#i live in a village so i kinda wanted to write about small town william

[stormsandskies]

Small town William Wisp who knows the entire town and the entire town knows him, so when the little boy who used to run around the small park and through the fields with his friends changes overnight they notice. They notice his skin turn pale, not a typical winter pale that comes from lack of sunlight and being indoors all the time, but the pale that leaves barely a flush to the skin as if his heart isn’t beating like it once was. They notice his lack of energy, how little he goes outside now, they notice his heavy black hoodie even in the southern heat.

At first, they assume he is sick, after all the Wisp parents look stressed and concerned more often than not. It doesn’t help when the school year rolls around and people find out he isn’t going to the school in the town and is instead going to the city

They see absolutely nothing of William after that, but the Wisp parents look beyond stressed constantly watching the news the moment a mention of an attack on Rockfell is made. They understand it must be stressful to know your kid could be out on the street when the attack occurred. Must be scary to think they’re out with friends when some villain and superhero come tumbling through the coffee shop wall. they don’t know the real reason, don’t know they’re watching their youngest son almost die again fighting the villain of the week.

One day after a trip to the city to see their sons the Wisps come back visibly shaken, as though something is wrong, Mrs.Wisp will not stop crying and her husband stands next to her side attempting to help but clearly on the verge of tears as well.

Throughout these two years, strange things had been happening around town, kids reporting they saw strange creatures walking around town, people claiming they saw some sort of glowing blue wisp floating around, and sights of horrific monsters just standing at the edge of the forest surrounding the town.

Then a while after the Wisps leave again and this time they do not come back before their town is ordered to evacuate. People pack up as quickly as possible, as if in a trance.

When they return it’s hard to miss the damage in the area. Despite the work done by the heroes to restore the town blood stains a clearing close by, the sign is scorched, and the body bags, so many line the streets as they work to identify and return the bodies to their families. William looks different, way different to the boy who left. His dark hair is streaked with white, his once brown eyes a shocking blue, a slightly jagged scar runs down the middle of his face and neck, more dot his arms and legs, he seems to float when he moves, and occasionally a small blue wisp will dart around him.

So the town notices and knows that the little boy they knew is changed forever, they also know that he saved the world with the other teens who stand beside him, just as scarred, and they know for certain they hate the so-called heroes who did this to these kids, to the boy who played tag with their kids, to the boy who made sure to say hello to everyone at the church cookout, to his friends that he cares about so deeply.

This small town knew an energetic kid and awkward teenager, now they know a still awkward but more confident almost adult, they knew a 15-year-old who disappeared for two years, now they know a 17-year-old who came back different, they knew William Wisp, now they know The Whisperer.

[vrenaewrites]

My Favorite Books Ever (2019).

In June 2018, I did a video about my all time favorite books. I included 13 books and only a couple were young adult, which is the genre I write in.

Boy how things change in a year. I’ve read probably 20 books since then which isn’t a lot compared to other people, but you’d be surprised how many of those were absolute knockouts for me, quickly moving into my hall of fame favorites. So let’s revisit my top 10 list.

10. TIE: TO KILL A MOCKINGBIRD by Harper Lee and MATILDA by Roald Dahl.

[previously #5 and #10, respectively]

These books have to be included on the basis of how much they meant to me as a child and young teen who was bookish, compassionate, and open-minded in my rural (read: often racist) southern community. Scout Finch and Matilda Wormwood were little girls I needed as a little girl, and while I may not reach for these “favorites” too often anymore, they’ll be some of the first books I share with my kids of reading age. They made me who I am.

9. THE MERCILESS by Danielle Vega Rollins.

[new addition]

Boy, oh, boy. If you didn’t catch the pop culture influences on my new WIP, you don’t even know what kind of impact this book had on me. If The Exorcist and Mean Girls had a baby written by Stephen King, this would be it. Sofia Flores is welcomed by the popular, virtuous girls at the expense of outcast Brooklyn, and the price for inclusion is higher than anyone could have known. This is a brutal, BRUTAL book. Full of intrigue, pulpy dirty laundry, and tons of gore, it’s not for the faint of heart. But it is right up my alley.

8. SHARP OBJECTS by Gillian Flynn.

[previously #8]

This book messed me up so bad I had to let my little sister borrow it so I had someone to talk about it with. It worked. Journalist Camille Preaker returns to her small Midwest town to investigate the disappearance of little girls, she has to reconnect with her toxic, dysfunctional family I’ve mentioned it before: a fucked up family and a strong sister dynamic - good or bad - are two of my favorite elements to read about. SHARP OBJECTS comes through with that in spades, along with questionable allies, mental illness in the protagonist, twist after twist, and the classic Gillian Flynn style of stylistic, highly personal writing.

7. THE EXORCIST by William Peter Blatty.

[previously #6]

I am totally and utterly obsessed with this story. I did see the movie before I read the book because I’m a horror movie junkie and I saw this movie at like, ten years old. Twelve year old Regan MacNeil makes an imaginary friend through a ouija board and things...get...weird from there. But of course, the story isn’t really about Regan. It’s about Father Karras, the titular exorcist who wrestles with the imaginary friend within Regan - the demon Pazuzu - and his own personal demons. The vulgar violence Regan is subjected to during her possession will burn into your brain forever, and the exploration of the relationship between god and man and devil feeds my dogmatic interests like few things really can.

6. THE HAUNTING OF HILL HOUSE by Shirley Jackson.

[previously #7]

I can’t overstate how much I love this book. From the queer coding of Theo and Nellie to the unsteady narration, Hill House has been ridiculously impactful on me since I read it almost two years ago. A parapsychologist invites people with paranormal experiences to spend time with him in the titular home, where he plans to prove the existence of paranormal activity. That’s right, this is the start of the ghost hunting trope, guys. Basically, these people get real fuckin’ haunted. As the sanity of each guest of Hill House is threatened and questioned, we as the reader start to wonder what the truth really is.

5. A HEAD FULL OF GHOSTS by Paul Tremblay.

[previously #4]

Paul Tremblay is a contemporary to Stephen King. I said what I said. The Barrett family is torn apart by the change in Marjorie, the oldest of their two daughters. As signs of acute schizophrenia become more prevalent, the father turns to religion and the mother turns to mental health professionals. As their resources deplete, they are forced to allow a reality tv show to document Marjorie’s affliction for the paycheck, where the reality and sanity of all involved comes unraveled. The narrators. The twists upon twists. The unrelenting tension as you become invested in finding out what is really wrong with Marjorie. It’s a book I wish I wrote.

4. THE FORBIDDEN GAME trilogy by LJ Smith.

[previously #3]

I just don’t know how to explain what this book did for me creatively. It’s 90s pulp horror and it made me realize that I kinda want to write 90s pulp horror...in 2019. It’s engaging, well written, interesting, unique, diverse, and quick. LJ Smith can do no wrong in my book.

3. HARRY POTTER AND THE PRISONER OF AZKABAN by JK Rowling.

[previously #2]

Do I have to get into this? The introduction of Remus Lupin, my literal father. The introduction of Sirius Black, my literal son. The introduction of not so annoying Hermione, literally me. The Draco punch. Buckbeak. Big baddies on the horizon. The first YA entry in the series. Chef’s kiss. Also the best film, I said what I said.

2. CARRIE by Stephen King.

[previously #1]

I know, I’m shook. Carrie has been dethroned. Don’t tell her though - we don’t want a prom repeat. Stephen King’s debut is ridiculously good - gritty, scary, brutal, sad, and believable despite being about a telekinetic teen who’s abused into massacring most of a town. Spoilers? The book is like 40 years old. Too bad.

HONORABLE MENTIONS:

Alice Hoffman’s PRACTICAL MAGIC [previously #9]

Grady Hendrix’s MY BEST FRIEND’S EXORCISM [new]

Dhonielle Clayton’s THE BELLES [new]

1. WE HAVE ALWAYS LIVED IN THE CASTLE by Shirley Jackson.

[new addition]

Oh my God, y’all. I read this book in one day while I was in upstate NY last month. I read it on a dock, on a lake, in 80 degree weather, and I had goosebumps by the end. Mary Katherine Blackwood and her sister Constance live alone in the Blackwood mansion, hated by the villagers, jeered at in the grocery store, and gossiped about - for good reason. Six years prior, their entire family was poisoned and the prime suspect, Constance, was acquitted to the disdain of the public. But when a long lost cousin hungry for the Blackwood fortune comes to visit, secret after secret is unearthed along with little Merricat’s various treasures of protection. Talk about twists. Jackson has a KNACK for the vicious town opinion - The Lottery, anyone? - and how it can ruin a family, a person, and how there can be no sole responsibility for mob mentality. I just cannot overstate how much I love this book.

[atcostmag]

Yes You Are’s Kianna Alarid on former band Tilly and the Wall, her Chicana identity and being featured on the Super Bowl

Through her alma-mater Tilly and the Wall, Kianna Alarid has seen it all. At one point, it felt like Kianna was on top of the world  with her songs plastered over ads (and even on the 2014 Super Bowl) as well as some high-profile features from starring on Sesame Street to dropping a track with Tiesto. But it wasn’t something that would last forever and as the indie-pop explosion Nebraska soon died out in favor of the more central Williamsburg scene, things started to slow and stagnate for Alarid. Searching the world but failing to find the right musical collaborator, combined with post-partum depression and a relapse from 8 years of sobriety, took a toll on Kianna. Starting anew and back on her feet, Alarid found herself in Kansas City, Missouri and formed her latest act Yes You Are. A rush of new energy and ideas came back to Kianna and now out of the woods it seems like things are looking up for Alarid again. After all, you gotta be doing something right if the 2017 Super Bowl wants to feature your music again. 

I last met Kianna back in 2008 during one of Tilly and the Wall’s last few shows, but it would be nearly 7 years later until we would catch up again, in a promo email. Since then we’ve been writing each other, and appreciating each others’ quirks on Instagram and Facebook, and a long time in the works we finally decided to get an interview down. We spoke candidly to Kianna about the last few years and what it all meant, that and other things among why the Kansas City Royals is the best team ever. 

Tell us about your beginnings and meeting your former band Tilly and the Wall.

When I was 15 I met Todd, Clark and Joel (The Faint,) but at that time I just knew them as Omaha's best skateboarders, along with my boyfriend at the time. I was very involved in the skate community and was always hanging out with them and found out that they were also musicians. I got very into the underground Omaha scene through them, listening to bands like Commander Venus, Norman Bailer and Simon Joyner. After a few years, my boyfriend and I broke up and I didn't see that crew for a while.

I started playing in my first real band when I was 18 with a few friends of mine. We were really into hardcore and metal at that time and wanted to write and play that kind of music. I only played bass at that time, I had never really sung, although I did rap during one song. I met a lot of people involved in that scene in Omaha and many of them had crossover relationships with people playing in the indie music scene. I started seeing my old friends around again who were no longer skating as much, and were way more focused on their new band The Faint and playing with bands like Bright Eyes and Cursive. I started hanging out with that crew way more when I turned 21 and started going to karaoke with a handful of them. We went all the time, sometimes 3 times a week. That's actually how I really started singing and came to realize I wasn't half bad.

 We were out at a bar one night when a few of them were taking about starting a new band, their old band was called Park Ave., and I basically invited myself to be a member of this hypothetical new band and they were like, right on! That band was called Magic Kiss and though it didn't last long, one of the members Jamie Williams and I became very close and we continued to hang out and write music together. She invited me over one day to meet these two weirdos, Nick and Derek, also musicians, who had just moved to town from Atlanta, Georgia. We all hit it off big time. We starting hanging out all the time, playing music and just having a blast together. We decided to become a real band soon after that and asked Jamie's old band mate Neely to join as well. That's how Tilly started, from my perspective.

