DARKCHYLDE

By

Connor Fineran

Based on

“Darkchylde”

Created by Randy Queen

Note: Darkchylde is property of Randy Queen. I do not
claim ownership of Darkchylde or any related properties.

2
OPENING
A cold wind. Something breathes in the endless darkness.
SUPER:
“If darkness were to our dreams not bound
What a nightmare then, our world to be found.”
– A Treasury of Shadows
FADE IN:
An overgrown forest of massive, twisting trees. Shafts of
RED MOONLIGHT cut through the canopy. OLD STATUES and BLACK
VINES cover the ground.

A BEAUTIFUL, LIGHT BLONDE YOUNG WOMAN in a FLOWING RED

DRESS wanders through the forest, lost, afraid. This is
ARIEL CHYLDE (17).
THINGS whisper in the trees.
HOT, DEEP BREATHS ECHO in the dark.
She stops…slowly following the sound.
A HUGE WINGED CREATURE watches her above, CLOAKED in
SHADOW, with GLOWING GREEN EYES.
SHE BOLTS.
THE MONSTER CHASES HER.
VOICES in the trees FOLLOW her, JEERING, TAUNTING, GOADING.
She BURSTS out of the trees…to a STEEP ROCK WALL.
THE MONSTER BURSTS out of the trees, MASSIVE, TOOTH-FILLED
JAWS OPEN. Ariel SCREAMS, COVERS HER FACE!
ARIEL WAKES UP
INT. CHYLDE RESIDENCE – ARIEL’S ROOM – NIGHT [END
NIGHTMARE]
A wallflower’s room. SIX DREAMCATCHERS hang over the bed. A
photo of her mother, JESSICA (40s), sits on the NIGHTSTAND.
She WAKES SCREAMING from the depths of her nightmare!
SHORT, HARSH BREATHS escape her. She clutches at her

3
tangled, DIRTY BLONDE HAIR. SWEAT runs down her brow.
The panic subsides as Ariel breathes. But the horror
remains…
DESK LAMP CLICKS on. Ariel DRAWS FURIOUSLY, ANGRILY—
She SWATS the paper away, disgusted with what she made
herself draw. Other DRAWINGS of MONSTROUS CREATURES lay
ABOUT…
Ariel lays on her DESK, in silence. She’s a mess,
exhausted. She hasn’t seen a good night’s sleep or been
remotely happy in a very long time.
Her DARK-CIRCLED EYES FIGHT to stay open. Try as she might,
they CLOSE—
INT. ROBERT’S JAGUAR – MORNING
A used Jaguar. Ariel rides shotgun. ROBERT (40s), her
father, drives.
BAM! Ariel WAKES UP in the car. She’s dressed, wearing
EMBROIDERED JEANS she made herself. Slowly, she turns to
her father.
He’s not in any better shape than her. His face is
weathered, eyes filled with regret and sadness.
He gives her a sad smile. She turns back to the window.
EXT. HIGHWAY 21 – CONTINUOUS
An empty highway flanked by IMPENETRABLE FOREST.
The Jaguar SPEEDS down the road as morning pokes through
the clouds.
EXT. SALEM HIGH – ESTABLISHING – CONTINUOUS
An old high school, renovated (poorly) several times. A
MASSIVE DEAD TREE hangs in the courtyard. A BANNER hangs
over the entrance.
ON THE BANNER
Painted in black: O’MALLORY’S DAM FESTIVAL SEPT 5-7! BRING
THE WHOLE DAM FAMILY!
INT. ROBERT’S JAGUAR – CONTINUOUS

4
The car parks. Ariel stares outside, dreading what happens
next. Robert’s hand falls on her shoulder.
ROBERT
Don’t sweat it, ‘kay? Just one more year.
He’s trying his best. Ariel barely reacts.
ROBERT (CONT’D)
And your big day’s tomorrow!
ARIEL
Great.
ROBERT
You can do it, kiddo. Don’t worry. You’re
still here.
He forces a smile.
ARIEL
I didn’t sleep very well.
ROBERT
Don’t worry about it. You’re fine. You’re
going to be fine.
He pats her shoulder. She turns, embraces him tightly.
EXT. SALEM HIGH – PARKING LOT – CONTINUOUS
The school parking lot.
She waves to Robert as the Jaguar speeds away. She notices
a CHRYSALIS hanging above A SPIDER WEB.
She takes a deep breath, holding her books to her chest
like a shield.
ARIEL
(to herself)
No eye contact.
She heads forward, head down.
INT. SALEM HIGH – HALLWAYS – CONTINUOUS

5
Purple and red lockers line the walls.
Ariel’s locker OPENS. An ugly surprise is slathered in
BLACK INK on the door: THE MONSTERS ARE COMING!!
She squeezes the locker door, hand whitening.
A trio of teens watch Ariel through a phone’s camera. The
leader, STACY STONE (18), films. SPENCER BLACK (18), a
football player, watches nervously.
STACY
(towards Ariel)
And here’s the mental patient in her
natural habitat…
CLICK. Camera is off. Stacy towers over Ariel. She’s every
wallflower’s nightmare: Popular, cruel. But deep down she
does for something far more personal…
STACY (CONT’D)
Cry yourself awake again?
Ariel glares at her.
STACY
(sarcastic)
Oh, I’m sorry, honey. I forgot. That’s
every night.
ARIEL
Leave me alone.
STACY
Then look into the camera and say “I’m out
of my fucking mind.”
She holds up the phone again, hitting RECORD. Ariel feels A
PAINFUL NECK SPASM coming. She tries to resist, but it
TWISTS her head violently. Her embarrassment is visible to
everyone.
STACY
Hm. Good enough.

6
She pockets the phone, flashing a venomous smile. She and
her entourage strut off. Spencer shuffles after them,
carrying the demeanor of a whipped dog.
Ariel grabs the locker door. Ink smears on her fingers.
She scratches an UGLY BLACK SCAB on the BACK OF HER NECK.
It’s CRUSTED, NASTY, like a CHRYSALIS…
SHE SLAMS THE LOCKER DOOR TO:
INT. SALEM HIGH – MR. DEANS’ CLASS – DAY

Precalc. The real nightmare of the piece.

MR. DEANS (50) writes on the blackboard. His pudge and
green shirt have earned him the name “Lima Bean” from
students. He’s not thrilled to be here either.
Ariel sits by the window, writing in her journal. EVERY
PAGE is SIGNED and DATED with her elegant cursive.
DEANS
(rubs hands together)
Okie dokie! Okie dokie everyone…
Deans begins his lesson. A LADYBUG crawls on the
windowsill. She lets it onto her finger.
Some kids watch her, muttering and mildly spooked.
The bell RINGS. Ariel lets the ladybug back onto the
window. Stacy walks in. Ariel keeps her head down.
INT. SALEM HIGH – MR. DEANS’ CLASS – CONTINUOUS
Deans is going down an ATTENDANCE SHEET, marking off people
as he goes.
Ariel studies a PHOTOGRAPH. A little girl and woman sit
smiling together: Ariel and her mother, JESSICA (45). On
the photo reads: SEPT. 7 MISS HAPPY’S 12th! HAPPY
BIRTHDAY!!! She strokes the photo.
Deans’ pen hovers over names, notices an UNMARKED NAME…
THE DOOR OPENS. PERRY STODGHILL (18) BURSTS in.
Everyone turns to him.

7
 DEANS
(plays it off)
Ah, there you are. Take a seat, Mr.
Stodghill.
Ariel watches him wade through the desks, fascinated. He’s
kind, athletic, but troubled by something distant…
PERRY
‘Scuse me, sorry—
TEEN
Watch it!
He locks eyes with Ariel. She QUICKLY looks away. Slowly,
she turns back to him. He notices her staring through her
mane.
He gives a friendly smile, waving. Ariel, surprised, waves
back. She turns back to her books.
ARIEL
(to herself)
Yeah, right…
Class drags on. Ariel fights to stay awake. She lays down
on her open journal.
Outside, the wind WHISTLES. It’s too calming. Ariel’s head
sinks down. The room grows dark. Deans’ voice fades…
EXT. CANOPY PARK – DAY [FLASHBACK]
A beautiful park on a breezy, early fall day. A young Ariel
and Jessica sing together under a pavilion.
ARIEL AND JESSICA
Ladybug, ladybug, fly away home. Your
house is on fire and your children may
burn. So run out quick, hope they’re
grown…
Jessica and a young Ariel release a ladybug into the sky.

8
 ARIEL
And fly away, fly away, fly away home!
Ariel smiles as Jessica embraces her.
JESSICA
So what did you wish for, Miss Happy?
ARIEL
For a million more ladybugs!
Jessica laughs. She’s radiant, lovely, wears a HEART-SHAPED
PENDANT that glints in the sunlight.
JESSICA
That’s cheating!
ARIEL
And for more tea.
They turn back to the table, set for a tea party. Jessica
gingerly pours Ariel a cup.
JESSICA
Pour vous.
ARIEL
Merci! So what’s at home?
JESSICA
(playfully)
I’m not telling you!
ARIEL
Pleeeease?
Ariel fake-pouts. Jessica smiles, amused.
JESSICA
Good girls wait their turn. Are you a good
girl?
Ariel nods.

9
 JESSICA (CONT’D)
Then we wait!
Ariel climbs into Jessica’s arms.
ARIEL
(notices pendant)
Where did you get that?
JESSICA
Grandma gave it to me.
ARIEL
It’s really pretty.
JESSICA
So are you.
She kisses Ariel, hugging her tighter.
ARIEL
Will I get it someday?
Ariel feels a chill in the air, unnerved. The park is
STILL, waiting.
A droplet from the tea cup hits its plate. THICK, OILY
SLUDGE splats onto the china plate.
ARIEL (CONT’D)
Momma?
Jessica’s hands CURL like dead spiders. Ariel breaks away
from her mother’s grasp, horrified as Jessica rots in fast-
forward.
The sky is DARK. MONSTROUS HOWLS all around. Ariel DASHES
away into the forest!
EXT. DARK FOREST – NIGHT [NIGHTMARE]
The NIGHTMARES CHASE HER. SHE’S A YOUNG WOMAN AGAIN. Their
SILHOUETTES and GLOWING EYES follow her through the trees.
She TRIPS on a stray ROOT. Something with MASSIVE TEETH

10
SNARLS at her above!!
In the commotion, she sees SOMETHING running through the
forest, barely keeping up. A…YOUNG GIRL?
She picks herself up, SCRAMBLES into a DECAYED LOG. Through
the ROTTED HOLES, DARK SHAPES FLIT AROUND, their HISSING
VOICES surrounding her!
NIGHTMARE #1(O.S.) NIGHTMARE #2(O.S)
Vessel… You can’t escape!
ARIEL
(holding ears)
Stop it!
NIGHTMARE #3(O.S)
You belong to us!
She shuts her eyes. THEY STOP.
CLAWS clamp the edge of the hollow. THE MONSTER FROM
EARLIER peers down at her with GLOWING GREEN EYES, JAWS
DRIPPING. PENANCE.
Another voice RIGHT NEXT to Ariel!
VOICE (O.S.)
Finally.
Penance ROARS in rage!
INT. SALEM HIGH – MR. DEANS’ CLASS – DAY [END NIGHTMARE]
Ariel on the floor SCREAMING in terror, THRASHING and
KICKING!
Some help Deans restrain her. Her elbow SMACKS a kid in the
nose! Stacy films the ordeal.
Perry watches behind. He turns to another kid in the crowd.
PERRY
Who is she?

