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based on the short story “THE GIRL WHO WALKED IN CIRCLES” by Mike Minnis Fourth Draft 09/30/01
Registered WGAw #837249
GIRL/ 2 FADE IN EXT. DUNWICH COMMONS TREE LINE - NIGHT We see a storm approaching with heat lightning and thunder. Strange WHISPERING VOICES are heard, a pounding drum beat, and strange flute music. SUPERIMPOSITION: Dunwich, Massachusetts September, 1922 ELSEWHERE ON THE COMMONS, MRS ORNE, the Dunwich school teacher, runs toward the Dunwich Meeting House doubling as the school. Terrified, she reaches the Meeting House, fumbles with the lock, throws the door open and hurries inside. INT. DUNWICH MEETING HOUSE - NIGHT Mrs Orne slams the door shut and backs away, glancing fearfully at the windows. Lightning flashes, strange unearthly shapes seen writhing against the window glass. Strange noises and wind howl around the Meeting House. MRS ORNE No…no…! The door creaks, then rattles violently on its hinges. Mrs. Orne screams as the door bursts open. EXT. LARGE MANOR (ESTATE) - DAY The estate is that of PHILIP EVERIDGE. SUPERIMPOSITION: Eight Months Later…
GIRL/ 3 INT. PHILIP EVERIDGE LIBRARY - DAY Philip Everidge, mid-30s, dressed in smoking jacket and puffing on his pipe, paces the floor while reading a letter he’s just received from his friend, AARON PAUL. PAUL NARRATION (v.o.) April 4, 1923. I hope this letter finds you well. Today was the first day of my journey to Dunwich… DISSOLVE TO: EXT. RUINED FARM ON ROAD TO DUNWICH - DAY Aaron Paul, the new Dunwich schoolmaster, drives a narrow dirt road in his Model T, passing abandoned and ruined farms and desolate landscapes. INT. MODEL T - DAY Paul, mid-20s, in a suit and wearing wire rimmed glasses, glances at farm ruins and other sights as he drives by. EXT. WEED CHOKED DRIVEWAY ON ROAD TO DUNWICH - DAY A young boy in tattered clothing stands at the end of the driveway, watching forlornly as Paul drives by. ELSEWHERE, in his car Paul glances at the young boy as he passes by. EXT. THE ROAD TO DUNWICH - DAY We see a bleak and desolate landscape with skeletal trees. Ahead storm clouds churn above a row of rounded mountain peaks. ELSEWHERE ON THE ROAD TO DUNWICH, Paul drives on, the weather worsening, lightning flashing amidst the mountain peaks.
GIRL/ 4 INT. MODEL T - DAY The rain pours, soaking the dirt road, turning it to mud. Paul glances at the sky as the rain beats down on the top of the Model T. EXT. MODEL T ON ROAD TO DUNWICH - DAY The Model T prods sluggishly on, splashing through puddles, then becomes stuck. INT. MODEL T - DAY Paul steps on the gas. Tires spin. Frustrated, he bangs an open palm on the steering wheel. Glancing through the pouring rain, he opens the door and climbs out. EXT. MODEL T - DAY Paul tries to push the car free, only able to rock it back and forth, then climbs back into the car. INT. MODEL T - DAY Paul wipes the rainwater from his glasses, puts them back on, and peers through the storm at the dark rounded mountains in the distance. PAUL (thinking aloud) Whippoorwill Mountain, Wizard’s Hill…and Sentinel Hill… (pauses) …and the stone circles… We hear creaking wooden wheels. A black buggy drawn by a single horse passes the Model T. Paul glances at the buggy as it pulls in front and continues on down the road toward Dunwich. PAUL Hey! Hey…!
GIRL/ 5 Paul opens the car door and jumps out. EXT. MODEL T - DAY Paul waves an arm. PAUL Hello! Hello, there! The buggy stops. CARTER BROWN, a middle-aged man, peers around the side of the buggy and scowls back at Paul. Brown is a local farmer, scruffy, with a three day shadow. He sports a straw hat and antique glasses. PAUL I’m stuck! I need a ride into town! Paul waits for a response. There is none. PAUL Listen, I can offer you two dollars for your time! Is two dollars enough? BROWN Ayuh…I reckon. Might be a bit crowded, though. Not much room in here. You bringin’ anyone or anythin’ with you? PAUL Just my valise and my books. Some other items… BROWN (interrupts) Books? Go on and git’em, then. You can put ’em under th’ bench. I s’pose Sarah and I can slide on over. PAUL Thank you! Thank you, sir! Be right with you!
GIRL/ 6 Paul retrieves a strapped bundle of books, his valise, a jacket, and hat from the car, slams the door shut, and hurries to the buggy. Brown points under the bench seat as Paul lifts the bundle of books. BROWN Unduh there. Paul shoves the books under the bench seat, then his valise. PAUL I really appreciate this. I don’t know what I’d have done had you not come along. Paul drapes his jacket across his arm. PAUL Probably would have been stuck here all night. His hat in one hand, he takes Brown’s offered hand to help him up to the seat. INT. BUGGY - DAY Paul climbs into the buggy, catching a glimpse of Brown’s daughter, SARAH, sitting opposite. She glances at Paul, smiles, then sits back. Sarah, 17 years old, wears an old ankle-length dress. Her feet are bare and muddy. Her hair is long and dark, cascading around her shoulders. Brown flicks his whip and the buggy lurches forward. EXT. THE ROAD TO DUNWICH - DAY The buggy sluggishly plods along.
GIRL/ 7 INT. BUGGY - EVENING PAUL I’m Aaron Paul, the new schoolteacher. From Arkham. The county sent me. BROWN Th’ county, you say? Seems they like pokin’ their nose intuh other folks’ business, don’t it? PAUL It’s in everyone’s best interests, Mister… BROWN Brown. Carter Brown. PAUL (nods) Mr. Brown. PAUL Ah, my…my car back there… BROWN Some one in Dun’ich’ll bring it in. PAUL Ah…all right. TIME FADE as silence descends on the buggy. The buggy bounces down the muddy road, the rain a steady, light drizzle. Sarah softly hums a strange melody. Paul glances at her. Brown notices and distracts him. BROWN Takin’ over for Missus Orne, then, ayuh? PAUL Yes.
GIRL/ 8 BROWN Took ye a while t’get here. PAUL Paperwork. BROWN I see. Well, we ain’t got what you’d call a proper schoolhouse. We use the Meetin’ House. Least we did, ‘til Miss Orne’s accident. PAUL I’m sorry. Was she badly hurt? BROWN Hurt enough… (to Sarah) You knock off with that, Sarah! Sarah stops humming and giggles softly in a strange voice. SARAH (finger to lips) Shhh… Paul glances at her. She smiles, eyes wide, and points to the sky. SARAH Th’ rain. Paul leans forward and smiles at Sarah. PAUL Yes. Rather nasty today, isn’t it? SARAH (guarded) It comes from them. PAUL Yes, from the clouds.
GIRL/ 9 She shakes her head no. SARAH No. Not th’ clouds. From them. BROWN (eyes on road) Sarah… PAUL (interrupts) Angels? Sarah shakes her head again, Paul becoming uneasy. SARAH No. It ain’t angels. (pauses, almost a whisper) Them. BROWN Sarah Brown! Nervous, Paul’s eyes dart to Brown, then back to Sarah. PAUL Do you mean Him, dear? As in God? SARAH No. Not him. It’s… Brown slaps her in the mouth. Her hands FLY to her face. Her eyes, wide with shock, slowly squeeze shut and she begins to weep softly. Paul, shocked, stares at Brown as the farmer glares at his daughter. BROWN I tell ye t’shut your mouth, girl, ye do it! Unnerstand? Sarah nods through her tears. Brown turns his eyes back to the road.
GIRL/ 10 BROWN (mutters) More trouble than you’re worth, girl. PAUL Sir, that was hardly necessary. Brown, eyes narrowed, turns an icy stare to Paul. BROWN I don’t cotton t’other people tellin’ me how t’handle my affairs, thank you. PAUL But you… BROWN I said I don’t cotton t’other people tellin’ me how t’handle my affairs! Paul looks away as Brown stares at him; Sarah continues to weep. EXT. ROAD TO DUNWICH - EVENING In the softly pouring rain, the buggy enters the mountains. EXT. ROAD TO DUNWICH - EVENING The drizzle continues as the buggy approaches a covered bridge, with sagging roof, spanning a small stagnant river. INT. COVERED BRIDGE - EVENING The buggy slowly crosses the bridge, boards creaking beneath its weight.
GIRL/ 11 EXT. DUNWICH STREET TO VILLAGE COMMONS - EVENING The drizzle continues, the buggy on its way to the village commons. They pass rows of homes in various stages of decay, some abandoned and boarded up, yards overgrown with weeds; trees bare, skeletal, ominous looking. INT. BUGGY - EVENING CLOSE ON Sarah as she stares ahead. Paul glances at her. She notices and grins. Paul, somewhat disturbed, looks away. EXT. DUNWICH VILLAGE COMMONS - EVENING The buggy shudders to a stop. Paul jumps down. He turns and gathers his belongings. Brown flicks the whip and the buggy pulls away. Paul watches them go. Sarah leans out of the buggy and smiles back at him. Paul looks around, then jogs across the commons, shielding himself from the drizzle with his jacket, toward an old church that’s been converted to a general store. He stops in front of the store, glancing at the sign on the wall. The sign, white with black lettering, the paint peeling, reads: OSBORN’S GENERAL STORE. INT. DUNWICH GENERAL STORE - EVENING Paul enters, a bell above the door jingling. Three scruffy old men sit at a table, two of them playing checkers. One is ZEBULON WHATELEY. His graying beard and hair are long, his appearance disheveled. Behind a checkout counter stands the store proprietor, JOE OSBORN. Paul nods to the three men and Osborn. The three men remain silent and unmoving. Osborn nods back. OSBORN Help ye with somethin’?
GIRL/ 12 PAUL Just need to pick up a few things. OSBORN Well, help yerself. Paul disappears down an aisle while Zeb Whateley leans forward over the table, watching Paul go. His CHECKERS PARTNER looks up. CHECKERS PARTNER Your move, Zeb. Zeb glances at his Partner, then turns back to the game. TIME FADE Paul approaches with a few canned goods and a carton of oatmeal and lays his merchandise on the counter. PAUL Coffee, please. Osborn produces a small bag of coffee. OSBORN There ye go. Paul pays. ZEB Came in with Carter Brown, I see. Zeb taps tobacco into a slender clay pipe. ZEB Not common for Carter Brown t’ offer a ride t’ anyone, ayuh. Looked like he was aout with Sarah, too. Quite a handful, that one. Troublesome.
GIRL/ 13 PAUL Really? Zeb nods, strikes a match, lights and puffs on the pipe. ZEB Ain’t seen her aout quite some time, not least since winter or thereabouts. Ye th’ new schoolmaster? PAUL Yes. Aaron Paul. From Arkham. ZEB Mmm…where might ye be stayin’, then? PAUL I’m not s… OSBORN (interrupts) God’s sake, Zebulon, let th’ man get his bearin’s, why don’t ye? ZEB Oh, hell, I was just askin’. Zeb leans back in his chair and grins as he places the pipe in his mouth. Paul looks back at Osborn. PAUL Is there anyplace...a boarding house perhaps? Or hotel? OSBORN Nope. But, there’s a few in town that’ll put up boarders, some up on th’ north side too…
GIRL/ 14 PAUL (interrupts) That would be a little too far. If possible, I’d like to be near the school. The Checkers Partner chuckles. CHECKERS PARTNER We ain’t got no school here in Dun’ich. Jes’ th’ room we been usin’ at th’ Meetin’ Hall. ‘Til Mrs. Orne had her accident. PAUL Yes. Mr Brown told me. So…where I might find her? OSBORN Missus Orne’s gone. PAUL Gone? You mean…I thought… OSBORN No, not that. Ain’t well. She’s back with her kin. You really won’t be able t’meet her none. But, I’m certain a smart feller like y’self‘ll do jest fine in her place. PAUL Yes, well…my auto, it’s stuck in the mud outside of town. OSBORN I can get th’ Wilkins boys, help bring it in fer ya. Jes have t’wait fer th’ weather to let up. PAUL Thank you.