Though you were born in Omaha, your family is from New Mexico and proudly wear the labels Chicano and Native American. Tell us what that identity means to you?

Both sides of my family are originally from very small towns and villages in New Mexico. I grew up identifying as "Chicano" which, according to my relatives meant "displaced" and wasn't used with the more commonly known definition of "Mexican-American". My family used the word more radically, to refer to a race of people specific to New Mexico, who were a genetic mix of the native people of that area, who had lived there for thousands of years, and the Spanish explorers who colonized the area in 1598. There was always a vibe of resistance surrounding the term and we had strong sense of culture relating to our indigenous roots. Kachinas, sand paintings, heavy turquoise jewelry.. these were all normal things in my world. I understand more now why "displaced" was used to describe our people, although possibly the word "outsider" could be interchanged. New Mexico is a very strange and magical place and has a very interesting culture, including a different sort of "singing" Hispanic accent and completely unique food. Not to mention all the UFOs and aliens.

At one point Omaha was to indie pop like Seattle was to grunge. What was it like to be in Nebraska during the height of the scene?

It was awesome! We were a very tight knit group of people and anyone you ask from that group will tell you, with shivers on their arms, about the night when everything changed. The Faint was set play this big venue we had always known to be a place for bigger, touring bands and everyone was excited to see how that would pan out. We all sat there, shocked and stunned as hundreds and hundreds of people kept arriving... people we didn't know or recognize. It had always just been us at the shows before... a lot of people, but you at least sort of recognized most of the crowd. This was different, it was just so many new faces. It was the first time anything like that happened and it just kept happening from there on out with Bright Eyes and Cursive and so on. At first we were just like, "Who are all these people coming to our friends' shows!?" Then it just blew up. It was so exciting to be there and help out and celebrate our friends' successes.

Of course, there’s the highs and lows of touring. What was it like battling with sobriety?

Addiction is a funny thing, it seems to easily go hand in hand with being an artist. It has been the downfall of so many incredible and gifted people throughout history. Drinking is such a normalized part of our society, so it seems pretty harmless in the beginning. I can see why its so destructive. Its a sneaky thing. I am a very intense person, so for me, it makes it a life or death choice. When you're faced with that reality, it makes it much more clear that you need to choose wisely. I want to live and I want to do my job for as long as possible, so I'm staying sober. To me, having drinks isn't worth missing my destiny.

 I like the fun and funkiness of Yes You Are. Tell us about how “Holy Ghost Explosion (HGX)” came about?

Well, I think all our songs are weird. We aren’t writing from a typical perspective and aren’t even doing this for any typical reasons. We have something to say but it can’t really be said.. so we dance with words in order to cause a certain phenomenon in a certain listener. Could it be you? “HGX” started as an nod to Timbaland and wound up as something else.. but still has that 808 vibe and a fun beat to get down to. Its a creeper and possibly its creepy too, depending on how you look at it.

“HGX” stands for “Holy Ghost Explosion”, which was the title of this viral YouTube video a while back of some Pentecostals really going WILD. Something about the name of the video stuck with us and we would up using it the song lyric. We had started referring to the song as “Holy Ghost Explosion” and then after some time, we just started saying “HGX” as that's how we would write it on set lists.

Honestly, I never would have taken you as a sports fan. Tell us about your newfound love for sports and more specifically, the  Kansas City Royals.

I grew up with jocks for parents and I just could not relate. They have always been die hard Cubs fans and baseball was always on our tv but i just couldn't get into it. It wasn't until I reluctantly watched the Royals play in the 2014 Wild Card game that I thought... "Wait, what is THIS? This is baseball? Holy sh*t!" I haven't really missed many games since that night. Learning the game and understanding it has been a huge revelation for me. I can’t really get into it here because it would take too long, but there is a poetry to the game of baseball that goes far deeper than meets the eye. I never would have guessed I’d become a sports fan but the 2014 KC Royals did some kinda alchemy in me and I’ve never been the same since. Its awesome. These games, these insanely high paid players… it all seems so insignificant on the surface, and possibly for some people it is. To those who have been touched by the metaphors of it all.. its very much something else. Its so beautiful. I even have a closer bond with my parents. I get it now.

Well, for a sports fan being on the Super Bowl not once but twice is certainly the honor. What was it like being on the Super Bowl not only with Tilly and the Wall but with Yes You Are?

We had no idea that our song was going to be on the Pepsi Super Bowl commercial. I was doing our taxes, tuned into the station that day and suddenly the song was on. I just sort of blanked out.. then my phone blew up. It was amazing to us, like a sign of some kind. We have believed in Yes You Are for so long and have just pushed steadily along through hard times and better times but for this amazing thing to be given to us… it certainly felt like a sign that something bigger and better is coming.

So it seems like you've done a lot in your career. What's next?

What’s next is putting out our debut album and getting our songs known throughout the universe and beyond!

Last question! I heard you're an MMA fan as well. What did you think of the Conor McGregor versus Mayweather spectacle? This is probably completely crazy but do you think you'd entertain the idea of fighting Floyd Mayweather if the chance came up?

No. Definitely no, I would not fight Floyd Mayweather! I guess I may entertain the thought of letting him beat me up for 100 million dollars though (laughs). I thought the whole McGregor/Mayweather thing was just that, a spectacle. I heard the fight was really good and I also heard they hugged like old, rich-ass friends afterward so, whatever (laughs). You know actually, I am a big fan of the Diaz brothers. They're such ninjas! Nate Diaz actually inspired me to start training Brazilian jiu jitsu at Kansas City BJJ but I stopped after a while because some of the chokes we were doing compromised my throat on more than one occasion. Those guys are killers (laughs). I had a sore throat for over a week and I just couldn't risk it. I miss it a lot though and I do remember my training and drills so... just saying.

Check out Yes You Are on Spotify below:

[djstoa]

