The Wolfman (Leaves Theatres 5/5/10)

[Dale]

The Wolfman

Director
SCF

Genre
Drama/Horror/Tragedy

Length
137 Pages (without credits)

Plot
Actor Lawrence Talbot (Benicio del Toro) gets word from his home town of Blackmoor that his brother has been missing for several weeks, and that his fiance Gwen Conliffe (Emily Blunt) requests that he return home to help. Upon returning, Lawrence is reunited with his estranged father Sir John (Anthony Hopkins). But as the legend goes, the town of Blackmoor harbors an evil so dark, that as Lawrence searches for his missing brother, he is afflicted by the curse of the moon.

Cast
Benicio del Toro as Lawrence Talbot
Anthony Hopkins as Sir John Talbot
Emily Blunt as Gwen Conliffe
Hugo Weaving as Inspector Aberline
Geraldine Chaplin as Maleva
Antony Sher as Dr. Hoenneger
Art Malik as Singh
Michael Cronin as Doctor Lloyd
Nicholas Day as Col. Montford
David Schofield as Constable Nye
Roger Frost as Reverend Fisk
Rob Dixon as Strickland
David Sterne as Kirk
Clive Russell as MacQueen
Malcolm Scates as Fitzsimmons
Shaun Smith as Carter
Cristina Contes as Solana Talbot
Stephen Armourae as Bela

Release Date
March 5th

Rating
R

[Dale]

INT. LAWRENCE's BEDROOM - NIGHT

Insert Title Card: Blackmoor, England 1867

YOUNG LAWRENCE, raven haired, 10 years of age, lays in his bed, awake. It storms outside, rain waterfalling down the window, the wind shaking the house, screeching at it's inhabitants. Young Lawrence sits up, unable to sleep. Amidst the rain and wind, we hear a fell shriek, but cannot differentiate between the wind and it. Lawrence gets out of bed, and walks over to his brother, YOUNG BEN, 14, brown haired.

YOUNG LAWRENCE

(shaking Ben)

Ben, wake up. Ben!

Ben stirs, opening his eyes slowly.

YOUNG BEN

(yawning)

What is it Lawrence?

Young Lawrence looks out of the window.

YOUNG LAWRENCE

Did you hear that?

YOUNG BEN

No, no I didn't Lawrence. Go back to bed. It was only the wind.

Young Lawrence turns to leave the room, only after grabbing a candle.

CUT TO

INT. HALLWAY - NIGHT

Young Lawrence walks slowly through the hallway upstairs, looking at the macabre collection of trophies mounted on the wall. Heads of big game animals. Lion, tiger, buck, bear. A crude collection of masterpieces. We hear another wail, but it's from a man, and sounds as if he's weeping. Lawrence turns, and stands at the top of the grand hall.

CUT TO

INT. GRAND HALL - NIGHT

Lawrence stands at the top, looking down the flight of stairs. At the bottom of the steps crouches a man with graying hair. In his hands lays a woman, clad in a white dress. Blood flows from her neck, inflicted by a razor, which lays in a puddle of blood near her limp hand. The man looks up at Young Lawrence, tears streaming from his face.

CUT TO

EXT. TALBOT HALL - NIGHT

We ZOOM up through the storm, where we see large gray clouds slowly shifting into...

DISSOLVE TO

INT. THEATRE - NIGHT

We dissolve into a full moon painted onto a night backdrop.

Insert Title Card: London, England 1891

MAN (OS)

To be...or not to be. That is the question.

The raven haired LAWRENCE TALBOT, 34, stands clad in Shakespearean garb, acting as Hamlet.

LAWRENCE

Whether tis nobler of the mind to suffer the slings and arrows of outrageous fortune...

The crowd watches on in awe, dazzled by the ruggedly handsome man's performance.

LAWRENCE

Or to take arms against a sea of troubles, and by opposing end them.

Lawrence turns, deliberately overacting, knowing the crowd will chew it up.

LAWRENCE

To die....to sleep.

CUT TO

INT. Backstage - night

Lawrence sits in the prop throne, wearing a crown and robe, sipping wine from a goblet. All around him, the troupe celebrates through drink, drugs, and sex. Horatio with Gertrude, Claudius with the servant girl. Ophelia walks up to Lawrence, and kisses him on the neck repeatedly.

LAWRENCE

I'm not in the mood, darling.

Ophelia giggles, and bites his lip.

OPHELIA

I'm sure I can change that.

Lawrence tries pushing her away, but to no avail.

LAWRENCE

I have a headache.

Ophelia mounts him, taking the crown and putting it on her own head.

OPHELIA

Oh, I'm positive I can make sure you don't have any ache.

She kisses him on the lips.

CUT TO

INT. BEDROOM - NIGHT

Lawrence lies awake in bed, while Ophelia sleeps next to him. There's something about this man, a looming sadness, despair written on his face. Lawrence gets out of bed, pulling on a shirt over his pants. He walks to his desk, where a letter sits. It's marked from BLACKMOOR, addressed by a GWEN CONLIFFE. Lawrence seems apprehensive about the letter, which is still unopened. Finally, he sits, and opens the letter.

WOMAN (VO)

Dear Mr. Talbot. My name is Gwen Conliffe, your brother Benjamin's fiance. I'm writing to you in a state of urgency, as Ben has been missing for the past month. While we fear the worst, I still believe he is out there, somewhere. I beg you to return to Talbot Hall. I understand that you haven't spoken with your family in many years, but I implore you to consider this. Please help. Gwen Conliffe.

Lawrence looks at the letter, angry, and confused.

LAWRENCE

Damn you father. Damn you.

CUT TO

INT. TRAIN - DAY

Lawrence sits in his seat, watching the landscape pass by through the window. An older man sits across from him, and has a moment of recognition when he looks at Talbot.

ELDER MAN

Excuse me sir, do you happen to be Lawrence Talbot?

Lawrence looks at the man, and smiles slightly.

LAWRENCE

(dryly)

Unfortunately.

We get a better look at the man. Wavy white hair underneath a top hat, expensive suit, and a beautiful cane with a silver head. The design is that of a wolf.

ELDER MAN

I apologize if I'm intruding, but I thoroughly enjoyed your performance as Hamlet in London. Quite marvelous if I say so myself.

LAWRENCE

I appreciate it sir.

ELDER MAN

Again, if I bother you...

LAWRENCE

No, not at all. I'm simply bothered by news from home.

ELDER MAN

And where do you call home, Mr. Talbot?

LAWRENCE

Well, aside from New York and London, you could say Blackmoor.

The elder man recognizes the name, and smiles, looking at his cane.

ELDER MAN

Ah, of course. I've been there before. Once, en passe. Quite some time ago. What's the cause for concern?

Lawrence looks at the letter sent to him.

LAWRENCE

Word has come that my brother has been missing for a month, and his fiance requests that I help look for him.

ELDER MAN

A noble deed.

He looks at his wolf-head cane.

ELDER MAN

The moors are a tricky country, Mr. Talbot. Rough. You need a good cane. Any gentleman does. Please, take mine.

Lawrence looks at the ornately crafted stick, beholding its beauty.

LAWRENCE

I couldn't. Besides, I already own a cane, it should be more than enough.

The elder man shakes his head.

ELDER MAN

No, no. I insist. This cane is too heavy for my old bones. I had it hand-crafted in Paris by a master silversmith. Please, from one gentleman to another, accept it.

Lawrence, knowing he has no way out, nods his head.

ELDER MAN

Before I give it to you, know this. Should you find yourself in danger...

He twists a lock at the base of the silver head. Suddenly, the man slides out the head, revealing a silver blade.

ELDER MAN

I've never used it, but in any event, you will find much more use in it now than I do.

LAWRENCE

Please, let me trade canes with you then. Take mine, as a gift.

The elder man smiles, and takes the small, but still ornate cane, from Lawrence. He considers the cane in his hand, smiling. We cut back to the wolf-head cane, ZOOMING in on it.

CUT TO

EXT. MOORS - DAY

A horse-drawn cart speeds down the lone road. The sky is gray, overcast, its blandness matching the landscape it hovers over.

CUT TO

INT. CART - DAY

Lawrence sits in the cart, wearing a top hat, brown overcoat, black vest, white shirt, and clutching his silver cane.

CUT TO

EXT. TALBOT PATH - DAY

The carriage continues down the road, passing underneath a large stone arch, which reads TALBOT at its crest. We see Lawrence looking at the stone arch with unease.

CUT TO

EXT. TALBOT HALL - DAY

The carriage arrives in the courtyard of Talbot Hall, a massive estate, but overgrown with weeds, and a feeling of gloom. The driver takes Lawrence's luggage off of the roof of the carriage, and runs them to the front step. Lawrence opens his door, stepping out of the carriage. The driver steps in front of him, nodding his head towards the steps.

DRIVER

Your luggage, sir.

Lawrence hands him a coin, which puts a smile on the driver's face. Lawrence looks at his old family home with disdain, and begins to walk towards the door. As he reaches the front steps, Lawrence hesitates, before trying the door handle. Its open.

CUT TO

INT. GRAND HALL - DAY

The door creaks open, sending in light on the dusky hall. Everywhere, cobwebs line walls, newspapers sit on desks, ancient artifacts and relics are scattered about. Lawrence steps in, walking slowly around.

LAWRENCE

Hello?

He continues to walk on the dusty marble floor.

LAWRENCE

Ben?......Father?

Suddenly, a dog begins barking loudly. A large, black hunting dog rushes into the room, at Lawrence. Lawrence backs up onto the stairs, holding his cane out to fend the dog off.

VOICE (OS)

Samson!

The dog calms, and sits down. We see the shadow of a man walk down from the stairs, shotgun cocked. The man has gray hair, a beard, and stands imposingly. SIR JOHN TALBOT, 68, walks down the stairs, eyes fixated on Lawrence.

SIR JOHN

Lawrence? Lawrence, is that really you?

Lawrence smiles wryly.

LAWRENCE

Hello father.

Sir John returns the grin, and breaks open his rifle.

SIR JOHN

Lo and behold, the prodigal son returns. I hope you don't expect the fatted calf.

Lawrence chuckles at his father's sarcasm.

LAWRENCE

Please, don't have any expense on my behalf.

They stand within 10 feet of each other. Looking. Analyzing.

LAWRENCE

You look well, father.

SIR JOHN

You know Lawrence, I've often wondered what you would look like. It's been so long, you'll have to excuse me.

Sir John smiles, and puts a hand on his son's shoulder.

SIR JOHN

Lawrence Talbot. My son returned.

Lawrence looks at his father, somewhat smiling, questioning the sincerity of the statement.

SIR JOHN

I'm assuming that you've returned in wake of your brother's disappearance.

LAWRENCE

Yes. Miss Conliffe sent me a letter when I was in London, asking me to return.

SIR JOHN

So it wasn't on your own accord?

Lawrence seems a bit taken aback by the question.

LAWRENCE

I just thought I'd help with Ben's disappearance.

SIR JOHN

A grand idea. Lawrence Talbot, a Scotland Yard detective. Brilliant.

Sir John turns, somewhat bitter now. He begins to walk into a sitting room.

LAWRENCE

I just want to help find him.

SIR JOHN

I commend you my son, but I just don't think your presence will help the situation. The town has already assumed that he is either dead, or has run away.

LAWRENCE

What do you think?

Sir John pauses for a moment.

SIR JOHN

I have no idea, son. I truly don't.

He sits down at a massive piano, and begins to play.

SIR JOHN

That said, I do believe the townsfolk of Blackmoor can provide you with a better understanding of Ben's disappearance than I can.

A tall Indian man walks into the room.

SIR JOHN

Ah, Lawrence, you remember Singh, my servant, do you not?

LAWRENCE

Of course.

SINGH

Master Lawrence, its good to see you again.

Lawrence and Singh shake hands. The servant looks at Lawrence with fatherly eyes, more comforting than Sir John.

LAWRENCE

You as well Singh. What can you tell me about my brother's disappearance?

Singh's smile turns into more of a grim look.

SINGH

We've hunted and hunted and hunted, Master Lawrence, but to no avail.

LAWRENCE

Is Miss Conliffe here?

SINGH

Yes, she's asleep upstairs in her room. It's been a trying few weeks for her, so its best that she rests.

LAWRENCE

Of course. I think I'll visit the town, and try and help with the search.

Singh bows out.

CUT TO

EXT. STABLE - DAY

Lawrence walks through the wooden stable, holding a saddle. He walks over to a great black stallion, and sets up his saddle before mounting.

CUT TO

EXT. BLACKMOOR VILLAGE - MID-AFTERNOON

Lawrence trots into town, villagers peering at the outsider.

CUT TO

INT. BAR - Mid-afternoon


The bar is relatively crowded, most of the patrons are rowdy men. In the back corner sits Lawrence, who sips from a glass of whiskey. Suddenly, the door of the tavern swings open, and in walk 5 men. One of them is older, with white hair, a top hat, and mustache, who looks like a doctor. Next to him is a burly man, with a curly mustache and monocle. He has an air of military around him. Another man is dressed in more humble clothes, with longer brown hair, and a brown mustache/goatee. The 4th man is clean-shaven, but dressed in nice clothes. Finally, the man behind him is gruff looking, probably some type of smithy.

MILITARY MAN

Kirk, 5 pints please.

The bartender, an older man named KIRK, starts filling up mugs.

KIRK

Right away Montford.

Colonel Montford sits with the rest of his group at a table.

MONTFORD

Its been 4 weeks since Ben Talbot disappeared.

RICH MAN

Ran away with one of those gypsy women if you ask me.

DOCTOR LLOYD

That's nonsense Strickland. He was deathly in love with that Gwen Conliffe. He would have had to been mad to leave her for some gypo.

Lawrence looks on with a watchful eye.

MONTFORD

I agree with the good Doctor here, Strickland. However, if you ask me, it's been quite strange that once those gypsy scum show up, the murders start again.

STRICKLAND

And at the same time, Ben Talbot goes missing.

DOCTOR LLOYD

What are you implying Strickland? That Ben Talbot has been missing, because he's a lunatic on the run?

STRICKLAND

I said nothing of the sort Doctor. I just find it odd.

BLACKSMITH

Very odd, sir, given that his own father was married to one of them gypos too.

Kirk brings the 5 pints of beer to the table.

KIRK

If you ask me, the Talbots are to blame for our town's problems. Cursed, the whole family is. Mother offs herself, the youngest son is sent to an asylum, and the oldest son now disappears. All the while that old recluse Sir John Talbot nary leaves Talbot Hall.

MONTFORD

I haven't seen John Talbot in years. Best he keep out of our affairs than we butt into his, if you ask me.

STRICKLAND

Nevertheless, this doesn't explain why the body of Mister Paul Connell was found torn to pieces out in the moors near his farm. It was as if the devil himself came from hell and decided to dine.

The blacksmith, FITZSIMMONS, nods.

FITZSIMMONS

Most gruesome scene these eyes have ever witnessed.

KIRK

Ben Talbot is to blame. That's why he's missing, see? He killed poor Mr. Connell, and couldn't face the consequences of such murderous actions, so he ran off, leaving behind Miss Conliffe and John Talbot.

FITZSIMMONS

I say it was one of those gypsy thugs. Saw something of liking on him, cut him up, and took it. You know those scum. Thieving and conniving.

The ragged looking man. MACQUEEN, takes a puff of his tobacco.

MACQUEEN

It wasn't the gypsies who killed Connell. Nor was it Ben Talbot. It was 25 years ago when me father found it. Out near the priory road. It was the body of Sam Yory. If you could even call it that. There was brains, guts, blood, and God knows what splattered nearly a half a mile across the moors.

The whole tavern is quiet now, staring at MacQueen. Listening in the back is Lawrence, who stares with intent as he sips his glass.

MACQUEEN

Me father came back home, terrified. Mortified. He locked all the doors, and took my ma's wedding spoons to the blacksmith before Fitzsimmons here. Cast silver bullets from them. Wouldn't leave the house on a full moon from then on.

The tavern is still quiet.

STRICKLAND

Probably some wild bear or animal.

MACQUEEN

If that be the case Squire, then you'd be insulting my profession. Ain't no wild creature in or around Blackmoor. I trapped and killed most of them.

STRICKLAND

Look. Ben Talbot probably ran away with one of the gypsy women, Connell saw him, Talbot panicked, killed him, and ran off into the night. It wouldn't be the first time.

Lawrence's face seems unable to take more about his family.

STRICKLAND

Besides, Sir John Talbot married some gypo whore years back, it's not like it doesn't run in the Tal...

Lawrence stands up, grabbing Strickland by the collar.

LAWRENCE

I would suggest you keep your mouth shut about subjects you've not the slightest clue about.

Everyone in the tavern stares at Lawrence, quiet.

STRICKLAND

(stammering)

You're lost in your drink, good sir. I suggest you release me before there are consequences.

Kirk pulls Lawrence off.

KIRK

I'll have no fighting on my property. You'll have to excuse yourself, sir.

LAWRENCE

My mother was a Spaniard, you fool. Her name was Solana Cervaza Talbot. And she was not a gypsy whore.

Talbot spits on the wooden floor, before leaving. The men look on in confusion at the stranger as he leaves.

STRICKLAND

Who was that?

DOCTOR LLOYD

That was Lawrence Talbot, Strickland.

MONTFORD

Lawrence Talbot?

DOCTOR LLOYD

Sir John's youngest son, who was sent to an institution 20 some years ago after witnessing his mother's death.

The 4 men seem quiet, almost ashamed of themselves.

KIRK

Bloody insane if you ask me. Still is. Should send him back there until he's treated proper.

CUT TO

EXT. blackmoor village- dusk

Lawrence, still angry about the tavern, is setting up his horse.

DOCTOR LLOYD (OS)

Lawrence Talbot?!

Lawrence looks behind him, and sees the old doctor walking up.

DOCTOR LLOYD

Lawrence, it's been a long time. It's Doctor Lloyd. I was an old friend of your fathers.

Lawrence has some recognition on his face, and smiles slightly.

DOCTOR LLOYD

Don't worry about Kirk and Strickland. They want outcomes, not reasons. Constable Nye has been doing the best he can trying to find your brother.

LAWRENCE

But that hasn't helped, has it?

DOCTOR LLOYD

No, I assume not. Don't give up hope, Lawrence. Even in the darkest of times can you find a light to guide you, my boy. If you really want to help, I believe Montford and Nye are organizing some sort of hunt tomorrow night.

LAWRENCE

On the full moon? Look Doctor, I'm open to as many beliefs as the next man, but if they believe that a werewolf is in Blackmoor, or that my brother is a werewolf, then I'd find it hard to sympathize with their losses.

DOCTOR LLOYD

What if the next body is your brother's, Lawrence? You've come back here for that reason, but it doesn't seem like you're willing to help. As personal as it may seem to you, the town is at risk if there indeed is a murderer on the loose. Werewolf or lunatic.

LAWRENCE

What do you think, Doctor?

DOCTOR LLOYD

I don't know, Lawrence. I simply don't. Its a great mystery to me. I don't see why your brother would run away, and unless I missed something, he didn't seem the lunatic type. And as an educated man, I certainly don't believe in werewolves. However...

