Darkchylde Adaptation ScreenplayA Screenplay by C.S. Williams A screenplay adaptation of Randy Queen's Darkchylde comic book character. Adapted from his novel Darkchylde: the Ariel Chylde Saga. DARKCHYLDE By CS Williams Based on “Darkchylde” Created by Randy Queen Note: Darkchylde is property of
Randy Queen. I do not claim ownership of Darkchylde or any related
properties. OPENING
A cold wind. Something breathes
in the endless darkness. SUPER:
“If darkness were to our dreams not bound What a nightmare then, our world to be found.”
�" A Treasury of Shadows FADE IN:
An overgrown forest of massive,
twisting trees. Shafts of RED MOONLIGHT cut through the canopy. OLD STATUES and BLACK
VINES cover the ground. A BEAUTIFUL, LIGHT
BLONDE YOUNG WOMAN
in a FLOWING RED DRESS wanders through the forest, lost, afraid. This is
ARIEL CHYLDE (17). THINGS whisper
in the trees. HOT, DEEP
BREATHS ECHO in the dark. She stops…slowly following the sound. A
HUGE WINGED CREATURE
watches her above, CLOAKED in SHADOW, with GLOWING GREEN EYES. SHE BOLTS.
THE MONSTER CHASES
HER. VOICES in the trees FOLLOW her, JEERING, TAUNTING,
GOADING. She BURSTS out of the trees…to a STEEP ROCK WALL. THE MONSTER BURSTS out of the trees, MASSIVE,
TOOTH-FILLED JAWS OPEN. Ariel SCREAMS,
COVERS HER FACE! ARIEL WAKES UP
INT. CHYLDE RESIDENCE �" ARIEL’S ROOM �" NIGHT [END
NIGHTMARE]
A wallflower’s room. SIX DREAMCATCHERS hang over the bed. A photo
of her mother, JESSICA (40s), sits on the NIGHTSTAND. She WAKES SCREAMING from the depths of her nightmare!
SHORT, HARSH BREATHS escape her. She
clutches at her tangled, DIRTY BLONDE HAIR. SWEAT runs down her brow. The panic subsides as Ariel breathes.
But the horror remains… DESK LAMP CLICKS on. Ariel DRAWS FURIOUSLY, ANGRILY�" She SWATS the paper away,
disgusted with what she made herself draw. Other
DRAWINGS of MONSTROUS CREATURES lay ABOUT… Ariel lays on her DESK, in
silence. She’s a mess, exhausted.
She hasn’t seen a good night’s sleep
or been remotely happy in a very long time. Her DARK-CIRCLED EYES FIGHT
to stay open.
Try as she might, they CLOSE�" INT. ROBERT’S
JAGUAR �" MORNING
A used Jaguar. Ariel rides shotgun.
ROBERT (40s), her father, drives. BAM! Ariel WAKES UP in
the car. She’s dressed, wearing EMBROIDERED JEANS she made herself.
Slowly, she turns to
her father. He’s not in any better shape
than her. His face is weathered, eyes filled with regret and
sadness. He gives
her a sad smile. She turns back to the window.
EXT. HIGHWAY 21 �" CONTINUOUS An empty highway flanked
by IMPENETRABLE FOREST. The Jaguar SPEEDS down the road as morning
pokes through the clouds. EXT. SALEM HIGH �" ESTABLISHING �" CONTINUOUS
An old high school, renovated
(poorly) several times. A MASSIVE DEAD TREE hangs in the courtyard. A BANNER hangs over
the entrance. ON THE BANNER
Painted in black: O’MALLORY’S DAM FESTIVAL SEPT 5-7! BRING THE WHOLE DAM FAMILY! INT. ROBERT’S
JAGUAR �" CONTINUOUS
The car parks. Ariel stares outside,
dreading what happens next. Robert’s hand falls on her
shoulder. ROBERT
Don’t sweat it, ‘kay? Just one more year. He’s trying his best.
Ariel barely reacts. ROBERT (CONT’D)
And your big day’s tomorrow! ARIEL
Great. ROBERT
You can do it, kiddo. Don’t
worry. You’re still here. He forces a smile. ARIEL
I didn’t sleep very well. ROBERT
Don’t worry about it. You’re fine.
You’re going to be fine. He pats her shoulder.
She turns, embraces
him tightly. EXT. SALEM HIGH �" PARKING LOT �" CONTINUOUS The school parking lot. She waves to Robert as the Jaguar speeds away. She notices
a CHRYSALIS hanging above A SPIDER WEB. She takes a deep breath, holding
her books to her chest like a shield. ARIEL
(to herself) No
eye contact. She heads forward, head down. INT. SALEM HIGH �" HALLWAYS �" CONTINUOUS
Purple and red lockers
line the walls. Ariel’s locker OPENS. An ugly surprise is slathered in BLACK INK on the door: THE MONSTERS ARE COMING!! She squeezes the
locker door, hand whitening. A
trio of teens
watch Ariel through
a phone’s camera.
The leader, STACY STONE (18), films. SPENCER BLACK (18), a football player, watches nervously. STACY
(towards Ariel) And here’s the mental
patient in her natural habitat… CLICK. Camera is off. Stacy towers
over Ariel. She’s
every wallflower’s nightmare: Popular, cruel. But deep down she does for something far more personal… STACY (CONT’D)
Cry yourself awake again? Ariel glares at her. STACY
(sarcastic) Oh, I’m sorry, honey.
I forgot. That’s every night. ARIEL
Leave me alone. STACY
Then look into the camera and say “I’m out
of my f*****g mind.” She holds up the phone again,
hitting RECORD. Ariel
feels A PAINFUL NECK SPASM
coming. She tries to resist, but it TWISTS her head violently. Her
embarrassment is visible to everyone. STACY
Hm. Good enough. She pockets the phone,
flashing a venomous
smile. She and her entourage strut off. Spencer
shuffles after them, carrying the demeanor of a whipped dog. Ariel grabs the locker
door. Ink smears
on her fingers. She scratches an UGLY BLACK SCAB on the BACK OF HER NECK.
It’s CRUSTED, NASTY, like a CHRYSALIS… SHE SLAMS THE LOCKER DOOR TO: INT. SALEM
HIGH �" MR. DEANS’ CLASS �" DAY
Precalc. The real nightmare of the piece. MR. DEANS (50) writes
on the blackboard. His pudge
and green shirt have earned him the name “Lima Bean” from students. He’s
not thrilled to be here either. Ariel sits by the window, writing
in her journal. EVERY PAGE
is SIGNED and DATED with her elegant cursive. DEANS
(rubs hands together) Okie dokie! Okie dokie everyone… Deans begins his lesson.
A LADYBUG crawls on the windowsill. She lets it onto her
finger. Some kids watch her, muttering and mildly spooked. The bell RINGS. Ariel
lets the ladybug
back onto the window. Stacy walks in. Ariel keeps
her head down. INT. SALEM HIGH �" MR. DEANS’ CLASS �" CONTINUOUS
Deans is going down an ATTENDANCE SHEET, marking off people
as he goes. Ariel studies a PHOTOGRAPH. A little girl and woman
sit smiling together: Ariel and her mother, JESSICA
(45). On the photo reads: SEPT. 7 MISS HAPPY’S 12th! HAPPY BIRTHDAY!!! She strokes the photo. Deans’ pen hovers over names, notices
an UNMARKED NAME… THE DOOR OPENS. PERRY STODGHILL (18)
BURSTS in. Everyone turns to him. DEANS
(plays it off) Ah, there you are. Take a seat, Mr. Stodghill. Ariel watches
him wade through
the desks, fascinated. He’s kind, athletic, but troubled by something distant… PERRY
‘Scuse me, sorry�" TEEN
Watch it! He locks eyes with Ariel.
She QUICKLY looks
away. Slowly, she turns
back to him. He notices
her staring through
her mane. He gives a friendly
smile, waving. Ariel, surprised, waves back. She turns back to her books. ARIEL
(to herself) Yeah, right… Class drags on. Ariel fights to stay awake. She lays down on her open journal. Outside, the wind WHISTLES.
It’s too calming. Ariel’s
head sinks down. The room grows dark. Deans’ voice fades… EXT. CANOPY PARK �" DAY [FLASHBACK]
A beautiful park on a breezy,
early fall day. A young Ariel
and Jessica sing together under a pavilion. ARIEL AND JESSICA
Ladybug, ladybug, fly away home.
Your house is on fire and your children
may burn. So run out quick, hope they’re grown… Jessica and a young Ariel release
a ladybug into the sky. ARIEL
And fly away, fly away, fly away home! Ariel smiles as Jessica embraces
her. JESSICA
So what did you wish for, Miss Happy? ARIEL
For a million more ladybugs! Jessica laughs. She’s
radiant, lovely, wears
a HEART-SHAPED PENDANT that
glints in the sunlight. JESSICA
That’s cheating! ARIEL
And for more tea. They turn back to the table,
set for a tea party.
Jessica gingerly pours Ariel a cup. JESSICA
Pour vous. ARIEL
Merci! So what’s at home? JESSICA
(playfully) I’m not telling
you! ARIEL
Pleeeease? Ariel fake-pouts. Jessica smiles,
amused. JESSICA
Good girls wait their turn. Are you a good
girl? Ariel nods. JESSICA (CONT’D)
Then we wait! Ariel climbs into Jessica’s
arms. ARIEL
(notices
pendant) Where did you get that? JESSICA
Grandma gave it to me. ARIEL
It’s really pretty. JESSICA
So are you. She kisses Ariel,
hugging her tighter. ARIEL
Will I get it
someday? Ariel feels a chill in
the air, unnerved. The park is STILL, waiting. A
droplet from the tea cup hits its plate. THICK,
OILY SLUDGE splats onto the
china plate. ARIEL (CONT’D)
Momma? Jessica’s hands CURL like dead spiders. Ariel breaks away from her mother’s grasp,
horrified as Jessica rots in fast- forward. The sky is DARK.
MONSTROUS HOWLS all around. Ariel
DASHES away into the
forest! EXT. DARK FOREST �" NIGHT [NIGHTMARE]
The NIGHTMARES CHASE
HER. SHE’S A YOUNG WOMAN
AGAIN. Their SILHOUETTES and GLOWING EYES follow her through the trees.
She TRIPS on a stray ROOT. Something with MASSIVE TEETH SNARLS at her above!! In the commotion, she sees SOMETHING
running through the forest, barely keeping up. A…YOUNG
GIRL? She picks herself up, SCRAMBLES into a DECAYED
LOG. Through the ROTTED
HOLES, DARK SHAPES FLIT AROUND, their HISSING VOICES surrounding her! NIGHTMARE #1(O.S.) NIGHTMARE #2(O.S)
Vessel… You can’t escape! ARIEL
(holding ears) Stop it! NIGHTMARE #3(O.S)
You belong to us! She shuts her eyes. THEY STOP. CLAWS clamp the edge of the
hollow. THE MONSTER FROM EARLIER peers down at her with GLOWING
GREEN EYES, JAWS DRIPPING. PENANCE. Another voice RIGHT NEXT to Ariel! VOICE (O.S.)
Finally. INT. SALEM HIGH �" MR. DEANS’
CLASS �" DAY [END NIGHTMARE]
Ariel on the floor SCREAMING in terror, THRASHING
and KICKING! Some help Deans restrain
her. Her elbow SMACKS a kid in the
nose! Stacy films the ordeal. Perry watches behind. He turns to another kid in the crowd. PERRY
Who is she? TEEN
Crazy girl. I think her name’s Childs?
Deans grabs Ariel’s shoulders, SHAKING
her hard. DEANS
Ariel! She finally comes to. DEANS (CONT’D)
Are we awake? Hey! (snaps fingers)
Earth to Ariel! Her head hangs in shame. ARIEL
Yes… DEANS
(sighing) Out in the hall,
please. ARIEL
Wha- Now. DEANS
She begrudgingly leaves the room. She notices Stacy filming
her, sticks a MIDDLE
FINGER straight up. INT. SALEM HIGH �" HALLWAY �" CONTINUOUS
Outside Deans’ room.
Deans stares down at Ariel. DEANS
Four times. In two weeks. ARIEL
I’m sorry… DEANS
Sorry ain’t gonna cut it anymore,
alright? Are you off your meds or something�" ARIEL
(angrily) I can’t sleep. DEANS
And then you make a scene?
Do you do this in all your
classes?! She’s deeply offended by that, shooting
him an angry glare. DEANS (CONT’D)
Just go to Madison’s office. Get your head
checked. I’ll get the notes to you somehow. Ariel runs back into class to grab her stuff. She trudges
down the hall, her SCAB
hurting her again… INT. SALEM HIGH �" MISS MADISON’S OFFICE �" CONTINUOUS
The school counselor’s office.
RACHEL MADISON (50s) sits at her desk. MOTIVATIONAL POSTERS
surround, contrast the burned out demeanor of the counselor. Ariel sits in a chair, head in her hands. At the WINDOW,
a TREE BRANCH TAPS…TAPS…TAPS… MADISON
Are you still journaling? Is that helping at all? ARIEL
What do you think? MADISON
Maybe try medication again.
I mean, it’s still a possibility. I think I have that list of therapists somewhere- ARIEL
I don’t want another
therapist! MADISON
It’s not a matter
of wanting it, Ariel.
You need to work this out. Six years of nightmares? I think something else’s wrong. ARIEL
Then what else am I supposed
to tell them? Everyone thinks I’m insane! I can’t even walk down the
hall anymore without everyone staring at me! MADISON
I think you’re exaggerating a bit. ARIEL
(shouts) I’m not exaggerating! Madison’s surprised by the sudden aggression. Ariel’s breathing hard, tears about to fall. ARIEL (CONT’D)
I�"I just�"(sniffs) I can’t function.
I can’t fall asleep, They’re waiting
for me every night and I can’t
get away. MADISON
Sweetie, they’re only dreams.
Dreams can’t hurt you. It’s
nothing to be ashamed of. Ariel sighs, running her hands through
her hair. BLONDE WISPS slide out between her
fingers. Madison notices, unsettled. ARIEL
I don’t want this.
I want it to stop. INT. SALEM HIGH �" HALLWAY �" AFTERNOON
a
trio of TEENS
huddled together. They’re
watching a video on someone’s PHONE. PERRY
(nervously) I’m new here. Where
are the B lockers
again? TEEN #1
(points) Oh, right over there. PERRY
Thanks. I’m Perry, by the way. TEEN #2
Like the platypus? PERRY
(mildly annoyed) Like the sailor. TEEN #2
(disinterested) Cool. The teens turn back to the video, losing
interest in Perry. TEEN #3
(to the others) Little miss batshit freaked
in class again. They play the video.
It’s Ariel’s episode
in Deans’ class. Perry half watches, visibly
uneasy. Something catches his eye DOWN THE HALL. It’s Ariel,
talking with another girl: KILEY MITCHELL (18). ARIEL
(in background) Kiley, please! Wait! KILEY
(in background) Leave me alone. I’m so tired
of you embarrassing me! Kiley hightails it
out of there. Ariel’s left alone again. Perry’s about to approach her when
the bell RINGS. She quickly leaves. Perry breaks away from the group,
some specter from the past haunting him… EXT. SALEM HIGH �" PARKING LOT �" CONTINUOUS
A POLICE CRUISER
sits in the parking lot. Inside sits JACK STODGHILL(40s), the new sheriff
of Salem. He looks like a hard-a*s, but there’s a sensitivity in his
eyes, something his son inherited. Perry waves to his father. Jack waves back. PERRY
Sheriff. JACK
Son. INT. JACK’S CRUISER
�" CONTINUOUS Door
SHUTS. JACK (CONT’D)
How was school? He starts the car. PERRY
It’s a lot smaller
than I thought. JACK
Yeah, sure as s**t ain’t Atlanta. Perry nods. He looks
out the window,
lost in thought.
