Scene 1 - The Museum

 

INT. - MUSEUM - NIGHT

 

CHARLIE

(Surprised)

It’s you.

​

Letting go of ANNA’s clothing.

 

ANNA

(Annoyed and shocked at his behaviour)

What the hell, Charlie. What do you think you’re doing?

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CHARLIE

(Surprised, apologetic)

Oh, um, i’m sorry. Someone was. Someone was chanting and then they were at the window and ...

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ANNA

(Annoyed)

What the hell are you talking about Charlie?

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CHARLIE

(Suppliant, quickly trying to explain himself)

I’m so sorry, Anna. I was in the archive room tidying up and then I heard chanting coming from the museum. It was weird. I thought it was from one of the exhibits but then I saw someone outside. Dark clothing and a hood and they were chanting the same thing.

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ANNA

(Annoyed and concerned)

I’ve just come from the other side of the street and there was no-one there, Charlie. No one at all.

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CHARLIE

(Surprised)

There was someone outside. I saw them, Anna.

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ANNA

(Concerned about Charlie)

Maybe you’ve been working too hard on this Charlie. Too much of the occult and that Crowley man. You need sleep. Let me walk you back to the hotel and you can get some sleep. I’ll tidy up the archive in the morning, okay.

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CHARLIE

(Calmly)

Yeah, you’re probably right. It’s been an interesting few days.

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ANNA

(Concerned)

Let me get the alarm.

​

Anna WALKS across and sets the alarm on the keypad. The alarm BEEPS. The door CLOSES. 

FADE OUT

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Scene 2 - Return to Boleskine House

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EXT. - BOLESKINE HOUSE - DAY

Ambient birds, wind, trees rustling. Charlie WALKS up the driveway to the house, first TARMAC and then across GRASS.

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CHARLIE

(Professional)

This is voice note 005, for case number fa7638. I am outside Boleskine House agai   n. This time to find a way inside to see if there’s any evidence of Jamie. The board over the window looked like it had been moved and I think I can wedge it open and get through. Yesterday I wasn’t prepared but with the crowbar i might just be able to get it open.

​

Charlie moves the metal railing which groans. He APPROACHES the house and PRIES open the wooden board which comes off and FALLS to the ground. Charlie CLIMBS in through the window. He WALKS cautiously through the rubble strewn room.

​

I’ve entered the property through an old window opening. It looks like this part of the building has been gutted by fire. Clear evidence of smoke damage and significant damage to the roof. Which has mostly collapsed. There are remnants of fire damaged beams. I’m heading north east into the next room. It looks like it used to be a long reception room, the wall at the far end has partially collapsed and there are bushes growing in the next room. There’s something behind those bushes. Something on the very back wall.

(Pause)

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WALKING through rubble and debris. Ambient birds and wind.

​

What is that?

(Pause)

​

He BRUSHES the bushes aside.

​

There is a drawing in paint on the wall. Looks newish. Maybe a few weeks maybe a few days. It is a hexagram, a diamond shape with two arrows pointing inwards coming from each side. In the centre there looks to be a

(Pause)

A five leafed flower at the centre. I’ve seen this image before. In the notes in Jamie’s room. Is this where he saw the image or was it made after?

(Pause)

There’s another painting here.

(Pause)

​

Charlie PULLS away the ivy from a crumbling wall.

 

It looks like a naked woman with her feet and hands on the ground arching over some smaller figures and what look like stars above and on her. What is that? I’ll take some photos of the images for later.

(Pause)

Taking phone out of jacket pocket. Buttons being pressed, camera shutter sound. Repeat camera shutter sound three more times.  

It doesn’t look like there are any more

​

Charlie STEPS on a plastic bag.

​

What the

(Pause)

There is a blue plastic bag on the ground. Under the image of the arched woman. It is in a small indentation in the ground. It looks like it has been partially buried.

​

Charlie opens the plastic bag and TAKES OUT some candles.

 

There are three candles in the bag. Small votive candles which have been used.

​

Charlie REMOVES a box of matches from the bag.

​

There is a box of matches.

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Charlie REMOVES some books from the bag

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There are several books, they look old. Leather bound. The Konx om Pax, Magick in theory and practice, the blue equinox, the book of Thoth and a copy of the book of the law: Liber al Vel Legis.

Charlie opens the Books and flicks through them.

Occult books, all of them. There’s also

(Pause)

​

Charlie REMOVES some loose leaf paper from the bag.

