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Impenitent Scripts Ep 5 Found and lost © 2025 by Stéfano
Castellanos is licensed under CC BY-NC-ND 4.0

FOUND AND LOST EP 5
(Impenitent Scripts - The Koppang
Mysteries)

1. EXT. GRAZING FIELD NEAR THE GLOMMA RIVER – DAY
A picturesque stretch of land beside the calm, mirror-like
Glomma River. The serenity is shattered by a gruesome sight.

ANGLE ON: DEAD SHEEP
Fifteen to twenty sheep lie scattered across the field. Blood
stains the grass. The still bodies disrupt the otherwise
idyllic Norwegian countryside. It's a massacre.
50s, rugged, kind-eyed, with a deep
ENTER: FARMER ESPEN BERG
connection to the land. He trudges forward, eyes narrowing as
he takes in the scene.

ESPEN BERG (GASPING)
What on God's name...?
He moves closer, crouching beside one of the sheep.

ANGLE ON: SHEEP’S THROAT
The throat has been pierced — cleanly and deeply — by what
looks like a , large and strangely human
jagged bone splinter
in appearance. Blood pooled beneath it has begun to congeal.

ESPEN’S POV
Each sheep is lying , limbs stiff, in
on its back mouths agape
silent terror. The bone-daggers are lodged with precision,
all entering , severing the
through the throat carotid artery
and .
jugular vein
They all face the same way — .
north to south

ESPEN BERG
This wasn't dogs. (beat) They were
terrified... before they died.
He steps back, hand over his mouth. The wind rustles the
trees. The now feels cold and illicit.
peaceful river

WIDE SHOT
The whole field — the blood, the dead, and Espen alone —
swallowed by the valley’s unnatural quiet.
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2. INT. KOPPANG POLICE STATION – MIDDAY
The small station buzzes with midday chaos. Phones ring.
Officers speak over one another. The mood is tense.
On screen a map of the region with red dots where
CLOSE ON:
the sheep lie dead. Officer (mid 30s, no-nonsense
DAG ANKER
but worn down by duty) selects the areas investigated.
Sheep exsanguination reports — bloody images, medical
INSERT:
terms, and confused notations.
Dag’s desk phone vibrates sharply. He grabs it, already
RING!
scribbling.
(INTO PHONE)
OFFICER DAG ANKER
Koppang Police, Officer Anker
speaking.

INTERCUT WITH:

3. INT. MODEST KITCHEN – DAY
(58), kind-faced, speaks with restrained
SIV JOHANSEN
urgency. She's drying her hands on a dish towel, phone
pressed to her cheek.

SIV JOHANSEN
Hi, um—yes, I... I’m sorry to bother.
It’s about Toralv Brun—my ex. He
hasn’t come by for his bread. I bake
for him still. It’s—every Tuesday and
Friday. He never misses it.

OFFICER DAG ANKER (INTO PHONE)
(still writing)
Yes, I know Toralv Brun... how old is
he now?

SIV JOHANSEN
Sixty-eight. He still lives out on
Øvredalveien. I stopped by this
morning—his truck’s gone. His place
was locked up.

OFFICER DAG ANKER
And when did you last see him?

SIV JOHANSEN
Three days ago. He came for his Friday
loaf. He looked fine. Stayed for a cup
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of coffee.

OFFICER DAG ANKER
I'll look into it.
Dag hangs up and pauses, looks up toward the operations hub.

WIDER SHOT – STATION
Phones keep ringing. Officers and
INGRID STENBERG ERIK REMME
are fielding local press, redirecting journalists, logging
citizen calls. One screen displays an alert: “
PUBLIC CONCERN
”
GROWS OVER ANIMAL DEATHS.
(50s, firm but motherly) walks briskly into
CHIEF ANA HOLME
the room, clipboard in hand.

CHIEF ANA HOLME
(sharply)
Status on the sheep killings?

OFFICER DAG ANKER
Still compiling. But we’ve just got a
missing person linked to the valley.
Toralv Brun.

