Night Of The Wolf - Ghost Stories

Summary

Old Time Radio Stories | Old Time Radio

Episode: Night Of The Wolf - Ghost Stories

Date: July 29, 2026
Host: Old Time Retro Radio

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Episode Overview

This episode presents "Night of the Wolf," a chilling radio drama in the classic tradition of vintage radio horror. Starring Vincent Price and Coral Brown, the story weaves Gothic family secrets, supernatural threats, and a father's desperate quest for truth and justice amid the shadowed marshes of the Fen country. Listeners step into a world where heredity, lycanthropy, love, death, and the ultimate battle between faith and evil collide.

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Key Discussion Points and Plot Breakdown

1. A Father’s Search for His Lost Son

[00:49 - 03:00]

• Mr. Matthew Deacon, a judge from Pennsylvania, arrives in Cambridge to investigate his son Robert’s mysterious disappearance from university.
• Official accounts claim Robert committed suicide – a claim Deacon refuses to believe, especially after he receives a recently dated note apparently in his son’s handwriting pleading, “Help me, Papa. For the love of God, help me.”
• Deacon’s determination: “If I have to tear down this university brick by brick, stone by stone, I swear to you, I am going to find him.” (Deacon, [04:20])

2. The Entrancing Dorothy Northcote and the Descent into Obsession

[05:00 – 10:00]

• Robert’s closest friend, Edward Griffin, reveals Robert was obsessed with the enigmatic Dorothy Northcote; their connection was instantaneous and overwhelming.
• Dorothy is described with “flaming red hair that falls down to her waist like a scarlet waterfall… such a wild look in her eyes.” (Griffin, [06:00])
• Under Dorothy's influence, Robert becomes volatile and tormented. A strange, almost supernatural transformation seems to occur when he interacts with her.
• Robert, lost in her thrall: “I will follow you to the ends of the earth.” (Robert, [08:58])
• Griffin witnesses Dorothy compelling Robert to face shadows, and Robert suffers physical wounds—a metaphorical and literal tearing at his humanity.

3. Arrival at Northcote Manor: Hostility and Enigma

[13:19 – 20:40]

• Deacon journeys to the isolated Northcote Manor in search of answers, encountering hostility and evasion from the Northcote family—particularly the matriarch, Mrs. Northcote.
• Wild dogs patrol the grounds, and plates of raw meat suggest something unnatural prowls the night.
• The villagers fear the marshes, believing them haunted. Deacon senses a greater evil: “I’ve lived in the backwoods of my own country long enough to know the difference between the howling of a wild dog and the call of a wolf.” (Deacon, [19:12])
• Mrs. Northcote rebuffs him, repeating that Dorothy is “away in France,” though cracks in this story soon appear.

4. The Family Curse and the Shadow of the Wolf

[21:58 – 25:40]

• Sybil, a younger Northcote, confides that Dorothy and Robert would meet in secret at the manor—a fact the family tries to hide.
• The ancestral long gallery is lined with portraits all bearing the same wild, haunted features. At the center: the founder, John Northcote, rumored to have built and never left the house—a sinister origin tied to the present curse.
• Sybil’s chilling words: “He will eat your soul. He will eat your soul.” ([25:22])

5. Locked Rooms, Night Terrors, and an Attempt at Escape

[26:24 – 35:24]

• Deacon records in his diary the strange atmosphere of the manor: “Every room is alive with whispers and I feel an atmosphere of such hostility that I now suspect even my own shadow.”
• He is locked in his room at night, experiencing supernatural attacks—something tries to break in, iron bars are torn apart, and he barely escapes.
• Mrs. Northcote continues to insist, “Your life was never in danger... My gamekeeper protects the house at all hours.” ([35:24])
• Deacon’s doubts escalate: is this about protection, or imprisonment—from within or without?

6. Lycanthropy, Folklore, and Science

[36:41 – 44:52]

• Professor Forrester introduces the concept of lycanthropy—the transformation of man into beast—grounding the house’s legends in both folklore and speculative science.
• “It’s a composite drawing taken from the descriptions of those who have actually seen the wolf-creature… this is no myth or legend.” (Forrester, [38:45])
• The curse may be hereditary, affecting males of the Northcote line—a theory that intertwines the scientific and the diabolical.

7. The Truth in the Tombs: Unearthing the Past

[57:04 – 59:35]

• Deacon and Daniel Forrester exhume a grave in their desperate search for Robert, only to discover Dorothy’s remains—her body ravaged by the wolf.
• Deacon confronts Mrs. Northcote: “Why didn’t you tell me that your own granddaughter was buried in that coffin with barely enough flesh left on her bones to feed the worm?” ([59:35])
• Mrs. Northcote reveals how the “seed of evil” is passed in the Northcote family, only manifesting fully in males; Dorothy 'transferred' it to Robert, damning him to the same fate.

8. The Tragic Confrontation and Faith vs. Damnation

[66:29 – end]

• Deacon finally finds his son Robert, locked and tormented, on the island hunting lodge. Robert’s mind and body are beset by the supernatural curse, caught between humanity and bestial transformation.
• In the final confrontation inside the church, Deacon desperately tries to redeem his son through faith and prayer—offering his childhood Bible, urging Robert to resist the evil within:
  • “You have to resist evil, Robert. You have to resist it in every way you know how.” ([81:39])
  • “Nothing will ever convince me that faith can't destroy evil in whatever form it takes. It was faith that brought me to this house.” ([62:57])
• However, as the transformation seizes Robert, Professor Forrester intervenes with a silver bullet—effectively ending the werewolf’s reign, but at heartbreakingly great cost.

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Notable Quotes & Memorable Moments

• The Voice from the Dead
  “Help me, Papa. For the love of God, help me.”
  — Robert’s note, the catalyst for his father’s journey ([03:30])

• On Evil and Law
  “Society has the right to be protected from the powers of evil.”
  — Deacon ([16:15])

• Family Curse and Fate
  “The Devil is a corruption of our souls… as long as I live, I will resist this devil. I will resist it until the curse that has plagued my family throughout its long history is broken forever.”
  — Mrs. Northcote ([61:27])

• Faith and Redemption
  “Only God is our creator. The power of God is greater than any manifestation of evil and corruption and temptation.”
  — Deacon ([62:57])

• The Ultimate Sacrifice
  “It was my bullet that saved your life.”
  “I wonder. Somewhere in the dark shadows of his mind, he heard me. He heard the words of the Lord and he understood.”
  — Forrester and Deacon, after the curse’s end ([86:09])

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Important Timestamps

• [00:49] – Opening scene: Deacon receives the mysterious note
• [06:00] – Description of Dorothy Northcote
• [13:19] – Deacon arrives at Northcote Manor
• [26:24] – Deacon’s diary entry: sense of imprisonment, supernatural dread
• [36:41] – Professor Forrester introduces lycanthropy and the hereditary curse
• [57:04] – Exhumation of the grave; Dorothy’s fate revealed
• [62:57] – Deacon’s argument that faith is stronger than evil
• [66:29] – Deacon finds Robert on the island
• [81:39] – [86:09] – Final confrontation, struggle for Robert’s soul, and the story’s climax
• [88:02] – Cast and production credits

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Tone and Atmosphere

The episode fully evokes a gothic, suspenseful, and tragic tone in classic radio tradition. The language is formal, rich in imagery, and driven by deep psychological and spiritual themes. Moments of supernatural horror are balanced with philosophical debates around the nature of evil, the limits of law, and the power of faith, culminating in a memorable confrontation of love, damnation, and hope.

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Conclusion

"Night of the Wolf" stands as a masterful blend of supernatural mystery and human tragedy. It explores age-old questions about inheritance, evil, and redemption, backed by stellar audio performances and chilling soundscapes. The episode highlights the enduring strength of old-time radio drama, where imagination and atmosphere create a legacy as haunting as the curse at the heart of the Northcote family.