​

Paper, with some writing. I can’t make it out. It looks like the same paper from Jamie’s room. Similar colour and feel. I wonder if Jamie had taken these from the library Brother Ambrose would be know. If he’ll talk to me again, he was hardly helpful the first time. One of the papers has a diagram of

(Pause)

It’s a large rectangle with small boxes in rows and two large box that both have gaps on the edges. Another large enclosed box with the same hexagram shape that is on the wall.

(Pause)

The boxes look like buildings with doors. But i’m not sure what the small boxes are. It could be a garden? A plan for a garden for this house perhaps? Or a town, no the large boxes wouldn’t make sense.

(Pause)

It could be ...

(Pause)

The cemetery. The cross points to, I think, the mort house. Worth another look.

​

RUSTLING and stones falling.

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(Surprised)

What was that? Hello?

​

Someone climbing several rooms away.

​

(Shouting)

Hey, whoever you are i have a weapon.

​

Charlie WALKS through the rubble, MOVING bushes out of the way. Someone CLIMBS over a wall and LANDS on the grass outside the building.

​

(Shouting)

I know you’re there.

​

Climbing back out the window and through the metal railing, he RUNS across the grass.

​

(Shouting, panicked)

Hey, you, come back. I only want to talk to you.

​

RUNNING over grass. RUNNING in the distance.

​

(Panting)

Jeez, i’m unfit.

(Shouting)

Hey, I only want to talk to you.

(Breathing heavily, professional)

What looked like a man in black clothing, running south away from the house. They were inside the building. Possibly coming to collect the things i found. I can’t chase them. Too fast.

​

TAPE CLICKS OFF

​​

Scene 3 - The Mort House

 

EXT. - BOLESKINE CEMETERY – EVENING

The distant CALL of birds as the wind WHIPS through the trees. The cemetery is QUIET, save for the occasional RUSTLE of leaves. Charlie WALKS slowly, his footsteps CRUNCHING over gravel and grass. His recorder CLICKS on, breaking the silence.

​

CHARLIE 

(Into the recorder, professional tone)

This is voice note 007 for case FA7638. I’m at Boleskine Cemetery, looking into the connection between Jamie Sinclair’s disappearance and the ritualistic elements we've uncovered. I’ve just reached the Mort House, a small stone building on the far edge of the grounds.

​

Charlie pauses, the recorder picking up the sound of the WIND and the stillness around him.

 

CHARLIE 

(Continuing)

A Mort House... built centuries ago, originally used to store bodies before burial. It was designed to prevent grave robbers from stealing the freshly dead. There’s an odd sense of stillness here—like the place itself is frozen in time.

​

Charlie STEPS forward, the CRUNCH of gravel underfoot LOUDER now. The wind HOWLS faintly, but it WHISPERS through the cracks in the stones of the Mort House.

​

CHARLIE 

(Lower, uneasy)

It’s abandoned now, but you can still see the stone shelves inside... empty now, but you can imagine how many bodies must’ve rested here, waiting for burial. No one comes here anymore—too much history, too many ghosts. But... it feels like there’s more to it. Something lingering.

​

A CREAKING noise as Charlie moves closer to the heavy wooden door of the Mort House. He PUSHES it slightly, the old wood GROANING under the pressure.

​

CHARLIE 

(Quieter, almost to himself)

The door’s still here... barely. Old, rotting. It doesn’t take much to imagine what this place looked like when it was in use.

​

Charlie pauses, the WIND picking up again, HOWLING as it sweeps through the cemetery. He hesitates, his voice a little more TENSE as he continues into the recorder.

​

CHARLIE

There’s something unsettling about this place. It’s more than just the history. I don’t know... maybe it’s the isolation, but there’s an energy here. And I’m not alone.

​

A moment of eerie SILENCE follows.

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CHARLIE 

(Tense)

Wait... something’s moving.

​

The faint CREAK of a gate echoes in the distance.

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CHARLIE 

(Whispering into the recorder)

There’s someone at the cemetery gate.

​

FOOTSTEPS quicken slightly. The sound of the gate OPENING and then CLOSING with a heavy THUD. 

​

CHARLIE 

(Into the recorder, voice picking up pace)

They’re... they’re leaving.

​

The figure DARTS away, the gate CLANGING shut behind them. Charlie RUNS, the sound of his BREATH and FOOTSTEPS mixing with the wind.