CHIEF ANA HOLME
(sighs, thinks)
Delegate the press calls to Ingrid. I
want you and Erik out by Øvredalveien.
Take field kits. If Brun’s truck isn’t
there, he may be tied to this.

OFFICER DAG ANKER
Understood.
Dag clicks his gear on, grabs his jacket. Ingrid tosses him a
glance as she answers yet another call.

OFFICER INGRID STENBERG
(into headset)
Yes, we’re aware of the incident near
the Glomma. No, we’re not giving
statements at this time.
Dag’s brow furrows as he exits.
CLOSE ON:

CUT TO:
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4. EXT. TORALV BRUN’S CABIN – ØVRE DALVEIEN – LATER
A gravel road curves through tall pine. Dag’s patrol car
comes into view, tires crunching the path. He parks by the
side of a modest but well-kept wooden cabin, the kind built
decades ago.
(O.S.)
OFFICER DAG ANKER
Let’s keep this quick. Just see if
he’s home and check the perimeter.

5. INT./EXT. PATROL CAR – CONTINUOUS
(late 20s, sharp eyes, eager to prove
OFFICER ERIK REMME
himself) climbs out with a field kit. Dag exits slower,
scanning the surroundings.
The place is quiet. No birds. No wind. Just the sound of
too
their footsteps on gravel.

OFFICER ERIK REMME
Truck’s not here. Siv was right.
Dag tests the front door. Locked.

OFFICER DAG ANKER
Try the back. I’ll knock again.
Erik rounds the house. Dag knocks louder now.

OFFICER DAG ANKER
(shouting)
Toralv? It’s Dag Anker from the
station. Just need to check in with
you!
No reply.

6. BACK OF CABIN – MOMENTS LATER
Erik finds a small rear entrance — the door is , creaking
ajar
slightly with the breeze.

OFFICER ERIK REMME
Dag... it’s open.
Dag joins him. Both slowly step inside.

7. INT. TORALV’S CABIN – CONTINUOUS
The cabin is . A table set for one. Clean dishes
neat but cold
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in the dishwasher. A plate of crumbs. Bread knife. A bag of
figs and dates. Empty chocolate mug. Outside the kitchen
window a white cat observes. He bolts when he meets Dag's
eyes. Gone.

OFFICER DAG ANKER
He didn’t plan to be gone long. His
cat still around.
Erik moves to the hallway. Toralv's fishing gear clean and
ready to use on a side table. A wonderful collection of flies
and hooks.

OFFICER ERIK REMME
Wow! Look at this. Great fishing gear.

OFFICER DAG ANKER
Some of that stuff is for fly fishing.
The season starts soon. He is
certainly getting ready.
The cellar door. Old door. Cat scratches on the
CLOSE ON:
frame.
Dag opens it.
Darkness yawns below. He turns on the light.

OFFICER DAG ANKER
I’ll go down. Cover me.

8. INT. CELLAR STAIRS – MOMENTS LATER
Dag descends slowly, beam flicks across the walls. Shelves.
Canned goods. Hunting gear. Old boots.
where a rifle should be.
AN EMPTY HOOK

OFFICER DAG ANKER
(quiet)
Toralv…?
Suddenly—
A . Erik behind shifts his weight.
creak above

OFFICER ERIK REMME (O.S.)
You alright?

OFFICER DAG ANKER
Just a cellar. No sign of him.
They climb back up.
6.
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9. EXT. TORALV’S CABIN – MOMENTS LATER
They regroup at the car.

OFFICER ERIK REMME
Could be he took the rifle and left to
check something. Maybe he saw what
killed those sheep.

OFFICER DAG ANKER
No idea.
They exchange a look.

OFFICER DAG ANKER
Log it. We report back. Put a BOLO out
for his truck — dark green Hilux, '17
model. That is all we can do for now.
The forest looms, still and majestic. It seems
WIDE SHOT:
something is observing them. Dag feels it and looks back but
ignores the feeling. The camera lingers as the officers drive
away, leaving behind only tire marks… and the sense that
something ancient just watched them go.