Lawrence crooks his brow.

DOCTOR LLOYD

The personal convictions of this town are so strong, that somehow...somehow I believe that there's is something unnatural about this place, Lawrence. An aura of mystery. If you truly wish to find your brother, then you must set your beliefs aside, and help this town, because I fear both mysteries are interlinked, in some way or another.

Lawrence nods his head, and pats Doctor Lloyd on the shoulder.

LAWRENCE

Thank you Doctor. I'm glad to see a sensible man in this town full of mongrels and fools.

CUT TO

INT. TALBOT HALL - NIGHT

Lawrence walks through the hallway, carrying a candle to light his path. He stops at the end of the hallway, peering into a room. His old bedroom.

GIRL (OS)

Ben told me about that night.

Lawrence spins. A woman stands in front of him, stunningly beautiful. Her brown hair reaches her shoulders. GWEN CONLIFFE smiles at Lawrence, although you can see the pain in her eyes.

LAWRENCE

You must be Miss Conliffe.

GWEN

Please, call me Gwen.

Lawrence smiles, and holds out his hand.

LAWRENCE

I don't think we were ever properly introduced, Gwen. My name is Lawrence Talbot. Ben's brother.

Gwen shakes his hand with a smile.

GWEN

I never thought we'd meet under these circumstances, let alone meet, but I am truly glad that you've returned. It's welcoming to see someone help search for Ben out of the goodness of their heart.

LAWRENCE

I missed a lifetime with him, it's the least I could do.

GWEN

Your father asked that you join us for dinner tonight, prepared by Singh.

LAWRENCE

Of course.

Gwen smiles at Lawrence, seeing something in him, in his eyes. She turns to leave.

LAWRENCE

Gwen.

She turns.

LAWRENCE

It was an honor to have finally met you. And from what my brother wrote all those years, you are more beautiful than he ever described. In my heart, I know that there is no way he ever could have ran away from you.

Gwen, half smiling, half holding back tears, nods her head, and embraces Lawrence.

GWEN

(softly)

Thank you. Truly, I thank you.

CUT TO

INT. DINING HALL - NIGHT

The table is grand, although only 3 chairs are filled. Sir John sits at the head of the table, eating. Gwen has the slightest bit of food on her plate, but doesn't seem too hungry. Lawrence meagerly eats from his own plate.

LAWRENCE

When I was in London, I was planning on inviting you to a show.

GWEN

That would have been lovely, Lawrence.

SIR JOHN

Indeed my boy, had it not been for the timing of your brother's disappearance, I'm sure it would have been magnificent. It would have been the first time you had spoken to us, in 20 years?

LAWRENCE

Well, had you not sent me to America when I was a boy, that would have been different.

SIR JOHN

Circumstances beyond my control, Lawrence. Your mother's death affected you so traumatically, the experts said you would have been scarred for life. And being the loving father that I am, I couldn't have my youngest son exposed to that.

LAWRENCE

(sarcastically)

How thoughtful.

SIR JOHN

(ignoring Lawrence)

Singh absolutely outdid himself on the fried eel, don't you think so Gwen? Here, have some.

Sir John takes one off of the platter and puts it on Gwen's plate.

GWEN

Oh, no, Sir John, I'm sure its wonderful, but...

SIR JOHN

Oh, don't be shy, here, have some.

Gwen takes a small bite of the eel, trying to please Sir John.

LAWRENCE

Listen. I apologize for any inconvenience my presence might have here, but I returned in the best of intentions. My goal is to help find out what happened to Ben. I may have been in exile for more than half of my life, but it still doesn't exclude me from wanting to know my family as it is now. So I humbly apologize to both of you if any of my behavior has been inappropriate.

GWEN

Please, Lawrence, there's nothing to apologize for. We're both thankful for you returning here. The help is much needed, as it seems Blackmoor is content with Benjamin staying missing, as long as they find out who...or what killed that man.

SIR JOHN

It isn't the first time it's happened, my dear. Blackmoor has had a long history of violent murder. Probably some lunatic.

LAWRENCE

If investigating the murder leads me to Ben, then I have no qualms with aiding Blackmoor. They're organizing a hunt tomorrow night to hopefully find whatever did this.

SIR JOHN

Ah, Constable Nye is finally taking initiative. Unfortunately, I doubt anything will come of it.

GWEN

Let's hope something does.

Everyone continues to eat quietly.

CUT TO

INT. SITTING ROOM - NIGHT

Lawrence and Sir John sit in arm chairs, sipping from glasses of whiskey.

LAWRENCE

The people in town believe Ben ran away with a gypsy woman, and that he killed that man.

Sir John chuckles to himself as he finishes his whiskey and stands up.

SIR JOHN

That's not surprising in the least, Lawrence.

LAWRENCE

However, one of the men mentioned something about the full moon, and implied that a monster killed that man.

SIR JOHN

Yes of course, he's referring to lycanthropy, or in more common terms, a werewolf.

LAWRENCE

I gathered that much, but does the town actually believe that Benjamin is a werewolf?

Sir John begins to blow out candles in the room.

SIR JOHN

You'd be surprised at the folklore that still holds weight in the countryside Lawrence. I know in the cities that the notion of a werewolf being responsible for murders is a ridiculous one, however in such a small town in the middle of nowhere, it is a legitimatize concern, for them at least.

LAWRENCE

I understand the personal convictions of the town, however, the way they described the body, it made it seem like no man, sane or insane, could be responsible.

SIR JOHN

You'd be surprised, Lawrence, at the evil in a man's heart. An animal kills to hunt, not out of hatred. The malevolence in the attack could have only come from someone human. But, like you said, the way the body was torn to pieces, it does suggest an animal.

LAWRENCE

Yes, but what kind of animal could have done such a thing, father?

SIR JOHN

I've been hunting in Africa, India, South America, all across the world, Lawrence. I've seen the work of a Bengal Tiger, a Kodiak Bear, lions, among scores of different predators. It takes something, or someone, who is considerably evil, to have ravaged a body like that.

LAWRENCE

This still doesn't explain Ben missing.

Sir John blows out the last of the candles.

SIR JOHN

No, no it doesn't. But I'm afraid that Ben's disappearance is a mystery that will never be solved, Lawrence. However, I encourage you to help in the search for Ben.

LAWRENCE

I'm glad I have your permission, father.

Sir John chuckles as he puts on a pair of odd glasses.

SIR JOHN

You don't need my permission to help, Lawrence. You're old enough to make the right choice.

LAWRENCE

I think I'll join Nye and the hunting party tommorrow night.

Sir John looks disappointed at Lawrence's decision, and turns towards a telescope, pointed into the night sky.

LAWRENCE

Are the gypsies involved with this?

SIR JOHN

Ben had dealings with the gypsies, yes. He acted as a representative for the local gentry. The gypsies, you see, are criminals. That's how they live. They steal, con, and occasionally murder to get money. But, we would pay a fee to them so their criminal ways were kept to a minimum. With that fee, the gypsies were content to sell the men all the wine and women that they wanted. But of course, given the superstitious nature of this town, with the gypsies also comes evil. Or, a werewolf.

LAWRENCE

So they believe that Ben was cursed by the gypsies, and is a werewolf?

SIR JOHN

That's one of the theories. We'll see though, Lawrence.

Sir John puts his eye to the telescope, and begins observing.

SIR JOHN

She exerts enormous power, doesn't she?

Lawrence stands up, walking towards his father.

LAWRENCE

You always referred to the moon in the feminine.

SIR JOHN

She's a Goddess, son. The Goddess of the Hunt. Magnificently beautiful. Powerful. It's no wonder so many are swayed by her power.

ZOOM IN: THE MOON

Almost full, the clouds hovering around her.

SIR JOHN

Take a look, Lawrence. I remember you always enjoyed observing the sky with me.

Lawrence puts his eye to the lens, looking up at the moon.

LAWRENCE

I wish things were different between us, father.

SIR JOHN

Never look back Lawrence, never look back. The past is a wilderness of horrors.

Lawrence continues to look at the moon.

CUT TO

INT. LAWRENCE's room - night

Lawrence stands at his window, looking out to the night sky, when a knocking comes at his door. Lawrence walks over, and opens the door to find Gwen standing there.

LAWRENCE

Gwen?

GWEN

I'm sorry, if I woke you, I can leave.

LAWRENCE

No, not at all. I can't sleep. I rarely do anymore. Please, come in.

Gwen walks in, with Lawrence shutting the door behind her.

GWEN

I can't sleep anymore either. Ever since Ben disappeared. I lie awake, thinking that he'll walk into my room, smiling, saying he just got lost, or went to London. But then I realize that it won't happen. Every day he doesn't return, my hope dampens. It's hard to find any hope any more.

LAWRENCE

Hopefully we'll find something tomorrow night on the hunt. I'll do all I can to make sure Ben is found. I swear this to you.

GWEN

I know you do, and that's why a slimmer of hope still remains. If you hadn't responded to my letter, I would have given up all hope by now.

Lawrence smiles, knowing that someone is actually glad that he is home.

LAWRENCE

Well, its good to know someone wants me here.

Lawrence and Gwen look at each other, eyes locked. Gwen looks down, eyes welling up.

LAWRENCE

What's wrong?

GWEN

What if the rumors are true, Lawrence? What if he left me?

LAWRENCE

That's not true. He often wrote me, saying how much he loved you. Although I only knew Ben for 10 years of my life, I know my brother well enough to know that he'd never leave you. Here.

Lawrence walks over to a desk in the room. He pulls out a letter.

LAWRENCE

I've carried this letter with me ever since he sent it a year ago.

GWEN

What does it say?

LAWRENCE

(reading from letter)

"Her family, of Llanwelly Street, London, often visits friends here. Her name is Gwen. Gwen Conliffe. She is so fair as to take your breath away. I only wish somehow you could meet her, my brother, to see with your own eyes how I have been blessed."

Gwen's eyes drip tears.

LAWRENCE

(reading cont'd.)

I am in love. I can tell only you...I plan to ask her hand in marriage. I pray she will have me, for I could not live without her."

Lawrence folds the letter, and puts it back on the desk.

LAWRENCE

My brother would never have left you, Gwen. He couldn't, not in a thousand years. He loves you, and I will do all in my power to make sure you are reunited with him.

Gwen, still crying, hugs Lawrence again, tighter than before.

GWEN

Thank you so much. Really, thank you.

Gwen lets go, looking down at the floor.

GWEN

I'll leave you to your sleep. Hopefully you find it tonight.

LAWRENCE

I doubt it, Miss Conliffe. But I bid you good night. Do you need me to walk you to your room?

Gwen shakes her head as she leaves. Before closing the door, she stops, and turns.

GWEN

Good night, Lawrence.

Lawrence smiles, and nods his head. Gwen shuts the door behind her.

CUT TO

INT. BLACKSMITH - DAY

Fitzsimmons and a police officer, the bedeviled CONSTABLE NYE, stand around a table.

CONSTABLE NYE

We'll take three parties, see? You and Kirk lead one, myself and Strickland will take the second, and Montford will lead the third.

Fitzsimmons nods as the door to his shop opens up, revealing Lawrence.

LAWRENCE

Gentlemen.

FITZSIMMONS

Mr. Talbot.

CONSTABLE NYE

Ah, Lawrence Talbot. How can I be of assistance?

LAWRENCE

That's exactly what I'd like to ask you, Constable. I want to join you on your hunt tonight. Anything to help find my brother.

CONSTABLE NYE

Right...of course. Tonight, we're not out to find your brother, rather, find this man or thing, who killed Connell.

LAWRENCE

I understand Constable, nonetheless, I would like to join tonight.

CONSTABLE NYE

An extra man couldn't hurt, could it Fitzsimmons?

The blacksmith shakes his head.

CONSTABLE NYE

You'll have to arm yourself, we've only made arrangements for who we had planned.

LAWRENCE

My father has more than enough weapons at home.

CONSTABLE NYE

I see. Very well. You'll lead the third party with Montford. We leave start at exactly 11:50 tonight, Mr. Talbot. You're to meet us in front of the church, where the groups will be organized.

LAWRENCE

Why so late, Constable?

Fitzsimmons looks at Talbot.

FITZSIMMONS

Witching hour is midnight, Talbot. That's when evil is at its strongest.

LAWRENCE

Right. Good day, Constable, Mr. Fitzsimmons. I'll see you tonight.

Lawrence leaves.

CUT TO

INT. SITTING ROOM - DAY

Lawrence wanders around the sitting room, looking at his father's collection of rifles.

SINGH (OS)

Master Lawrence.

Lawrence turns, facing Singh.

LAWRENCE

Ah, Singh. How are you today?

SINGH

I'm well. Studying your father's collection?

LAWRENCE

Yes. I need to borrow one for tonight. Do you have any suggestions?

SINGH

Tonight? Are you speaking of the hunt that Constable Nye has prepared?

Lawrence nods his head.

SINGH

Master Lawrence, it'd be against your father's wishes if you were to go out tonight.

LAWRENCE

I don't require my father's permission, Singh. The last time he saw me might have been when I was a boy, but I think I can make my own decisions. I want to find Ben, and if that means helping the town in their little werewolf hunt, then by all means, I'll help.

SINGH

I wouldn't talk so skeptically of such things, Master Lawrence. I respect your beliefs, but as a man of God, I believe the town's suspicions are plausible.

LAWRENCE

Do you believe in werewolves then, Singh?

Singh sighs, and puts his hand on Lawrence's shoulder.

SINGH

Follow me.

Singh leads Lawrence out of the sitting room.

CUT TO

INT. SINGH's QUARTERS - DAY

Singh leads Lawrence to his room, which is armed to the teeth with assorted weaponry.

LAWRENCE

I thought my father was over-equipped. Are you preparing for a war, Singh?

SINGH

A Sikh is a warrior of God, Lawrence. These weapons aren't for striking out at people, but rather for defense.

Lawrence looks at a box on a table in the middle of the room.

LAWRENCE

Whats in here?

Lawrence grabs the box, and opens it. Silver bullets.

LAWRENCE

Silver. Tell me Singh, what are you hunting out here? A man or a monster.

SINGH

Both.

Lawrence looks down at the silver bullets, weighing them in his hand.

LAWRENCE

What can you tell me about werewolves, Singh?

Singh sighs.

SINGH

It's an ancient myth dating back back to even before the Romans, Lawrence. The belief that a man changes into a wolf under certain circumstances.

LAWRENCE

During a full moon?

Singh nods his head.

SINGH

Lawrence, I'll warn you once more. This house is filled with torment. Be safe tonight. God be with you.

Lawrence continues to stare at the silver bullets.

CUT TO

[Dale]

INT. TALBOT HALL - DUSK

Sir John walks through the hall, aimlessly, as Lawrence walks down the steps.

SIR JOHN

Ah, Lawrence. Come here my boy.

LAWRENCE

Yes father?

SIR JOHN

About what I said last night, I still believe you made the right choice coming back, but I suggest you delay your search for Ben until tomorrow. It is a full moon tonight, and in the event that this lunatic murderer is real, I believe the full moon is more than enough reason for him to strike again.

Lawrence chuckles at his father's apparent worry.

LAWRENCE

I'll be with Montford and other men father, I think I'll be alright.

SIR JOHN

In any event Lawrence, be safe. I don't want to lose you too.

LAWRENCE

Lose me?

Sir John looks down, and at his hunting rifle mounted on the wall.

SIR JOHN

If you're willing to accept some advice from an old hunter, son, then hear me out.

LAWRENCE

What is it?

SIR JOHN

Never underestimate your prey.

Lawrence looks at his father, whose eyes look right at his eyes.

SIR JOHN

Good luck tonight, my son. Be safe, and I hope you find what you're looking for.

LAWRENCE

Who we're all looking for.

SIR JOHN

Whatever you say, Lawrence. Good night.

Sir John walks up the great stairs, leaving Lawrence to himself.

CUT TO

EXT. WATERFALL - DUSK

Lawrence stands near the edge of the rushing water, looking out over the water, and off the cliff.

GWEN (OS)

I thought I'd find you here.

Lawrence turns to face Gwen, smiling.

LAWRENCE

Its quite late Gwen, shouldn't you be back in Talbot Hall?

GWEN

I get restless, so I wandered out here in hope that I'd find you. Ben told me that you spent your time here as a boy.

LAWRENCE

Yes, it was my refuge.

GWEN

From what? Your father?

LAWRENCE

In general. I was always the fragile one. I was smaller, less physical, more artistic. Ben was interested in father's weapons, whereas I'd rather listen to my mother play piano and sing.

Gwen laughs, imagining Lawrence as a boy.

GWEN

Ben also told me that your father was a little cold to me because I reminded him of her. Your mother. You as well.

LAWRENCE

She was a beautiful woman. I loved her as much as my father did. But I can see why you'd remind him of her.

Gwen smiles, taking the compliment from him.

LAWRENCE

I forgot to give you this last night.

He takes the letter out of his coat, and hands it to her.

LAWRENCE

I was going to give it to you when you married, but I figured you need it now more than ever.

Gwen holds the letter in her hand.

GWEN

Thank you Lawrence. It means a lot.

She looks out at the waterfall.

GWEN

Are you joining that hunt tonight?

LAWRENCE

Yes. Anything if it'll help me find my brother.

GWEN

Don't risk your life for him, Lawrence. I know you love him, but your father would be devastated if you were lost too. It would pain me as well.

LAWRENCE

I missed his entire life, Gwen. Besides, my father cared enough for me when he sent me to an asylum at the age of 10, and shipped me off to live in America with my aunt, so he didn't have to witness me killing myself too.

GWEN

Don't say that Lawrence. He does love you, it just will take time for him to open up.

Something moves in the bushes.

LAWRENCE

Did you hear that?

GWEN

Hear what?

LAWRENCE

Come with me.

Lawrence begins moving through the bushes, Gwen following him.

GWEN

What are you doing?

LAWRENCE

(hushed)

Shh!

He crouches down, moving forward, holding Gwen's hand so she isn't lost. There's a clearing ahead.

GWEN

Lawrence, where are we going?

LAWRENCE

I swear, I could have heard something.

VOICE (OS)

(heavily accented)

It is getting quite late.

Lawrence turns, along with Gwen, to find two foreign looking people on horseback staring at them. One of them is a gruff looking man. The other is an elderly woman.

LAWRENCE

Who are you?

ELDERLY WOMAN

My name is Maleva. And this is Bela.

LAWRENCE

You're gypsies?

MALEVA

And you are the young Talbot.

LAWRENCE

In a way, yes.

MALEVA

You should not be here. The woods aren't safe tonight.

Lawrence has a snide smile on his face.

LAWRENCE

It's not the witching hour yet, is it?

MALEVA

You shouldn't mock such things, Lawrence Talbot.

LAWRENCE

How do you know my name?

MALEVA

The spirits speak to me. You wish to find your brother, do you not?

GWEN

Tell us what you know of Ben? Have you seen my fiance?

MALEVA


Come with me. Both of you.

Lawrence looks at Gwen, and they begin to follow the two gypsies.