11
 TEEN
Crazy girl. I think her name’s Childs?
Deans grabs Ariel’s shoulders, SHAKING her hard.
DEANS
Ariel!
She finally comes to.
DEANS (CONT’D)
Are we awake? Hey! (snaps fingers) Earth
to Ariel!
Her head hangs in shame.
ARIEL
Yes…
DEANS
(sighing)
Out in the hall, please.
ARIEL
Wha-
DEANS
Now.
She begrudgingly leaves the room. She notices Stacy filming
her, sticks a MIDDLE FINGER straight up.
INT. SALEM HIGH – HALLWAY – CONTINUOUS
Outside Deans’ room. Deans stares down at Ariel.
DEANS
Four times. In two weeks.
ARIEL
I’m sorry…

12
 DEANS
Sorry ain’t gonna cut it anymore, alright?
Are you off your meds or something—
ARIEL
(angrily)
I can’t sleep.
DEANS
And then you make a scene? Do you do this
in all your classes?!
She’s deeply offended by that, shooting him an angry glare.
DEANS (CONT’D)
Just go to Madison’s office. Get your head
checked. I’ll get the notes to you
somehow.
Ariel runs back into class to grab her stuff. She trudges
down the hall, her SCAB hurting her again…
INT. SALEM HIGH – MISS MADISON’S OFFICE – CONTINUOUS
The school counselor’s office. RACHEL MADISON (50s) sits at
her desk. MOTIVATIONAL POSTERS surround, contrast the
burned out demeanor of the counselor.
Ariel sits in a chair, head in her hands. At the WINDOW, a
TREE BRANCH TAPS…TAPS…TAPS…
MADISON
Are you still journaling? Is that helping
at all?
ARIEL
What do you think?
MADISON
Maybe try medication again. I mean, it’s
still a possibility. I think I have that
list of therapists somewhere-

13
 ARIEL
I don’t want another therapist!
MADISON
It’s not a matter of wanting it, Ariel.
You need to work this out. Six years of
nightmares? I think something else’s
wrong.
ARIEL
Then what else am I supposed to tell them?
Everyone thinks I’m insane! I can’t even
walk down the hall anymore without
everyone staring at me!
MADISON
I think you’re exaggerating a bit.
ARIEL
(shouts)
I’m not exaggerating!
Madison’s surprised by the sudden aggression. Ariel’s
breathing hard, tears about to fall.
ARIEL (CONT’D)
I—I just—(sniffs) I can’t function. I
can’t fall asleep, They’re waiting for me
every night and I can’t get away.
MADISON
Sweetie, they’re only dreams. Dreams can’t
hurt you. It’s nothing to be ashamed of.
Ariel sighs, running her hands through her hair. BLONDE
WISPS slide out between her fingers. Madison notices,
unsettled.
ARIEL
I don’t want this. I want it to stop.
INT. SALEM HIGH – HALLWAY – AFTERNOON

14
a trio of TEENS huddled together. They’re watching a video
on someone’s PHONE.
PERRY
(nervously)
I’m new here. Where are the B lockers
again?
TEEN #1
(points)
Oh, right over there.
PERRY
Thanks. I’m Perry, by the way.
TEEN #2
Like the platypus?
PERRY
(mildly annoyed)
Like the sailor.
TEEN #2
(disinterested)
Cool.
The teens turn back to the video, losing interest in Perry.
TEEN #3
(to the others)
Little miss batshit freaked in class
again.
They play the video. It’s Ariel’s episode in Deans’ class.
Perry half watches, visibly uneasy.
Something catches his eye DOWN THE HALL. It’s Ariel,
talking with another girl: KILEY MITCHELL (18).

15
 ARIEL
(in background)
Kiley, please! Wait!
KILEY
(in background)
Leave me alone. I’m so tired of you
embarrassing me!
Kiley hightails it out of there. Ariel’s left alone again.
Perry’s about to approach her when the bell RINGS. She
quickly leaves.
Perry breaks away from the group, some specter from the
past haunting him…
EXT. SALEM HIGH – PARKING LOT – CONTINUOUS
A POLICE CRUISER sits in the parking lot.
Inside sits JACK STODGHILL(40s), the new sheriff of Salem.
He looks like a hard-ass, but there’s a sensitivity in his
eyes, something his son inherited.
Perry waves to his father. Jack waves back.
PERRY
Sheriff.
JACK
Son.
INT. JACK’S CRUISER – CONTINUOUS
Door SHUTS.
JACK (CONT’D)
How was school?
He starts the car.
PERRY
It’s a lot smaller than I thought.

16
 JACK
Yeah, sure as shit ain’t Atlanta.
Perry nods. He looks out the window, lost in thought. Jack
studies his son as he drives out.
JACK
(concerned)
You okay, Perry?

PERRY
What? Yeah, I’m fine.
JACK
Are you sure? Anything’s bothering you,
just tell me.
PERRY
Dad, I’m okay.
JACK
You got that look. Just say something—
PERRY
(defensive)
Dad.
Perry realizes how hard he came off. He sighs.
PERRY (CONT’D)
I’m fine. Really.
They leave the parking lot, passing the FOOTBALL STADIUM.
Perry notices Ariel talking on a PAYPHONE beside it…
EXT. CHYLDE RESIDENCE – ESTABLISHING - EVENING
A two-story suburban home with a dead garden out front.
INT. CHYLDE RESIDENCE – HALLWAY – CONTINUOUS
Pictures of the Chylde family hang on the wall. None of her
as a teenager, however...

17
INT. CHYLDE RESIDENCE – DINING ROOM – CONTINUOUS
Decorated with international sculptures and a garish pepper
painting.
Ariel and Robert sit across from each other. Ariel picks at
her food. He knocks back a GLASS OF BOURBON.
ARIEL
I thought you said you were going to stop.
Robert guiltily looks at the glass. He slides it away.
She gets up, hugs him. She winces in pain when one of her
ARMS brushes him. He hugs her back. But something troubles
him…
Giving him a kiss, she lets go.
ARIEL
I’m going to bed.
ROBERT
Right.
(beat)
I’ll finish the dishes.
ARIEL
Love you.
He gives a nod of acknowledgement. She heads upstairs.
INT. CHYLDE RESIDENCE – ARIEL’S ROOM – LATER
She sits on her bed checking SCARS spelling WAKE UP CUT
into her arm. They’re STILL RED. She sighs, wincing as she
rolls up her sleeve.
Backpack UNZIPS. She roofs through, looking for her
journal.
She checks once, twice. NOTHING. She’d be angrier if she
wasn’t so exhausted.
ARIEL (CONT’D)
God dammit.

18
She collapses into bed. CLOCK reads 8:45. She closes her
eyes.
The wind picks up. Trees SWAY outside her window. Her room
turns…
Her sleeping form DESCENDS INTO DARKNESS as HER BED
UNRAVELS around her. She sinks down, down, down…
INT. BURROW [BEGIN NIGHTMARE]
A scavenger facsimile of Ariel’s bedroom underground. The
SOFT PATTER of rainfall.
Ariel wakes. She inspects her surroundings, confused.
Slowly, she crawls to the door leading out: a GIANT
PATCHWORK DREAMCATCHER.
EXT. DARK FOREST – CLEARING – NIGHT
It’s less choked by foliage, surrounded by STATUES and
SCARECROWS hung with BAGS SURROUNDED by FLIES.
Ariel emerges. An ORNATE, BROKEN STATUE cries out in frozen
despair, RED TEARS running down its face.
The rain tapers off. She catches a few drops. It’s BLOOD.
FAINT SINGING. Ariel grabs a ROCK near the hole, ventures
into the clearing.
Rustling. A makeshift grave with A BURNT BUTTERFLY on it. A
TRAIL OF BLOOD leads into the bushes.
VOICE (O.S.)
That was a star. Just spiraled down from
the sky. Never had a chance, the poor
thing.
The voice is everywhere and nowhere.
VOICE (O.S.)
I was wondering when you’d wake up.
Worried there’d be no room. I’d have to
use another burrow. Maybe use the one
farther north-
ARIEL
Where are you?

19
 VOICE (O.S.) (CONT’D)
-Or is it south? East? But Crimson Devils
are north. Little bastards.
Ariel turns around-and YELPS.
A FERAL CHILD, covered in MAKESHIFT IMPLEMENTS stands
before her. Her ankle is bleeding. A MONSTER’S SKULL covers
her face.
Ariel looks on in disbelief for a beat.
GIRL
(matter of fact)
Hello.
Ariel softens as the girl removes her mask. The kid stares
with NERVOUS EYES. Her WILD BLONDE hair is streaked WHITE.
ARIEL
(approaches)
Who are you?
She gets a closer look.
ARIEL (CONT’D)
Wait, no. No. You’re…you look like…
She’s the fractured, spitting image of Ariel as a child:
MISS HAPPY (12). She smiles.
MISS HAPPY
Nice to see you again.
ARIEL
Who—This is a trick. You’re one of them.
MISS HAPPY
Those bags will keep them away for now.
ARIEL
And you could be lying.
The girl sighs. She pulls her mask down, drawing her bone

20
daggers.
MISS HAPPY
There are worse things here than I, Ariel.
Nightmares don’t hope, don’t love, don’t
wish to see the sun again.
The child has backed Ariel against a tree.
MISS HAPPY (CONT’D)
And you’d be dead. Again.
SQUASH! A HUGE spider is impaled on a dagger inches from
Ariel’s head. Miss Happy inspects her kill, sliding her
mask off.
MISS HAPPY
So no. I’m not lying to you.
Miss Happy bites the spider, then SPITS hard. Ariel is
shaken, but calms down.
ARIEL
(motions to wound)
Can I at least patch that up for you?
Miss Happy gives Ariel a RAG, who begins tending to the
wound.
ARIEL (CONT’D)
(at squirrel doll)
What’s his name?
MISS HAPPY
Stitch. Keeps me company.
ARIEL
At least he won’t run off.
MISS HAPPY
You’d be surprised how often he tries.
For a beat, Ariel processes that…

21
 MISS HAPPY (CONT’D)
But I guess we’re both pretty slippery if
Penance hasn’t caught us by now.
ARIEL
How did you find me?
MISS HAPPY
Kismet? They sniff you out easily. But I
got to you first for a change!
ARIEL
Well, I’m glad it’s something else for a
change.
RUSTLING from the trees. WHISPERING. Miss Happy watches
intently in the sound’s direction.
MORE RUSTLING and WHISPERING from the trees. GLOWING EYES
watch from the trees AROUND the clearing. The two parties
sit, WATCHING each other.
ARIEL
Aren’t we safe here?
MISS HAPPY
Not for long.
The girl takes out a HANDFUL of POWDER.
MISS HAPPY (CONT’D)
Remember me. We’ll see each other again.
She BLOWS it in Ariel’s face.
INT. CHYLDE RESIDENCE – ARIEL’S ROOM – NIGHT [END DREAM]
Her awakening is SERENE. Her clock reads 1:45 am. Desk lamp
is ON. At her desk, she draws Miss Happy.
EXT. SALEM HIGH – PARKING LOT – MORNING
Just like yesterday. Ariel notices the chrysalis is empty.
The butterfly is CAUGHT IN THE WEB. People walk by. She
heads over.

22
She carefully UNTANGLES THE WEB. She lets it crawl onto her
finger as it TAKES OFF. People watch. She leaves, face
hidden.
No one notices the SPIDER that’s hitched a ride on her
shoulder.
INT. SALEM HIGH – HALLWAYS – CONTINUOUS
Ariel heads to her first class. The spider CREEPS down her
arm. She notices it—and SWATS the spider off!
It lands on Stacy’s leg as she passes by.
Stacy notices, FREAKS OUT. She’s trying to get the thing
off, but it clings to her like glue. Ariel backs away as
others watch, laughing.
Stacy finally gets the spider off, SQUASHING it SAVAGELY.
She looks up, MURDER IN HER EYES just in time to see Ariel
disappear down the hall.
INT. SALEM HIGH – CLASSROOM – DAY
Ariel tries not to doze off. Her eyes wander to the date on
the board: SEPTEMBER 7. Her 18th birthday.
She looks back to her notes.
THE DATE IS REPLACED WITH “HAPPY BIRTHDAY, ARIEL” IN JAGGED
LETTERS. She JUMPS back! Everyone turns to her.
TEACHER
Something wrong, Ariel?
Ariel shakes her head.
A WAVE OF NAUSEA hits her. She struggles to hold it. She
dashes out of the room as everyone watches.
INT. SALEM HIGH – GIRL’S BATHROOM – CONTINUOUS
Ariel RETCHING into a toilet. She SPITS. At a sink, she
SPLASHES water on her face, stares into the mirror.
She PUNCHES the glass!
EXT. SALEM HIGH – PARKING LOT – AFTERNOON
Perry leaves the school, alone. He scans the scene.

23
Ariel’s on her way to the football field, far away from
everyone.
He takes a deep breath.
EXT. SALEM HIGH – PAYPHONE – CONTINUOUS
A GREEN AND PURPLE PAYPHONE beside the football stadium.
Ariel grabs the phone, dials.
She misses a number, starts over. One of the BUTTONS falls
off—
PERRY (O.S.)
Hi!
Ariel JUMPS, drops the phone. She turns around.
It’s the cutie from yesterday. He smiles. Ariel’s intrigued
but wary.
ARIEL
Hi. Um…do I know you?
PERRY
Not yet. I think I have something that
belongs to you.
He unzips his backpack, produces her JOURNAL. She’s
dumbstruck.
PERRY (CONT’D)
(presents journal)
I believe this is yours, Ariel Chylde.
ARIEL
(nods, takes journal)
Where did you find this?
PERRY
You left it in Deans’ class.
Now she’s a bit suspicious.