Amity

AMITY (Second Draft) by Michael John Weber FADE IN: EXT. SAM'S HOUSE – DAY A typical low-income suburb in a mid-western State. Samantha Drever, 19, blonde, returns home from a day of classes. She wears headphones, and carries a backpack. Sam follows the walkway to the front door of her house. Removing her headphones, she enters. CUT TO: INT. SAM'S HOUSE – DAY Thea Drever, Sam's mother, sits at the kitchen table, smoking, and drinking coffee. She's mid-30s, unkempt though not unattractive, and obviously anxious. A television glows nearby. A pile of papers and folders lays on the table, next to an ashtray. THEA You're late... SAMANTHA For what? Sam drops her backpack, kicks off her shoes, and moves to the fridge. THEA Don't get smart. Sam waves a hand at the smoke in the air. SAMANTHA At least open a window. God... THEA I found it hidden in your room. Sam avoids her mom's mom-gaze, focused instead on making a snack. SAMANTHA If you wanna get high, don't steal mine - go buy it at the weed-store. We're allowed to do that nowadays. THEA That's not all I found... SAMANTHA What were you doing in my room in the first place? THEA What the hell is this? Thea pushes the pile of papers and folders across the table. Sam turns from her snack-making. SAMANTHA My history project... Sam returns to her task. THEA “My Family's Curse, by Samantha Drever”? SAMANTHA Mom... THEA We've had enough problems with that bullshit, and now you go and dig it up again? SAMANTHA Mom... THEA How do you think this makes me feel, Sam? SAMANTHA Well, I didn't think you'd feel the need to search my room, for starters. THEA Sam... SAMANTHA Thea... Sam moves to the table, plate in hand. She sets her snack on the table, and sits. SAMANTHA Look, I know you don't wanna deal with this, and that's fine. It's just a stupid project. It's done, and if I don't hand it in, I fail the class and I don't go to college. THEA We were a laughing stock for years because of all this. Did you forget about all those stupid fucking movies they made? SAMANTHA Yes! Mom. I know. We had to leave New York cuz the kids at school made fun-a-me, and cuz you'd have panic attacks whenever you saw a yellow taxi. THEA Sam, don't- SAMANTHA And, to this day you can't go into so much as a bathtub of water- THEA Sam... SAMANTHA And, we still can't have bananas in the house. Bananas! You realize how dumb that sounds, mom? THEA Don't dig it up, again - I've suffered enough. SAMANTHA Right. So, dad leaves cuz he can't deal with your PTSD, but you're the only one here who's suffered? THEA Oh, and I suppose you blame me for your sister leaving, too. SAMANTHA No, Miranda wanted to go to a west-coast college. She wanted to live her life, despite what people thought. THEA You mean despite what I thought. Sam pushes her plate away, food uneaten. SAMANTHA Look, I don't wanna argue about this. It's a good project - I put a lot of work into it, and I'm gonna hand it in. I can get it back after it's graded. You can burn it, if you want - maybe that'll help. THEA How could that help? It'd help if you didn't do it in the first place. Sam sits back in her chair. She looks puzzled. SAMANTHA Have you never wondered why? THEA Why what? SAMANTHA You know – why us? Why our family? Why this 'curse'? THEA It was just bad luck, Sam. It's not a curse. SAMANTHA Great grandma Ellen thought it was. THEA Yeah, well, your great grandma Ellen was as crazy as I am. SAMANTHA So, you never wondered why it happened? THEA Oh, for Chrissakes, Sam, it was just bad luck. Wrong place, wrong time, that's all. SAMANTHA Mom, it wasn't bad luck. You know that. THEA That's ridiculous. Why would you even say that? Sam looks to the pile of papers, a dark line of confusion on her brow. SAMANTHA You didn't read it, did you? You really don't know. THEA What are you talking about? SAMANTHA The family curse. THEA Sam, it's not a fucking- SAMANTHA I figured it out, mom. THEA Figured what out? SAMANTHA The curse - I figured it out. I think I know why this happened to our family - to you. THEA Bullshit. SAMANTHA Just like that, huh? “Bullshit”? THEA It's not a curse, Sam. It was random, bad luck. SAMANTHA Really, mom!? You realize the odds of it occurring once are about 1 in 3.75 million? To have it happen six times is pretty much impossible. THEA It only happened four times. Grandma Ellen only spoke of four. SAMANTHA Yeah, but she didn't have to do a study of her family tree as a final project for history class. Sam opens a folder and begins arranging papers on the table. SAMANTHA I found two other incidents that happened before she was born – before it started happening to us. THEA What? SAMANTHA Mom, I found where the curse started. THEA It's happened in the past? SAMANTHA At least twice that I could find. In 1916, and in 1830. THEA 1830? What are you-? Are you saying that our family is actually cursed? Like, voodoo, and magic, and Jack Sparrow kinda shit? SAMANTHA I don't believe I'm saying it, but yeah, that's what I'm saying. THEA Wow, you gotta stop smoking pot, I think. SAMANTHA I'm not writing stories in purple haze here, mom. I've got proof. What do you think all this is? THEA Yeah, you got proof... Sam opens another folder and pulls out various pages, arranging them on the table so that Thea can read. SAMANTHA Yeah, lookit - ships' logs, hotel ledgers, old news clippings, marriage licenses, church records... THEA All of which supports the idea that our family is cursed... SAMANTHA Yes. Thea looks at the assortment of papers laid out before her. She looks at Sam, then the papers again. THEA So? SAMANTHA What do you mean “so”? THEA So, we're cursed - it changes nothing. I'm still in therapy, our family is still the butt-end of jokes, your father's not coming back. So what if it's a curse? SAMANTHA If it's a curse maybe we can figure out a way to make amends. THEA What, like, we'll do a ritual, or something? Build a circle of stones, sacrifice a rooster? But, only when the Moon is aligned with Mercury, of course. SAMANTHA If it stops it from happening again, then, yes. Thea looks at the project papers, shaking her head. THEA This is fucking ridiculous. Sam shrugs. SAMANTHA Mom, this isn't fiction - I didn't make this up. I found the pieces, and connected the dots. Maybe I am wrong, I dunno. But, if there's a chance... THEA Okay, fine – explain it to me. CUT TO: EXT. BENCHLEY'S HARBOUR – DAY (1) On-screen text reads: New England, June 20th, 1830 A colonial town on an east coast island, population less than a thousand. Mostly single-storey buildings clustered upon a small harbour. Chimney smoke halos the village, horse and foot traffic flows through muddy streets. A ship under sail pulls into the harbour. CUT TO: EXT. MAIN WHARF – DAY (1) William, early 20s, descends the gang plank from the deck of the merchantman, leather pack slung over a shoulder. He stops on the dock to take in his surroundings, then wanders into town with the unsure gait of a newcomer. CUT TO: EXT. MAIN STREET – DAY (1) William passes groups of rowdy seamen, stoic farmers driving wagons of goods, and even a few uppity, well-heeled types. He notes signage declaring the presence of a barber, smithy, hotel, gin-mill, haberdasher, et cetera. AMITY (OS) You should not be here. William starts, and turns to face Amity Hopewell, mid-30s - though she looks much older. She is dressed in mourning black, veil and all. WILLIAM Pardon? AMITY You'll bring trouble - I can see it in you. WILLIAM Forgive me, ma'am, you must have me confused with someone- Amity juts her finger at William, suddenly irate. AMITY Don't you interfere! Don't you dare! The Devil is wanting what's due. UGLY JOHN (OS) Oh, quit your griping, you old hag. Go back to your widow's-walk, and leave us free of your ravings. William turns to see John, 30s, an unwashed and toothless fisherman, as he draws near. UGLY JOHN Don't listen to her, lad. She's a few forks short a picnic, for certain. John continues along the road. William shakes his head. AMITY The Devil will have his due, mark my words. And all who try to stop him will suffer his- WILLIAM Ma'am, I beg your pardon, but- MARTIN (OS) Okay, Mrs. Hopewell, that's quite enough for today. Martin, late 40s, gubernatorial in every way, sidles between Amity and William. Amity immediately shuts up, eyes locked on William. MARTIN We don't need you starting a panic with every stranger what walks into town. Amity opens her mouth to continue her diatribe; Martin presses on. MARTIN Now, I'm sure you've much to do on this fine day, Mrs. Hopewell. I, myself, shall take care of our new friend here - make sure he finds his way to where he's going. After a baleful look for the pair, Amity storms away. William and Martin wait until she is out of earshot. WILLIAM Sir, I meant no offence. I assure you, I- MARTIN No, it's quite alright. Mrs. Hopewell is known as somewhat of a character around here. Most learn to smile and give latitude to her rants. Martin chuckles, then extends his hand in greeting. MARTIN I'm Martin Blaney. Mayor of Benchley's Harbour. Martin and William shake. WILLIAM William... MARTIN Just so you know, William, I'm also the Sheriff around these parts, too. Now, I ain't pointing no fingers, but as a newcomer you should know I can't have anyone thinking they can disturb the peace. These are nice folk around here. WILLIAM Well, sir, you should know that I've no desire to disturb your peace. In fact, I think I should rather like to add to it. Martin sizes William up for a second. MARTIN You got a room yet? WILLIAM No, sir. Martin waves a beckoning hand. MARTIN C'mon. I'll get you set up. William falls in beside Martin, and they walk along the road. MARTIN So, William, what brings you here? To add to our peace and quiet? WILLIAM Yes, sir. Seems as good a place as any. Settle down, start a family. MARTIN You a fisherman? Farmer? WILLIAM No, sir. Ditch-digger mostly. MARTIN You got money? William gives Martin a sidelong glance, then looks around for eavesdroppers. WILLIAM I've enough to pay my way until I find work. As I said, I'm not here to cause trouble. MARTIN No, of course. What I meant was, if you are looking for work, I have a few things you could do. Honest work. Get you started. William sizes up Martin for a second. WILLIAM Thanks, I appreciate the offer. Give me a day to settle in, get my bearings, and I'll let you know. MARTIN Of course. Here we are then – the Saxon. CUT TO: INT. SAXON HOTEL COMMON ROOM – DAY (1) Clean and bright, the Saxon hotel is, of two in town, the more luxurious. Lounge-bar, gambling tables, piano and stage. A pair of well dressed serving girls, and a moustached barkeep. Cozy rooms upstairs, kitchen in the back. Martin leads William to the bar. MARTIN Ah! A good day to you, Mister O'Brian. O'Brian, mid-20s, accent befitting his name and handsome in that Dapper Dan way, drapes a pristine bar-towel over a shoulder. His waxed moustache twiddles as he speaks. O'BRIAN A good day to you, sir. Shall I tell Heather you're here to see her? MARTIN Ah, no– This young man, here, is new to our little town, and finds himself in need of a room until he can get settled. O'BRIAN Oh, of course, Mr. Mayor. And, may I thank you for showing him to the Saxon, sir. MARTIN You do have a room to let, yes? O'BRIAN Oh, certainly, sir. Only the best. William clears his throat, and motions to Martin his wish for a private conversation. They move away from the bar a few steps. WILLIAM (SOTTO VOCE) I wasn't lying when I said I had money, but not enough for this kind of place. MARTIN Don't worry about that right now. Besides, it isn't the rooms that are costly, it's the entertainment... Martin lays a finger along side his nose, winks, and smiles, looking passed William. William turns to follow his gaze. WILLIAM Whoa... Descending the stair to the second storey come three barmaids, each dressed sexy/classy. William's gaze focuses on the one in the middle, the redhead. MARTIN Well, lad? William blinks, regains himself. WILLIAM Yeah. I could say here a few nights. Wouldn't kill me. Y'know, treat myself. Martin smiles broadly. CUT TO: INT. HALLWAY – NIGHT (1) William exits his hotel room. He is clean shaven, bathed, and in fresh clothes. He closes his door, and moves down the hall. CUT TO: INT. SAXON HOTEL COMMON ROOM – NIGHT (SAME TIME) William descends the stairs into the common room. A dozen people fill various tables and bar-stools, drinking. Others stand at gambling tables, playing cards or dice. William looks around, then picks a table for himself. Heather, late 20s, dark-haired and voluptuous, approaches. HEATHER Good evening, sir. You find the room to your liking? WILLIAM Yes - very comfortable, thank you. HEATHER Can I get you something to eat, or drink? WILLIAM Um, yes, I'm starving. I – Say, is your name Heather? HEATHER That's right... WILLIAM You're Martin's wife, yes? Uh, Mayor Blaney? HEATHER Goodness, no. Why, did he say something to you? WILLIAM Oh! No, he didn't. It's just – the barkeep offered to get you when the Mayor and I arrived. Forgive me, I just assumed... HEATHER Hmm... “Mrs. Heather Blaney”. WILLIAM Hey now, listen - I didn't mean to