10. INT. STORSTUA COMMUNITY HALL – EARLY EVENING
A sleek and spacious hall with high ceilings and sound-
absorbing panels. Warm light glows across modern wooden
floors. Sliding glass doors show the forest edge beyond. In
one section, stacked chairs and folded tables hint at a
recent indoor soccer match.
Local gather — clean jeans, work shirts, boots still
FARMERS
dusty from the fields but their presence calm, measured. Not
angry — organized.
consults a digital map on a wall-mounted screen
Espen Berg
with , her tone crisp.
KARI NILSEN

KARI NILSEN
We split the zones by property lines.
My sons take the northern slope. I’ll
go with them.

ESPEN BERG
Same for us. Everyone pairs up.
No lone patrols, and keep your dogs
close.
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approaches, flanked by his two large, well-
Esteban Hartford
trained dogs. He speaks with quiet assurance.

ESTEBAN HARTFORD
I’ll take the ridge trail behind
Heggemoen. My dogs are steady, won’t
bolt.

Soft murmurs of agreement pass through the room. A volunteer

list is being passed around digitally via tablet. Then—
The side entrance opens. enters,
OFFICER INGRID STENBERG
followed by and . All
OFFICER VIDAR SOLLIE CHIEF ANA HOLME
business.

OFFICER INGRID STENBERG
Alright, that’s enough.

The room quiets. Farmers step back, respectful but firm.

OFFICER INGRID STENBERG (CONT’D)
We understand the concern.
But we’re not authorizing armed groups
in the woods.
That’s not how we do this.

KARI NILSEN
Then you’d better double your staff.
Because we’re not leaving sheep to
bleed out. We’ll go unarmed — and
you’ll have to protect us. There’s no
law against taking a night stroll in
the woods.

A quiet ripple moves through the hall. Some smirks. She isn’t

wrong — and Ingrid knows it.

OFFICER INGRID STENBERG
Agreed. You can assist — in groups,
with check-ins. No weapons. No
wandering off. And no playing sheriff.
We’re still in charge.

She eyes LARS and OLE, two known for flasks in their coat

pockets.

OFFICER INGRID STENBERG (CONT’D)
8.
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You two — don’t test me tonight.

Esteban nods, stepping forward.

ESTEBAN HARTFORD
We’ll stay connected. Radios or
phones. And we call you the moment
anything turns.
surveys the room — not dismissive, just wary.
CHIEF ANA HOLME

CHIEF ANA HOLME
Fine. But no one plays the hero.

She steps forward, clipboard tucked under her arm, gaze

sweeping the room like a seasoned commander.

CHIEF ANA HOLME (CONT'D)
Cornering anything bigger than you is
a mistake.
Let your dogs do the chase — that’s
what they’re for.
But first, inform us so we can assist.
(beat)
We have three helicopters at our
disposal.
Use your heads — not your pride.

A moment of silence follows. Respect registers. The farmers

nod. Orders are clear. ESPEN BERG holds firm. He steps

forward, voice steady.

ESPEN BERG
It’s not pride, Chief.
It’s responsibility.
(beat)
We raise these animals.
We know every path, every shadow in
these woods.
Whatever’s out there — we won’t run
from it.
But we’ll work with you. That’s a
promise.
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CHIEF ANA HOLME
I hope your dogs are well-trained to
hunt at night.

Espen turns to the room, his voice raised, commanding.

ESPEN BERG
You heard the Chief! Only those with
night training.

A few farmers glance at their dogs, reconsidering. Some step

back. The line has been drawn. Ana meets Espen’s eyes. A

quiet understanding passes between them.

CUT TO:

11. EXT. DEEP WOODS – SUMMER NIGHT
The forest pulses with distant barking — the echo of dogs
reverberates through the trees. Flashlights dance in the
dark. But the dogs are unsettled. Their instincts clash with
what their noses tell them.

12. INT. HILLSIDE CAVE
Signe Arnesdatter kneels, naked, beneath a grotesque canopy
of bells — taken from the throats of bellwethers she
slaughtered. They hang from ropes and twisted wool cords,
swaying faintly, heavy with the weight of ritual and blood.
A single, trembling sheep is tied at the cave's far wall.
When it shifts, the bells jingle — a delicate, dreadful sound
that makes the cave breathe.