GIRL/ 15 OSBORN No trouble. And if yer interested, I’ve a back room here at th’ store. Might suit yer needs. Come on, I’ll show ya. Osborn and Paul walk away, Zeb and his two companions watching them disappear between the store shelves. INT. PAUL’S ROOM - EVENING Paul sits in a small dusty room, writing a letter. There’s a small lamp on a corner table, a worn chair, and bed. Nearby is the only window, a small dirty pane, looking out on the churchyard cemetery, rain water streaming down the glass. Paul walks to the window and looks out at the ancient headstones and monuments popping up amidst the tall grass and weeds, many of them decayed and broken. The cemetery reflects on the glass and on Paul. EXT. BROWN FARM - EVENING We see a large, rambling farm - old, but well kept. Carter Brown stands outside, chopping wood. Sarah emerges from behind a large tree. Carter stops working, wipes the sweat from his brow. BROWN Th’ hell you been, girl? Sarah leans against the tree. SARAH Around. BROWN Well, there’s work t’be done ‘round here. Ye know that. SARAH I know.
GIRL/ 16 BROWN Sure a’shit don’t act like it. Off ‘n th’ woods agin, doin’ God knows what… Sarah shrugs, then SAUNTERS toward Carter, who has resumed chopping wood. SARAH Daddy? BROWN What? SARAH Ye think…ye think maybe th’ new schoolmaster might be needin’ some firewood, or somethin’? Brown stops working, eyes Sarah suspiciously. BROWN ‘N jes what d’ye mean by that? SARAH Oh, I don’t know. Nothin’, really. BROWN What th’ schoolmaster needs t’do is git back wherever th’ hell he come from, ‘cause he sure a’shit don’t belong ‘round here. Talkin’ t’me like I’m some kinda fool. Carter resumes chopping wood. BROWN Now ye jes go do your chores ‘n forgit about it. SARAH But, maybe we should help… BROWN Sarah…
GIRL/ 17 SARAH But, ye ain’t bein’ fair! Carter throws the axe down. BROWN Dammit, girl, I said forgit it! Sarah, angry, runs off into the woods. Carter chases her, shouting, but only a short distance. He throws his hat to the ground in disgust and stares into the woods. BROWN Fuck! EXT. WHIPPOORWHIL MOUNTAIN SLOPE - EVENING We see Sarah climbing to the top. She’s been crying. Near the top she stumbles to a stop, surveys the landscape below, then continues on. EXT. WHIPPOORWILL MOUNTAIN TOP - EVENING We see Sarah pass between the MEGALITHS of a great stone circle that crown the mountain top (hill). She walks among them, touching them idly. In the center of the circle is a large flat stone suggestive of a crude altar. Facing sunset, Sarah sits on the altar stone, drawing her knees up to her chin. We hear the cry of a whippoorwill, then another, closer. INT. EVERIDGE ESTATE LIBRARY - DAY Everidge sits in a chair, puffing on a pipe, reading the letter from Paul.
GIRL/ 18 PAUL NARRATION (v.o.) …my room, anyway, is tolerable, if small, dusty, and having only one window which looks out over a cemetery, a decidedly unfortunate view. DISSOLVE TO: EXT. CHURCHYARD CEMETERY - DAY Paul wanders slowly through the cemetery, pausing to look at broken and decaying headstones. PAUL NARRATION (v.o.) The cemetery, like everything else in Dunwich, is very old, almost ancient. INT. EVERIDGE ESTATE LIBRARY Everidge pauses, staring off into space. He hears a knock. EVERIDGE Come in. Elizabeth enters with a tray, coffeepot, and cup. She walks to the desk, sets the tray down, and pours coffee. ELIZABETH Your coffee, sir. Black and hot. EVERIDGE Thank you. The maid nods and leaves. Everidge returns to Paul’s letter. EXT. DUNWICH STREET - DAY Paul walks down a side street near the village commons, viewing the decaying state of the neighborhood.
GIRL/ 19 EXT. DUNWICH VILLAGE COMMONS - DAY Hands in his pockets, Paul slowly approaches the Meeting House. He stops, his eyes scanning the building. PAUL NARRATION (thinking aloud) Little wonder this town is shunned. INT. PAUL’S ROOM - NIGHT Paul sits at the table, preparing school lessons. The wind whistles at the window. A soft flash of heat lightning catches Paul’s eye. He rises from the table, walks to the window, and looks out. More lightning. Paul watches as it fades, then turns his eyes to the cemetery. Shadows crawl about the headstones. INT. SARAH’S ROOM - NIGHT Sarah stands at a window. The flash of lightning casts strange shadows about her simple, rude room. There’s an occasional grumble of thunder and the wind whines. Sarah smiles, a strange look on her face, almost ECSTASY. Her eyes close. Lightning flashes again. Strange sounds begin to echo - whispering voices, unearthly flute music, and a single repetitive pounding like single strokes on a huge bass drum. Sarah begins to half walk, half dance, in counter clockwise circles. Sometimes on her hands and knees, the dance is grotesque. Faster and faster she spins. Thunder suddenly cracks. All wind motion stops. Tree branches stop moving, Sarah stops dancing. Yet the wind still howls amidst the flute music, pounding drum, and whispering voices. SARAH (a finger to her lips) Shhhhhh… Silence descends.
GIRL/ 20 EXT. WOODS - NIGHT SHANTAK MONSTER POV as the Shantak flies swiftly above the treetops, hills, and dells of rural Dunwich. Though we never see it, we hear it GURGLE once or twice in its throat. Eventually, far below, we hear a faint sound of a farm dog barking. The Shantak wheels about and begins to descend. EXT. FARM - NIGHT The dog, tied to a tree, panics and tries to run, but is brought up short by its rope. A shadow swiftly descends and the dog shrieks. A moment later a faint light is seen in the window of the farmhouse. Elderly FARMER HUTCHINS, afraid, emerges with lantern and shotgun in hand. His wife, MRS HUTCHINS, looks on from the porch. FARMER HUTCHINS Buster? Hutchins cautiously enters the yard. FARMER HUTCHINS Buster? You OK? MRS HUTCHINS Might’ve got into it with a ‘coon. FARMER HUTCHINS Might’ve. Buster? Hutchins continues across the yard. His wife follows. The rope trails around the tree. The wind has risen. FARMER HUTCHINS What’s th’ matter, boy? Get into it with a ‘coon? Come on, now. He sets his lantern aside and tugs the rope. The dog’s bloodied head, still attached to the rope, comes thumping around the tree, its body missing. Mrs. Hutchins screams.
GIRL/ 21 INT. PAUL’S ROOM - AFTERNOON Paul sits at his worktable, writing a letter to Everidge. PAUL NARRATION (v.o.) Dear Philip. I hope this letter finds you well. He pauses as the wind rises, whistling by the window, then continues writing. PAUL NARRATION (v.o. cont) My efforts to begin school remain unsuccessful. INT. EVERIDGE ESTATE LIBRARY - (DAY) Everidge stands at a latticed window in his library, reading Paul’s latest letter. PAUL NARRATION (v.o.) It seems as if the county neglected to inform the locals of my arrival. Everidge walks to his desk and sits. PAUL NARRATION (v.o. cont) In any event, I plan on meeting with Squire Whateley on the morrow to discuss the situation. EXT. FRONT OF SQUIRE WHATELEY’S MANSION - DAY Paul stands before SQUIRE WHATELEY’S huge mansion, looking up at the ancient, towering structure of gabled roofs, turrets, and latticed and bay windows. He walks to the door and just as he’s about to knock, the door slowly swings open. An ELDERLY BUTLER looks out. ELDERLY BUTLER Yes?
GIRL/ 22 PAUL I’m Aaron Paul. The new schoolmaster. ELDERLY BUTLER Ah yes! Come in! Come in! Squire Whateley is expecting you! Come in! Paul passes through the door and the door closes. INT. SQUIRE WHATELEY’S LIBRARY The library is a museum of various curios, portraits, tapestries, sculptures, and other items Squire Whateley, a man of money and means, has collected over the years. The walls are lined with bookcases and a large fireplace. Paul stands at the fireplace mantle while Squire Whateley sits in a high-back wing chair. The Squire, an elderly gentleman, is tall, solemn, with a preference for Edwardian clothing. He sports white hair, a neatly trimmed white beard, and walks with a cane, the handle ornately carved in some obscure design. The cane rests between his feet, his hands folded atop the handle. SQUIRE WHATELEY So the county sent you, I see? PAUL Yes. SQUIRE WHATELEY I should have known. What else would bring a schoolmaster to such a place as this? PAUL Actually, sir... Squire Whateley waves a hand, shaking his head. SQUIRE WHATELEY (interrupts) Never mind, young man. I, too, took less than pleasure in your own city, once.
GIRL/ 23 PAUL Really? Arkham? When? SQUIRE WHATELEY A long time ago when I was a soldier in the War Between the States. (voice softens) I apologize, but I didn’t much care for the place - the smoke, the smells, the walls, the crowds, the strange faces. Squire Whateley pauses, sighs, and stares at the flames in the fireplace. SQUIRE WHATELEY No, Mr Paul, it wasn’t for me. (looks at Paul) I soon longed for the brooding silences of the forest floor, the chuckle of hidden streams, and the wind upon the stone-crowned hilltops. You’ve seen our stone circles, I trust? PAUL Yes, I have, but from afar. I haven’t actually visited them yet. SQUIRE WHATELEY Oh, you should! Quite ancient, you know. Wizard’s Hill, Whippoorwill Mountain. Yes, all quite ancient. PAUL It seems you have a great deal of interest right here on your mantle. Paul picks up a small, carved bronze whistle and examines it carefully. PAUL Where did you find this? It looks ancient. And these markings…
GIRL/ 24 SQUIRE WHATELEY That. Well, yes. It is ancient. An old heirloom. Beyond my reckoning, really. I have a great many things like that. Paul goes to blow the whistle. SQUIRE WHATELEY Don’t bother. I’ve tried. Nothing happens. Or perhaps only dogs hear it. Squire Whateley pauses, chuckles, then smiles at Paul who places the whistle back on the mantle. SQUIRE WHATELEY But I lead us astray...where were we? PAUL We were talking about Dunwich. SQUIRE WHATELEY Ah, yes. Dunwich. It’s a backwater, I’ll grant you that. But it’s not entirely our fault. We’re isolated. People are suspicious. No one from your cities has any reason to come here. Save curiosity, perhaps. Or fate, in your case. PAUL Perhaps what you say is true, but… Squire Whateley nods. PAUL Are there not other reasons people have avoided Dunwich? I’ve heard stories…legends… Squire Whateley sighs, rocking forward and backward on his cane, peering at the floor.
GIRL/ 25 SQUIRE WHATELEY Stories and legends. Murder, strange disappearances, abominable rites performed at the stone circles atop the hills at unhallowed times of the year. Am I right? He pauses as he looks up at Paul. SQUIRE WHATELEY Yes, we’ve our share of legends. Most are merely that - legends, passed on from grandfather to father to son so that what was once innocuous becomes dark and terrible in the telling. PAUL But what of standing stones? The altars on the hilltops? SQUIRE WHATELEY The Indians raised them. The Abenakis, if you’re curious. No one uses them anymore. As for the altars, they’re no more than old colonial wine presses which, likewise, no one uses anymore. PAUL And old Wizard Whateley? We’ve heard a little of him even in Arkham. Is he not some practitioner of black magic, as I understand? SQUIRE WHATELEY Have you ever met him in person? PAUL Well, no. Squire Whateley pauses as he rises from his chair and stokes with fire with a stoking rod.
GIRL/ 26 SQUIRE WHATELEY Wizard Whateley is no practitioner of black magic, Mr. Paul. He’s not even a wizard. He’s a crazy old man who lives up in the hills on a farm with his grandson and halfwit daughter. Squire Whateley pauses again as he lays the stoking rod aside, then, leaning on his cane, he turns to Paul. SQUIRE WHATELEY People think he’s a sorcerer because he mumbles nonsense and makes signs. I’ve yet to see him make it so much as rain. But, rumor becomes legend. Hell, even I’m said to have a trick or two up my sleeve, if you believe the old stories. (chuckles) Which I don’t. PAUL What of Carter Brown’s daughter, this Sarah? I’ve met her. SQUIRE WHATELEY And? PAUL She…well, I can’t quite put my finger on it, but I sensed it when I rode with her and her father into town. She’s marked in some way. She pointed to the sky, and spoke of Them. Not clouds, angels, or God. Just…Them. SQUIRE WHATELEY And? PAUL And when she tried to explain what she meant, her father struck her. Hard.
GIRL/ 27 Squire Whateley returns to his chair and sits. SQUIRE WHATELEY Carter Brown. Always was too quick with his fists. Was she hurt? PAUL Not badly, I don’t think. But what does… SQUIRE WHATELEY (interrupts) She means nothing. What she says is nonsense. You see, she isn’t right. Never was. Her world is full of spirits and things only she sees. In her mind, of course. He pauses as he shifts in his chair. SQUIRE WHATELEY But she’s convinced they exist, and if you ask after them, she sometimes talks. But for her sake don’t encourage her. It just makes Carter angry and causes trouble for her. PAUL What, precisely, is wrong with Sarah Brown, Mr. Whateley? Squire Whateley strokes his beard thoughtfully. SQUIRE WHATELEY (hesitant) I don’t know. No one does. Maybe only Carter Brown really knows. (pause) As for what I’ve heard and seen, she has…spells, on occasion. PAUL Spells? Squire Whateley nods.
