YOU HAVE
7 DAYS TO LIVE
Screenplay for a cinema feature
by
Dirk Ahner
2nd draft
May 1999
FADE IN
An ancient house, standing lonely in the middle of a deserted landscape in Northern Germany; lying there like a sleeping giant under the starry sky.
But something seems strange: All of the windows and doors have been nailed shut.
Text chart: “1976”
The headlights of a car pierce the darkness. A car halts in the yard. Three MEN step out. One of them is wearing a police uniform. The men switch on their flashlights and look around.
man #1
How long has the house already been like this?
KARL LINDNER, a keen police officer in his late thirties, approaches the entrance door. He speaks in a calm, hoarse voice.
lindner
No idea. I haven’t seen them in weeks.
Lindner makes himself a picture of the situation.
He rings the doorbell. Nothing stirs inside the house. Then, he tries to get a look inside through one of the nailed-shut windows.
Through the cracks, he can barely make out a faint pulsating light.
lindner
I haven’t seen them in weeks.
The three men exchange looks.
With a heavy heart, Lindner makes his decision:
lindner
We’re going in.
The third man fetches a crowbar and prepares to open the door with it.
The house door breaks open with a loud crack.
On the floor below the mail slot, there are piles of mail and unread newspapers which the door pushes out of the way as it opens.
The three men cautiously enter. They look around. The hallway is as dark as night. Lindner tries the light switch – nothing. The only light comes from a TV-set running in the living room.
The three of them enter the living room. Disgusted, the first man holds a handkerchief to his mouth.
man #1
Pooh, what a stench...
There is a massive armchair in the center of the room, in front of the television. – There seems to be someone sitting in it. In the darkness we cannot recognize who it is.
Lindner carefully steps closer.
The second man stops in front of a large, dark stain on the wall. He touches it, draws back his hand and inspects it – blood.
Lindner slowly walks around the armchair.
lindner
My God... Marlene...!
During the next flicker of light from the television, we recognize the corpse of a woman around forty years of age.
Suddenly, Lindner hears something behind him – breathing!
He turns around.
Indeed, hidden in the semi-darkness, there is the shadow of a figure squatting on the floor.
lindner
Frank... Hell, what happened in here?
Lindner carefully approaches the figure.
It is a man, FRANK KOSINSKI. He looks scrawny, all skin and bones, with a pale and hollow face.
He doesn’t pay the least attention to Lindner. Mesmerized, he just stares at the dead woman in the armchair.
The “first man” follows the direction the man is looking in and takes a careful look at the dead woman. Something seems to be irritating him.
man #1
Now that’s really odd.
man #2
What? What is it?
man #1
I’d say she drowned...
Lindner leans over to the lethargic man in the shadows.
lindner
Frank...!?
He gently touches his shoulder. At the same moment, Kosinski seems to snap out of it.
He begins to scream in wild panic – loud, heartrending!
CUT TO:
A photo montage of corpses, preserved in the swamps over hundreds and thousands of years: children, old people, warriors, farmers with hair stained red from the humin acid, bony extremities and shriveled faces with skin that resembles an ancient landscape ...
... FADE TO:
The structures of the corpses’ skin fade into pictures of a vast landscape of heaths, forests and moors.
An expensive offroad vehicle is leading a sports car along a deserted country road. It’s a wonderful late-summer’s day. The two cars take a bend...
... into the driveway of the same old house. It lies peacefully in the afternoon sun. The gravel crunches underneath the tires.
A large moving truck is already parked outside.
Title chart: “23 years later”
Driving the Jeep is ELLEN STRAUB, an attractive, self-assured woman of approx. 30 years.
Asleep on the passenger’s seat beside her is her husband MARTIN, who in no way resembles the cliché of the successful author – he has a rather boyish charisma and is a bit too attractive.
Ellen stops the car and takes out some house keys. She holds them right up to her sleeping husband’s ear. Then, she shakes them. They tinkle.
ellen
(playful)
Sir, we have arrived at your residence.
Martin blinks and takes the keys.
martin
Thank you, James.
The two of them step out of the car.
Also getting out of their sports car are PAUL – a dynamic looking man in his mid-forties – and his wife CLAUDIA. Despite their careful choice of casual dress, they still look like the epitome of snobbish city people.
They take a look around. Time has left it’s marks on the old house: Like an enchanted castle, it is camouflaged in waist-high grass and wildly ranking shrubs.
Paul and Claudia exchange skeptic looks.
Paul
Well, look here!
martin
Ladies and gentlemen: The “Straub country-residence”.
Claudia
It looks more like the “Straub ruins”.
Paul
Welcome to the far end of the world.
Ellen contradicts.
ellen
The lap of nature. Where’s your famous optimism?
Two REMOVAL MEN climb out of the truck. One of them is still chewing on his lunch.