Transcript

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We present Vincent Price and Coral Brown in Night of the Wolf, A horror legend of man and beast by Victor Pemberton. Night of the Wing. But deliver us from evil, for thine is the kingdom, the power and the glory, forever and ever. Amen. Mr. Deacon. Mr. Matthew Deacon? Yes.

[B]

Ah. Ah.

[C]

Forgive me for disturbing you in your moment of prayer, sir. I am Sir Richard Burnett, Provost of this college. The Porter's lodge said I would find you here. Yes. Chapel is beautiful, isn't it? In a few years time you'll be entering the 20th century. And think that I did not come all this way to Cambridge to talk about King's College chapel, Sir Richard. Now, where is my son, Deacon? Surely we've been through all that. Only by mail. It's been six months since you first wrote to me and I am not convinced. Now I'm here, I want to know what happened to him. But you must know. If I did, I wouldn't have crossed the Atlantic Ocean. But the police. Let me tell you something, sir. Where I come from, the police may be what you might call a little thick headed. But if they really want to find someone, they don't give up without trying to. Your son is dead, Mr. Deacon. He took his own life. I refuse to believe it. I know it is hard to accept. I only accept fact, Sir Richard. Fact. There was the note. Then why hasn't the body ever been found? Because no one has known where to look, Mr. Deacon. You're a judge. Assuredly you understand. Students, suicide. The boy just disappeared from his room. Do you mean to say that no one saw him leave the university? It was the middle of the night. What about his friends? I suppose his closest friend was Edward Griffin. He and Robert shared rooms Together outside the university. I flew to you. No one except. Ah, yes, except there were the Northcotes. The Northcotes? You never mentioned them. Ah, well, there is a daughter and an attractive girl. But look, Mr. Dickory, I can assure you the police have pursued every possible line of inquiry. Sir Richard, do you believe my son is dead? Until we can prove to the contrary, yes. Then perhaps you had better read this. What is it? Well, it's a note. It was delivered to me in my lodging soon after I arrived in Cambridge last night. As you can see, it's in my son's own handwriting and it's dated yesterday, March 9, 1883. What? Go ahead, read it. Help me, Papa. For the love of God, help me. How is that a voice from the dead, Sir Richard? A hoax. It must be a hoax. What could it possibly mean? It means that my son needs me. And if I have to tear down this university brick by brick, stone by stone, I swear to you, I am going to find him. Who are you? What do you want? Look, if it's money you're after him, I mean you no harm, sir. I'm a friend of your son, Robert. There are things I must tell you, Mr. Dean. Who are you? My name is Edward Griffin, sir. Griffin. Robert and I were as close as friends could be. That's why I'm as desperate as you to know what has happened to him. Young man, are you trying to tell me you. You have reason to believe that my son is still alive? Alive or dead, sir, I am convinced that Robert would never take his own life. If you know what has happened to my son, Mr. Griffin, then. Then you must tell me everything you know. First, I must have your word that whatever is there between us will not be revealed to any other living person. No. You have my words. But what happened to Robert that. That night he disappeared? What was he so afraid of? Does the name Dorothy Northcot mean anything to you? Northcot? Yes, Begley. Well, Robert was in love with her. She had flaming red hair that falls down to her waist like a scarlet waterfall. And her eyes. She had such a wild look in her eyes. It's so unusual for a young man to be infatuated with a beautiful girl. Robert's love for Dorothy Northcote was more than infatuation, Mr. Deacon. It was a need. We first met her at the College May Ball. I don't know where she came from or even how she got there. But Robert somehow noticed her. The moment she entered the hall and she saw him, she began to mock him with her eyes. It was as though they had made some kind of contact without the need for words. From then on, Robert saw her practically every day. He became restless and tormented. Every moment he was parted from her, his whole being seemed to change. Even though started to quarrel with me, something he'd never done before. He began to react to me and everyone else around him was some kind of a threat. He was consumed with hate. One night, I decided to follow Robert here to this bridge. From the shadows down there by the river. It was only his reflection I could see shimmering by moonlight into the water. But there was no mistaking Dorothy's voice.

[B]

Why, Robert, I do believe you staring at me. What is it, my dear? What are you trying to say to him?

[C]

I can't live my life without you, Dorothy. You're such a part of me now. My past, present and future. Take me away with you. Dorothy, I. I beg you to take me away.

[B]

Don't you understand?

[C]

I. I couldn't bear for you to leave me alone.

[B]

Oh, but you will not be alone, my daughter. Never again. No one can part us now. But no one.

[C]

You are my soul. I am your creation.

[B]

Look down into the water, Robert. What do you see? Darkness.

[C]

Only darkness.

[B]

No, Robert. There is no darkness in the sky. Only light. The moon will protect you, my dearest. Protect you.

[C]

Nothing exists. The world doesn't exist. Only you and me.

[B]

A cloud. I see.

[C]

I can see a huge black cloud. It's all around me. I can't breathe.

[B]

Tell me, Robert, Tell me.

[C]

There's something there, coming out of the cloud.

[B]

Two faces.

[C]

They look so alike and yet.

[B]

Oh, no. Take them away from me. Take them away. Look at the face. I command you to look at the face. What do you see, Robert? What do you see?

[C]

It gives me strength. Your strength?

[B]

Yes. Yes.

[C]

I will follow you to the ends of the earth.

[B]

And so you shall, my dear. And so you shall. Take my hands, Robert. Hold them against your face.

[C]

Oh, so cold. Like ice.

[B]

Kiss them, Robert. Kiss the hand that will create you.

[C]

My face.

[B]

My face.

[C]

The fingernails tore into the flesh of his face almost to the bone. When I caught up with him later, blood was still streaming down his collar. Mr. Griffin, have you ever told any of this to the police? No, sir. Why not? I just felt that anything I told them wouldn't make sense. It all seems so absurd, so unreal. Maybe it is unreal. Maybe what we're dealing with here are forces that are beyond law. But the first thing I want to do is to find that girl. Where does she come from? She lives in the Manner of Northcote. It's an old family house deep in marshland up in the Finn country. Now you just tell me how to get there and I'll leave first thing in the morning. Then I must warn you to take care, sir, for the Northcotes are a hostile, arrogant family who have chosen to live their lives in total isolation. Your visit may not be welcome. I'm not afraid, Mr. Griffin. If there's someone in that house who knows what happened to my son, then it'll take more than arrogance to keep me from him. Then you must. You must promise me, sir, that if ever you're in danger, you'll call on my old friend, Professor Daniel Forrester. Daniel Forrester? He's an anthropologist who lives in the village of Northcote itself. Daniel Forrester. Yes, it's how I remember that name. Mr. Griffin, let me shake your hand. I know that Robert will be as grateful as I am for what you have done. Mr. Deacon, do you believe in the power of evil? I accept that there is such a thing as evil. But what concerns me most is the nature of it. As a man of faith, I. I guess I prefer to believe in the power of God. Then may God go with you to the manor of Northcott, sir, for I fear you may have need. Who's there? Hello?

[B]

Is anyone there?

[C]

Where am I? I can't see a thing in this. This mist. There's so little air. Who's there? Where are you? Where are you? Where are you?

[B]

Where are you? What? My hand.

[C]

Something touched my hand. Where are you? Okay. Keep away from me. Keep away. I can't. I can't see you. Who's this?

[A]

Get away.

[B]

Give.

[C]

What was this? What was that? What was that? A dog. It's not a dog.

[B]

Oh no.

[C]

Help me. Someone help me. Leave me alone. Leave me alone. Leave me alone. Leave me alone.

[B]

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[C]

Mr. Deacon. Mr. Matthew Deacon? Who. Who are you? I am Nicholas Northcot. Come to the house, please. My grandmother is expecting you.

[B]

Why have you come here, Mr. Deacon?

[C]

It seems my visit was not entirely unexpected.

[B]

Not at all. I heard you were staying in the village. It's common knowledge you are trying to find your way out here. I'd like to know why.

[C]

I'm looking for my son, Mrs. Norcott. Where is he?

[B]

Your son? I don't understand.