CUT TO

EXT. GYPSY CAMP - NIGHT

The camp is full of wagons, tents, and fires. Men in ragged clothes stand around campfires, warming themselves up. Children run through camp, although they stay close to the center of camp. Gypsy women dance to violin music.

LAWRENCE

Have you ever been here before?

GWEN

No, but I know Ben used to have some dealings with the gypsies.

LAWRENCE

My father told me as such.

Bela gets off of his horse before helping the elderly Maleva off. Maleva steps up into a wagon, before beckoning to Lawrence.

MALEVA

Come inside, Lawrence Talbot.

Lawrence looks at Gwen, and heads into the wagon. Lawrence disappears inside, leaving Gwen with Bela, who keeps a watchful eye over her.

CUT TO

INT. MALEVA's WAGON - NIGHT

Maleva sits at a small table in the middle of her wagon. On the table sit tarot cards. Lawrence walks in, looking at the various decor and medallions.

MALEVA

Sit down.

LAWRENCE

As you wish.

Lawrence takes a seat across from Maleva, who shuffles the tarot deck.

LAWRENCE

Are you a fortune teller?

MALEVA

The spirits communicate with me, and I with them.

LAWRENCE

Well, could you ask the spirits, for me, where my brother is?

Maleva closes her eyes, and takes a deep breath.

MALEVA

Your brother is lost.

Lawrence looks around, unimpressed.

LAWRENCE

I could have told you that. Look, if you're trying to scam me out of...

MALEVA

In more than one meaning of the word, Lawrence Talbot.

Lawrence moves closer.

LAWRENCE

What do you mean?

MALEVA

Give me your hand.

Lawrence seems a bit skeptical, but eventually relinquishes his hand. Maleva touches it with both of hers, and closes her eyes.

MALEVA

(eyes closed)

You've returned for your brother, but you look to steal something from him, intentionally or not.

LAWRENCE

What ar...

MALEVA

You cannot stay here. You're risking your life.

Maleva opens her eyes, and takes her hand off of Lawrence's. She takes the tarot deck, sliding the cards across the table.

MALEVA

As the rain enters the soul, the river enters the sea.

Maleva closes her eyes, and draws a card from the tarot line. She flips it over, but we do not see it. Lawrence looks down at the card.

MALEVA

Darkness comes for you.

She opens her eyes. We see the card. Death. Worry is on Maleva's face.

LAWRENCE

What does this mean? I'm going to die?

MALEVA

Flip over your hand.

Lawrence hesitates for a moment, and then flips over his hand. On his hand is a 5-pointed star, seemingly burned into his flesh. Maleva gasps, eyes wide, looking at Lawrence.

MALEVA

You must go. Quickly. Stay indoors tonight, Lawrence Talbot, you are in grave danger.

LAWRENCE

What the hell are you going on about?

Maleva stands up, as does Lawrence. She begins shooing him out of the wagon.

MALEVA

Go, you must go. Now. Do not go out onto the moors. Beware the moon.

Lawrence looks at her as if she's crazy, then shakes his head angrily, and storms out.

CUT TO

EXT. GYPSY CAMP - NIGHT

Lawrence exits the wagon.

GWEN

(startled)

Lawrence? What happened? What'd she say?

LAWRENCE

(angered)

Nothing. We're going back to Talbot Hall.

Lawrence grabs her hand, and leads her out of the camp as quickly as they came.

CUT TO

EXT. FOREST - NIGHT

Lawrence and Gwen walk through the forest, nearly upon Talbot Hall.

GWEN

Lawrence, you haven't said a thing since the gypsy camp. What happened?

LAWRENCE

I don't know Gwen. I really don't know. The old crone flipped a tarot, and it was Death. She told me that darkness was coming for me, and I had to leave Blackmoor.

GWEN

You honestly can't believe that, can you?

LAWRENCE

Of course not. Look, tonight I need you to stay inside. Lock your door, just please don't leave the Hall. Stay with Singh if you must.

GWEN

Of course, Lawrence.

Lawrence looks around, knowing that he didn't tell her about the pentagram.

LAWRENCE

We're nearly upon the hall. Come.

CUT TO

INT. TALBOT HALL - NIGHT

Lawrence, clad in dark gloves, a dark coat, clutches one of his father's shotguns. He grabs a handful of shells from a cabinet before exiting the room. He checks his pocket watch. 11:30.

CUT TO

EXT. BLACKMOOR VILLAGE - NIGHT

Lawrence rides through the streets. In the distance, he sees the hunting party in front of the church.

CUT TO

EXT. CHURCH - NIGHT

Lawrence trots up. Constable Nye rides up to meet him.

CONSTABLE NYE

Talbot, you're running late. Montford is over there, you'll ride with him.

Lawrence nods, and rides towards Montford and his group.

LAWRENCE

Montford.

Montford looks at Lawrence and nods.

MONTFORD

Mr. Talbot, thanks for joining us. We're going to get him tonight, I can feel it.

LAWRENCE

I hope so. Tell me, are we leaving soon?

MONTFORD

Relatively.

He checks his pocket watch.

MONTFORD

11:45. It should be soon, Talbot.

VOICE (OS)

God will save you all tonight, gentlemen.

REVEREND FISK, a balding man, walks down the steps of the massive gothic church.

REVEREND FISK

May he protect you all tonight. Godspeed.

Lawrence, indifferent to the Reverend's words, turns to Montford.

LAWRENCE

Whats our strategy?

MONTFORD

Well, we're to take the moors. Nye and Strickland will take the forest, and Kirk and Fitzsimmons will go wherever Nye tells them to.

Constable Nye rides to the front of the group.

CONSTABLE NYE

Gentlemen, tonight, be on point. Whatever it is that's out there will be found. And it will be killed. Good luck.

Nye begins to ride out, with Strickland following him. Fitzsimmons and Kirk, followed by their group, leave town.

LAWRENCE

Its about that time, right?

Montford nods, and begins to ride, signaling for their men to follow. Lawrence follows Montford as they ride out onto the moors.

CUT TO

EXT. MOORS - NIGHT

Lawrence trots ahead with Montford, his gun rested on his shoulder.

LAWRENCE

Ex-military, huh?

MONTFORD

Yes. Colonel. Now I'm regulated to hunting werewolves out on the moors.

Lawrence laughs at Montford's sarcasm.

LAWRENCE

It's almost time, Colonel.

Lawrence looks at his pocket watch. 11:59.

MONTFORD

Ready yourselves men. Load your weapons, be ready to fire on sight. We shoot to kill, not subdue.

CUT TO

EXT. BLACKMOOR VILLAGE - NIGHT

We get a CLOSE UP of the bell tower. The minute hand strikes 12. A large bell begins to toll LOUDLY. We zoom up into the sky. The FULL MOON shines gloriously in the cloudless sky.

CUT TO

EXT. FOREST - NIGHT

Strickland and Nye stop their group as we hear the clock tolling in the distance. Their faces begin to tighten, to show dread.

CUT TO

EXT. PRIORY ROAD - NIGHT

Fitzsimmons and Kirk stop, and look back at town.

CUT TO

EXT. MOORS - NIGHT

Lawrence stops, holding up his hand.

LAWRENCE

Do you hear that?

He looks at his pocket watch.

LAWRENCE

Midnight.

Montford is sweating, as if in fear. Its silent. Deadly silent.

CUT TO

EXT. FOREST - NIGHT

Nye and Strickland, still stopped, begin to look around. Suddenly, from the depths of hell, a bone-tingling, monstrous HOWL bellows out from the countryside.

STRICKLAND

Dear God.

CUT TO

EXT. MOORS - NIGHT

The howl echoes through the night, ringing through the clear air. Montford's horse neighs, displaying the same unrest as it's master.

MONTFORD

What in God's name was that, Talbot? Oh God, what was that?

Lawrence's face, steel with resolution, but hiding back bits of fear, stays the same. He grabs his reigns, and cocks his gun. Lawrence begins riding in the direction of the noise at full speed. Montford and the men begin to follow.

CUT TO

EXT. PRIORY ROAD - NIGHT

Kirk and Fitzsimmons lead their group down the road. Suddenly a flash of movement drags one of the riders off of his horse. None of the other men notice it until the man's blood-curling cry is heard from behind. They turn, and look. Nothing is there.

KIRK

Where'd it go?

From behind Kirk, another man is tackled off of his horse, a spray of blood the only thing left in his wake. Some of the men panic, and begin firing wildly. One of the peasants hits another peasant in the chest, killing him.

KIRK

HOLD YOUR FIRE YOU FOOLS!

The men stop shooting.

FITZSIMMONS

In God's name, that is no man, Kirk. That isn't human. Whatever it is we..

In the middle of his sentence, his horse is dragged down from behind, throwing Fitzsimmons to the ground with a painful thud. Terrified, Fitzsimmons begins to run into the distance.

KIRK

Fitzsimmons! Damn!

There are 3 people left in the group, Kirk, and 2 peasants.

KIRK

Over there!

All 3 men begin shooting into the shadows blindly, obviously just targeting anything that moves. One of the peasants throats is torn out by a swift claw, and the other falls victim to a powerful tackle. We never quite see what is attacking them, except in flashes. Only Kirk remains. His heart pounds as he looks around. Something moves in front of him, and he fires. Only, from behind, do we see the looming shape of whatever it is, stalking him.

CUT TO

EXT. MOORS - NIGHT

Fitzsimmons, breath ragged, stops, as Kirk's cries are heard in the distance. A few seconds later, another blood-curling HOWL roars out over the moors. Except its closer to Fitzsimmons.

FITZSIMMONS

He...help....help..help. Help. Help! HELP!

Fitzsimmons, terrified, begins to sprint across the moors, doing the absolute best he can to get away.

Beasts pov:

We see Fitzsimmons in the distance, as we get closer, and closer and closer to the man.

As Fitzsimmons runs, he holds his pistol back, firing off a shot. Suddenly, the thing LEAPS, crashing with Fitzsimmons into the ground. Fitzsimmons cries as the beast gashes open his throat with a massive claw.

CUT TO

EXT. MOORS - NIGHT

Lawrence, Montford, and their group of men ride hard through the moors, until they reach the scene of Fitzsimmons death.

LAWRENCE

My God.

Lawrence hops off of his horse, and runs towards Fitzsimmons, or whats left of him. His throat is shredded, blood soaking his clothing. Lawrence kneels at his side, surveying the damage done to the man.

MONTFORD

Talbot, that was not done by a man.

In the distance, they hear another scream.

LAWRENCE

There's no time to find out, hurry!

Lawrence gets back on his horse, and races off towards the scream.

CUT TO

EXT. FOREST - NIGHT

We cut to 3 peasant bodies already eviscerated. Strickland stands with his back to a tree, holding his rifle.

STRICKLAND

Ben Talbot, I know you're out there! Step forward where I can see you, and your apprehension will be humane.

Something moves in the bushes, and steps forward. But it's not a man, its more of a twisted abomination of both sides of nature. Not quite a man, but not quite a beast. Strickland fires his rifle, hitting the thing in the shoulder. He yelps as he tries to reload his rifle, but he's too slow, the thing is upon him. With a roar, it grabs Strickland, HURLING him into a tree, instantly breaking his back, killing him.

MONTFORD (OS)

Over there!

The men begin firing at the beast, causing it to run back into the distance. Lawrence rides forward, in pursuit of the beast.

MONTFORD

Talbot! Talbot!

Too late, Talbot is already too far into the distance.

CUT TO

EXT. ABANDONED ABBEY - NIGHT

Lawrence rides into the abbey, and dismounts his horse. Its old, the roof is missing, walls are gone. Lawrence sees someone laying near one of the walls.

LAWRENCE

Hello? Montford?

He looks around.

LAWRENCE

Ben?

Lawrence walks over to the body. All we see are the legs. Lawrence gulps, fearing that it's his brother. As he peers over, we see the body, but not the head. 5 feet away is the severed head of Constable Nye, eyes rolled back into his head, tongue lolled out.

LAWRENCE

Nye...

From behind, we hear a growl. Lawrence, realizing whats behind him, cocks his weapon, and wheels, firing off a shot! The bullet wizzes through the air, hitting nothing. He stumbles forward, but the beast LEAPS off of the wall behind him, crashing into the ground. Lawrence screams in agony as the beast bites down into his shoulder, tearing skin, muscle, and crushing bone. Just as he thinks he is going to die, a shot rings off, hitting the beast.

MONTFORD (OS)

Talbot!

The beast turns his attention to Montford, and begins stalking him.

LAWRENCE

(weak, almost a whisper)

Colonel....run...

We hear the screams of Colonel Montford as the beast is upon him, but suddenly, more gunshots ring out, driving the beast off, but too late for Montford.

LAWRENCE's POV:

We see gypsy men, led by Bela, walk into our view. They crouch down, looking at Lawrence, holding up torches.

BELA

Fate has been cruel to you.

He looks up to the men.

BELA

Take him to Maleva!

CUT TO

INT. MALEVA'S WAGON - NIGHT


Lawrence lays on a small bed, shirtless. We see the wound, gaping, bleeding, ragged. Maleva and a younger gypsy woman stand over him. The younger woman dampens his head with a cloth of hot water while Maleva prepares stitches.

GYPSY WOMAN

He is cursed, Maleva. We should put out his suffering before it starts.

MALEVA

You would have me sin, my daughter?

MALEVA's DAUGHTER

There is no sin in killing a beast.

Maleva looks down at Lawrence, who is quite obviously suffering.

MALEVA

Yes, but where does one end, and the other begin?

Her daughter looks at Lawrence.

MALEVA

Fate plays a hidden hand. I do not know what is in store for this young one, but it is not my fate to interfere with. Help me, my daughter.

Maleva's daughter sighs, and helps as Maleva begins to stitch his wounds.

CUT TO

EXT. TALBOT HALL - DAY

Maleva drives a cart towards the manor. Lawrence lies in the cart, covered by fur blankets. As they reach the house, Maleva steps off of the cart, and knocks on the large door. Singh answers, looking out at the cart.

MALEVA

I bring more sadness to the house of tragedy.

SINGH

Lawrence? Dear God. Sir John!

Lawrence's father walks over to Singh, and peers at the cart.

SIR JOHN

Lawrence? Is that my son?

MALEVA

Yes. He will survive. But Heaven protect him.

Sir John and Singh walk over to the cart, and take Lawrence out of the back.

SIR JOHN

Singh, get him to his room.

Maleva gets back into her cart, and starts to drive off. As Singh helps Lawrence into the house, Sir John stands outside for a moment, looking at the gypsy.

CUT TO

INT. LAWRENCE'S ROOM - NIGHT

Lawrence lays in bed, peacefully. Gwen sits at bedside, reading from the Bible. Singh opens the door with a tray of food.

SINGH

Miss Conliffe, you've sat for hours. He's asleep. You can get some rest.

GWEN

He was injured looking for my fiance, Singh. Its the least I can do for him.

Singh nods, and places the tray of food down on the bedside table. We close in in Lawrence's sleeping face.

Fade out

INT. LAWRENCE'S BEDROOM - NIGHT - DREAM

Lawrence lies in bed, Gwen still sitting in her chair. Only a candle is lit. Suddenly, Lawrence opens up his eyes, looking around.

LAWRENCE

(weakly)

Gwen?

Gwen looks at him, smiling.

GWEN

Lawrence. I've missed you.

Gwen gets out of her chair, and crawls into bed with him.

LAWRENCE

What are you doing?

GWEN

Shh. I'm yours now. Kiss me, Lawrence.

Gwen moves in to kiss Lawrence as we...

CUT TO

EXT. WOODS - NIGHT - DREAM

POV: We are running through the forest

CUT TO

INT. MALEVA'S WAGON - NIGHT - DREAM

MALEVA

Darkness comes for you.

We zoom in on the Death card.

fade in

EXT. ABANDONED ABBEY - NIGHT - DREAM

We see the bodies of Nye and Montford.

CUT TO

INT. LAWRENCE's ROOM - DAY

Lawrence jolts up from what seems to have been years of morbid dreams. Sir John stands over him.

SIR JOHN

Lawrence? How are you feeling?

Lawrence looks around, stretching his body, trying to shake off some of the rust.

LAWRENCE

I feel as if I've been hit in the head with a hammer repeatedly.

Sir John chuckles.

SIR JOHN

You've been in bed for weeks, my son. Miss Conliffe has been in here almost every day, watching over you.

Lawrence looks at his hands.

LAWRENCE

What happened to Montford? Strickland?

Sir John sighs.

SIR JOHN

Dead. You were the only survivor that night Lawrence. Tell me, how does your shoulder feel?

Lawrence touches his right shoulder, and then slips his robe off. The once gaping wound has shrunk. It's simply 4 medium length scars now.

LAWRENCE

It feels fine, father. But, the rest of the men, dead? How? There were 20 of us, atleast.

Sir John shakes his head.

SIR JOHN

I don't know Lawrence. All that matters is that you survived. But then again, you're a Talbot. I can't say I'm surprised.

Lawrence shares a small laugh with his father.

LAWRENCE

Any news of Ben?

SIR JOHN

None. Get some rest. Doctor Lloyd will be here later.

Sir John leaves the room.

CUT TO

INT. TALBOT HALL - DAY

As Sir John walks, Gwen comes up to him.

GWEN

Sir John, is Lawrence better?

SIR JOHN

Yes, Miss Conliffe. He's conscious now, but please, let him rest. I think he can go a day without your incessant bedside presence.

Gwen seems a bit insulted by that nuance.

GWEN

I simply wanted to make sure he was alright, Sir John, nothing else.

SIR JOHN

I'd hope so, Miss Conliffe. However, I'm sure Lawrence is thankful for your stay here at Talbot Hall.

Sir John walks away from Gwen, who seems a bit confused.

CUT TO

INT. LAWRENCE'S ROOM - DAY

Doctor Lloyd stands with Lawrence, testing his arm.

DOCTOR LLOYD

Raise it.

Lawrence raises his arm with relative ease.

DOCTOR LLOYD

Now, lower it.

Lawrence, again, does it with ease. Lloyd's face is shocked at the progress.

DOCTOR

This is quite frankly amazing, Lawrence. A week ago, and I would have guessed you'd never use that arm again, let alone be able to move it so fluidly. I'll be back at the end of the week to make a final progress report. Until then, don't put too much stress on it, and get enough rest. Understand?

Lawrence smiles, and nods.

LAWRENCE

Yes, doctor.

Doctor Lloyd pats him on the shoulder, and gathers his equipment before leaving. Lawrence puts on his coat, and sits down on his bed. The door opens again as Gwen enters.

GWEN

Lawrence? Your father told me you were conscious again.

Lawrence looks at her, and nods.

GWEN

How are you feeling?

LAWRENCE

Better than I have ever felt. My arm feels stronger than it ever has. It feels like I think quicker, I see thinks clearer, hear things crisper. Its odd, extremely odd.

GWEN

I'm glad to hear that you're feeling so well. All those nights, I thought you'd never wake up.

Lawrence smiles, appreciating her concern.

LAWRENCE

It was the most sleep I've gotten in years, but under the worst circumstances.

Gwen laughs, and moves closer.

GWEN

Do you still have a scar?

Lawrence shows her his shoulder. The scars are fading.