24
 ARIEL
You—You didn’t look through it, did you?
PERRY
(holds up hands)
I think you’d have figured that out. My
hands are clean.
She laughs, the smallest hint of happiness coming back.
He’s charming, kind, the nicest someone’s ever been to her
in a long time.
ARIEL
So you figured me out. What do I call you?
PERRY
Perry.
She nods.
ARIEL
Well, thanks…Perry.
A long beat…
ARIEL (CONT’D)
(nervous)
I—I need to call my dad.
She starts turning back to the phone.
PERRY
No cell phone?
ARIEL
No brain tumor.
Perry nods, thinking back to the video he saw…
PERRY
I can drive you home.

25
 ARIEL
(nervously)
No, it’s fine. I—he’s expecting me—
She pushes the EMPTY SOCKET where the button should be. She
grunts in frustration, SLAMMING the phone back onto the
RECIEVER.
Perry watches her, concerned, not judgmental. She turns
back around, sees the kindness in his eyes…
ARIEL (CONT’D)
Where are you parked?
EXT. HIGHWAY 21 – AFTERNOON
A JEEP speeds down the highway, passing a sign for the
O’MALLORY FARM that points across a BRIDGE…
INT. PERRY’S JEEP – CONTINUOUS
Perry’s first car. A road hazard kit with ROAD FLARES and a
FLARE GUN is in the trunk.
He glances at Ariel in the passenger seat. She’s staring at
the forest rushing by.
She glances back. A little smile crawls up her face. He
smiles back. She turns back to the window.
ARIEL
Deer season’s coming up. They love this
road.
PERRY
They must be very deer to you.
ARIEL
I fawn over them.
He laughs. She smiles…until another WAVE OF NAUSEA hits
her.
PERRY
You okay?

26
She furiously nods her head as he pulls over.
EXT. FOREST STREAM – CONTINUOUS
A rushing stream not far from the highway.
Ariel HURLS into the stream. It’s far more painful this
time. She SPITS the last of her vomit at it.
A LEAF falls in her hair. She pulls it out, taking STRANDS
of her HAIR with it. She stares into it, horrified—
PERRY (CONT’D)
Ariel!
Perry climbs through the brush with ease to her.
ARIEL
I’m fine.
She wipes her mouth, sits on a ROCK near the stream, head
in her hands as Perry stands beside.
ARIEL (CONT’D)
(relenting)
No I’m not. I’m not fine.
PERRY
It wasn’t my driving, was it?
She shakes her head. She spots a PATCH of DANDELIONS,
picking them.
ARIEL
I take it you saw my…episode yesterday.
PERRY
Yeah.
Beat.
She turns to him, surprised.
ARIEL
What?

27
 PERRY
Yeah. I saw you.
ARIEL
I hit someone in the face.
PERRY
I mean, accidents happen.
He sits down next to her. She looks at a dandelion,
twisting the stem. She picks at her jeans again.
PERRY (CONT’D)
Where’d you get those?
ARIEL
I made them. I have an insect thing.
Motif. Muse. Fetish. Whatever it is.
PERRY
Not bad.
ARIEL
Insect fetish?
PERRY
The jeans.
ARIEL
You really think so?
He nods. A little smile crosses her face. They sit
together, taking in the peaceful stillness of the forest.
PERRY
(after a while)
Can I ask a favor of you?
ARIEL
And what would that be?

28
 PERRY
Being a humble city boy who’s new to the
country, I was wondering if you could
accompany me to a town gathering.
ARIEL
Accompany?
PERRY
The festival. Tonight.
She nervously plays with the flowers. His offer catches her
off guard.
ARIEL
Tonight? You mean—
She turns away for a minute, mulling over the choice.
Again, the nicest thing someone’s done for her in a while.
ARIEL (CONT’D)
(slight suspicion)
Did someone put you up to this?
PERRY
I just moved here.
The suspicion fades.
A hint of a smile crawls up Ariel’s lips again…
EXT. CHYLDE RESIDENCE – DUSK
Perry’s Jeep pulls up, parks. Ariel gets out.
The car speeds off as waves it goodbye.

She pirouettes excitedly!

INT. CHYLDE RESIDENCE – KITCHEN – CONTINUOUS
Balloons hang on the ceiling. A picture of Jessica sits
with a vase of roses. Robert tries to make a cake, wearing
a smock thrown against his work attire.
Ariel bursts in, beaming!

29
 ROBERT
Ariel! The cake’s almost done.
He turns, hiding an EMPTY GLASS and SLIDES it into the
sink.
The kitchen’s practically a crime scene.
ROBERT (CONT’D)
You’re chipper tonight.
ARIEL
I got a date tonight!
ROBERT
Really? Who put him up to it?
ARIEL
He’s nice, Dad! He’s so nice! And he’s
new!
ROBERT
You’re sure about this?
(sighs)
I guess I can cancel the reservations to
Ned’s, then.
The oven alarm RINGS. He opens the oven door.
ARIEL
(takes his shoulder)
We can go tomorrow. It’s okay.
The cake comes out. It’s SUNKEN, PITTED. Ariel smiles. He
kisses her, puts the cake down.
ROBERT
Presents?
Two GIFTS sit on the counter. She opens the bigger one
first. It’s a NICE PULLOVER. He motions to the smaller one.
She gingerly unwraps it.

30
It’s her mother’s pendant. Her eyes well up.
ARIEL
How did you—
ROBERT
She put it away for you. She told me—
Ariel embraces him. He hugs her back, stroking her hair.
But his mind is somewhere else. His expression turns
worried, grim.
She lets go. Robert quickly puts on a little smile.
ROBERT
So…cake?
ARIEL
I’m not that hungry. Cramps. y’know—
ROBERT
Then maybe you should stay home.
ARIEL
I wanna lie down before he comes. Maybe
I’ll get some sleep for a change.
Robert nods, kisses her.
ROBERT
Fine. You’re the birthday girl.
She heads upstairs.
Robert sits alone, that grim expression coming back…
His nails dig into his palm.
INT. CHYLDE RESIDENCE – ARIEL’S ROOM – EVENING
Ariel holds the necklace, turning it over. She heads to her
desk, pulls out a CRAFT KIT. Quickly, she assembles an
ELABORATE BUTTERFLY PENDANT, places the heart inside it.
A LANDLINE PHONE sits on her nightstand. Her hand reaches
for it—

31
But snaps back.
ARIEL
It’ll be fine, it’ll be fine…
The clock reads 5:55. She sets her alarm for seven, lays
down. Rain falls outside her window…
THE RAIN TURNS RED
INT. DARK SCHOOL – HALLWAYS - NIGHT
It’s a TWISTED DECAYING COPY of Salem High, choked with
CREEPERS and LITTERED with BONES AND CORPSES. A RED
RAINSTORM POUNDS the windows.
Ariel awakens under her locker…THE MESSAGE FROM YESTERDAY
SCRAWLED ON IT.
She opens her eyes—
Miss Happy is staring like a hawk at her.
Ariel jumps, startled!

ARIEL
What—How long have you been there?
MISS HAPPY
Since you appeared. Good to see you again!
ARIEL
Uh, same—
MISS HAPPY
C’mon. They’ll be here any minute—
Miss Happy takes Ariel’s arm, feeling the scars. Ariel
jerks her hand away.
MISS HAPPY
What were those?
ARIEL
Nothing.

32
 MISS HAPPY
You playing me for a fool?
ARIEL
(angry)
I said it’s nothing!
The kid snatches Ariel’s arm too fast for her to react. She
studies the scars. Ariel hangs her head, ashamed.
ARIEL (CONT’D)
They’re a month old.
Miss Happy relinquishes Ariel’s arm. She reaches onto her
belt…
And out comes a SINGLE DANDELION. The girl cradles it, like
a candle.
MISS HAPPY
I found a patch of these growing
(points)
Out there. It’s been so long…
Ariel gazes at the flower, remembering earlier today.
MISS HAPPY (CONT’D)
How did you do it?
ARIEL
I didn’t know I could.
MISS HAPPY
You can. This school didn’t exist
yesterday. They think this place belongs
to them. And they can never take this—
(holds up the flower)
away.
Ariel takes the flower, strokes it…
A RATTLING PIERCES THE SILENCE. The two turn in its

33
direction down the dark halls.
MISS HAPPY (CONT’D)
(beat)
Shit.
Miss Happy grabs Ariel’s hand as they dash through the
halls.
The two RUN down the halls, SPLASHING through POOLS of
BLOOD collecting on the floor. The school TWISTS and TURNS,
a NIGHTMARISH LABYRINTH filled with DEATH.
Penance’s foot CRUSHES a SKULL behind them. He’s JUST OUT
OF VIEW, HIDDEN in the DARK.
MISS HAPPY (CONT’D)
(points offscreen)
There!
A DOOR hangs OPEN. They dash for it. Ariel glimpses the
dark hallway, as a PENANCE’S SHADOW ADVANCES. She THROWS
the door shut.
INT. DARK SCHOOL – CLASSROOM - NIGHT
A dilapidated classroom. A giant hole in the wall is
covered with BLACK VINES.
ARIEL
That’s our exit?!
MISS HAPPY
These weren’t here earlier!
She unsheathes a LARGE BONE DAGGER.
MISS HAPPY (CONT’D)
(to dagger)
Make me proud, baby.
The dagger saws through the vines, which refuse to cut.
Miss Happy curses, mumbles to herself. Ariel starts pushing
EVERYTHING in the room against the door.

34
SNAP. Vines fall loose. Miss Happy sighs in relief. Ariel
pushes another CHAIR against the door—
PENANCE’S CLAWS PUNCH THROUGH
Sending Ariel REELING to the floor. She sniffs, wipes her
nose. A DROP OF BLOOD sits on her fingers…
Through the hole, his GLOWING, MALICIOUS EYES hungrily
watch them struggle.
MORE VINES SNAP. The hole is half open.
Claws REND the door.
MISS HAPPY (CONT’D)
(climbs into hole)
C’mon!
Ariel looks to the door…then dashes into the hole as
Penance BURSTS into the room!
INT. TUNNEL
TOTAL DARKNESS.
The two DASH away from Penance’s FURIOUS CLAWING. A ROAR of
frustration.
The SCRABBLING STOPS.
ARIEL
Are we safe?
Beat.
MISS HAPPY
Take my hand.
FOOTSTEPS. RED MOONLIGHT reveals an exit…
EXT. DARK FOREST - GRAVEYARD - NIGHT
A graveyard with MASSIVE, HORRIFIC STATUES.
The duo emerge from underneath a MASSIVE TREE. The school
is NOWHERE to be seen.

35
 MISS HAPPY
No…No, no no no! Where is this?! Where are
we?!
Miss Happy frantically looks around, livid. She runs to the
edge of the graveyard.
A MASSIVE CHASM YAWNS before her.
Ariel takes in the horrific spectacle of it all. Something
catches her eye in the distance.
A MAUSOLEUM on A GRASS HILL.
She walks towards it. Miss Happy follows.
EXT. MAUSOLEUM - NIGHT
MASSIVE, ORNATE, with FOUNTAINS collecting the BLOOD RAIN.
A SPIRAL STAIRCASE leads up to a single door, with a
balcony lined with STONE PILLARS. A PLAQUE is engraved with
STRANGE SYMBOLS.
Miss Happy draws a dagger as they head towards the door.
MISS HAPPY
(nervous)
We shouldn’t be here.
They approach the door. The handle is COVERED in STEEL
THORNS.
Ariel looks in a BASIN filled with BLOOD. The plaque reads
“IN SOMNIS VERITIS” in the REFLECTION.
Miss Happy sniffs the air. She follows the scent to the
balcony…
EXT. GRAVEYARD - NIGHT
A “STATUE” PEELS ITSELF FREE, COLLAPSING TO THE GROUND
A gangly, ash-grey monster with DARK, SUNKEN EYES DRIPPING
BLACK TEARS. Anything its LONG, BONY FINGERS touches
bubbles, ROTS. Its HOWL is MOURNFUL, CHILLING.
EXT. MAUSOLEUM - NIGHT
Ariel hears the howls, runs to Miss Happy.