GIRL/ 28 SQUIRE WHATELEY Visions. Hallucinations. Folks say she sometimes speaks in tongues to people and things that aren’t there. Sometimes you won’t get a word out of her for days on end. Squire Whateley nods, thinking, then continues. SQUIRE WHATELEY It varies. I’ve even heard talk that it’s influenced by the moon and the seasons. She wanders then and old Carter has a devil of a time finding her. PAUL Where does she go? SQUIRE WHATELEY The unlikeliest spots. Wizard’s Hill. The Devil’s Hop Yard. Especially Whippoorwill Mountain. Seems to go where it’s unlikely folks will try to follow her. Secret places, if you understand me… (pause) At her worst, she gets very strange. PAUL Meaning? Squire Whateley lays the cane across the arms of the chair and sits back. SQUIRE WHATELEY It’s hard to describe. She can’t walk right. Or straight, at least. She walks… Squire Whateley pauses, stammering as he gestures with a hand trying to think of the right word. SQUIRE WHATELEY …walks…walks in circles.
GIRL/ 29 PAUL In circles. SQUIRE WHATELEY Yes. Almost like dancing, but then it isn’t. Sometimes on her hands and knees. Sometimes not. She whispers and croons to herself when she does it. And makes signs. Scares superstitious sorts, I imagine. (pauses, smiling) Hell…I don’t know what’s wrong with her. All I know for certain is that she’s from the hills north of here and there’s a lot that goes on up there folks just don’t know about. Grasping his cane, Squire Whateley rises from the chair to stoke the fire again. PAUL Is she ever violent? SQUIRE WHATELEY Pardon? PAUL Sarah Brown. Has she ever hurt anyone during one of these spells? Squire looks at Paul. SQUIRE WHATELEY No. At least, not to my knowledge. EXT. WHIPPOORWILL MOUNTAIN - NIGHT Paul dreams…finding himself upon the altar. The moon casts strange elongated shadows. A CACOPHONY of whispering voices echo across the hilltop. A whippoorwill cries out. From the left side of the altar a bare arm appears and seizes Paul by the throat. He gasps, terrified. It releases him and a finger sensually traces a path down his body from neck to belly.
GIRL/ 30 Inexplicably, the bare arm and hand appears again upon the right, and again traces a similar path from belly to foot. Paul, too stunned to do much more than shudder, stares wide eyed at the foot of the altar. Then, two hands grasp his face from above and behind. Sarah stares down into his eyes. She puts a finger to her lips. SARAH Shhh… INT. OSBORN’S GENERAL STORE Zeb and Osborn are talking in low voices. OSBORN Hear ‘bout th’ Hutchins’ dog? ZEB Ayuh. OSBORN Funny, aint it? Jes’ like when Mrs. Orne was still ‘round… Zeb nods. OSBORN Well…it coulda jes’ run off. ZEB Without its head? Osborn shrugs uncomfortably. ZEB Mind ye, it’ll happen agin, more’n likely. ‘Cept next time, it’ll be more‘n jes’ a dog. OSBORN It’s that new schoolmaster, I think.
GIRL/ 31 ZEB It’s more‘n jes’ him. But it don’t help none, him bein’ ‘round. Goddamn, but that pisses me off somethin’ fierce. Zeb pauses, grumbling under his breath, then: ZEB Ye know Joe, jes’ when it finally quiets down, th’ damn county sticks its nose intuh things. Ye’d think they’d leave well ‘nough alone, fer once. But, nope, they stick us with this damn fool schoolteacher, ‘n ‘fore ye know it, it’s trouble all over agin! OSBORN Some of it’s Carter’s daughter, if ye ask me. Folks talk ‘bout th’ way she looks at that Paul feller. He’s marked. ‘N so is she. ZEB Ah, hell, this whole damn place is marked, if ye ask me. Ev’ry last man, woman, child, hill ‘n tree. Sometimes, I jes’… Zeb glances toward the window. We see Paul pass by. ZEB (soft) Damn. It’s him. Don’t say a word. Osborn nods. The door opens, the bell jingling, and Paul enters the store, letter in hand. Osborn and Zeb glance at him. PAUL Afternoon, Mr. Osborn.
GIRL/ 32 OSBORN Afternoon, Mr. Paul. Paul turns a fairly cold eye to Zeb. PAUL Mr. Whateley. Zeb nods. OSBORN Got ‘nother letter there fer me to deliver, then, eh? PAUL Yes. And I also have a favor to ask. Of Mr. Whateley. ZEB Huh? PAUL I met with your cousin Squire Whateley, on the matter of obtaining a suitable schoolroom for the children. Zeb opens his mouth to say something, but Paul politely interrupts. PAUL Yes, I know, it’s a lost cause, the locals won’t stand for it, et cetera and so forth, but I have a job to do and I mean to do it. ZEB So what’s this favor, then?
GIRL/ 33 PAUL Squire Whateley gave me a list of potential locations, and asked that you show them to me. I have the list, if you’d like to see it. I expect it has the approval of the committee. Zeb looks dumbfounded, at a loss for words. PAUL I’m not interrupting a planned checkers game, I hope? ZEB Huh? Oh, I…no. Uh, no. I mean, course I kin. Help ye, that is… find something. PAUL Excellent. Shall we go now? ZEB Now? PAUL Well, yes, while there’s still light. ZEB Oh. Right. Right. Zeb casts a look at Osborn, then heads toward the door. Paul follows. EXT. 1st HOUSE - DAY Paul and Zeb stand in front of a small single story home, the yard overgrown with weeds, brush, and grass, the house itself in serious decay. Paul, his hands on his hips, stares at the home and shakes his head. Zeb, standing behind him, scans the list of prospective properties.
GIRL/ 34 EXT. 2nd HOUSE - DAY Another home - nothing but old, charred timbers amidst weeds grown wild. ZEB List might need some updatin’. Paul rolls his eyes. INT. 3rd HOUSE Paul and Zeb wander around a front room littered with trash, mold growing wild on floor, walls, and sparse furnishings, tattered drapes hanging from windows with broken panes. The floor sags in various places, some floorboards missing. Zeb stops at a gaping hole in the floor and peers into the darkness below as Paul sighs and kicks trash out of his way. ZEB Old Missus Jensen’s place. She was a Gilman from Innsmouth. She’s gone now. Disappeared. PAUL (peering about) Why am I not surprised? He pauses, wrinkling his nose as he sniffs the air. PAUL Whew! Smells like dead fish! INT. 4th HOUSE In a decaying front room littered with trash a small gang of dirty children have a mouse cornered. One of them swats at the mouse with a stick as Zeb and Paul enter. PAUL Stop that!
GIRL/ 35 The children rush past Paul and Zeb. Paul manages to briefly grab hold of the third boy, TOBY WILKINS. PAUL Now see here... Toby, clearly alarmed, twists loose and runs away. From a safe distance he turns about. TOBY WILKINS Bastard! He runs off, Paul at a loss for words. Zeb chuckles, folds his arms. PAUL Who – who was that boy? Toby Wilkins. Paul. EXT. LONELY WOODLAND TRAIL - EVENING Paul and Zeb walk along the trail. To either side stand great, thick trees, shadows long as daylight fades. PAUL My God, what a disaster. ZEB Weren’t that bad. PAUL Are you joking? Not one of these places was even remotely habitable. Might as well hold class in the woods. Or a cave. They walk along in silence for a while. PAUL I mean, it just astounds me. Has Dunwich always been this bad off? ZEB One of your pupils, Mr.
GIRL/ 36 ZEB Not always. But fer a long time, ayuh. Long as I can remember, anyway. Paul shakes his head, stops to survey the countryside. PAUL Philip was against my coming here, you know. ZEB Who? PAUL Philip Everidge. A friend of mine. He didn’t think it was a good idea. Now that I’m here, I’m starting to wonder myself. Paul stops walking, glances into the woods, then turns to face Zeb who’s also stopped walking. PAUL I hear things, you know. People talking. Rumors. Whispers. They say a farmer found his dog mutilated a few days ago. Found only its head, actually. I’m sure you’ve heard of it? ZEB Catamount’ll do that. PAUL A what? ZEB A puma. Mountain lion. PAUL They still live in these parts after all these years?
GIRL/ 37 Zeb starts down the trail again, Paul staring after him. ZEB Oh, ayuh. Course. Ye jes’ don’t see ‘em durin’ th’ day is all. Paul pauses, then hurries to catch up to Zeb. EXT. WOODS - EVENING From the cover of trees, something watches Paul and Zeb walking on the trail. IT slowly follows, keeping them in sight, bits of conversation drifting back to IT. PAUL (overheard) I need a suitable place for the children. Not some decaying shack. ZEB (overheard) Osborn might have somethin’ for ye. He has a buildin’ or two he don’t use anymore. PAUL (overheard) I’ll talk with him in the morning. At a fork in the trail, Paul and Zeb stop, exchange parting words, then part company. Zeb heads home down one path while Paul takes the long way back to Osborn’s General Store. EXT. WOODLAND TRAIL - EVENING Gradually, Paul becomes aware that something is following. He picks up his pace, glances nervously about, hears a suspicious noise, the rattle of dead leaves, then the cry of a whippoorwill. He stops. PAUL Hey!
GIRL/ 38 He waits for a reply. PAUL Who’s there? A snap of a twig from his right. He turns about, sees nothing. The trees seem to press menacingly close. PAUL I said, who’s there? Nothing, then the rattle of dead leaves again. PAUL Shit. Off he runs down the trail. Toby and JIMMY WILKINS and young ZEKE ADAMS emerge from the woods. They watch as Paul disappears around the bend. JIMMY WILKINS We’ll get ‘im later. Few days or so. Agreed? Toby and Zeke nod, then all three touch their fists together in an obscure pact of some sort. JIMMY WILKINS We best be gettin’ home. Jimmy and Toby head off in one direction, Zeke runs in another. Zeke doesn’t get far, rounds a bend and runs headlong into Sarah who catches him in her arms. She smiles, strokes his hair. Terrified, Zeke breaks free and runs. Sarah watches Zeke run away, then turns her attention to the departing Wilkins boys moving off through the woods. INT. OUTBUILDING ON OSBORN PROPERTY - DAY The building is dim and dusty. Crates, boxes, and old rusting farm and garden equipment litter the place, some hanging on the walls. Cobwebs lace the ceiling. Paul and Osborn walk about the room.
GIRL/ 39 OSBORN (o.c.) I used t’use it as a storage shed. Still got some stuff in it. Paul bounces experimentally on floor. PAUL Sturdy enough I suppose. (glances at ceiling) Looks sound. Lot of dust and webs, though. Are you utterly sure the Meeting House is out of the question? OSBORN It’s a mess, sir. ‘Sides, I’ll clean this place up if’n ye want t’use it. Get it lookin’ good. PAUL (glancing around) All these boxes and crates and old farm equipment? OSBORN Gone. I’ll have ‘em removed. PAUL (pauses) All right, it’ll do, I suppose. TIME FADE INT. OUTBUILDING The building is clean, ready for students. Paul sits at his desk, writing to Philip. Behind the desk on the wall are two portraits, Lincoln and Washington. Four bench seats arranged in two rows front the desk. PAUL NARRATION (v.o.) Well, Philip, I suppose I’m ready. Only one thing is missing. Students. FADE TO:
GIRL/ 40 EXT. FRONT OF DUNWICH HOME - DAY Paul knocks on the front door. No one answers. He knocks again. After a short pause, the door creaks open. A middleaged WOMAN in apron and straggly hair glares out at him. PAUL Hello, I’m… WOMAN I don’t rightly care who ye are! She slams the door in Paul’s face. EXT. FRONT OF ANOTHER DUNWICH HOME - DAY Another door slams in Paul’s face. EXT. FRONT OF ANOTHER DUNWICH HOME - DAY We see a farmer’s field, then Paul running frantically across it. An ANGRY FARMER fires a load of bird shot over Paul’s head and watches him flee. INT. OUTBUILDING Paul sits at his desk, tapping a pencil on the desktop while staring at paperwork he has spread out before him. Off to one side rests his keys. He looks up to see TEMPERANCE and REBECCA BISHOP, 10 and 8 years old respectively, standing just inside the door, holding hands. They are brother and sister, dirty, wearing patched hand-me-downs, scuffed shoes, the boy wearing an ill-fitting cap. Paul rises from the desk and approaches them. PAUL Well! Come in! Come in! Now who do we have here?