[C]

I have information that this house is the last place he came to before he disappeared from Cambridge University.

[B]

Oh. Oh, yes, the.

[C]

The student boy.

[B]

The police did come here to make certain inquiries about him. But you are misinformed, sir. I do not know your son. If you'd taken the trouble to write to me in advance, you could have saved yourself a pointless journey.

[C]

Then perhaps you'll allow me to ask the same question of your granddaughter. Where is she? May. Mrs. Northgate, where is Dorothy?

[B]

Dorothy is not here. She's away visiting a sick relative in France.

[C]

Are you aware that she is the last person to be seen with Robert? She was my son's constant companion, Deacon.

[B]

There are many who would consider my granddaughter to be a somewhat beautiful child. It is not unusual for young men to be attracted to her.

[C]

These two young people were in love, Mrs. Northgate.

[B]

In love? Dorothy's been in love many times, but with no one but herself. You're wasting your time, sir. You have my word that to my knowledge, your son has never been to this house.

[C]

Well, then perhaps you will tell me why, on the first day after he disappeared, my son was. Was seen arriving with your granddaughter at the village railroad station. Now, are you going to let me talk to that girl, or do I have to find out what I want to know from the village?

[B]

The villagers despise this family, Mr. Deacon. They have always despised us and they do anything to blacken our name. I cannot allow you to be subjected to their pernicious gossip. For the time it's better you stay here. I'll send the village for your beloved.

[C]

You're inviting me to. To stay here in the manor house?

[B]

Oh, why not? There's nothing to be afraid of, is there?

[C]

That, ma', am, is what I'm here to find out. Fear is the condition of the mind, Nicholas. I suppose you could call it an emotion, a dread of something you hope will never happen. Now, you take me, for instance. There are a lot of things I fear most of all. Death. You mean you're afraid to die? Oh, no. No. But I'm afraid of taking life. That's quite different.

[B]

Have you ever taken a life, Mr. Deacon?

[C]

Yes, Mr. Delight, I'm afraid I have. But then, if you believe in justice, as I do, you come to realize that there are some crimes that just have to be punished, whatever the cost. You have actually sent men to the gallows? Yes. And you have no conscience about it? Oh, on the contrary. My. My dreams are plagued by the prospect of taking a life that the good Lord has created. But society has the right to be protected from the powers of evil. I guess it's the same in your country as well as our own.

[B]

What part of the United States of America do you come from, Mr. Beaton?

[C]

Pennsylvania.

[B]

Pennsylvania. Is that a town?

[C]

No, Miss Sibils. I doubt if you ever heard of my hometown. In fact, you probably couldn't even find it on the map. But I tell you, I. I think about it. I think about it an awful lot, especially when the lilacs are in bloom. And what about the war, Mr. Deacon? Did you have to fight for your state of the Pennsylvania in the American Civil War? Yes, Mrs. I had to fight. So did a lot of other men. They had to fight and die. Some of them were not even as old as shoes. Scrubbed, faces half grown, bristles nothing more than boys stepping into men's boots. You see, to us, the enemy was just a different colored uniform, that's all. They shared the same blood. They had the same hope. I never did understand why I was asked to kill a man when I didn't even know the color of his eyes. But then, if you're a man like the late President Lincoln, I guess you'd be willing to sacrifice anything, even your own life, if it's for something you really believe in. Tell me something. How do you manage to run a house like this without servants? Servants? Even if you get in to come out here, I can assure you they never stir. Oh, why not? Because it would intrude upon my grandmother's privacy.

[B]

Nicholas. What my grandson is trying to say, Mr. Bacon, is that the Norfolk have lived in this house since it was first built. We have always valued our seclusion.

[C]

Superstition. That's what keeps them away. They know what this house is and all it stands for.

[B]

Either be silent or leave my table, sir. I do so hate being alone. I like to have fun, to be able to talk to people. This house has become so depressing. Don't be ridiculous. But it's true, mama. We're so far from the village, no one ever comes to see us.

[C]

Well, now, Ms. Sibyl, you. You really don't make it too easy for people, do you? Surrounding yourself with wild dogs and here in the middle of the marshland?

[B]

Not only that, Mr. Deacon. Ever since Doris has gone, this house has been like a grave.

[C]

Well, when does Dorothy get back from France?

[B]

France? I don't follow you, sir. From wine, Mr. Deacon?

[C]

No, no, thank you, ma'. Am. Mrs. Northcott, why did my coach driver make me walk the last part of the journey up to this house? What did he mean when he did? Said it's not safe for anyone to be out on the marshes after sunset.

[B]

As my Grandson told you, Mr. Deacon, the villagers harbor certain superstitions about these marshes. They believe they're haunted by the many victims who perished there.

[C]

You're lucky to have survived your journey here at all, Mr. Deaton. A few steps either side of that road and you will find yourself in mud bogs more than 12ft from what I heard out there in the mist. It was not only the mud I had to fear. What do you mean? Young man, I've lived in the backwoods of my own country long enough to know the difference between the howling of a wild dog and the call of a wolf.

[B]

But you're mistaken, sir. The wolf is a creature that has been extinct in this part of England for centuries.

[C]

Then the question is all the more challenging, Ma'. Am. I heard a wolf.

[B]

Nicholas, it's past 8 o'.

[C]

Clock.

[B]

Both the house doors.

[C]

I haven't finished my wine.

[B]

The doors, please.

[C]

Very well.

[B]

If you will excuse me, I have things to do in the kitchen. Good night, Mr. Deacon.

[C]

Good night. What are you all trying to hide from me?

[B]

I don't know what you're talking about.

[C]

If Robert and Dorothy were seen together, then I want to know where they went.

[B]

I cannot tell you because I sit. Do not know.

[C]

Dorothy must have talked about the boy.

[B]

Dorothy never so much as mentioned your son's name to me. He can't even be sure that they ever met.

[C]

But then why won't you let me ask her for myself?

[B]

How many times must I tell you, sir? My granddaughter is not here. Sooner or later, you're going to have to accept the fact that your son is dead. Why, even the police have concluded their investigation.

[C]

Mrs. Norton, I refuse to believe that my son is dead. Now, I don't know what went on between these two young people, but I promise you, I will never rest until someone tells me the truth.

[B]

Then I pity you, sir. For in the journey to truth, there can only be pain. Mr. Deacon. Mr. Deacon.

[C]

Oh, Ms. Sibyl. Isn't it late for you to be up.

[B]

I had to see Mr. Deacon. I had to talk to you. There are so many things you should know.

[C]

What are you talking about?

[B]

Dorothy loved him, you know. She really did love your son.

[C]

So he was here.

[B]

Ms. Sibyl.

[C]

Why is your mother trying to keep it from you?

[B]

No, you mustn't blame her. She has to be strong to protect us.

[C]

Now you listen to me. Me? What has happened to my son?

[B]

Where is do they used to come here? To the long gallery. It was the only place they thought they could be alone. But they were wrong. There are eyes watching us all the time, listening to everything we say.

[C]

You came here to tell me something civil. What is it?

[B]

Dorothy?

[C]

Yes, where is Dorothy?

[B]

She is such a beautiful child. Oh, so alive, Mr. Deacon. So alive. Oh, it's cold. Oh, will this house never be worn? No, I must go now. It's Mama knew I was here too.

[C]

No, Ms. Dibble, don't go.

[B]

Not yet.

[C]

Tell me about. About this dowry. The portraits around the walls. Who are they?

[B]

My ancestors. Aunts, uncles, cousins. Great grandparents. They're all here. All the vampire. Do you see how the light brings them to life? Do you see how they mock at us?

[C]

The most extraordinary collection of paintings that I've ever seen.

[B]

Their features, they're all.

[C]

All identical. The same color hair, the same fixed expression. And yet it's something more. You can almost feel their hostility. And over here, this vast portrait. What kind of a man is this?

[B]

Do not mock at him, sir. Do not mock at John Northcot. It is he who first began built this house nearly 300 years ago.

