK
He’s a soldier!
She nods her head.
MARGARET
A German soldier.
Mark’s eyes circle the room again, perhaps expecting to see
something.
Margaret re-enters her trance-like state...
MARGARET
I am unable to understand his
words, but his emotions are so
strong.
(Beat)
I feel that he wants to apologise
to you... for what happened to your
father...
She opens her eyes... looks to Liz.
MARGARET
And to you. For what he put him
through.
(Beat)
He was anxious... angry then...
MARK
What happened here... what happened
to my dad?
Margaret considers the question, then closes her eyes.
(ZOOM IN ON MARK’S FACE... THEN TO LIZ’S... THEN TO
MARGARET’S)
CUT TO:
INT. HOSPITAL - WARD - CONTINUOUS
Charles is asleep, but restless... his eyes pivot left and
right beneath his eyelids... he’s having a nightmare! He sits
up quickly, eyes wide... fear on his face...
(ZOOM IN ON HIS FACE)
CUT BACK TO:
INT. BUNGALOW - LIVINGROOM - CONTINUOUS
(ZOOM IN TO MARK’S EYES... THEN TO LIZ’S... THEN TO
MARGARET’S)
CUT BACK TO:
 17.

INT. HOSPITAL - WARD - CONTINUOUS

(ZOOM IN ON CHARLES’ EYES)

(F/X - A BLINDING FLASH)

INT. BUNGALOW - LIVING-ROOM - DAY
Charles is watching a daytime television show (Loose women)
when suddenly the television becomes STATIC.
CHARLES
(To himself)
What the hell...?
He moves to the TV set and adjusts a button, but a REFLECTION
behind him catches his attention. He turns quickly but
there’s nothing...
Confusion plasters his face.
SUDDENLY, a GUST OF WIND surrounds him... ornaments begin to
fly... here... there... everywhere... then he hears the
voice...
SPIRIT (O.S.)
(Menacing - loud)
Trauring...
A beat.
SPIRIT (O.S.)
(Screeching)
Geliebt Frau... Geliebt Frau...
Charles’ eyes reel around the room.
SPIRIT (O.S.)
(Angry - loud)
Geliebt Frau... trauring...
trauring...
Panic-stricken, he steps backward but falls onto the settee.
SPIRIT (O.S.)
(Louder)
Fur etw bezahlin... Helga... fur
etw bezahlin... Helga... Helga...
He looks to the TV...
(ZOOM IN ON HIS FACE)
His eyes widen at the sight before him...
(ZOOM IN ON HIS EYES)
 18.

(F/X - A BLINDING FLASH)

INT. BUNGALOW - LIVINGROOM - CONTINUOUS
(ECU OF MARGARET’S EYES, THEN ZOOM OUT)
Margaret opens her eyes to an astonished look from Mark and
Liz.
MARGARET
He is sorry.
(Beat)
Anger is a difficult emotion to
control... I guess even for the
dead!
Liz eyes Mark momentarily, then turns to Margaret.
LIZ
Why is he here?
MARGARET
He wants you to do something for
him.
Mark considers her words.
MARK
What?
INT. BUNGALOW - BEDROOM - MOMENTS LATER
Margaret and Liz stand behind Mark. He opens the closet door
and eyes the biscuit tin.
INT. BUNGALOW - KITCHEN - LATER
Mark and Liz are sitting at the table, their eyes locked onto
the biscuit tin in front of them.
Finally, Liz breaks the silence...
LIZ
But how do we know it’s real?
MARK
I thought I was the sceptic here!
He considers the question, then turns to Liz.
MARK
We ask the old bugger!
INT. HOSPITAL - WARD - LATER
Mark and Liz sit with Charles.
 19.

Mark holds up the ring.

MARK
You took this from the battlefield,
didn’t you, dad?
CHARLES
(Defiant)
Of course not!
MARK
(Questioning)
Dad!
LIZ
It’s important, Charlie.
He breaks.
CHARLES
Alright, alright! I took it.
FLASH BACK...
EXT. THE SOMME - DAY
(Hazy - distorted)
Charles stands alone... eyes something on the ground. He
reaches out... flicks dirt from it. It’s a ring.
END FLASHBACK...
INT. HOSPITAL - WARD - CONTINUOUS
CHARLES
It was just there, on the bank. I
thought it would be fine!
MARK
Grandad always said that nothing
should be taken from the
battlegrounds, don’t you remember?
Out of respect for the dead... that
it belongs there for eternity!
(Beat)
And now you go and do this!
Charles rolls over onto his side to hide his face.
CHARLES
I’m sorry. I don’t know why I took
it.
It was to be my last tour. I guess
I just wanted something from...
He shakes his head in dismay.
 20.