13. EXT. ESTEBAN AND HIS DOGS
Skara and Bruna freeze, ears perked. Then they take off,
barking sharply.
The other dogs catch the distant bells — or perhaps just the
agitation of Esteban’s pair. One by one, they break rank and
veer, they tug their handlers into motion.

14. INT. HILLSIDE CAVE (CONTINUED)
Signe’s skin flickers. It ripples between flesh and Torvald's
decay. Her form strains. Her breath is shallow, eyes wide,
trembling — but not from cold.

SIGNE ARNESDATTER
(whispers, desperate)
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You mutton. You'll live another day.

She hears the dogs — the sharp barks of trained hounds.

Closer now.
Her head jerks — primal. She bolts.

15. (AGAIN) EXT. EDGE OF FOREST – MOMENTS LATER
ANDERS MATHISEN notices the sudden shift in the dogs’
movement — nostrils flared, tails stiff.

ANDERS MATHISEN
Let the dogs loose!
Dogs are unleashed. The
He fires a flare. It screams upward.
pack splinters — some follow SKARA, others BRUNA. Esteban
breaks into a sprint, tracking them both.

KARI NILSEN (OVER RADIO)
Mine are headed South!

ESPEN BERG (OVER RADIO)
West here!
The other dogs — sensing a new direction, a more urgent trail
— shift course, dragging startled hunters in a new arc. Men
shout.

FARMER #1
They’re onto something!

FARMER #2
They're heading toward the highway!

16. EXT. COUNTRY ROAD – MOMENTS LATER
The forest breaks open to asphalt — the E3 highway. A car
speeds toward the treeline.
Signe bursts into view — running like a beast. She leaps a
stone, blinded by headlights—

SCREEEEECH—

THUD.
Her body spins, lands in a ditch.
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17. INT. UNKNOWN HOLDING FACILITY – NIGHT
sits , a lamp and
SEBASTIAN G. TREMBLAY

chained at a table
coffee and some bread. He’s perfectly still. He farts.
The moment , his head slams
Signe’s body hits the road
violently onto the plate with food— hard enough to leave a
.
bloody imprint

18. EXT. COUNTRY ROAD – MOMENTS LATER
A young man, , pale and skinny, stumbles
SIMEN THORSEN (25)
out of the car. Locals know him — last in his class, first
with a beer, always in trouble.

SIMEN THORSEN
(shocked, shaking)
Holy shit… I hit a woman…

He stares.
But what lies there now is .
not a woman
It’s — age 68 — grotesque, bloated, twisted. His
TORALV BRUN
eyes blank. His skin is waxy, crawls with black insects. Bits
of fur and moss cling to his naked body — where bone juts
through rotting flesh that barely holds.

19. EXT. SKY ABOVE – CONTINUOUS
sweep low, searchlights slicing through the
Three helicopters
darkness. Traffic on the road slows, red brake lights
flickering between trees.
Esteban appears with his flashlight — yelling for his dogs.

ESTEBAN HARTFORD
Skara! Bruna! Come back! Now!
The dogs return, reluctantly, hackles still raised.

20. INT. UNKNOWN HOLDING FACILITY – NIGHT
Sebastian lifts his face slowly — nose crushed, his eyes open
now. Something unnatural blinks inside him.

SEBASTIAN G. TREMBLAY
(grimaces, voice like broken glass)
...Should’ve known.
Bitch.
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20. EXT. RURAL COTTAGE – TWILIGHT (BETWEEN VEILS OF TIME)
A snowbound past. Not dreamlike — , but wrong.

Time
real
The cold is the kind that sinks into
flickers at the edges.
bones and stays.
Two women appear in the drifting snow — and
ANGRBODA (49)
— cloaked in dark wool, standing still.
SIGNE (39)
They face a small, frost-covered house. The wood is split.
The roof slumps under the weight of ice. Silence looms
inside.
They know this place.
They’ve been here before.
And they remember what’s coming.

SIGNE ARNESDATTER
(softly, breath visible)
We were so small.