Jack studies his son as he drives out. JACK
(concerned) You okay, Perry? PERRY
What? Yeah, I’m fine. JACK
Are you sure? Anything’s bothering you, just
tell me. PERRY
Dad, I’m okay. JACK
You got that look. Just say something�" PERRY (defensive) Dad. Perry realizes how hard he came off. He sighs. PERRY (CONT’D)
I’m fine. Really. They leave the parking
lot, passing the FOOTBALL STADIUM. Perry notices Ariel talking
on a PAYPHONE beside it… EXT. CHYLDE RESIDENCE �" ESTABLISHING - EVENING
A two-story suburban home with a dead garden out front.
INT. CHYLDE RESIDENCE �" HALLWAY �" CONTINUOUS Pictures of the Chylde family hang on the wall. None of her as a teenager, however... INT. CHYLDE RESIDENCE �" DINING ROOM �" CONTINUOUS
Decorated with international sculptures and a garish pepper painting. Ariel and Robert sit across from each other.
Ariel picks at her food. He knocks back a GLASS OF
BOURBON. ARIEL
I thought you said you were going to stop. Robert guiltily looks at the glass. He slides it away. She gets up, hugs him. She winces in pain when one of her ARMS brushes
him. He hugs her back.
But something troubles him… Giving him a kiss, she lets go. ARIEL
I’m going to bed. ROBERT
Right. (beat) I’ll finish the dishes. ARIEL
Love you. He gives a nod of acknowledgement. She heads upstairs. INT.
CHYLDE RESIDENCE �" ARIEL’S ROOM �" LATER She sits on her bed checking SCARS spelling WAKE UP CUT
into her arm. They’re STILL
RED. She sighs,
wincing as she rolls up
her sleeve. Backpack UNZIPS. She roofs through, looking
for her journal. She checks once, twice.
NOTHING. She’d be angrier if she
wasn’t so exhausted. ARIEL (CONT’D)
God d****t. She collapses into bed. CLOCK reads
8:45. She closes
her eyes. The wind picks
up. Trees SWAY outside her window. Her room turns… Her sleeping form DESCENDS
INTO DARKNESS as HER BED UNRAVELS around her. She sinks down, down, down… INT. BURROW [BEGIN
NIGHTMARE]
A
scavenger facsimile of Ariel’s bedroom
underground. The SOFT PATTER
of rainfall. Ariel wakes. She inspects her surroundings, confused. Slowly, she crawls to the door
leading out: a GIANT PATCHWORK DREAMCATCHER. EXT. DARK FOREST �" CLEARING �" NIGHT
It’s less choked by foliage, surrounded by STATUES and SCARECROWS hung with BAGS SURROUNDED
by FLIES. Ariel emerges. An ORNATE,
BROKEN STATUE cries
out in frozen despair, RED TEARS running down its face. The rain tapers off. She catches
a few drops. It’s BLOOD. FAINT SINGING. Ariel grabs
a ROCK near the hole,
ventures into the clearing. Rustling. A makeshift
grave with A BURNT BUTTERFLY
on it. A TRAIL OF BLOOD leads into the bushes. VOICE (O.S.)
That was a star. Just spiraled
down from the sky. Never had a
chance, the poor thing. The voice is everywhere and nowhere. VOICE (O.S.)
I was wondering when you’d wake
up. Worried there’d be no room. I’d have to
use another burrow. Maybe use the one farther north- ARIEL
Where are you? VOICE (O.S.) (CONT’D)
-Or is it south? East? But Crimson Devils are north. Little b******s. Ariel turns around-and YELPS. A FERAL CHILD, covered in
MAKESHIFT IMPLEMENTS stands before her. Her ankle is bleeding. A MONSTER’S SKULL
covers her face. Ariel looks on in disbelief for a beat. GIRL
(matter of fact) Hello. Ariel softens as the girl removes
her mask. The kid stares with NERVOUS EYES. Her WILD BLONDE
hair is streaked
WHITE. ARIEL
(approaches) Who
are you? She gets a closer
look. ARIEL (CONT’D)
Wait, no. No. You’re…you look like… She’s the fractured, spitting
image of Ariel
as a child: MISS HAPPY (12). She smiles. MISS HAPPY
Nice to see you again. ARIEL
Who�"This is a trick. You’re one of them. MISS HAPPY
Those bags will keep them away for now. ARIEL
And you could be lying. The girl sighs. She pulls her mask down, drawing her bone daggers. MISS HAPPY
There are worse things
here than I, Ariel.
Nightmares don’t hope, don’t love, don’t wish to see the sun again. The child has backed
Ariel against a tree. MISS HAPPY (CONT’D)
And you’d be dead. Again. SQUASH! A HUGE spider
is impaled on a dagger
inches from Ariel’s head. Miss Happy inspects her kill, sliding
her mask off. MISS HAPPY
So no. I’m not lying to you. Miss Happy bites the spider,
then SPITS hard.
Ariel is shaken, but calms
down. ARIEL
(motions to wound) Can I at least patch that up for you? Miss Happy gives Ariel a RAG, who begins tending to the
wound. ARIEL (CONT’D)
(at squirrel doll) What’s his name? MISS HAPPY
Stitch. Keeps me company. ARIEL
At least he won’t run off. MISS HAPPY
You’d be surprised how often he tries. For a beat, Ariel processes that… MISS HAPPY (CONT’D)
But I guess we’re both pretty slippery if Penance hasn’t caught us by now. ARIEL
How did you find
me? MISS HAPPY
Kismet? They sniff you out easily.
But I got to you first for a
change! ARIEL
Well, I’m glad it’s something else for a change. RUSTLING from the trees.
WHISPERING. Miss Happy
watches intently in the sound’s direction. MORE RUSTLING
and WHISPERING from the trees.
GLOWING EYES watch from the trees AROUND the clearing. The two parties sit, WATCHING each other. ARIEL
Aren’t we safe here? MISS HAPPY
Not for long. The girl takes out a HANDFUL
of POWDER. MISS HAPPY (CONT’D)
Remember me. We’ll see each other again. She BLOWS it in Ariel’s face. INT. CHYLDE
RESIDENCE �" ARIEL’S
ROOM �" NIGHT [END DREAM]
Her awakening is SERENE.
Her clock reads
1:45 am. Desk lamp is ON. At her desk, she draws Miss
Happy. EXT. SALEM HIGH �" PARKING LOT �" MORNING
Just like yesterday. Ariel notices the chrysalis is empty.
The butterfly is CAUGHT IN THE WEB.
People walk by. She heads over. She carefully UNTANGLES THE WEB. She lets it crawl onto her
finger as it TAKES OFF. People watch. She leaves, face hidden. No one notices the SPIDER that’s
hitched a ride on her shoulder. INT. SALEM HIGH �" HALLWAYS
�" CONTINUOUS
Ariel heads to her first class.
The spider CREEPS
down her arm. She notices
it�"and SWATS the spider off! It lands on Stacy’s
leg as she passes by. Stacy notices,
FREAKS OUT. She’s
trying to get the thing off, but it clings to her like glue. Ariel backs away as others watch, laughing. Stacy finally gets the spider off,
SQUASHING it SAVAGELY. She looks up, MURDER IN HER EYES just in time to see Ariel
disappear down the hall. INT. SALEM HIGH �" CLASSROOM
�" DAY
Ariel tries not to doze off. Her eyes wander to the date on
the board: SEPTEMBER 7. Her 18th birthday. She looks back to her notes. THE DATE IS REPLACED WITH “HAPPY BIRTHDAY, ARIEL” IN JAGGED LETTERS. She
JUMPS back! Everyone
turns to her. TEACHER
Something wrong, Ariel? Ariel shakes her head. A WAVE OF NAUSEA hits her. She struggles
to hold it. She dashes out of the room as everyone
watches. INT. SALEM HIGH �" GIRL’S BATHROOM �" CONTINUOUS Ariel RETCHING
into a toilet. She SPITS. At a sink, she SPLASHES water on her face, stares
into the mirror. She PUNCHES the glass! EXT. SALEM HIGH �" PARKING
LOT �" AFTERNOON
Perry leaves
the school, alone.
He scans the scene. Ariel’s on her way to the football field,
far away from everyone. He takes a deep breath. EXT. SALEM HIGH �" PAYPHONE
�" CONTINUOUS
A
GREEN AND PURPLE PAYPHONE beside the football
stadium. Ariel grabs the phone, dials. She misses a number,
starts over. One of the BUTTONS falls off�" PERRY (O.S.)
Hi! Ariel JUMPS, drops the phone. She turns around. It’s the cutie from yesterday. He smiles. Ariel’s
intrigued but wary. ARIEL
Hi. Um…do I know you? PERRY
Not yet. I think I have something that belongs to you. He unzips his backpack, produces her JOURNAL.
She’s dumbstruck. PERRY (CONT’D)
(presents journal) I believe this is yours, Ariel Chylde. ARIEL
(nods, takes journal) Where did you find this? PERRY
You left it in Deans’ class. Now she’s a bit suspicious. ARIEL
You�"You didn’t look through
it, did you? PERRY
(holds up hands) I think you’d have figured that out. My hands are clean. She laughs, the smallest hint of
happiness coming back. He’s charming, kind,
the nicest someone’s ever been to her
in a long time. ARIEL
So you figured me out. What do I call you? PERRY
She nods. Perry. ARIEL
Well, thanks…Perry. A long beat… ARIEL (CONT’D)
(nervous) I�"I need to call my dad. She starts turning
back to the phone. PERRY
No cell phone? ARIEL
No brain tumor. Perry nods, thinking back to the video he
saw… PERRY
I can drive you home. ARIEL
(nervously) No, it’s fine. I�"he’s
expecting me�" She pushes the EMPTY
SOCKET where the button should
be. She grunts in frustration, SLAMMING the phone back onto the RECIEVER. Perry watches her, concerned, not judgmental. She turns
back around, sees the kindness in his eyes… ARIEL (CONT’D)
Where are you parked? EXT. HIGHWAY 21 �" AFTERNOON
A JEEP speeds down the highway,
passing a sign for the O’MALLORY FARM that points across a
BRIDGE… INT. PERRY’S
JEEP �" CONTINUOUS
Perry’s first car. A road hazard kit with ROAD FLARES and a
FLARE GUN is in the trunk. He glances at Ariel
in the passenger seat. She’s
staring at the forest rushing
by. She glances back. A little smile
crawls up her face. He smiles back. She turns back to the
window. ARIEL
Deer season’s coming up. They love this
road. PERRY
They must be very deer to you. ARIEL
I fawn over them. He laughs. She smiles…until another WAVE OF NAUSEA hits her. PERRY
You okay? She furiously
nods her head as he pulls over. EXT.
FOREST STREAM �" CONTINUOUS A rushing stream not far from the highway. Ariel HURLS into the stream. It’s far more painful this time. She SPITS the last of her
vomit at it. A LEAF falls
in her hair. She pulls
it out, taking
STRANDS of her HAIR with it.
She stares into it, horrified�" PERRY (CONT’D)
Ariel! Perry climbs through the brush with ease to
her. ARIEL
I’m fine. She wipes her mouth, sits on a ROCK near the stream, head in her hands as Perry stands beside. ARIEL (CONT’D)
(relenting) No I’m not. I’m not fine. PERRY
It wasn’t my driving,
was it? She shakes her head.
She spots a PATCH of DANDELIONS,
picking them. ARIEL
I take it you saw my…episode yesterday. PERRY
Yeah. Beat. She turns to him, surprised. ARIEL
What? PERRY
Yeah. I saw you. ARIEL
I hit someone in the face. PERRY
I mean, accidents happen. He sits down next to her. She looks
at a dandelion, twisting the stem. She picks at her jeans again. PERRY (CONT’D)
Where’d you get those? ARIEL
I made them. I have an insect thing. Motif. Muse. Fetish. Whatever
it is. PERRY
Not bad. ARIEL
Insect fetish? PERRY
The jeans. ARIEL
You really think so? He nods. A little smile crosses
her face. They sit together, taking in the peaceful
stillness of the forest. PERRY
(after a while) Can I ask a favor of you? ARIEL
And what would that be? PERRY
Being a humble city boy who’s new to the
country, I was wondering if you could accompany me to a town gathering. ARIEL
Accompany? PERRY
The festival. Tonight. She nervously plays
with the flowers.
His offer catches
her off guard. ARIEL
Tonight? You mean�" She turns away for a minute,
mulling over the choice. Again, the nicest
thing someone’s done for her in a while. ARIEL (CONT’D)
(slight suspicion) Did someone put you up to this? PERRY
I just moved here. The suspicion fades. A hint of a smile crawls
up Ariel’s lips again…
EXT. CHYLDE RESIDENCE �" DUSK Perry’s Jeep pulls up, parks. Ariel
gets out. The car speeds off
as waves it goodbye. She pirouettes
excitedly! INT. CHYLDE
RESIDENCE �" KITCHEN
�" CONTINUOUS
Balloons hang on the ceiling. A
picture of Jessica sits with a vase of roses. Robert tries to make a cake, wearing
a smock thrown against his work attire. Ariel bursts in, beaming! ROBERT
Ariel! The cake’s almost
done. He turns, hiding an EMPTY GLASS
and SLIDES it into the sink. The kitchen’s practically a crime scene. ROBERT (CONT’D)
You’re chipper tonight. ARIEL
I got a date
tonight! ROBERT
Really? Who put him up to it? ARIEL
He’s nice, Dad! He’s so nice!
And he’s new! ROBERT
You’re sure about
this? (sighs) I guess I can cancel the reservations to Ned’s, then. The oven alarm RINGS. He opens the oven door. ARIEL
(takes his shoulder) We can go tomorrow.
It’s okay. The cake comes out. It’s SUNKEN,
PITTED. Ariel smiles.
He kisses her, puts the cake down. ROBERT
Presents? Two GIFTS sit on the counter. She
opens the bigger one first. It’s a NICE PULLOVER. He motions to the smaller
one. She gingerly unwraps it. It’s her mother’s pendant. Her eyes well up. ARIEL
How did you�" ROBERT
She put it away for you. She told
me�" Ariel embraces him. He hugs her back, stroking
her hair. But his mind is somewhere else. His expression turns worried, grim. She lets go. Robert quickly puts on a little smile. ROBERT
So…cake? ARIEL
I’m not that hungry. Cramps.
y’know�" ROBERT Then maybe you should
stay home. ARIEL
I wanna lie down before he comes. Maybe I’ll get some sleep for a change. Robert nods, kisses her. ROBERT
Fine. You’re the birthday
girl. She heads upstairs. Robert sits alone, that grim expression coming back… His
nails dig into his palm. INT. CHYLDE RESIDENCE �" ARIEL’S ROOM �" EVENING
Ariel holds the necklace, turning it over.
She heads to her
desk, pulls out a CRAFT KIT. Quickly, she assembles an ELABORATE BUTTERFLY
PENDANT, places the heart inside it. A LANDLINE PHONE sits on her nightstand. Her hand reaches for it�" But snaps back. ARIEL
It’ll be fine, it’ll be fine… The clock reads 5:55. She sets her alarm for seven, lays
down. Rain falls outside her window… THE RAIN TURNS RED
INT.
DARK SCHOOL �" HALLWAYS - NIGHT It’s a TWISTED DECAYING COPY
of Salem High,
choked with CREEPERS and
LITTERED with BONES AND CORPSES. A RED RAINSTORM POUNDS the windows. Ariel awakens under her locker…THE MESSAGE
FROM YESTERDAY SCRAWLED ON
IT. She opens her eyes�" Miss Happy is staring
like a hawk at her.