36
MORE PEEL themselves free. MORE CREATURES EMERGES from the
DIRT: CENTIPEDES with the MASSIVE, SNAPPING JAWS of an EEL.
MISS HAPPY (CONT’D)
You…bastards.
She places a dagger in Ariel’s hand.
MISS HAPPY (CONT’D)
Get that door open.
ARIEL
How?!
Miss Happy’s hand closes over Ariel’s.
MISS HAPPY
You’ll have to try.
Miss Happy heads to the balcony, slipping on her skull
mask—and DIVES off.
Below, SAVAGE SCREAMS of Miss Happy and DEATH KNELLS of the
Wraiths as limbs FLY and BLACK BLOOD SPLATTERS everywhere.
Ariel runs to the door, grabs the handle—but SCREAMS in
pain. Her hands are BLOODY from the thorns!
A Centipede SLITHERS UP the balcony, it’s jaws open and
DRIPPING. It SKITTERS towards Ariel—
She CRUSHES one beneath her foot, SPLATTERING the stone
with BUG JUICE.
She grabs the handle again, hands slick with blood. She
pulls and pulls, but the damn thing just won’t come loose!
Miss Happy climbs up the balcony, panting, covered in
monster blood. The MONSTER HORDE advances.
Wraiths’ hands CLASP the balcony edge! Centipedes SKITTER
up the stone like an ANGRY LIVING RIVER—

The door OPENS a CRACK.

Ariel is yanked away from the door.
Miss Happy is swallowed up by a SWARM of Centipedes! She
bites and spits, to no avail.

37
 BLACKING EVERYTHING OUT
The bugs swarms over Ariel,
in a SEA OF LEGS AND JAWS. Miss Happy reaches for
Ariel, tears in her eyes.
THE RATTLING. Penance CLIMBS up the balcony, ADVANCING
through the horde.
MISS HAPPY (CONT’D)
(struggling)
Ariel! They don’t own you! Remember that!
They let them ou—
Their fingers brush as Miss Happy is dragged away. Ariel is
SWALLOWED UP by the CENTIPEDE HORDE as the last thing she
sees is PENANCE TRUDGING TOWARDS HER—
INT. CHYLDE RESIDENCE – ARIEL’S ROOM – NIGHT
She’s wrapped in her bedsheets ON THE FLOOR, thrashing
violently!!
She comes to, breathing hard. She rubs her face, noticing a
DROP OF BLOOD on her finger.
She stares at it, terrified…
before her alarm BLARES! She gets up, rushing to find
something to wear.
INT. PERRY’S JEEP – CONTINUOUS
A BUNDLE OF WILDFLOWERS sits in the cupholder.
Perry sits, drumming his fingers on the wheel. He glances
at the house.
PERRY
Be cool, be cool—
INT. CHYLDE RESIDENCE – LIVING ROOM – CONTINUOUS
Ariel creeps downstairs, heading towards the front door.
Robert snores in front of the TV, playing The Wolfman.
INT. PERRY’S JEEP – CONTINUOUS
Perry perks up as Ariel gets to the car. She’s got new
jeans embroidered with butterflies and a nice jacket.

38
She climbs inside. Perry sniffs something.
PERRY
Peach?
ARIEL
Apricot.
PERRY
Apricot.
(beat)
Cool.
They drive off.
EXT. O’MALLORY FARM – FIELD - CONTINUOUS
Grassy plain filled with cars. A CARNIVAL sits in the
distance.
The Jeep parks.
INT. PERRY’S JEEP – CONTINUOUS
PERRY
(getting out)
So let’s do this dam thing.
ARIEL
Under one condition.
Ariel holds out her hand.
ARIEL (CONT’D)
Beat me in a thumb wrestle.
Perry, amused, takes her hand. They struggle, Perry
dexterously holding his own. He wins the ordeal!
EXT. CARNIVAL – CONTINUOUS
A rustic small-town carnival filled with game booths and
rides, made up with fall paraphernalia.
MONTAGE

39
-The two walk together under the lights.
-At a ring toss booth, Ariel throws once, twice, fails. She
attempts a behind-the-back throw. It lands way off.
-The two eat chili. Perry tries some of hers. He takes a
bite…and starts COUGHING from the heat.
-A fireworks display. The two watch. Ariel’s hand wanders
to his. It closes over hers.
END OF MONTAGE
EXT. FESTIVAL GROUNDS – FIRING RANGE BOOTH – CONTINUOUS
A pop-gun booth with stuffed animals hanging about.
PANG! PANG! Targets down in a flash. Perry’s in the zone.
His posture and handling of the rifle are perfect…
PANG! Last target goes down. He lowers the rifle,
nonchalantly holds up a hand for a HIGH-FIVE from Ariel.
CARNY
Congrats! Which one?
ARIEL
The rabbit, please.
The carny grabs the stuffed animal while Perry leans over
to Ariel.
PERRY
Told you.
ARIEL
Your dad’s a cop?
PERRY
Mm-hm.
EXT. FESTIVAL GROUNDS – OUTSKIRT – CONTINUOUS
Field just outside the fair. Ariel holds the rabbit,
walking hand in hand with Perry.
A lovely, peaceful moment…then…

40
 ARIEL
It’s funny.
PERRY
What?
ARIEL
Today’s my birthday.
PERRY
Well,
(beat)
happy birthday.
She smiles, happy for the first time in a while…but the
moment’s ruined as two TEENS with a COOLER RUSH past them,
nearly knocking Perry over.
ARIEL
So…Ready to go?
PERRY
Can we check out the dam? The waterfall’s
probably huge.
Ariel watches the teens disappear into the woods.
ARIEL
I—uh—it’s supposed to rain later.
PERRY
Then only for a moment?
She’s tense, but takes a deep breath, trying to look brave.
ARIEL
Only for a moment.
EXT. CANYON PATH - CONTINUOUS
Flanked by rock walls, surrounded by trees.
Perry carries a POCKET FLASHLIGHT. The forest eerily

41
resembles the dream…
MUSIC and REVELRY not far ahead. Ariel’s terrified.
PERRY
(notices)
We can go back.
ARIEL
I’m fine.
She’s not.
EXT. LAKE BEACH – CONTINUOUS
A bonfire on the beach. The dam in the distance. Coolers
and partying teens all around.
Stacy lights a CIGARETTE in the fire. A BEER BOTTLE wanders
up to her lips.
Spencer wanders up to Stacy, arms crossed.
SPENCER
Fifth one in half an hour? Impressive.
She blows smoke in his face.
STACY
What did you take before tryouts again?
Spencer sighs in disgust. Stacy flashes him a sarcastic
smile.
Ariel and Perry arrive at the beach. A renewed malice
arises in Stacy.
Ariel recognizes a few faces.
ARIEL
Let’s go. Please. Let’s just go.
Perry nods, understanding her distress. They’re about to
leave when-
STACY
Ariel Chylde! What a pleasant surprise!

42
Ariel stops dead. Her grip on the rabbit tightens. Everyone
is watching. Stacy’s phone comes out, starts recording.
STACY (CONT’D)
And you’ve got a new boy-toy. I give
him...two weeks.
Perry’s having none of this. He stands between the camera
and Ariel.
STACY (CONT’D)
And he’s noble. I’m touched.
Ariel’s neck spasms again. Her breathes are deep, angry.
And the hand gripping the rabbit CRACKS.
She THROWS the animal down.
STACY (CONT’D)
You’re making a huge mistake, guy.
PERRY
Really? ‘Cause I’m looking at one.
STACY
You must really like fucking mental
patients, do you?
Ariel turns, advances, barely contained rage in every step.
She brushes past Perry, who grabs her sleeve.
She tugs it away, keeps going.
ARIEL
You miserable waste of skin.
STACY
Oooh, terrifying. Is this a monster?
Stacy backs up, still holding the phone up.
ARIEL
No. Just me.
Her hand CURLS into a fist.

43
 STACY
Where does that crazy come from? Is from
your daddy? No. You don’t come drunk to
ballet recitals, do you?
The fist gets tighter.
STACY (CONT’D)
No, no, no. It must be mommy. Maybe you
should die too.

A FIST flies RIGHT INTO THE CAMERA’S VIEW!

WHACK! Stacy drops like a rock!

Ariel GRABS her tormentor’s collar. There’s FIRE in her
eyes as she BEATS the SHIT out of STACY!!
Everyone’s shocked. Perry’s especially horrified at his
date’s outburst.
Stacy knees Ariel in the stomach. Now it’s her turn to get
a few hits in.
Perry rushes in, tries to grab the bully. He gets a foot to
the stomach.
Stacy whales on Ariel for a few beats…
Perry rips Stacy off her. Both stumble to the ground.
Ariel lays on the ground, dazed. She’s banged up bad, the
gravity of what she’s done setting in…

THUNDER. Rain. Everyone clears out.

PAIN SHOOTS DOWN HER BACK!
Stacy stands over her, nose spewing blood, bruises all
over.
She RIPS the pendant off Ariel.
STACY (CONT’D)
You started this.
The bully leaves. Ariel struggles to get up…
Perry picks himself up, helps her stand.

44
 PERRY
Let’s go. I’ve got you.
He grabs the rabbit off the ground as they hobble away.
EXT. O’MALLORY FARM – FIELD - CONTINUOUS

The two soldier through the storm. Ariel DOUBLES OVER, the
PAIN WORSE than before. Perry helps her back up.
He sees her SCAB. But a SEAM trailing down her back has
formed…
Ariel freezes. ROBERT stands by his Jaguar, grim, prepared.
ARIEL
Daddy?
ROBERT
Get in the car.
ARIEL
What’s going—
ROBERT
In. Now.
Ariel looks at Perry, then obeys Robert. Perry’s confused,
frightened.
PERRY
Sir, I didn’t—
A death glare makes the teen back off.
INT. ROBERT’S JAGUAR – CONTINUOUS
The car starts, speeds off down the road. Robert’s got a
death grip on the wheel.
Rain LASHES the windshield.
ARIEL
(terrified)
Stop the car.

45
 ROBERT
Stop talking, Ariel.
ARIEL
Please—
He’s rattled, terrified.
ARIEL
Dad, listen to me!
ROBERT
(muttering)
I’m sorry, Jess—I’m sorry, Jess—
ARIEL
Dad…have you been drinking?! Please! Stop!
Ariel watches in horror. The pain down her back again,
intensified. Her hand CRACKS, the skin DARKENING…
ROBERT
(muttering)
Coward, I was a coward—
They tear past an 18-wheeler.
EXT. HIGHWAY 21 – CONTINUOUS
A massive puddle lies in the middle of the road!
INT. ROBERT’S JAGUAR – CONTINUOUS
Ariel snaps out of it, sees the puddle. She grabs the
wheel, swerving the car out of the way. Robert swats her
hand away—
ARIEL
(grabbing his arm)
Daddy, stop the car!
She’s weeping, not letting go. Finally, his hands loosen
from the wheel. His eyes well up.

46
EXT. HIGHWAY 21 – BRIDGE – CONTINUOUS
Over a rushing river. The Jaguar slows to a halt, shuts
off.
INT. ROBERT’S JAGUAR – CONTINUOUS
Robert rests his forehead on the wheel, sobbing. He peels a
shaking hand off the wheel, embracing Ariel.
Her hand is BACK TO NORMAL…
ROBERT
I’m sorry—I’m so sorry—
EXT. HIGHWAY 21 – BRIDGE – CONTINUOUS
The two switch sides. Ariel stops, hugs her father. He
slowly hugs her back.
INT. ROBERT’S JAGUAR – CONTINUOUS
They both get in. Ariel tries to calm herself, hands
shaking as she grips the wheel.
TRUCK HORN BLARES. the 18 WHEELER FROM FARTHER BACK IS
HYDROPLANING TOWARDS THEM! IT’S TRAILER KNOCKS OUT THE
GUARDRAIL, HEADING RIGHT FOR THE JAGUAR!!
Ariel barely closes her eyes as the Jaguar is SMASHED right
off the bridge!
She’s weightless, suspended in a SHOWER OF GLASS AND
METAL…Before the car HITS the water.
Robert’s head SMASHES against the windshield!
EXT. HIGHWAY 21 – BRIDGE – CONTINUOUS
The car floats down the river, the truck’s trailer hanging
off the edge.
EXT. RIVERBANK – CONTINUOUS
Heavily wooded, and flooded by the rain.
The SMASHED HUSK catches, rests on the bank.
Door SMASHES off its hinge. Ariel drags herself out of the
car.
She CONVULSES UNCONTROLLABLY, eyes turning an INHUMAN

47
ORANGE. Her fingers snap, extend, the skin tearing off to
reveal MONSTROUS BLACK TALONS underneath.
She clutches a wrist as the back pain SPIKES.
The scab on her neck SPLITS open, revealing the dark, scaly
hide of Penance…

From there, a HORRIFIC, EXCRUCIATINGLY PAINFUL

CHANGE. Think American Werewolf in London, but replace
werewolf with MASSIVE DEMONIC GARGOYLE.
MASSIVE WINGS PUNCH OUT of Penance’s back. He ROARS at the
sky!
INT. SPENCER’S CAR – NIGHT
A souped up 70s Pontiac GTO.
Spencer glowers. Stacy holds a BLOODY TISSUE to her face,
wearing the pendant.
STACY
You like her.
SPENCER
Maybe. Got a problem with that, babe?
STACY
If you call me babe one more time—
SPENCER
What, Tell everyone about the doping?
Gimme a break.
STACY
Since when did you grow balls?
SPENCER
Since tonight. I’m done with this shit.
STACY
(seething)
You are not breaking up with me!