[C]

A house he has never left.

[B]

Look at it.

[C]

The most unnatural, the most grotesque features I've ever seen. Created by an artist. That long red hair down to his shoulders. And the same fixed expression.

[B]

Just like all the others.

[C]

As though he is staring straight out of it.

[B]

It is a portrait that was undertaken after the death of John North. It is the face of a dead man.

[C]

Why? Why have you blown out the land?

[B]

There is no need for life. The moon. See how the moon strikes down through the window to his eyes. Look closely at the eyes, Mr. Deacon.

[C]

A wild look, cold, demanding. And his hands.

[B]

Look at his hands.

[C]

Like claws.

[B]

He will eat your soul. He will eat your soul. The next time to be obey my instructions, madam. Your door will be locked from the outside. Do you understand? Then go to your room.

[C]

Don't bother to lie to me anymore. Mrs. Norut. My son was here. Your daughter has told me all that I want to know.

[B]

My daughter has Been a widow too long, Mr. Deacon. It has affected her mind. I must ask you to accept whatever she has told you with the contempt it deserves. Good night, sir.

[C]

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[C]

Northcote Manor is the house of dark shadows. Its gray stone walls tower over the marsh like a monument to the devil himself. Doors are bolted, there are iron bars at every window. Plates of raw meat are left outside the house to feed the wild dogs who roam in the night. What secrets are they keeping from me? Everywhere I go, I seem to be prison. Every room is alive with whispers and I feel an atmosphere of such hostility that I now suspect even my own shadow. And yet there is something more. Is it the cry of the wolf that is trying to tell me that Robert was here? For unfortunately, I feel the boy's presence everywhere. So he is sitting beside me now. If Robert still exists in living form, which I begin to doubt, then I fear for his sad. Yes? Who is it? Oh, Nicholas. Is anything wrong? I saw the light on your. I thought you might get to join me in a glass of brand. Oh, no, thank you, no, I, I don't drink. Ah, A man of princess. Oh, not at all, no. I just don't like it. I envy you, sir. Alcohol is my only release from this house. Ah, so you keep a diary? Yes, I was just completing my entry for the day. You record everything that's happened to you during the course of a day. And I do? My, my dear, why? Well, I suppose you could say that a man who spends most of his time in a court of law has a need to write down the things that he's, well, likely to forget. I doubt you will ever forget what you see in Northcot Manor, Mr. Deacon. Don't stare at me about that, sir. Sorry. I, I, I guess it's just that I'm fascinated by the family resemblance. Your mother showed me the portraits in the long gallery. My mother is mad. Quite mad. There is madness in all of us here. Did you know that, Mr. Deacon? What is it in this house that you're all afraid of, Nicholas? Something that you're too afraid to admit, even to yourself? I, I don't know what you're talking about. Where is my son? Nicholas? I don't know, I tell you. Why is it necessary to have iron bars up at the windows, Nicholas? Is it to stop something from getting in or to prevent someone from getting out? Ask my grandmother. She is the only one who answers questions in this house. Who are the intruders you fear so much, Nicholas? Why won't you tell me? The only intruders on these marshes are we who live here. It is the dead who watch over Northcott Manor. They watch and despise. I have heard it said that to hear the call of a wolf is to hear the call to one's own death. I don't believe in superstitions, Nicholas. I only believe in what I know exists. It's the first night of the full moon. I will advise you to keep the curtains drawn, sir. The light will disturb your sleep. Are you a man of faith, Mr. Deacon? When you get to be my age, you realize faith is one of the things you can't live without. And it wasn't until tonight that I knew my son felt the same way. What do you mean? I found this copy of the Bible at the side of my bed. Shall I read you what it says on the inside cover? To my dear son, Robert and your loving father. April 4, 1870. I gave this to Robert on his fifth birthday. If you change your mind about that brandy, I'll be downstairs in front of the fire. Are you so afraid to sleep, Nicholas? Northcot Manor is not a place for sleep, Mr. Deacon. It never has been. Don't be afraid of life, Robert. Don't ever be afraid. God will protect you.

[B]

God?

[C]

Don't talk to me of God. You want to go to your church? Then go.

[A]

Papa.

[C]

But as long as I live, I'll never go into such a place again.

[B]

The wolf is a creature that has been extinct in this part of England for centuries.

[C]

For the love of God, help me. Robert. Robert. You must be getting old. It's only a nightmare, you know. Only a nightmare. What's going on? Who's there? Who is it? Who are you? What do you want?

[B]

What do you want? My hand.

[C]

Something touched my hand. I can't see anything. It's so dark. I must get to the door. Who are you? Where are you? I can't see. What do you want of me? Oh, no. No. No. Get away from me. Get away from me. Oh, my hand. Hands digging into my face. No. The door.

[B]

It's locked.

[C]

Let me out. Somebody let me out.

[B]

No.

[C]

What happened? Go on.

[B]

Go and get the pressure.

[C]

I can. I can still feel the pressure. The window. There's something at the window. Balcony outside. Who is it? Who's out there? Who's out there, I say?

[B]

Oh, my God.

[C]

Help me. Help me. Somebody help me.

[B]

Nicholas. Nicholas. Nicholas, where are you? Oh, Nicholas. Simbo. What on earth do you think you're doing out here? Now? Stepped back into the house at once, madam. Oh, Nicholas. He's out here somewhere, Mama. I saw him from my bedroom window. That stupid girl. How many times I tell you not

[C]

to talk of such things.

[B]

But it has broken use from a bar. It.

[C]

You hear?

[B]

It tried to get into the house. Quiet. You know what it came for, Mama. You know.

[C]

Yes, miss. What did the creature come for? Was it for me? Was I to be its prey? And why was it only your voice that sent that creature racing off into the marshes like a. Like a bewildered rabbit?

[B]

Mr. Deacon, if you are to remain a guest in my house, you will have to courtesy to respect my wishes. During the hours of darkness, it is unsafe for you to step outside the house unattended. I tell you this only for your protection.

[C]

And is that why you locked me in my room, ma'?

[B]

Am?

[C]

Was that for my own protection?

[B]

You are mistaken, sir. I did not lock you into your room.

[C]

Then why did I have to break down the door to get out? Take a look at that window of mine up there, Mrs. North. Tell me, what kind of an animal is it that has the strength to tear down iron bars as though they were made out of matchwood? What I saw up there in the dark was neither man nor beast. It was of a shape and size so unnatural, the blood in my veins turned to ice.

[B]

Mr. Deacon, your life was never in danger. My gamekeeper, Mr. Morris's employ, protect the house at all hours of the day and night.

[C]

What is it he protects you from, Mrs. Norut? Is it from the wild dogs for whom you leave out plates of raw meat every night? Or is it from the wolf, a breed of animal that has been extinct in these parts of the country for centuries?

[B]

I have nothing more to say to you, sir.

[C]

Did this same creature come for my son, Mrs. Northet? Did he come to that room where I found my son's Bible at the side of my bed?

[B]

Good night, Mr. Deacon. Come, Tribble.

[C]

Did it come for my son as it came from me, Mrs. Yorkett? For if none of you are willing to tell me the truth, and I swear to you in God's name, I'll find someone who will. Man into animal.

[A]

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[C]

It is a theory that has plagued men of learning for centuries. Mr. Dayton. After all, what is man but an animal? He has paused to walk on his own senses, to direction. He dies, cheats, hunts for his food without conscience. And all for one purpose.

[B]

To survive.