He points at his watch as he addresses Martin.
removal man
Lunch break is ‘til one o’clock.
martin
(sarcastic)
Sure, take your time.
(to Ellen)
They get a lunch break before they even start working.
Cool job.
Laughing, the four of them enter the house.
They step into the entrance area. The golden sunlight shines in stripes through the shutters. The house is old, monumental. One senses the centuries.
A staircase leads upstairs, the rooms on the first floor are the kitchen and living room. A heavy wooden door opens to the cellar stairs.
martin
The country residence offers everything the doctor ordered for a stressed author needs: fresh air, clean water and – most of all – absolute peace and quiet.
Paul walks upstairs. The staircase creaks.
Paul
This wood is pretty decayed. Hope I don’t land a floor lower.
ellen
Although it would give you a perfect opportunity to visit our new wine cellar.
Claudia
How old is this shack, anyway?
ellen
Four hundred years. Come on, I’ll give you a tour of the museum...
(blinking an eye at Martin and Paul)
...while our husbands already get to work.
CUT TO:
Martin and Paul are lugging a heavy desk out of the truck. As opposed to the two removal men, they are really working hard.
Paul
Damn, this thing is heavy. Where do you want to have it?
martin
Tenth floor.
Paul
Very funny.
CUT TO:
Sweating, Martin and Paul are trying to push the desk through the narrow door to the study. They are doing a pretty awkward job of it.
Martin’s hand brushes the door frame – a splinter.
martin
Shit!
Martin draws back his hand. He’s hurt.
Paul
What’s the matter?
Martin presses a handkerchief on the wound and has a closer look at the door frame.
It is totally splintered, as if someone had forcefully broken the door open!
martin
Look at this. The lock is totally demolished.
Paul
I guess someone lost their key. You did get your tetanus shots, I hope?
Martin is still looking at the broken lock.
martin
I mean, seriously: It is strange, isn’t it?
Paul puts it off. Only now does he have a better look around the room.
Paul
So what if it is. There hasn’t been anyone in this house for at least ten years.
The study is covered with dust, the walls are stained and full of cobwebs – blind, high arched windows. Single pieces of furniture that the previous owner left behind in this spacious room.
martin
Twenty-three, to be exact.
Paul
I wonder how you guys figure on renovating this whole place. You can afford to spend some money. If I was you, I’d spare myself all the hard work. Besides, didn’t you want to start writing again?
Martin suddenly seems lost in thought.
martin
Yeah sure, I will. Give me a little more time.
Paul gives him a downcast look.
Paul
If you throw away your career, that won’t change anything either. Now don’t get me wrong, but I’m telling you this as your friend: Your last books were awful. The publishing house isn’t even sure whether to extend your contract.
Martin takes the handkerchief from his wound and looks at it.
martin
I don’t care about my career right now, Paul. Ellen and I need to get our minds on other things, first. After everything we’ve been through.
Ellen is dragging a moving carton full of dishes into the kitchen. It seems to be very heavy. Claudia hooks up a radio and switches it on. We hear a cheerful oldie (Life could be a Dream).
The song seems to bring back memories to Ellen: She stares at the radio.
(Transformation from radio to:)
Flashback:
Ellen, Martin and their son THOMAS (8 years old) are joined at the breakfast table. The radio is on – it’s playing the same tune.
The little boy is totally absorbed with his Game-boy.
Martin sets a bowl of cornflakes and fresh fruit on the table.
martin
Here, partner: A breakfast for champions.
The little boy rolls his eyes and turns back to his Game-boy.
thomas
I can’t right now! I’m about to break the high-score!
Ellen gets into the discussion.
ellen
You do that. But first, eat your breakfast, Tommi.
Now, Thomas reacts. He puts the Game-boy on the table.
He continues the game with one hand, while he obediently shovels the breakfast cereal into his mouth with the other.
martin
Goes to show again who’s in command around here.
Martin gives Ellen a playful pat on the behind and kisses her.
ellen
(joking)
Sometimes I get the feeling you only love me for my body.
Martin grins.
martin
Why else?
ellen
Come on, say it. You know...
Martin seems to know exactly what Ellen wants to hear.
martin
Oh no, not again. I just said it for you last week.
For a moment, the two of them stop paying attention to their son. Suddenly, Thomas grabs his throat. He swallowed wrong. He chokes without making a sound.
ellen
Say it anyway. Come on, how much do you love me?
martin
(quotes)
“With you, my life began
and with you shall it end...”
Ellen gives him her most beautiful smile. Martin responds with a short kiss.
At the same time, they hear the Game-boy fall to the floor. It immediately draws their attention to Thomas.
The little boy is desperately gasping for air. His face is already starting to turn blue.
Martin runs to him.
martin
Tommi, what’s the matter?
He pats Thomas on the back, attempting to clear his throat.
ellen
What is it? What’s wrong with him?