GWEN

How is that possible? I saw it the day you returned, that wound was awful.

Lawrence turns, almost worried by the disappearance of the wound.

LAWRENCE

I don't know, Gwen. I truly don't. But it doesn't matter. I still haven't found my brother, and that thing, whatever it is, is still at large. Is still killing people.

Lawrence seems almost disappointed.

LAWRENCE

I could have killed it, Gwen.

GWEN

Lawrence, I think you're putting too large of a burden on your shoulders. You're doing the best you can to help find Ben. You've done more than anyone else has in such a short amount of time. if nobody else thanks you, or appreciates it, let it be known that I do.

Lawrence smiles, and takes Gwen's hand in his own.

LAWRENCE

Thank you as well, Miss Conliffe.

As they look each other in the eyes, Singh is heard at the door coughing.

SINGH

Lawrence, someone from Scotland Yard is here to see you.

GWEN

Scotland Yard?

SINGH

Yes. Please, Lawrence, follow me.

Lawrence follows Singh out of the door.

CUT TO

INT. GRAND HALL - DAY

SIR JOHN

No, Inspector. He's been quite seriously injured. He can't possibly be of use to you right now.

We see the man Sir John is talking to. Tall, brown hair, and a handle-bar mustache. INSPECTOR ABERLINE politely tries to argue with Sir John.

ABERLINE

Sir John, just a moment of your sons time would be more than helpful to Scotland Yard.

SIR JOHN

I refuse. He is in no shape to be interrogated.

ABERLINE

This isn't an interrogation, Sir John. I simply need to ask him questions about the recent murders in Blackmoor.

LAWRENCE (OS)

What about my brother's disappearance, Inspector? Have you come to help find him?

Aberline turns around to face Lawrence. He extends a hand, which Lawrence accepts.

ABERLINE

Francis Aberline, Scotland Yard. I'm a big fan of your work on the stage Mr. Talbot. I was lucky enough to catch a matinee of Hamlet while in London. Hopefully this injury won't impede your return to the stage.

LAWRENCE

Thats the least of my concerns right now, Inspector.

Aberline looks at Lawrence, then at Sir John, then at Singh, and finally at Samson, who growls softly.

ABERLINE

Indeed. Mr. Talbot, would you mind me asking a few questions about the night you were attacked?

SIR JOHN

I damn well would, Aberline.

ABERLINE

Unfortunately Sir John, you are not the reason I traveled from London to Blackmoor. Although your whereabouts on the nights in question are vague, your son here, as the victim of such a ravenous attack, is of concern. Now please, Mr. Talbot, a moment of your time.

Lawrence nods, and guides Aberline into the sitting room. Sir John mutters to himself, and walks off.

CUT TO

INT. SITTING ROOM - DAY

Aberline and Lawrence sit across from each other in the armchairs. Lawrence sips from a glass of whiskey as Aberline watches.

LAWRENCE

So, Inspector, what brings Scotland Yard onto the case?

ABERLINE

Well, Mr. Talbot, when 15 people are gruesomely murdered by something, usually it gets the attention of London.

LAWRENCE

But not my brother.

ABERLINE

Unfortunately, London leaves those cases to the local police. And, as you can see, they lack either the technology, efficiency, or motivation to help you. I am deeply sorry about your brother's whereabouts, or lack thereof, but I simply cannot help you at the current time Mr. Talbot.

Lawrence sarcastically chuckles to himself.

LAWRENCE

Of course. So, how can I help Scotland Yard?

ABERLINE

Let me start by asking a few questions of your whereabouts. On the night of September the twenty fifth, where were you Mr. Talbot?

LAWRENCE

Relevant to the case?

ABERLINE

Yes, quite. That was the night before the body of one Mister Paul Connell was found savagely murdered near his farm. You were?

LAWRENCE

In London. My acting troupe was doing a production of Hamlet, as you should know. You were in attendance.

ABERLINE

Yes I was, Mr. Talbot, but not on that night.

LAWRENCE

What are you implying, Inspector?

ABERLINE

Nothing. Now, two weeks ago, just about, you were where?

LAWRENCE

With the hunting party. The night I was attacked.

ABERLINE

Of course. And it seems you were the last one to have been attacked.

LAWRENCE

I guess so, Inspector. Our party had split up into 3 groups, so there was no way I could keep tabs on the other members, barring the ones in my group.

ABERLINE

The wounds were reportedly quite severe.

LAWRENCE

Yes. From what I remember, what attacked me looked like an animal.

ABERLINE

An interesting notion, given that there are no natural predators left in Great Britain. However, the savagery of the attacks do suggest an animal...or a lunatic, perhaps.

Lawrence begins to get the gist of where Aberline is leading this conversation.

ABERLINE

Someone with a history of mental illness, who spent time in an asylum.

LAWRENCE

It appears you're aware of my personal history, Inspector. I applaud you. It's well known that I was sent away as a boy after witnessing my mother's suicide. However, that does not make me a murderer.

ABERLINE

I never said you were, Mr. Talbot. I'm an Inspector for Scotland Yard. My job is to find out who, or what, killed these people. Now, if you cooperate with me, it will make both my and your life much easier.

LAWRENCE

Cooperate? Inspector, I was mauled by some type of wild animal, and you're suggesting that I killed 16 people? Whats next, are you going to ask if I killed my missing brother as well?

ABERLINE

That's not what I'm here for.

LAWRENCE

Wait...I know you, Aberline. Weren't you in charge of the unsolved Ripper cases a few years back? Right. Now it makes sense. Scotland Yard sends you, its greatest failure, to redeem yourself.

ABERLINE

(voice increasingly raising)

Well, it would seem that you're a direct man, so I will be equally as direct. I am not your enemy, Mr. Talbot. I have seen you play Richard the Third, Iago, Macbeth, and Hamlet all in that same face. Nevertheless, one must wonder what goes on in that head of yours. It takes a skilled actor to hide what is really happening, to mask the truth, to lead an audience to believe you are someone else. You're obviously quite capable of doing so. You've won awards, Mr. Talbot, you've garnered so many accolades throughout your career. Do people simply forget that you have a history of mental illness, or are you just that good of an actor to hide the fact that within your head, something might not be functioning correctly?

Lawrence stares at Aberline, his fury being contained only by the slightest of restraint.

LAWRENCE

Good day, Inspector. I'm not going to let you implicate me for these murders under my own roof.

Lawrence and Aberline stand up, eyes never leaving each other.

ABERLINE

Very suspicious, Mr. Talbot, but nevertheless. I hope you don't mind if I inquire your whereabouts on dates in question. I'm sure you have multiple alibis, one would hope.

LAWRENCE

Please leave.

ABERLINE

Good day, Mr. Talbot.

Aberline exits the sitting room, leaving Lawrence to himself.

CUT TO

INT. GRAND HALL - DAY

Aberline enters, catching glares from Sir John and Singh.

SIR JOHN

Have you finished wasting my son's time, Inspector?

ABERLINE

Yes I have Sir John. If you don't mind, I'd like to have a few words with you, when you get the chance.

SIR JOHN

I'm afraid I don't have the time nor patience, Inspector. Now please, my Sikh manservant will escort you off of my property. And please, stay off of it. Good day.

Aberline looks around him before grabbing his coat.

ABERLINE

As you wish. Good day, Sir John.

Singh follows Aberline out of the door. Lawrence enters, catching Sir John's attention.

SIR JOHN

What did he want?

LAWRENCE

He was implying that I murdered those men.

SIR JOHN

Impossible. Does he not know that you were among them?

LAWRENCE

I told him as such, but Aberline believes that I'm insane.

Sir John sighs, and walks off, leaving Lawrence to himself.

CUT TO

EXT. BLACKMOOR VILLAGE - DAY

Aberline wanders the streets of Blackmoor, paying no heed to the villagers who stare at him. Aberline sees a building of interest, and heads towards the door.

CUT TO

INT. HOSPITAL - DAY

A hospital in name and purpose, not in size. Aberline enters to find Doctor Lloyd sitting at a desk, ruffling through paper work.

ABERLINE

Excuse me.

Lloyd looks up at Aberline, and smiles.

DOCTOR LLOYD

Yes, how can I help you today sir?

Aberline takes off his gloves, and stuffs them into his coat pockets. He hangs his coat on a rack, along with his top hat.

ABERLINE

Inspector Aberline, from Scotland Yard. I'm here to investigate the murders from some weeks ago.

Lloyd's face seems to be a bit worried now.

ABERLINE

As chief investigator, I figured I would stop by the local medical examiner's office to see if I could get any new...information regarding what happened that unfortunate night.

DOCTOR LLOYD

I'll do all that I can to help, Inspector, although I wasn't present that night.

ABERLINE

You are Doctor Lloyd, are you not? Blackmoor's chief physician.

DOCTOR LLOYD

Yes I am.

ABERLINE

Right. I'm here to inquire chiefly about Lawrence Talbot. Are you familiar with him?

DOCTOR LLOYD

Why yes. I tended his wounds from that night.

ABERLINE

What would you say caused those wounds, Doctor?

DOCTOR LLOYD

Well, I was unable to see the initial wound, but the scarring was quite severe, from what I saw.

ABERLINE

Could a man have done it? Say, in self defense?

DOCTOR LLOYD

I wouldn't rule it out, Inspector. Some of the other bodies, however, were grisly sights. Limbs detached from the body, throats torn. If a man did this, well, he'd have to be...

ABERLINE

Insane?

Doctor Lloyd concedes the point.

DOCTOR LLOYD

Yes, Inspector. Insane.

ABERLINE

Now, back to Talbot. He was the only survivor, am I correct?

DOCTOR LLOYD

Yes.

ABERLINE

You saw his arm. How is it able to function after such...traumatic injuries?

DOCTOR LLOYD

I don't know. Its remarkable, really. God must have blessed him with strength.

Aberline smiles.

ABERLINE

I think that's all for today, Doctor. Thank you.

Aberline stands up, gathers his effects, and exits.

CUT TO

EXT. POND - DAY

Lawrence stands by himself, looking out over the pond. We slowly ZOOM in on his eyes. They begin to twitch, as if they sense something. Lawrence quickly spins, and finds Gwen standing maybe 20 feet from him.

GWEN

Lawrence?

Lawrence shakes his head, trying to clear his mind as he looks at Gwen.

GWEN

Are you alright?

LAWRENCE

Yes, Yes, I'm fine.

GWEN

What did Inspector Aberline want?

Lawrence looks away, not wanting to diverge the core of the conversation with her.

LAWRENCE

He just wanted to help find out what killed those men.

GWEN

Did he offer any help with finding Ben?

LAWRENCE

None. None at all.

Gwen walks closer to Lawrence, who bends over to pick up some stones. With a flick of the wrist, he skips one perfectly out over the water. Lawrence turns to Gwen, and holds out his hand. Gwen looks at the stone, and laughs.

GWEN

(laughing)

No thanks.

LAWRENCE

Why not?

GWEN

Well, I can't get it to skip like you do. It just kind of splashes. Watch.

Gwen takes the stone, and attempts to skip it. Alas, it sinks into the water with a splash.

GWEN

See?

Lawrence chuckles, and picks up another stone.

LAWRENCE

Its all in the wrist. Here, let me show you.

Lawrence walks up behind her, and grabs her hand.

LAWRENCE

May I?

Gwen nods as Lawrence guides her hand. They're close, her body is almost resting on his. He guides her hand through the motion, and steps away.

LAWRENCE

Now try it.

Lawrence hands her another pebble. Just like Lawrence showed her, Gwen skips the stone across the water.

LAWRENCE

Bravo, Miss Conliffe. Bravo.

Lawrence claps as Gwen smiles at him, laughing.

GWEN

Tell me about New York, Lawrence.

Lawrence sighs, looking out at the water.

LAWRENCE

It's much like London in its size, and just as urban and industrial. The people are different. And the buildings are tall. It's quite a sight to behold, Gwen. When I wasn't acting, I would just walk its streets, looking, watching.

GWEN

It sounds beautiful.

Lawrence smiles, looking her in the eyes. Suddenly, we ZOOM in on Lawrence's face, the forest begins to vibrate, we hear something, some rumbling noise. Lawrence shakes it off.

GWEN

What happened?

LAWRENCE

Do you hear that?

GWEN

What?

LAWRENCE

Horses.

Lawrence heads off towards the noise, Gwen following.

CUT TO

[Dale]

EXT. TALBOT HALL - DAY

Lawrence and Gwen emerge from the pathway to find a large group of people on horseback trotting towards the house.

LAWRENCE

Go get my father.

Gwen runs towards the house as Lawrence walks over to meet with the group. In the front is Reverend Fisk, whose face is lined with scorn.

LAWRENCE

How can I help Blackmoor's church this afternoon?

REVEREND FISK

We all know what happened on the full moon, Talbot. You were bitten by the beast. You bare his mark now.

LAWRENCE

That's true, Reverend, but I don't see the need for concern.

REVEREND FISK

It's an unnatural wound, Talbot. The Devil has placed his hand upon you. You're one of his minions now. Come with us, so we can cleanse you of his impurity.

Lawrence starts chuckling at the absurdity of the remarks.

LAWRENCE

Cleanse me?

Reverend Fisk looks back to the others, notably MacQueen.

REVEREND FISK

Do you want him to murder your wives and children?

He turns back to Talbot. Three burly looking men step to the front.

REVEREND FISK

Come with us Talbot.

The three men begin to apprehend Lawrence, who struggles against them.

LAWRENCE

Get your hands off of me!

He tries pushing them off, but the 3 men are too much. Suddenly, theres a blast, and one of the statues in the courtyard loses its head in an explosion. The three men let go of Lawrence and back off as Sir John walks out, shotgun smoking in his hand. Gwen stands in the background.

SIR JOHN

Reverend, I'll ask you now why you're intruding on my property. I've already had enough unwelcome visitors today, it confuses me why you continue to harass my family.

REVEREND FISK

Your son has been abandoned by God, Talbot.

SIR JOHN

Who hasn't?

REVEREND FISK

He will kill people under the full moon. He will change! That wound was unnatural, made by a fell creature. I tell you now, we are doomed! The Devil has come to Blackmoor in the form of Lawrence Talbot!

SIR JOHN

Please, Reverend, before I decide to sin, and shoot you, get off of my land. Now.

Reverend Fisk scowls at Sir John.

REVEREND FISK

You've doomed us all, Lawrence Talbot. God will have his vengeance. However, you will not be saved. Your soul is damned!

The caravan begins to leave, leaving Lawrence, Sir John, and Gwen in front of the house.

SIR JOHN

Bloody townspeople.

Sir John mutters some other obscenities as he walks back towards the house. Gwen points to something on Lawrence's lip.

GWEN

You're bleeding. Come inside.

Lawrence looks at the fleeing townsfolk, and follows Gwen back into the house.

CUT TO

INT. TALBOT HALL - DAY

Sir John hangs up his gun as Gwen and Lawrence enter.

LAWRENCE

What the hell was Fisk going on about?

SIR JOHN

He's the town's vicar, Lawrence. They need something to damn and curse every once in a while. You, as an outsider, give them an opportunity to lash out.

GWEN

But I don't see how they view him as a threat. What has he done to them?

SIR JOHN

Like I said Miss Conliffe, he's an outsider. That gives them more than enough reason to view him as a threat. And with the murders, Lawrence is an easy target.

Sir John turns to head upstairs as Lawrence sits down on the table, while Gwen gets a wet rag. Sir John looks down with coldness as Gwen starts to tend to Lawrence's wound. He then turns back, and goes upstairs.

GWEN

They're insane. What do they think you'll do to them?

Gwen continues to clean the wound, getting closer to Lawrence. Lawrence's face turns blank, as he just looks at Gwen. Not in her eyes, but just at her. He's almost in a trance.

GWEN

Atleast we know its still out there, whatever it is. Hopefully Ben is out there too.

Lawrence doesn't respond. He looks at Gwen's chest, which is a bit exposed from her dress. It's almost as if he's lusting for her. He continues to stare. Gwen's arm moves closer, and without thinking, he snatches her around the wrist. But he continues to stare.

GWEN

Lawrence?

Lawrence shakes his head, seemingly snapping out of the trance.

GWEN

Lawrence, what happened? Are you alright?

She looks down at his hand, which is still around her wrist.

GWEN

Lawrence...?

He lets go suddenly, shaking his head. Without a word, he looks at her, and gets up, leaving the room. Gwen looks back at him as he leaves, holding her wrist.

CUT TO

EXT. BLACKMOOR VILLAGE - DUSK

Aberline walks through the streets of Blackmoor, and spots a crowd of people near the smithy. Men hold silver items, spoons, plates, glasses, anything. Aberline wanders over, and looks into the smithy, where the blacksmith replacing Fitzsimmons is casting bullets out of the silver.

ABERLINE

Hmm.

People around him begin to board up windows.

CUT TO

INT. TALBOT HALL - DUSK

Lawrence wanders through one of the hallways, and comes upon Samson. The usually confrontational dog doesn't make any noise, but rather looks at Lawrence oddly, as if he was afraid.

LAWRENCE

Samson?

The dog whimpers, and turns around, running back away from Lawrence, who shakes his head.

CUT TO

EXT. GYPSY CAMP - DUSK

Lawrence wanders into camp, clad in a dark overcoat to conceal himself. Looking around, he spots Maleva's wagon, and walks swiftly towards it. Bela sees Lawrence, and follows him with his eyes.

CUT TO

INT. MALEVA's WAGON - DUSK

Maleva sits at her table, shuffling through a tarot deck, as the door opens. Lawrence walks in, closing the door behind him.

MALEVA

I knew you would return, Lawrence Talbot.

LAWRENCE

What is happening to me?

MALEVA

What do you mean?

Lawrence sighs, sitting down across from her.

LAWRENCE

You found me that night. When I was bitten. What happened to me? What bit me?!

MALEVA

Did you not scoff at the supernatural?

LAWRENCE

You can't honestly get me to believe that I was bitten by a werewolf.

MALEVA

Then there is no hope for you, Lawrence Talbot.

LAWRENCE

Listen, please. I'm sorry. My shoulder feels stronger than ever. I've been feeling odd, quicker, stronger, I can hear things better, my sight is crystal clear.

Maleva's expression sinks.

MALEVA

Let me see your wound.

Lawrence unbuttons his shirt. There is no scar. No sign of any attack at all. Lawrence is just as shocked as Maleva.

LAWRENCE

Wha....it was...Tell me what's happening!

Maleva stands up, turning away from Lawrence.

MALEVA

You did not listen to the spirits, Lawrence Talbot. Fate dealt you a heavy hand. Your fate isn't in my hands.

Lawrence puts his head in his hands, and drops to both of his knees.

LAWRENCE

Please....please...

MALEVA

Even a man who is pure of heart and says his prayers by night may become a wolf, when the wolfsbane blooms, and the moon is full and bright.

LAWRENCE

What?

Maleva puts her finger to his forehead, and closes her eyes.

MALEVA

Saints be with you, my son. Go. Go, quickly.

Lawrence gets to his feet, backing up.

MALEVA

Wait!

Maleva, grabs something off of her table, something that we can't see, and puts it in Lawrence's hand.