Ariel jumps, startled! ARIEL
What�"How long have you been there? MISS HAPPY
Since you appeared. Good to see you again! ARIEL
Uh, same�" MISS HAPPY
C’mon. They’ll be here any minute�" Miss Happy takes Ariel’s
arm, feeling the scars. Ariel jerks her hand away. MISS HAPPY
What were those? ARIEL
Nothing. MISS HAPPY
You playing me for a fool? ARIEL
(angry) I said it’s nothing! The kid snatches
Ariel’s arm too fast for her to react. She studies the scars. Ariel hangs her
head, ashamed. ARIEL (CONT’D)
They’re a month old. Miss Happy relinquishes Ariel’s
arm. She reaches
onto her belt… And out comes a SINGLE DANDELION. The girl cradles
it, like a candle. MISS HAPPY
I found a patch of these growing (points) Out there. It’s been so long… Ariel gazes at the flower,
remembering earlier today. MISS HAPPY (CONT’D)
How did you do it? ARIEL
I didn’t know I could. MISS HAPPY
You can. This school didn’t
exist yesterday. They think this place belongs
to them. And they can never take this�" (holds up the flower)
away. Ariel takes the flower,
strokes it… A RATTLING
PIERCES THE SILENCE.
The two turn in its direction down the dark halls. MISS HAPPY (CONT’D)
(beat) S**t. Miss Happy grabs Ariel’s
hand as they dash through
the halls. The two RUN down the halls,
SPLASHING through POOLS of BLOOD collecting on the floor.
The school TWISTS
and TURNS, a NIGHTMARISH
LABYRINTH filled with DEATH. Penance’s foot CRUSHES a SKULL behind
them. He’s JUST OUT OF VIEW, HIDDEN in the DARK. MISS HAPPY (CONT’D)
(points offscreen) There! A DOOR hangs OPEN. They dash for
it. Ariel glimpses the dark hallway, as a PENANCE’S
SHADOW ADVANCES. She THROWS
the door shut. INT. DARK SCHOOL �" CLASSROOM
- NIGHT
A dilapidated classroom. A giant hole in the wall is covered with BLACK VINES. ARIEL
That’s our exit?! MISS HAPPY
These weren’t here earlier! She unsheathes a LARGE BONE DAGGER. MISS HAPPY (CONT’D)
(to dagger) Make me proud,
baby. The dagger saws through the
vines, which refuse to cut. Miss Happy curses, mumbles
to herself. Ariel starts pushing EVERYTHING in the room against the door. SNAP. Vines fall loose.
Miss Happy sighs
in relief. Ariel pushes another CHAIR against the door�" PENANCE’S CLAWS PUNCH THROUGH
Sending Ariel REELING to the floor.
She sniffs, wipes
her nose. A DROP OF BLOOD sits on her fingers… Through the hole, his GLOWING, MALICIOUS EYES hungrily watch
them struggle. MORE VINES SNAP. The hole is half open. Claws REND the door. MISS HAPPY (CONT’D)
(climbs into hole) C’mon! Ariel looks to the door…then dashes
into the hole as
Penance BURSTS into the room! INT.
TUNNEL TOTAL DARKNESS.
The two DASH away from Penance’s FURIOUS CLAWING. A ROAR of frustration. The SCRABBLING STOPS. ARIEL
Are we safe? Beat. MISS HAPPY
Take my hand. FOOTSTEPS. RED MOONLIGHT reveals
an exit… EXT. DARK FOREST - GRAVEYARD - NIGHT A graveyard with MASSIVE,
HORRIFIC STATUES. The duo emerge from underneath a MASSIVE TREE.
The school is NOWHERE to be
seen. MISS HAPPY
No…No, no no no! Where is this?! Where are
we?! Miss Happy frantically looks
around, livid. She runs to the
edge of the graveyard. A MASSIVE CHASM YAWNS before her. Ariel takes in the horrific
spectacle of it all. Something
catches her eye in the distance. A MAUSOLEUM on A GRASS HILL. She walks
towards it. Miss Happy follows. EXT.
MAUSOLEUM - NIGHT MASSIVE, ORNATE, with FOUNTAINS
collecting the BLOOD RAIN. A SPIRAL STAIRCASE leads up to a single door, with a
balcony lined with STONE PILLARS.
A PLAQUE is engraved with STRANGE
SYMBOLS. Miss Happy draws a dagger as they head towards the door. MISS HAPPY
(nervous) We shouldn’t be here. They approach the door.
The handle is COVERED in STEEL
THORNS. Ariel looks in a BASIN filled with BLOOD. The plaque reads “IN SOMNIS
VERITIS” in the REFLECTION. Miss Happy sniffs the air. She follows the scent to the
balcony… EXT. GRAVEYARD - NIGHT
A “STATUE” PEELS ITSELF FREE, COLLAPSING TO THE GROUND A gangly,
ash-grey monster with DARK, SUNKEN EYES DRIPPING
BLACK TEARS. Anything its LONG, BONY FINGERS touches bubbles, ROTS. Its HOWL is MOURNFUL, CHILLING. EXT. MAUSOLEUM - NIGHT
Ariel hears the howls,
runs to Miss Happy. MORE PEEL themselves
free. MORE CREATURES EMERGES from the DIRT:
CENTIPEDES with the MASSIVE, SNAPPING
JAWS of an EEL. MISS HAPPY (CONT’D)
You…b******s. She places a dagger in Ariel’s
hand. MISS HAPPY (CONT’D)
Get that door open. ARIEL
How?! Miss Happy’s hand closes
over Ariel’s. MISS HAPPY
You’ll have to try. Miss Happy heads to the balcony,
slipping on her skull
mask�"and DIVES off. Below, SAVAGE SCREAMS of Miss Happy
and DEATH KNELLS
of the Wraiths as limbs FLY
and BLACK BLOOD SPLATTERS everywhere. Ariel runs to the door, grabs
the handle�"but SCREAMS
in pain. Her hands are BLOODY from the thorns! A
Centipede SLITHERS UP the balcony,
it’s jaws open and
DRIPPING. It SKITTERS towards Ariel�" She CRUSHES one beneath
her foot, SPLATTERING the stone with BUG
JUICE. She grabs the handle again,
hands slick with blood. She pulls and pulls, but the damn thing just won’t come loose! Miss Happy climbs up the balcony,
panting, covered in monster blood. The MONSTER HORDE advances. Wraiths’ hands CLASP the balcony edge!
Centipedes SKITTER up the
stone like an ANGRY LIVING RIVER�" The door OPENS a CRACK.
Ariel is yanked away from the door. Miss Happy is swallowed up by a SWARM of Centipedes! She bites and spits, to no avail. The bugs swarms over Ariel, BLACKING EVERYTHING OUT in a SEA OF LEGS AND JAWS. Miss Happy reaches for
Ariel, tears in her eyes. THE RATTLING. Penance CLIMBS
up the balcony, ADVANCING
through the horde. MISS HAPPY (CONT’D)
(struggling) Ariel! They don’t own you! Remember
that! They let them ou�" Their fingers brush as
Miss Happy is dragged away.
Ariel is SWALLOWED UP by the
CENTIPEDE HORDE as the last thing she sees is PENANCE TRUDGING TOWARDS HER�" INT. CHYLDE
RESIDENCE �" ARIEL’S
ROOM �" NIGHT
She’s wrapped in her bedsheets ON THE FLOOR, thrashing
violently!! She comes to, breathing hard. She rubs her face,
noticing a DROP OF BLOOD on
her finger. She stares at it, terrified… before her alarm BLARES!
She gets up, rushing to find something to wear. INT. PERRY’S
JEEP �" CONTINUOUS
A BUNDLE OF WILDFLOWERS sits in the cupholder. Perry sits, drumming his fingers on the wheel.
He glances at the house. PERRY
Be cool, be cool�" INT. CHYLDE RESIDENCE �" LIVING ROOM �" CONTINUOUS
Ariel creeps downstairs, heading
towards the front
door. Robert snores in front of the TV, playing The Wolfman. INT. PERRY’S
JEEP �" CONTINUOUS
Perry perks up as Ariel gets to the car. She’s got new jeans embroidered with butterflies and
a nice jacket. She climbs inside. Perry sniffs something. PERRY
Peach? ARIEL
Apricot. PERRY
Apricot. (beat) Cool. They drive off. EXT. O’MALLORY
FARM �" FIELD - CONTINUOUS
Grassy plain filled with cars. A CARNIVAL sits in the distance. The Jeep parks. INT. PERRY’S
JEEP �" CONTINUOUS
PERRY (getting out) So let’s do this dam thing. ARIEL
Under one condition. Ariel holds out her hand. ARIEL (CONT’D)
Beat me in a thumb wrestle. Perry, amused, takes her hand. They struggle, Perry dexterously holding his own. He
wins the ordeal! EXT. CARNIVAL �" CONTINUOUS
A rustic small-town carnival
filled with game booths and rides, made up with fall
paraphernalia. MONTAGE
-The two walk together
under the lights. -At a ring toss booth,
Ariel throws once,
twice, fails. She attempts a behind-the-back throw. It
lands way off. -The two eat chili.
Perry tries some of hers.
He takes a bite…and starts COUGHING from the heat. -A fireworks display. The two watch. Ariel’s hand wanders
to his. It closes over hers. END OF MONTAGE
EXT.
FESTIVAL GROUNDS �" FIRING RANGE
BOOTH �" CONTINUOUS A pop-gun booth with stuffed
animals hanging about. PANG! PANG! Targets down in a flash. Perry’s
in the zone. His
posture and handling of the rifle are perfect… PANG! Last target goes down. He
lowers the rifle, nonchalantly holds up a hand for a HIGH-FIVE from Ariel. CARNY
Congrats! Which
one? ARIEL
The rabbit, please. The carny grabs the stuffed animal
while Perry leans
over to Ariel. PERRY
Told you. ARIEL
Your dad’s a cop? PERRY
EXT. FESTIVAL
GROUNDS �" OUTSKIRT
�" CONTINUOUS
Field just outside the fair. Ariel holds the rabbit,
walking hand in hand with Perry. A lovely, peaceful moment…then… ARIEL
It’s funny. PERRY
What? ARIEL
Today’s my birthday. PERRY
Well, (beat) happy birthday. She smiles, happy for the first
time in a while…but the moment’s ruined as two TEENS
with a COOLER RUSH past them,
nearly knocking Perry over. ARIEL
So…Ready to go? PERRY
Can we check out the dam? The waterfall’s probably huge. Ariel watches the teens
disappear into the woods. ARIEL
I�"uh�"it’s supposed
to rain later. PERRY
Then only for a moment? She’s tense, but takes a deep breath, trying
to look brave. ARIEL
Only for a moment. EXT. CANYON
PATH - CONTINUOUS Flanked by rock walls,
surrounded by trees. Perry carries a POCKET
FLASHLIGHT. The forest
eerily resembles the dream… MUSIC and REVELRY
not far ahead.
Ariel’s terrified. PERRY
(notices) We can go back. ARIEL
I’m fine. She’s not. EXT. LAKE BEACH �" CONTINUOUS
A
bonfire on the beach. The dam in the distance. Coolers and partying teens all around. Stacy lights a CIGARETTE in the fire.
A BEER BOTTLE wanders up to
her lips. Spencer wanders up to Stacy, arms crossed. SPENCER
Fifth one in half an hour? Impressive. She blows smoke in his face. STACY
What did you take before tryouts
again? Spencer sighs in disgust.
Stacy flashes him a sarcastic smile. Ariel and Perry arrive
at the beach. A renewed malice arises in Stacy. Ariel recognizes a few faces. ARIEL
Let’s go. Please. Let’s
just go. Perry nods, understanding her distress. They’re
about to leave when- STACY
Ariel Chylde!
What a pleasant surprise! Ariel stops dead. Her grip on the rabbit
tightens. Everyone is watching. Stacy’s phone comes out, starts recording. STACY (CONT’D)
And you’ve got a new boy-toy.
I give him...two weeks. Perry’s having none of this. He stands between
the camera and Ariel. STACY (CONT’D)
And he’s noble. I’m touched. Ariel’s neck spasms again. Her breathes are deep, angry.
And the hand gripping the rabbit CRACKS. She THROWS the animal down. STACY (CONT’D)
You’re making a huge mistake, guy. PERRY
Really? ‘Cause I’m looking
at one. STACY
You must really like f*****g mental patients, do you? Ariel turns, advances, barely contained rage in every step.
She brushes past Perry, who grabs her sleeve. She tugs it away, keeps going. ARIEL
You miserable waste of skin. STACY
Oooh, terrifying. Is this a monster? Stacy backs up, still holding the phone up. ARIEL
No. Just me. Her hand CURLS into a fist. STACY
Where does that crazy
come from? Is from
your daddy? No. You don’t come drunk to ballet recitals, do you? The fist gets tighter. STACY (CONT’D)
No, no, no. It must be mommy. Maybe you
should die too. A FIST flies RIGHT INTO THE CAMERA’S VIEW! WHACK! Stacy drops like a rock! Ariel GRABS her tormentor’s collar.
There’s FIRE in her eyes as
she BEATS
the S**T out of STACY!! Everyone’s shocked. Perry’s especially horrified at his date’s
outburst. Stacy knees Ariel
in the stomach. Now it’s her turn to get
a few hits in. Perry rushes in, tries to grab the bully. He gets a foot to the stomach. Stacy whales on Ariel for a few beats… Perry rips Stacy
off her. Both stumble to the ground. Ariel lays on the ground, dazed.
She’s banged up bad, the gravity of what she’s done setting
in… THUNDER. Rain.
Everyone clears out. PAIN SHOOTS DOWN HER BACK! Stacy stands over her, nose spewing blood, bruises all over. She RIPS the pendant
off Ariel. STACY (CONT’D)
You started this. The bully
leaves. Ariel struggles to get up… Perry picks himself up, helps her
stand. PERRY
Let’s go. I’ve got you. He grabs
the rabbit off the ground
as they hobble
away. EXT. O’MALLORY FARM �" FIELD -
CONTINUOUS The two soldier through
the storm. Ariel DOUBLES OVER, the PAIN WORSE than before. Perry
helps her back up. He sees her SCAB. But a SEAM trailing
down her back has
formed… Ariel freezes. ROBERT stands
by his Jaguar, grim, prepared. ARIEL
Daddy? ROBERT
Get in the car. ARIEL
What’s going�" ROBERT
In. Now. Ariel looks at Perry, then obeys Robert. Perry’s
confused, frightened. PERRY
Sir, I didn’t�" A death glare
makes the teen back off. INT.
ROBERT’S JAGUAR �" CONTINUOUS The car starts, speeds off down the road. Robert’s
got a death grip on the
wheel. Rain LASHES the windshield. ARIEL
(terrified) Stop the
car. ROBERT
Stop talking, Ariel. ARIEL
Please�" He’s rattled, terrified. ARIEL
Dad, listen to me! ROBERT
(muttering) I’m sorry, Jess�"I’m
sorry, Jess�" ARIEL Dad…have you been drinking?! Please!
Stop! Ariel watches in horror. The pain down her back again, intensified. Her hand CRACKS, the skin DARKENING… ROBERT
(muttering) Coward, I was a coward�" They tear past
an 18-wheeler. EXT. HIGHWAY 21 �" CONTINUOUS A massive puddle lies in the middle of the road! INT.