Thomas coughs, choking, but he can’t get his throat clear. Martin recognizes the situation.
martin
(yells)
This is serious! Quick, call emergency!
Ellen hurries to the phone.
Martin realizes that hitting Thomas’ back is not doing any good. He uses his finger to try to get the swallowed piece out of his son’s throat.
For Thomas, it is a battle against death.
Ellen has gotten through to the emergency line. She speaks into the phone with distress.
ellen
This is Straub. You have to come, fast! My son, he swallowed something... Quick, he’s choking to death...
Martin’s attempts at helping his son remain futile. Thomas is beginning to lose conscience.
Martin sweeps the table free of dishes in a single move and lays the little boy down flat. He reaches for a sharp fruit knife.
Ellen comes running.
ellen
What are you doing?
Martin holds the tip of the knife to the boy’s throat. It’s not easy, since his son is wildly kicking around himself.
martin
I have to cut his windpipe...
ellen
(horrified)
You’re not a doctor, you’ll hurt him!
martin
(screams)
What else should I do, damn it, he’s dying!
Again, Martin prepares to cut – he holds the knife to the larynx. The boy’s movements grow weaker.
ellen
Too high, you’re way too far up... you have to cut here...
She points at the spot below the larynx while holding her little son tight.
martin
Ellen, move aside...
ellen
Oh God, Tommi...
Martin prepares to cut, but he can’t – his trembling hand refuses to move. Endless seconds pass. The voices blur, like in a dream. The music playing on the radio seems to become louder and louder (Life could be a Dream).
ellen
What’s the matter? Come on, cut...
Martin looks up at his wife. He can’t do it.
claudia (o.s.)
Ellen!
Ellen starts.
Claudia
Ellen, are you alright?
Claudia has already started unpacking the carton.
Ellen quickly switches the radio off. She tries to act as if nothing happened.
ellen
I’m fine. I was just distracted for a moment.
Claudia notices how upset her friend is and wants to put her arm around Ellen’s shoulder.
But just then, the removal men push their way past them with a cupboard.
Claudia drops the issue with a look of sympathy.
CUT TO:
The old house is resting peacefully in the sunset. The last rays of sunlight paint the horizon orange. Warm light shines out through the windows of the house.
The four friends are joined at the dinner table, surrounded by packing cartons. Their shadows are silhouetted outside the large window. Behind them lie the vast, lonely moors.
Martin opens himself a beer, raises it for a toast.
martin
To our hard-working wives.
Claudia
Don’t rejoice too soon. The bill is already on it’s way.
They toast with their bottles. Ellen takes herself a cigarette. Martin notices it with disapproval.
Claudia
I still can’t picture it: The two of you as country folk. I’m telling you, in six weeks you’ll be back in the city.
Paul
Hold it right there! I hate to play the big boss, but as Martin’s publisher I can only say: Make the best of the peace and quiet, the fresh air and all that - and write a new masterpiece!
Ellen gives Martin a skeptical look – the moment of silence is almost too long.
martin
First things first. Now it’s our turn - just the two of us.
Martin’s hand wanders over to Ellen’s. She reacts a bit hesitantly at first, but then they hold each other tight.
CUT TO:
Ellen is taking a shower, washing off the dirt from a hard day’s work.
The bathroom fills with steam.
Ellen turns off the water faucet and steps out of the shower cabin. She reaches for a towel and wraps it around herself.
Something catches her eye in the fogged-up mirror.
There is a number, as if someone had used a finger to write it into the moisture: “7”.
She wipes the mirror clean and looks at it.
FADE TO:
The following day:
A warm late-summer’s morning. The house stands lonely in the rays of the rising sun. Occasional dew drops glitter in the grass.
Ellen is asleep in her bed, despite the sun shining right in her face.
Martin enters the room with a tray loaded with breakfast delicacies. He holds it under Ellen’s nose.
martin
(acting gallant)
“Wake up, wake up, it’s break of day.” Paul and Claudia have already left, you sleepyhead.
Ellen hides under her blanket. Martin sets down the tray.
martin
You’re right. Forget about getting up. We’ll have breakfast in bed.
Ellen resurfaces with a grin. She is still sleepy.
Martin jumps into bed and crawls under the blanket.
ellen
How romantic!
He playfully burrows around under the blanket, making silly grunting sounds.
Ellen giggles. Suddenly, Martin sticks his head out.
ellen
(laughing)
Stop that!
martin
(with a grunting voice)
You’ll never get away from me!
He grabs her and pulls her under the blanket. Ellen screams, and laughs.
Martin is working at his computer. Everything is still set up a bit provisionally. Only Martin’s novels have already been sorted into a shelf, with 10 copies of “Cherry-red Tears” in front.
He is trying to write, but by the look on his face and his hesitant typing, we can tell that it’s obviously not going so well.