48
The LIGHTS FLICKER…
The car SHAKES, rocking them both. TALONS PUNCH THROUGH THE
ROOF. Both SCREAM in terror as the car is HURLED off the
road!
It tumbles end over end, SMASHING through trees. Glass,
sparks, branches everywhere.
Stacy’s head smacks her seat. EVERYTHING GOES BLACK.
Stacy wakes up. Spencer’s gone, his door ripped open. She
can barely move. Wincing, she pries herself loose.
Door opens. she tumbles out-
EXT. CRASH SITE – NIGHT
The car hangs in a tree, headlights FLICKERING. Debris
everywhere.
A few feet below, Stacy hits the ground. It hurts like a
mother.
She weakly gets out her phone. Stacy summons the strength
to open her phone, prepares to dial.
THE RATTLING.
HEAVY FOOTSTEPS. DEEP, HOT BREATHS. She looks up, quaking.
Penance takes the pendant in a claw, RIPS it off Stacy’s
neck.
A moment of realization hits Stacy—before A TEETH-FILLED
ABYSS HURTLES TOWARDS HER.

A BLOODCURDLING SCREAM.
EXT. HIGHWAY 21 – BRIDGE – EARLY MORNING
Across the bridge leaving the O’Mallory farm.
A dewy, misty morning. EMTs and cops all around surveying
the truck accident. Jack watches, stoic.
His deputy, THOMAS (30s), stands beside. He’s clean,
carries himself with dignity. His pistol has “BETTY”
ENGRAVED on the BARREL.

49
 JACK
Plates confirmed?
Thomas nods. They watch a CRANE carry the wreck out of the
water.
JACK (CONT’D)
And the girl?
THOMAS
Nothing yet. How old again?
JACK
Eighteen.
THOMAS
God damn.
Thomas walks off, running fingers through his hair.
Jack goes to his cruiser. Perry sits on the hood, watching
the recovery effort. The sheriff approaches his son,
squeezing his shoulder.
JACK
I can take you home. You don’t need to
stay any longer.
PERRY
I could’ve have stopped him.
JACK
Look, You did your part. That’s all we can
do now.
PERRY
I let her get in that car.
JACK
Perry.
He turns to Jack.

50
 JACK (CONT’D)
Please—there’s…
PERRY
What?
JACK
Don’t—don’t blame yourself. Please. It’s
not your fault, bud.
They embrace, Jack holding his son tight.
Jack’s radio crackles to life.
JACK (CONT’D)
(answers)
Stodghill reporting, repeat that.
THOMAS (V.O.)
(on radio)
Chief, we found her.

Perry snatches the radio.

PERRY
Where are you?!
THOMAS (V.O.)
(on radio)
A mile down river. You are not going to
believe this, sir—
Jack takes the radio back from his son.
JACK
Acknowledged.
Perry bolts, but Jack catches him by the shoulder.
JACK (CONT’D)
My speed.

51
Perry gives a reluctant nod as they depart.
EXT. RIVERBANK – CONTINUOUS
Search parties with flashlights in the morning mist. Thomas
and a few others form a perimeter.
Perry’s barely a step ahead of his father.
THOMAS
Just called the EMT. They’re on their way.
Perry pushes past them into the perimeter. Jack catches him
again, as both finally see her.
She’s IMMACULATE, UNBLEMISHED, laying in a BED OF LEAVES
while WHAT’S LEFT of her TORN COAT covers her. Her hair is
LONGER, LIGHTER, the scars on her arm FADED AND HEALED.
Ariel’s eyes flutter open, barely awake. EMTs arrive,
checking her vitals. Her breaths are quiet, unsteady.
They load her onto a stretcher, wheeling to the ambulance.
EXT. HIGHWAY 21 – BRIDGE – CONTINUOUS
Perry rushes to the stretcher. Jack follows him.
The stretcher arrives at the ambulance. Perry pushes
through the EMTs to get to Ariel.
Ariel, still deep in a haze, half opens her eyes again.
He takes one of her hands. She weakly squeezes it. He sighs
in relief. An EMT corrals him away.
EMT
Alright, let’s go, loverboy.
Perry obeys as the load her into the back of the ambulance.
Perry returns to his father’s side.
ROBERT’S CORPSE is loaded into a body bag. His corpse is
waterlogged, MANGLED. The ambulance speeds off.
INT. JACK’S CRUISER – MORNING
Thomas rides shotgun. Farmland whips by against the morning
sun.
Thomas stares out the window, watching the myriad fields

52
and fences go by. Jack’s stoic as usual.
THOMAS
This is all kinds of fucked up, man. I
mean, of all things we’d be called in for
early morning.
JACK
Yep.
THOMAS
I guess I could have been a lot worse. But
that girl…what’d he say her name was? Amy?
JACK
Ariel.
Silence.
THOMAS (CONT’D)
He said she was a dirty blonde, right?
Jack doesn’t answer, pensively watching the road.
The fuel gauge teeters on empty.

JACK
Ah, dammit. Any pumps out here?
THOMAS
There’s one up ahead. Take this right.
EXT. COUNTRY ROAD – CONTINUOUS
The cruiser takes a right down a back road.
INT. GLADYS’ BAIT AND TACKLE – CONTINUOUS
An ancient gas station/bait and tackle shop. A cup reading
“Fortune: $1” sits on the counter. The two enter, a BELL
RINGING above the door.
Behind the counter, GLADYS (80s) looks up, smoking a long
pipe. She’s ancient, with a piercing, owl-like gaze and a
NECKLACE of ANIMAL CHARMS.

53
 THOMAS
You want anything? (to Gladys) Hey Gladys!
Gladys waves to Thomas as Jack comes forward.
JACK
(to Thomas)
No thanks.
BILLS on the counter. Jack takes out a COIN POUCH, trying
to find one dollar more. Gladys stares at him, studying.
THREE QUARTERS hit the counter. Jack almost throws a
fourth, stops.
It’s a HOSPITAL CURIO. He puts it back, fishes out the last
quarter.
JACK (CONT’D)
Twenty five on pump two.
Her claw-like, gnarled hands close over the cash, dragging
it away.
GLADYS
You look familiar.
JACK
Really? And how would that be?
GLADYS
Have any children? You look like a father.
I can see it in your eyes.
Jack backs up, unsettled.
THOMAS
Hey, Don’t start with that! He’s new here.
GLADYS
Of course he is.
She takes the MONEY. The cops leave. She watches them.
EXT. GLADYS’ BAIT AND TACKLE – CONTINUOUS

54
Outside, they head to the car.
JACK
Does she do that often?
THOMAS
Don’t worry about it, sir. She’s run that
shop since before my mom was born. She’s
harmless.
INT. HOSPITAL ROOM – AFTERNOON
Sterile, pure white. Hospital staff move outside the door.
A TV is on.
From a cocoon of bedsheets, she awakens, staring at the
ceiling. She’s dazed, running her hands through her hair…
FLASHBACK – THE ACCIDENT
Robert’s head SMASHES THE WINDSHIELD-
BACK TO PRESENT
She feels the impact again, wincing, grabbing her hair.
Tears well up. She lays back down…when she spots THE
STUFFED RABBIT on the nightstand.
She grabs it, HUGS it tight.
EXT. CRASH SITE – CONTINUOUS
A good distance from the highway.
Thomas, Jack, and two hunters survey the wreck. Flies
around a message SMEARED in BLOOD.
ON THE CAR
Splattered on: “THE MONSTERS ARE HERE”
TO THE COPS
Thomas covers his nose and mouth, utterly horrified. Jack
is barely stoic.

55
 THOMAS
(turns to hunters)
Are you sure you found it like this?
Both hunters nod.
HUNTER #1
What, ya think we put it up there?
HUNTER #2
Bobby, don’t get sarcastic ‘round cops!
JACK
Gentlemen, your work’s done. You can
leave.
The hunters leave.
THOMAS
Christ. Like it dropped out of the sky.
JACK
Matches the missing persons’ report?
THOMAS
Yep. Spencer Black’s.
Jack notices Stacy’s trail of blood.
JACK
Stay here.
Jack follows the blood, the stains growing larger and
LARGER until the trail…DISAPPEARS. Something GLINTS in the
grass, catching his eye.
The CRUSHED REMAINS OF STACY’S PHONE.
Thomas leans against a tree supporting the wreck.
It groans, SNAPS. A CASCADE OF BRANCHES. THE CAR CRASHES TO
THE GROUND.
Jack rushes over.

56
 JACK
Thomas!
Thomas is way out of harm’s way, breathing hard.
THOMAS
I’m okay—I’m okay.
JACK
Breathe. C’mon. Breathe…
The two calm down, survey the wreck.

THOMAS
I guess I saved us the trouble, sir.
Jack pats him on the back as the flies swarm around the
blood…
INT. DEANS’ CLASSROOM – AFTERNOON
In class. Perry sits, barely focused on the lesson. Some
kid next to him elbows him.
TEEN
Hey! Is it true?
PERRY
What is?
TEEN
Is she dead? The batshit girl.
PERRY
No.
TEEN
Did she really kill Stacy? I heard they
beat the shit out of each other—
PERRY
(raising voice)
She’s in the fucking hospital!

57
People turn
DEANS
Something wrong, Perry?
He shakes his head, sits back.
INT. HOSPITAL ROOM – AFTERNOON
Ariel watches outside, clutching the rabbit. Door OPENS.
Jack walks in. Ariel’s back is turned.
JACK
Hey.
Silence. She looks over her shoulder, turns to face him.
JACK (CONT’D)
My name’s Jack.
ARIEL
Stodghill.
JACK
Good to see you’re awake. He’ll be happy.
She turns back to the window. He grabs a seat. It SCRAPES
against the floor. Ariel holds her ears.
JACK
Sorry. Is there anything I can do? Can I
get you anything?
ARIEL
Can you tell me a joke?
Jack cocks his head. Her hand slides to his.
JACK
Let me think.
He takes her hand.
JACK (CONT’D)
Okay, I got one.

58
 ARIEL
Shoot.
JACK
So there was a guy who watched the sun set
every day. But, for some reason, he
couldn’t for the life of him figure out
why. So one day he sat on a hill and
thought. He waited and waited until one
day—
ARIEL
It dawned on him.
JACK
Heard that one before?
Ariel manages a tiny smile.
ARIEL
I figured it out. It was horrible.
JACK
I know. Anything else?
She sits up, back for a moment…
A BOX OF CHOCOLATES lays on the bed. A BALL OF FOIL sits on
the nightstand.
Jack watches, a few chocolates in hand, as Ariel adds a new
wrapper to the fold.
JACK (CONT’D)
So. Where were we?
ARIEL
The hospital.
JACK
Right. Do you have any immediate
relatives? Friends?

59
 ARIEL
I had a grandmother.
JACK
Hm. What about financial records? Did your
father have a will?
ARIEL
If he does, it’s in his office.
Jack nods. He hesitates...
JACK
What happened last night? If you’re not—
ARIEL
My dad just showed up out of nowhere. I
think he was drunk. I got him to stop—
She takes a few deep breaths.
ARIEL (CONT’D)
And then—I’m in the ambulance.
Jack nods, rubbing his chin. He reaches into his pocket,
pulls out a PEN and INDEX CARD, scribbling something down.
JACK
If you need anything, just call.
He and Perry’s numbers are written on the card. She takes
it.
ARIEL
Thank you.
JACK
Don’t mention it.
A KNOCK on the door. It opens. A NURSE leans in.
NURSE
Ms. Chylde?