GIRL/ 41 TEMPERANCE I’m Temperance Bishop ‘n this is m’sister, Rebecca. PAUL Well, Temperance and Rebecca, please, sit down. Paul guides them to the nearest bench and they sit. Paul leans over as the children peer up at him. PAUL My name is Aaron Paul. I am your teacher. So, do you know of any other children that will be attending? Temperance nods solemnly. PAUL Do you know their names? TEMPERANCE There’s Zeke ‘n Orville Adams, ‘n Tabby Gardner ‘n Jenny Harris. The Wilkins. Maybe a few others. PAUL Well, where are they? Temperance shrugs. PAUL Rebecca, why aren’t they here? The children exchange glances, Rebecca growing nervous. She clasps her hands in her lap and looks away. PAUL Why aren’t they here, Rebecca? Rebecca mutters something. PAUL Excuse me?
GIRL/ 42 REBECCA They’s a-scairted. Paul sits on the bench next to Rebecca, leans forward, elbows on knees, and glances at her. PAUL Why are they scared, Rebecca? Rebecca bites her lower lip as she stares at the floor. REBECCA Don’t know. Paul glances past Rebecca at Temperance. PAUL Do you know, Temperance? Are they afraid of me? TEMPERANCE Heck no. Fact, Tabby Gardner told me that Zeke Adams was plannin’ on puttin’ a frog in yer desk drawer. PAUL A frog… Temperance nods. TEMPERANCE Uh huh. Then Zeke’s brother Orville says he’ll double-dare Zeke t’ put it in yer coat pocket, ‘n Zeke said double-darers go first, ‘n then Orville called Zeke chicken, ‘n that made Zeke mad, so… PAUL (interrupts) So, they’re not afraid of me. TEMPERANCE Naw, they ain’t a-scairt a’you.
GIRL/ 43 PAUL Then why aren’t they here? TEMPERANCE Don’t like school much, I reckon. Don’t like strangers tellin’ ‘em what t’do. PAUL But Mrs. Orne told them what to do. Didn’t she? TEMPERANCE Ayuh…I s’pose… PAUL So, if Mrs. Orne… Rebecca suddenly claps her hands over her ears. Paul glances at her. PAUL Is something wrong, Rebecca? Hands still covering her ears, she shakes her head emphatically. TEMPERANCE Mister Paul, I… Paul, his eyes on Rebecca, waves a hand, cutting Temperance off. PAUL Is something wrong, Rebecca? Paul gently reaches for Rebecca’s hands and pulls them away from her ears. Her eyes glisten with tears. She sniffles and swipes at her nose. REBECCA Promise? PAUL Promise what, dear?
GIRL/ 44 She glances at Paul for the first time. REBECCA Promise ye won’t let her near us? PAUL Who, dear? Rebecca squirms. REBECCA Promise? PAUL Why? REBECCA Because…because… Temperance, terrified, grabs Rebecca by the hand and together they dash toward the door. REBECCA Because she’s awful! She’s awful! Awful, awful, awful… Temperance and Rebecca dash out the door, leaving Paul sitting on the bench staring dumbfounded. TIME FADE DISSOLVE TO: INT. OUTBUILDING Paul sits at his desk, eyes distant, thoughts preoccupied. A shadow cuts the light entering the door. Paul looks up to see a figure silhouetted in the doorway. Sarah steps through the door and slowly approaches Paul. She wears an old, faded, threadbare shawl over her head, her hands crossed over her chest, holding tightly to the shawl. Her feet, as usual, are bare and dirty.
GIRL/ 45 PAUL Sarah. You’re here…good…please be seated. Without a word, she turns to the nearest bench, sits, and looks up at Paul while still clutching the shawl. PAUL Why are you wearing that, Sarah? It doesn’t look like rain to me. She remains silent. PAUL Well, you’re in class now, young lady. Please remove it. Grinning, Sarah clutches the shawl tighter. Paul sighs as he rises from the desk, walks to the bench and, somewhat uncomfortable, sits down beside her. As Paul is about to speak, she let’s go of the shawl and turns to him, placing the fingers of one hand over his mouth while raising a finger of her other hand to her lips. SARAH Shhh… She slowly lowers her hand from Paul’s mouth. PAUL Sarah… Sarah raises a finger to her lips again. SARAH Shh… PAUL Why? She smiles. SARAH ‘Cause…
GIRL/ 46 PAUL Because? She pauses as she rises from the bench and walks to the desk, standing there with her back to Paul. SARAH ’Cause you talk too much. Jes’ like Missus Orne did. All th’ time, talkin’. All th’ time, cluckin’ like a hen. Never listenin’. Never hearin’ nothin’, like I do. PAUL You…hear things? SARAH Ayuh. PAUL What do you hear? SARAH D’pends on where I’m at. She pauses as she turns around, leans back against the desk, and crosses her arms at her waist. SARAH Some places they’s real faint-like, like here, but in other places I can hear ‘em real good, like up on Whippoorwill Mountain ‘n Cold Spring Glen… Her words briefly trail away. SARAH (soft) Up on th’ mountains is best, when th’ wind’s right. Certain times of th’ year…then I can see ‘em.
GIRL/ 47 Sarah begins to pace. Paul’s eyes follow her. PAUL What…what do they look like? Sarah stops at a window and peers out. SARAH Ye sure ye want t’know? PAUL Yes. She continues to stare out the window, eyes distant. SARAH Depends. Th’ little ones, th’ servants, I seen now ‘n then. ‘N they ain’t small, either. They can be pretty bad. Th’ big ones, they’s th’ rulers, I never seen all of ‘em, ‘n sometimes I don’t see nothin’ of either ‘cept what they’re doin’. She pauses as she turns her eyes to the sky. Her voice changes, becoming soft and dreamy. SARAH Like th’ wind in th’ grass. Come at you, all at once. Then they’re gone, ‘n all you hear is th’ whippoorwills callin’ ‘n your heart poundin’… PAUL Where are they from? SARAH I don’t know, really. Th’ sky. Or th’ stars. Far away. Maybe even the center of the universe, I think. They dance there, ‘round the ruler of ‘em all. They dance forever ‘n ever.
GIRL/ 48 She pauses, turns and smiles at Paul, her head tilted slightly to one side. SARAH Someday…someday I’ll go there. But not alone, I think. No, not alone. (pause) Yer scairted of me, ain’t you? Clouds suddenly pass over the sun and the shadows in the room deepen, darken. PAUL No. Hardly. SARAH No, yer scairted. Like Missus Orne was. She din’t like me hearin’ or seein’ things. Din’t like me wearin’ this, neither, even if I only do it so I won’t see them when they’s ‘specially bad. Like today. She pauses, turning cold and angry. SARAH But Missus Orne din’t care none. She says, ‘Sarah Brown, you take that old shawl off’n your head,’ ‘n I say, ‘No, ma’am, I need it,’ ‘n she says if I din’t take it off, she’d rap my knuckles good. But, it din’t come down to that… She pauses again, softening, and smiles at Paul. SARAH I’ll take it off for you, Mr Paul. She drapes the shawl around her neck, then begins to pace the floor again, her eyes downcast.
GIRL/ 49 PAUL All right, you said it didn’t come to that. So, what did it come to? SARAH Ye really wouldn’t want t’know. Paul slowly rises from the bench and turns to face Sarah. PAUL Did you hurt Mrs. Orne, Sarah? Sarah suddenly stops, her eyes still turned to the floor. SARAH I din’t do nothin’ that wasn’t called for, if that’s what you mean. One of ‘em was what did th’ hurtin’, if yer that curious. PAUL Who? One of the other children? SARAH No. All they’s good fer is hurtin’ little things. They was scairted of Missus Orne. She could be mean. They din’t like her. She slowly raises her head and looks at Paul. SARAH They don’t like you, either. Plenty of folks here don’t like you, Mr. Paul. Oh, they make nice ‘n all, ‘n ask after you, but they don’t mean it. ‘N ye’ll find out, sooner or later, when they try to chase ye off. She walks to Paul, rests a hand on his chest and smiles as she looks up at him.
GIRL/ 50 SARAH But I won’t let that happen. I like you. I like you just fine. PAUL Sarah, what happened to Mrs. Orne? Sarah remains silent. PAUL Sarah… She turns away. SARAH I don’t want to talk about it no more… PAUL Tell me! Sarah suddenly takes on an almost child-like shy demeanor. She sighs softly, then walks to the desk. PAUL (impatient) Sarah, I am waiting. Sarah starts to trace random patterns on the desktop. PAUL At least tell me about Them, will you? She continues to stare at the desktop while drawing imaginary patterns.
GIRL/ 51 SARAH They ain’t like us. Ain’t like us at all. Most folks don’t even know they’s there. Folks just don’t like th’ places where they conger’gate, ‘n stay away from ‘em. Like th’ Injun stones ‘n Wizard Whateley’s place. (pauses, softer) They kin make things happen if things is right. That’s when Daddy locks me up in th’ attic. So, I just sit by th’ little window, ‘n I listen to them. She looks up, staring blankly at the ceiling. SARAH (soft and dreamy) I listen ‘n listen ‘n listen… PAUL (interrupts) Do they tell you to do things? SARAH Sometimes. ‘N sometimes, I tell them to do things. PAUL Are these things…bad things? SARAH Sometimes… (looks at Paul) …that don’t mean that bad things happen, if that’s what you’re gittin’ at. There’s a moment of silence. PAUL Sarah, are you lying to me?
GIRL/ 52 SARAH No. Hell…I’m probably th’ only one tellin’ ye th’ truth. Much as ye don’t seem t’like it. PAUL What truth, Sarah? Sarah walks to Paul, pulls up close to him and runs fingers gingerly down his arm. SARAH Ye want th’ truth, Mr Paul. Ye go ‘n look in th’ Meeting House tomorrow. Look on th’ wall. But ye just might want t’ sit tight fer th’ next couple o’ days. They’ve been a little thick, lately, if ye understand me. She turns and walks to the door, pausing as she faces Paul again. She drapes the shawl back over her head, and smiling seductively, runs a finger down her neck and beneath the fabric of her dress between her breasts. SARAH Goodbye, Mr Paul. She leaves. EXT. DUNWICH COMMONS - DAWN The morning is damp and cold; fog hangs in the air. It’s early, no one about. Paul stands at the edge of the commons, looking at the Meeting House which appears GHOSTLIKE through the fog on the far side. EXT. FRONT OF MEETING HOUSE - DAWN Paul stops in front of the building and peers at the door. On each side of the door are windows, drawn curtains obscuring the view inside.
GIRL/ 53 He walks to the door, tries the handle. It’s locked. He walks around the side, coming to a window with a broken pane, the view inside obscured by a weathered curtain. Paul glances around nervously, hoping he isn’t seen, then pushes the curtain back, peering through the broken window. INT. MEETING HOUSE The room is dark and gloomy due to drawn curtains. In the middle of the room is a jumble of overturned furniture. At the window, peering in, is Paul. EXT. SIDE OF MEETING HOUSE - DAY Paul pushes the curtain further aside for a better look. Something on the far wall suddenly catches his eye. INSERT - CLOSE ON WALL, in a crude scrawl, dark against the plaster is a strange occult SYMBOL. A dog barks. Paul drops the curtain and hurries away from the Meeting House, crossing the commons. INT. PAUL’S ROOM - EVENING We see Paul at his desk, trying to draw the occult symbol on a piece of paper. He pauses, looking at what he’s drawn. DISSOLVE TO: INT. BROWN FARM CHICKEN COOP - NIGHT A number of chickens are asleep on their roosts. We see Sarah’s hands carefully grab one and stifle it. EXT. BROWN FARM YARD - NIGHT We see Sarah steal across the yard to the barn.
GIRL/ 54 INT. BARN Sarah lights a lantern. Struggling chicken in hand, she produces an oddly curved knife, and puts the bird on a stump used for a chopping block. SARAH Steady now…that a girl…steady… Sarah cuts it’s head off. The headless chicken races about the barn, coming close to a very dark corner. A greenish gray arm springs out, grabs the chicken, and pulls it back into the shadows. We hear the crunch and snap of bones. Sarah squats by the unseen thing. SARAH So that’s where you been, then? A pair of glowing red feral eyes, only inches above the ground, stares back at her. SARAH It’ll be something better, soon. Promise. EXT. WOODLAND TRAIL - NIGHT We see Jimmy and Toby making their way along the trail with bed sheets wrapped about their shoulders. Jimmy carries a lantern. Toby lags behind. JIMMY WILKINS Come on. We ain’t got all night. Toby, fearful, hurries to catch up. TOBY WILKINS Maybe this ain’t such a good idea. Jimmy stops and turns on his brother. JIMMY WILKINS What? Ye gonna cut out on me like yer little friend Zeke did?
