Let's stop here.
Let's see Mrs McGinley in the doorway with Clint at her feet; see her husband and sons by Joshua's desk; see Cole, Morris, O'Donohue and Sherman, all looking helpless. Let's see yellow lamplight on the windowsill and the blackest of black nights pressed against the glass.
Now watch as all movement ceases, as the scene loses colour, as it becomes sepia tinted.
At this point let's look away from Minister McGinley's study. Let's leave the outskirts of Roylsden and ignore Anna Cody, cold, wet and struggling for life against the storm.
Let us turn our gaze elsewhere.