ROBERT’S JAGUAR �" CONTINUOUS Ariel snaps out of it, sees the
puddle. She grabs the wheel, swerving the
car out of the way. Robert swats
her hand away�" ARIEL
(grabbing his arm) Daddy, stop the car! She’s weeping, not letting
go. Finally, his hands loosen
from the wheel. His eyes well up. EXT. HIGHWAY 21 �" BRIDGE
�" CONTINUOUS
Over a rushing river.
The Jaguar slows
to a halt, shuts off. INT. ROBERT’S
JAGUAR �" CONTINUOUS
Robert rests his forehead
on the wheel, sobbing. He peels a
shaking hand off the wheel, embracing Ariel. ROBERT
I’m sorry�"I’m so sorry�" EXT. HIGHWAY
21 �" BRIDGE �" CONTINUOUS The two switch sides.
Ariel stops, hugs her father.
He slowly hugs her back. INT. ROBERT’S
JAGUAR �" CONTINUOUS
They both get in. Ariel tries
to calm herself,
hands shaking as she grips the wheel. TRUCK HORN BLARES. the 18 WHEELER FROM
FARTHER BACK IS HYDROPLANING TOWARDS
THEM! IT’S TRAILER
KNOCKS OUT THE GUARDRAIL, HEADING RIGHT FOR THE
JAGUAR!! Ariel barely closes her eyes as the Jaguar
is SMASHED right off the bridge! She’s weightless, suspended in a SHOWER OF GLASS AND
METAL…Before the car HITS the water. Robert’s head SMASHES against
the windshield! EXT. HIGHWAY 21 �" BRIDGE �" CONTINUOUS The car floats down the river,
the truck’s trailer
hanging off the edge. EXT. RIVERBANK �" CONTINUOUS
Heavily wooded, and flooded
by the rain. The SMASHED HUSK catches,
rests on the bank. Door SMASHES off its hinge.
Ariel drags herself out
of the car. She CONVULSES UNCONTROLLABLY, eyes turning an INHUMAN ORANGE. Her fingers snap, extend, the skin tearing
off to reveal MONSTROUS
BLACK TALONS underneath. She clutches a wrist as the back pain SPIKES. The scab on her neck SPLITS open,
revealing the dark, scaly hide of Penance… From there,
a HORRIFIC, EXCRUCIATINGLY PAINFUL CHANGE. Think American Werewolf
in London, but replace
werewolf with MASSIVE DEMONIC GARGOYLE. MASSIVE WINGS PUNCH OUT of Penance’s back.
He ROARS at the
sky! INT. SPENCER’S CAR �" NIGHT
A souped up 70s Pontiac
GTO. Spencer glowers.
Stacy holds a BLOODY TISSUE
to her face, wearing the pendant. STACY
You like her. SPENCER
Maybe. Got a problem
with that, babe? STACY
If you call me babe one more time�"
SPENCER What, Tell everyone about the doping? Gimme a break. STACY
Since when did you grow balls? SPENCER
Since tonight. I’m done with this s**t. STACY
(seething) You are not breaking
up with me! The LIGHTS FLICKER… The car SHAKES, rocking
them both. TALONS
PUNCH THROUGH THE ROOF. Both SCREAM in terror as the
car is HURLED off the road! It tumbles end over end, SMASHING
through trees. Glass, sparks, branches everywhere. Stacy’s head smacks her
seat. EVERYTHING GOES BLACK. Stacy wakes up. Spencer’s gone, his door ripped open. She can barely move. Wincing,
she pries herself loose. Door opens.
she tumbles out- EXT.
CRASH SITE �" NIGHT The car hangs in a tree, headlights FLICKERING. Debris everywhere. A few feet below,
Stacy hits the ground. It hurts like a mother. She weakly gets out her phone.
Stacy summons the strength
to open her phone, prepares to dial. THE RATTLING.
HEAVY FOOTSTEPS. DEEP, HOT BREATHS. She looks up, quaking. Penance takes the pendant
in a claw, RIPS it off Stacy’s neck. A moment of realization hits Stacy�"before A TEETH-FILLED
ABYSS HURTLES TOWARDS HER. A BLOODCURDLING SCREAM.
EXT. HIGHWAY
21 �" BRIDGE �" EARLY MORNING
Across the bridge leaving the O’Mallory farm. A
dewy, misty morning.
EMTs and cops all around
surveying the truck accident. Jack watches, stoic. His deputy,
THOMAS (30s), stands beside. He’s clean,
carries himself with dignity. His pistol has “BETTY”
ENGRAVED on the BARREL. JACK
Plates confirmed? Thomas nods. They watch a CRANE carry the wreck out of the water. JACK (CONT’D)
And the girl? THOMAS
Nothing yet. How old again? JACK
Eighteen. THOMAS
God damn. Thomas walks off, running fingers
through his hair. Jack goes to his cruiser. Perry sits on the hood, watching the recovery effort. The sheriff
approaches his son, squeezing his shoulder. JACK
I can take you home. You don’t need to
stay any longer. PERRY
I could’ve have stopped
him. JACK
Look, You did your part. That’s all we can
do now. PERRY
I let her get in that car. JACK
Perry. He
turns to Jack. JACK (CONT’D)
Please�"there’s… PERRY
What? JACK
Don’t�"don’t blame
yourself. Please. It’s not your fault, bud. They embrace,
Jack holding his son tight. Jack’s radio crackles to life. JACK (CONT’D)
(answers) Stodghill reporting, repeat that. THOMAS (V.O.)
(on
radio) Chief, we found
her. Perry snatches
the radio. PERRY
Where are you?! THOMAS (V.O.)
(on radio) A mile down river. You are not going to
believe this, sir�" Jack takes the radio back from his son. JACK
Acknowledged. Perry bolts, but Jack catches
him by the shoulder. JACK (CONT’D)
My speed. Perry gives
a reluctant nod as they depart.
EXT. RIVERBANK �" CONTINUOUS Search parties with flashlights in the morning
mist. Thomas and a few others
form a perimeter. Perry’s barely a step ahead of his father. THOMAS
Just called the EMT. They’re on their way. Perry pushes past them into the perimeter. Jack catches him again, as both finally see her. She’s IMMACULATE,
UNBLEMISHED, laying in a BED OF LEAVES while WHAT’S LEFT of her TORN COAT covers her. Her hair is LONGER, LIGHTER, the scars on her arm FADED AND HEALED. Ariel’s eyes flutter open,
barely awake. EMTs arrive, checking her vitals. Her breaths are quiet, unsteady. They load her onto a stretcher, wheeling to the ambulance.
EXT. HIGHWAY 21 �" BRIDGE �" CONTINUOUS Perry rushes to the stretcher. Jack follows him. The stretcher arrives at the ambulance. Perry pushes through
the EMTs to get to Ariel. Ariel, still deep in a haze, half opens her eyes again. He takes one of her hands.
She weakly squeezes
it. He sighs in relief. An EMT corrals him away. EMT
Alright, let’s go, loverboy. Perry obeys as the load her into the back of the ambulance. Perry returns to his father’s
side. ROBERT’S CORPSE is loaded into a body bag. His corpse is waterlogged, MANGLED. The ambulance speeds off. INT.
JACK’S CRUISER �" MORNING Thomas rides shotgun. Farmland
whips by against
the morning sun. Thomas stares out the window, watching
the myriad fields and fences go by. Jack’s stoic as usual. THOMAS
This is all kinds of fucked up,
man. I mean, of all things we’d be called in for early morning. JACK
Yep. THOMAS
I guess I could
have been a lot worse.
But that girl…what’d he say her name was? Amy? JACK
Silence. Ariel. THOMAS (CONT’D)
He said she was a dirty blonde, right? Jack doesn’t answer, pensively watching the road. The fuel gauge teeters on empty. JACK
Ah, d****t. Any pumps out here? THOMAS
There’s one up ahead.
Take this right. EXT. COUNTRY
ROAD �" CONTINUOUS
The cruiser
takes a right down a back road. INT.
GLADYS’ BAIT AND TACKLE �" CONTINUOUS An ancient gas
station/bait and tackle
shop. A cup reading
“Fortune: $1” sits on the counter. The two enter, a BELL RINGING above the
door. Behind the counter, GLADYS
(80s) looks up, smoking a long
pipe. She’s ancient, with a piercing,
owl-like gaze and a
NECKLACE of ANIMAL CHARMS. THOMAS
You want anything? (to Gladys) Hey Gladys! Gladys waves to Thomas as Jack comes forward. JACK
(to Thomas) No thanks. BILLS on the counter.
Jack takes out a COIN POUCH, trying to find one dollar more. Gladys stares at him, studying. THREE QUARTERS hit the counter. Jack almost throws a
fourth, stops. It’s a HOSPITAL CURIO. He puts it back, fishes out the last quarter. JACK (CONT’D)
Twenty five on pump
two. Her claw-like, gnarled hands
close over the cash, dragging it away. GLADYS
You look familiar. JACK
Really? And how would that be? GLADYS
Have any children? You look like a father. I can see it in your eyes. Jack backs up, unsettled. THOMAS
Hey, Don’t start with that! He’s new here. GLADYS
Of course he is. She takes
the MONEY. The cops leave.
She watches them. EXT.
GLADYS’ BAIT AND TACKLE �" CONTINUOUS Outside, they head to the car. JACK
Does she do that often? THOMAS
Don’t worry about it, sir. She’s run that shop since before my mom was born.
She’s harmless. INT. HOSPITAL
ROOM �" AFTERNOON
Sterile, pure white. Hospital
staff move outside
the door. A TV is on. From a cocoon of bedsheets, she
awakens, staring at the ceiling. She’s dazed, running
her hands through
her hair… FLASHBACK �" THE ACCIDENT
Robert’s head SMASHES THE WINDSHIELD- BACK TO PRESENT
She feels the impact
again, wincing, grabbing her hair. Tears well up. She lays back down…when she spots THE STUFFED RABBIT on the nightstand. She grabs it, HUGS it tight. EXT. CRASH SITE �" CONTINUOUS A good distance
from the highway. Thomas, Jack, and two hunters survey the wreck. Flies
around a message SMEARED in BLOOD. ON THE CAR
Splattered on: “THE MONSTERS
ARE HERE” TO THE COPS Thomas covers his nose and mouth, utterly horrified. Jack is barely stoic. THOMAS
(turns to hunters) Are you sure you found it like this? HUNTER #1
What, ya think we put it up there? HUNTER #2
Bobby, don’t get sarcastic
‘round cops! JACK
Gentlemen, your work’s done. You can leave. The hunters leave. THOMAS
Christ. Like it dropped
out of the sky. JACK
Matches the missing persons’
report? THOMAS
Yep. Spencer Black’s. Jack notices Stacy’s
trail of blood. JACK
Stay here. Jack follows the blood, the
stains growing larger and LARGER until the trail…DISAPPEARS. Something GLINTS in the
grass, catching his eye. The CRUSHED
REMAINS OF STACY’S
PHONE. Thomas leans against
a tree supporting the wreck. It groans,
SNAPS. A CASCADE OF BRANCHES. THE CAR CRASHES
TO THE GROUND. Jack rushes over. JACK
Thomas! Thomas is way out of harm’s
way, breathing hard. THOMAS
I’m okay�"I’m okay. JACK
Breathe.
C’mon. Breathe… The two calm down, survey
the wreck. THOMAS
I guess I saved us the trouble, sir. Jack pats him on the back as the flies swarm around the blood… INT. DEANS’
CLASSROOM �" AFTERNOON
In class. Perry sits,
barely focused on the lesson.
Some kid next to him elbows him. TEEN
Hey! Is it true? PERRY
What is? TEEN
Is she dead? The batshit girl. PERRY
No. TEEN
Did she really kill Stacy? I heard they beat the s**t out of each other�" PERRY
(raising voice) She’s in the f*****g
hospital! People turn DEANS
Something wrong, Perry? He shakes his head, sits back. INT. HOSPITAL
ROOM �" AFTERNOON Ariel watches outside, clutching the rabbit. Door OPENS.
Jack walks in. Ariel’s back is turned. JACK
Hey. Silence. She looks over her shoulder, turns to face him. JACK (CONT’D)
My name’s Jack. ARIEL
Stodghill. JACK
Good to see you’re awake. He’ll be happy. She turns back to the window. He grabs a seat. It SCRAPES against the floor.
Ariel holds her ears. JACK
Sorry. Is there anything
I can do? Can I get you anything? ARIEL
Can you tell me a joke? Jack c***s his head. Her hand slides to his. JACK
Let me think. He takes her hand. JACK (CONT’D)
Okay, I got one. Shoot. ARIEL
JACK So there was a guy who watched the sun set every day. But, for some reason, he
couldn’t for the life of him figure out why. So one day he sat on a hill and
thought. He waited and waited until one day�" ARIEL
It dawned on him. JACK
Heard that one before? Ariel manages a tiny smile. ARIEL
I figured it out. It was horrible. JACK
I know. Anything else? She sits up, back for a moment… A
BOX OF CHOCOLATES lays on the bed. A BALL OF FOIL sits on the nightstand. Jack watches, a few chocolates in hand, as Ariel adds a new wrapper to the fold. JACK (CONT’D)
So. Where were we? ARIEL
The hospital. JACK
Right. Do you have any immediate relatives? Friends? ARIEL
I had a grandmother. JACK
Hm. What about financial
records? Did your father have a will? ARIEL
If he does, it’s in his office. Jack nods. He hesitates... JACK
What happened last night? If you’re not�" ARIEL My dad just showed up out of nowhere.
I think he was drunk. I got him to stop�" She takes a few deep breaths. ARIEL (CONT’D)
And then�"I’m in the ambulance. Jack nods, rubbing his chin. He
reaches into his pocket, pulls out a PEN and INDEX CARD,
scribbling something down. JACK
If you need anything, just call. He and Perry’s numbers
are written on the card. She takes it. ARIEL
Thank you. JACK
Don’t mention it. A KNOCK on the door. It opens. A NURSE leans in. NURSE
Ms. Chylde? JACK
What is it? We’re a little
busy. NURSE
You’re free to go. Everything checked
out. The nurse leaves. She turns to the window,
then back to Jack. ARIEL (CONT’D)
Can you give me a ride? EXT. CHYLDE RESIDENCE �" LATE AFTERNOON
The cruiser stops. Ariel gets out, dressed in whatever
clothes the hospital had, rabbit in hand. JACK
Don’t hesitate to give me a call. ARIEL
I won’t. The two wave goodbye.
The car speeds
off. Alone, Ariel stares at her house. She looks
under a RABBIT
STATUE, finding the HOUSE KEY. INT.
CHYLDE RESIDENCE �" FRONT ENTRANCE �" CONTINUOUS It’s dark. A chandelier hangs overhead. Front door creaks open. Ariel enters. Silence all
around. She walks down the hall. INT. CHYLDE
RESIDENCE �" KITCHEN
�" CONTINUOUS
Just as it was the day before. Lights FLICK on.
Ariel wanders around
the empty room,
sees what’s left of the cake. She sits at the table. A CARD sits on the counter.
She opens it. Never forget how much your loved�"Daddy is inside.
She weeps into the card, sliding
down onto the floor… INT. STODGHILL RESIDENCE �" PERRY’S ROOM �" NIGHT
Soccer posters and a shelf with a variety of books. Perry lays on his bed, half-finished homework on his desk,
lost in thought over the past day… His PHONE sits on his nightstand. He stares at it. Finally, he reaches for the phone, dials. ARIEL (V.O.)
Hello? Ariel? Oh.
Hi. PERRY ARIEL
(V.O.) PERRY Silence. How’re you feeling? ARIEL (V.O.)
Been better. He nods. More silence. ARIEL (V.O.) (CONT’D)
What about you? PERRY
Same. ARIEL (V.O.)