MALEVA

Take this with you, Lawrence Talbot. It will help you find your brother, for better or for worse. Now go, and Heaven help you.

Lawrence looks down at the ting, and backs away, leaving the wagon in a mixture of fear and confusion.

CUT TO

INT. TALBOT HALL - NIGHT

Lawrence walks through the hallway swiftly. He stops at a door, banging on it with his fist. After a few seconds, the door opens, revealing Gwen.

GWEN

Lawrence? What is it?

LAWRENCE

Gwen, you must leave Talbot Hall tonight. I've arranged for a carriage to take you back to London tonight. Please pack your things.

GWEN

Have I done something?

LAWRENCE

There's no time to explain, Gwen. It's not safe here. I'll be out of your way now.

Lawrence turns his head slowly, worriedly, and begins walking off.

GWEN

Lawrence! Lawrence wait!

Lawrence stops, turning around to face her.

GWEN

What are you afraid of?

Lawrence places his hand on his forehead.

LAWRENCE

Gwen, my brother loves you. He's still out there somewhere, this I know. For the time being, I'm stepping in for him to take care of you. And if anything were to happen to you because of me, I would never forgive myself. Please, I can't explain what is happening to you, or even to myself, but you must leave Blackmoor immediately.

Gwen, just as worried as Lawrence, nods her head, and heads back into her room.

CUT TO

EXT. TALBOT HALL - NIGHT

The carriage sits outside as Lawrence leads Gwen outside.

LAWRENCE

This will take you to London. Whatever you do, do not come back until I message you. This place seems cursed, Gwen. I can't say why, but its gloom has enveloped me.

GWEN

What are you talking about Lawrence?

Lawrence looks at her longingly. He knows that he is falling for her.

LAWRENCE

Please, Gwen, get in the carriage. For me. For Ben.

Gwen reaches up, and kisses Lawrence on the cheek, before hugging him.

GWEN

Good luck, Lawrence. I hope you find what you're looking for.

LAWRENCE

Pray that I don't, Gwen.

Gwen gives him an odd look, as Lawrence begins hustling her towards the carriage. Talbot turns, looking up at the Manor.

GWEN

Farewell, Lawrence.

Lawrence turns, letting Gwen catch him in a dark light, standing in front of the manor.

LAWRENCE

Go.

Gwen gets into the carriage, as Lawrence walks over to the driver. He pulls out a large coin, and puts it into the driver's hand.

LAWRENCE

Don't stop until you reach London, do you understand?

DRIVER

Yessir.

The driver gets into the carriage, and begins to drive away. We see Gwen looking at Lawrence as the carriage leaves Talbot Hall.

CUT TO

EXT. BLACKMOOR VILLAGE - NIGHT

The clocktower reads 11:20.

CUT TO

INT. CHURCH - NIGHT

Reverend Fisk stands at the podium, looking over the crowded church.

REVEREND FISK

There are those who doubt the power of Satan. He changed man into beast, and a beast has come among us. Blackmoor has been invaded by the Devil, and tonight his power will be at full strength, but do not worry. The children of God will be protected by Him, for He shall strike down the devil with His right hand, and He will punish those who scorn Him with righteous vengeance.

CUT TO

INT. BAR - NIGHT

The bar is relatively crowded, given the full moon. The door opens, and in walks Inspector Aberline. The patrons of the bar look at Aberline as he takes a seat, indifferent to them. The barmaid, MRS. KIRK, walks over to him, and stares at him.

ABERLINE

Pint of bitter, please.

MRS. KIRK

Why aren't you out there with MacQueen hunting the beast that killed my husband? I know you London types think you're better than us, but that's why you're here!

Aberline takes off his top hat and gloves, before taking out a newspaper.

ABERLINE

I figured I would spend the night in this tavern, Mrs. Kirk, given that 214 of the 309 citizens of Blackmoor live within 500 yards of this establishment. Given so many people in such a small proximity, I decided to take post at the center of activity.

MRS. KIRK

Why are you not at Talbot Hall?

ABERLINE

Why would you say that?

MRS. KIRK

They're cursed. The lot of them. Father and son.

ABERLINE

Cursed isn't a good enough reason to obtain a warrant, Mrs. Kirk. Rules. The only thing stopping us from becoming a dog eat dog world.

Aberline half growls/chuckles.

ABERLINE

Pint of bitter.

Mrs. Kirk scoffs, and walks back to the bar.

CUT TO

INT. SINGH's QUARTERS - NIGHT

Singh sits on a cushioned chair, praying, when someone knocks at the door. Singh gets up, and opens it, to find Lawrence standing there.

SINGH

Lawrence?

Lawrence enters the room, closing the door behind him.

LAWRENCE

Your arsenal still amazes me. You should be asleep.

Singh looks down.

SINGH

I'd say the same thing Lawrence. How can I help you?

Lawrence pulls something out of his pocket. Its a piece of cloth, ripped.

LAWRENCE

What is it?

He turns it around, revealing what seems to be some sort of symbol or crest. It's two dogs leaping over a shield, which is wrapped with a vine.

LAWRENCE

It's so familiar, but so vague.

SINGH

You should be familiar with it, Lawrence.

LAWRENCE

Why's that?

SINGH

It's the Talbot family crest.

Lawrence is silent.

LAWRENCE

Our...the Talbot crest?

Singh nods his head.

SINGH

Yes, your father's clothes has that embroidered on the left breast. Why?

Lawrence is awe-struck.

SINGH

Where did you find that, Lawrence?

Lawrence looks down at the crest, his hand trembling.

SINGH

Lawrence, please speak to me!

LAWRENCE

The gypsy woman who saved me gave it to me...Singh....Singh, please answer me. Please tell me the truth.

Singh looks away, guilt on his face.

LAWRENCE

Singh, did you and my father not go hunting for my brother before I arrived? Did you not go out on the full moon?

Singh avoids the question, looking down.

LAWRENCE

SINGH!

He looks up at Lawrence, face trembling.

SINGH

Yes....yes we did...Lawrence, I...

LAWRENCE

Please tell me Singh, were you with my father the entire night?

SINGH

I, no....ah..no, we split up so we could cover more ground.

Lawrence punches the wall of Singh's room, furious by the realization.

LAWRENCE

Singh, where is my father?

SINGH

I don't know Lawrence, I...

LAWRENCE

WHERE IS MY FATHER?!

Singh looks out of the window, down at something walking through the grounds. Lawrence pushes him away, looking out of the window. Someone walks, lantern in hand. Lawrence stuffs the crest in his pocket, and turns to leave the room.

LAWRENCE

Don't follow me, Singh.

SINGH

Master Lawrence, please wait! I can help you.

LAWRENCE

Singh, you stay in this room. I don't know what you know, but please swear to me you'll stay in here.

Singh sits down, and begins to pray as Lawrence hurriedly leaves the room.

CUT TO

EXT. TALBOT HALL - NIGHT

Lawrence runs after his father, grasping an oil lantern.

CUT TO

EXT. FOREST CLEARING - NIGHT

Sir John makes his way through a clearing, towards some type of crypt. Lawrence keeps his distance, but follows after Sir John.

CUT TO

INT. CRYPT - NIGHT

Lawrence enters the crypt, but can find no trace of Sir John. There's an open doorway to the right side of the crypt, which Lawrence heads towards. At the bottom of the stairs is a light, which seems to come from a candle. But first, Lawrence turns, looking at the large, stone grave in the middle of the room. He holds the light up to the stone coffin. SOLANA CERVAZA TALBOT. 1830-1867.

CUT TO

INT. CRYPT STAIRWELL - NIGHT

Lawrence creeps down the stairs, lantern in front of him. He reaches the final stair, and opens a door.

CUT TO

INT. SHRINE - NIGHT

Candles line alcoves in the walls, illuminating the dark crypt. A painting of Solana leans against the wall in an alcove. Lawrence looks at the painting, before turning around, and walking towards another opening in the underground passage. What he sees is nothing short of diabolical. A chair sits in the middle of a room, which is filled with even more candles. Multiple pictures of Solana sit in the alcoves lining the walls. The chair itself is more of a throne. Long metal arm-rests with what seem to be metal-straps at the end. Chains sit in the seat of the chair, and a metal head brace is at the top.

SIR JOHN (OS)

So, I assume you've figured it out.

Lawrence turns swiftly, finding his father behind him.

LAWRENCE

You son of a bitch.

SIR JOHN

Calm down Lawrence, now isn't the right time. You think that I'm a cold-hearted bastard, which in part is true, but I don't have the time to explain. I wish I could say that the tragedy that has been your lot is over, but I'm afraid the darkest hours of hell are right before you.

Lawrence pulls out the family crest from his pocket, spits on it, and throws it at Sir John.

LAWRENCE

You're a monster.

SIR JOHN

You'll find in due time that we are quite similar, Lawrence. But for now, look into my eyes. Look at them, Lawrence.

Sir John moves closer to Lawrence, looking him directly in the eyes.

SIR JOHN

You'll find that I am quite dead. I'm sorry, dear boy.

Sir John, with a mighty shove, hurls Lawrence through the large door. He then closes the door, locking it from within. A thick iron fence stands between father and son. Lawrence gets to his feet, backing away from his father slowly.

SIR JOHN

They won't kill you Lawrence, but they will blame you. The beast will have it's day.

Lawrence's face is mortified.

SIR JOHN

Good night, Lawrence.

Sir John heads back into the cell as Lawrence begins to walk out of the crypt.

CUT TO

INT. CRYPT - NIGHT

Lawrence stands by his mother's tomb, looking down.

CUT TO

EXT. BLACKMOOR VILLAGE - NIGHT

The clocktower begins to toll. Midnight. We zoom up to the sky again, as clouds disappear, revealing the monstrous full moon.

CUT TO

INT. BAR - NIGHT

Aberline looks up from his mug at the sound of the clock tower. The rest of the bar patrons are deadly silent. Mrs. Kirk locks the doors to the pub.

ABERLINE

Mrs. Kirk, may I inquire as to what you're doing?

MRS. KIRK

It's the witching hour under the full moon, Inspector. The Devil will arrive.

ABERLINE

Indeed. Carry on, then.

CUT TO

INT. CRYPT - NIGHT

As Lawrence looks around, it hits him. Lawrence crashes to the ground, writhing in agony.

LAWRENCE

HELP! HELP ME!

His hand begins to contort, fingers stretching. Lawrence throws his head back, gurgling in pain, He grabs his mother's tomb with clawed hands, trying to pull himself up.

LAWRENCE

MOTHER! HELP!

His head snaps back again, blood dripping out of his mouth. Instead of a human cry, we hear a guttural bellow. Lawrence's feet begin to transform. Not into paws, but not into feet, just a twisted mixture of both. He begins crawling towards the entrance of the crypt, his body still shifting, bones snapping and contorting.

CUT TO

EXT. FOREST - NIGHT

The full moon hangs over the silent forest. Finally, after a moment, the terrifying call of The Wolfman is heard over the forest. The spine-tingling howl rips across the landscape.

CUT TO

INT. CHURCH - NIGHT

Fisk stands silently over his podium, looking out over the worried crowd as the howl echoes through Blackmoor.

CUT TO

INT. SINGH'S QUARTERS - NIGHT

Singh's prayer is interrupted by the howl as his eyes bolt open, his face lined with worry.

CUT TO

EXT. HUNTING STAND - NIGHT

MacQueen and Doctor Lloyd look out over the forest from their post. 5 other men stand around them.

MACQUEEN

Should be here soon.

DOCTOR LLOYD

Jesus Christ, oh Jesus Christ. What was that MacQueen?

MACQUEEN

What we're here to kill, Doctor. You just stand there, and aim your gun. Fire when I tell ya.

Doctor Lloyd gulps, worried. His old heart unable to take it.

CUT TO

INT. BAR - NIGHT

Aberline stands up, grabbing his hat, and gloves. Mrs. Kirk looks at him, face lined with fear.

MRS. KIRK

Where are you going?

ABERLINE

Finding, and killing whatever is out there. Stay inside, keep the door locked after I leave.

CUT TO

EXT. BAR - NIGHT

Aberline looks around, trying to sense the direction of the howl. He runs to his horse, mounts it quickly, and rides off.

CUT TO

EXT. FOREST - NIGHT

The Wolfman races through the forest, although we never get a good, full view at him. He drops to all fours, speeding through the underbrush.

CUT TO

EXT. HUNTING STAND - NIGHT

MacQueen stands at the ready, rifle at his shoulder. Lloyd is visibly shaking. Suddenly, something BURSTS from the side, crashing into one of the hunters. The Wolfman TEARS at him, rending skin, blood spurting in geysers.

MACQUEEN

Good Christ. FIRE! NOW!

Before they can shoot, The Wolfman springs out into the bushes. One of the hunters musters enough courage, and runs towards the bushes, firing his pistol into the brush. From nowhere, the Wolfman grabs his arm, tearing it off. The man screams in agony as the clawed hand of the Wolfman slashes his face, shredding it, blood spraying everywhere. MacQueen fires, hitting the Wolfman in the shoulder.

MACQUEEN

Come on you bastard!

He looks behind him. All alone. Everyone has run off. Resigning himself to death, MacQueen takes his rifle, and tries swinging it at the monster, but its caught, and thrown away. The Wolfman then grabs MacQueen by the throat, and bites down into his chest, tearing away, killing him. The Wolfman discards the ravaged body of MacQueen, and howls victoriously into the night. With a growl, he begins to race off after the closest hunter.

CUT TO

EXT. FOREST - NIGHT

One of the men runs as fast as he can, but hears the Wolfman racing after him. He discards his rifle, and starts firing his pistol, but the Wolfman leaps up from all fours, bringing him to the ground. The last thing the poor man sees is the visceral maw of the Wolfman biting down onto his face.

The Wolfman stands up, and a shot wizzes past him. The young man, MacQueen's assistant, fires at him again, before backing up. The Wolfman roars at him, and begins chase.

CUT TO

EXT. MARSH - NIGHT

The young man stumbles into a marsh, falling into quicksand. Stuck. We hear the beastial growl in the background.

YOUNG MAN

MacQueen?

The Wolfman emerges from the shadows, stalking the young man.

YOUNG MAN

Damn you! Damn you to hell!

He fires his pistol, hitting him in the leg. The man reloads, and fires again, striking his shoulder. Unable to get away, tears dripping down his face, the man places the gun to his temple, and fires. And the hammer clicks. But nothing fires. The Wolfman roars, slashing the young man's head once, twice, and a third time. The mauled head slowly topples off, crashing into the quicksand. We get a quick close-up of the Wolfman's face as he sniffs the night air, searching for prey.

CUT To

EXT. FOREST - NIGHT

Aberline rides through the woods on his horse, searching. He comes across the first dead body, the eviscerated corpse of a hunter. He shakes his head, riding faster through the night

CUT TO

EXT. FOREST - NIGHT

Doctor Lloyd stumbles through the forest, his heart failing him. He leans on a tree, trying to catch his breath. Something moves in the woods around him.

DOCTOR LLOYD

MacQueen?

He turns, but he knows its not the hunter, in that sense of the word.

DOCTOR LLOYD

Whose there? Lawrence, is it you?

He turns again.

DOCTOR LLOYD

Benjamin Talbot?

The thing moves again. Doctor Lloyd looks up, seemingly praying, and cocks his rifle.

DOCTOR LLOYD

God help me.

He fires straight ahead, but the Wolfman isn't in front of him. It's right next to him.

CUT TO

EXT. HUNTING STAND - NIGHT

Aberline reaches the once hunting stand, and dismounts his horse. 3 corpses, MacQueen included, lay scattered, literally, about the site. Guts spread, arms torn, blood soaking the ground.

ABERLINE

Good God.

We hear another monstrous howl as we pan back, showing Aberline in front of the full moon.

FADE OUT

EXT. MOORS - DAY

We see blackness.

SIR JOHN (OS)

Lawrence, wake up.

Our eyes begin to flutter.

SIR JOHN (OS)

Lawrence......Lawrence!

We zoom out, and see Lawrence laying on the ground near a hollow tree stump. His clothes are torn, blood, dirty, ragged. His hair is messed up, caked with sweat, leaves and blood. His hands wear gloves of red, his feet bare. Lawrence slowly gets to his feet, looking at his hands. In the background, a group of men ride on horseback.

SIR JOHN

Good morning Lawrence.

Lawrence stands there, speechless, looking at his hands, at his clothes.

LAWRENCE

Wha...what have I done? Father, what have I done?

Sir John smiles, looking at his son.

SIR JOHN

Terrible things Lawrence, you've done terrible things.

Lawrence cries out, and begins to walk as fast as he can away from his father, who looks on as the mounted men circle Lawrence. Aberline strays away from the pack, and meets up with Sir John, who follows his son down.

ABERLINE

I'm sorry Sir John. You shouldn't have to had seen this.

SIR JOHN

Unfortunately, it is as you said Inspector.

ABERLINE

I'm truly sorry.

Aberline rides back towards Lawrence, who is pointing towards his father desperately. Sir John smiles, looking at his son. One of the men strikes Lawrence viciously across the head, knocking him out cold.

SIR JOHN

Be strong Lawrence. Be strong, my son.

FADE OUT

INT. LAMBETH ASYLUM - DAY

Lawrence lies on a straw mattress in the corner of a small room. There's a chair, and a barred window, and nothing else. He slowly gets to his senses as the door opens. In walks the relatively short DR. HOENNEGER. Two orderlies stand behind him.

DR. HOENNEGER

Ah, Mr. Talbot, it's been quite a while. However, you disapoint me in your return. I truly thought your suffering was over all those years ago. Nevertheless, we have made so many technological advancements in the treatment of delusional patients such as yourself, that it would be an honor to help you recover, again.

Lawrence tries sitting up.

LAWRENCE

Where's my father?

DR. HOENNEGER

That isn't of importance right now, Lawrence. Our main objective is to cure you of your delusions. Please, follow me.

He nods to the orderlies, who pick Talbot up, dragging him out through the door.

CUT TO

INT. WATER ROOM - DAY

Lawrence sits strapped in a chair, which is next to a large pit of water with chunks of ice floating in it.

DR. HOENNEGER

One of the main means of treatment we use here at Lambeth is water therapy. You will be dunked in this pit of water for seconds at a time. You will feel a large amount of pain from the shock of the icy water, Lawrence, but it's not enough to kill you.

LAWRENCE

Where is my father?

Hoenneger sighs, and points to an orderly, who begins to crank a massive wheel, which starts to lower the seat into the ice water. Lawrence holds his breath as he is dunked. After a few seconds, the orderly cranks it in reverse, bringing Lawrence back to the surface.

LAWRENCE

(shivering)

Where is my father? Where is he? Where's my father? Where's Gwen?

He is slowly dropped into the tank again, screaming as the ice water slides over his face. He screams underwater, and as he is rolled back up, gasps for air with a shrill call.

LAWRENCE

GWEN? WHERE IS SHE? WHERE IS BEN? WHERE IS MY BROTHER?

Hoenneger sighs, and takes a needle out of his coat. He plunges the long needle into Talbot's neck, and pushes down, injecting him with some sort of fluid. Lawrence blacks out.