GIRL/ 55 TOBY WILKINS No. JIMMY WILKINS Better not. Cause if ye do, ye kin go home by yerself. Without th’ lantern. Jimmy sets off again and Toby, visibly disturbed, hurries to catch up. TOBY WILKINS How d’ye think this is gonna work? JIMMY WILKINS Shit, ye seen how he ran th’ first time. Nothin’ to it. We head on over to th’ cemetery, make some noise, pretend we’re grave-ghosts, scare th’ ever-lovin’ hell outta him, ‘n it’s so long, teacher. TOBY WILKINS We’re goin’ into th’ cemetery? At night? Jimmy, exasperated, stops again. JIMMY WILKINS Dammit, Toby…look…are ye with me or not? TOBY WILKINS I am. It’s jes’…Zeke said he ran intuh Sarah Brown right after… JIMMY WILKINS (interrupts) Zeke Adams’ a liar. TOBY WILKINS No, he ain’t. JIMMY WILKINS Is.
GIRL/ 56 TOBY WILKINS Is not. JIMMY WILKINS So if it’s true, what happened? TOBY WILKINS Well, I don’t know. She touched his head, ‘n he ran like a rabbit in th’ other d’rection. Plumb scared outta his wits. JIMMY WLKINS Yeah, sure. TOBY WILKINS Uh huh! Cursed him, is what she did. Made it so that all th’ crows was watchin’ him, ‘n all th’ tree-roots tryin’ t’grab his feet, ‘n all th’ whippoorwills singin’, tryin’ t’catch his soul all the way home. JIMMY WILKINS Well, Zeke’s fulla shit. Least his britches probably was, anyway. Come on. Let’s git goin’. Like I said, we ain’t got all night. TIME FADE The boys near their goal, their unease slowly beginning to rise. They often stop and stare into the darkness when they hear a strange sound. ELSEWHERE IN THE WOODS, from above… SHANTAK MONSTER POV as it peers down at the boys. It watches them as it passes overhead. We hear Jimmy’s words drifting up to the Shantak. JIMMY WILKINS The woods is haunted I tell ye!
GIRL/ 57 TOBY WILKINS Nuh uh. JIMMY WILKINS Uh huh. ELSEWHERE IN THE WOODS, the Wilkins boys on the trail. TOBY WILKINS Nuh uh. JIMMY WILKINS Uh huh. TOBY WILKINS These woods ain’t haunted. JIMMY WILKINS Sure is. How come ye think we’re th’ only ones out here? Don’t see anybody else, do ye? I don’t. Toby’s uneasy again. They stop. JIMMY WILKINS Why? Cause these woods is haunted, is why. Heck, I bet ye cain’t walk twenny yards into ‘em at night without runnin’ intuh a ghost…just hidin’ behind a tree, all flappin’ ‘n bony ‘n bloody…waitin’ fer ye. Waitin’ t’grab ye. TOBY WILKINS Don’t say them things, Jimmy. JIMMY WILKINS You’re scairted, aint you? TOBY WILKINS No.
GIRL/ 58 JIMMY WILKINS Prove it, then. (points) Walk twenny yards over there ‘n touch one a them trees. TOBY WILKINS I don’t… JIMMY WILKINS (interrupting) Give ye a nickel if ye do it. TOBY WILKINS I want th’ lantern, then. JIMMY WILKINS Well…all right. Jimmy hands Toby the lantern. He hesitates, then sets off into the woods. Jimmy watches Toby disappear among the trees, then he also grows uneasy, glancing about the dark. ELSEWHERE IN THE WOODS, Toby, stumbles through the trees and undergrowth. Deeper he wanders. Suddenly a hand slips over his mouth. Pulled aside into Sarah’s arms, he’s too startled and terrified to cry out, though he struggles a little. SARAH (whispers) Shh. Watch. ELSEWHERE IN THE WOODS, on the trail with Jimmy. JIMMY WILKINS (half-whispering) Toby! Toby! Come on! This ain’t funny! Let’s go! (pause) Toby? He cautiously approaches the woods.
GIRL/ 59 JIMMY WILKINS Quit foolin’, Toby, or I’ll leave ye here. (pause) I mean it. Jimmy stands at the edge of the woods. JIMMY WILKINS Toby? ELSEWHERE, SHANTAK MONSTER POV as we suddenly hear the lumbering, heavy tread of something on the trail, rapidly approaching Jimmy. We hear a liquid gurgle and hiss, the deep and vital sound of a great beast. Jimmy, terrified, turns to run and stumbles. We see a brief glimpse of him against the sky, caught in the jaws of some immense, serpentine THING, shaking him like a rag doll, Jimmy screaming. ELSEWHERE IN THE WOODS, Sarah and Toby watch, Toby’s eyes bulge with terror. Sarah grins as sickening snapping sounds fill the air. Sarah whispers into Toby’s ear. SARAH Look. Over there. Toby looks, and is even more terrified. He struggles. CRAWLING MONSTER POV as it comes scuttling rapidly toward Toby and Sarah. EXT. FIELD - DAY A number of locals are out combing the fields, looking for the missing boys, Zeb Whateley among them. Occasionally one of them shouts the boys’ names.
GIRL/ 60 PAUL (v.o.) Dear Philip. More bad news today. Two local children are missing since last night. The Wilkins boys, from what I understand. Search parties have been combing the countryside since sunrise. We see Zeb Whateley peering among brush. PAUL (v.o.) While I fear the worst, I hope for the best. At least, I do not indulge in the superstitions and rumors of the locals. Everything from witchcraft and black magic to the Indian stones and the unquiet dead has been blamed so far. We see locals wandering about, including the DUNWICH CONSTABLE, Joe Osborn, and Zeb Whateley, squinting, as he pushes through the brush. PAUL (v.o.) I was not asked to be part of the search. So, to pass the time I drew up what I felt were lesson plans appropriate for the locals. Lesson one: The old woman who lives at the end of the country lane is not a witch. We catch a glimpse of a youthful bare foot among the brush. Zeb Whateley, obviously alarmed, reluctantly pushes the leaves and branches aside. PAUL (v.o.) Lesson two: The Devil does not hold court upon the hilltops on May Eve and Walpurgisnacht. Wizard Whateley can no more summon storms than Sarah Brown can speak with spirits.
GIRL/ 61 A terribly mangled corpse is revealed, little left beyond a torso, near impossible to tell which boy it might be. Upon this wreckage, in blood, is the obscure occult SYMBOL we have seen on the Meeting House wall. PAUL (v.o.) Lesson three: There ARE no spirits. There are no vampires or ghosts or werewolves. There are no monsters. There are only, for good or for ill, better or worse, the deeds and doings of mortal men and women. CLOSE ON Zeb, clearly terrified by what he has seen. The DUNWICH CONSTABLE appears behind him, and quickly makes the sign of the cross. We now clearly see the occult SYMBOL. PAUL (v.o.) I present this evidence to you, good people of Dunwich, in the spirit of enlightenment and rational thought in this modern age of nineteen-hundred and twenty-three. EXT. WIZARD WHATELEY’S HOUSE - DAY Zeb approaches a large, decaying farmhouse fronting Sentinel Hill. He pauses, staring at an animal skull set as a warning on a stone wall, then continues on, clearly not happy. He walks up the steps to the door, goes to knock, but the door opens. WIZARD WHATELEY, a short, grizzled man, not altogether sane looking, stands there. WIZARD Saw ye comin’ up th’ road a ways. Step in…if ye’d like.
GIRL/ 62 INT. HALL TO KITCHEN IN WIZARD WHATELEY’S HOUSE Zeb stands in the hall inside the entrance. House remodeling is underway - wood scattered about with hammers, nails, and saws. Wizard closes the door and turns. WIZARD I heard what happened to th’ Wilkins boys. Quite tragic, ayuh. Quite. S’pose they’ll be blamin’ it on me, eventually. (pause) So what brings ye here, then? ZEB (soft) I need to… WIZARD Need to what? Speak up. ZEB I need t’borrow a book from yer library. Wizard arches an eyebrow and tilts his head. WIZARD A book, ye say? ZEB Ayuh. Wizard pauses, then slaps Zeb on the shoulder as he starts to walk past him. WIZARD Interestin’. Come with me. They walk down the hall toward the kitchen.
GIRL/ 63 INT. WIZARD’S KITCHEN In the dusty kitchen Wizard’s ALBINO daughter, LAVINIA, sits in a chair next to a window, twisting a lock of her hair, and mumbling to herself as she stares out the window. Lavinia’s son, WILBUR, sits at the kitchen table, bent over an ancient tome, making notes on a note pad. Though a dark and homely 10 year-old boy, he’s the size of a big man, his GOATISH face bearded, his shoulders hunched. Wizard ushers Zeb into the kitchen. WIZARD (amused) Lavinny! Wilbur! Look who’s come t’visit! Cousin Zeb! Lavinia ignores him, continuing to mumble. Wilbur looks up, his gaze cold, then resumes his studies without a word. WIZARD Zeb’s come t’borrow a book! (to Zeb) Any p’ticular book ye lookin’ fer? ZEB No, just...just one dealin’ with symbols, mostly, if’n ye got one. Summonin’s and dispellin’s and the like. WIZARD Symbols, eh? Summonin’s and dispellin’s? Why, that could be any of ‘em. Bein a bit vague, don’t ye think? ZEB I s’pose. Wizard pauses; a slow grin crawls across his face. WIZARD Trouble with the Brown girl again, I’m thinkin’?
GIRL/ 64 ZEB Well, I… WIZARD Mmmm. ‘N ye came by here t’see if yer old cousin could help put ‘er down. Maybe even show ye how t’ kill her. Right? Zeb barely nods. Wilbur takes passing interest in the conversation. WIZARD Ha. Take more ‘n just a spell or two fer that. Ye don’t just up ‘n kill someone like Sarah Brown. Believe me, Carter’s tried. People’ve tried t’ kill me. Tried t’ kill my ancestors. Wizards don’t die easy. They come back, if’n you don’t do it right. Just that simple. (pause) ‘N as Ibn Schacabao said, ‘happy is th’ tomb where no wizard hath lain… ’n happy th’ town at night whose wizards are all ashes.’ Zeb stares at Wizard who’s staring back with a grin. WIZARD (eyes on Zeb) Wilbur...go ‘n fetch a book for yer Uncle. Wilbur rises, glares at Zeb, then shuffles clumsily out of the kitchen while Wizard stares at Zeb, and gently runs his fingers through Lavinia’s long white hair, patting her on the head. TIME FADE Wilbur returns with the book, a decaying, leather bound volume. Without a word he shoves it at Zeb.
GIRL/ 65 WIZARD There ye are. It should have what yer lookin’ fer. ZEB Thanks, Wizard. I won’t let nothin’ bad happen to… We suddenly hear a heavy thump and SLITHER from the attic. All look up; fear on Lavinia’s face. Wizard pulls her head close to his chest in consolation. She resumes twisting her hair. ZEB Th’ hell was that? Wilbur smiles as Zeb glances at Wizard. ZEB You up t’somethin’, Wizard? Wizard’s eyes narrow as he glares at Zeb. WIZARD Well, sir...I don’t recollect askin’ after yer business overmuch when ye came t’my door, did I? Zeb shakes his head. WIZARD Wilbur...show yer uncle t’th’ door. Wilbur shuffles toward the kitchen door; Zeb follows. EXT. FRONT OF WIZARD’S HOME - DAY Zeb emerges from the house. He turns to an irritated Wilbur. ZEB Say, what if this book ain’t got what I...? Without a word, Wilbur slams the door shut in Zeb’s face. Zeb pauses, staring at the closed door.