Your dad said you were at the river this
morning. PERRY
What? Yeah. ARIEL (V.O.)
Thank you. He cracks a smile. On the other line, Ariel sighs. ARIEL (V.O.)
(CONT’D)
Look, thanks for calling.
I�"I just…I need some time alone. PERRY
I get it. ARIEL (V.O.)
Talk to you later? PERRY
Yeah. Talk later. He hangs
up, laying back on his bed.
EXT. FOREST �" PENANCE’S NEST - NIGHT DEEP in the forest. A BALL-LIKE NEST OF BONES and BLACK CRUST, large enough to FIT A PERSON INSIDE.
DEER and WOLF CORPSES DANGLE on the BRANCHES. A
SMALL CLUTCH of BLACK EGGS is inside. Above the nest, A LARGE SHAPE.
It shifts, A GIANT
WING unfurling. Penance GRINDS A CLAW against the
tree trunk… INT.
CHYLDE RESIDENCE �" ARIEL’S BATHROOM
�" NIGHT Water runs, filling the bathtub.
Ariel sits with an EMPTY COFFEE MUG in hand, eyes red from crying. She takes a deep
breath, gets up. Something catches her eye in the fogging mirror.
She stops, taking a good look
at herself; at her hair, her face, her knuckles. On the door frame,
a SCALE is crudely drawn
on. Ariel leans against. She’s four inches taller. She looks back at the mirror, deeply unnerved by the person in it… She slides into the tub, drawing
the curtain. She lies in the water, in silence. The WIND picks
up… The scarred arm raises up. Ariel studies the letters,
running a finger over them… FLASHBACK �" THE TRANSFORMATION
HOWLS OF PAIN AS HER HAND GROTESQUELY MORPHS INTO A MONSTROUS CLAW! BACK TO SCENE
-And she’s back in the present,
horrified by the sudden
memory! She clutches her hand. SOMETHING comes
inside. The shadow passes behind the curtain.
Every footstep wet.
Shallow, gurgling breaths. Ariel freezes,
fighting to stay quiet. Carefully, slowly,
she grabs the curtain, pulling it back�" A DECAYED, MANGLED
figure writes in RIVER MUCK AND SLIME. ROBERT. Ariel throws herself under the water. She pokes
her head back up. The thing is gone. Grabbing a towel, she crawls out of the tub, shaking.
She picks herself off the floor�"stepping in MUDDY FOOTPRINTS.
She looks in the mirror. ON THE
MIRROR:
Dribbling down the glass: “PANDORA’S BOX IS OPEN” A finger runs down the letters.
Ariel feels the grit and muck between her fingers. EXT. CONVENIENCE STORE �" NIGHT
Local one-stop
shop flanked by forest. The graveyard shift. Kiley leaves the store, yawning. She takes a swig of a SODA, whips
out her PHONE. On her way to her CAR, she barely
notices the LIGHTS FLICKERING. PENANCE glides across the roof, SILENT AS THE GRAVE. Kiley’s phone starts GLITCHING.
She gets her keys out, unlocks the door�"as
THICK SALIVA SLAPS onto
the car! She stumbles away. KILEY
What the f�" A GROWL escapes Penance as HE HANGS ABOVE
in the trees. Kiley follows the source of the spittle up… And SCREAMS IN TERROR
as Penance’s claws
DIG into her shoulders, dragging her into the
trees! EXT. STODGHILL RESIDENCE
�" NIGHT
A single story suburban
home. POV of something flitting through the trees, SPITTING,
SNARLING. It STOPS. Through ANIMALISTIC VISION, it watches Perry sleeping on the couch
in his living room. INT. STODGHILL RESIDENCE �" LIVING
ROOM �" CONTINUOUS
Perry gets up, rubs his eyes. THE
PHONE RINGS. He checks the PHONE PORT on the nightstand. He GRUNTS in frustration,
gets off the couch. INT. STODGHILL
RESIDENCE �" KITCHEN
�" CONTINUOUS
THE PHONE
KEEPS RINGING. And no phone
in its port either. INT. STODGHILL RESIDENCE �" OFFICE �" CONTINUOUS Jack’s study, with still-unpacked boxes. No phone. Perry’s about
to lose it…when
the ringing ECHOES DOWN
THE HALL. INT. HALLWAY
�" CONTINUOUS
ABNORMALLY DARK hallway that stretches
on. The PHONE’S BLINKING LIGHT cuts
through the black. Perry, creeped out, heads to it. ALL IS QUIET except for the
ringing, his footsteps, and the SOFT rush of RUNNING WATER… He passes a DOOR with LIGHT coming from underneath. Finally, he gets to the phone, answering it. HIS EX-GIRLFRIEND’S VOICE. Quiet. Sad. GIRLFRIEND (V.O.)
I’m sorry… The phone hits the floor!
Perry backs away.
He looks to the
door, shaking. THE RUNNING WATER GETS
LOUDER. His quaking hand takes the doorknob, twists it.
THE WATER DROWNS OUT EVERY
OTHER SOUND. The door opens a CRACK�" PERRY WAKES
UP
INT.
STODGHILL RESIDENCE �" LIVING ROOM - NIGHT [END
NIGHTMARE] He throws himself up from the madness of sleep, struggling to breathe and sweating
profusely! Fingers clutch at his hair as he tries to slow his breathing. He
RUSHES to the bathroom! He doesn’t notice the CREATURE behind the window ESCAPE
INTO THE NIGHT… DISTANT THUNDER. INT. STODGHILL RESIDENCE
- BATHROOM �" CONTINUOUS
Water splashes his
face as he finally calms
down. He stares into the MIRROR. Something
troubles him deeply… Jack passes by, in a rush. JACK
Hey bud. Perry jumps!
He leaves the bathroom. INT. STODGHILL
RESIDENCE �" KITCHEN
�" CONTINUOUS
A homely kitchen. Jack EMPTIES HIS POCKETS.
He’s focused, barely
notices Perry watching him. His son gets a whiff of something awful. JACK
Sorry about the smell. He rushes down the hall. Perry follows, leans against
a wall by the hallway.
He sighs. COAT HANGERS SLIDE and RUSTLING OF CLOTHES. JACK (O.S.)
(CONT’D)
What’s going on? PERRY
Nothing. JACK (O.S.)
You’re a terrible liar, you know. PERRY
I just…I
got a lot on my mind right
now. JACK (O.S.)
You got a big heart, son. But you need to keep your distance from her. PERRY
It’s not her, alright?! Jack emerges from his room, dressed
in FRESH CLOTHES.
He takes Perry’s shoulder. JACK
Perry�"I know things have been difficult�"
PERRY Easy for you to say. Jack sighs. JACK
Come here. The two embrace. JACK (CONT’D)
Don’t leave the house tonight. PERRY
What’s going on? JACK
…I don’t know yet. I’ll call when I’m heading home. Jack leaves the house. Perry
wanders over to the table, sitting down, rubbing
his face, going
over his dad’s
words�" THE PHONE RINGS. He whirls around,
startled. Thankfully, it’s
right in the PORT in the kitchen. He answers. ARIEL (V.O.)
Can you come over? PERRY
Ariel? What’s going on? ARIEL (V.O.)
Please. I just�"I didn’t�"I
don’t know who else
to call. I need someone
to talk to. A silence as something
crosses Perry’s mind. PERRY
What’re you doing now? ARIEL (V.O.)
I’m in my dad’s
study. He sighs in relief. PERRY
I�"I need some gas, but I’ll be right over. ARIEL (V.O.)
Thank you. PERRY
Don’t mention it. See you soon. Phone hangs up. The young man grabs his KEYS and heads for the door. INT. CHYLDE
RESIDENCE �" ROBERT’S
STUDY �" NIGHT
An office space in disarray from Ariel’s searching. A large antique JUKEBOX sits alongside
pictures of family and other tchotchkes. An old ANSWERING MACHINE
sits on the desk. A THUNDERSTORM outside. Ariel, now dressed, puts the PHONE
back into the port.
Tentatively, she pushes a BUTTON. ANSWERING MACHINE
(V.O.)
You have…3 new messages. First message. Miss Madison’s voice plays. Ariel deflates. MADISON (V.O.) (CONT’D)
Hey, Ariel, it’s Madison.
I’m really sorry about what happened. Don’t hesitate
to give me a call, alright? We can get you some help right away. Be safe. Bye. Button pushed again. MADISON (V.O.) (CONT’D)
Hey, it’s me again.
Just checking up. Make
sure�" Pushed again. MADISON (V.O.) (CONT’D)
Hey Ariel,
i�" Ariel punches the button
angrily. ANSWERING MACHINE
(V.O.)
You have…no new messages. She continues searching BINDERS
and FOLDERS. Nothing
of note or interest, sadly. She clears off a MESS OF PAPERS
from the desk,
finding a HANDWRITTEN NOTE.
It’s signed Jessica Chylde, from six years ago. IN THE
LETTER
Signed in elegant cursive
on a wrinkled piece of paper:
There are consequences for everything. If I fail,
leave immediately. Before
the day, you must
do what is necessary.
For her sake. For everyone’s. �" JESS TO ARIEL
She puts the letter down, shocked. The LIGHTS FLICKER. A GLINT under the desk catches her eye. She reaches under, finds
a UNLOCKED LOCKBOX.
A HOLE IN THE DRYWALL sits
next to it, freshly PUNCHED IN. She DRAGS the box out from under, opens it up.
Inside, NEWSPAPER CLIPS’ HEADLINES
read “BIZARRE TRAGEDY LEAVES POLICE BAFFLED” and “RITUAL SUICIDE? WOMAN FOUND DEAD, BURNED
WITH SYMBOLS IN HOSPITAL ROOM”. And something else lies in the box among
other documents: A ROLLED-UP PAPER. Ariel uncurls it. It’s a TORN GRIMOIRE PAGE, an ELABORATELY DRAWN IMAGE depicting A
HELLISH HORDE OF MONSTERS surrounding A
WOMAN with BAT-LIKE WINGS, GIANT CLAWS, and GLOWING EYES beneath a MANE of hair.
LIGHTS FLICKER AGAIN. THUNDER.
The power goes OUT. ARIEL
D****t. She feels
her way out of the office. The jukebox BUZZES… INT.
CHYLDE RESIDENCE �" ENTRY HALL �" CONTINUOUS DARKNESS. FLASHES
of lightning light the hall. She makes her way down the hall, away from the front door. PENANCE WATCHES FROM UPSTAIRS,
CLINGING to the ceiling. INT. CHYLDE
RESIDENCE �" KITCHEN
�" CONTINUOUS
A CREAK upstairs catches her ear. She grabs a KNIFE from a holder, hand SHAKING. The CREAKS continue, going towards the back door. She hastily retreats! INT. CHYLDE
RESIDENCE �" ENTRY HALL �" CONTINUOUS
A LOUD CRACK
OF THUNDER! She stops to catch her breath. PENANCE SLITHERS
DOWN from the ceiling, unbeknownst to her. Breathing
hard, she heads for the front door�" PENANCE’S CLAW SLAMS IT SHUT! Ariel
turns around to see the MONSTER CLOAKED in SHADOW TOWERING over her. ARIEL
No…No�"you’re not�"you’re�" She stumbles to the ground, panicking. Penance FLASHES that FAMILIAR
SMILE as he leans down, his
breathes BLOWING Ariel’s hair back as she cowers. ARIEL (CONT’D)
You’re not real, you’re
not real, you’re not real, you’re not real�" Her LOST PENDANT CLATTERS
to the ground. He GRABS her by the neck, LIFTING
HER into the air. PENANCE
My token of gratitude. Penance HURLS Ariel across the room! She CRASHES into a MIRROR! The KNIFE drops
to the floor among the SHATTERED
GLASS. A
SHOCK of PAIN runs through
Ariel’s body as she tries
to pick herself up. Her eyes briefly
turn a shade of that UNEARTHLY ORANGE… Penance advances, TAKING HIS TIME.
He’s enjoying this. Ariel GRABS the knife as the monster
SLAMS her against
the wall! ARIEL
How did you�"get out?! PENANCE
The way is open. And there’s
nothing you can do about it,
child. His grip tightens. ARIEL
That’s impossible! PENANCE
Maybe…but you handed me the key. Penance leans into
Ariel’s ear. PENANCE (CONT’D)
Poor girl.
All alone in this…unspoiled
world. Don’t worry. We’ll take care of you, Ariel. The knife
DIGS into Penance’s HEAD, RIVULETS of GREEN BLOOD SPURTING from the fresh
wound. Ariel defiantly SPITS on the monster. Penance growls as
he CASUALLY PLUCKS
the knife out. PENANCE (CONT’D)
Disobedient. CRUNCH!! Ariel gasps, looks down. Penance’s
CLAWS are IN HER STOMACH! BLOOD STAINS SPREAD over
her shirt. He withdraws his CLAW and releases
her. Ariel CRUMPLES
to the GROUND, CONVULSING. Her eyes CHANGE, her WOUND CLOSING
with ASH-GREY FLESH.
A hand CLAWS at the floor,
PAINFULLY MUTATING into a WRAITH’S. The wood ROTS, TURNS
TO ASH… Ariel VOMITS up BLACK BLOOD as ANOTHER HORRIFIC
CHANGE takes place. She crawls down
the hall, on a TRAIL of BLOOD that turns BLACK as she CHANGES into
a Wraith. Penance’s wings RATTLE as the Wraith shakily
gets to its feet. It’s shoulders RISE, FALL. PENANCE
Welcome. SLOWLY, The Wraith’s head turns, black eyes focused on Penance. Each new breath grows and GROWS in RAGE. Penance barely has time to react
as the Wraith TACKLES HIM WITH TEETH AND CLAWS BEARED,
SCREECHING AND SPITTING. INT. CHYLDE RESIDENCE - PENANCE AND WRAITH FIGHT
THEIR DUEL IS BRUTAL. DESTRUCTIVE. TOOTH AND CLAW. TWO MONSTERS TRYING THEIR DAMNDEST
TO KILL EACH OTHER. But the Wraith’s movements are wild, erratic, untrained. Penance’s
are far more controlled. Wraith’s hands SLAP onto Penance’s face. He roars in
pain as DEMONIC FLESH BUBBLES,
SEARS. Holding its enemy down, through gritted teeth, The Wraith WRAITH
Baaasstard… Penance’s REMAINING EYE WIDENS. He THROWS THE WRAITH against a wall! HALF OF HIS FACE is HORRIBLY SCARRED. In the confusion, unbeknownst to the monsters, THE PHONE RINGS. INT. PERRY’S JEEP �" NIGHT
ROBERT (V.O.)
Chylde residence. We can’t
come to the phone right now. You know what to do. BEEP. The young man anxiously sighs. PERRY
Hey Ariel, it’s me. I’m on my way. I’ll
see ya in a few. Bye. He hangs up, takes a deep breath. INT. CHYLDE RESIDENCE �" LIVING ROOM �" NIGHT
Living room with GREAT
PURPLE CURTAINS. The fight continues. Penance
is BLEEDING, COVERED
IN BURNS, BREATHING HARD. The
Wraith’s SCRATCHED UP. PENANCE
You little b***h! The Wraith SNARLS,
LEAPS onto Penance
and BITES INTO HIS SHOULDER. Penance tries to peel his opponent off, but the Wraith holds fast. A CHUNK OF
PENANCE’S SHOULDER RIPS
OUT as he HURLS THE
WRAITH THROUGH THE
WALL!! EXT. CHYLDE
RESIDENCE �" BACKYARD
�" CONTINUOUS
Fenced in with a half-finished pool. Both TUMBLE out into the RAIN-SOAKED YARD. Penance
STRANGLES the Wraith. It struggles…GOES LIMP. PENANCE
Know your place! He’s WOUNDED, exhausted. He
sneers at the Wraith. PENANCE (CONT’D)
Pathetic. He CRASHES
THROUGH the FENCE into the night.