[C]

Think of the monkey, the baboon, the gorilla. All of them are great ancestors. And yet, as we mock up them through the bars of their man made cage, are we ready to believe that we have progressed into the superior beings we are today? No, sir. We are superior only in objective, not in development. Even Mr. Darwin made that abundantly clear in his recent thesis on evolution, man into animal. Are you offering that serious scientific theory, Professor Forrester? Well, suppose you tell me what you think it was that tried to break into your room last night. You're trying to tell me that it was some kind of half human animal? The Fenlands have always suffered their share of superstitions, but no, none more strange or difficult to understand than that of the werewolf. Werewolf? Here in the middle of the English countryside? We scientists have invented a respectable word for the study. You know, Lycanthropy. The transformation of man into wolf. Quaker, as you can see by my collection of books here, I've been absorbed in the subject since my student days in anthropology at Cambridge. Now look, even I know this. That the origins of lycanthropy are found in the myths and legends of all European folklore. But what you're asking me to believe is that there actually exists a living human being that is capable of physically transforming itself into a.

[B]

Into a wolf.

[C]

Even scientists have to accept that there are some phenomena which simply defy the laws of nature. I'll show you what I mean on this wall.

[B]

Catch.

[C]

Now, is that anything like the creature you saw last night? My God.

[B]

My God. It's incredible.

[C]

This is no myth or legend, my friend. It's a composite drawing taken from the descriptions of those who have actually seen. Dwarf creature and a man includes no animal. If I hadn't seen him with my own eyes. It has the skin and hair of an animal.

[B]

But those eyes.

[C]

It has such a wild look in its eyes. A creature whose natural strength is more than quadrupled during the period of transformation. It defies all known scientific laws. Professor, do you believe in life after death? That's an odd question,

[B]

Really.

[C]

But I suppose if you believe in God, then you ought to believe that life doesn't end with death. Why do you ask? I was just thinking there must be an awful lot of people who have a need to make contact with the life hereafter. I mean, either through grief or as a way of using the dead as a weapon against the living. Witchcraft. Witchcraft, black magic, satanic ritual, call it what you will, but believe me, I. I have seen the effects that all of this can have on the human mind. Ordinary men and women tearing themselves apart because they are indulging in things that they do not understand. You think some kind of bestial witchcraft has been used to create a phenomena like the werewolf? Man can. Cannot create his own image. Only God can do that. But devil worship can create a madness that will make you deny the existence of your own soul. You know, I. I once met a Red Indian witch doctor who claimed that he was able to make contact with the devil merely by staring up at the moon all night. The moon. Stare long enough at a full moon and you can almost hear it. A voice calling in the night. Mr. Deakins, I think you should know the wolf creature is seen only during the hours of a full moon. Professor, when was the existence of this creature first established? There are documents in the village church which suggest that the First Victory victim was struck down on the marshes during the time John Northcott was building the manor house. That was back in the early part of the 16th century. How much do we know about the first John Northcott? I mean, what kind of a man was he? Quite a tyrant of his day. The villagers are convinced it was Northcott himself who was cursed into a wolf beaker by a bundle traveling gypsies who had a grudge against him. We can't prove that, of course. No, but if it were true, if Northcott had somehow been transformed from man into the wolf creature, then it wouldn't be without logic to think of the condition as hereditary. Hereditary? Well, why not? It wouldn't be the first time a disease has been passed down from one generation to another, would it? I mean, think of heresy, for instance, or any other disease of the blood.

[B]

Well, it would certainly tie up with

[C]

what we know about the family's history of ill fortune. Then would it mean that there is a werewolf amongst the present generation of nauseats? Why else are they so afraid to tell me what has happened to my son?

[B]

Matthew.

[C]

Do you still believe that your son is alive? Daniel? Until last night, I still hoped but after everything that's happened, I. I find it hard to believe that I'll ever see Robert again. But I'll not sleep at night until I know how or why Dorothy Norcott took the boy to that godforsaken house. Until I know why his life had to be sacrificed for something that is just too evil to even think about. Daniel, will you help me? Ever seen one of these, Matthew?

[B]

Over here. In the glass cabinet.

[C]

What is it? Take a filter. Look. First fit to fall it. I've been keeping it under this cover for years. It was specially made for me by an eminent London gunsmith. It is of pure silver. What do you need a silver bullet for? Legend tells us that only silver will penetrate the heart of a werewolf. No, Daniel. No. No. Leave it to God. God can never rid us of a monster that has terrorized us in our dreams. Matthew. One shot. One carefully aim. Same shot is the only chance we have. But I will not fail you, Matthew. I will not fail you or your son. For with God's help, this bullet will end a legend that has to die. It's Maggie Foster funeral. God rest her soul. There she goes down into the grave where she buried her own daughter. No more than a month ago. Grief was too much for her. Her daughter, the child was 15, Matthew. They found her body out there on the marshes. By the time the wolf had finished with her, there was hardly anything left to put inside the coffin. Are you telling me this creature feeds on human feed? Look around you, Matthew. Here in this very graveyard. There's hardly a tombstone that has not been removed. A grave that has not been pillaged. The werewolf comes not only amongst the living for its food. Daniel. Over there, look. Where? Oh, over there behind those trees. Can't you see him? It's Nicholas Northcott. Northcott? Where?

[B]

He's gone.

[C]

He's not there anymore, my dear have been disturbing the norths had never seen in a village. Especially at the funeral of an old peasant woman. But he was there, Daniel. I swear to you he was there. He had such a strange look on his face. Look of pain. Why Daniel? Why? Well, it is, Matthew. This is our high church. You take 12 hands.

[B]

Nothing under the 14th century.

[C]

Generations of mosques have it in these walls. Why is it so. So cold? Have you ever known a church that isn't cold? That's not what I mean. I've never been inside a house of g is so unfriendly. You could feel it the long as you walk through that door. Nothing or not paint. Without the stone work, no static no. No painting.

[B]

No expression of love.

[C]

Oh, I think your things is unfair chap. You have to admit to some rather lovely st affair. Mostly medieval, you know. Yes, yes. Tell you, that window up there, what is it? Above the altar. You mean 16th century? Yes. Beautiful, isn't it? It's St. George fighting the devil beast. The devil beast. A half man, half wolf. A wheel. Come over here, Matthew. I want to show you something. Now this fight. The church is known as the Devil's Walk. To Christians. In former ages, it was referred to as the province of sin. You have to still God. You see the mark? It's buried in the wall. The mask. It's the death mask of John Northford. How did he die, Daniel? How did all these north carts die? Buried with their secrets into the walls. Did the wolf creature claim all their lives? Who knows? But if a transformation from man into animal is pastime from one generation to the next, it's more likely to manifest itself in a male member of the family. Step into the world of power, loyalty and luck. I'm gonna make him an offer he can't refuse. With family, canolies and spins mean everything. Now you want to get mixed up in the family business. Introducing the [e-mail] test your luck on the shadowy world of the Godfather. Slot some games. I will call upon you to do a service for me. Play the Godfather [e-mail]. welcome to the family.

[A]

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[C]

Matthew, what are you staring at? Is anything wrong? Oh, yes, yes, so it has. Looks as though it can let in. Septonus est Satan Lizard. What could it mean? That girl. That girl. She's here. What girl, Matthew? Here again. Can't you hear her? Well, you must hear her. Can you?

[B]

You must.

[C]

I can't hear, mister. And that. That smell of perfume is her perfume, my dear. Come now, listen to me.

[B]

Up there.

[C]

Up there. The window above the altar. They're here then. Can't you casual feel the fresh all around us? I can't get out of here. I can't breathe. I can't.

[B]

I can't breathe. Nicholas. Nicholas, did you hear me? How many times do I have to tell you to keep away from the churchyard, from the village, or from any place where an off guard is not welcome? Why did you go to the funeral?

[C]

It's none of your business. You always treat me like a child. Why must I be locked up here like a prisoner in my own home?

[B]

Because you tell lies, Nicholas. Because like a child, you cannot tell the truth. Why did you leave the house during the night? Where did you go?

[C]

Sir, if you must know, I went to the lake.

[B]

What? You stupid, foolish boy. Don't you realize what you could have done?

[C]

Oh, but it was exhilarating, Grandmama. I was free. I was alone. I took up my clothes and bathed in the ice cold waters of a lake. But I didn't feel the cold. Oh, no. To me it was like a hot summer's day. I could feel the warm glow of the moon on my body. It gave me strength.