start- HEATHER I'm gonna think about that some more, while I get your food. Heather smiles, and moves to the kitchen. William causally scans the common room, as he awaits Heather's return. An uproar from one of the gambling tables draws his attention - Ugly John, there with his beau, has obviously lost. UGLY JOHN What kind of horseshit dealer are you! I had two queens showing, and you pull that outta your ass! William watches the commotion. The dealer patiently shrugs, and endures Ugly John's rant. UGLY JOHN C'mon Mary, let's get outta here. We'll head over to the Randy Bear - where the dealers don't cheat! Arm around a swaying Mary, Ugly John staggers to the door, and they exit. Heather returns to William's table, bearing a platter of food and a bottle of wine. HEATHER What was that about? WILLIAM I don't know - I guess some people just have bad luck. CUT TO: EXT. SOUTH BEACH – NIGHT (1) Ugly John and Mary stagger arm-in-arm along a narrow slice of white beach-sand. The sky is moon-less and star-less; the water is blacker, still. He carries a nearly empty bottle of liquor. UGLY JOHN (SINGING) Had a bit a drink- an hour ago- got right to my head! Mary reaches for the bottle, feebly. MARY Gimme- gimme the rum, John. UGLY JOHN Bah! You always drinking it all. John tries to hand her the bottle - they fumble once, then get it right. UGLY JOHN I gotta see a man about a horse. John turns and staggers out into the surf. MARY I always knew you were fulla shit. You stupid bastard. UGLY JOHN Shut it! John flails a hand in Mary's direction, as he plods away. Up to his groin in water, he stops; he lowers his pants and squats. Mary sways and staggers about the beach, drinking heavily from the bottle. She stumbles, falls to her ass, then flops back onto the sand, unconscious. JOHN (OS) (SINGING) Tired an I wanna go t'bed! I had a bit a drink 'bout hour ago- John's singing abruptly stops. Mary rouses slightly, then falls back to sleep, empty bottle in hand. John has vanished. CUT TO: INT. SAXON HOTEL COMMON ROOM – DAY (2) William descends the stair to the common room, clearly hungover. The common room is empty of patrons. He finds the nearest table, and sits. Joan, a barmaid in her late teens, approaches with a pot of coffee. JOAN Morning. William smiles weakly, and nods. JOAN Coffee? William raises his brows and nods. JOAN Rough night? WILLIAM You could say that. The wine you make in this town is quite good. JOAN Thanks - I'll tell my da you said so. He makes it. You want anything to eat? William looks nauseated and shakes his head. Joan chuckles, not without pity, and moves off to her duties, elsewhere. William nurses his coffee, and his hangover. Of a time, the front door opens, and Martin enters. MARTIN Ah, William... Martin approaches William's table, and stands behind a chair. MARTIN How are you, today? William smiles weakly, and nods. He holds out a hand, offering the empty chair to the Mayor. Martin sits. MARTIN So, how did you enjoy your first night in town? WILLIAM Can't say I recall. Martin chuckles. MARTIN Shall I take that as a good sign? WILLIAM Difficult to say... Joan returns to their table. JOAN Good morning, Mayor Blaney, would you like some coffee? MARTIN Morning, Joan. Yes, please. Thank you. Joan fills a cup for the mayor, then moves off to the kitchen. Martin watches her go. MARTIN So - make any new “friends”? WILLIAM Mm, I do remember having a chat with one. Nice girl. Pretty, too. MARTIN Ooo, do tell. WILLIAM Uh, said her name's Heather. MARTIN Indeed? WILLIAM Well, from what I recall, anyway. MARTIN Of course. WILLIAM Seems I may have even put the idea of wedding bells to the fore of her mind. MARTIN You said, “Heather”, did you? WIILIAM Yes - lovely. She's a charming girl. Very... gregarious. Martin shifts in his seat. He swallows heavily. MARTIN You got on well, then, did you? William takes a long, purposeful sip of his coffee. WILLIAM It would appear... MARTIN And, wedding bells? William shrugs. WILLIAM Seems that way? MARTIN After only one night? Marriage? WILLIAM Oh, not to me, to be sure. But you, good Mayor, might be in a lot of trouble. MARTIN Me? WILLIAM Heather has the morning off, I believe. You do have time to escape her, if you wish. Likely, she is off to find a wedding dress. William gives Martin a knowing smile. Martin laughs. WILLIAM But, if she's not here, good sir, why are you? MARTIN To speak to you, actually. I thought I'd drag you over to the town hall. I'll put on my mayor hat, offer you that job I mentioned. WILLIAM Oh, yeah. Sure. MARTIN Also – and, now I'm wearing my sheriff's hat – do you remember a fisherman here last night? Ugly as sin, rude, more than likely more than drunk? WILLIAM Um, yeah, I think so. Um, was with a short woman, dark-haired..? MARTIN Yeah, that's him - her name's Mary. WILLIAM Mary, that's it. Yeah, I saw them here. MARTIN Any chance you know where they got off to? WILLIAM No. They stormed out of here because he was losing at the card tables. I haven't seen them since – well, not that I remember. Why, he do something wrong? MARTIN No – it's probably nothing. Wouldn't be doing my job if I didn't ask. And, on that – how about we finish our coffee, then head over to town hall? CUT TO: EXT. MAIN STREET – DAY (2) William and Martin exit the Saxon Hotel, and turn up the main road. As they go, William notices Amity Hopewell watching him from her widow's walk. He ignores her glare. CUT TO: INT. TOWN HALL – DAY (2) William and Martin enter the town's hall, and move passed orderly rows of chairs. They are in the midst of conversation... MARTIN The fire destroyed the whole town, everything but the church. I wasn't Mayor then, of course. WILLIAM Where were you? MARTIN This was seven years ago - I was still off exploring the world. At the far end of the room they arrive, at a door marked “office”. Martin fumbles a key into the lock. MARTIN Fire nearly killed the town outright. Half the people moved away, most to Bridgehampton or East Hampton. The ferries and merchantmen didn't come around for years. Not like they should've, anyway. The key turns in the lock, and Martin pushes the door open. CUT TO: INT. MAYOR'S OFFICE – DAY (2) Martin and William enter. William looks about as Martin shuts the door. Though small, the office is comfortable - a lot of mahogany, and brass, and leather. A collection of items fills the available spaces – strange weapons, wooden masks, odd statuettes, hand-drawn maps, primitive musical instruments - it's a museum crammed into an office. Martin bids William take a seat, then moves to fill the chair behind his desk. MARTIN So, to business then. Summer is upon us and the town needs road-work. Winter and spring were especially bad this year - the main road is a pig-sty. I've put a crew together, but half of them show up drunk, if at all. Pays well, and the work'll last until the rains return. WILLIAM That'll do fine. Martin opens a drawer, pulls out a ledger, and sets it on the desk. He opens it, and readies a pen. MARTIN I just need you to make your mark in the town's ledger. Then it's official. WILLIAM Sounds good. William signs his name where the Mayor indicates. WILLIAM What of work when the rains do come? Martin retrieves the ledger, and makes his own marks therein. MARTIN There's enough to be had. Really, what you'll earn over the summer should get you through winter. The roads will be bad enough next year to warrant another crew. And, new roads will need to be cut as the town grows. William nods, but has grown obviously distracted by the collection of strange artifacts about the office. MARTIN Impressive, eh? WILLIAM Oh, sorry. Yes, it is. Some very unique objects. Martin stands, and slowly walks about the office. William turns in his chair to follow. MARTIN My brother and I were quite the adventurers in our day. Went anywhere a ship would take us. Collected treasures from all over the world. WILLIAM What's that one there? Upon a shelf rests a short, tapered flute, made of yellowed bone and adorned with scarlet feathers. MARTIN Uh, that's an Ungari flute - I got that from a tribe in Africa. WILLIAM And this? Upon the Mayor's desk stands a small, alabaster statuette – a slender woman in a flowing dress, frozen in mid-twirl. MARTIN That I bought in a shop in Tortuga. And, see that sword above the door? We took that off some git who tried to waylay us in Venice. WILLIAM And, that? Upon a shelf sits a stone, dark and smooth, about three-inches in diameter. MARTIN Oh, that's just a rock. I got that from the Sandwich Islands. I mostly use it for bookends. WILLIAM Goodness, you've been to the Sandwich Islands? MARTIN As God as my witness, I have. Joseph – my brother - and I heard tale of Cook's voyage there. We were hooked on the idea ever since. WILLIAM You went to the Sandwich Islands, and all you brought back is a rock? MARTIN Joseph said the same thing at the time. You should have seen the look he gave me. WILLIAM Speaking of dirty looks – who was that woman who accosted me yesterday? Martin returns to his seat. MARTIN Oh, you mean Mrs. Hopewell? WILLIAM That's the one. I saw her today, on our way here. She was watching us from her widow's-walk. Marin leans back in his leather chair. MARTIN Pay her no mind; she's a decent woman. Just, since her husband died, she hasn't quite been the same. Always ranting on about the Devil. WILLIAM I noticed. MARTIN For a time, she even tried to keep the men from fishing. Said the same would happen to them what happened to her husband. WILLIAM How unfortunate. MARTIN I think she means well, but it does cause problems, now and then. My first task as Mayor was to quell rumours that she was a witch, what with all her devil-talk, and accosting people in the street. WILLIAM Poor, woman – you don't think she's actually a witch, do you? MARTIN Goodness, no. No, she's just had a run of bad luck, is all. CUT TO: EXT. SOUTH BEACH – DAY (2) A solitary boy and his dog wander along the crescent-shaped beach. Billy, nearly ten, plays fetch with the dog. He throws a stick on ahead of him – the dog sprints to it, and Billy busies himself examining the shells, and rocks, and tiny crabs. Billy looks up to see his dog chasing gulls, stick held in its mouth. BILLY Pippet! Pippet! C'mere boy! Pippet rushes back and drops the stick at Billy's feet. Billy throws the stick again. As Pippet runs to fetch, Billy returns to the shells and crabs. Pippet bounds toward the stick, then angles off into the surf, intent on the gulls floating off-shore. Billy looks up from his play and sees no sign of his dog. He stands, shielding his eyes against the sun. BILLY Pippet! Pippet! Billy looks up the beach, and down, then turns about himself, scanning the shore beyond. BILLY Pippet! Pippet! C'mon boy! Billy turns to face the waves. In the glare of the sun, he spots a dark object floating in the surf, not ten feet from shore. BILLY Pippet! C'mon boy! Billy walks to the hard-sand, waves crash about his shoes. BILLY Pippet, c'mon now... Billy looks about nervously, then wades out into the water. BILLY Pippet? Arms held high, water-level at his chest, Billy reaches out and grabs the floating object. He pulls it towards him through the water, and holds it up to get a better look. It is a pair of woollen trousers, shredded and torn. Billy lets the clothing fall back into the ocean. BILLY Pippet? Billy turns to head back to the beach. Upon his first step, an unseen force jerks him beneath the water before he can call out. He never resurfaces. CUT TO: INT. SAXON HOTEL COMMON ROOM – DAY (3) William descends the stair to the common room, yawning. Despite the early hour, the place is abuzz with activity. A dozen local fishermen are leaving the Saxon as a group, urgency clear in their movements. The Mayor is present, along with a woman who has obviously been crying. She is Lise, Billy's mother. Martin is in the midst of comforting her... MARTIN Now, you go home - try and get some sleep. We're gonna do everything we can. Okay? Lise only nods, and exits the Saxon. Martin watches her go, as William sidles next to him. WILLIAM What happened? MARTIN Mrs. Eldrich. Her little boy didn't come home yesterday. Had men out all night, searching. The fishermen are going out to check the shoreline and water. WILLIAM Anything I can do to help? MARTIN Fresh pair of eyes couldn't hurt, if you're up for it. WILLIAM Just tell me where you want me. CUT TO: EXT. SOUTH BEACH – DAY (3) William walks at the water's edge, diligently scanning the area as he goes. He stops to examine a large clump of seaweed; finding nothing, he moves on. Occasionally, he cups his hands around his mouth, and shouts the missing boy's name. The light waning, face wind-blushed, William reaches the end of the beach. Seeing nothing of note, he turns back the way he came. With a start, he beholds a dark-clad figure standing at the water's edge, looking out to sea, a stone-throw away from him. It's Amity Hopewell. CUT TO: EXT. SOUTH BEACH – SUNSET (3) William walks towards Amity, speaking as he moves; he stops a few paces from her. WILLIAM Mrs. Hopewell? Mrs. Hopewell are you okay? Amity sniffles, as if