​

CHARLIE 

(Shouting after them)

Hey! Stop!

​

The figure’s FOOTSTEPS fading into the distance. Charlie SLOWS, his breath heavy, as he reaches the gate.

​

CHARLIE 

(Panting, frustrated)

They’re gone... I didn’t get a clear look. Could’ve been anyone—Jamie? Or someone else entirely...

​

He PAUSES, the gate CREAKING slightly behind him.

 

CHARLIE 

(Into the recorder, more collected)

Whoever it was, they didn’t want to be seen. But they were watching. I’ll have to come back to the Mort House tomorrow, maybe find some more answers. For now... there’s more going on here than meets the eye.

​

Charlie’s FOOTSTEPS retreat as he walks away from the Mort House.

FADE OUT   

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Scene 4 - The Package

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INT. - THE INN - DAY

FADE IN.

Background noise from the bar through a glass door, music playing. The door to the inn OPENS.

​

NOAH

(Busy and somewhat flustered)

Afternoon, mate. How are you doing?

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CHARLIE

(Inquiring)

Good, Noah. Thanks. Been a busy day.

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NOAH

(Contrite and tired)

Any word on the stolen envelope? 

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CHARLIE

(Sympathetic to Noah’s stress)

Haven’t heard a thing but don’t worry about it Noah. 

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NOAH

We’re so sorry about that again.

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CHARLIE

I’ve been more careful with the window.

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NOAH

(Thankful and tired)

Good thinking. Oh, we got a package for you.

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LOOKS through a drawer for the package.

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NOAH

(Slightly frustrated)

It’s definitely here. Mora took it in. Give me a second.

​

OPENS a cupboard, CLOSES it and OPENS another. TAKES a box from the shelf.

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NOAH

(Happy)

Found it. Here you go, mate.

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CHARLIE

(Casually)

Thanks, Noah.

​

NOAH

(Quickly ending the conversation)

Have a good evening, mate.

​

CHARLIE

(Cheerful)

See you later.

​

Charlie WALKS away toward his room.

FADE OUT

​​​​

SCENE 5 - CHARLIE'S ROOM

 

INT. - CHARLIE’S ROOM - EVENING

FADE IN.

 

CHARLIE

(To himself)

Right open this and get a shower.

​

RIPS envelope open.

​

(Muttering)

A black jewellery box, there’s a letter inside.

(Pause)

Mr Pembroke, this is the box from the amulet, stolen from the museum. We must talk. Meet me at 7pm at Urquhart castle tower. Wait at the railings.

(Pause)

(Quietly to himself, tense)

It’s 5o’clock now. Where is urquhart castle?

​

He REMOVES his phone from his pocket, quickly checks a map. His face tightens.

​

No buses, no trains. 25 minutes by car. Is there a car rental?

​

PHONES RECEPTION. It RINGS briefly.

 

NOAH

(Cheerful but sounding a bit worn)

Reception, Noah speaking. How can I help?

​

CHARLIE

It’s Charlie Pembroke, is there a car hire in Fort Augustus?

​

NOAH

(Hesitates briefly, then answers)

Not at this time of day, mate. Everything’s closed up. Where’re you heading?

​

CHARLIE

Urquhart castle.

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NOAH

(With mild suspicion)

Urquhart Castle? Bit late for sightseeing, isn’t it, mate? Place closes soon.

​

CHARLIE

(Tense, evasive)

I got a message to meet someone there, it’s important. Is there a taxi i can book?

​

NOAH

(Pauses, a hint of concern creeping into his tone)

This about that museum business, Charlie?

​

CHARLIE

(Surprised)

... Sort of. Why?

There’s a longer pause on Noah’s end, as if he’s weighing something. When he speaks again, his voice is light, but there’s an undertone of something else—something more careful.

​

NOAH

You’re a good guy, Charlie. Tell you what—how ‘bout you take my car? You got a license, yeah?

​

CHARLIE

(Caught off guard)

I couldn’t Noah, that’s too much. A taxi would be fine.

​

NOAH

(Insisting, though with an edge of something more urgent)

Mate, I insist. We’re heading out tonight anyway. All i ask is that you fill up the fuel. Deal.

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CHARLIE

(Hesitant but grateful)

If you’re sure, Noah. That’s incredibly nice.

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NOAH

(Briskly, almost too fast)

Not a problem, mate. I’ll pop up with the key.

​

CHARLIE

Thanks again, Noah. I owe you.