[B]

What have you got there? Where did you get that knife?

[C]

Why, some that came. Did she, Grandmama? You've seen it before, haven't you? It's very sharp. I made quite sure of that. Look, I'll show you.

[B]

Nicholas.

[C]

My blood is your blood, Grandmama. It's always been like that, hasn't it? But now I'm strong and you're weak.

[B]

I'm not afraid, Nicholas. Do you understand? I am not afraid. Did you hear what I said? Drop it, Neil. Nicholas. Now take the Bible in your hand.

[C]

No. No, please don't make me, Grandmama. Please.

[B]

Do as I say. Kiss the Bible, Nicholas.

[C]

Oh, I can't. My hands. Look at my hands, they're shaking. I can't do it.

[B]

Kiss the Bible, my dear. The only way you know it is. In the name of the Father, the Son and the Holy Ghost. We repent ours in.

[C]

Oh, A wolf creature. I. I've seen it, all right. Just thinking about it keeps me awake at night. No, it's not myself I care about, you understand, sir. But if anything should happen to my jessie.

[B]

Yeah, well, I ain't scared of no wolf. If we bolt up good at night, I don't. No iron can come to us.

[C]

Mr. Morris, how long have you been working here for the north? Ever since old Mr. James given the job as gamekeeper. These fields used to be full of Harley. In the old days. I was always out shooting hair. But not no more? No? Why's that? Because there ain't nothing to shoot at, that's why. Except dogs and the creature.

[B]

I'm all responsible for the wicked. It makes us feel safe. Sometimes it's so quiet out there. No birds, no breeze. Just a feeling you're being washed. And I hate the moon.

[C]

Mrs. Morris, do you think your husband would tell me about the night he saw the wolf creature?

[B]

No. Oh, don't ask him. Please, I beg of you.

[C]

The time in my life I'm doing my best to forget oh, please. Please, Mr. Morris, try to understand. It's terribly important for me to know.

[B]

Please.

[C]

Well, it was years ago. Must have been winter, because I remember the horfrust on the trees. I was down by the lake fixing up my gy traps for the night. They were already dark and the mist was coming down thick. I started to make my way back toward the cottage, But only when the moon fell suddenly cut through the mist and I saw her standing there on the path right in front of me. Miss Dorothy. She was always one of the most beautiful children I ever saw. Flaming red hair down to her shoulders, but eyes that stared right through you.

[B]

Good evening, Doris.

[C]

Miss Dorothy. What are you doing out here on your own at this hour of night?

[B]

I've been doing it.

[C]

You ought to be tucked up in your bed a long time ago.

[B]

I've been for Nick all alone.

[C]

What will your mother have to say about that? My heart.

[B]

I saw my father. He talks to me.

[C]

Don't think things like that. If Harvard's been passed on a long time, we know he hasn't. Why, I doubt you can even remember what he looks like.

[B]

Oh, but I do. He has red hair, just like me. He's very old. Much older than Grandmama. A long time ago, he built our house. Did you know that?

[C]

What's that? Yeah, there's something in the bushes over there.

[B]

You Mustn't be afraid, Mr. Morgan. It. I'm not afraid.

[C]

Miss Dorothy. Miss Dorothy, come back here. Miss Dorothy. Oh, God. Can't wait. From nowhere, eyes glaring out of the dark like emeralds. Teeth like rocks tarnished with the blood of human flesh. Hair streaming out of his neck, hands and feet, the sight of which would freeze the blood of any man.

[B]

It's all right, dad. It's all right.

[C]

I just ran and ran as fast as I could. I still don't know how I got away. But this isn't one of God's creatures, Sarah. It's the one work of the devil himself. Thank you. Thank you, Mr. Mor. I know how difficult that must have been for you. But please, now, tell me all you know about my son and Dorothy. Nos. They used to go to the lake. Always. To the lake. Yes. Go on. Well, it was just him and her. They used to sit there for hours, staring at their own reflection in the water as though they had no need for words. But never till the sun went down. Even when she was a child, she could never bear the sun on her precious skin.

[B]

It's not raining. Oh, please. Please, Mr. Dick. Look, you ought to be Going now. It wouldn't be wise to stay out

[C]

after dark, Mr. Morse. If you want these marshlands to be a safe place for you and your wife to live in, if you want to be able to breathe God's fresh air without the constant fear of things unknown, then you must tell me what has happened to my.

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[C]

alive or is he dead? Matthew, the police knew we were desecrating a private brave in the middle of the night. Daniel, you don't imagine I like the idea myself, do you? But if what Laura told me is true, if the north cots have dead buried Robert here. If Robert is here, then what's the use of exhuming his body? It'll only bring you torment for the rest of your life. No, no, you're wrong, Daniel. If the boy is here, then at least I'll know that my search has come to an end. All I can do then is to leave him to rest in peace.

[B]

Peace?

[C]

What peace is there for any man when he's not faithful? Even in his own grave? Yeah. Then the only thing I regret is that I. I never did enough for that boy of mine. I paid for his education, his food, his clothes. But perhaps when he needed me most, I. The judge was just too busy listening to other people's problems. He forgot that he had some of his own. It's a full moon again tonight. The light's picking out the gravestones all around us. Even the dogs are quiet. Daniel, we're there. I've hit the top of the coffin. Oh, dear God. What we done? Quick, give me the lamp. Yes, just as I thought. No nameplate. Matthew, what are you doing? Now I'm going to force or try and force the lid open. If I can just get that tipping the shovel in far enough. Hurry, Matthew, hurry.

[B]

Yes.

[C]

It's coming. It's coming.

[B]

The wolf.

[C]

Can't you hear it? It's scraping into the grave somewhere. Matthew.

[B]

Matthew.

[C]

We've got to get away from here. The wolf, Matthew.

[B]

The wolf.

[C]

What is that? Matt?

[B]

Oh,

[C]

it isn't Robert. This is not my son. Who is it, Daniel?

[B]

Who?

[C]

Who is it? It's her, Matthew. It's Dorothy north.

[B]

Or what?

[C]

The wolf has left.

[B]

No. I Don't believe you. I refuse to believe.

[C]

Why didn't you tell me? Why didn't you tell me that your own granddaughter was buried in that coffin with barely enough flesh left on her bones to feed the worm?

[B]

Sacrilege you've committed sacrilege, Mr. Deacon. And God will punish.

[C]

But he has punished me, Mrs. Northcott. He's punished all of us. Look at this house. Everything about it. Where is God's light? Where is the pure air he gave us to breathe? Why do the dead thrive here and not the living?

[B]

I did not ask you to come to this house, Mr. Deacon. You came as your own accord.

[C]

How long has she been dead, Mrs. Northcott? Was my son with her when the wolf attacked?

[B]

Stop this. Stop it, I said.

[C]

Mrs. Northcott, I want to know.

[B]

Mr. Deacon, may I remind you that I am not a to answer your questions. This is not a court of law. I do not stand accused before you.

[C]

Where is my son? What dark, nameless pit have you thrown his remains into?

[B]

Your son is dead, sir. Are you not man enough to accept the truth?

[C]

If he is dead man, then it's not only truth I'm looking for, but justice.

[B]

Justice? There's never any justice in this world, only sacrifice. I have sacrificed a great deal in my lifetime, both as a wife and a mother. And as long as I live, I shall never be anything more than a prisoner in this house.

[C]

Mrs. Norseford, I don't know what happened between your granddaughter and my son, but somehow they seem to have created some kind of bond that I don't even pretend to understand. But from what I've felt since I came into this house, I can only believe that their relationship was a manifestation of the Devil himself.

[B]

The Devil?

[C]

What is the devil, Mr. Deacon?

[B]

Is it some kind of a demon with horns on its head and a pointed tail? Or is it that creature out there which haunts our lives every night of the full moon? Or do you believe, as I do, that the Devil is a corruption of our souls? An invasion of our hopes? How many years have I lived in this house without peace? How many years have I had to stand aside and watch those martyrs out there claim all that I love most. My husband, my son, and even my own granddaughter? Each night, I ask the Almighty to end my suffering. And each night, it is only he who gives me the strength to go on. For that, Mr. Deacon, is what I must do. As long as I live, I will resist this devil. I will resist it until the curse that has plagued my family throughout its long history is broken forever.