60
 JACK
What is it? We’re a little busy.
NURSE
You’re free to go. Everything checked out.
The nurse leaves. She turns to the window, then back to
Jack.
ARIEL (CONT’D)
Can you give me a ride?
EXT. CHYLDE RESIDENCE – LATE AFTERNOON
The cruiser stops. Ariel gets out, dressed in whatever
clothes the hospital had, rabbit in hand.
JACK
Don’t hesitate to give me a call.
ARIEL
I won’t.
The two wave goodbye. The car speeds off.
Alone, Ariel stares at her house.
She looks under a RABBIT STATUE, finding the HOUSE KEY.
INT. CHYLDE RESIDENCE – FRONT ENTRANCE – CONTINUOUS
It’s dark. A chandelier hangs overhead.
Front door creaks open. Ariel enters. Silence all around.
She walks down the hall.
INT. CHYLDE RESIDENCE – KITCHEN – CONTINUOUS
Just as it was the day before.
Lights FLICK on. Ariel wanders around the empty room, sees
what’s left of the cake. She sits at the table.
A CARD sits on the counter. She opens it.
Never forget how much your loved—Daddy is inside.
She weeps into the card, sliding down onto the floor…

61
INT. STODGHILL RESIDENCE – PERRY’S ROOM – NIGHT
Soccer posters and a shelf with a variety of books.
Perry lays on his bed, half-finished homework on his desk,
lost in thought over the past day…
His PHONE sits on his nightstand. He stares at it. Finally,
he reaches for the phone, dials.
ARIEL (V.O.)
Hello?
PERRY
Ariel?
ARIEL (V.O.)
Oh. Hi.
PERRY
How’re you feeling?
Silence.
ARIEL (V.O.)
Been better.
He nods. More silence.
ARIEL (V.O.) (CONT’D)
What about you?
PERRY
Same.
ARIEL (V.O.)
Your dad said you were at the river this
morning.
PERRY
What? Yeah.
ARIEL (V.O.)
Thank you.

62
He cracks a smile. On the other line, Ariel sighs.
ARIEL (V.O.) (CONT’D)
Look, thanks for calling. I—I just…I need
some time alone.
PERRY
I get it.
ARIEL (V.O.)
Talk to you later?
PERRY
Yeah. Talk later.
He hangs up, laying back on his bed.
EXT. FOREST – PENANCE’S NEST - NIGHT
DEEP in the forest. A BALL-LIKE NEST OF BONES and BLACK
CRUST, large enough to FIT A PERSON INSIDE. DEER and WOLF
CORPSES DANGLE on the BRANCHES. A SMALL CLUTCH of BLACK
EGGS is inside.
Above the nest, A LARGE SHAPE. It shifts, A GIANT WING
unfurling.
Penance GRINDS A CLAW against the tree trunk…
INT. CHYLDE RESIDENCE – ARIEL’S BATHROOM – NIGHT
Water runs, filling the bathtub. Ariel sits with an EMPTY
COFFEE MUG in hand, eyes red from crying. She takes a deep
breath, gets up.
Something catches her eye in the fogging mirror. She stops,
taking a good look at herself; at her hair, her face, her
knuckles.
On the door frame, a SCALE is crudely drawn on. Ariel leans
against. She’s four inches taller. She looks back at the
mirror, deeply unnerved by the person in it…
She slides into the tub, drawing the curtain. She lies in
the water, in silence. The WIND picks up…
The scarred arm raises up. Ariel studies the letters,
running a finger over them…

63
FLASHBACK – THE TRANSFORMATION
HOWLS OF PAIN AS HER HAND GROTESQUELY MORPHS INTO A
MONSTROUS CLAW!
BACK TO SCENE
-And she’s back in the present, horrified by the sudden
memory! She clutches her hand.
SOMETHING comes inside.
The shadow passes behind the curtain. Every footstep wet.
Shallow, gurgling breaths.

Ariel freezes, fighting to stay quiet.

Carefully, slowly, she grabs the curtain, pulling it back—
A DECAYED, MANGLED figure writes in RIVER MUCK AND SLIME.
ROBERT. Ariel throws herself under the water.
She pokes her head back up. The thing is gone.
Grabbing a towel, she crawls out of the tub, shaking. She
picks herself off the floor—stepping in MUDDY FOOTPRINTS.
She looks in the mirror.
ON THE MIRROR:
Dribbling down the glass: “PANDORA’S BOX IS OPEN”
A finger runs down the letters. Ariel feels the grit and
muck between her fingers.
EXT. CONVENIENCE STORE – NIGHT
Local one-stop shop flanked by forest. The graveyard shift.
Kiley leaves the store, yawning.
She takes a swig of a SODA, whips out her PHONE.
On her way to her CAR, she barely notices the LIGHTS
FLICKERING.
PENANCE glides across the roof, SILENT AS THE GRAVE.
Kiley’s phone starts GLITCHING. She gets her keys out,
unlocks the door—as THICK SALIVA SLAPS onto the car! She
stumbles away.

64
 KILEY
What the f—
A GROWL escapes Penance as HE HANGS ABOVE in the trees.
Kiley follows the source of the spittle up…
And SCREAMS IN TERROR as Penance’s claws DIG into her
shoulders, dragging her into the trees!
EXT. STODGHILL RESIDENCE – NIGHT
A single story suburban home.
POV of something flitting through the trees, SPITTING,
SNARLING. It STOPS. Through ANIMALISTIC VISION, it watches
Perry sleeping on the couch in his living room.
INT. STODGHILL RESIDENCE – LIVING ROOM – CONTINUOUS
Perry gets up, rubs his eyes. THE PHONE RINGS. He checks
the PHONE PORT on the nightstand. He GRUNTS in frustration,
gets off the couch.
INT. STODGHILL RESIDENCE – KITCHEN – CONTINUOUS
THE PHONE KEEPS RINGING. And no phone in its port either.
INT. STODGHILL RESIDENCE – OFFICE – CONTINUOUS

Jack’s study, with still-unpacked boxes.

No phone. Perry’s about to lose it…when the ringing ECHOES
DOWN THE HALL.
INT. HALLWAY – CONTINUOUS
ABNORMALLY DARK hallway that stretches on.
The PHONE’S BLINKING LIGHT cuts through the black. Perry,
creeped out, heads to it. ALL IS QUIET except for the
ringing, his footsteps, and the SOFT rush of RUNNING WATER…
He passes a DOOR with LIGHT coming from underneath.
Finally, he gets to the phone, answering it.
HIS EX-GIRLFRIEND’S VOICE. Quiet. Sad.
GIRLFRIEND (V.O.)
I’m sorry…

65
The phone hits the floor! Perry backs away. He looks to the
door, shaking. THE RUNNING WATER GETS LOUDER.
His quaking hand takes the doorknob, twists it. THE WATER
DROWNS OUT EVERY OTHER SOUND. The door opens a CRACK—

PERRY WAKES UP
INT. STODGHILL RESIDENCE – LIVING ROOM - NIGHT [END
NIGHTMARE]
He throws himself up from the madness of sleep, struggling
to breathe and sweating profusely! Fingers clutch at his
hair as he tries to slow his breathing. He RUSHES to the
bathroom!
He doesn’t notice the CREATURE behind the window ESCAPE
INTO THE NIGHT…
DISTANT THUNDER.
INT. STODGHILL RESIDENCE - BATHROOM – CONTINUOUS
Water splashes his face as he finally calms down. He stares
into the MIRROR. Something troubles him deeply…
Jack passes by, in a rush.
JACK
Hey bud.
Perry jumps! He leaves the bathroom.
INT. STODGHILL RESIDENCE – KITCHEN – CONTINUOUS
A homely kitchen.
Jack EMPTIES HIS POCKETS. He’s focused, barely notices
Perry watching him.
His son gets a whiff of something awful.
JACK
Sorry about the smell.
He rushes down the hall.
Perry follows, leans against a wall by the hallway. He
sighs.

66
COAT HANGERS SLIDE and RUSTLING OF CLOTHES.
JACK (O.S.) (CONT’D)
What’s going on?
PERRY
Nothing.
JACK (O.S.)
You’re a terrible liar, you know.
PERRY
I just…I got a lot on my mind right now.
JACK (O.S.)
You got a big heart, son. But you need to
keep your distance from her.
PERRY
It’s not her, alright?!
Jack emerges from his room, dressed in FRESH CLOTHES. He
takes Perry’s shoulder.
JACK
Perry—I know things have been difficult—
PERRY
Easy for you to say.
Jack sighs.
JACK
Come here.
The two embrace.
JACK (CONT’D)
Don’t leave the house tonight.
PERRY
What’s going on?

67
 JACK
…I don’t know yet. I’ll call when I’m
heading home.
Jack leaves the house. Perry wanders over to the table,
sitting down, rubbing his face, going over his dad’s words—
THE PHONE RINGS. He whirls around, startled. Thankfully,
it’s right in the PORT in the kitchen. He answers.
ARIEL (V.O.)
Can you come over?
PERRY
Ariel? What’s going on?
ARIEL (V.O.)
Please. I just—I didn’t—I don’t know who
else to call. I need someone to talk to.
A silence as something crosses Perry’s mind.
PERRY
What’re you doing now?
ARIEL (V.O.)
I’m in my dad’s study.
He sighs in relief.
PERRY
I—I need some gas, but I’ll be right over.
ARIEL (V.O.)
Thank you.
PERRY
Don’t mention it. See you soon.
Phone hangs up. The young man grabs his KEYS and heads for
the door.
INT. CHYLDE RESIDENCE – ROBERT’S STUDY – NIGHT
An office space in disarray from Ariel’s searching. A large

68
antique JUKEBOX sits alongside pictures of family and other
tchotchkes. An old ANSWERING MACHINE sits on the desk.
A THUNDERSTORM outside.
Ariel, now dressed, puts the PHONE back into the port.
Tentatively, she pushes a BUTTON.
ANSWERING MACHINE (V.O.)
You have…3 new messages. First message.
Miss Madison’s voice plays. Ariel deflates.
MADISON (V.O.) (CONT’D)
Hey, Ariel, it’s Madison. I’m really sorry
about what happened. Don’t hesitate to
give me a call, alright? We can get you
some help right away. Be safe. Bye.
Button pushed again.
MADISON (V.O.) (CONT’D)
Hey, it’s me again. Just checking up. Make
sure—
Pushed again.
MADISON (V.O.) (CONT’D)
Hey Ariel, i—
Ariel punches the button angrily.
ANSWERING MACHINE (V.O.)
You have…no new messages.
She continues searching BINDERS and FOLDERS. Nothing of
note or interest, sadly.
She clears off a MESS OF PAPERS from the desk, finding a
HANDWRITTEN NOTE. It’s signed Jessica Chylde, from six
years ago.
IN THE LETTER
Signed in elegant cursive on a wrinkled piece of paper:
There are consequences for everything. If I fail, leave

69
immediately. Before the day, you must do what is necessary.
For her sake. For everyone’s. – JESS
TO ARIEL
She puts the letter down, shocked.
The LIGHTS FLICKER. A GLINT under the desk catches her eye.
She reaches under, finds a UNLOCKED LOCKBOX. A HOLE IN THE
DRYWALL sits next to it, freshly PUNCHED IN.
She DRAGS the box out from under, opens it up. Inside,
NEWSPAPER CLIPS’ HEADLINES read “BIZARRE TRAGEDY LEAVES
POLICE BAFFLED” and “RITUAL SUICIDE? WOMAN FOUND DEAD,
BURNED WITH SYMBOLS IN HOSPITAL ROOM”.
And something else lies in the box among other documents: A
ROLLED-UP PAPER. Ariel uncurls it.

It’s a TORN GRIMOIRE PAGE, an ELABORATELY DRAWN IMAGE

depicting A HELLISH HORDE OF MONSTERS surrounding A WOMAN
with BAT-LIKE WINGS, GIANT CLAWS, and GLOWING EYES beneath
a MANE of hair.
LIGHTS FLICKER AGAIN. THUNDER. The power goes OUT.
ARIEL
Dammit.
She feels her way out of the office. The jukebox BUZZES…
INT. CHYLDE RESIDENCE – ENTRY HALL – CONTINUOUS
DARKNESS. FLASHES of lightning light the hall.
She makes her way down the hall, away from the front door.
PENANCE WATCHES FROM UPSTAIRS, CLINGING to the ceiling.
INT. CHYLDE RESIDENCE – KITCHEN – CONTINUOUS
A CREAK upstairs catches her ear. She grabs a KNIFE from a
holder, hand SHAKING. The CREAKS continue, going towards
the back door.
She hastily retreats!
INT. CHYLDE RESIDENCE – ENTRY HALL – CONTINUOUS
A LOUD CRACK OF THUNDER! She stops to catch her breath.