The Wraith lays in the grass, MOTIONLESS… It TWITCHS, BREATHES
IN. It sits up, VIOLENTLY COUGHING, DIGGING into its CHEST. It REACHES INSIDE,
TUGGING… ARIEL EMERGES
from the Wraith’s BODY, COVERED IN PLACENTAL
SLIME. She SLAPS to the ground
NAKED, the slime MELTING AWAY in the rain. She weakly glancing
her now human,
SCARRED arm. Ariel watches the Wraith
follow Penance, barely
conscious. She DRAGS herself
to the hole, GRABBING a CURTAIN. EXT. CHYLDE
RESIDENCE �" NIGHT
Perry’s jeep parks in the driveway. He heads to the front door. QUICK KNOCKS. No answer. MORE KNOCKING.
PERRY It’s me! Ariel? It’s Perry. He KNOCKS again…it CREAKS
OPEN. INT. CHYLDE RESIDENCE
�" ENTRY HALL �" CONTINUOUS
Perry pulls out his flashlight. The beam CUTS through the dark. Perry surveys the damage,
stunned. The flashlight GLIDES over the pendant. He grabs it… And spots the BLOOD TRAIL, following
it. INT. CHYLDE RESIDENCE �" LIVING ROOM - CONTINUOUS
Ariel lays against
the wall, shivering, exhausted, wrapped in curtain. Perry rushes
over to help her. The storm continues outside. PERRY
Oh my God�" ARIEL
Perry… PERRY
I’m here. It’s me. ARIEL
Something came.
Something did�"all this. They’re out there, now. Something’s out there. Perry throws
his jacket around
her. PERRY
Ariel, listen to me. Please. We need to get you to the hospital. Let’s�" ARIEL
(grabbing Perry) No! Not again. Not there. She’s got a death grip on
him. ARIEL (CONT’D)
(fading) Anywhere else… She passes out into his arms.
He holds her for a moment…before CARRYING her out of the
house! INT. JACK’S CRUISER
�" NIGHT
Jack rides shotgun,
staring out the window. Both are beat, tired. THOMAS
You think there’s a connection? JACK
(distracted) With what? THOMAS
Three kids gone. In two days. I mean…
Jack’s stare deepens. THOMAS (CONT’D)
But then a teacher?
It just�"I don’t
know. Weird… JACK
You and me both. Silence. Jack takes out the hospital
curio. JACK (CONT’D)
Have you been sleeping
well, Thomas? THOMAS
Sir? JACK
Couldn’t sleep last night.
You doing any better? Another silence… THOMAS
Not really. An uneasy silence.
Thomas is especially troubled. EXT.
GLADYS’ BAIT AND TACKLE �" NIGHT A
PILLAR OF SMOKE
BILLOWS into the night behind
the shop. Leaving the car, Jack
motions to Thomas. INT. GLADYS’
BAIT AND TACKLE �" CONTINUOUS
The shop’s
in SHAMBLES. GLASS,
items ALL OVER THE FLOOR, BULLET HOLES in the wall. The lights
BARELY WORK. Drawing his gun, Jack checks
the aisles, moving
towards the back. He almost slips on a MILK CARTON with a HOLE BLOWN
THROUGH IT. He makes it to the BACK DOOR…when
he notices a SKELETON COVERED in ASH on the floor. It’s NEITHER ANIMAL
nor HUMAN, but DEMONIC and
TWISTED… Jack opens the door…only for a SHOTGUN
BARREL to meet him.
Gladys emerges, hands steady but eyes wild. JACK (CONT’D)
Miss, let’s be reasonable. Put the gun down. GLADYS
You first. Jack is calm. JACK
Safety’s on. (shows her) See? Safety’s
on. GLADYS
And when more of them come? The
fire carries their bones on the wind. We need
to flush them out before more breed. JACK
You lower yours, I’ll lower mine. Gladys hesitates…lowers the gun. Jack holsters
his pistol. The old woman’s
mania melts into fear. GLADYS
Child of the abyss sits the
throne in a kingdom of pain�"A throne studded with misery and anointed in blood…B******s of the beast. It’s happening�" Jack is seriously
frightened. He takes her shoulder. JACK
Gladys, slow down. What happened here? GLADYS
Juveniles. The seed. JACK
Of what? She draws closer
to Jack, a death grip on
the shotgun. GLADYS
Madness. Hunger, sheriff…Darkness. If you
love your son, you will believe me. THOMAS (O.S.)
Hold it right there! A barrel engraved
“BETTY” pokes Gladys.
Thomas emerges from behind the old woman. Gladys hisses. THOMAS (CONT’D)
Why the bonfire? GLADYS
I needed to draw them here.
There’s too many already. THOMAS
This close to a gas station? GLADYS
It’s a controlled burn. Gladys starts to raise her
gun. JACK
(looks at Thomas) Just put the gun down and come quietly. Thomas acknowledging, lowers his gun. A long pause… GLADYS
Idiots. She hands the shotgun
to Jack. Gladys glares at him as Thomas
cuffs her, reading
her rights as they leave
the shop. EXT. GLADYS’
BAIT AND TACKLE �" CONTINUOUS
They head to the car. Jack watches the smoke and takes out his radio. JACK
(into radio) This is Stodghill. Get a fire crew and cleanup at Gladys’ Bait and
Tackle. INT. STODGHILL RESIDENCE �" PERRY’S
ROOM �" LATER
Perry lays Ariel gently
in his bed, laying the covers over her. He places her pendant on his
NIGHTSTAND. He sits down, unsure of what to do next. Out of the corner
of his eye, he spots her SCARS… He leans close to her, listening for breath. They’re
SLOW. STEADY. He sighs in relief. PERRY
(to himself)
Okay…that’s good… The door quietly closes. EXT. CANOPY PARK �" NIGHT
Just like before.
It’s frozen in time, silent, LEAVES STOPPED MIDFLIGHT. Ariel wakes up on a BENCH,
surveying the scene. She heads over to a LEAF SUSPENDED in MIDAIR, touching
it. It doesn’t budge. MISS HAPPY (O.S.)
Just as we remembered it. Ariel turns. Miss Happy
is behind, wearing
her DRESS from the TEA PARTY. ARIEL
Good to see you again. MISS HAPPY
You too. ARIEL
How did you get out? MISS HAPPY
I didn’t. This memory
is the strongest. My only
way to contact you. It’s urgent. Miss Happy glances around nervously, then calms herself. MISS HAPPY (CONT’D)
There was great pain here. Pain I hadn’t felt in years. And Penance is
gone. Ariel stares into her hand, horror slowly building. MISS HAPPY (CONT’D)
That’s what they’ve been waiting for, isn’t it? A way out. The child’s gaze turns to Ariel. ARIEL
A Wraith got out. I let it out. MISS HAPPY
It was always you. You’re the gate, Ariel. That’s why they chase you. To
loosen the restraints. To escape through your darkest
thoughts. Miss Happy approaches Ariel, embraces her. Ariel hugs her
back. MISS HAPPY (CONT’D)
Promise me something. ARIEL
Anything. MISS HAPPY
Remember. This place. Me. Don’t let them
take it from you. They take everything. Ariel nods. MISS HAPPY (CONT’D)
I should go. I think someone’s listening�" ARIEL WAKES UP
INT.
STODGHILL RESIDENCE �" LIVING ROOM �" NIGHT Perry looks at his phone with the TV tuned to A LOCAL NEWS
REPORT. He’s too preoccupied to pay attention. ANCHOR (V.O.)
--domestic disturbance outside
Howard Deans’ residence. Investigation on his whereabouts
have proved inconclusive�" He scrolls over PHOTOS
of him in Atlanta, dated
two years ago. ANCHOR (V.O.) (CONT’D)
--Making this the latest addition
in the continuing missing persons’
investigation. TV goes OFF. A picture catches
Perry’s eye. It’s of him and
A TEENAGE GIRL. They’re the perfect vision of young love. He scrolls through more, lost in thought. ARIEL (O.S.)
Who’s that? He DROPS his phone.
Ariel stands behind
the couch, dressed in HIS CLOTHES. They’re a little
big on her. Her hand clutches the pendant. PERRY
N�"No one. You were out cold. Do you need
anything? ARIEL
I need someone to talk to. He nods, cautiously picking up his phone. PERRY
Well…I’m here. An awkward silence
between them… ARIEL
Perry, do you know anything about butterflies? He shakes his head. ARIEL (CONT’D)
Caterpillars are larva. When they spin a
cocoon, they change. Their bodies break down inside it. Liquify. She sits down beside him, unable to look him in the eye. ARIEL (CONT’D)
And then they become
something else. PERRY
What happened at your house? ARIEL
There was something…buried inside
me. Her hand opens, revealing the pendant. PERRY
Tell me. ARIEL
You won’t believe me. She’s shaking. PERRY
I was there. Just tell me. ARIEL
No one will. The monsters are free. PERRY
Ariel, look at me. He’s just as terrified
now. She turns to face him, close to
tears. PERRY (CONT’D)
What happened? ARIEL
Something came out of me, Perry.
Something…vile. It�"I’ve done…horrible things.
I’ve done horrible
things I can’t even remember�" The tears fall as she starts sobbing. Perry watches her. His
mind is somewhere else, in the dream he had earlier… Slowly, he embraces her. She reciprocates. They hold each other as the rain continues. PERRY
You’re here. You’re here and that’s what
matters. They separate. Ariel wipes
her eyes. ARIEL
I�"I sound insane. The things I think I’ve done�" PERRY
But this is you, right?
This�" (takes her hand) This is you. ARIEL
No it isn’t. This isn’t my face,
It’s something else. It’s just another…cocoon�" PERRY
Then why tell me any of this? She’s caught off guard by that. Perry sighs, gathering
himself… PERRY (CONT’D)
(beat.) I believe
you. ARIEL
Why? PERRY
Because I made a promise. She takes a deep breath, leans on him. ARIEL
Then I need you to help me. Please. He wraps an arm around her. PERRY
EXT. MISS MADISON’S HOUSE �" NIGHT
A small house in a neighborhood by the woods. INT. MISS MADISON’S HOUSE �" LIVING
ROOM �" NIGHT
Humble, with less-than-stellar interior
decoration. A DESK sits in front of a large WINDOW
leading to the forest. Ariel’s FILE lays out before them, complete with her
drawings. Jack sits on the COUCH next to Madison
while Thomas stands. Two CATS wander about. The
counselor sips WINE. MADISON
Ariel’s an…interesting case. JACK
Interesting? MADISON
Extremely. And people like her tend to
break easily. JACK
Was she difficult to handle? At school, I mean. MADISON
Not really, just…quiet. Solitary. An easy target,
sadly. JACK
Stacy Stone, was it? She has a reputation, I’ve heard. MADISON
(scoffs)
The little b***h. JACK
If that’s how you want to put it. Thomas picks up one of the cats, cradling it. MADISON
Has Ariel been accused
of something? JACK
Of course not. Thomas lets the cat down as the other
comes to greet
him. The lights FLICKER. MADISON
Goddamn power�" JACK
Well, ma’am, thank you for your time. They shake
hands. Jack and Thomas leave. JACK (CONT’D)
(O.S.)
MADISON
You too, officer. Door SHUTS. Madison sighs, finishing off her wine. EXT.
MISS MADISON’S HOUSE �" NIGHT A neighborhood out near the forest.
The cops walk to their car. THOMAS
So what do you
think? JACK
…I don’t know yet. THOMAS
It’s a bit of a leap. JACK
Maybe. INT. CHYLDE
RESIDENCE �" ENTRY HALL �" NIGHT
The rain has stopped.
The two enter the house. ARIEL
Hold on a second. She heads upstairs. Perry watches her, using his flashlight
to follow the signs of the fight. INT. CHYLDE
RESIDENCE �" KITCHEN
�" CONTINUOUS
The flashlight dances off the vase and balloons. Jessica’s picture lies CRACKED on the
ground. INT. CHYLDE RESIDENCE �" ROBERT’S STUDY
�" CONTINUOUS
The door opens. The flashlight dances off the jukebox. Perry glances
the framed photos
of Ariel and her family… Ariel enters. She’s dressed
in HER CLOTHES, HAIR TIED UP.
She still has HIS JACKET ON. PERRY
How long has it been? ARIEL
Six years. PERRY
Long time to grieve. ARIEL
I’ve gotten used to it. She descends on the lockbox, sifting
through papers. ARIEL (CONT’D)
Flashlight, please. They sift through MORE TORN PAGES depicting the NIGHTMARES.
Ariel feels a terror building inside… She gets up, running
fingers through her hair. PERRY
Ariel? What? ARIEL
PERRY You know why me and my dad moved out here? No answer. He takes
a deep breath, ready for his
confession. PERRY (CONT’D)
I knew someone, a long time ago. We were�"
close. Really close. She had the greatest smile. She listens closer. PERRY (CONT’D)
But�" (pauses) Something happened underneath.
Something…changed her. And she stopped smiling. ARIEL
What happened to her? Now he’s close
to tears now. PERRY (CONT’D)
She didn’t want to tell me, and I started
to think�"I asked her if we could take a break. Just for a few months. He struggles to keep himself calm. Ariel looks on,
sympathetic. PERRY (CONT’D)
Two months later, I get a call. I rush
over there�"and�"I�"I’m sorry�" She slowly approaches him. PERRY (CONT’D)
So a year and half later, we move out
here. Ariel embraces him. They hold each other. She doesn’t feel so alone anymore… INT. CHYLDE
RESIDENCE �" KITCHEN
�" A FEW MINUTES LATER
Ariel opens the FRIDGE.
She glances what’s
left of her BIRTHDAY CAKE and two BOTTLES OF
BOURBON�" before spotting
SODAS and ORANGE JUICE. She grabs them. INT.
CHYLDE RESIDENCE �" LIVING ROOM �" CONTINUOUS Perry sits on an OTTOMAN, next to the GAPING HOLE. Ariel
arrives, setting the drinks down.
Perry takes the orange
juice. PERRY
If these things are coming out of you, why
let you go? ARIEL
I think they need me as
their…vessel. A taxi or something they can use and discard. Like they’re hijacking
my body. Perry finishes off the juice. PERRY
But something put up a fight here. Her eyes wander to a WRAITH’S
HANDPRINT BURNED into the
wall. She places her own hand against it. PERRY (CONT’D)
Maybe you’re in there somewhere. ARIEL
That’s what I’m afraid
of. She reveals the pendant around
her neck. ARIEL (CONT’D)
He returned this to me. Stacy took it last
night, but he gave it back. PERRY
You said you can’t remember what happened.
Do you remember any of this? ARIEL
Barely. PERRY
Then maybe he was driving. You just gave him a direction. ARIEL
And he won’t stop. Because of me. She sits down,
frustrated. She thinks
for a moment… ARIEL (CONT’D)
We can get to someone before he does and
get the cops. That’s our only chance. PERRY
How? No one’s found
anything, not even a
body. ARIEL
But I think I know where he’ll go next.
Who else has disappeared? PERRY
Deans and some girl. ARIEL
(under breath) Kiley. PERRY
Seems like you had a lot of enemies. ARIEL
I guess. She sits, pondering
what to do next… ARIEL (CONT’D)
It’s like�"a personal hit list. All the
people I hated the most. PERRY
Then who’s closest to the bottom? Beat…then a FLASH of REALIZATION in Ariel’s eyes!! EXT.