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NOAH

(A bit quieter, more serious)

Not a problem, mate.

​

Phone hanging up.

FADE OUT

​

Scene 6 - Urquhart Castle

​

Ext. - URQUHART CASTLE - EVENING

FADE IN.

Charlie WALKS along a gravel path.

 

CHARLIE

(Professional)

This is voice note 026, for case number fa7638. I am in Urquhart Castle, heading towards the tower. It is nearly 7pm and i have a few minutes to meet with the person who claims to have information about the amulet.

Charlie walks into the tower and up the stairs. The castle is quiet but there are tourists walking and talking.

(To himself)

The railings are the meeting point. Let’s wait and ...

The person is below the railing and their voice is distant.

​

PERSON

(Casually)

Mr Pembroke

(Pause)

​

CHARLIE

(Looking around)

See which one of these people is ...

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PERSON

(Louder)

Mr Pembroke.

​

CHARLIE

(Confused)

What the ...

(Pause)

​

PERSON

(Loud)

Mr Pembroke, I’m down here.

​

CHARLIE

(Unsure)

Hello?

​

PERSON

(Calmly)

Good evening.

​

CHARLIE

(Irritated by the theatrics)

Who are you?

​

PERSON

(Calmly)

That doesn’t matter. I need to tell you ...

​

CHARLIE

(Annoyed)

And if I come down there?

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PERSON

(Calmly)

Then I’ll be gone before you get here. So don’t move and I can tell you what I know.

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CHARLIE

(Calming down)

Okay, what do you want to say?

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PERSON

(Calmly)

Stop looking for the amulet and stop looking for Jamie. Take a bus tomorrow and leave.

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CHARLIE

(Serious almost threatening)

That’s not happening.

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PERSON

(Calmly)

This doesn’t concern you. The amulet is needed.

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CHARLIE

(Irritated)

Needed for what?

​

PERSON

(Calmly)

We are the children in the Age of Horus. We have worked tirelessly for 100 years to bring about the individualism of our time. To ensure that humanity moves ever closer to the glorious understanding of our progenitor. The infantile cults of our time must be stopped: fascism, capitalism, communism, pacifism, occultism in nearly all its forms and religions. The Age of Horus will come to be the defining ideology for the sake of humanities future. For humanities sustenance. For humanities endurance. Liberty stirs once more in the womb of time.

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CHARLIE

(Curious)

What has that got to do with the amulet?

​

PERSON

(Calmly)

The amulet is the key to the doorway of our universe. It is the meeting point of Isis, Osiris and Horus. It will unlock the portal to the understanding of our age.  To unlock our inner angels as Jamie has done before us.

​

CHARLIE

(Agitated)

Jamie. What do you know about Jamie?

​

PERSON

(Calmly)

He was our first messenger. He is on the path to enlightenment. He found us the key master and will bring him to us.

​

CHARLIE

(Shouting)

Where is he?

​

PERSON

(Calmly)

He is on his path of enlightenment.

He is in the nether. He is below us and around us. He is on his path of ...

​

CHARLIE

(Trying to appease)

Enlightenment. I understand. Look, he’s missing. People are worried about him. His family is devastated. Where, on this earth, is he.

​

PERSON

(Calmly)

He is in the nether and will surface at his time of enlightenment. He has brought us the key master and he will receive his reward.

​

Charlie steps back and RUNS down the stairs. The gravel CRUNCHES and his HEAVY FOOTSTEPS on the stairs then TRAMPLING on grass.

​

CHARLIE

(Shouting)

Stop. Stop now.

​

PERSON

(Calmly)

You will not stop the new age, you will bring it about.

Running on gravel and then sand. The person walks into the water.

​

CHARLIE

(Professional)

Where are you going? It’s a loch. There’s nowhere to go.

The person wades deeper into the water.

​

PERSON

(Calmly)

You will not stop the new age.

​

CHARLIE

(Concerned)

Stop, please. It’s freezing.

Motorboat revving in the distance.

​

PERSON

(Calmly)

We will achieve the enlightenment, Charlie.

​

CHARLIE

(Shouting)

Stop. Come back.

​

Charlie MOVES towards the person. The person turns and DIVES into water, SWIMMING away and CLIMBING onto the motorboat. It POWERS away over the loch.

​

CHARLIE

Son of a ...

(Pause)

​

The motorboat ENGINE gets more distant.

FADE OUT