70
PENANCE SLITHERS DOWN from the ceiling, unbeknownst to her.
Breathing hard, she heads for the front door—
PENANCE’S CLAW SLAMS IT SHUT! Ariel turns around to see the
MONSTER CLOAKED in SHADOW TOWERING over her.
ARIEL
No…No—you’re not—you’re—
She stumbles to the ground, panicking. Penance FLASHES that
FAMILIAR SMILE as he leans down, his breathes BLOWING
Ariel’s hair back as she cowers.
ARIEL (CONT’D)
You’re not real, you’re not real, you’re
not real, you’re not real—
Her LOST PENDANT CLATTERS to the ground.
He GRABS her by the neck, LIFTING HER into the air.
PENANCE
My token of gratitude.
Penance HURLS Ariel across the room! She CRASHES into a
MIRROR! The KNIFE drops to the floor among the SHATTERED
GLASS.
A SHOCK of PAIN runs through Ariel’s body as she tries to
pick herself up. Her eyes briefly turn a shade of that
UNEARTHLY ORANGE…
Penance advances, TAKING HIS TIME. He’s enjoying this.
Ariel GRABS the knife as the monster SLAMS her against the
wall!
ARIEL
How did you—get out?!
PENANCE
The way is open. And there’s nothing you
can do about it, child.
His grip tightens.

71
 ARIEL
That’s impossible!
PENANCE
Maybe…but you handed me the key.
Penance leans into Ariel’s ear.
PENANCE (CONT’D)
Poor girl. All alone in this…unspoiled
world. Don’t worry. We’ll take care of
you, Ariel.
The knife DIGS into Penance’s HEAD, RIVULETS of GREEN BLOOD
SPURTING from the fresh wound. Ariel defiantly SPITS on the
monster.
Penance growls as he CASUALLY PLUCKS the knife out.
PENANCE (CONT’D)
Disobedient.
CRUNCH!! Ariel gasps, looks down. Penance’s CLAWS are IN
HER STOMACH! BLOOD STAINS SPREAD over her shirt.
He withdraws his CLAW and releases her. Ariel CRUMPLES to
the GROUND, CONVULSING.

Her eyes CHANGE, her WOUND CLOSING with ASH-GREY FLESH. A

hand CLAWS at the floor, PAINFULLY MUTATING into a
WRAITH’S. The wood ROTS, TURNS TO ASH…

Ariel VOMITS up BLACK BLOOD as ANOTHER HORRIFIC CHANGE

takes place. She crawls down the hall, on a TRAIL of BLOOD
that turns BLACK as she CHANGES into a Wraith.
Penance’s wings RATTLE as the Wraith shakily gets to its
feet. It’s shoulders RISE, FALL.
PENANCE
Welcome.
SLOWLY, The Wraith’s head turns, black eyes focused on
Penance. Each new breath grows and GROWS in RAGE.
Penance barely has time to react as the Wraith TACKLES HIM
WITH TEETH AND CLAWS BEARED, SCREECHING AND SPITTING.

72
INT. CHYLDE RESIDENCE - PENANCE AND WRAITH FIGHT
THEIR DUEL IS BRUTAL. DESTRUCTIVE. TOOTH AND CLAW. TWO
MONSTERS TRYING THEIR DAMNDEST TO KILL EACH OTHER. But the
Wraith’s movements are wild, erratic, untrained. Penance’s
are far more controlled.
Wraith’s hands SLAP onto Penance’s face. He roars in pain
as DEMONIC FLESH BUBBLES, SEARS.
Holding its enemy down, through gritted teeth, The Wraith
FORCES words out.
WRAITH
Baaasstard…
Penance’s REMAINING EYE WIDENS. He THROWS THE WRAITH
against a wall! HALF OF HIS FACE is HORRIBLY SCARRED.
In the confusion, unbeknownst to the monsters, THE PHONE
RINGS.
INT. PERRY’S JEEP – NIGHT
Perry waits. No one picks up.
ROBERT (V.O.)
Chylde residence. We can’t come to the
phone right now. You know what to do.
BEEP. The young man anxiously sighs.
PERRY
Hey Ariel, it’s me. I’m on my way. I’ll
see ya in a few. Bye.
He hangs up, takes a deep breath.
INT. CHYLDE RESIDENCE – LIVING ROOM – NIGHT
Living room with GREAT PURPLE CURTAINS.
The fight continues. Penance is BLEEDING, COVERED IN BURNS,
BREATHING HARD. The Wraith’s SCRATCHED UP.
PENANCE
You little bitch!
The Wraith SNARLS, LEAPS onto Penance and BITES INTO HIS

73
SHOULDER. Penance tries to peel his opponent off, but the
Wraith holds fast.
A CHUNK OF PENANCE’S SHOULDER RIPS OUT as he HURLS THE
WRAITH THROUGH THE WALL!!
EXT. CHYLDE RESIDENCE – BACKYARD – CONTINUOUS
Fenced in with a half-finished pool.
Both TUMBLE out into the RAIN-SOAKED YARD. Penance
STRANGLES the Wraith. It struggles…GOES LIMP.
PENANCE
Know your place!
He’s WOUNDED, exhausted. He sneers at the Wraith.
PENANCE (CONT’D)
Pathetic.
He CRASHES THROUGH the FENCE into the night.
The Wraith lays in the grass, MOTIONLESS…
It TWITCHS, BREATHES IN. It sits up, VIOLENTLY COUGHING,
DIGGING into its CHEST.
It REACHES INSIDE, TUGGING…
ARIEL EMERGES from the Wraith’s BODY, COVERED IN PLACENTAL
SLIME.
She SLAPS to the ground NAKED, the slime MELTING AWAY in
the rain. She weakly glancing her now human, SCARRED arm.
Ariel watches the Wraith follow Penance, barely conscious.
She DRAGS herself to the hole, GRABBING a CURTAIN.
EXT. CHYLDE RESIDENCE – NIGHT
Perry’s jeep parks in the driveway. He heads to the front
door.
QUICK KNOCKS. No answer. MORE KNOCKING.
PERRY
It’s me! Ariel? It’s Perry.
He KNOCKS again…it CREAKS OPEN.

74
INT. CHYLDE RESIDENCE – ENTRY HALL – CONTINUOUS
Perry pulls out his flashlight. The beam CUTS through the
dark.
Perry surveys the damage, stunned. The flashlight GLIDES
over the pendant. He grabs it…
And spots the BLOOD TRAIL, following it.
INT. CHYLDE RESIDENCE – LIVING ROOM - CONTINUOUS
Ariel lays against the wall, shivering, exhausted, wrapped
in curtain. Perry rushes over to help her. The storm
continues outside.
PERRY
Oh my God—
ARIEL
Perry…
PERRY
I’m here. It’s me.
ARIEL
Something came. Something did—all this.
They’re out there, now. Something’s out
there.
Perry throws his jacket around her.
PERRY
Ariel, listen to me. Please. We need to
get you to the hospital. Let’s—
ARIEL
(grabbing Perry)
No! Not again. Not there.
She’s got a death grip on him.

75
 ARIEL (CONT’D)
(fading)
Anywhere else…
She passes out into his arms. He holds her for a
moment…before CARRYING her out of the house!
INT. JACK’S CRUISER – NIGHT
Jack rides shotgun, staring out the window. Both are beat,
tired.
THOMAS
You think there’s a connection?
JACK
(distracted)
With what?
THOMAS
Three kids gone. In two days. I mean…
Jack’s stare deepens.
THOMAS (CONT’D)
But then a teacher? It just—I don’t know.
Weird…
JACK
You and me both.
Silence. Jack takes out the hospital curio.
JACK (CONT’D)
Have you been sleeping well, Thomas?
THOMAS
Sir?
JACK
Couldn’t sleep last night. You doing any
better?

76
Another silence…
THOMAS
Not really.
An uneasy silence. Thomas is especially troubled.
EXT. GLADYS’ BAIT AND TACKLE – NIGHT
A PILLAR OF SMOKE BILLOWS into the night behind the shop.
Leaving the car, Jack motions to Thomas.
INT. GLADYS’ BAIT AND TACKLE – CONTINUOUS
The shop’s in SHAMBLES. GLASS, items ALL OVER THE FLOOR,
BULLET HOLES in the wall. The lights BARELY WORK.
Drawing his gun, Jack checks the aisles, moving towards the
back. He almost slips on a MILK CARTON with a HOLE BLOWN
THROUGH IT.
He makes it to the BACK DOOR…when he notices a SKELETON
COVERED in ASH on the floor. It’s NEITHER ANIMAL nor HUMAN,
but DEMONIC and TWISTED…
Jack opens the door…only for a SHOTGUN BARREL to meet him.
Gladys emerges, hands steady but eyes wild.
JACK (CONT’D)
Miss, let’s be reasonable. Put the gun
down.
GLADYS
You first.
Jack is calm.
JACK
Safety’s on. (shows her) See? Safety’s on.
GLADYS
And when more of them come? The fire
carries their bones on the wind. We need
to flush them out before more breed.
JACK
You lower yours, I’ll lower mine.

77
Gladys hesitates…lowers the gun. Jack holsters his pistol.
The old woman’s mania melts into fear.
GLADYS
Child of the abyss sits the throne in a
kingdom of pain—A throne studded with
misery and anointed in blood…Bastards of
the beast. It’s happening—
Jack is seriously frightened. He takes her shoulder.
JACK
Gladys, slow down. What happened here?
GLADYS
Juveniles. The seed.
JACK
Of what?
She draws closer to Jack, a death grip on the shotgun.
GLADYS
Madness. Hunger, sheriff…Darkness. If you
love your son, you will believe me.
THOMAS (O.S.)
Hold it right there!
A barrel engraved “BETTY” pokes Gladys. Thomas emerges from
behind the old woman. Gladys hisses.
THOMAS (CONT’D)
Why the bonfire?
GLADYS
I needed to draw them here. There’s too
many already.
THOMAS
This close to a gas station?

78
 GLADYS
It’s a controlled burn.
Gladys starts to raise her gun.
JACK
(looks at Thomas)
Just put the gun down and come quietly.
Thomas acknowledging, lowers his gun. A long pause…
GLADYS
Idiots.
She hands the shotgun to Jack. Gladys glares at him as
Thomas cuffs her, reading her rights as they leave the
shop.
EXT. GLADYS’ BAIT AND TACKLE – CONTINUOUS
They head to the car. Jack watches the smoke and takes out
his radio.
JACK
(into radio)
This is Stodghill. Get a fire crew and
cleanup at Gladys’ Bait and Tackle.
INT. STODGHILL RESIDENCE – PERRY’S ROOM – LATER
Perry lays Ariel gently in his bed, laying the covers over
her. He places her pendant on his NIGHTSTAND.
He sits down, unsure of what to do next. Out of the corner
of his eye, he spots her SCARS…
He leans close to her, listening for breath. They’re SLOW.
STEADY. He sighs in relief.
PERRY
(to himself)
Okay…that’s good…
The door quietly closes.

79
EXT. CANOPY PARK – NIGHT
Just like before. It’s frozen in time, silent, LEAVES
STOPPED MIDFLIGHT.
Ariel wakes up on a BENCH, surveying the scene. She heads
over to a LEAF SUSPENDED in MIDAIR, touching it. It doesn’t
budge.
MISS HAPPY (O.S.)
Just as we remembered it.
Ariel turns. Miss Happy is behind, wearing her DRESS from
the TEA PARTY.
ARIEL
Good to see you again.
MISS HAPPY
You too.
ARIEL
How did you get out?
MISS HAPPY
I didn’t. This memory is the strongest. My
only way to contact you. It’s urgent.
Miss Happy glances around nervously, then calms herself.
MISS HAPPY (CONT’D)
There was great pain here. Pain I hadn’t
felt in years. And Penance is gone.
Ariel stares into her hand, horror slowly building.
MISS HAPPY (CONT’D)
That’s what they’ve been waiting for,
isn’t it? A way out.
The child’s gaze turns to Ariel.
ARIEL
A Wraith got out. I let it out.