crying, her gaze locked on the horizon. William walks behind her, and dares a step towards. WILLIAM Mrs. Hopewell? Do you remember me? My name is William Br- AMITY The Devil wants his due. WILLIAM Ma'am? AMITY He's travelled far, waited long. Always waiting. WILLIAM Who, the Devil? Amity turns to face William, hands held behind her back, as if to hide something. She seems terrified. AMITY He wants his due. He wants what's his, or he'll never stop. WILLIAM Mrs. Hopewell, I don't mean to be unkind, but you're not making any sense. AMITY The Devil roams this town, and his Beast is with him. He wants what is owed. Don't you see? William moves a step closer. WILLIAM The Devil and his Beast are in town? To collect what - what is owed? AMITY No, the Devil is here, and the Beast is out there! It won't stop killing until the debt is paid. WILLIAM Is that what happened to your husband? He owed the Devil, so the Beast killed him? AMITY He got in the way - he interfered. He didn't know to stay out of the way. WILLIAM Your husband was innocent, then? The Devil wasn't after him, but he killed him anyway? Amity looks passed William. A look of terror befalls her. AMITY He's there! Right there! Look at him! Look! William looks over his shoulder and sees nothing. As he turns back to Amity, a wave crashes upon the beach behind him - the water washes around the feet of some invisible being. WILLIAM No, ma'am, I don't see him. Amity deflates. WILLIAM Ma'am, can I ask what you have in your hands? AMITY How many more must die? WILLIAM Ma'am? AMITY Too many have died... Amity moves her hands from behind her back. She holds a leather shoe, child-sized, the foot and ankle still within. FADE OUT: FADE IN: INT. MAYOR'S OFFICE – DAY (4) Martin, dressed in his Sunday-best, reclines in his chair, staring absently out the window. There is a knock at the door; it opens enough for William to poke his head in. WILLIAM I know you probably don't want to be bothered, but I thought you might be interested in this. William's hand enters the room, holding a bottle of liquor. Martin snorts a laugh and waves him in. The rest of William enters – he too is dressed as if for church. He closes the door and sits. William places the bottle on the desk between he and the Mayor. They watch each other a moment; a grin slowly appears on William's face. WILLIAM So, how was your day? Martin laughs and reaches for the bottle. MARTIN It was great... Martin uncorks the bottle, takes a swig, and passes it to William. MARTIN ...As far as funerals go. WILLIAM Not a thing a mother should have to do – attend a funeral for her own child. William drinks from the bottle, winces, and passes back. MARTIN Especially when there's not enough to be buried. Martin drinks and passes; William takes his turn. WILLIAM Any sign of John, yet? Ugly fisherman? William offers the bottle; Martin takes it and shakes his head. MARTIN I figure he's hole up somewhere. Passed-out drunk in a ditch, or something. William and Martin take turns drinking in silence. WILLIAM You get funerals like this often? William slips in a second swig before he passes the bottle. WILLIAM You know, ones where there is not enough to be buried? MARTIN No. Well, I mean, fishermen – if they're worth their salt – are always short a finger or two, come old age. A lost hand or foot, maybe. WILLIAM What about Mr. Hopewell? MARTIN Mr. Hopewell? What are you on about, William? WILLIAM How did he die? Martin drinks, but doesn't return the bottle. MARTIN Struck ground. Two-years ago. Put a hole in his boat. Fishermen found it one morning, adrift, taking on water. They never did find him. That's why she still wears the widow's black – she never got to bury him. Martin watches William a moment, drinks from the bottle and hands it over. MARTIN Why so curious, William? WILLIAM I was thinking about what she said to me on the beach. About how the Devil wants his due, and how he'll kill until he gets it. MARTIN Come now, you're not buying into her nonsense, are you? WILLIAM Of course not. I'm just thinking - what if there is some crime here? Someone run afoul of a moneylender, perhaps. One who'd kill until he gets his due. See what I'm saying? Martin adjusts his seating position. MARTIN There's nothing going on here but a bit of bad luck. A missing drunkard, and a drowned boy. That's all. The only real problem is that damned woman and her damned devil-talk. CUT TO: EXT. MILL ROAD – DAY (4) William and a team of labourers repair the road inland. Men work shovels to expand ditches, others haul barrows of gravel to bed the road. Though focused on his work, William listens to the crew's gossip. MARK It's true as my nose is big. She took'im – took'im whole for her bloody dark magics. Bloody corpse-bothering, and hexes, and infernal pacts... Many of the work crew laugh at the suggestion. TIM It be true that you got a big nose. JACOB And, it gets bigger the more you talk. The crew's laughter swells. MARK Bah! You're all daft. Mark my words, she's the culprit. And, I'll not blink an eye if'n she were the cause of John's vanishing, as well. WORKER #4 Ugly John? He's half again her size, and a brawler to boot. Even if he were soused, John'd drop her like a rock if she tried- MARK She's a bloody witch, boy! She's not gonna sally up and brawl him. She's got her dark magics to call upon – she can turn him to a gnat, or boil up all his blood with a snap of her finger. TIM Because that's what witches do, right? Go around offing people in town for no reason- MARK It's not 'no reason'. You've heard her as well as I, about the Devil wanting his due. She's here on his behalf, collecting souls... The work crew's laughter is quiet, nervous, and does not affect as many as before. EDWARD I say she ate him up, bone and all. JACOB Yeah, like she did her husband. TIM She didn't eat him up, he drowned. JACOB Which one? The boy or the husband? TIM Either. John, too, for all I know. MARK So, you're saying it's just bad luck what killed them? TIM Against the idea that she's eating people so as to send their souls to the Devil? Yes. MARK Bah! TIM Her husband's boat strikes a reef, he goes over – drowns. John, likely drunk, falls in the drink - drowns. Boy on the beach; wave pulls him in, tide pulls him out - drowns. Seems an easier tale to spin than what you're carding for, is all. The work crew falls silent, and their work continues. William leans on the haft of his shovel, resting. He draws a rag across his brow, wiping away sweat and dirt. He glimpses a dark-clad figure standing far down the road, watching them. CUT TO: INT. SAXON HOTEL – NIGHT (4) William descends the stair to the common room, which is filled with cigar smoke, people, and music. Though large, the crowd is sombre. With every table full, William opts for a spot at the bar. O'Brian moves to serve him immediately. O'BRIAN What'll you have? WILLIAM Pint. O'Brian nods, and leaps to it; William casually scans the crowd as he waits. He sights the red-headed barmaid across the room; he watches her a moment as she works. O'Brian returns with William's drink. O'BRIAN Here you are, sir. WILLIAM Thank you. I was wondering the name of that serving girl. O'BRIAN That titian-haired lass is Samantha O'Corrigan. Everyone calls her Sammy. WILLIAM Samantha... O'BRIAN Caught your eye, eh lad? WILLIAM What can you tell me about her? O'BRIAN Mm, not much. Save that she'll be done for the day, soon. She might require a decent fellow to see her home. Smiling, O'Brian winks a gleaming eye, then moves off to attend to his duties. William sips great mouthfuls of ale, finishing the drink quickly. With eyes on Sammy, he stands, smartens himself, and strides boldly across the common room. CUT TO: EXT. SOUTH BEACH – NIGHT (4) William and Sammy walk along the moon-lit beach. Sammy, 19, has William's coat around her shoulders, clutched at the neck; he carries her shoes. They are in the midst of a conversation... WILLIAM I think that is the first I've heard anyone laugh today. Sammy's giggle subsides. SAMMY Aye, such a dour day. Poor Mrs. Eldrich, bless her. 'Tis not a thing a mother should have to be doing, burying her child. They walk in silence a moment. SAMMY There I've gone and brought the mood down, haven't I? WILLIAM The mood was already down - you've altogether bettered it. SAMMY 'Tis kind of you to say... WILLIAM You sure this is a short-cut? SAMMY Just a bit more, and there's a path. It leads right to my da's farm. William looks ahead; far down the beach he sees a dark-clad figure standing on the moonlit sand. SAMMY So, how many times have you been to New York? WILLIAM Only the once. I was there for a few months, before I decided to come here. SAMMY Did you not like it, William? WILLIAM No, it's not that. Just not really used to big cities. Looking ahead, William spies the dark figure, seemingly closer than before. SAMMY Here 'tis... They stop at a spot where a narrow path cuts through the tall beach-grasses. SAMMY My house is up the path a ways, and across the field. WILLIAM Then, I will say goodnight, here. I wouldn't want your father to think I had poor intentions. William returns her shoes, and she, his coat. SAMMY Thank you for accompanying me, William. Goodnight. WILLIAM Goodnight. William watches Sammy go; she vanishes into the night. He then moves out onto the sand, looking down the beach. He spots the dark figure, a hundred paces away, and begins to walk towards it. WILLIAM Mrs. Hopewell? William moves to a trot. WILLIAM Mrs. Hopewell, are you okay? William stumbles in the sand as he closes the distance. WILLIAM Ma'am? More than halfway to his goal, William slows to a quick walk, eyes intent on the darkened figure. It casts no shadow under the moonlight; the breeze does not touch it. WILLIAM Mrs. Hopewell? The dark figure turns sideways, and vanishes, as if two-dimensional. William reaches the spot where the dark figure stood. WILLIAM Mrs. Hopewell? William scans the beach around him, then the sand at his feet. Finding nothing, he looks about, as if lost. Something startles him, and draws his attention to the water. There, a flat-bottomed fishing dory flounders off-shore, low in the water. William moves to the shore-line, studying the twenty-feet of water between he and the craft. Hesitantly, he enters the water to his knees. He spots the crafts' prow-line in the water, snags it, and begins to pull the dory ashore. Upon his first step on solid ground, an unseen force pulls the rope against him, with such violence that William is yanked off his feet. Backwards he flies, to land heavily in the water. William struggles against the crashing surf, regains his footing, and retreats back to dry-land. He watches the derelict craft plough through the water, as if under its own power, until it is caught broadside by a wave. The craft flips, and comes to a halt in the sand, thirty feet up the beach. William, breath laboured, scans the waters offshore, wide-eyed and trembling. CUT TO: INT. MILL ROAD – DAY (5) William and the road-work crew continue their repairs to the Mill Road. The workers are in the midst of conversation... TIM His head? MARK Just his head. They found his dory this morning, off South Beach. Only bit of him on-board was his head. TIM And, you're saying she did it? JACOB Wait - Ben Tailor is dead? MARK That's what I've been saying, isn't it? And, yes, I'm saying she did it. TIM Yeah, pull the other one... MARK Not with her own hands, you git. It's her foul magics what doomed him, and there's naught but a piece of him left. Just like the Eldrich boy. TIM And Ugly John? If she's culprit for his demise, too, where is the torn bit of him? MARK Haven't found it yet? Fish and crabs got to it? EDWARD I don't buy that – John's too ugly for the crabs to eat. MARK Then, she has it. Upon some unholy shrine, somewhere. JACOB I knew Ben, he was a good man. No reason for anyone to want to harm him, let alone- MARK He was one of them who went out looking for the boy. She probably couldn't stand for his interfering. TIM The Lowe brothers went out, too – so did a dozen others. Ain't nothing happen to them. MARK Nothing, yet. And, not just them – could be anyone of us. JACOB He was a good seaman, he knew these waters... TIM I still say you're full of shite. The sea's a dangerous place - anything can go wrong. The whole thing's full of seaman's bones, and not for fact of any witchcraft, or devilry. MARK It's how they found her husband, don't you know. Just his head, rolling about the bottom of his sinking boat, not twenty feet from shore. The crew stop working, all eyes on Mark. TIM That's not true – they never found his body. MARK No, no - thems who found him were so terrified, they dropped what they found back to the sea, and said nothing of it. TIM Why would they do that? It makes no sense. JACOB Wasn't Ben one of them who found Mr. Hopewell that day? The crew look to each other; a growing nervousness spreads. MARK First her husband, and now Ben. Found in the same state. And, the boy... Can you say for certain it's only bad luck? TIM Right, then... if'n it's true what you say, and Mrs. Hopewell is in league with the Devil – you really think you ought be saying these things aloud? JACOB Yeah, might just be that we find your head lolling about the surf one day. EDWARD And, yer not so ugly as John, so the crabs will love you! Few of the work crew laugh. Mark waves them off, as they all get back to work. Mark turns his attention to William. MARK You there – William. You've not said nothing about all this. What do you think? WILLIAM Well, I'd have to agree with them – you are not so ugly as John. CUT TO: INT. SAXON HOTEL – NIGHT(5) Another busy night in the Saxon. William sits at a small table with Sammy. Heads close, they are in the midst of conversation... WILLIAM Then, a wave hit the dory, and tossed it on the beach. After that, I got up and went to wake the Mayor. SAMMY That must have been terrifying. Were you hurt? WILLIAM Not exceptionally, no. Sammy stares at him a moment. SAMMY Well!? What do you think it was? WILLIAM Like I said, I thought it was Mrs. Hopewell. The black dress and- SAMMY No, not that. What do you think it was what pulled you into the water? WILLIAM I don't know... maybe the tide caught the boat? SAMMY You don't think it was Mrs. Hopewell, then? I mean, her witchcraft? WILLIAM No, I don't think she had anything to do with it. SAMMY But, you said you saw her there, on the beach. Watching us. WILLIAM I thought I did. From afar, I assumed it was her. I never did get close enough to find out. It could have been anyone, really. Trick of the light, even. SAMMY So, what did Mayor Blaney say, then? WILLIAM After he sent men down to the beach, he went to Mrs. Hopewell's home to check on her. Said she hadn't left her house all night. SAMMY What'd he say about you and the incident with the boat? WILLIAM I didn't mention it. I just told him I came upon the dory after I had walked you home. SAMMY Not so sure it was the riptide, eh William? They share a laugh. WILLIAM Well, maybe a little unsure. But I- A commotion in the common room distracts them. Men are leaving their seats to join a raucous crowd outside. Some patrons and staff press to the front windows to get a look at the throng. WILLIAM What's going on? SAMMY I don't know. WILLIAM Wait here. William stands, and leaves the Saxon. CUT TO: EXT. MAIN ROAD – NIGHT (5) A group of about twenty marches down the road. They are your classic lynch mob – torches, farm tools as weapons, and a pre-fashioned hanging rope. William runs to catch up to the mob, joining them as they reach their destination – Mrs. Hopewell's home. Already, the Mayor and two men stand between the mob and the front door. MARTIN I should arrest the lot of you for showing up here like this. MAN #1 We have the right to protect ourselves! MARTIN Not like this, you don't. MARK She's in league with the Devil. You've heard her talk, you've seen what happens. MRS. ELDRICH She took my boy. My boy is gone, and she took him. WOMAN #1 She's a witch, here for the souls of our children! WOMAN #2 We must think of the children! MARTIN With respect, Mrs. Eldrich, there's nothing to suggest Mrs. Hopewell was involved in the death of your son, or anyone else for that matter. MARK She was found with his remains! MAN #2 Yeah, that's evidence enough! MRS. ELDRICH She had my boy! She had my boy's- Mrs. Eldrich breaks down sobbing, unable to continue; a woman nearby moves to comfort her. MARTIN If you wish to make a case of murder, then you may proceed in a legal manner to that end. But, if your complaint is witchcraft, to be resolved by a hanging without trial - those involved will face a charge of murder. WOMAN #2 My daughter fell ill of seeing that witch appear in her dreams. MAN #3 She skulks the beach and scares the fishes away – we've hardly caught a thing in days. MAN #4 Yeah, we seen her from our boat, standing on the shore, staring right at us- MARTIN Any spectral evidence you have will be addressed by Father Audette at proper trial, if you wish to make a case of witchcraft. MARK Why are you protecting her? MARTIN Fetch Father Audette now, and he'll decide- Amity Hopewell appears on her widow's-walk, above. AMITY I did not bring this evil – one of you did! You brought the Devil, and my husband paid for your greed and- A stone strikes Amity in the forehead; she swoons and collapses upon the widow's-walk . The mob throws more stones. Martin and his deputies leap to quell the uprising. DISSOLVE TO: INT. THEA'S KITCHEN – DAY (Present) Thea looks up from the array of papers on the kitchen table. Smoke forms a low-hanging cloud about her. THEA So, they hung her, and she cursed us... SAMANTHA Mm, not quite. THEA Then, what happened to Amity? SAMANTHA Okay - so, it's decided she be put on trial for witchcraft. She's registered as a prisoner at the town's jail, by the priest. That was June 27th, 1830. THEA Why the priest and not the mayor-sheriff guy? SAMANTHA Not sure. It only says they put her behind bars 'for the iron would contain not only the wickedness of her body, but that evil what dwells within'. THEA What does that mean? SAMANTHA It was like a superstition, or something - they thought iron kept evil away. So, they figured she wouldn't be able to use her powers while in jail. THEA Okay, so they lock'er up, and... SAMANTHA And, the priest performs the first test to see if she is corrupted by the Devil, which she passes with flying colours. THEA What was the test? SAMANTHA Uh, she was made to recite the Lord's Prayer. THEA That's it? SAMANTHA Guess so. THEA Well, I guess that makes sense. And she did it, and nothing happened? SAMANTHA What do you mean? THEA Like, reciting the Lord's Prayer didn't make her eyes bleed, or her head spin around? SAMANTHA I dunno, just says she passed the test, and the priest was satisfied she was no immediate danger to the town. THEA Okay, so then what? SAMANTHA Amity Hopewell spends a total of two days and three nights behind bars. Somewhere in that, they search her house and find nothing. THEA Nothing? SAMANTHA In fact, they were surprised her house contained things like holy crosses on the walls, and a copy of the Bible at her bedside. THEA Things a Satan-worshiping witch wouldn't really have lying around. SAMANTHA Exactly. THEA Maybe the crosses and Bible were her cover. Maybe she had, like, a hidden Satan-worship torture room somewhere. SAMANTHA Well, if she did, there's no mention of it in what I found. THEA Okay, whatever. She's in jail for two days... SAMANTHA She's in jail two days, they search her house, and everything's fine. Ben Tailor's funeral happens on the 28th of June, and the date for Amity's trial is set for the 30th. THEA They bury his head... SAMANTHA Yeah, they bury what's left of him, set the trial date, but then the priest leaves town. THEA He leaves town? What the fuck? Was he scared, or something? SAMANTHA Best I could figure, a nearby town called him in to perform a wedding. THEA Let me guess – while the priest's gone, Amity escapes. SAMANTHA ...Not exactly. DISSOLVE TO: EXT. CHURCH – DAY (7) Father Audette exits a side-door of the church, leather travel case in hand, headed toward a waiting horse-carriage. A young acolyte follows after him. They are in the midst of conversation... FATHER AUDETTE Quit worrying, David. I will be back before nightfall. DAVID But, Father, what about the-? FATHER AUDETTE You just get things ready for Father Geoffrey's arrival, and we'll discuss it when I get back. Okay? DAVID Yes, Father. Father Audette loads his luggage onto the carriage, then climbs aboard. The carriage's driver snaps the reins, and they head down Mill Road. CUT TO: EXT. MILL ROAD - DAY (7) The carriage carries the priest along the road, passed William and the road crew who work to recondition it. The crew gives way to the carriage. CUT TO: EXT. SOUTH WHARF – DAY (7) The carriage rattles towards a small cluster of buildings on the shore of an estuary, where a small wharf holds a trio of watercraft. Father Audette exits the carriage, retrieves his bag, and heads to the wharf-master's shack. The carriage driver turns his team around as soon as the Father is clear, to head back to town. CUT TO: EXT. WHARF-MASTER'S SHACK – DAY (7) Father Audette approaches the shack; the door opens to let out Henry, the aging wharf-master. HENRY A good day to you, Father. What brings you down here? FATHER AUDETTE Good morning, Henry. I've got to pop on over to Wixbourough again today. HENRY Ah - Father Bessons' still sick, is he? Well, come on, then – I'll get Daniel to bring you across. CUT TO: EXT. SOUTH WHARF – DAY (7) Father Audette boards a wooden row-boat moored nearby. Daniel, 30s, tosses the priest's bag down, then climbs aboard. They settle in, and Daniel begins to row the craft across the mile or so of water, to the other side of the estuary. CUT TO: EXT. SOUTH WHARF – DAY (SAME TIME) A solitary boy of twelve, Alex, plays in the beach sand, not far from the wharf proper. He whispers to himself as he builds sandcastles. In the near distance, a row-boat plies across the calm water, carrying Father Audette to his destination. Alex looks up from his play and sees a figure standing against the sunlight, not twenty-feet away. The stranger stands facing the waves, back hunched, clad in a hooded-cloak as black as dark-matter, which hangs untouched by the wind. The figure casts no shadow under that mid-morning sun. ALEX Hey, mister – you like my sandcastle? The stranger remains motionless. Yonder, the distance between the row-boat and the shore grows. ALEX Why you wearing that cloak, mister? It's not that cold this morning. The stranger neither moves, nor answers; the boy shrugs and returns to his play. In the distance, the row-boat suddenly lurches in the water, and spins violently upon a spot. Alex looks up from his sandcastle, distracted by the commotion. Daniel fights at the craft's oars; it comes to a rest facing backwards. ALEX Hey, mister, are they okay? Yonder, the row-boat suddenly flips over in one great heave, tossing Daniel and Father Audette in the drink. The boy looks to the stranger; the stranger turns to walk away, his dark cloak hanging motionless as he moves. There, across the whole of his back, the cause of his stooped posture – a great maw, filled with rows of large, serrated teeth. Alex's face whitens, his mouth falls open in an endless yell. DISSOLVE TO: INT. CHURCH – DAY (8) Many of the townsfolk gather in the church, filling the pews, to witness the trial of Amity Hopewell. We see a montage of witnesses, young and old, as they take the stand. SAMANTHA (VO) With the death of Father Audette, a priest from another town – Father Geoffry – arrived to conduct the trial. WITNESS #1 She entered my daughter's dreams, and caused her a sickness. DISSOLVE TO: WITNESS #2 Walk by my farm, she did. Now there's a blight of grasshoppers o'er the whole place. DISSOLVE TO: The boy, Alex, sits weeping on the stand. The townsfolk in the audience are duly horrified with his testimony. SAMANTHA (VO) The boy's testimony was particularly damning. DISSOLVE TO: Mary takes the stand; then Mrs. Eldrich. SAMANTHA (VO) Mary, despite the fact she was hammered-drunk, claimed she saw the same demon the night Ugly John disappeared. DISSOLVE TO: Mark sits for his testimony, then William. SAMANTHA (VO) Of all the testimony, only one spoke in favour of Amity Hopewell. DISSOLVE TO: William, on the stand, leans back in his chair, shaking his head. He is in the midst of his testimony... WILLIAM No, I don't think she's the cause of these deaths. FATHER GEOFFREY But, you were there – you were the one who found her with the boy's remains. WILLIAM True, but I don't think she killed him. FATHER GEOFFREY Oh? WILLIAM I think she happened upon the boy's remains, as I did those of Mr. Tailor. FATHER GEOFFREY Then, what happened to the boy? WILLIAM I don't know, but I think the demon killed him. FATHER GEOFFREY But, you said Amity Hopewell is not a witch. WILLIAM I didn't say that. I said, I don't think she is the cause of these deaths. FATHER GEOFFREY The demon caused these deaths, and she brought the demon... WILLIAM I don't think Mrs. Hopewell calls or controls it. I think she can see it, and has been trying to warn everyone. FATHER GEOFFREY Warn them? WILLIAM I think it's here because someone in this town provoked it somehow, and it's here to seek revenge. FATHER GEOFFREY Someone other than Mrs. Hopewell? WILLIAM Yes. FATHER GEOFFREY Who? WILLIAM I don't know. Could be anyone, really. FATHER GEOFFREY And, you think she can see this demon? WILLIAM By the sounds of the testimony this morning, she's not the only one. FATHER GEOFFREY Have you seen this demon, for yourself? WILLIAM It's possible I have. Twice. In fact, both times I assumed it was Mrs. Hopewell – a figure clad in a black dress, or robes. It was difficult to tell, for I only saw it from afar. FATHER GEOFFREY Did this figure, clad in black, have a tooth-filled maw upon its back, as the boy describes? WILLIAM Again, from afar, it was difficult to tell. FATHER GEOFFREY Do you believe Mrs. Hopewell is a witch? WILLIAM With respect, Father, isn't that what you are here to decide? Clearly, I'm no expert. FATHER GEOFFREY Answer the question, please. WILLIAM