GIRL/ 66 EXT. NORTH ROAD INTO DUNWICH - DAY Zeb, walking to town, rounds a bend to find Sarah standing in the middle of the road. She leans slightly to one side, head tilted, chewing on a blade of grass. Zeb approaches. She grins and nods at the book. SARAH What ye got there, Zeb Whateley? ZEB Just a book. Zeb stops in front of her. SARAH Gonna let me look? ZEB No. SARAH Ye off t’school, then? Zeb ignores her, continuing on his way. She turns, watching him go. SARAH I hope ye like yer book! She chuckles, stares coldly at Zeb as he leaves, then after he’s gone, she starts a STRANGE HOPPING PIROUETTE on one foot, her arms out to her sides, while staring into the sky. INT. ZEB’S KITCHEN - NIGHT Zeb sits at his kitchen table by the light of an oil lamp. We see the worn, dark green leather cover of the book, its title and author in gold: N’GHILIM MANUSCRIPT Marquis de Montforte translated by Lord William Henry Gott
GIRL/ 67 Zeb pages through it, pausing on two woodcut illustrations, the first a sorcerer standing naked inside a circle, knife in one hand, severed head held by the hair in the other. A large, vague, serpentine creature leers from nearby woods. The second is the Occult SYMBOL circumscribed by the words: THAT WHICH IS ALL IS AZATHOTH. Zeb reads on, pausing at one page to read quietly to himself, then aloud. ZEB ‘...thus it is written: that which bears ye Mark of Azathoth is made ye house of wizards and their black work therein...’ EXT. ZEB’S HOUSE - NIGHT Sarah creeps toward Zeb’s house. A whippoorwill calls. ZEB (v.o.) (as Sarah approaches) ‘That which bears ye Mark of Azathoth is abandoned to ye servants of wizards, to ye monsters of poisoned dreams and ye outer void beyond.’ She peers into the dimly lit kitchen window and sees Zeb reading. ELSEWHERE OUTSIDE ZEB’S HOUSE, Sarah approaches another, darkened window. Being a frosty April night, she exhales softly on the pane. ZEB (v.o. cont) ‘That which bears ye Mark of Azathoth is His alone…’
GIRL/ 68 INT. ZEB’S KITCHEN - NIGHT Zeb continues to read, unaware that Sarah is outside. ZEB ‘…and shall belong nevermore to any other of flesh or spirit, earth or sky, Heaven or Hell…’ He sits back, rubs his yes, clearly tired. EXT. ZEB’S HOUSE - NIGHT CLOSE ON Sarah as she slowly begins to draw the occult symbol on the fogged pane. TIME FADE INT. ZEB’S KITCHEN - NIGHT Zeb, who has fallen asleep, startles awake. He reaches forward and closes the book, noticing the faint sound of whispering voices, strange music, the pounding drum, then the burbling growl of the Shantak. EXT. ZEB’S FRONT PORCH - NIGHT The door opens. Zeb, shotgun in hand, hesitantly steps out. Slowly, he turns the corner of his house, passing the window with the symbol. We see Sarah watching from cover. ELSEWHERE OUTSIDE ZEB’S HOUSE, Zeb continues around the house. The hiss of the Shantak freezes him in his tracks. He looks up, sees the Shantak (we don’t) lumbering out of the woods toward him. Zeb fires at the monster, then turns and runs, the Shantak pursuing. He reaches the door to a root cellar, swings it open, runs in, closing the door behind him.
GIRL/ 69 INT. ZEB’S ROOT CELLAR - NIGHT Zeb slowly backs away from the door, frantically trying to reload his shotgun. A sudden pounding on the door, and Zeb, terrified, looks up, fumbling with the shotgun shells. The door suddenly torn off its hinges, Zeb stumbles and falls backward over some crates, firing at the open doorway as he goes down. There’s a strange CACOPHONY of cries. The Shantak outside the root cellar suddenly disappears. Zeb struggles up on his hands, staring wide eyed at the open doorway. EXT. ZEB’S HOUSE - NIGHT The Shantak, strange music, whispering voices, and pounding drum are gone. A large shadowy flock of huge bat-winged NIGHTGAUNTS fly overhead, silhouetted against the moonlight, disappearing into the night. A figure stands in the shadows at the edge of the woods. Seeing the mysterious figure, Sarah flees into the woods. The figure turns and disappears into the shadows. ELSEWHERE OUTSIDE ZEB’S HOUSE, Zeb emerges from the root cellar, shotgun in hand, and peers around. He sighs, running fingers through his hair. INT. PAUL’S ROOM - NIGHT Paul, at his desk, taps a pencil on the desktop, having paused in his writing of another letter to Everidge. He sighs and returns to the letter. PAUL NARRATION (v.o.) …I am deeply worried, Philip. I am now certain something is afoot. He sets the pencil aside and turns off the lamp.
GIRL/ 70 INT. PAUL’S MODEL T Next morning…Paul drives on the north road to Dunwich. EXT. FRONT OF CARTER BROWN’S FARMHOUSE - DAY Paul pulls up in front of the farmhouse, steps out of the Model T, and walks to the front door. He knocks on the door. It opens and Carter Brown scowls out at him. PAUL Is Sarah home? BROWN Why? PAUL I need to speak with her. BROWN She ain’t here. PAUL Where is she? BROWN Damned if I… PAUL (interrupts, voice rising) Where? Carter pauses as he steps out the door, crosses his arms, and faces Paul. BROWN ‘N what ye want with her, anyway? Meetin’ of th’ minds? Or maybe somethin’ else, I’m thinkin’? I seen th’ way she looks at ye. I think I know what ye come sniffin’ ’round here fer…
GIRL/ 71 PAUL You are an ignorant bastard. Carter leans forward, face to face with Paul. BROWN ‘N ye git off my land afore I fetch my gun ‘n give ye th’ kinda hole ye ain’t lookin’ fer, sonny. Paul glares at Carter for a moment, then turns and walks back to his car, gets in, and drives away. Carter watches until he’s sure Paul is gone, then calls for Sarah. BROWN Sarah! Sarah Brown! Carter wanders into the yard. BROWN Sarah Maye Brown! Ye come out uh those woods, girl! Sarah! Ye git yerself home! Sarah finally appears. BROWN Git over here. Sarah walks hesitantly to her father. Carter grabs her by the hair. SARAH Ow! Daddy, I wasn’t doin’ nothin’… BROWN (interrupts) What ye doin’ with th’ school teacher? Ye waitin’ fer ‘im out there in th’ woods, huh? Ye fuckin’ ‘im? Tell me, girl! No, Daddy! SARAH No, I ain’t doin’…
GIRL/ 72 Carter interrupts her by slapping her about the head with his free hand. BROWN Don’t ye be lyin’ t’me, girl! Ye fuckin’ ‘im, ain’t ye? Ye pregnant? Goddamned no-good simpleton! Sarah pleads, tugging at Carter’s hand, trying to pull herself away. SARAH No! No! I ain’t lyin’! Please, lemme go! Carter drags her by her hair toward the farmhouse; she cries, screams, pleads, scratches at Carter’s face while Carter slaps her about the head with his free hand. BROWN Teach you to go trampin’ ‘round. Carter tries to push her indoors. She flies at him, crying, claws his face. Carter manages to push her into the house, then undoes his belt, loops it around a fist, and slams the door shut behind him. We hear muffled shouts, blows, cries. INT. BROWN HOUSE ATTIC - DAWN Sunlight filters through a small window. Sarah sits on the floor near the locked door, still weeping, cheek bruised, hair disheveled, long dress further tattered and torn. SARAH Daddy? Daddy? Please let me out. Please. It’s mornin’. I’m hungry. Please. She thumps on the door. SARAH Daddy? Please. I din’t do anything.
GIRL/ 73 She continues to weep. The door suddenly creeps open a few inches by itself. Sarah stares at it, then rises to her feet. She slowly swings the door open further, peers out, then leaves the attic amidst whispering voices. ELSEWHERE IN THE BROWN HOUSE, Sarah creeps slowly down a hall, the whispering voices fading. ELSEWHERE IN THE BROWN HOUSE, Sarah slowly descends the stairs toward the front entrance. We hear Carter snoring from a front room. Sarah pauses in the entrance, glances into the room to see Carter asleep in a chair, then hurries to the front door and escapes outside. INT. EVERIDGE’S STUDY Everidge paces the floor, reading Paul’s recent letter, the letter in one hand, his pipe in the other. When finished, he puts the letter aside, sits down, hand to forehead. EVERIDGE Good God. He thinks for a moment, then goes to the study door, opens it, and looks into the hallway. INT. HALLWAY OUTSIDE THE STUDY Everidge sticks his head out the door, looking down the hall. EVERIDGE Elizabeth! Elizabeth! Elizabeth appears from a room further down the hall and hurries to Everidge. ELIZABETH Yes, Mr Everidge? He steps into the hall as Elizabeth stops before him. EVERIDGE Pack my valise, please. I am going to Dunwich.
GIRL/ 74 INT. OSBORN’S GENERAL STORE - DAY Paul, about to leave, opens the door of Osborn’s General Store. He pauses as Osborn speaks again. OSBORN Mark my words! Ye go out there agin, ye’ll be lucky t’come back! PAUL Thanks for the warning, Mr. Osborn. But, I have responsibilities. Sarah, like it or not, is one of them. OSBORN But… PAUL Will you come with me? OSBORN I…I cain’t. Paul pauses, then: PAUL Good day, sir. He leaves, closing the door behind him, the bell jingling. Osborn stares at the closed door. EXT. NORTH ROAD TO DUNWICH - DAY/EVENING A gloomy day, threatening rain. Sarah walks down the road, staggering, dazed. She mumbles softly as she raises her arms and begins a slow spiraling dance in the road, throwing her head back and closing her eyes. EXT. FRONT YARD OF BROWN FARMHOUSE - DAY/EVENING Carter Brown, angered, crosses the front yard calling to Sarah again.
GIRL/ 75 BROWN Sarah! Sarah Maye! He stops, glares about, his hands on his hips. BROWN I’ll break yer goddamned head fer ye, girl, ye don’t git back here! (pauses) Sarah Maye Brown! Grumbling, Carter starts toward the woods. A sudden clap of thunder; Carter stops and looks up. Low churning clouds move across the sky toward Carter’s property. He steps away from the woods, his eyes on the clouds, the wind whistling through the trees. INT. PAUL’S MODEL T Paul leans forward, staring ahead, gripping the wheel. Rounding a bend, his eyes go wide. Ahead in the road Sarah dances in circles, her arms out from her sides. PAUL Goddammit! He slams on the brakes. The car slides toward Sarah. EXT. NORTH ROAD TO DUNWICH - DAY/EVENING Sarah stops dancing, lowers her arms, and stares as the car slides to halt just inches from her. Paul jumps out and grabs her by her shoulders. PAUL Did you just see what almost happened? Did you? What in the hell are you doing out in the middle of the road?
GIRL/ 76 Sarah SQUEALS, pulling away from him. Paul, further angered, grabs her by the wrist. She shrieks, startling Paul into releasing her. She stumbles backward, tumbling to the ground. She gasps for breath as she turns onto her hands and knees. She crawls, crouching, moving clockwise, then counter clockwise in an unearthly bestial dance. As she dances, she softly whispers, croons, mutters, and whines, a frenzy of ecstasy playing across her face. EXT. FRONT YARD OF BROWN FARMHOUSE - EVENING Brown, clearly afraid, stares at the churning clouds, which have cut off the setting sun, casting the farm in shadow. Lightning flashes, thunder rumbles. Whispering voices, flute music, and pounding drum permeate the air. The wind howls, the trees swaying as though they had a life of their own. SHANTAK MONSTER POV A sudden gurgling growl from the woods takes Brown by surprise. He scarcely has time to gasp before the Shantak is upon him. INSERT: Blood splattering on the ground. EXT. NORTH ROAD TO DUNWICH - EVENING Paul slowly approaches Sarah. PAUL Sarah… Sarah peers up at Paul through strands of her disheveled hair. She grins, takes him by the hand and pulls him close. SARAH It’s over, now. PAUL What’s over?
GIRL/ 77 SARAH I called it, ‘n it came fer Daddy. It’s finished with him, now. But, I ain’t…quite. PAUL Sarah, what are you talking about? SARAH Ye’ll see. Ye’ll all see. PAUL Sarah…what did you do? She pauses and looks to the sky, her gaze far off, dreamy. SARAH Same thing I done t’Mrs. Orne. PAUL What? Her demeanor suddenly changes, becomes seductive. SARAH Don’t matter. It’s over. It’ll come t’th’ stones, now. PAUL Sarah…what is coming to the stones? SARAH Us. At first. Sarah, smiling seductively, takes Paul by the hand and rises to her feet. SARAH Come. She walks from the road into the woods, dragging Paul with her.
GIRL/ 78 EXT. WOODS - EVENING Sarah presses on through the woods with Paul. They slip past brush, bushes, low hanging branches. Periodically she stops to laugh or kiss him. Paul can’t resist, seemingly under a spell. EXT. CROWN OF WHIPPOORWILL MOUNTAIN - EVENING Clouds churn above the mountain, casting the mountaintop and stone circle in shadow. Heat lightning flashes, thunder rolls in the distance. Barely audible are the whispering voices, strange flute music, and pounding drum. Sarah and Paul reach the crown of Whippoorwill Mountain. Sarah, laughing in ecstasy, spins on her toes while weaving between the megaliths, her fingers lightly brushing each stone she passes. Paul leans against a megalith, catching his breath, watching Sarah. PAUL Sarah! (pauses) SARAH! She ignores him. Finally, she collides with him, nearly knocking him over. She grabs him by the shirt collar, smiles seductively, and kisses him. Paul pushes her away and stumbles past her. He turns to face her. She walks to the altar stone, turns, leans against it, planting her palms flat against the stone. Her mood and mannerisms express sneaking desire. A hideous howl overhead; Sarah and Paul look up, Sarah smiling, Paul fearful. SARAH First us. Now, it. A form looms out of the sky, swooping low over the stone circle. It drops something; the head of Carter Brown falls to the ground inside the circle. Sarah smiles. Paul screams.