ANGRBODA
Three... and thirteen.

SIGNE ARNESDATTER
I held your sleeve.
(beat)
I remember. I couldn’t feel my toes.
From a side path, approach — four figures, gloved
TOWNSMEN
and grim, torches and axes in hand.
They don’t see the women as they are now.
They see only — lost, frozen.
two little girls
Inside the cottage, through broken shutters: a woman’s body
lies crumpled near the hearth. Her hair is grey. Her skin
stiff. Her eyes open to nothing.
Their .
mother

ANGRBODA
They didn't let us mourn her.
The enter the cottage and emerge with the children —
townsmen
— weeping, limp in their arms.
Signe and Angrboda as girls
13.
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The , watching, cannot move.
adult witches
Their mouths tremble.
Tears freeze on their lashes.

SIGNE ARNESDATTER
They left her in the cold.

ANGRBODA
Then they lit her like firewood.

21. EXT. RURAL COTTAGE – CONTINUOUS
Flames rise within the house. Smoke snakes from the cracks.
The , still ghosts of themselves, stand outside
adult witches
— frozen in time.
They watch the carry their small, weeping bodies to
townsmen
a , drawn by horses.
wooden box on sled runners
The sleigh vanishes into the white, swallowed by history.
Ash settles. The fire dies. Nothing remains but black snow
and splintered bones.
steps forward, crunching into the frozen remains.
ANGRBODA
Her foot strikes something buried — a flicker of metal.
She kneels.
Her hand digs carefully, reverently.
From the ashes, she retrieves a — soot-stained but
pendant
whole.
She holds it. Feels its weight. Her breath shivers.

SIGNE ARNESDATTER
Give it here...
Signe reaches — but her hand passes through it.
Only Angrboda can touch it now.
Angrboda places the pendant around her neck. As it settles
against her chest—

THE WORLD SHIFTS.

22. EXT. MOUNTAIN CAVE – BETWEEN REALMS – TIMELESS
A vast looms ahead — jagged and unnatural.
gray cave
Its entrance gapes like a wound in the earth.
The sisters stand before it.
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The red at Angrboda’s chest.
pendant pulses
From within the cave:

The sound of chains.
Then .
screams
Then... — low, hollow, wrong.
cooing
SIGNE and ANGRBODA step into the gloom.

23. INT. CAVE INTERIOR – CONTINUOUS
The chamber opens into a maze of —
crude stone alcoves
compartments carved into the mountain.
Inside each alcove:
, shackled by necks and ankles.
Humanoid figures
Twisted — part human, part pigeon:
Bent spines
Feathers sprouting from shoulders
Long, sharp beaks
Eyes bruised with black rings
Skin marbled with sickly iridescence
They .
moan
They .
twitch
Some , some flutter .
weep useless wings

All are chained to the stone.
Young and old. Male and female.
Humans turned... something else.
A rises from the shadows — sharp, trembling
rasping voice
with fury and pain:

PIGEON-WOMAN (O.S.)
( )
pointing at them
You!
There!
15.
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( )
a beat, as all heads turn
You can break the Veil.

Set us free! Mercy!
(
she SCREAMS — a sound like an owl
)
choking on its own call

KOO-RAHH!
The
pendant glows bright red.
Angrboda , shielding it with her hand — eyes wild.
clutches it
She grabs her sister’s arm.

24. EXT. COUNTRY ROAD – NIGHT
They stand by the roadside.
Back where ’s twisted body was found.
Toralv Brun
Spring grasses ripple gently in the breeze.
The air is , the sky clear.
mild
But above the sisters —
snowflakes fall.
Soft. Deliberate.

Falling only on them.
The flakes melt as they touch the ground — but on the
witches’ hair and shoulders, they linger like ash.
In the distance, beat the sky. Red strobes
helicopter blades
flicker through the trees.
clutches the pendant at her chest.
ANGRBODA
She doesn’t let go.
stands beside her, silent.
SIGNE
She looks up at the impossible snow, eyes narrowed.
They are no longer fully .
here
And something not fully is with them still.
gone
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