Okay, then, no - I do not think Amity Hopewell is a witch. FATHER GEOFFREY And, on what do you base that opinion? WILLIAM Seems to me a witch would not summon a demon, then try to warn others of it. FATHER GEOFFREY Is that all? WILLIAM No. Mrs. Hopewell has been behind bars for two days. Father Audette said she would not be able to work her dark magics while surrounded by iron. FATHER GEOFFREY It is true, those forces of evil what exist are repelled by iron. WILLIAM Then, she could not have sent the demon after Father Audette, but he died nonetheless. FATHER GEOFFREY She set the demon to its task when she summoned it – years ago, perhaps. We could lock her away in the deepest dungeon, and this demon will still carry out her final commands. Only her death can free this place from this horror. CUT TO: EXT. CHURCH – DAY (7) A newly constructed gallows stands upon the green-space that wreaths the church. A crowd has gathered to witness the execution of Amity Hopewell; William is there, standing behind the crowd. Amity is led from the church by two guards, and Father Geoffrey. SAMANTHA (VO) History remembers that Amity Hopewell was tried and convicted of witchcraft on June 30th, 1830. THEA (VO) It was hardly a trial, by the sounds of it. SAMANTHA (VO) It was a 'guilty until proven innocent' kinda thing. Amity is led up the thirteen steps of the gallows. SAMANTHA (VO) She was sentenced to death by hanging. It was carried out at exactly noon that day. They place the noose around her neck, as the church-bells ring out the hour. Amity finds William in the crowd; her gaze never leaves him. The lever is pulled; Amity drops... CUT TO: INT. HOTEL ROOM – NIGHT (7) William starts awake, panicked and perspiring. Sammy sleeps soundly next to him. He gets up, moves to a washstand; Sammy turns in her sleep. SAMMY I don't want to hug the scarecrow... William smirks at her sleep-talk. He washes and dries his face, and wanders to the window. Outside, the streets are empty, save for a single, dark-clad figure travelling the main road. Blacker than the night around it, clothes untouched by wind, a great tooth-filled maw upon its back - it moves as though filmed with a hand-cranked camera, whose operator has palsy. William springs into action. CUT TO: EXT. THE SAXON HOTEL – NIGHT (7) William emerges from the Saxon, still pulling on his shirt. He runs off down the main road. CUT TO: EXT. THE CHURCH – NIGHT (7) William sprints passed the night-darkened gallows, and to the front door of the church. He pounds on the door, and tries the lock. When no one answers, he rushes around to the side door of the church. He knocks loudly, and tries the handle; the door opens. CUT TO: INT. CHURCH – NIGHT (7) William enters. WILLIAM Hello? Father Geoffrey? William closes the door, and walks about. WILLIAM Father? Anyone? He stands still, listening. WILLIAM Great... Now, what? He looks about a moment, then moves to the altar. He searches among the objects there – a chalice and bowl, a fold of cloth, candles... WILLIAM I need something... something... William spots a small crucifix, and takes it. He looks up at the ceiling, crucifix held out in a hand. WILLIAM I'm not stealing this – I'll bring it back. I swear. CUT TO: EXT. CHURCH – NIGHT (7) William exits the church, and races down the road out of town. CUT TO: EXT. SOUTH BEACH – NIGHT (7) William reaches the sands; he turns this way and that, scanning the beach. WILLIAM Alright, you bastard – where are you? Look what I got... William holds the small crucifix out before him, as though it were a pistol, and begins to stalk the beach. Quickly, he comes upon a large tangle of seaweed – he toes through it with haste and, finding nothing, moves on. He stops to search a few more mounds of seaweed – the third produces the shattered remains of an oar. William stands, oar in hand, looking about as though he were hunted. WILLIAM Okay, now - where are you? William drops the oar, and continues down the beach. After a dozen paces, he stops dead – there ahead, a night-darkened figure moves towards him. William falters, then brandishes the crucifix. WILLIAM What are you – what do you want? The figure stops. DAVID I am David Cooper - acolyte to Father Audette, God rest him. I don't want anything... WILLIAM Cooper? DAVID Yes, sir. You that newcomer? William, was it? William relaxes his guard; the two move closer. WILLIAM That's right. What are you doing out here? DAVID Same thing you are, I suspect... WILLIAM You've seen it, too? The demon? DAVID Yes. WILLIAM What are you going to do about it? DAVID Question is, what do you think you were going to do about it? David points at the crucifix in William's hand. WILLIAM Oh – yeah, I sort of – borrowed that. Sorry. William holds out the crucifix, as to return it. DAVID No, you keep it. We can search together. David continues up the beach; William falls in beside him. WILLIAM Father, you know how to stop this thing, right? DAVID I'm not a priest – I was Father Audette's acolyte. WILLIAM An acolyte? What, is that like a servant, or something? DAVID No, not at all. WILLIAM But, you know what to do, right? You must know how to stop it. DAVID That all depends. WILLIAM On what? DAVID On what we're dealing- David comes to a halt; William, too, when he see the demon standing thirty-feet away. It looms on the shore-line, motionless, facing the sea. William brandishes his crucifix like a sword. WILLIAM Father, are you seeing this? David produces his own crucifix, and moves towards the demon. DAVID In the name of the Father, the Son, and the Holy Spirit, I command ye - leave this place, and return to the unholy realm whence you came. The demon remains preternaturally motionless. WILLIAM I don't think he heard you, Father. David moves closer still; William does not. DAVID You deaf and mute spirit, in Christ's name I command you, go from here and do not return again. The demon does not move. David stops his advance. WILLIAM So, now what? DAVID Something's wrong... WILLIAM Of course something is wrong, we're standing ten-feet from a God-damned demon. DAVID He should be reacting to me, and he's not. David retrieves a small glass phial of clear liquid from his pocket – presumably holy water. WILLIAM What - you tell it to jog on, and it's gonna listen to you? DAVID Who are you, demon? What do you want? David, crucifix in one hand, opened phial in the other, dares a step towards the demon. WILLIAM Kill it, Father. Just kill it. David lashes the demon with a spray of holy water. DAVID Answer me, demon. Why are you-? The demon suddenly turns sideways, and vanishes – a short but violent rush of air eddies about the spot where it stood. WILLIAM Is that it? Did you kill it? DAVID No. No – this isn't right... David moves to that place where the demon stood, examining the sand in the wan moonlight. WILLIAM What do you mean? Is it still here? DAVID I don't know... This can't be right. WILLIAM Father, what's wrong? DAVID Come, let's get back to the church. There, I will be able to learn more. CUT TO: EXT. MAIN ROAD - NIGHT (7) William and David enter town. They are the midst of conversation... DAVID We will have to await Father Geoffrey's return, before we know for sure. WILLIAM Father Geoffrey? This thing is going to kill more- DAVID Father Geoffrey will return tomorrow to complete the rites on the witch. WILLIAM Complete the rites? Hanging her was not enough? DAVID Now that she is dead, we cannot simply bury her body. WILLIAM What, we gonna burn her? DAVID No, we cannot consign her to fire, for that would only release the demon, and allow it to roam freely. WILLIAM It is roaming free, Father... DAVID Once the rites are complete, and the witch's body is properly cared for, the demon will be unable to touch the world. William comes to a halt. WILLIAM What do you mean, 'properly cared for'? CUT TO: EXT. MAIN WHARF – DAY (8) A large crowd gathers, to witness the funeral march of Amity Hopewell. DAVID (VO) They must dismember the witch, and remove her head, and heart. A horse-drawn wagon carries Amity's remains, hid from view by a shroud. Six priests walk with the wagon, three on either side - Father Geoffrey rides atop the wagon. DAVID (VO) They will contain her within seven chests, each lined with iron. CUT TO: EXT. SHIP – DAY (8) Father Geoffrey and the six attending priests carry aboard seven plain, wooden chests, which they store in the captain's cabin. The Mayor, Martin Blaney, stands upon the forecastle with the ship's captain. William, also upon the fo'c'sle, watches the priests haul their cargo. DAVID (VO) They must then take a ship, to that place where the ocean runs deep. CUT TO: INT. CHURCH – DAY (SAME TIME) David sits at a candlelit table covered with books and papers. He is reading from a thick and ancient tome. DAVID (VO) There, when the sun is highest in the sky, they shall consign her remains to the crushing blackness below. David leafs through the pages of the ancient tome. The illuminated pages bear strange symbols of forgotten languages, and drawings of various demonic entities. DAVID (VO) And, once she is at the bottom of the sea, this demon will be trapped, forever. David looks up from his reading with a start. DAVID Oh, God, no... David leaps to his feet, hurriedly gathers the ancient tome and a fistful of loose sheets, and runs from the room. CUT TO: EXT. MAIN WHARF – DAY (8) David sprints down the road to the wharf, clutching his cargo to his chest with both arms. He reaches the end of the wharf, falls to his knees, and watches the funeral-ship shrink out to sea. CUT TO: EXT. FUNERAL-SHIP – DAY (8) William and Martin stand at the rail of the fo'c'sle, eyes astern. Around them, the ship's crew rush about their various tasks. William and Martin are in the midst of conversation... MARTIN I mean, considering what you went through last night... WILLIAM No, I wanted to come, to see this put to rest. MARTIN Well, once we've buried her at sea, we will be free of this evil. WILLIAM I hope so... MARTIN Just think - you and Sammy can go on all the moonlit walks you wish, now. WILLIAM I don't know, Martin. I came to find a quiet life for myself. MARTIN And, now you're on a ship with a coterie of priests, headed out to sea, in order to bury the severed remains of a witch... William nods. MARTIN I don't see what you're complaining about. The two share a laugh. MARTIN Don't worry, William, things will calm down after this is over. You'll see. This has all been just a bit of bad luck. CUT TO: EXT. SOUTH BEACH – DAY (8) David rushes down the beach, frantically looking this way and that, ancient tome still clutched to his chest. He stumbles in the deep sand and falls; he collects himself and the aging book, and continues his search. CUT TO: EXT. FUNERAL-SHIP – DAY (SAME TIME) Amidst plumes of incense smoke, the coterie of priests aboard the funeral-ship – led by Father Geoffrey – escort the seven chests on-deck. Their short procession is filled with much chanting and chest-crossing. William and Martin – along with the entire ship's crew - maintain a respectful/fearful distance. CUT TO: EXT. SOUTH BEACH – DAY (SAME TIME) David runs along the hard-sand, shielding his eyes against the sun, to better see the beach ahead. He moves a dozen paces, then turns around, mid-stride, to view the way behind. David runs backwards long enough to see there's nothing to see, then spins around to proceed forward. Immediately, he comes to a lurching halt, his way blocked by the demon, a few paces away. CUT TO: EXT. FUNERAL-SHIP – DAY (SAME TIME) One by one, the priests aboard the funeral-ship heave the burial chests over-board. CUT TO: EXT. SOUTH BEACH – DAY (SAME TIME) The demon stands motionless on the shore-line, facing the sea. David gives ground at first, then opens the tome to a page and begins to read. DAVID “Lirach tasa vefa wehlc Belial. Renich tasa uberace biasa icar Lucifer. Ganic tasa fubin Flereous. Jedan tasa hoet naca Leviathan.” Upon the utterance of the word 'leviathan', the demon slowly turns to David. The wind picks up, instantly – it whips the acolyte's robes, and tears at the pages of the tome. The gale does not touch the demon's cloak-like aspect. CUT TO: EXT. FUNERAL-SHIP – DAY (SAME TIME) The last burial-chest hits the surface. The septet of priests offer a final benediction over the watery grave. With a nod from Father Geoffrey, the ship's captain marshals the crew. The funeral-ship turns under the midday sun, headed back to Benchley's Harbour. CUT TO: EXT. SOUTH BEACH – DAY (SAME TIME) David fights against the wind to read from the tome. DAVID Malevolent spirit, leave this place. In the name of our Lord, Christ Jesus, I command thee... retreat whence you came! The demon slowly points at the acolyte. David winces in pain; his knees buckle. He drops the tome that he may press his hands to his ears. As soon as it came on, the fit passes – panting, David gathers himself. DAVID I heard you. I heard you. What did you say? Februum? Ah, februa? Feb- feb- Februarius? David winces, again, and collapses under the weight of the pain in his head. Blood begins to trickle from his nose. The fit subsides; he