Mark considers his father’s last words.

MARK
I know why you took it!
Curious, Charles turns to face his son.
MARK
Ghosts of war! Isn’t that what
Grandad used to say?
Liz edges her seat forward, Uncertain to where the
conversation is going...
MARK
(To Charles)
Your Grandfather... died at the
Somme, along with one hundred and
sixty thousand others... with not
one personal item returned to their
families.
CHARLES
That’s why it’s so important to
remember... to show respect... to
show thanks... for what they gave.
He gathers his thoughts.
CHARLES
(Shakes his head)
Taking that ring... I forgot that.
I failed to respect the fallen...
the ghosts of war.
(Cursing)
Damn me.
MARK
No, dad, you didn’t!
(Beat)
You are the most respecting man I
know, but this, these Ghosts of
war... aren’t just soldiers who
have died, or things they lost on
the battlefield.
(Beat)
It’s also those people who they
left behind to live their lives
alone... their loved ones.
He looks to Liz.
MARK
A ghost taught me that.
He turns back to his father.
 21.

MARK
You, dad! Yes, you broke the
rules... yes, you took something
that you shouldn’t have... but for
whatever the reason... some good
will come of it.
Charles eyes his son curiously.
CHARLES
I don’t understand.
MARK
Ghosts of war... is everyone’s
loss.
He gathers his thoughts momentarily.
MARK
We can’t change the past... it’s
done...
(Looks to Liz)
but maybe we can do something about
the present.
CHARLES
How?
Mark looks to Charles and smiles.
EXT. COUNTRYSIDE - DAY
Open countryside.
Mark drives his car along a country road.
I/E. CAR - CONTINUOUS
Mark follows instructions from his ‘Sat Nav’.
EXT. COUNTRYSIDE - LATER
A large cenotaph stands prominent.
Mark stops the car short and eyes the cenotaph momentarily,
then drives off.
CHARLES (V.O.)
Drive directly from the east side
of the cenotaph until you reach the
river.
EXT. COUNTRYSIDE - RIVERSIDE - MOMENTS LATER
Mark walks toward the river, the biscuit tin in his hand.
 22.

CHARLES (V.O.)
Walk north until the river bends.
That’s where you need to be.
He stops, and eyes the wide river for a moment, perhaps
preparing himself for the unknown.
He takes a deep breath, then steps down towards the
riverbank... but he stops when he sees a WOMAN; mid 20’s;
standing behind a wheelchair.
He gathers his thoughts momentarily, then edges forward
towards the woman.
MARK’S P.O.V...
He sees the occupant of the wheelchair... another WOMAN but
of an extreme age.
A strong GUST OF WIND stops him in his track. He takes
another deep breath.
MARK
You’re here, aren’t you?
A beat.
He nods his head, as if under instruction, then opens the
tin. He grips the ring and eyes it momentarily.
A mild BREEZE passes over his face. He inhales, as if
welcoming it.
He turns towards the two women, whom are watching his every
movement.
A beat.
He moves to their side.
MARK
(To the elderly woman)
Helga?
She eyes him curiously.
He looks to her aid, who nods her head.
AID
We’ve been waiting for you. He said
you would come.
Mark nods his understanding, then crouches down to Helga.
MARK
I believe this belongs to you.
He hold up the ring.
 23.

Shes takes it, then looks to Mark and nods her thanks.
AID
She thanks you... and Klaus thanks
you, too.
Mark eyes her curiously.
AID
My Great-Grandfather.
Helga slides her ring onto her Wedding finger.
Mark watches her momentarily, nods his approval, smiles, then
walks off.
I/E. CAR - MOMENTS LATER
Mark climbs into his car.
He turns his head to look towards the river one last time...
AT THE RIVERBANK
Beside Helga and her Aid, KLAUS is standing there - mid 20’s,
full German uniform.
He eyes Mark momentarily, then nods his head in thanks.
BACK IN THE CAR
Mark takes in the moment...
MARK
(To himself)
Well, I’ll be damned!
EXT. SKYLINE - DAY
A beautiful day of blue skies...
EXT. BUNGALOW - DAY
Mark opens his car door and helps his father out. Liz is with
him.
Charles eyes his Bungalow with uncertainty.
Mark notices.
MARK
It’s alright now, dad. It’s over
now.
Charles looks back at his Bungalow.
He smiles, and puts his arm around Mark.
 24.

CHARLES
I know, son.
(Beat)
... and thank you.
He looks to Liz.
CHARLES
Thank you both.
Mark looks to Liz and smiles.
She grips Charles’ arm, and together with Mark, walks Charles
into the Bungalow... home.
FADE OUT