CUT TO

INT. STAGE - NIGHT - DREAM

Lawrence stands on stage as Hamlet. He's dressed for the part. On the floor next to him lays Laertes, bleeding profusely from a wound in his chest. Lawrence turns around, to find his father sitting on a throne, dressed as Claudius. His mother, Solana, sits on the throne next to him, and drinks from a goblet.

LAWRENCE

Mother, no!

She begins to choke as the poisoned wine fills her lungs.

LAWRENCE

NO!

CUT TO

EXT. WOODS - NIGHT - DREAM

POV: We're running through the woods, chasing after something.

CUT TO

INT. BEDROOM - NIGHT - DREAM

Lawrence kisses Gwen on the lips, and slowly begins to peel off her dress.

GWEN

Lawrence....have me. Take me.....Lawrence!

They kiss again passionately, falling onto the bed. Lawrence takes off his shirt, and begins to kiss Gwen's naked neck.

GWEN

Lawrence....Lawrence. Lawrence! LAWRENCE!

It's no longer Lawrence, but the Wolfman! He snarls, as we see a gaping bite wound on Gwen's neck.

CUT TO

[Dale]

INT. LAMBETH CELL - DAY

Lawrence lies on his mattress, eyes blinking.

SIR JOHN (OS)

To be, or not to be, that is the question Lawrence.

Lawrence sits up, hoping its a dream, but in his heart, he knows this is the cold reality. His father sits in the chair in the cell, legs crossed, looking at his son with relative indifference.

SIR JOHN

That is the question. I warned you Lawrence. I told you not to go out on the hunt, but you had to play the hero, did you not?

Lawrence looks at his father, but it's hard to move with the chains binding him to the wall.

LAWRENCE

I was trying to find Ben.

SIR JOHN

Oh, I know Lawrence. I know you wanted to help, but I warned you. And you didn't heed your father's warning. Look where we stand now. You're in here for killing 6 people, while I'm still free, clear of any suspicion for killing dozens. It's truly ironic, is it not?

Sir John sighs, looking up.

SIR JOHN

I guess you'll want to know how I became infected with lycanthropy, if you can call it infected.

CUT TO

EXT. AFRICAN PLAINS - NIGHT - FLASHBACK

SIR JOHN (VO)

It was in Africa, 1867. When you were just a boy. I was on a hunting trip. One of our guides mentioned something about an evil so deep that I just had to find it.

Young Sir John stalks through the plains, shotgun raised.

SIR JOHN (VO)

I did find it my boy. Or, it found me.

A werewolf springs from the brush, biting Sir John on the shoulder. The young hunter manages to fight the beast off, scaring it away with a gunshot.

SIR JOHN (VO)

Bit me on the shoulder, same as you. Although, the damage it inflicted wasn't as severe as yours. But, nevertheless, my wound began to heal suspiciously quickly, although I never told anyone about it. I didn't think it meant anything.

CUT TO

INT. LAMBETH CELL - DAY

SIR JOHN

But I was wrong. Every night since your brother was old enough, he locked me in that cell. Him and Singh. I was able to contain myself, although the beast within wanted nothing more than to be released, set free upon the world.

Sir John shifts in the chair, recalling.

SIR JOHN

Then she came. Hot and burning, much like your mother.

LAWRENCE

Gwen.

SIR JOHN

Yes. Ben was in love with her, and she with him. I tried keeping my lust for her secret, contained, much like the beast within. But, eventually, Ben figured out, and planned on moving away with her. They would have both left me. I couldn't have that, now could I?

LAWRENCE

I thought you loved Ben?

SIR JOHN

I did, Lawrence. He was my savior. He kept me contained, he kept the beast from taking control of me. But that damn girl had to interfere. And I lashed out, at both Ben and Singh. Knocked Singh out cold, haha. Poor old Singh.

Lawrence begins to realize what his father is trying to say.

LAWRENCE

Ben....he isn't missing, is he?

Sir John shakes his head.

SIR JOHN

No...no he isn't. And he certainly isn't alive.

He chuckles to himself. Lawrence's face turns from rage, to sorrow.

SIR JOHN

I had nobody to contain me that night, and I transformed in the open. The next morning, I found your brother's body not far from the house, in a ditch. He'd been torn to pieces. So I took his body, and hid it. Afterall, I didn't want to get caught. Life is far too glorious for me, as one of the cursed and damned. So, Gwen caught on that he'd been missing, and requested that you return. And thus, my exiled son returned to me. I thought I had a second chance at life Lawrence. I really did. While the beast still burned within me, the last shred of humanity within me hoped that with you, I could be normal again.

LAWRENCE

You could never be human. You're a monster...you always will be.

SIR JOHN

You're one to talk, my son. We now share the same lunar activities, you're just less experienced. How does it feel, Lawrence? Feeling the power surge through your veins, the burning sensation in your heart?

LAWRENCE

It's miserable.

SIR JOHN

That's too bad, my son. While I've come to accept the fact that I will no longer be able to hold on to my humanity, I do regret some things. I truly wish you never found your mother and I that night. Such a young boy, seeing his mother like that. It was devastating to you, just as it was to me. Her death finished me...

Tears slowly crawl down Lawrence's face. Sir John looks at him, knowing the question he's about to ask.

LAWRENCE

Mother....she didn't kill herself, did she?

Sir John sighs sadly.

SIR JOHN

No, Lawrence....no, I suppose I did.

Lawrence's eyes shoot open.

CUT TO

INT. TALBOT HALL - NIGHT - FLASHBACk

Young Lawrence looks down the stairs at the two people. Instead of weeping, we hear a lamenting howl. We see his mother, and pan up, seeing Solana's throat torn. But instead of Sir John, it's a werewolf! It snarls at Lawrence, turning his attention towards the little boy, but before anything can happen, Ben runs behind Lawrence, and fires a pistol at the thing, scaring it off. The camera ZOOMS up into the tempest, revealing a full moon.

CUT TO

INT. LAMBETH CELL - DAY

SIR JOHN

Oh, how I regret that night with all my heart. It was my first transformation, see? The month after I returned from Africa. I had no idea it was coming, I thought the werewolf myth was a joke. But, unfortunately, I was dead wrong.

LAWRENCE

You should have killed yourself.

Sir John stands up, walking around Lawrence.

SIR JOHN

Oh, I can't tell you how many times I've considered it. Deep down, I just relish life too much. I shouldn't have caged the beast all this time, Lawrence. I should have let it run free, don't you think so Lawrence? Kill or be killed.

Lawrence stares at his father with angry eyes.

SIR JOHN

Ah, you'll come to realize the gift you've been given in short time, my son.

LAWRENCE

A gift? There's nothing good about this. You're insane. Do you hear me, you're insane! They should have killed you! I should've shot you the moment I saw you! You should've turned yourself in when you had the chance.

Sir John laughs at his son's brashness.

SIR JOHN

Where's the fun in that, Lawrence? Oh how amusing it was to see you run around, looking for something you'd never find. You should thank me, by the way.

LAWRENCE

Thank you? For what, you bastard?

SIR JOHN

Well, if it weren't for me and my lycanthropic hobbies, you would have never met the beautiful Miss Conliffe.

LAWRENCE

Leave her out of this.

Sir John smiles, knowing he's hit a tender spot.

SIR JOHN

I saw the way you looked at her, and the way she returned it. It sickened me, seeing someone turn so quickly to another partner. See Lawrence, I loved your mother. Dearly. With all of my heart. Nothing could have ever torn us apart, had it not been for one fateful night. But seeing that whore give up on your brother, dead or not, it angered me Lawrence. At first, after learning you survived, I was sad. Oh how I wish you died for a moment. It would have saved you such agony, but as I saw you two grow closer and closer, I couldn't help but grow happy, in a sadistic sense. You would get yours, my boy.

LAWRENCE

Stay away from her, do you understand? If you touch her, I will kill you!

SIR JOHN

What courage! But you still have a long way to go, my young pup. You've been in here for weeks, Lawrence. The moon will be full in a matter of days. While I would love nothing more than for you to transform, and enjoy London, I do have a small gift for you, in the event you don't find life as glorious as I find it to be...or not to be.

Sir John places a razor under Lawrence's pillow, and kisses his son on the head.

SIR JOHN

I do care about you, Lawrence, however sick that may seem. But you'll figure it out eventually.

Lawrence is fed up with his father's games, and begins to struggle against his restraints.

LAWRENCE

I'll kill you....I'll kill you!

SIR JOHN

Goodbye, Lawrence.

Sir John turns to leave.

SIR JOHN

Guard.

LAWRENCE

I'LL KILL YOU!

Sir John exits the room, as an orderly enters with another needle. 3 more guards rush in to restrain Lawrence as the orderly injects Lawrence again, who falls to the ground, inebriated.

CUT TO

INT. TALBOT HALL - NIGHT - DREAM

Young Lawrence walks down the hall way with his father's hunting trophies. But instead of animals, it's the mounted heads of victims. Montford, Strickland, Kirk, Fitzsimmons, Nye. Lawrence continues to walk down the hallway, finding even more mounted heads. Ben, Solana. Finally, at the end of the hall, is the mounted head of Lawrence, at his current age. The young Lawrence gasps as we...

CUT TO

INT. LAWRENCE'S BEDROOM - NIGHT - DREAM

Lawrence lies in his younger versions's bed, covering himself. We hear the howl. Lawrence gets out of his bed, and goes to his brother's, where he sleeps.

LAWRENCE

(shaking Ben)

Ben, wake up. Ben!

Ben turns around, his face torn to pieces. Lawrence gasps in horror as he stumbles backwards.

CUT TO

INT. LAMBETH CELL - NIGHT

ABERLINE (OS)

Talbot! Talbot, wake up.

Lawrence rolls over, finding Inspector Aberline standing over him.

ABERLINE

I always knew there was something wrong inside that head of yours, and I had hoped that I was over-thinking it, but unfortunately, I was wrong. You're lucky you're not dead, and should be thankful of the humane treatment required for mental insanity.

Lawrence laughs.

LAWRENCE

I wish I was dead. And by the end of the week, you'll wish it as well.

ABERLINE

That's all fine and dandy, Talbot. As much as I'd love to beat you senseless right now, Dr. Hoenneger proposed the idea of bringing in a calming...hopefully calming influence to help smooth your treatment. While it took me a while to agree, we both decided it would be for the best. However, the doctor and I will be watching over you. Hoenneger!

The doctor walks in.

DR. HOENNEGER

Lawrence, it is far and few in between that we allow visitors outside of family for patients, and I sincerely hope that this has a positive influence on your recovery. Send her in.

The door opens, and in walks Gwen, eyes bright when she sees Lawrence.

GWEN

Lawrence?!

As she walks in, Aberline grabs her arm.

ABERLINE

5 minutes, Miss Conliffe.

She shrugs the Inspector off, and goes towards Lawrence.

GWEN

Lawrence, what have they done to you?

She goes to touch his face.

DR. HOENNEGER

No physical contact with the patient, I'm afraid Miss Conliffe.

Gwen recoils her hand, but crouches down to meet Lawrence's eye level.

LAWRENCE

Gwen?

Gwen, tearful, nods her head.

GWEN

Yes, yes its me Lawrence. Why is his neck swollen? Have you beaten him? Why is he being treated this way?

DR. HOENNEGER

It's all a part of the recovery system, Miss Conliffe. I assure you..

GWEN

This isn't humane! Release him!

ABERLINE

I'm afraid that's out of the question.

GWEN

Why? Why can't he stay with me?

LAWRENCE

No....no, Gwen, if this really is you, I have to stay here...you don't understand...

Gwen begins crying again, seeing the effect of the drugs on him.

GWEN

Yes Lawrence, it really is me...if only I could hold your hand. It's really me...please, you must believe me!

LAWRENCE

I'm...I'm sorry....I can't tell if I'm awake or if I'm dreaming.

Lawrence smiles, tears streaming down his face.

LAWRENCE

If it's a dream, however, then it's the best I've had in a long time.

Gwen matches his tears.

GWEN

Lawrence, I'm sorry...please. I'm sorry for this...it's my fault.

Lawrence shakes his head.

LAWRENCE

No...no..Gwen, please promise me...promise me you'll never go back! Do you understand? Never go back there!

ABERLINE

Alright, Talbot. That's enough.

LAWRENCE

DON'T GO BACK TO BLACKMOOR! YOU CAN'T!

Aberline restrains Gwen, pulling her back, as Hoenneger walks over to Lawrence, and injects him with a needle.

GWEN

Lawrence!

ABERLINE

With me, Miss Conliffe.

Aberline manages to get Gwen out of the room. Hoenneger snickers to himself.

DR. HOENNEGER

Calming presence indeed. Hmmph.

Lawrence lies blacked out on his mattress as Hoenneger shuts the cell door.

CUT TO

INT. ELECTRICAL ROOM - DAY

Lawrence lies strapped to a wooden table, covered with wires. Aberline watches as he is shocked repeatedly.

LAWRENCE

My father will kill again, and again, and again. He's a hunter. He hunts.

Lawrence seems to be turning insane because of the treatment.

CUT TO

INT. HALLWAY - DAY

Lawrence is wheeled in a wheelchair by an orderly.

LAWRENCE

I played Hamlet, you see? Just like in real life. I must kill my father. He killed my mother. He killed my brother. He killed me. I'll kill you. We'll all die, see?

Lawrence begins to laugh over and over as he is wheeled into his cell, just repeating delusions.

CUT TO

INT. SITTING ROOM - NIGHT - DREAM

Lawrence walks into the sitting room, and sees his father applauding him.

SIR JOHN

Bravo, son. Bravo. Look here, Lawrence. Your own collection of trophies.

Lawrence looks around the room. The heads of MacQueen and Doctor Lloyd are mounted on the wall.

SIR JOHN

Not as good as your old man, but a fine start. You've done terrible things Lawrence. Terrible things.

Lawrence screams as his father continues to walk towards him.

FADE OUT

INT. CELL - NIGHT - DREAM

Lawrence lays curled in a ball in the corner of his room. The full moon is seen through the barred window.

GWEN (OS)

Lawrence...its Gwen.

Lawrence begins to stir, looking up at Gwen with starry eyes.

LAWRENCE

Gwen...I've killed people.

GWEN

No...no you haven't. Its not real Lawrence...you're a good person.

Lawrence begins to cry as he takes the razor out from under his pillow.

LAWRENCE

It must be this way.

GWEN

Lawrence, you don't have to...you can be with me...I'll help you.

Lawrence stares at the blade which hovers over his wrist.

GWEN

Don't....be with me.

Lawrence drops the razor as Gwen comes in and hugs him tightly, burying his face in her shoulder.

GWEN

Shh..it'll be ok.

Lawrence looks at the moon, and suddenly the Wolfman leaps out from the shadows at Gwen!

CUT TO

INT. LAMBETH ASYLUM - NIGHT

An orderly wheels Lawrence down a hallway. Lawrence is gagged, but is relatively calm.

CUT TO

INT. SURGEON's THEATER - NIGHT

Hoenneger stands in front of an ampitheater of surgeons, officials, and others. Aberline sits in the background watching as the doors open, and Talbot is wheeled in. Hoenneger turns to Talbot, smiling.

DR. HOENNEGER

Ah, Mr. Talbot, we can finally begin. Gentlemen, I would like to introduce you to Lawrence Talbot, the newest arrival here at Lambeth Asylum. Mr. Talbot suffers from a delusion of the mind called "Lycanthropy". For those of you unfamiliar with the term, it is the belief that he will change into a wolf during the full moon.

The crowd chatters at the notion, some laugh.

DR HOENNEGER

As ridiculous as it sounds, lycanthropy dates back as far back as any religion. Romans, much like witch hunts, would slay suspected "werewolves". The Vikings would don themselves in wolf fur in order to get power from their Gods. The Native Americans believed in something called shape-shifting, which, much like lycanthropy, was the belief that wearing a wolf pelt would transform them into a wolf. While such things were believed in those years, we live in a much more enlightened time.

The crowd laughs at Hoenneger's sarcasm.

DR. HOENNEGER

However, we are here tonight to illustrate the fact that these delusions are all effects of the unfortunate trauma that Mr. Talbot has faced in his life. He witnessed his mother's self mutliation as a boy, and his young, fragile mind, unable to comprehend what really happened, created up a fantastical truth. That his father is literally a monster.

Hoenneger turns to Lawrence, and looks him in the eye.

DR. HOENNEGER

But your father is not a werewolf. You were not bitten by a werewolf. And you will not become a werewolf...why any more than I will sprout wings and fly out of that window.

The theater, bar Aberline, laughs at Hoenneger's joke. Lawrence begins to mumble through his rag, trying to say something.

DR. HOENNEGER

Ah, it appears Mr. Talbot has something to say. Please, remove his gag.

The orderly takes the rag out of Talbot's mouth.

LAWRENCE

(whimpering)

Stop it...please...stop it.

DR. HOENNEGER

Speak up, Lawrence!

LAWRENCE

What...what are you doing to me?

Dr. Hoenneger sighs.

DR. HOENNEGER

As if I didn't make myself clear the first time. Please, open the curtain!

The curtain is pulled upon, revealing the full moon hovering over the London skyline.

LAWRENCE

No...no you can't!

DR. HOENNEGER

We are going to stay in this room all night with you Mr. Talbot to prove conclusively that the full moon has absolutely no sway over you. Once we have realized this, you will have taken the first step on the road to mental recovery.

LAWRENCE

Please...ABERLINE! STOP THIS!

The crowd looks at the Inspector, who tries to ignore Talbot.

DR. HOENNEGER

The good Inspector cannot help you Mr. Talbot until you cooperate with me.

LAWRENCE

You FOOL!

Hoenneger smiles.

LAWRENCE

Tonight, I'm going to change, I'm going to transform into a werewolf. I'll kill you....I'll kill them. I'll kill all of you!

The crowd chuckles in unison.

LAWRENCE

(angrily)

I WILL KILL ALL OF YOU!

DR. HOENNEGER

Mr. Talbot, you must relax.

LAWRENCE

PLEASE DO SOMETHING ABOUT IT!

Hoenneger turns from him, to address the crowd.

LAWRENCE

Please...lock me up...kill me..anything...no....

The light of the full moon hits him, and his head jerks back.

LAWRENCE

ITS.....HAPPENING!

His face begins to contort, cheek bones moving, jaw shifting. Aberline watches on with interest. His hands begin to expand, claws replacing fingernails, blood dripping onto the floor. His shoes burst as his feet begin to grow, claws expanding. His eyes roll into the back of his head, glaze over, a black mist shrouding his pupils. Suddenly, his face begins to turn black, hair rapidly expanding.

RANDOM DOCTOR

Hoenneger!

Aberline watches in sheer shock as Lawrence literally transforms into the Wolfman. The Wolfman, completely turned, rips out of his restraints, roaring at the crowd. Hoenneger turns, mouth open in fear. One of the orderlies attempts to attack him, but Lawrence rips his face open with a paw. The doctors begin to evacuate, led by Aberline. Hoenneger begins to back up as The Wolfman targets him. The Wolfman grabs him, and hurls him through one of the windows, sending him crashing outside. With a snarl, The Wolfman leaps through the window, landing on the roof top. Aberline watches in horror as the beast gets away.