GIRL/ 79 Sarah rushes to his side, leans over him, cradling his head. SARAH Don’t worry, Aaron. It ain’t here t’ hurt us. It’s here t’ serve me. Nothin’ more. She smiles down at Paul, gently stroking his hair, breathing deeply, her breasts rising and falling. Whispering strange, unintelligible words, she leads him to the altar. Smiling, she removes her dress, and stands naked before Paul. She kisses him passionately, then gently forces Paul’s head downward, off-camera. Sarah finally closes her eyes, shudders, gasps, then cries out. TIME FADE - NIGHT Lightning streaks across the sky. Thunder crackles, wind whistles between the standing stones. The whispering voices, strange music, and pounding drum add to the sound. We see Carter Brown’s head in the flash of lightning. The Shantak’s reptilian snout appears, taking the head in its teeth, then disappears into the darkness. In an explosion of thunder and lightning, we see Paul on his back atop the altar stone, Sarah straddling him, the two of them making passionate love. Sarah presses close, her hair dangling in Paul’s face. She bucks, gasps as she leans over him, her lips finding his shoulder. At climax she bites deeply into his flesh. Paul cries out as blood flows, dripping onto the stone. In the dark nearby, the half-seen Shantak throws its head back, swallowing Carter Brown’s head with a nasty, glottal sound.
GIRL/ 80 EXT. ZEB’S HOUSE - EVENING A few days later… A hand knocks briskly on the front door. A pause, then the hand knocks again, harder. The door opens a crack. Zeb, not looking well, peers warily out. ZEB What? EVERIDGE Philip Everidge. You ARE Zebulon Whateley, I take it? ZEB Ayuh. What d’ye want? EVERIDGE I’m looking for my friend, Aaron Paul. The schoolteacher. ZEB Ain’t seen ‘im. Zeb tries to shut the door. Everidge sticks his foot in the way. EVERIDGE Funny. I’ve heard that not only had you seen him, you had talked to him on several occasions, and that you might even know what happened to him. Zeb stares. EVERIDGE He wrote about you in his letters to me. ZEB Ye either git th’ hell off my property, or I git my gun.
GIRL/ 81 Everidge steps forward. EVERIDGE For your information, I am armed as well, sir. Zeb appears surprised. EVERIDGE Aaron’s naive. I am not. I know this place. I know how little it matters when a man goes missing around here. So, I suggest you help me. ZEB Or what? EVERIDGE Or I will bring more down on you than you can possibly imagine. I will have reporters pounding on your door. I will have lawmen ransacking your house. People shouting for your head. (pause) Do I make myself perfectly clear? The two men glare at each other. EVERIDGE So, are you going to help me, or not? Zeb grins bitterly, despite his anger. ZEB Slick sumbitch, ain’t ya? EVERIDGE I take that as a yes, then? Zeb opens the door and grudgingly lets Everidge in.
GIRL/ 82 INT. ZEB’S HOUSE - EVENING Zeb and Everidge sit in the small, untidy living room. Zeb, half-drunk, tosses back glass after glass of liquor. Everidge sits across from him. ZEB It’s true as I says, no one’s seen yer friend Mr. Paul in… hell…three, four days. Zeb pauses, scratches his head as he thinks. ZEB Can’t really r’member. Been on a bit of a bender, lately. Zeb pours himself more liquor. Everidge watches. EVERIDGE Really? ZEB Yep. Zeb tosses the glass back, becoming pensive and moody. EVERIDGE When was the last time you saw him? ZEB When he went up t’Carter Brown’s place. Ain’t been back since. EVERIDGE Who? ZEB Farmer. Lives not too far from here. EVERIDGE Where, exactly?
GIRL/ 83 Zeb shakes his head. ZEB Ye don’t want t’go foolin’ with Carter. He don’t take t’ strangers much. So cut yer losses, feller. Go on home. Aint nothin’ we can do. Zeb goes to finish his glass, but Everidge takes his hand by the wrist. EVERIDGE If you won’t tell me how to find this man, I’ll find someone who will. Zeb stares at Everidge, who eventually releases his wrist. EVERIDGE Remember what I said earlier. Zeb tosses the drink back and leans forward, his voice soft though angry. ZEB Ye have any idea what th’ hell yer gettin’ into, Mister? Ye say ye know this place. I say, bullshit. I lived here my whole life ‘n there’s still things I don’t know. Never will, neither. Stones on th’ hilltops, thunder in th’ air. Bad signs. Ill omens. Symbols. Go on ‘n laugh, if ye want. We know what we see here. We know what we hear. EVERIDGE Superstition.
GIRL/ 84 ZEB (voice rising) Go on, then, that’s all ye think it is. Go on, go see Wizard. Ask ‘im what kinda superstitions he’s got up his attic. Maybe he’ll tell ya. Zeb pauses as he leans forward, his eyes wide. ZEB Shit, better yet, maybe Carter’s daughter Sarah’ll send one of ‘em superstitions yer way. Last superstition she sent me ripped th’ goddamned door right off my root cellar, ‘n if ye want to see it, it’s right outside! Zeb settles back in his chair, running a hand through his hair. Everidge rises to his feet. EVERIDGE We’ll take my car. INT. EVERIDGE’S STUTZ BEARCAT Everidge and Zeb are on their way to the Brown farm. EXT. NORTH ROAD TO DUNWICH - DAY Everidge and Zeb pull up behind Paul’s car where he had abandoned it days before. They get out and walk to the car, Zeb carrying the N’ghilim Manuscript with him. EVERIDGE (eyes on Paul’s car) He’s been missing for three or four days and nobody noticed his car here in the middle of the road?
GIRL/ 85 ZEB People don’t come this way much. Bad country. Everidge circles the car, makes a cursory search of it. EVERIDGE Nothing. He might not have even made it to the Brown farm. ZEB If he was lucky. EXT. BROWN FARM - EVENING At the farm they find no trace of Paul or Sarah. ZEB Carter! Carter Brown! EVERIDGE Aaron! Everidge finds Carter’s blood-spattered spectacles. He picks them up, glances at them, then looks at Zeb. Carter’s. ZEB Lord Almighty...
INT. BROWN FARMHOUSE - EVENING Everidge and Zeb enter the farmhouse. At the base of the stairs they find a circle marked in chalk on the wood floor. At points on the circle are small stones, animal bones, various occult articles, the oddly curved knife, and the words: VULTGN, IA, ZHRO, OBODO. On the opposite wall, rendered in blood, is the occult symbol. The sight of the Symbol unnerves Zeb. EVERIDGE What in God’s name is that?
GIRL/ 86 ZEB Th’ Mark of Azathoth. I seen it afore. EVERIDGE The mark of what? ZEB It’s in this here book. Lemme find it. Zeb fumbles through the manuscript. ZEB All right. All right. Here. ‘There is at th’ center of th’ universe, a thing, a thing older than all. Blind it is, for it sees all. Mad it is, for it knows all. Without shape it is, for it is all. Night is its mantle, th’ void its throne. Eldest it is, fer eternity is but the passing of a moment in its court. There, its children, th’ lesser gods, dance forever.’ Upstairs a door squeals open and shut. Zeb and Everidge look up. Everidge, nervous, his pistol ready, walks up two steps. Zeb continues to read. ZEB ‘It has a name, though only its servants ‘n th’ mad dare speak it. Scarce are they told apart. In th’ haunted spaces of th’ world they meet, t’ grin at each other, point t’ th’ sky ‘n whisper, ‘That which is all is Azathoth.’ Slow footsteps from upstairs. EVERIDGE Aaron! Aaron, are you here? Answer me!
GIRL/ 87 A pause, then the footsteps approach the stairs. ZEB Carter? The HEADLESS CORPSE of Carter Brown appears at the top of the stairs and slowly begins to descend. Horrified, Everidge aims his pistol, hand trembling. The men back away. Zeb paws frantically through the N’ghilim Manuscript, then suddenly cries out in pain and horror, dropping the book. A SKELETAL HAND has seized him by the ankle. Clutching Zeb is the decaying, wormy, remains of Mrs. Orne, tatters of her dress still clinging to it. Bitten in half by the Shantak, nothing remains below the waist. It squeals as it moves to bite Zeb’s ankle. Everidge blows its decayed head off. Mrs. It shudders, then lies still. Everidge turns and empties his pistol into Carter’s corpse, now halfway down the stairs. It staggers, but keeps coming, finally slumping lifeless to the floor at Everidge’s feet. Both men are in shock. Everidge reloads his pistol with trembling hands. Zeb, wide-eyed, slumps against the wall. ZEB Oh, Gawd…oh, dear Lord… EVERIDGE Quiet. ZEB Oh, Gawd… EVERIDGE I said, be quiet! SARAH (o.c.) Best do as he says, Zebulon. Both men look to see Sarah standing at the top of the stairs.
GIRL/ 88 SARAH Ye two ever hear of knockin’ first? ZEB Witch! Sarah ignores Zeb. SARAH (to Everidge) Well, ye’re new here. This th’ kind of company ye keep nowadays, Zeb? EVERIDGE Where is Aaron? SARAH Oh, he was here, but not n’more. EVERIDGE Then where is he? SARAH I don’t think ye need t’know that. Everidge aims the pistol at Sarah. EVERIDGE You either tell me, or by God, I’ll shoot! Sarah smiles as she descends the stairs. Zeb frantically searches the N’ghilim Manuscript for a chant or spell. Everidge cocks the gun, aiming it at Sarah’s face. EVERIDGE I swear, I’ll kill you. SARAH Burn.
GIRL/ 89 A hissing sound. Everidge cries out in pain, dropping the gun, which has burned his hand. She turns to Zeb, backs him into a corner, terrified and trembling. She passes between them, toward the door. Before she leaves, she turns to them. SARAH Nice t’see ye agin, Zeb. (to Everidge) ‘N nice t’meet ye. Now, if ye’ll excuse me, I have someone I need t’meet. Sarah departs, leaving Everidge in agony and Zeb terrified. EXT. BROWN FARMHOUSE - EVENING Nearly dark with whippoorwills calling, voices whispering, lightning on the horizon, and soft thunder. Sarah turns to the house, sweeps her arms upward in a grand gesture. The front door and all window shutters slam shut. Sarah continues on, into the woods. EXT. DUNWICH - EVENING The villagers sense a wild night approaching. AT OSBORN’S STORE we see Osborn scanning the flickering horizon. Worried, he goes back inside to close up. ELSEWHERE IN DUNWICH a mother hurries her children indoors. ELSEWHERE IN DUNWICH a farmer brings his horse team in. ELSEWHERE IN DUNWICH we see lightning flash over the cemetery. INT. PAUL’S ROOM We see lightning flash through the window into the room.
GIRL/ 90 INT. MEETING HOUSE We see lightning flash inside the Meeting House, softly illuminating the Mark of Azathoth on the wall. INT. SQUIRE WHATELEY’S LIBRARY - EVENING Moody, Squire standing beside the fireplace mantle, watching the weather outside. He checks his pocket watch while idly fingering the small bronze whistle. INT. BROWN FARMHOUSE - NIGHT Thunder rumbles; lightning plays over the walls. Everidge wraps his hand in a makeshift bandage with cloth torn from a curtain, then scans the floor for his gun. He finds it, partially melted. EVERIDGE Damn! Zeb picks up the N’ghilim Manuscript. Everidge finds another weapon, the strangely curved knife at the chalk circle, then tries the front door. He can’t budge it. He tries a window; can’t open it. Furious, he kicks a small table over. EVERIDGE Son of a bitch! Everidge then notices Zeb staring fearfully at the ceiling. EVERIDGE What? ZEB Listen… We hear faint, stealthy sounds from above - scratching, clawing. There are whispers, then a low groan, followed by silence. Thunder rumbles. Both men are shaken. EVERIDGE We…we need to get out of here, somehow.