[C]

Mrs. Northcott, the moment I came into this house, I knew it was dominated by the spirit of hate. Hate not just for you and all your family, but for all the things that are good and real. It's like a voice that never leaves you. The voice that tries to claw its way into your brain and urges you to follow. What is it that calls to us in the night?

[B]

Satan lives.

[C]

Yes, he does live. But only if we let him. Only if we let him crawl into the dark, weak shadows of our mind. Only God is our creator. The power of God is greater than any manifestation of evil and corruption and temptation. We don't even have to go to church to know that. Nothing will ever convince me that faith can't destroy evil in whatever form it takes. It was faith that brought me to this house, man. You ask me why I'm not man enough to accept the fact that my son is dead. Well, maybe I'm not. But if I really am never again to see my boy alive, then I beg you, do not deny me the right to restore his to. Well, this is it. Matthew. Northcote Lake. It's beautiful, isn't it? That small island out there. There in the middle of the lake. Daniel, what's it used for?

[B]

The island?

[C]

It's good for a wild duck shoot, nothing more. There's an old hunting lodge out there that hasn't been used for years. Daniel. Daniel, I am sure that Robert is out there. Robert is out there on that island and he is alive. How do you know that? I am convinced. He's been hiding out there ever since the Nidority Northcot was attacked by the wolf. That boy is sick, Daniel. He needs my help. I've got to go to him. No, Matthew, wait. There is nothing you can do to help Robert. His suffering no man can cure. What are you talking about? The boy came to me for help, Matthew. It was soon after he arrived at the manor house. Robert? Robert came to see you? And you never. I couldn't tell you, Matthew. I didn't know how. This is something you just have to find out for yourself. But from the first moment I saw that boy, I knew. It was in the eyes, Matthew. A wild look in his eyes. He was struggling against something that he just didn't have the strength to resist. Oh, my God. Daniel, do you know what you are saying? Evil can exist in the mind of one who is too weak to resist it. And my son may be weak, Daniel, but I'll never believe he could turn his back on God and allow the devil to take possession of his soul. The day your son met Dorothy Northcott, his soul was never to be his own again. I'd like to think you're wrong. But the only way I can prove it is to go out to that island. If you go out there, Matthew, it could be your own life that you're putting at risk. Well, then it's a risk I'll have to take. The boy needs me. I'll have to go to him. And I must go out to that island. And I must go alone.

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[C]

Robert? Robert. Robert, are you in there? Oh, please, son. If you're in there, open the door.

[B]

Block.

[C]

Wait a minute. It's. It's bolted on the outside. Robert, Are you in here, son? Please, boy, answer me.

[B]

It's me.

[C]

It's your father. Robert. Where are you, son? Please, Robert, listen to me. I know you're sick, but it's nothing to be ashamed of. I've come to take you back home, son. Back to all the things you you know and understand. Cook.

[B]

Don't do that.

[C]

Don't close that door then. No windows in here. I can't see a thing in the dark. Who's there? There. Robert? Robert, is that you?

[B]

Robert, where are you?

[C]

It's another room. Robert, are you in there? Robert, why don't you answer me? Just let me talk to you. That's all I ask. I'm coming in. Robert.

[B]

Papa. Robert.

[C]

Robert, where are you, boy? I can't see in the dark. Over here, Papa. In the corner. Robert.

[B]

No, please.

[C]

Please don't come any closer. I don't want you to see me like this.

[B]

Stand back where I can see where

[C]

the light is shining through the boards and window.

[B]

I had to see you, Papa.

[C]

I had to see you just one more time. What are you doing here, boy? What's happened to you? Why are you locked up in a place like this with no light and no warmth? I wish I could tell you, Papa.

[B]

But I can't.

[C]

How long have you been here, sir? I don't remember anything, Papa.

[B]

And not a thing. I. I just feel as though I'm fast asleep and haven't woken up yet.

[A]

Everything.

[C]

Everything's so confused. Oh, Papa. There are so many things I Have to tell you.

[B]

And yet I. I don't even know

[C]

if they even happened. Daniel. Listen to me, son. Listen to me carefully. I've come to take you away from this. No.

[A]

No.

[C]

It's too late, Papa. I'll never leave the marshes again.

[B]

I can't. They'll never let me go.

[C]

What are you talking about, Zambe? Who are you afraid of? Afraid?

[B]

Yes.

[C]

Maybe I am afraid of something. But what is it? My dreams. I wonder. I dream an awful lot.

[B]

Did you know that, Papa?

[C]

I dream of the marshes and the woods and the lake through the mist. And the moon. Always the moon. The night is such a part of me, Papa. It's a whole always waiting for me out there. And yet when I wake up, it's you. I see, Papa. You and Mother. And all the things I always thought were such a part of me. But what's happening to me, Papa? I don't understand who or what I am anymore. What are you doing? Wait. Papa, what are you doing? You need some light in here, my boy. Only God's light will draw you out of the shadow. No. It's too late. Too late.

[B]

No. My eyes.

[C]

No.

[B]

Take the sun away from my eyes. My God, look at you.

[C]

Look at your face. You just skin and bone.

[B]

You've got to get away from here, Papa.

[C]

Do you hear me?

[B]

You've got to get away.

[C]

No. No, son. I'll never leave you alone. Never again.

[B]

You don't understand, Papa. The sun. Once that sun goes down.

[C]

Matthew.

[B]

What?

[C]

Matthew, are you all right? Someone out there? What have you done to me, Papa? Have you betrayed me? You listen to me. I beg you to listen to me. God can make you well again, Robert. October promise you. All I ask you to do is to come with me to the church. Look. Look, I. I brought this for you. It's your Bible, son.

[B]

Do you remember?

[C]

I. I gave it to you when you were a little boy. No. No. Keep it away from me. Keep it away.

[B]

Please.

[C]

Please. Let's pray together, Robert. Like we used to. When we were all together as a family. You and me and your mother.

[B]

Too late, Papa. The past do not. It doesn't exist anymore. It's too late.

[C]

The church, Robert. Go to the church.

[B]

You're a fool. Don't you realize what you've done? By setting that boy free? You've made the world unsafe for all of us.

[C]

Nothing you have said has convinced me that the boy I saw out there on that island is capable of killing.

[B]

But he has killed. Do so again. Don't you understand? On the first night you arrived here, it was your own son who tried to break into your room.

[C]

No. No.

[B]

You think I enjoyed locking him up every full moon, but not just for our protection, but for his own.

[C]

You had that boy caged up like an animal.

[B]

No boats can contain the fury of the devil.

[C]

You talk to me of the Devil's fury? Well, let me tell you something. You need go no further than the village church to know what devil has thrived on the blood of its generations. The same devil that has urged your own grandson to the edge of madness?

[B]

No.

[C]

You think I haven't seen Nicholas out there in the mist at night, staring up at the moon as though it was some kind of a voice calling to him from out the night?

[B]

Nicholas was saved from damnation only by my sacrifice. God protected him.

[C]

Through me, the Devil created a monster in his own image. From your family, Mrs. Norton, yes.

[B]

But not Nicholas. It was through Dorothy. Can't you understand that? Dorothy's dead.

[C]

She's dead.

[B]

For Dorothy, there can be no salvation. The Devil claimed her soul from the day she was born. There was nothing I could do to say.

[C]

What are you saying, Mr. Deacon?

[B]

Throughout the Northcott generations, it was impossible for the devil creature to reveal itself in the female line. In the women, the seed of evil could only remain dormant until the time when it could be passed on to the male sex. A husband, a son or a lover.

[C]

And in order to save your grandson, you sacrificed my son.

[B]

But don't you understand? Dorothy had no choice. She was compelled to pass it on.