MISS MADISON’S HOUSE �" NIGHT Perry’s Jeep parks as the two jump out, running towards
the house. The
power is OUT… INT. MISS MADISON’S HOUSE �" HALLWAY
�" CONTINUOUS
The duo enter. The flashlight goes ON. ONE CAT dashes
out the door. BROKEN GLASS, BLOOD on the floor and walls… INT. MISS MADISON’S HOUSE �" LIVING
ROOM �" CONTINUOUS
THE FLASHLIGHT CATCHES
A MASSIVE DARK SHAPE
DRAGGING MADISON’S CORPSE THROUGH THE SMASHED WINDOW. Perry stands there, paralyzed at
the sight of Penance. The monster snarls, escaping through the window. Ariel runs after him, watching
helplessly as he disappears into the night�"right as POLICE LIGHTS ILLUMINATE THE HOUSE. INT. MISS MADISON’S HOUSE �" LIVING
ROOM �" CONTINUOUS
The cops’ rush in, their LIGHTS
fall on the two teens. Perry raises his hands as Jack watches his son,
dumbfounded�"before he turns to see Ariel standing
among the destruction. JACK
Young lady…put your hands behind your head. Perry starts toward his father. PERRY
Dad, she had nothing
to do with this. JACK
(barks) Stay out of this! She obeys,
not saying a word. Jack gestures to Thomas.
EXT. MISS MADISON’S HOUSE �" CONTINUOUS Thomas takes her to the cruiser,
SHUTS the door.
Jack leads Perry outside to
the jeep, stone-faced. He releases his son. JACK
Go home. PERRY
Dad�" JACK
Go. Home. Perry backs off at that. He manages one last glance
at Ariel from the police cruiser. EXT. SALEM
POLICE STATION �" NIGHT
Built in the same Southern Gothic
style as the other
buildings in town. Behind it, the FOREST. INT. SALEM POLICE STATION
�" LOBBY �" CONTINUOUS
The place is ALIVE with activity.
COPS and PEOPLE everywhere talking, crying,
demanding explanation. Jack leads Ariel to the back. COP
(background) Sir, please
calm down�" FARMER
(background) You’re f****n’ telling me to calm down?!
My goddamn horses
dropped outta the sky! MOTHER
(background) You would’ve found her by now if you were
doing your jobs, you b******s! INT. SALEM POLICE
STATION �" STAIRWELL �" CONTINUOUS
A stairwell. At the bottom, a DOOR with a RED ALARM. ARIEL
I know what’s going on, Jack. JACK
I figured. ARIEL
I can help you. He’s silent
as they approach
the door. The alarm TRILLS. INT.
SALEM POLICE STATION �" LOCKUP �" CONTINUOUS Four CELLS in a small hallway.
A TINY WINDOW sits atop the
wall. Gladys sits quietly in one of them. A CLOCK hangs overhead. A cell opens with a CLANG. Jack leads her inside. ARIEL (CONT’D)
Jack�" JACK
Don’t start. JACK (CONT’D)
You want to help me? Let’s see how many
more people die tonight. ARIEL
I’m not the one doing this! This is what
they want! Jack turns away as the door shuts.
The cell LOCKS. ARIEL
(CONT’D) F**k!! She slides down the wall. Gladys watches her intently.
INT. SALEM POLICE STATION �" LOCKUP - MORNING Ariel stares at the wall. Gladys quietly SNORES.
Her eyelids get heavy. DARKNESS creeps
in…the sunlight turns RED. THEY whisper. NIGHTMARE #1 (V.O) NIGHTMARE #2 (V.O)
Poor child. You can’t escape.
we’re always waiting�" ARIEL
Leave me alone�" NIGHTMARE #3 (V.O.) NIGHTMARE #4 (V.O)
Vessel. Murderer. Vessel. You belong to us, we own you. This is all
your fault. NIGHTMARE #5 (V.O.)
And you will always be alone.
With us. ARIEL
(shouts) Shut up! Gladys wakes
up, startled. She stares at Ariel as the teen breathes angrily, heavily. GLADYS
Talking in your sleep? Ariel’s rage subsides. ARIEL
Something like that. Gladys nods, lays back down. EXT. O’MALLORY
FARM �" FIELD �" AFTERNOON
Cops patrol up and down the
street. Jack and Thomas grimly survey the field.
FOUR CATTLE RIPPED TO PIECES sit
ROTTING. JACK
Good God. Thomas swallows hard. THOMAS
Neighborhood and main street’s
covered. JACK
Keep it up. Like we need the neighborhood watch forming a posse.
That’ll solve things. He looks at the BARN. WOOD and SHINGLES
have been SCRATCHED OFF. JACK (CONT’D)
What are you afraid of, Thomas? THOMAS
Me? Damn Bigfoot with wings or whatever’s
doing this. JACK
Anything else? THOMAS
Being forgotten. Feeling like this work’s not worth anything. Jack takes out his coin. THOMAS (CONT’D)
What is that, sir? JACK
I got this in the hospital
the day my son
was born. THOMAS
Neat. What about Mom? JACK
She left three years after. THOMAS
Oh…I�"I didn’t… JACK
It’s fine. You didn’t
know. He pockets the coin. JACK (CONT’D)
Keep the patrols going.
Concentrate on civilians.
Nothing gets out of those woods. THOMAS
But freaking Chernabog out there’s smart. Where are we supposed to watch? JACK
Everywhere. Jack walks off. Thomas
manages one last glance at the
ROTTING COWS. INT. SALEM POLICE STATION �" LOCKUP �" LATER
Ariel picks at a TRAY OF FOOD. Gladys
has picked apart
her CHICKEN, picking the BONES out. GLADYS
Are you going to eat that? Ariel slides the chicken
to Gladys. The crone SNATCHES
it, PICKS the BONES OUT. Ariel watches, unnerved. She CASTS the BONES, carefully studying
them. Ariel goes back to staring at the wall. GLADYS (CONT’D)
The darkness surrounding you
wants to envelop this town.
But�"(notices a bone)
it doesn’t consume you. Not at all what I expected. The alarm RINGS. The door SLIDES
OPEN. A COP comes in, holding a CELL PHONE.
Gladys continues to stare at the
bones. COP
Phone call for…Childs? ARIEL
It’s Chylde. She takes the phone, holds it to her ear. COP
Five minutes. The cop wanders
off. ARIEL
Perry? PERRY (V.O.)
Surprise. She smiles. ARIEL
What’s going on? PERRY (V.O.)
Every cop in town’s out here.
Curfew’s tight. Feels like this place is gonna blow
any minute. ARIEL
Can I ask a
favor? PERRY (V.O.)
Go ahead. ARIEL
Find the box. Keep the papers somewhere. PERRY (V.O.)
Will do. Anything else? ARIEL
Stay home tonight. A long pause… PERRY (V.O.)
I’ll try. ARIEL
Stay safe. PERRY (V.O.)
You too. She hangs up. The cop takes
the phone. ALARM
sounds. The door SLAMS SHUT. GLADYS
Love and fear aren’t so
different. They can both make fools of us. Yet we persist. ARIEL
What do you know? GLADYS
It can be a candle in the dark,
however faint. Besides, darkness
is only one side
of the coin, Ariel. Ariel turns to Gladys,
unnerved again. ARIEL
Who are you? GLADYS
A seer. A wanderer.
Titles never mattered to me. ARIEL
How about exorcist? GLADYS
No, sadly. ARIEL
Then
what is it? Gladys turns to face Ariel. GLADYS
Something ancient.
Hungry. Restless. The slow horror builds
within Ariel again… GLADYS (CONT’D)
And yet there is a good heart in you. ARIEL
What good is left in me anymore? GLADYS
We all have darkness, Ariel. But it is
only a piece. We are always two. EXT. FOREST �" PENANCE’S NEST �" DUSK
The nest has GROWN considerably. MORE
RIPPED UP ANIMALS. Some have BURNS all over them. As the light LEAVES the forest, Penance
STIRS, breathes in. Under the leaves, the Wraith RISES,
it’s sad twisted
face gazing up at its brother. Penance SNAPS, growling. The Wraith withdraws, stays by the nest. Inside, MONSTROUS
SCREECHES and SQUEALS
as JUVENILES stir. They’re tiny Penances,
but uglier. Penance looks
out at the DISTANT LIGHTS
of the town. That SMILE
stretches across his face… INT. SALEM POLICE STATION
�" LOCKUP �" NIGHT
Ariel sits, watching the window. Waiting. Gladys is on the floor of her cell, clutching her
necklace. She whispers into
her hands. INT. SALEM POLICE STATION
�" LOBBY �" CONTINUOUS
It’s quiet.
A SKELETON CREW works the place.
EXT. HIGHWAY 21 �" NIGHT Perry’s JEEP SPEEDS through
the night. INT. PERRY’S JEEP �" CONTINUOUS He’s got one thing on his mind as he stares at the road.
Nothing else matters… EXT. HIGHWAY
21 �" CONTINUOUS
A DEER CORPSE
RIPPED to pieces
by the Juveniles SLAPS ONTO THE ROAD. PENANCE LANDS, HIS SHAPE OUTLINED IN THE HEADLIGHTS!! INT. PERRY’S JEEP - CONTINUOUS
Perry SEES it TOO LATE, HITS PENANCE HEAD ON. GREEN BLOOD SPLATTERS the
windshield. The car SWERVES, METAL AND GLASS flying everywhere. The DASHBOARD
FLICKERS as Perry comes to, dazed, bleeding. Penance is CRUMPLED on the side of the road. The MONSTER stirs, GRUNTING in pain. Foot HITS the GAS. Nothing. His hand finds the key. THE CAR STALLS. Perry keeps trying, to no
avail… EXT. HIGHWAY 21 �" CONTINUOUS
Penance slowly gets up, equally dazed
from the crash.
His ONE GOOD EYE spots
Perry. An ANGRY GROWL escapes him. INT. PERRY’S
JEEP �" CONTINUOUS
The CAR STARTS! Perry
SPEEDS OFF as Penance ROARS
in the distance. INT. SALEM POLICE STATION
�" LOCKUP �" NIGHT
Electricity goes HAYWIRE. Gladys looks up, clutches her necklace tighter. Shallow, GURGLING
breaths. ROBERT’s
SHAKING, DECAYED hand CLUTCH the metal, MUCK coating it. She glares at him. A
sad sound escapes the ghost as he shuffles
to a wall, painting NEW LETTERS on it. He finishes. Ariel
peeks out. “FORGIVE US”
is slathered on the wall. In one of the flashes, Robert DISAPPEARS. She GRIPS the bars, summoning the courage… She sits down, shuts
her eyes. Deep breaths…
INT. CELL �" NIGHT [BEGIN NIGHTMARE] A
dilapidated copy of her cell.
The cell door empties into a CORRIDOR. Her eyes FLY open. Everything is QUIET. She gets up, THROWS
the RUSTED DOOR OPEN with a CLANG! INT. CORRIDOR �" CONTINUOUS
Metal, cage-like corridor covered
in metal thorns. Moonlight cuts through the holes. Ariel walks down the hall, nary an OUNCE of fear in her anymore. A HIDEOUS CLAW GRABS AT HER. THEN ANOTHER.
And ANOTHER!! SYMPHONIES of HOWLS surround
our heroine as the Nightmares FUTILY GRAB AT HER. EXT. MAUSOLEUM �" CONTINUOUS
Her hands GRAB that door. NO BLOOD this time. The HOWLS of the NIGHTMARES behind her. She THROWS that damn thing open! A YAWNING
DARKNESS INSIDE. Ariel enters. She gives the monsters
one last glare…Before
SLAMMING the door! INT. MAUSOLEUM �" STAIRWELL - NIGHT
Cavernous, GLOOMY, stretching down into
an ABYSS with only
the moonlight lighting the way. Using the wall, Ariel descends. The lower she goes, a GENTLE SOBBING grows louder… INT. MAUSOLEUM �" CRYPT �" NIGHT
Filled with SKULLS and TWISTING SCULPTURES. Moonlight cuts through the OPPRESSIVE DARKNESS. ILLUMININATED by RED MOONLIGHT, A WOMAN in A DECAYED
GOWN leans against an OPEN STONE COFFIN,
SOBBING. Her arms have
STRANGE SIGILS BURNED into
them. Her BLONDE
HAIR HIDES her face… Inside the coffin�"MISS HAPPY,
sleeping peacefully like Princess Aurora, stripped
of her mask, weapons, and Stitch. Ariel watches the woman weep, an understanding washing
over her. ARIEL
So you were here all this time. JESSICA stops crying
for a moment, turns to her daughter. A BLOODSTAINED, DECAYED BLINDFOLD covers her eyes. JESSICA
My little Miss Happy… She holds herself against
the tomb, stumbles. JESSICA (CONT’D)
Six years? It sounds
so much shorter.
You must be so beautiful�" ARIEL
This is your fault. JESSICA
Everything for you. I give everything, and now? Nothing. I can never leave. ARIEL
What did you do? JESSICA
Neither of us would survive your
birth. They spoke to me, offered
a possibility. ARIEL
So you gave me up. JESSICA
I�"I had no choice!
And I gave my life so
they would not touch you until I died. She starts crying again.
Ariel softens a little. JESSICA (CONT’D)
But I tried to back out�"to save you. JESSICA (CONT’D)
So they collected what was owed…
Ariel glances at Miss Happy. ARIEL
JESSICA
Yes. But too old. Too hard to control. When they weren’t chasing you,
they searched for her. Ariel approaches her mother,
reaching out a hand, then withdrawing. She gently shakes Miss
Happy instead. The sleeper wakes. She gazes up at her rescuer. MISS HAPPY
Nice to see you again. Ariel helps her out of the coffin. ARIEL
I didn’t find Stitch. MISS HAPPY
It’s okay. The child turns to Jessica, a hint of sadness
in her eye. She gently takes Ariel’s hand. They depart. Ariel manages
one last glance
at her mother as the two
DISAPPEAR into the dark. ARIEL
INT. SALEM POLICE STATION
�" LOCKUP �" NIGHT [END NIGHTMARE]
Ariel WAKES UP, TEARS STREAMING
DOWN her face. Only EMERGENCY LIGHTS are on. GUNFIRE
and SCREAMS from upstairs. The cells are unlocked. Ariel slides the door open and
leaves. Gladys is curled in the corner
of her cell, muttering. INT. SALEM POLICE STATION �" HALLWAYS �" NIGHT DARK, Destroyed by the attacking Nightmares. HUMAN and MONSTER CORPSES
all around. A STRAY FIRE burns somewhere. She moves through the devastation. Something with GLOWING EYES
watches her from the ceiling… The Juvenile HISSES, LUNGES for
her. She catches it, struggling as it CLAWS
and SCRATCHES at her. She HURLS it down the hall! It SCREECHES at her-- BOOM!! Its head EXPLODES. Jack enters with a SHOTGUN.
He C***S it. JACK
You should be in your cell. The creature’s remains
TURN TO ASH. Jack approaches Ariel. He’s bloody, beaten. He raises the gun towards her. JACK (CONT’D)
Gimme a reason why I shouldn’t just drop you now. ARIEL
Because I’ve already died twice. It isn’t
fun. JACK
You knew they would
come here. They are
yours, aren’t they? ARIEL
I tried to warn you. I said I could help. He edges closer,
rage gathering. JACK
Don’t you f*****g start! This is all your fault! That hits her hard. But she stands her ground. ARIEL
Maybe. But if you shoot me, it’ll be yours. They stare each other down. Ariel shuts her eyes, welcoming the possibility… Jack lowers the gun. Ariel sighs in relief. FOOTSTEPS down the hall.