regains himself, and stands. DAVID That means 'expiation', right? Someone must atone for a wrong-doing... I know what it is - they stole something, and you want it back. David is crushed to the sand by the silent voice of the demon. He curls upon himself, to defend against the onslaught. DAVID Who - who must atone!? David, bleeding now from his eyes and nose, writhes against the demon's voice. DEMON (OS) blaneyblaneyblaneyBlaneyBlaneyBlaneyBLANEYBLANEYBLANEY! CUT TO: EXT. FUNERAL-SHIP – DAY (SAME TIME) William and David, still upon the fo'c'sle, watch the approaching shore. They are in the midst of conversation... WILLIAM It was an honest mistake – I thought you two were already married. I didn't put the idea in her head on purpose. Or yours. MARTIN What's done is done... WILLIAM Well, then let me be among the first to congratulate the future Mr. And Mrs. Blaney. MARTIN Thank you, I- Of a sudden, the prow of the ship lurches upward, tossing men about the deck; several are thrown over-board. Turned nearly parallel to the shore-line, the ship begins to list to her starboard side. On the fo'c'sle, William regains his footing, and rushes to help Martin do the same. Another jarring impact off the starboard-bow tosses William and Martin to the deck; Martin tumbles down the fo'c'sle steps to the main deck. The ship begins to sink. CUT TO: EXT. SOUTH BEACH – DAY (SAME TIME) The demon stands watching the far-distanced funeral-ship. The lifeless body of the acolyte, David Cooper, lays rising and falling in the tide, nearby. The ancient tome sits open and water-logged; waves pull errant pages from its binding. CUT TO: EXT. FUNERAL-SHIP – DAY (SAME TIME) Clinging to the port-side railing, William watches as the crew begins to abandon ship. Men scurry to ready longboats, while others simply fling themselves over-board. Martin clambers to escape the waters flooding the main deck. CUT TO: EXT. SOUTH BEACH – DAY (SAME TIME) A gale of wind begins to rage about the demon, whipping the surf into spray; loose pages of the ancient tome dance and swirl. CUT TO: EXT. FUNERAL-SHIP – DAY (SAME TIME) William spots the pressure-wave as it bulges the surface, and rises above it. A hundred-feet away, it closes the distance with alarming speed. From the Beast's point of view, we move passed water-treading sailors and clergymen, on a line toward Martin, and 'beach' upon the water-logged main-deck. We watch only William as he witnesses Martin's demise – William takes up a nearby harpoon and leaps down from the fo'c'sle, weapon aimed. CUT TO: EXT. SOUTH BEACH – DAY (SAME TIME) The demon staggers as if struck. The raging winds what bluster the beach cease, and the demon roars like a slow-motion dinosaur. The demon regains itself, and returns its gaze to the far-distanced ship, as the vessel slowly slides into the water. FADE OUT: FADE IN: On-screen text reads: Three Weeks Later INT. HOTEL ROOM – DAY Sammy sits upon William's bed; William packs a travel-case with clothes. They are in the midst of conversation... WILLIAM Me? Really? SAMMY Rumour says Martin's brother will take over as mayor of Benchley's Harbour, and you shall be sheriff. WILLIAM I made no such claim. Neither did Joseph. He was only here for the funeral, and to claim his brother's possessions. SAMMY Aye, well, there is even rumour they will rename the town. WILLIAM Rename it? If that's true, it may be for the best. News of all this could keep people away for years. SAMMY You know, William – I could imagine you as sheriff. WILLIAM Now you're just making fun. SAMMY Ams not – neither are the gossip mongers. Most everyone is thankful for what you've done. WILLIAM What I've done... SAMMY You protected the town. They only wish that you continue to do so. WILLIAM No. Mrs. Hopewell is dead, the demon is gone. That's enough for me. I just want a quiet life. SAMMY So, does that mean you still intend to whisk me away to New York then, William Brody? WILLIAM We leave upon the morrow. Are you excited, Mrs. Brody? SAMMY I am, William. I am. FADE OUT: FADE IN: EXT. WHARF – DAY Sammy and William gather upon the pier amidst a small group – Sammy's family and a few friends, including Heather dressed in mourning-black. They make their goodbyes and fare-thee-wells as workmen and deckhands scurry about; Sammy and William board the nearby ship. DISSOLVE TO: EXT. NEW YORK SHIP – DAY We watch the ship sail away from Benchley's Harbour, pointed towards New York. We turn slowly, to see a small dory far off the coast. CUT TO: EXT. DORY – SAME TIME Aboard, two men sit facing apart, silently minding fishing lines as their craft rolls upon the waves. Neither man looks at the other; of a time, their silence is broken. MICHAEL Heard your brother died. JOSEPH Mm. MICHAEL Commiserations. JOSEPH Mm. MICHAEL That why you was gone, couple weeks back? JOSEPH Aye. His funeral. MICHAEL Mm. Joseph's fishing reel ticks a few times. MICHAEL Good funeral? JOSEPH Good enough. MICHAEL He was over in Bridgehampton, was it? JOSEPH Benchley's Harbour. MICHAEL Mm. Joseph's reel ticks a few more times. JOSEPH He was mayor. MICHAEL That's right. JOSEPH Mm. Joseph's reel ticks once. Again. MICHAEL He go well? JOSEPH Dunno. Said he drowned. MICHAEL Drowned? JOSEPH Mm. MICHAEL Odd, that. Eh? JOSEPH Mm – just a bit of bad luck. Something slams into the dory with such force, Joseph is tossed over the gunwale into the water. The craft lists heavily; Michael stands and turns. MICHAEL Blood hell – Joseph! Joseph! We watch only Michael as he witnesses Joseph's horrible demise. Then, from the Beast's point-of-view, we turn away from the dory, moving with haste through the waves. CUT TO: EXT. NEW YORK SHIP – DAY We see the ship to New York shrinking in the distance, its wide wake trailing lazily behind. Slowly, a triangular dorsal fin breaks the surface of the water within the ship's wake. As the 'Beast' follows the ship, we hear the first ten(ish) notes of John William's haunting score. FADE OUT: FADE IN: INT. THEA'S KITCHEN – DAY (Present) Sam leans back in her chair, and looks at Thea; Thea jitters in her seat, power-smoking a cigarette. SAMANTHA And so, 144 years later, great grandma Ellen moves from New York to an island town now called 'Amity'. THEA No... SAMANTHA With her, she brings her kids – Michael and Shawn - and her husband, a cop named Martin Brody. THEA Sam, no... SAMANTHA That summer, a series of shark attacks leaves five dead, until great grandpa Martin puts a stop to it. CUT TO: We see a black & white flashback to 1974, as Police Chief Martin Brody leans upon the listing mast of the Orca, rifle at the ready. CUT TO: SAMANTHA Then, it happened again, in '78. Another shark appears off Amity, and threatens a group of kids – including grandpa Michael and his little brother. CUT TO: We see a black & white flashback to 1978, as Police Chief Martin Brody floats in an air-raft off a rocky island, facing a charging great white. CUT TO: THEA Samantha, stop it. SAMANTHA And again, in '83, when grandpa Michael moved to San Diego. That almost shut down that marine-park. CUT TO: We see a black & white flashback to 1983, as Michael Brody and his then girlfriend, Carla, battle a great-white in the submerged control room of a popular marine-park. CUT TO: THEA Sam... SAMANTHA Worst of all, it happened again when grandpa Michael moved to the Bahamas, four years later. That's the Christmas you were attacked... CUT TO: We see a black & white flashback to 1987, as a six-year old Thea enjoys a banana-boat ride with friends. A great-white, jaws wide, bursts from the water, straight for her... CUT TO: THEA Sam! SAMANTHA It's the same curse, mom. The same thing that happened three hundred years ago. THEA But, you said they got rid of the demon – they buried the witch at sea, ended the demon-curse thing. SAMANTHA They were wrong. THEA She wasn't a witch? SAMANTHA I did a lot of research on demons, all kinds of demons, from all different cultures. Only one matches what is described as haunting Benchley's Harbour, nearly two hundred years ago. Sam pulls a sheet of paper from the project folder, and slides it across the table to Thea. The page contains a single drawing. THEA What is it? SAMANTHA It's called an 'Aukana', a demon out of Hawaiian mythology. It's said to appear as a figure in coal-black robes, faceless and featureless, save for a set of tooth-filled jaws on its back. Shark's jaws. THEA A Hawaiian demon? SAMANTHA Apparently, the surest way to piss this thing off is to physically take a piece of Hawaii away from the island. It is said the Aukana will hunt whoever has stolen a piece of the island, commanding sharks to slay the offender. THEA You've got to be shitting me. SAMANTHA Nope. And, if that piece isn't returned, the demon will continue to haunt the thief's ancestors, and those of any who try to interfere. THEA So, you're saying this William guy took a piece of Hawaii? What, like a rock, or something? SAMANTHA He didn't take it. Blaney, did. THEA The mayor guy? SAMANTHA It is known that he had once visited the Sandwich Islands, after Captain Cook discovered it in 1778. “Sandwich Islands” is the former name of what is now Hawaii. THEA So, this mayor-guy was cursed to be followed and killed by a shark-wrangling demon, all for stealing a fucking rock? SAMANTHA I guess demons can be touchy about stuff like that. THEA And, this ancestor of ours – William. He killed the shark, so the curse passed on to him, and his blood-line. SAMANTHA Our blood-line, mom. Yours, mine and Miranda's. THEA I don't know about all this, I- SAMANTHA Mom, sharks don't behave that way – they don't just swim up and start killing people. And, they certainly don't stalk the same family for generations. THEA Fine. So, what if you're right? SAMANTHA Like I said, maybe there is some way we can make amends. THEA How? If this Blaney guy did steal a rock from Hawaii, what are we supposed to do about it, two hundred fucking years after the fact? How are we supposed to find the damn thing and bring it back? God only knows where it is, now. SAMANTHA You're right. But, I want to find out for sure. That's why I bought these. Sam pulls two plane tickets from out of the folder. THEA What are those? SAMANTHA Two tickets to paradise. You and me, in Hawaii. For three days – assuming you've got nothing better to do. THEA You're taking me to Hawaii? SAMANTHA Yep. And, while we're there, I'll meet up with a local shaman, to discuss our situation. I've already set-up the meeting. THEA How could you afford-? Wait - a shaman? Are you serious? SAMANTHA Yep. THEA This is 2017(?), Sam. How the hell did you even find a shaman? And, what do you mean, 'discuss our situation'? SAMANTHA Well, if we can't return this stupid rock to Hawaii, maybe there is something else we can do to make amends. THEA We'll build a circle of stones, sacrifice a rooster... SAMANTHA Only if the Moon is aligned with Mercury. Thea sits staring at the mess of papers that fills the kitchen table. THEA I don't know if I can do that, Sam. I mean, I moved here to get away from the ocean, and now you want me to get on a plane to a tiny island in the middle of the ocean. SAMANTHA It's not that long a flight. THEA No, a shark will jump outta the water and attack the plane. SAMANTHA Are you serious right now? THEA It's Hawaii. The place will be crawling with these shark-demon things... SAMANTHA Yeah, well - as always, you're not going in the water, so you've nothing to worry about. THEA What about you? SAMANTHA The only time I'm leaving the resort is to see this shaman. Other than that, you'll find me pool-side in pina colada-burg. THEA Pool? SAMANTHA Yes, mom - a normal pool, away from the ocean. A three-ton shark isn't gonna swim up the drainage pipe. THEA Well - when are the tickets for? SAMANTHA Next Thursday. THEA Uh, why don't you go with Miranda, instead? SAMANTHA Mm, I asked if she wanted to come with us, but said she's too bogged down with work and finals to get away. THEA Too bad... SAMANTHA Yeah, she feels bad she can't join us. If you ask me, I think she has a boyf- The phone rings. Thea crushes out her cigarette in an ashtray, then moves to answer the phone. Samantha begins to gather her project papers and files, attention half on the television. THEA (OS) Hello? Yes, this is Thea Drever... TELEVISION ...take you now, live, to our correspondent on the scene, Katie Preston. Katie? THEA (OS) Yes, that's right... TELEVISION ...standing here at the scene of what bystanders are describing as a 'horrific attack' upon swimmers by a large predator... THEA (OS) What are you saying? TELEVISION ...identified the deceased as twenty-one year old, Miranda Drever, a student at the University of- Thea's wail drowns out the tv. Sam rushes to her side; project papers fall to the floor, the sketch of the shark-toothed demon in the fore. FADE OUT: FIN Amity by Michael John Weber As suggested by the novel, Jaws, by Peter Benchley (pg.112), and the movies: Jaws, Jaws 2, Jaws 3D, and Jaws: the Revenge, as owned by Universal City Studios, and Case# GSAF 1830.07.26 of the Global Shark Attack File. Based on characters created by Peter Benchley.