GIRL/ 91 Zeb nods. Everidge tries several windows. No luck. We hear something big and heavy clambering about the roof, then a hiss. Zeb sinks to the floor in terror. ZEB Oh, God…it’s out there…it knows we’re here. EVERIDGE What? What knows we’re here? ZEB Oh… Everidge grabs Zeb by the shoulders and shakes him. EVERIDGE What is here? ZEB (whispers) Her servant. The Shantak. It knows we’re here. She left it t’guard us. It…it tried t’get me afore, but it left fer some reason. I…I don’t know why. Now it’s back. Oh, good Lord… Everidge leaves the old man and begins a frantic search of the house. ELSEWHERE IN THE FARMHOUSE, Everidge roots through drawers and closets. ELSEWHERE IN THE FARMHOUSE Everidge finds Carter’s shotgun and four shells. He loads the gun. Zeb appears in a doorway, wan and bewildered. ZEB Th’ hell ye think yer gonna do with that? EVERIDGE Get us out of here.
GIRL/ 92 ZEB With that? Everidge pushes past Zeb. EVERIDGE Well, if you find a relevant passage in that book of yours, please let me know. He goes to the front door. Again, he tries it. He steps back and fires at the lock. Wood splinters, but the door’s still stuck. He fires another barrel; a good part of the door disintegrates, rattling open. EVERIDGE There! ZEB Now, wait! Hold on! Everidge steps out. Just in time, Zeb pulls him back, as an ENORMOUS CLAWED FOOT reaches inside. The two men tumble to the floor. Its claws score the floor. We hear the Shantak burbling and hissing, its wings flapping. Stunned, Everidge reloads the shotgun. He unloads a shell into the Shantak’s foot. The monster shrieks and pulls its foot back. We hear the Shantak on the roof again, snarling. It thumps across the roof. The two men listen, looking at the ceiling. Then we hear the flapping of immense wings as it flies off. Everidge and Zeb wait a few moments, then Everidge, gun ready, goes cautiously to the door, peers out. He scans the rooftop, the treeline. Nothing but crickets and the ominous grumble of thunder. Everidge motions Zeb to follow. The two men enter the yard. In the flicker of lightning, Everidge sees the reflection of two great, dead-white eyes. He yells and fires.
GIRL/ 93 Lightning flashes again and we see Everidge has just blown a hole through the radiator of his parked Stutz Bearcat. Zeb gives vent to a hysterical little laugh. glares at him. Everidge
EXT. STONE CIRCLE ATOP WHIPPOORWILL MOUNTAIN - NIGHT Whispering voices, music, and the drum echo across the hilltop; the storm rolls overhead. Paul lies upon the altar. Sarah performs a ritual to open a gate to the Throne of Azathoth at the center of the universe. She pauses, sensing others approaching. Gently, she closes Paul’s eyes, then confronts Everidge and Zeb at the edge of the stone circle. SARAH What are ye doin’ here?! EVERIDGE We’re here to get Aaron back. SARAH He belongs t‘me, now! ‘N him! She points to the strange, churning sky above. SARAH Now, go! Zeb pages through the N’ghilim Manuscript. Everidge slowly approaches Sarah. SARAH Go! EVERIDGE Not without him. Sarah notices Zeb attempting a spell. SARAH Out with it, old man. We ain’t got all night!
GIRL/ 94 Zeb begins to read, one trembling hand outstretched. ZEB ‘S-servant of Azathoth, may yer tongue cleave t’th’ roof of yer mouth! May darkness depart ‘n dawn find yer bones bared t’air ‘n light! I renounce your Mark! I renounce -‘ Sarah holds a hand out. The N’ghilim Manuscript flies out of Zeb’s hand and into her own. She holds the book aloft; it bursts into flame, then flutters away like a great, black, burning bat. She laughs as Zeb panics and runs, then turns to Everidge. SARAH Now, it’s your t… With a cry, Everidge drives the knife into Sarah’s belly. Stunned, bleeding, she staggers away, collapsing against a megalith. Everidge takes Paul into his arms, Sarah watching in painful disbelief. SARAH No. Please. Everidge turns with Paul in his arms, then stops as he hears a gurgling hiss and throaty roar. The Shantak looms out of the night sky, highlighted by lightning. It lands on a megalith, howls, spreads its wings. We now see the Shantak in full view - a huge, two legged, bat winged, blue-black reptilian beast, its long narrow head lined with teeth, its eyes hollow, armored orbits in which cold bluish light flickers. Everidge stares. Sarah smiles weakly, blood running from the corner of her mouth. SARAH (whispering) It’s here. She nods to Everidge and Paul.
GIRL/ 95 SARAH Get ‘em. As the Shantak spreads its wings, the whispering voices, strange music, and pounding drum fade. The lightning and thunder lose intensity. Cries are heard and shadows with flapping wings are suddenly everywhere. The shadow of a figure appears. Sarah glares, both angered and frightened. SARAH Who are ye?! The figure doesn’t reply. It brings a whistle to its lips. Two NIGHTGAUNTS land inside the stone circle, and we see them in full view - curious, man-like things, black and rubbery, winged gargoyles without faces, each with a tail ending in a razor-sharp barb. Others flutter overhead. The Shantak, outnumbered and afraid, stirs atop its stone. The figure, Squire Whateley, steps into the circle between the two nightgaunts. He points to the Shantak; it takes to the air, the two nightgaunts in close pursuit. The two nightgaunts and others still in the sky converge on the terrified Shantak. We see a grand pursuit against the moonlit sky, eventually disappearing from view. Silence descends on the stone circle, the storm overhead nearly over. Sarah watches in disbelief, then gradually her head slumps upon her chest and her eyes close. Squire Whateley cautiously approaches Everidge and Paul. Just short of them, he lights his pipe. SQUIRE WHATELEY ‘Bout time you and your friend got on back to Arkham, don’t you think? TIME FADE -
GIRL/ 96 INT. OSBORN’S GENERAL STORE - DAY Osborn stands behind the counter, ringing up the order of Zeb’s Checkers Partner. CHECKERS PARTNER …’n Hutchins’ is still up in arms over what happened t‘his dog, on top of everythin’ else… He shakes his head as he gathers his things. CHECKERS PARTNER I tell ye, Joe…strange things… Osborn, though distracted, nods. The Checkers Partner goes to the door, but turns to Osborn. CHECKERS PARTNER By th’ way, ‘ave ye seen Zeb, lately? OSBORN Huh. No, I ain’t, as a matter of fact. He ain’t been by in a while. The Checkers Partner shakes his head knowingly. CHECKERS PARTNER Strange things… He leaves the store. TIME FADE EXT. WHIPOORWILL MOUNTAIN - EVENING Sarah lies slumped against the megalith. Crickets sing in the grass. Further down the slope, Zeb approaches, carrying a sack. He stops just outside the stone circle, sees Sarah, then the partially burned N’ghilim Manuscript lying in the grass. He picks up the text.
GIRL/ 97 ZEB Goddamn… His gaze wanders to where Sarah lies. WIZARD WHATELEY (v.o.) ‘N as Ibn Schacabao said, ‘happy is th’ tomb where no wizard hath lain…’n happy th’ town at night whose wizards are all ashes.’ He takes a small gas can and box of kitchen matches from the sack, then sprinkles gasoline over Sarah and the ground surrounding her. Done, he opens the box of matches, retrieves one, and strikes it. It flares, then goes out. Zeb glances at Sarah, finds her eyes open, leering up at him. Terrified, he fumbles to light another. The cry of a crow startles him. He lights another; it goes out. Zeb glances at Sarah again. She’s shifted again, her hair drifting gently, ghostly, on a slight breeze. Terrified, Zeb backs away. He hurriedly gathers up the N’ghilim Manuscript, stuffs it in the sack, then continues to back away from Sarah. Fearful, he points at her. ZEB Ye jes’ stay away from me, ye hear? Ye stay away! Leaving the gas can and matches behind, Zeb disappears down the slope. We see Sarah in her former position, apparently never having moved. INT. SQUIRE WHATELEY’S LIBRARY - NIGHT In thought, Squire Whateley stares out a window. A clock announces the hour. He turns from the moonlit scene, snuffs out a candle. On the mantel we see the bronze whistle. TIME FADE -
GIRL/ 98 EXT. WHIPPOORWILL MOUNTAIN - NIGHT The circle stands empty, but for Sarah in the moonlight. A whippoorwill calls, then another. Then, against the sky, we see something approaching. The Shantak lands near Sarah. Delicately, it nudges her with its nose. She doesn’t respond. It nudges her again. Her eyelids flutter. She gasps, breathes slowly and shallowly, then stops breathing. The Shantak makes a low, mournful sound in its throat. It carefully picks her up in its mouth and sets off into the night. TIME FADE EXT. EVERIDGE ESTATE - NIGHT A soft light shines from the library window. INT. EVERIDGE’S LIBRARY - NIGHT Everidge sits in his library, drinking, staring into the fire, a glass in one hand, a decanter in the other. A clock ticks on the mantel. A knock at the door startles him. He doesn’t answer. ELIZABETH Mr. Everidge? EVERIDGE Come in. Elizabeth peers in. ELIZABETH It’s late. EVERIDGE Yes, I know. ELIZABETH Do you need anything?
GIRL/ 99 EVERIDGE (pause) No. I’m fine, I think. Everidge pours himself more brandy. Elizabeth turns to leave. EVERIDGE Elizabeth? ELIZABETH Yes? EVERIDGE Things don’t look good for Aaron, you know. The doctors don’t expect to cure him. ELIZABETH I’m sorry. EVERIDGE I am, too. I was against his going to Dunwich, you know. And now he’s in an asylum. Sometimes I wonder if I should be in there with him. ELIZABETH Oh, sir, don’t say such things. (pause) Mr. Everidge? EVERIDGE Yes? ELIZABETH What did happen up there? Everidge stares into the fire. EVERIDGE I can’t say. I…I don’t know. ELIZABETH I understand.
GIRL/ 100 Elizabeth is again about to leave, when Everidge speaks. EVERIDGE Elizabeth…if I were to say that the universe itself is an asylum, would you believe me? Elizabeth does not reply. She leaves, closing the door. Everidge stares into the fire, the clock ticking. EXT. ARKHAM ASYLUM GROUNDS - DAY Birds sing, a nice warm day. Paul, in mental patient garb, sits alone on a bench beneath a large tree on the asylum grounds. He stares straight ahead as a few other patients, tended by nurses, move about, paying no attention to Paul. ASYLUM DOCTOR (v.o.) Patient continues to show lack of response to treatment. Frequent episodes of catatonia interspersed with periods of near-manic lucidity, occasionally violence. Paul slowly looks up at the sky and smiles. ASYLUM DOCTOR (v.o. cont) Appears also to have intermittent case of agoraphobia, especially with regards to the sky, where he and they live, according to the patient. At times he will not abide the open sky. At others, he speaks of nothing else. PAN INTO SKY - Paul’s POV as he looks up.
GIRL/ 101 ASYLUM DOCTOR (v.o. cont) As far as can be ascertained, patient is paranoid and delusional, convinced this he or they is coming for him. The he, according to a nurse, is called ‘Azathoth.’ There is also a she, but the patient cannot or will not name her. INT. ASYLUM DOCTOR’S OFFICE - DAY The doctor sits at his desk, typing his report. ASYLUM DOCTOR (v.o.) Until further progress is made in regards this patient, close supervision and closer study is recommended. Treatment will continue as before and be expanded to include hydrotherapy and, if necessary, electric shock. INT. ARKHAM ASYLUM - NIGHT Down a long, silent, moonlit corridor, cell upon cell, we come to a padded cell. Through a small barred window we see Paul inside in a straitjacket. He sits in a corner, staring straight ahead, his lips moving, a cackling whisper, unintelligibly at first, but gradually we are able to make his words out. PAUL …the old woman who lives at the end of the country lane is not a witch… INT. LONG HALLWAY IN ARKHAM ASYLUM - NIGHT We see a shadow slowly approaching.
GIRL/ 102 INT. PAUL’S CELL Paul continues his cackling whisper. PAUL …there are no vampires, no werewolves… The shadow appears at the small window of Paul’s cell. Paul looks up. Whispering voices join his. PAUL …no monsters… The door opens and Sarah steps into the cell. She smiles Paul, placing a finger to her lips. SARAH Shhh… She comes slowly toward him, arms spread. Paul offers a trembling grin. Sarah takes his face delicately in her hands, they move to kiss. The scene begins to fade. PAUL (v.o.) …that is because there is nothing. That which is all is the void and the ruler therein. TIME FADE INT. PAUL’S CELL - DAWN We hear the door unlock. The doctor steps in, stunned to find both cell and straitjacket empty, the Symbol of Azathoth, in blood, upon the opposite wall. CLOSE ON Symbol of Azathoth. PAUL (v.o.) (harsh whisper) That which is all…is Azathoth. THE END FADE TO BLACK
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