Ellen carefully approaches him from behind, hugs him and gives him a kiss on the cheek.
ellen
So, how does it feel to be kissed by two women?
martin
They say it’s fantastic. At least that’s what I read in a men’s magazine. So who are the two lucky ones?
ellen
Me and the muse, of course. How is your book coming along?
He grins and takes her in his arms.
martin
Oh, the muse... we’re still having our differences. You know how it is with women.
ellen
Well then, I guess I’d better leave the two of you alone. But don’t forget...
Martin finishes her thought.
martin
... we wanted to take some time out for ourselves. I know. And I’ll only work a little while, I promise.
Just as Ellen prepares to leave, she catches sight of an old photograph lying on top of one of the cartons. She picks it up and takes the dust off of it.
Under the dust, she finds an old black and white picture of a couple with very earnest looks. The retouched, pitch-black eyes give the photo a somewhat eerie touch.
All of a sudden, unexpectedly, the man on the photo turns his head.
His dead eyes look straight at Ellen!
Startled, she drops the picture to the floor.
Martin spins around.
martin
What’s the matter?
Ellen hesitantly picks up the picture and looks at it again. It was only her imagination. It is a normal, old black and white photo.
ellen
(irritated)
Oh, nothing. Where did this picture come from?
Martin turns back to his work.
martin
I found it here. It’s kind of creepy, don’t you think?
Ellen makes a face.
ellen
Yeah. It is, kind of.
She puts the picture back and leaves.
Ellen comes out of the kitchen and walks into the dark living room. She is carrying some sandwiches on a tray.
The room is only lit by the flickering of the television set. A spooky atmosphere.
In front of the TV is a large, old armchair (the same one from the opening sequence!). Ellen frowns. She slowly walks closer to it.
ellen
Martin?
Suddenly, Martin’s voice comes from behind the armchair.
martin
Damn!
Martin pounds his flat hand against the television. The screen shows no image, only snow.
Ellen sets down the tray.
ellen
What kind of a horrible thing is that?
martin
It still worked in town.
ellen
I mean the armchair!
martin
Oh, that was upstairs. A real antiquity! I think it’s great.
Ellen instinctively feels appalled by the old piece of furniture.
ellen
I don’t know.
Martin is still fighting with the TV-set, trying to find a channel.
ellen
Maybe the antenna’s broken.
martin
We’re probably lucky that we even have running water and electricity! Damned box!
He hits the TV with his fist.
Suddenly, everything is dark!
ellen
Hey... the fuse.
martin
Oh, damnit!
He looks for a flashlight and switches it on.
ellen
Do you know where fuse box is?
martin
In the cellar, I think.
Wait, I’ll take care of it.
He leaves the room.
Martin opens the fuse box and shines inside with his flashlight: A moldy mess of half-corroded wires leading into various ancient switches. The entire construction makes a dangerous impression.
martin
(talking to himself)
God, look at that...
The cellar seems even older than the house. It is a large, cold sandstone catacomb. Several pillars support the ceiling. The walls are clammy and cold.
Martin is standing in the darkness. Something approaches him from behind – slowly, threateningly.
Martin is looking for the blown fuse.
The thing comes closer. Finally, it grabs him.
ellen
Boo!
Martin spins around, startled.
martin
Jesus Christ!
Ellen laughs.
ellen
I wanted to know what’s taking you so long. You’ve been down here forever.
(looks around, shivering)
It sure is cold down here. We certainly won’t be needing a freezer.
She catches sight of an old shelf loaded with all kinds of strange old junk. The shelf looks old and rickety. Ellen shakes at it, testing its stability.
ellen
We’ll sure be sorting a bunch of this stuff out.
Martin points to the fuse box.
martin
Look at this! We’ll have to fix the whole wiring. This stuff is dangerous as hell.
ellen
We’ll call for someone from town first thing in the morning.
martin
Are you crazy? That costs a fortune!
ellen
Do you have a better idea?
martin
I’ll do it myself.
ellen
You?
martin
My father was an electrician. Already forgot that?
ellen
My father was a pilot. And do I know how to fly?
There’s a lot more Ellen would like to say about this, but she contends herself with a meaningful look.
ellen
Just do me a favor and don’t get yourself roasted!
Martin fumbles with one of the bigger switches, finally flips it to the other side. Click! The catacomb is lit: A lonely 40-Watt lamp dangling from the ceiling casts a dim light.
Martin gives Ellen a triumphant smile.
CUT TO:
Ellen is leaning against the door frame, dreamily gazing into the night. She is smoking a joint.
Martin steps up from behind and takes the hand-rolled “cigarette” out of her hand with a swift move. He tosses it away.
martin
Hey, flower child, the sixties are over. And this stuff is hazardous to your health.
ellen
Yes, daddy.
She gives him a hasty kiss and walks to the car.