CUT TO

EXT. LONDON ROOFTOPS - NIGHT

The Wolfman races a top the roofing, before leaping across, from roof to roof. Ahead of him is a large gargoyle, which climbs, looking out over his city. After a moment, the Wolfman throws his head back, and lets loose a howl so loud that it rushes across the city, howling in the face of the moon, the Goddess of the Hunt. He snarls, looking down below.

CUT TO

EXT. LONDON STREETS - NIGHT

Aberline races across the streets, looking for the Wolfman. He spots an officer, and runs up to him.

ABERLINE

Are you armed?

OFFICER

Yes sir.

ABERLINE

Your pistol.

The officer hands him a pistol, and Aberline races off.

CUT TO

EXT. LONDON ALLEY WAY - NIGHT

The Wolfman drops down behind a man, biting down into his shoulder. He drops to all fours, sprinting down the alley, before bursting out into the middle of the street.

CUT TO

EXT. LONDON STREETS - NIGHT

We see the Wolfman bounding through the streets, leaping on to tables, and across, hitting stride for stride. Aberline races out, firing his pistol, but isn't able to strike him.

ABERLINE

DAMN!

CUT TO

EXT. LONDON STREETS - NIGHT

The Wolfman bounds onto a man on a cart, savagely mauling him. He swipes out, decapitating the man, sending his head flying into a woman, who shrieks in terror, as the Wolfman leaps upon her.

CUT TO

EXT. POLICE BARRACKS - NIGHT

Aberline runs up the steps, finding 5 officers, and another detective.

ABERLINE

(winded)

Carter!

CARTER

Sir?

Aberline looks around.

ABERLINE

Do you have a pistol?

CARTER

Of course.

ABERLINE

Come with me. The rest of you, warn all other officers. We are in a state of panic. You, telegraph the yard, issue weapons to all units. NOW!

One of the officers runs into the barracks as the other disperse. Carter and Aberline begin to run towards the direction of screaming.

ABERLINE

You don't happen to have any silver bullets?

Carter gives him a skeptical look as they continue to run.

CUT TO

INT. BALL ROOM - NIGHT

A large masquerade ball is being held inside of a grand ballroom. Men in masks dance with women, clad in dresses, with elegant masks. A blind opera singer sings at the fore-front of the room, elegantly singing some piece of foreign music. The Wolfman enters the room through one of the open doors, and begins to sniff around, catching so many different scents, seeing so many different things, but hearing only one melodic tune. His rage isn't as apparent, in fact, he seems calm. Almost tranced.

MASKED MAN

Bloody good costume, sir.

The man pats the Wolfman on the shoulder, unknowingly snapping him from his peaceful trance. He roars, and slashes the man across the face. Blood sprays onto the girl next to him, who screams. The Wolfman panics, biting down into the throat of the girl. Panic begins to spread as the Wolfman begins slashing his way through the crowd, leaving in his wake a swathe of bodies, but all the while, the soprano continues to sing, unknowing of the mayhew around her. One of the men throws a candle at a table cloth, lighting it on fire. The Wolfman begins to panic, and backs up into the opera singer, who stops singing. He snarls, and begins to maul the poor blind girl.

ABERLINE (OS)

FIRE!

Aberline, Carter, and 4 other officers open fire at the Wolfman, driving him away from the torn up body of the girl. He runs, crashing through the window of the ball room.

ABERLINE

This way men!

Aberline sprints after the Wolfman, his group following him.

CUT TO

EXT. LONDON STREET SQUARE - NIGHT

The Wolfman bounds through the middle of a packed street, stopping in the middle of the road, and looking at a large double decker bus that is heading towards him. Without moving, he roars, causing the bus to swerve. The momentum of the thing sends it crashing to the ground near the Wolfman, who leaps over it, slashing the driver's head open. A few officers begin open firing on him, driving him away from the bus. Aberline runs towards the scene.

ABERLINE

Michaels. Michaels!

A red-haired sergeant turns to him.

MICHAELS

Sir?

ABERLINE

Take your patrol down that street, I'll take mine this way. We'll catch him in a crossfire.

Michaels nods, heading down one alley with his group. Aberline goes the opposite direction with Carter and the other men.

CUT TO

EXT. CROSSFIRE - NIGHT

The Wolfman, on all fours, races through the streets, suddenly, gunfire starts hitting him, bullets whizzing past. He leaps to both legs, roaring. With a snarl, he laps towards one side of the crossfire, landing in the middle of Michaels and the other officers. He rips into Michael's neck, tearing his jugular out. Another man is slashed across the chest multiple times, rending flesh from bone. A third is thrown with a sickening thud into a wall. The last man shoots him in the shoulder, but catches a gruesome swipe to the face. Roaring, he begins to bound towards Aberline's side of the crossfire. But, instead of attacking, he LEAPS over, crossing the group of men with ease. The Wolfman rushes off into the night, leaving behind Aberline, Carter, and three other officers. Aberline looks at the carnage, and into the night.

ABERLINE

God help us. God help us all.

Aberline looks up at the full moon.

CUT TO

EXT. ZOO - NIGHT

The Wolfman stalks through the zoo, more out of curiousity than bloodlust. Suddenly, he begins to sniff, and climbs up one of the rocks of some unidentified animal's exhibit. As he reaches the top, he howls deafeningly through the night sky. After a moment, 3-4 howls come in response. The Wolfman turns in the directions of the howls, and begins to wander towards the source.

CUT TO

EXT. WOLF PEN - NIGHT

Four wolves sit in an enclosed exhibit, wandering around, their eyes glowing. The Wolfman comes up to the cage wall, sniffinf, growling. The other wolves respond in a submissive manner, recognizing his dominance. There's something in his eyes, a desire to roam, to hunt.

CUT TO

INT. SEWER SYSTEM - NIGHT

The body of a ragpicker lays headless on the stone floor. A few feet away, The Wolfman crouches, sipping water from the system. He crawls out, looking out over the Thames River. With a tired growl, he wanders back into the alcove.

FADE OUT

INT. SEWER SYSTEM - DAY

Lawrence lays on the cold floor, shirt torn, a bloody mess. With a sigh, he wakes up, sitting up on the floor. He looks down at his hands, seeing the blood, the dirt. He crawls over to the water, and sees a reflection of himself, face matted with blood, hair standing up with grime. Again, he looks at his hands, and begins to splash water on his face, trying to clean up. As he sees his clear face, he begins to cry, breaking down. He falls backwards against the wall, head in hands, weeping at what he's done, unable to cope with the lives he's unintentionally taken. Lawrence looks to the dead ragpicker, sighing miserably, and begins to strip him.

CUT TO

EXT. LLANWELLY STREET - DAY

It's raining out as Lawrence walks briskly, coat pulled up near his face, hat pulled down. He looks around, searching for something. Finally he stops, letting out a sigh of relief. As he walks towards it, we see the window. Conliffe Antiquities.

CUT TO

INT. CONLIFFe ANTIQUES - DAY

The store is closed, but is full of old busts, paintings, china, etc. The door to the shop opens, and in walks Gwen, carrying an umbrella. She places it in the vase by the door, and hangs up her hat. As she walks to the back, she notices someting. One of the windows is open, dirt is dragged in on the floor.

GWEN

Hello? Is someone there?

She hears a thud, and a sigh. Lawrence rolls out from a table, breathing heavily.

GWEN

Lawrence? Is that really you?

Lawrence looks at her, his face ragged with grief.

GWEN

What have they done to you Lawrence?

He shakes his head, looking down.

LAWRENCE

It's not what they've done to me, Gwen. It's what I've done.

Gwen seems perplexed.

GWEN

What do you mean?

Lawrence looks back up at her, his face torn with self-loathing.

LAWRENCE

Me, I'm what they say I am. I'm a monster.

Gwen looks at him, not knowing what he means.

LAWRENCE

And so is my father. Gwen, please, we need to talk.

Gwen nods, looking at him with pity.

GWEN

Of course. First, you need to change into something warm, come with me.

CUT TO

INT. CONLIFFE PARLOR - DAY


Lawrence sits in a chair, covered in a black coat. Gwen walks in to the room, and sits down in front of him.

LAWRENCE

Gwen, I cannot even begin to thank you for the warmth you've shown me since I've returned. Ever since I was a boy, the only person I felt connected to was my mother. Even Ben and I were a bit distant, but my mother...she was everything. She was warm, smart, beautiful, artistic. The perfect woman. I loved her as much as my father did. You have no idea how much your compassion has meant to me through these dark times.

Gwen looks at Lawrence, her eyes wide in thanks.

LAWRENCE

I've found Ben.

Gwen smiles, moving closer to Lawrence.

GWEN

Where? Lawrence, where is he?

Lawrence looks down, unable to make eye contact with her. She begins to realize before Lawrence tells her.

LAWRENCE

All this time, he's been right under our noses, not lost, but hidden. Gwen, Ben is dead.

Tears begin welling in Gwen's eyes as she looks down and back at Lawrence.

LAWRENCE

And it pains me even more to tell you that he was killed by my father.

GWEN

Your father? How...why?

Lawrence looks at Gwen, and then around him.

LAWRENCE

He's a monster Gwen, no heart, no soul, no compassion. Just a husk of a person. The shell of a once great man. He cursed me with this fate, Gwen. It mocks me deep down. I thought that I was the reason this family was torn apart, but in time, I've come to realize that my father was responsible. He killed Ben, Gwen. He killed his son. And he killed my mother too.

Gwen takes Lawrence's hand in hers, holding it tightly.

GWEN

I'm sorry Lawrence. I'm so sorry.

Lawrence shakes his head.

LAWRENCE

He's doomed me to this curse. This abomination that lurks within me. I killed people Gwen. I wake up the next morning, no recollection, just the visual evidence of a bloody orgy through the streets of London. How I wish that I had been killed last night.

Gwen shakes her head, still holding his hand.

GWEN

There must be some way to help you.

LAWRENCE

There is no help for me. My fate was set in stone long ago. There's but one thing left for me to do, one way to make sure that this ends.

Lawrence looks at Gwen, and she begins to realize what he means.

GWEN

You...you can't go back there. Lawrence, you can't. He's killed so many, he'll kill you.

LAWRENCE

He already has, Gwen. Even now I feel it, the burning sensation in my veins, ready to be free. Nothing on heaven or on earth can change what's happened. Nothing can stop the moon, but I'm going to do my best to make sure he never lives to kill again. And once that is complete, I'll take my own life. That's the only way this can end. I must die, Gwen, but only after my father's life has ended.

GWEN

You don't have to go back Lawrence. Stay here with me. Stay here.

Lawrence shakes his head.

LAWRENCE

I now understand what my brother must have felt when he first laid eyes upon you. I feel guilty, but I hope Ben can forgive me for what I'm about to confess.

Lawrence looks her in the eye, and she returns the gaze.

LAWRENCE

I envy my brother, for the time he spent with you. For the joy he must have felt when he was with you. I thought everything in my life was thrown away when I returned, but then I realized that I never would have met you.

Lawrence kisses her on the hand. Gwen's heart is breaking.

LAWRENCE

I would have given anything I own, anything at all, to have known you in another life.

He looks back up at her, tears dripping down his face.

LAWRENCE

Goodbye Gwen. For goodbye is all we ever had.

Lawrence gets up to leave, but Gwen stands up.

GWEN

Lawrence...

He looks back at her, eyeing her, Knowing that the feeling is mutual.

GWEN

If goodbye is all we have, then let this be mine. Pray Ben forgives us both, for in this time, no matter how dark, how tragic, I've had the same feelings for you. As much as it pains me to say it, I can't bare to see you leave here. Please let me help you.

Lawrence stands closer to her, grabbing both of her hands.

LAWRENCE

You already have.

They stand, not 6 inches from each other, looking each other in the eyes. After a moment, they lean in, kissing each other with such passion, tears streaming from their face. They kiss for what seems like hours before a knock comes at the door.

LAWRENCE

Goodbye Gwen.

He kisses her forehead, and turns to leave.

CUT TO

[Dale]

INT. CONLIFFE ANTIQUES - DAY

Gwen opens the door of the shop, and outside stands Inspector Aberline. Carter, and a few other men stand behind him.

ABERLINE

Good afternoon Miss Conliffe.

GWEN

Inspector.

ABERLINE

May I intrude?

Gwen nods her head, and lets the man in, although she shuts the door before Carter can walk in.

ABERLINE

Are you home by yourself?

GWEN

Yes, my father is on business in Paris for the rest of the week.

Aberline walks closer to Gwen.

ABERLINE

Then you are in quite a dangerous position, Miss Conliffe.

GWEN

I am?

ABERLINE

I'm sure by now, you've heard the news of the missing lunatic. None other than one Lawrence Talbot.

GWEN

I've heard the news Inspector, and I find it hard to believe that he's insane.

Aberline sighs, pulling out the newspaper. Lawrence's face is demonized, making him seem crazed. A picture shows a crudely depicted werewolf attacking members of the public.

ABERLINE

No, its much worse Miss Conliffe. He's a monster beyond saving.

Gwen looks at the newspaper, and back at Aberline.

GWEN

No one is beyond saving, Inspector.

Aberline puts his hand on Gwen's shoulder.

ABERLINE

Miss Conliffe, I admire your desire to save him, it's truly noble, but I'm afraid you can't. He'll kill again and again. I cannot stress enough the mortal peril you'd be in if in his presence.

Aberline takes his hand off of Gwen, and turns.

ABERLINE

Now, have you seen Lawrence Talbot?

Gwen hesitates for a moment.

GWEN

No, I haven't.

ABERLINE

Miss Conliffe, it is imperative that you cooperate with me. Lawrence Talbot is an enemy of the state, who is to be killed on sight. Now please, it would make both of our lives much easier if you would just accept the fact that he must be killed. Now please, have you seen Talbot?

Gwen looks away, tears welling.

GWEN

No.

Aberline sighs, and looks at the door.

ABERLINE

Carter!

Carter opens the door, and storms in with a group of 10 officers. One of the men grabs Gwen, and pulls her outside.

GWEN

Get your hands off of me! You can't do this!

ABERLINE

I'm sorry Miss Conliffe.

Aberline takes out his revolver, walking towards the back of the store.

CUT TO

EXT. CONLIFFE ANTIQUES - DAY

The officers drags Gwen out into the rain as she struggles with all of her might.

GWEN

LAWRENCE!

CUT TO

INT. CONLIFFE ANTIQUES - DAY

Aberline scours the shop, before finally standing in front of a mirror. At the bottom, we see two legs. He motions for Carter and the rest to stand behind him, pistols raised.

ABERLINE

Talbot, you're surrounded. Give up. Walk out now, and I promse you will be treated humanely.

No answer.

ABERLINE

Talbot, this is my last warning.

He clicks his revolver.

ABERLINE

TALBOT!

Aberline fires into the mirror, the glass exploding as the bullet strikes it and whats behind it.

CUT TO

EXT. CONLIFFE ANTIQUES - DAY

We hear the glass shattering from the outside as Gwen yells and cries.

GWEN

(crying)

NO!!!

CUT TO

INT. CONLIFFE ANTIQUES - DAY

Aberline struck something, but not Talbot. It's a statue of a man.

ABERLINE

Damn you Talbot.

Aberline turns to his men.

ABERLINE

Blackmoor.

CUT TO

EXT. CONLIFFE ANTIQUES - DAY

Aberline exits the shop, walking directly towards Gwen. He puts both of his hands on her shoulders, shaking her.

ABERLINE

WHERE IS HE?

GWEN

(sobbing)

I...I don't know.

Aberline backhands the girl, knocking her to the floor.

ABERLINE

Damn it girl, where is Lawrence Talbot?

CARTER

Aberline, I think that's enough.

Aberline walks away, cursing and swearing as Gwen lays crying on the road.

CUT TO

EXT. OUTSKIRTS OF LONDON - DAY

Lawrence makes his way over a hill, clad in the clothes from earlier, along with a walking stick and pack he took from Mr. Conliffe's room.

CUT TO

INT. BLACKSMITH - DAY

A man works hard at the forge, casting silver bullets. With a thud, the man drops a group of them on a table, letting them cool off. Aberline watches as the blacksmith goes back to work.

CUT TO

INT. CONLIFFE PARLOR - NIGHT

Gwen sits at a desk, restless. She picks up her coat, and races off.

CUT TO

EXT. WILDERNESS

BEGIN MONTAGE:

A. Lawrence walks through the woods, minding his own business.

B. Lawrence passes over a bridge as a cart drives by

C. Lawrence wanders across the moors as he approaches Talbot Hall.

CUT TO

INT. TRAIN - DAY

Gwen sits alone in a booth, silently watching as the landscape passes by.

CUT TO

INT. CARRIAGE - DAY

Aberline sits in a carriage, across from Carter. He looks down at a small box in his hands, and opens it. Silver bullets. He takes 6, loading them into his revolver, then tosses the box to Carter.

CARTER

Silver bullets?

Aberline looks down at his gun.

ABERLINE

What I saw that night was nothing short of hellish. I'm not taking any chances. If a silver bullet will steady the hand of a man, then so be it.

Carter nods, and takes a few of the shells.

CUT TO

EXT. OUTSKIRTS OF BLACKMOOR - DAY

Gwen rides a horse down a path, looking for something, or someone. She finds a clearing, and heads through it. The gypsy camp.

CUT TO

EXT. GYPSY CAMP - DAY

Gwen trots in, and dismounts her horse. Bela looks at her, recognizing her.

BELA

What do you want here?

GWEN

Please, I'm looking for Maleva.

Bela looks around, unsure.

GWEN

Please, I need her help.

Gwen's face is sincere. Bela points to a familiar wagon.

GWEN

Thank you.

She hurries off towards the wagon.

CUT TO

INT. MALEVA's WAGON - DAY

Maleva stands, looking at something when the door knocks, and opens. She turns to find Gwen standing there.

MALEVA

You? What do you want with me?

Gwen shuts the door, and walks up to her.

GWEN

Please, I need help. Lawrence Talbot. You know that name.

Maleva looks concerned at the sound of the name.

GWEN

You know who he is, you know his plight.

MALEVA

Leave him to his fate. Nothing good will come of it.

GWEN

I can't abandon him. I can't, he may have done terrible things, but it's not him. I have to save him.

MALEVA

Do you love him?

Gwen hesitates, but Maleva presses on.

MALEVA

Do you love him? That is the only way, young one. It sets his soul's destination. Down one of two paths.

GWEN

What are they?

MALEVA

Damnation....or salvation. Will you condemn him, or will you set him free?

Gwen looks down, trying to hold back tears.

GWEN

I'll do anything to save him.

Maleva recognizes the purity in her voice, her face loosening.

MALEVA

You love him. He loves you. Do you wish to set him free? Do you know what this means?

Gwen nods her head, slowly realizing what Maleva means by ssetting him free.

GWEN

Yes...yes I do. But I can't kill him. I can't, I know he's still there. Is there no other way? I beg you, tell me!

Maleva's face is just as sad.