Perry rushes in, using a ROAD
FLARE as a torch. Once again, Jack stands dumbfounded. Ariel smiles at the sheer audacity
of him being there. ARIEL
I told you to stay home. PERRY
I tried. JACK
Perry, get out of here. Now. PERRY
Not without her. Jack sighs, frustrated. Finally,
he relents. JACK
Get a radio, get as far from the station
as possible. Call everyone who’s listening. He unhooks his and tosses it to Perry.
Ariel turns to leave�" JACK (CONT’D)
And young lady. If this your mess, you clean it up. She nods. The two teens leave as Jack moves back down the hall. Thomas is slumped against
the wall, holding
a nasty stomach wound. He coughs. JACK (CONT’D)
Easy. Help’s on the
way. THOMAS
Jack�"promise me something. JACK
Don’t�" THOMAS
Promise you won’t forget. JACK
I’m not going to forget you, you’re going to be fine. THOMAS
Don’t forget him. Don’t ever forget
him. Jack nods solemnly. Thomas smiles�"before fading away… The sheriff sits alone,
holding back tears.
SOMETHING HISSES above him. A JUVENILE bears down on him. He BLASTS IT TO PIECES!!! EXT. SALEM POLICE
STATION �" PARKING
LOT �" NIGHT
The two run out of the building. ARIEL
The next town over’s Covington. PERRY
I don’t
think cops are gonna be enough�"
They get to his Jeep. ARIEL
You hit a deer? PERRY
Part of one. And a monster. SMASH!! Penance PLUMMETS
onto the car! The two back up, horrified
as the monster
rears up. He SWATS Ariel away, GROWLING at Perry. He GRABS the young man by the throat,
CLAW TIGHTENING. Penance shoots Ariel A SADISTIC GRIN as he SPREADS HIS WINGS. Ariel and Perry share one last glance…and Penance
TAKES OFF.
Ariel watches helplessly as the monster
FLIES AWAY. She falls to her knees. CRACKLING FIRES from the station
and Penance’s DISTANT WINGBEATS grow LOUDER. No. She gets up. The fear has evaporated within her. All that
remains is pure, untampered determination. She DASHES
AFTER PENANCE!! EXT. FOREST �" NIGHT The forest is looking
eerily like her nightmares. ABSOLUTELY NOTHING stands
in her way as she SPRINTS DEEP into the woods. Her HAIR TIE falls off in the commotion.
EXT. FOREST �" PENANCE’S NEST �" CONTINUOUS Penance lands
in the trees, HURLS Perry
into the nest. INT.
PENANCE’S NEST �" CONTINUOUS Slimy, dark, made of twigs and bone.
Perry, dazed, whips out his light. He’s greeted with WHAT’S LEFT OF THE VICTIMS.
They’ve been ripped
apart, picked clean, or something in between. UNHATCHED EGGS line the inside… Perry fights back
vomit. He KICKS
the wall, PUNCHING
out a HOLE. The Wraith SWIPES
at his shoe!! EXT. FOREST �" CONTINUOUS
The SURVIVING JUVENILES carrying
a COP’S CORPSE with a SHOTGUN land nearby, taking off again. Penance RATTLES, bearing down on his new victim�" ARIEL
(O.S.) (SHOUTS)
Penance!! The Nightmare HISSES. Juveniles in the trees
TITTERING. Ariel is breathing hard. She throws off
Perry’s jacket. PENANCE
My sons will enjoy him live. He SLAMS
onto the ground,
advances toward Ariel. PENANCE (CONT’D)
Why keep up this charade? This
life was never yours. You have always
belonged to us. ARIEL
I don’t belong to anyone. Penance laughs. So do the others. Her hand curls
into a fist, the bones
CRACKING�" PENANCE
That brat deludes you. And you must learn your place!! Penance SMACKS her into the air!! INT.
PENANCE’S NEST �" CONTINUOUS The JUVENILES drop the CORPSE into the nest.
He grabs the shotgun off
it. He LIGHTS
another flare, throws
into the nest. The Wraith moans beneath, claws waiting�"
Perry BLASTS it, dropping through the hole. EXT. FOREST �" CONTINUOUS
She lands HARD. Her eyes GLINT
ORANGE…but she resists
the change. Penance SLAMS her against
a TREE. ARIEL
Still me, you b*****d! He growls in anger before swiftly
TEARING HER ARM OFF! EXT. FOREST
�" PENANCE’S NEST - CONTINUOUS
Perry hears
her scream PIERCE
the night! PERRY
Oh God�" EXT. FOREST �" CONTINUOUS
She holds the wound,
writhing in pain. Blood
POURS out. Penance BITES the SEVERED ARM, then TOSSES it aside. Her remaining hand PAINFULLY
CRACKS, the bones SNAPPING and EXTENDING�" A NEW ARM ERUPTS
from her socket as she PAINFULLY TRANSFORMS AGAIN. Her skin turns RED, JAGGED, DISEASED, her hands become TALONS, BONE and MUSCLE DISTORTING. Her clothes TEAR from the stress�" She’s STRUGGLING through it all, holding on.
Her back ARCHES as BAT WINGS EXPLODE outward. She’s neither the monster
nor human, but something IN BETWEEN… Penance is not pleased. PENANCE
Impossible. Her ORANGE
EYES glare angrily as
she LUNGES at Penance!!
EXT. FOREST �" PENANCE’S NEST �" CONTINUOUS The nest has quickly
turned into a BALL OF FIRE. The Wraith rears up behind Perry,
a GNARLY WOUND
in its chest. It hisses. Perry hears it, whirls
around just as the ghoul
LEAPS for him! He CLOCKS the creature
with the shotgun,
knocking it to the
ground! It CONTORTS itself back up, MUCH ANGRIER. Perry
C***S the gun… Before the JUVENILES SWOOP
DOWN, CLAWING at him!!
EXT. FOREST �" CONTINUOUS Ariel TACKLES Penance. Her WINGTIPS DIG into his shoulders.
With VIOLENT FURY, she SLASHES and CLAWS, GREEN BLOOD SPRAYING EVERYWHERE. So furious, in fact,
that she doesn’t
see Penance’s FIST SMACK her away. Penance gets up,
wipes blood from his mouth. Ariel tries to get up, PAIN SHOOTING through
her body. The MONSTROUS CANCER crawls up her arm, distorting it further. PENANCE (CONT’D)
Stop resisting. It’s too painful. Perry’s SCREAMS catch her attention! The POISON SPREADING UP HER ARM HALTS…Penance gets close to her. Ariel spots the BURNED HALF OF HIS FACE. She SLASHES him on his BAD SIDE. He ROARS in pain as she
LEAPS INTO THE AIR with a GREAT WINGBEAT! EXT. FOREST �" PENANCE’S NEST �" CONTINUOUS
Perry struggles against
the Juveniles GNAWING AT HIM!! He THROWS THEM OFF, falling to the ground.
They FLY AWAY, CIRCLING him like vultures! They’ve really done a number
on him. He’s bleeding, slashed up. The
Wraith’s hand falls onto a SKULL, MELTING it into dust. The FIRE ROARING
behind it makes it a lanky, TWISTED SHADOW with GREAT BEADY EYES. Perry takes aim at one of the Juveniles. He waits…waits…LINES UP THE SHOT… BOOM!! The Juvenile PLUMMETS to the ground. The Wraith
approaches, CLAWS OPEN, JAGGED TEETH BARED and DRIPPING BLACK SLIME…It’s RIGHT ABOVE PERRY! Another BLAST!! HALF IT’S FACE IS GONE. It topples over, BURNING TO ASH. Perry falls
to the ground, exhausted. He’s too tired
to feel anything other
than relief. He checks the SHOTGUN.
EMPTY. The SOUND of the fire sounds
almost calming… The SCREECH OF THE LAST JUVENILE
SPOILS IT. It’s perched on a branch, JAWS DRIPPING. It LEAPS
OFF, CLAWS AND TEETH
BEARED. Perry can barely move. He struggles to get away--! ARIEL TACKLES IT OUT OF THE AIR, like a DARK AVENGING ANGEL. She STABS
IT in the HEAD, WINGS SPREAD. Perry gets to his feet, leaning
on the shotgun for support. Every action hurts, but he powers through it. Ariel YANKS her claw out of the creature. She stands,
breathing hard. Perry stares at her form
ILLUMINATED by the FIRE and MOONLIGHT. He’s terrified, awestruck. She is
terrifying, yet beautiful. Both a monster,
but still the girl he loves. PERRY
Christ… She slowly meets his gaze, the rage within
subsiding upon seeing the one
person left that matters to her… They share a quiet,
pregnant moment… PENANCE TACKLES PERRY from off screen. He PINS the teen to the ground, CRUSHING the
shotgun. Perry struggles, to no avail. There’s
no sadism in the
creature anymore, just hunger and RAW RAGE. He OPENS THAT MASSIVE MAW, ROWS OF TEETH WAITING
FOR PERRY�" A SICKENING CRUNCH!!
Penance SCREECHES!! He looks behind him. His wings are STUMPS, SPURTING BLOOD. Ariel’s
claws are bloody. There’s a COLD
FURY in those orange eyes. ARIEL
(grabbing Penance) How’d that
feel?! She HURLS Penance off Perry! The monster SLAMS onto the ground.
He HACKS, CRAWLING
away as a TRAIL of BLOOD forms behind him like a slug. Ariel advances toward her foe, ignoring
a SHARP PAIN down her back.
The INFECTION SPREADS
FURTHER through her body�"
Penance SPITS blood. He lets out a HOARSE
LAUGH. PENANCE
You have nothing�" (coughs)�" you are nothing but a slave. ARIEL
And you’re just a bad dream. PENANCE
(mocking, half in pain) You have no one, Ariel. Your
father rots in his own regret at the borderlands. Your mother suffers her punishment. And everyone else is dead
because of you! A RAGE builds inside
her… PENANCE (CONT’D)
You can never escape
the night within
your soul!! That hurts more than any of the blows she’s taken tonight. ARIEL
Then I’ll learn to live with it. She raises a claw.
Penance ROARS DEFIANTLY as she SWIPES HIS UPPER JAW OFF! Penance’s now faceless,
LIFELESS body collapses, his tongue LIMPLY
sliding to the ground. The corpse TURNS TO ASH, leaving only a BLACKENED
SKELETON. Ariel’s chest heaves, hands shaking.
The adrenaline wears off as that horror she’s felt sets
in again… A
LIGHTNING BOLT of PAIN through
her body!! Bones
CRACK, the INFECTION SPREADS further. She falls to her knees, WINGS CURLING INWARD.
Her hands PAINFULLY SPASM, becoming more MONSTROUS and MUTATED. The SEETHING VOICES of the Nightmares FILL
HER EARS! Perry picks himself up. Ariel’s struggle
cuts him as deeply
as any knife. And this time, despite his wounds and fatigue, there is NO
HESITATION when he goes to her. Every ounce of her being tries to
keep the monster away, keep it from flooding her mind. There’s
so much pain,
too much for her to handle�" PERRY
Ariel!! His voice surprises
her, cutting through the noise in her
head. She watches him stumble
towards her, her glowing eyes filled with pain and sadness. He collapses to his knees, grabbing
her shoulders. PERRY (CONT’D)
Ariel, look at me. You can do this. You
hear me? You can do this! ARIEL
I can’t�" She SCREAMS in pain as another
SPASM RIPS through
her. PERRY
Yes you can! He holds her tightly,
eyes welling up. PERRY (CONT’D)
I’m not losing you. Tears fall from Ariel’s eyes. She
wills her arms around Perry. Her claws DIG into his back!! He winces, but holds
tight. Ariel CLUTCHS Perry’s back, SCRATCHING HIM as her claws
TRAIL down…SLOWLY TRANSFORMING BACK to NORMAL. The chorus of voices fades�" The INFECTION RECEDES from her body. Her wings SHRIVEL UP, DETACH like autumn leaves
from her back.
The ORANGE fades from her eyes. The lovers hold each other as the
night air WAFTS the trees, the fire BLAZES
and Penance’s skeleton
SMOLDERS… INT. SALEM HIGH �" HALLWAYS �" DAY
Everyone’s back in school. Perry
walks down the hall BANDAGED, arm in a CAST. The CLAW SCARS on his back poke out from under his shirt… People watch him, whisper
to each other. He doesn’t
care. A tiny MEMORIAL for the FOUR missing people
hangs in the hall… INT. SALEM HIGH �" CLASSROOM
�" CONTINUOUS
He sits, doodling in his notebook
while the teacher
drones on. A TEEN leans in, notices his drawing. TEEN
Hey. What happened to
you? PERRY
Car accident. TEEN
S**t. I heard you knew the weirdo girl. PERRY
TEEN
I heard she died. Did she die? Perry doesn’t answer. TEEN (CONT’D)
She probably hung herself. The teen leans back.
Perry finishes the drawing. It’s A BEAUTIFUL GIRL, FACE HIDDEN
in LONG HAIR sits under a
tree. GIANT BAT WINGS SPREAD
from her BACK. INT. JACK’S CRUISER
�" AFTERNOON
Jack is also patched
up, but thankfully not as heavily
as his son. Perry gazes outside the window, a semblance of peace in his
eyes. JACK
You okay, son? Perry turns to his dad. He cracks a little smile. PERRY
Better. (beat.) A
lot better. Jack smiles back as Perry turns
to the window. He eyes ARIEL’S PENDANT around PERRY’S
NECK… EXT. MAUSOLEUM �" DUSK [NIGHTMARE]
A
rosy DUSK LIGHTS
the Nightmare realm’s
sky with ORANGE and RED. A
hand slides down the door,
avoiding the thorns
on the way. Ariel gazes up at the structure, a sad understanding crossing over her. EXT. DARK FOREST �" CONTINUOUS
The forest is LIGHTER, less
oppressive. DANDELIONS and other assorted flowers
grow EVERYWHERE. The dark is still
there, but far away, deep in the
forest. Ariel walks through, no fear in her heart. MISS HAPPY (O.S.)
It’s beautiful. Miss Happy comes out of the trees. She has a NEW Stitch on
her belt. ARIEL
It should. I worked
hard on it. MISS HAPPY
The beasts haven’t budged from their hovels. I knew you could do it. ARIEL
We’re in this together, remember that. MISS HAPPY
True. The little girl takes
Ariel’s hand. MISS HAPPY (CONT’D)
So where are we going? ARIEL
I think I have a lead. It’s farther
up state. MISS HAPPY
Could you send some more flowers
my way? How about dogwood? I
haven’t smelled dogwood in a long time. ARIEL
I’ll think of something. They walk together through
the forest. INT. GREYHOUND BUS �" DUSK An old Greyhound speeding
up the highway. Only Ariel
and a few others are riding. Ariel wakes up. She’s
by the window. The landscape WHIZZES by. A DUFFLE BAG, various PAPERS from her house and her
JOURNAL sit in the adjacent seat. She’s wearing Perry’s jacket.
She zips it
up. Leaning against the window, she curls up. Slowly, a content
smile spreads across her face as she drifts off to sleep, the SOUNDS of the FOREST coming back to her…
FADE OUT. CREDITS.
THE END © 2023 C.S. WilliamsAuthor's Note
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Added on July 4, 2023 Last Updated on July 4, 2023 Tags: horror, dark, superhero, screenplay, comic book, adaptation, screenplay adaptation, female protagonist, nightmares, dreams, romance, violent, bloody, carrie, teen horror, body horror, monsters Author
C.S. WilliamsSterling, VAAboutI'm haunted by visions of people and places I don't know, but would like to meet someday. So, why not write about them? more..Writing
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