[C]

I don't believe you. And I will prove that my son is not this monster that has been created from your family.

[B]

Then for your sake, I pray to God that you are proved right, sir. For it is only he who will forgive you if blood is shed this night.

[C]

Misses Morris, open the door. Open up, I say.

[B]

Mr. Nicholas. What is it, sir? What's wrong?

[C]

Your husband, madam. Where is your husband?

[B]

Why, sir, he's up.

[C]

What?

[B]

In the house. You know he's always watching the house this time of night.

[C]

I've been searching for him for the last half hour.

[A]

What?

[C]

The house has been left completely unguarded, madam. I demand to know why.

[B]

I don't understand, sir. Ted left long ago, long before dusk. The wolf creature, it's out there, isn't it? You've seen it, haven't you?

[C]

My advice to you, madam, is to bolt your door and not to open it until your husband returns.

[B]

But if he does dare, if something's happened to him.

[C]

Just keep your door locked or I Will not be responsible for the consequences.

[B]

No.

[C]

Mrs. Horace, where are you going? Come back here.

[B]

If something's happened, Cohen, I gotta be with her. No.

[C]

Don't be a fool, woman. Don't go out to those Martin on your own. Come back to here.

[B]

Come back. Ted. Ted, where are you? Please, Ted. Don't leave me alone. I ain't coming down here to the light. Excuse me. Oh, God. Where are you?

[C]

Are you.

[B]

What's that? Who. Who's there? Ted? Ted, is that you? It's. It's so. It's so bright. The room, it. It's hurting my eyes. What is that? My neck. Something touched touch my neck and cold my guy man coming down the hook all around me. I can't. I can't breathe. It's choking me. There's someone there. Yes. Through the mist. Getting by the lake. Coming this way.

[C]

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[B]

Is that you, my dear? No. No, don't touch me. Oh, please. Please don't touch me. It's not possible. It can't be you. It can't. Help. Somebody help me. I can't move.

[C]

You. What's going on? Jesse Morris was attacked by the wolf creature last night. They found the remains of her body in marshland down by the lake. My God. The villagers are organizing a search party. They didn't realize their shotguns are quite useless against the creature. We've got to get to the boy before they do. No harm can come to him until the sun goes down. There's nothing you can do to save Robert Nile. Oh, but there is, Daniel. There is. Don't you see? I must give him a chance to live again. I can't allow the devil to take him away from me. He has taken him from you, Matthew. Robert is already stained with blood. You must let the law take its course. No. No. This is something that's beyond the law of men. Only God can help Robert now. Only God. Robert. Robert, can you hear me? Robert. Robert, where are you? You're wasting your time, Matthew. We haven't a hope of catching up with the boy. Daniel. He's out there somewhere. The boy needs me. Only I'd known that all the. If only I'd known. Sun's almost down. Lake's beginning to look like fire. Yes, thank God. It's the last night of a full moon. We haven't much time. You know that, don't you? Marry, Daniel. What am I to do? Do I go away from here and leave that boy to wander these marshes in damnation until the end of his days? How can I tell my son that I. That I love him? If you really love your son, Matthew, he would know what to do. The silver bullet. You use that on my son? It's the only way, Matthew. It may be your way, Daniel, but it's not the way of God. God cannot help your son now. How do we know if we don't give him a chance? If the devil has taken possession of my son, then it is a challenge I must face up to. We must give him back his soul. His soul. There's a search party. They're on the other side of the lake. Matthew, where are you going? I know where to find Robert. I should have known. Now, please, Matthew, let me get the search bar. No. I'm going to do this my way, Daniel, not yours. Then at least take the pistol. No. Don't be a fool, man. If you must risk your own life, then at least try to protect yourself.

[B]

Why?

[C]

Why are men so afraid to give God the chance to solve the things they cannot? Robert? Robert? Are you. Are you here, son? Robert. Where are you, boy?

[B]

Barbara?

[C]

Robert. Oh, son. I knew you'd be here. I knew you'd wait for me here in the church. Look at me. So, with no time to lose, last night you killed someone. And you must understand that those dreams. You remember those dreams you told me about? The nightmares. Well, somewhere in the dark shadows of your mind, something is telling you to kill, Robert. To kill for the sake of killing. And that's wrong, isn't it, me boy? We both know it's wrong. Because that's what I've always tried to teach you. What God has always tried to teach us all. You have to resist evil, Robert. You have to resist it in every way you know how. No, don't. Don't turn away. Look at me. Look at me, son, and listen. From now on, you must allow only my words to enter those shadows. Do you understand? Do you understand that? But evil can only possess one part of your mind, not all of it. Rid yourself of this tormentor. Let in God's light and truth and your own understanding of what you've done, Dorothy, what. What are you trying to say? Dorothy. Robert. Robert. Robert, Dorothy's not here now. Don't listen to her. She doesn't exist. Fight her, son. Fight her. Fight her. Dorothy, don't move away from me. Robert, look. Here.

[B]

Here.

[C]

It's your Bible. I brought it so that we can play together like we used to.

[B]

No.

[C]

There's nothing to be afraid of, Robert. You're not here. Not in God's house. No, don't turn away. Don't look at that window. The devil beast is in that window. It's only you and me now, son. You and me.

[B]

Dorothy,

[C]

the perfume. Now, hold on to me, Rob, as I say, take hold of my hand like I. My hands, Robert, you're hurting them. My hands. Robert, you're. You're breaking my hands.

[B]

Just me. Oh, yes, I hear you.

[C]

Oh, Robert, don't look up at that stained glass. Don't look up at that devil's window. The moon is lighting up the whole church. Get out of the moonlight, Robert. Keep away from the shadow of that window. It's the devil, Robert. The shadow of the devil creature.

[B]

Oh, my soul. Dorothy. Your creation.

[C]

Robert, resist. Resist the devil. Don't look at the moon.

[B]

Resist the.

[C]

Resist them, Robert. You're not an animal. You're one of God's creatures. Robert. Robert, where are you? Oh. Oh, no. Oh, no, Robert, no. Listen to me. Listen carefully. They can't take you from me. Do you understand what I'm saying? They. They can't take you. No one can take you away from God, Robert. Only he is your creator. Can you understand that, Robert? Can you? This is your Bible, Robert.

[B]

Can you see it?

[C]

I'm holding it out for you. I'm going to pray for you, son. I, I. I'm going to pray for both of us. Our Father, which art in heaven, hallowed be thy name. Thy kingdom come, Thy will be done in earth, it is in heaven. Give us this day our daily bread and forgive us our trespasses as we forgive those who trespass against us. And lead us not into temptation and deliver us from evil. For thine is the kingdom and the power and the glory forever and ever.

[B]

Amen.

[C]

In the name of the Father, the Son and the Holy Ghost, I command thee, Satan, be gone. The window. No.

[B]

Daniel. No. Dear God.

[C]

Heaven, what have you done? What have you done?

[B]

Done?

[C]

Forgive me, Matthew. It was the only way. No. It was only your way. The way of men and their laws. But there is a higher law. A law that men will never understand. You had no need to shoot. I pray his soul has been restored to him. It was my bullet that saved your life. I wonder. Matthew, look. The transformation. It's beginning to reverse. Look at the eyes and the hair. The whole physical structure of the wolf is changing back to its human form. Marvin. Robert, My son. Somewhere in the dark shadows of his mind, he heard me. He heard the words the Lord and he understood. Vincent Price played Matthew Deacon and Coral Brown, Mrs. Northcote in night of the Wolf by Victor Pemberton. Professor Forrester was played by Hugh Manning, Sybil, Sheila Grant, Robert, Peter Whitman, Nicholas, John Rye, Dorothy, Elizabeth Proud, Jesse Norma, Ronald, Ted, Paul Gaiman Griffin, Michael Cochran and to Richard Burnett, Hayden Jones. Technical assistants Jock Farrell, Martha McCoish, Alistair Wilson and David Hitchinson. The play was produced by John Tyman.

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