MALEVA

I'm afraid the young Talbot's fate has been set in stone. But you can still save him. Just remember, love will set him free.

Maleva puts her hands on Gwen's cheek.

MALEVA

May the Saints and the Spirits guide you, my daughter. Do what you must. Now go!

Gwen nods, and leaves the wagon, tears on her face. Maleva watches on in emotional torment as she leaves. Bela walks into the wagon.

BELA

What did she want?

MALEVA

To help the young Talbot.

BELA

You know she can't. He's doomed.

Maleva nods.

MALEVA

But he can still be at peace.

CUT TO

EXT. BLACKMOOR - DUSK

Aberline arrives in his cart, hopping out. Another one follows behind him as 6 other men exit. Carter stands behind Aberline as the rest of the men grab the equipment off of the roof of the cart.

CUT TO

INT. BAR - DAY

Aberline walks into the bar, followed by his task force. They place their weaponry on the table, checking equipment. Aberline tosses a bag on the table, which lands with a thud.

ABERLINE

Ammunition.

He takes the back, and flips it over, dumping silver bullets onto the table.

ABERLINE

Gentlemen, we are not here to capture Talbot, we are not here to treat him humanely. He is an enemy of the Queen, and thus, is to be treated as such. He is a monster, not a lunatic. Do not get caught in conversation with him.

Aberline looks around.

ABERLINE

If you find Lawrence Talbot, shoot him. And kill him. Understood?

The task force nods as they begin to load their weapons with the new ammo.

ABERLINE

You and you, take the priory road. You, take the town. Carter, go to Talbot Hall and warn Sir John about his son. Once you've done so, lurk near the estate, but not too close.

Carter nods, and heads off, along with the other men. Aberline checks his revolver, and cocks it.

CUT TO

EXT. FOREST - NIGHT

Talbot walks through the woods, towards a clearing thats all too familiar. In the distance, we see the crypt.

CUT TO

INT. CRYPT - NIGHT

Lawrence walks in, staring at the tomb of his mother. He kneels before it.

LAWRENCE

(softly)

Mother, please forgive me, and forgive my father. For what we've done, and for what I'm going to do. I love you.

Lawrence stands, and turns, noticing an oddly shaped wall or a door at the other side of the tomb. Lawrence walks over, and pushes on the wall, revealing a secret passageway.

CUT TO

INT. PASSAGEWAY - NIGHT

Lawrence walks through, using a torch as a light. At the end of the passage is a dead end, almost a small cave. In the center of the cave lies a wooden coffin. Lawrence walks towards it, and kneels, fearing whats in there.

LAWRENCE

Ben...

He opens the coffin, finding the mauled, decayed body of his brother. The stench overwhelms him, as he stumbles backwards. He regains composure, kneeling over the coffin.

LAWRENCE

Ben...forgive me. I did my best to find you, but it was useless. You were here the entire time. Give me strength tonight, and give Gwen the strength she needs. Please, forgive us both.

Lawrence stands, and turns to exit the tomb.

CUT TO

EXT. BLACKMOOR - NIGHT

Aberline stands with 5 of his officers, along with a group of 8 or so peasants who hold torches and rifles. Another officer runs up, reporting back.

OFFICER

No sign of Talbot.

ABERLINE

Has Carter returned?

OFFICER

No sir.

ABERLINE

Blast. Where the hell is Talbot?

PEASANT

Probably hiding with them gypos, sir. We all know he was in dealings with them after he was bitten.

Aberline's face brightens with a sadistic smile. He runs to his horse, mounting it.

ABERLINE

Follow me.

Aberline begins to ride off towards the gypsy camp as the men follow.

CUT TO

EXT. GYPSY CAMP - NIGHT

The camp is relatively peaceful. Suddenly, the sound of horses is heard in the distance. Bela looks, and sees the group of men riding towards their camp, firing guns in the air.

ABERLINE

TALBOT!

Bela runs to a tent, picking up his rifle. Maleva peers from her wagon. The mounted men begin to torch the huts and tents, trying to smoke out Talbot.

ABERLINE

LAWRENCE TALBOT!

One of the gypsy men tries to fight back, but an officer shoots him in the chest. Men are shot by the riders, but Aberline pays no attention to anything, save for finding his quarry. He rides up to Maleva's wagon, his rage illuminated by his torch.

ABERLINE

WHERE IS TALBOT?

MALEVA

I do not know.

Aberline snarls as he rides off. Half of the camp is burning. Bela runs towards Maleva, and grabs her.

BELA

We must leave.

Maleva looks on as the men burn her camp down, but she obliges, following Bela into the woods. We get one last shot of Maleva looking on from the safety of the trees as her camp is burned, and her people slain. Aberline rides to the middle of the camp, and meets with an officer.

ABERLINE

Talbot?

OFFICER

No sign of him sir.

ABERLINE

Damn!

He turns, and sees Gwen riding full speed down the path.

ABERLINE

MISS CONLIFFE?

He looks to the officers.

ABERLINE

Go that way through the woods. Hunt him out. Now!

OFFICER

Right away sir.

Aberline begins to follow Gwen as fast as he can.

CUT TO

INT. TALBOT HALL - NIGHT

Lawrence enters the house, door left unlocked. It's dark, but there's an oil lantern on the table. Lawrence uses his torch to light the lantern before discarding it. He uses the lantern to find his father's hunting shotgun, which he takes from the wall. Lawrence then begins to trek through the house, knowing he needs to get to Singh's quarters.

CUT TO

INT. SINGH'S QUARTERS - NIGHT

Lawrence slowly opens the door, and finds nobody there. Some of the guns are missing, but other than that, it's intact. He begins to look around, searching for the silver bullets, before finding the box laying on a table. He snaps it open, and grabs a handful of shells, stuffing two of them into the cracked open rifle of the gun. He snaps the gun closed, and holds it up to his shoulder.

CUT TO

INT. TALBOT HALL - NIGHT

Lawrence continues to hunt through the house, until he hears a strange noise. A piano. A piano playing a familiar tune.

LAWRENCE

No...

He gulps, hoping it's not his father. Hoping he is safe. Lawrence turns the corner, looking into the sitting room.

CUT TO

INT. SITTING ROOM - NIGHT

But he isn't so lucky. His father sits at the piano, playing the song Lawrence has heard so many times before. Without looking up Sir John begins to speak.

SIR JOHN

"I will arise and go to my father and say to him, father I have sinned against heaven and before thee, and I am no longer worthy to be called thy son."

Sir John looks up at Lawrence, who stands, rifle raised. Sir John smiles.

SIR JOHN

"And lo and behold, there he stands. The Prodigal Son, for he has returned."

LAWRENCE

Stand up.

Sir John sits.

SIR JOHN

Don't be so hostile, Lawrence.

LAWRENCE

Stand up, sir!

SIR JOHN

As you wish. I'd have Singh tend to you, maybe get you a drink, but he ran. Took Samson with him. The bastard.

LAWRENCE

STAND UP!

SIR JOHN

Right, right. Have a little courtesy Lawrence. In fact, I could have armed myself before you arrived, shot you down as you walked in the door.

LAWRENCE

Why didn't you?

SIR JOHN

Ah, well let's just say I think you deserve a sporting chance. That is the hunter's creed, mine after all.

Sir John stands, grabbing Lawrence's silver cane off of the top of the piano.

SIR JOHN

Such a marvelous piece of craftsmanship, isn't it? Perfectly balanced, ornately designed. Absolutely beautiful. I'm quite jealous.

Lawrence and Sir John circle each other.

SIR JOHN

Accounts of your escape varied, as you might expect. But when he...

Sir john points the cane at one of the arm chairs. Carter sits there, a bloody gash in his head.

SIR JOHN

Said that you were missing, and I was at risk, I couldn't help but laugh to myself. Who would've thought, Lawrence Talbot, becoming a man. I must say though my son, you're cutting it awfully close. It's 11:55. You know what that means. Or is that just it, have you come back to join your father for a night on the town?

LAWRENCE

I intend on stopping this before it ever comes to that.

SIR JOHN

Do you now? That's quite a surprise. Where has all this courage come from, my boy? You were always the fragile one. One must wonder....are those Singh's silver bullets in my gun?

Lawrence nods, not taking his eyes off of his father.

SIR JOHN

Ah, well then. You have me at a disadvantage. It makes me happy, Lawrence.

LAWRENCE

Happy? You single-handedly destroyed this family. You killed my brother, you killed my mother, and you've pretty much killed me, let alone the countless lives you've taken in your bloodlust. And you still don't care.

Sir John looks at Lawrence, his once mocking tone becoming serious.

SIR JOHN

How dare you come back here and insult me in my own kingdom, boy! Killing your mother drove me to this. I loved her Lawrence, I truly did. For you, the boy who sent away, to come back here and insult me, it's outrageous. Ben and I often spoke of your cowardice.

LAWRENCE

Shut up. SHUT UP!

Sir John continues to circle Lawrence, the tension growing.

SIR JOHN

Are you man enough, boy? Or are you still the weak 10 year old boy who I sent away 24 years ago? Now is your time Lawrence! Now, be a man!

LAWRENCE

When I first returned, you asked me how my presence would affect the situation. Here's my answer!

Lawrence pulls the trigger. Nothing. He pulls it again. Nothing. Sir John strikes Lawrence with the wooden handle of the cane, driving him back. Lawrence swings the butt of the gun, missing Sir John, but hitting the lantern, which flies onto the rug, lighting it on fire.

SIR JOHN

My God son! That was impressive. I honestly thought you didn't have it in you.

Sir John strikes Lawrence again.

SIR JOHN

Unfortunately Lawrence, as the alpha male of this pack, I find you unfit as one of my young. It's a purging, Lawrence. Nothing personal.

Sir John goes to hit Lawrence again, but Lawrence tries fighting back. Sir John kicks him in the ribs, the pushes him away.

SIR JOHN

Oh so weak...so vulnerable. It is quite unfortunate. Oh, how I wish you would have returned to join me. The hunting excursions we could have gone on! Africa, India, America...so many delicious possibilities. But alas, you had to play Hamlet.

Sir John kicks him again.

SIR JOHN

Do you feel her yet, Lawrence? Feel her power? It is glorious, isn't it?

Lawrence shakes his head.

LAWRENCE

(gasping)

No...its hell.

SIR JOHN

Hell? No, Lawrence. The beast is the beast. Let it run free.

He looks up at the moon.

SIR JOHN

She'll be here soon. I can feel my blood flowing, my veins pumping. But I'm at a loss. Do I kill you myself, and experience it...or do I let the beast have its day? So intriguing, isn't it?

Sir John grabs the cane from the floor, striking Lawrence across the back.

SIR JOHN

Within the next minute Lawrence, we won't be ourselves any more. Once that clock tower tolls, you know what will happen.

CUT TO

EXT. BLACKMOOR VILLAGE - NIGHT

We see the large clock tower. It's seconds hand is on the 6.

CUT TO

EXT. TALBOT PATH - NIGHT

Gwen speeds down the road, Talbot Hall in the distance. We see some of the flames in the windows.

CUT TO

INT. SITTING ROOM - NIGHT

Sir John stands, clutching Lawrence by the hair, staring at the moon, waiting for midnight.

SIR JOHN

Any moment now son. Before I kill you, I must say, you've impressed me. Coming back here, confronting me. I thought you would have ran. But I was wrong. We'll never get to see what kind of team we'd make.

The clock tower tolls in the distance. Sir John smiles wildly at the sound.

SIR JOHN

She's here Lawrence, I feel the beast screaming to be released. Don't you, Lawrence?

LAWRENCE

No...no I don't. I'm not like you. You're evil.

SIR JOHN

That's a nice way to put it lad. Tell me again, have you not murdered yourself? We're quite the same, just of different mindsets.

GWEN (OS)

LAWRENCE?!

Sir John and Lawrence both look to the noise.

LAWRENCE

Gwen...no...

Sir John begins to laugh devilishly.

SIR JOHN

How appropriate! She's mine now, boy. The alpha will have his bitch, and you'll do nothing but watch as I tear her limb from limb.

Lawrence's face begins to contort with anger, rage steaming.

LAWRENCE

NO!!!!!

Lawrence switches the lock on the cane, pulling out the silver rapier. Sir John turns, only to find Lawrence driving the silver rapier through his black heart. Blood begins to gurgle from Sir john's mouth as he falls to his knees. Lawrence stumbles backwards, the transformation taking hold of him. Sir John looks at his hands, and back at the moon, knowing that his son has had his vengeance. All of a sudden, we hear the beastial growl of the Wolfman. The beast walks towards Sir John, growling angrily, beastially. Sir John smiles as he sees his son in this form, almost impressed. The Wolfman gets face with Sir John, moving his head in close for the kill.

SIR JOHN

(low, through blood)

My....son.....

The Wolfman bites into Sir John's neck, crushing every fiber, muscle, vein, and artery in the way of its visceral maw. The Wolfman jerks his head back, ripping off the head of his dead father. Blood soaking his chest, the Wolfman throws back his head, and releases a howl of victory as the flames begin to consume the rest of the room.

CUT TO

INT. TALBOT HALL - NIGHT

Gwen enters the burning manor, looking desperately for Lawrence.

GWEN

Lawrence!?

She runs towards the sitting room.

CUT TO

INT. SITTING ROOM - NIGHT

The Wolfman stands amongst the flames, looking around, when he hears the girl.

GWEN

Lawrence?

She sees the Wolfman. More of a twisted parody of life than half man/wolf. She's speechless as she sees the man she knew absolutely vanished. Instead, it's this monster. The Wolfman turns to her, snarling. In the background, Inspector Aberline walks behind Gwen, pistol raised. Just as he is about to shoot, Gwen knocks away the gun, causing the bullet to miss!

GWEN

NO!

Aberline looks at the girl, and at the beast, who begins to charge.

ABERLINE

WATCH!

Aberline pushes Gwen out of the way as the Wolfman hits Aberline with force, biting down onto his back. Aberline screams in agony as the giant teeth rend his flesh, tearing muscle from bone. Aberline looks at the girl, who watches as he is being mauled.

ABERLINE

RUN! RUN!

Gwen begins to back up, and grabs his revolver.

ABERLINE

GO!

Gwen starts to run as the Wolfman tosses Aberline into the wall. He turns his attention to the fleeing girl, but Aberline hurls a spear at him. The Wolfman turns to the Inspector, all attention on him. Aberline watches as Gwen runs, knowing that he has little left, but to give her time. He swings the spear, trying to fend the beast off.

ABERLINE

Come on you bastard. Come on!

The Wolfman grabs the spear hurling it away. Aberline backs up into the wall, knowing he's doomed. The Wolfman walks towards him slowly, recognizing that he's easy prey. Aberline stands, looking into the eyes of the monster that he's hunted for so long, knowing his death is imminent. The Wolfman grabs Aberline by the throat, slamming him against the wall. He uses his claws, jaming them into Aberline's stomach. The Inspector's eyes roll back, blood dripping from his mouth. He found his match. The Wolfman roars, flinging Aberline's corpse into the flames. He looks out of the window, seeing Gwen fleeing, and turns towards her. The Wolfman sprints towards the window, crashing through it.

CUT TO

EXT. TALBOT HALL - NIGHT

Gwen runs as fast as she can, clutching the revolver. The Wolfman trails behind her, sprinting.

CUT TO

EXT. FOREST - NIGHT

She runs into the forest, avoiding branches and bushes, as well as the monster behind her. The Wolfman follows suite, crashing through the brush.

CUT TO

EXT. FOREST - NIGHT

The hunters continue their search.

CUT TO

EXT. FOREST - NIGHT

Gwen hides behind a tree as the Wolfman searches in the background, sniffing the air. Gwen runs, alerting the Wolfman to her presence.

CUT TO

EXT. WATERFALL - NIGHT

Gwen runs out onto the waterfall where Lawrence called his refuge. It's a dead end, unless you count the cliff gorge a way out. Gwen turns, facing the forest, pistol raised. She hears something crackle in the bushes, and sees its shadow. 8 feet tall, muscular. Nothing like the man she knew. As The Wolfman walks towards her, Gwen slowly backs up, pistol raised.

GWEN

(sobbing)

Lawrence, you know me! Don't do this!

He continues to advance, and she continues to back up.

GWEN

(sobbing)

Look at me Lawrence, you know who I am!

She stumbles on a loose rock, and falls to the ground. The Wolfman is upon her, pinning her down to the ground. The gun is a hands reach away. He bears down on her, growling.

GWEN

(crying)

Lawrence don't!

The Wolfman hesitates for a moment, looking at her.

GWEN

You know me. Recognize me! Lawrence, it's Gwen...

The Wolfman considers her for a moment, his breath becoming less rapid. We ZOOM in on his eyes, which aren't the raging balls of fire as usual. They're relaxed. We can see the reflection of Gwen in his eyes. Gwen looks at him, calming down herself.

GWEN

Its Gwen. Lawrence?

The Wolfman looks at her, silent, as if he knows her. We see her in his eyes again, its as if the beast has recoiled.

GWEN

Remember how you kissed me?

As The Wolfman begins to let up, we hear the baying of dogs, and the cries of hunters. The Wolfman snarls, angered by the noise. He lets loose a howl full of misery, of torment, of anguish. Gwen begins crying again, knowing that their moment has gone. She looks to the revolver, tears flooding out of her eyes. Gwen slowly reaches for it as The Wolfman turns back to her, growling. There is no more sign of the man. Just the beast. He snarls. Gwen, realizing Lawrence is no longer there, points the large revolver towards his heart.

GWEN

(softly, as she cries)

I love you.

She fires, sending the silver bullet through his heart. The Wolfman yelps, and falls to the side of Gwen. She sits up, dropping the pistol to the ground, panting, crying. Suddenly, a claw reaches out, and grabs her by the wrist. Gwen, startled, tries prying the claw away. But instead, it doesn't do anything to her. It doesn't rend, tear, or rip. It simply holds her wrist. Gwen looks on as the claws begin to retract, the fur begins to fade, and the skin color returns to white. Soon, in the moonlight, lays Lawrence Talbot, hand grasping Gwen's wrist.

GWEN

Lawrence....no....no....no god I'm sorry, I'm so sorry...

She grabs Lawrence, and holds him in her lap, sobbing. His eyes flutter for a second, opening. He looks about, and sees the girl holding him, the girl whose sobbing in anguish. The girl who loves him.

GWEN

I'm sorry...forgive me...please...

With the last of his strength, he raises his hand, and looks at it. It's normal. He turns his eyes to her, and she to him. Although he doesn't have the strength to thank her, he looks into her starry, tear filled eyes with his own. Except, he smiles at her, and slowly touches her hand. He hopes she knows that she doesn't need to apologize to him. Salvation doesn't require forgiveness.

Gwen watches as Lawrence dies, his eyes close, and his head rolls back into her lap. She sees there is no pain on his face. He's at peace. He can sleep.

She begins to sob, cradling his dead body with all the love in the world. She kisses his brow and his hair repeatedly, hugging him. Crying for him.

We ZOOM out slowly, as the hunters reach the edge of the waterfall, watching as this girl cradles the man, not the beast. We continue to ZOOM, until we see the full moon hanging in the sky.

END.