80
 MISS HAPPY
It was always you. You’re the gate, Ariel.
That’s why they chase you. To loosen the
restraints. To escape through your darkest
thoughts.
Miss Happy approaches Ariel, embraces her. Ariel hugs her
back.
MISS HAPPY (CONT’D)
Promise me something.
ARIEL
Anything.
MISS HAPPY
Remember. This place. Me. Don’t let them
take it from you. They take everything.
Ariel nods.
MISS HAPPY (CONT’D)
I should go. I think someone’s listening—
ARIEL WAKES UP
INT. STODGHILL RESIDENCE – LIVING ROOM – NIGHT
Perry looks at his phone with the TV tuned to A LOCAL NEWS
REPORT. He’s too preoccupied to pay attention.
ANCHOR (V.O.)
--domestic disturbance outside Howard
Deans’ residence. Investigation on his
whereabouts have proved inconclusive—
He scrolls over PHOTOS of him in Atlanta, dated two years
ago.
ANCHOR (V.O.) (CONT’D)
--Making this the latest addition in the
continuing missing persons’ investigation.
TV goes OFF. A picture catches Perry’s eye. It’s of him and
A TEENAGE GIRL. They’re the perfect vision of young love.

81
He scrolls through more, lost in thought.
ARIEL (O.S.)
Who’s that?
He DROPS his phone. Ariel stands behind the couch, dressed
in HIS CLOTHES. They’re a little big on her. Her hand
clutches the pendant.
PERRY
N—No one. You were out cold. Do you need
anything?
ARIEL
I need someone to talk to.
He nods, cautiously picking up his phone.
PERRY
Well…I’m here.
An awkward silence between them…
ARIEL
Perry, do you know anything about
butterflies?
He shakes his head.
ARIEL (CONT’D)
Caterpillars are larva. When they spin a
cocoon, they change. Their bodies break
down inside it. Liquify.
She sits down beside him, unable to look him in the eye.
ARIEL (CONT’D)
And then they become something else.
PERRY
What happened at your house?
ARIEL
There was something…buried inside me.

82
Her hand opens, revealing the pendant.
PERRY
Tell me.
ARIEL
You won’t believe me.
She’s shaking.
PERRY
I was there. Just tell me.
ARIEL
No one will. The monsters are free.
PERRY
Ariel, look at me.
He’s just as terrified now. She turns to face him, close to
tears.
PERRY (CONT’D)
What happened?
ARIEL
Something came out of me, Perry.
Something…vile. It—I’ve done…horrible
things. I’ve done horrible things I can’t
even remember—
The tears fall as she starts sobbing. Perry watches her.
His mind is somewhere else, in the dream he had earlier…
Slowly, he embraces her. She reciprocates. They hold each
other as the rain continues.
PERRY
You’re here. You’re here and that’s what
matters.
They separate. Ariel wipes her eyes.

83
 ARIEL
I—I sound insane. The things I think I’ve
done—
PERRY
But this is you, right? This—
(takes her hand)
This is you.
ARIEL
No it isn’t. This isn’t my face, It’s
something else. It’s just another…cocoon—
PERRY
Then why tell me any of this?
She’s caught off guard by that. Perry sighs, gathering
himself…
PERRY (CONT’D)
(beat.)
I believe you.
ARIEL
Why?
PERRY
Because I made a promise.
She takes a deep breath, leans on him.
ARIEL
Then I need you to help me. Please.
He wraps an arm around her.
PERRY
Anything.
EXT. MISS MADISON’S HOUSE – NIGHT
A small house in a neighborhood by the woods.

84
INT. MISS MADISON’S HOUSE – LIVING ROOM – NIGHT
Humble, with less-than-stellar interior decoration. A DESK
sits in front of a large WINDOW leading to the forest.
Ariel’s FILE lays out before them, complete with her
drawings.
Jack sits on the COUCH next to Madison while Thomas stands.
Two CATS wander about. The counselor sips WINE.
MADISON
Ariel’s an…interesting case.
JACK
Interesting?
MADISON
Extremely. And people like her tend to
break easily.
JACK
Was she difficult to handle? At school, I
mean.
MADISON
Not really, just…quiet. Solitary. An easy
target, sadly.
JACK
Stacy Stone, was it? She has a reputation,
I’ve heard.
MADISON
(scoffs)
The little bitch.
JACK
If that’s how you want to put it.
Thomas picks up one of the cats, cradling it.
MADISON
Has Ariel been accused of something?

85
 JACK
Of course not.
Thomas lets the cat down as the other comes to greet him.
The lights FLICKER.

MADISON
Goddamn power—
JACK
Well, ma’am, thank you for your time.
They shake hands. Jack and Thomas leave.
JACK (CONT’D) (O.S.)
Stay safe.
MADISON
You too, officer.
Door SHUTS. Madison sighs, finishing off her wine.
EXT. MISS MADISON’S HOUSE – NIGHT
A neighborhood out near the forest.
The cops walk to their car.

THOMAS
So what do you think?
JACK
…I don’t know yet.
THOMAS
It’s a bit of a leap.
JACK
Maybe.
They get in and drive off.
INT. CHYLDE RESIDENCE – ENTRY HALL – NIGHT

86
The rain has stopped. The two enter the house.
ARIEL
Hold on a second.
She heads upstairs. Perry watches her, using his flashlight
to follow the signs of the fight.
INT. CHYLDE RESIDENCE – KITCHEN – CONTINUOUS
The flashlight dances off the vase and balloons. Jessica’s
picture lies CRACKED on the ground.
INT. CHYLDE RESIDENCE – ROBERT’S STUDY – CONTINUOUS
The door opens. The flashlight dances off the jukebox.
Perry glances the framed photos of Ariel and her family…
Ariel enters. She’s dressed in HER CLOTHES, HAIR TIED UP.
She still has HIS JACKET ON.
PERRY
How long has it been?
ARIEL
Six years.
PERRY
Long time to grieve.
ARIEL
I’ve gotten used to it.
She descends on the lockbox, sifting through papers.
ARIEL (CONT’D)
Flashlight, please.
They sift through MORE TORN PAGES depicting the NIGHTMARES.
Ariel feels a terror building inside…
She gets up, running fingers through her hair.
PERRY
Ariel?

87
 ARIEL
What?
PERRY
You know why me and my dad moved out here?
No answer. He takes a deep breath, ready for his
confession.
PERRY (CONT’D)
I knew someone, a long time ago. We were—
close. Really close. She had the greatest
smile.
She listens closer.
PERRY (CONT’D)
But—
(pauses)
Something happened underneath.
Something…changed her. And she stopped
smiling.
ARIEL
What happened to her?
Now he’s close to tears now.
PERRY (CONT’D)
She didn’t want to tell me, and I started
to think—I asked her if we could take a
break. Just for a few months.
He struggles to keep himself calm. Ariel looks on,
sympathetic.
PERRY (CONT’D)
Two months later, I get a call. I rush
over there—and—I—I’m sorry—
She slowly approaches him.

88
 PERRY (CONT’D)
So a year and half later, we move out
here.
Ariel embraces him. They hold each other. She doesn’t feel
so alone anymore…
INT. CHYLDE RESIDENCE – KITCHEN – A FEW MINUTES LATER
Ariel opens the FRIDGE. She glances what’s left of her
BIRTHDAY CAKE and two BOTTLES OF BOURBON—
before spotting SODAS and ORANGE JUICE. She grabs them.
INT. CHYLDE RESIDENCE – LIVING ROOM – CONTINUOUS
Perry sits on an OTTOMAN, next to the GAPING HOLE. Ariel
arrives, setting the drinks down. Perry takes the orange
juice.
PERRY
If these things are coming out of you, why
let you go?
ARIEL
I think they need me as their…vessel. A
taxi or something they can use and
discard. Like they’re hijacking my body.
Perry finishes off the juice.
PERRY
But something put up a fight here.
Her eyes wander to a WRAITH’S HANDPRINT BURNED into the
wall. She places her own hand against it.
PERRY (CONT’D)
Maybe you’re in there somewhere.
ARIEL
That’s what I’m afraid of.
She reveals the pendant around her neck.

89
 ARIEL (CONT’D)
He returned this to me. Stacy took it last
night, but he gave it back.
PERRY
You said you can’t remember what happened.
Do you remember any of this?
ARIEL
Barely.
PERRY
Then maybe he was driving. You just gave
him a direction.
ARIEL
And he won’t stop. Because of me.
She sits down, frustrated. She thinks for a moment…
ARIEL (CONT’D)
We can get to someone before he does and
get the cops. That’s our only chance.
PERRY
How? No one’s found anything, not even a
body.
ARIEL
But I think I know where he’ll go next.
Who else has disappeared?
PERRY
Deans and some girl.
ARIEL
(under breath)
Kiley.
PERRY
Seems like you had a lot of enemies.

90
 ARIEL
I guess.
She sits, pondering what to do next…
ARIEL (CONT’D)
It’s like—a personal hit list. All the
people I hated the most.
PERRY
Then who’s closest to the bottom?
Beat…then a FLASH of REALIZATION in Ariel’s eyes!!
EXT. MISS MADISON’S HOUSE – NIGHT
Perry’s Jeep parks as the two jump out, running towards the
house. The power is OUT…
INT. MISS MADISON’S HOUSE – HALLWAY – CONTINUOUS
The duo enter. The flashlight goes ON. ONE CAT dashes out
the door. BROKEN GLASS, BLOOD on the floor and walls…
INT. MISS MADISON’S HOUSE – LIVING ROOM – CONTINUOUS
THE FLASHLIGHT CATCHES A MASSIVE DARK SHAPE DRAGGING
MADISON’S CORPSE THROUGH THE SMASHED WINDOW.
Perry stands there, paralyzed at the sight of Penance. The
monster snarls, escaping through the window.
Ariel runs after him, watching helplessly as he disappears
into the night—right as POLICE LIGHTS ILLUMINATE THE HOUSE.
INT. MISS MADISON’S HOUSE – LIVING ROOM – CONTINUOUS
The cops’ rush in, their LIGHTS fall on the two teens.
Perry raises his hands as Jack watches his son,
dumbfounded—before he turns to see Ariel standing among the
destruction.
JACK
Young lady…put your hands behind your
head.
Perry starts toward his father.

91
 PERRY
Dad, she had nothing to do with this.
JACK
(barks)
Stay out of this!
She obeys, not saying a word. Jack gestures to Thomas.
EXT. MISS MADISON’S HOUSE – CONTINUOUS
Thomas takes her to the cruiser, SHUTS the door. Jack leads
Perry outside to the jeep, stone-faced. He releases his
son.
JACK
Go home.
PERRY
Dad—
JACK
Go. Home.
Perry backs off at that. He manages one last glance at
Ariel from the police cruiser.
The car SPEEDS OFF.
EXT. SALEM POLICE STATION – NIGHT
Built in the same Southern Gothic style as the other
buildings in town. Behind it, the FOREST.
INT. SALEM POLICE STATION – LOBBY – CONTINUOUS
The place is ALIVE with activity. COPS and PEOPLE
everywhere talking, crying, demanding explanation. Jack
leads Ariel to the back.
COP
(background)
Sir, please calm down—

92
 FARMER
(background)
You’re fuckin’ telling me to calm down?!
My goddamn horses dropped outta the sky!
MOTHER
(background)
You would’ve found her by now if you were
doing your jobs, you bastards!
INT. SALEM POLICE STATION – STAIRWELL – CONTINUOUS
A stairwell. At the bottom, a DOOR with a RED ALARM.
ARIEL
I know what’s going on, Jack.
JACK
I figured.
ARIEL
I can help you.
He’s silent as they approach the door. The alarm TRILLS.
INT. SALEM POLICE STATION – LOCKUP – CONTINUOUS
Four CELLS in a small hallway. A TINY WINDOW sits atop the
wall. Gladys sits quietly in one of them. A CLOCK hangs
overhead.
A cell opens with a CLANG. Jack leads her inside.
ARIEL (CONT’D)
Jack—
JACK
Don’t start.
JACK (CONT’D)
You want to help me? Let’s see how many
more people die tonight.

93
 ARIEL
I’m not the one doing this! This is what
they want!
Jack turns away as the door shuts. The cell LOCKS.
ARIEL (CONT’D)
Fuck!!
She slides down the wall. Gladys watches her intently.
INT. SALEM POLICE STATION – LOCKUP - MORNING
Ariel stares at the wall. Gladys quietly SNORES. Her
eyelids get heavy.
DARKNESS creeps in…the sunlight turns RED. THEY whisper.
NIGHTMARE #1 (V.O) NIGHTMARE #2 (V.O)
Poor child. You can’t escape. we’re always waiting—
ARIEL
Leave me alone—
NIGHTMARE #3 (V.O.) NIGHTMARE #4 (V.O)

Vessel. Murderer. Vessel. You belong to us, we

own you. This is all
your fault.
NIGHTMARE #5 (V.O.)
And you will always be alone. With us.
ARIEL
(shouts)
Shut up!
Gladys wakes up, startled. She stares at Ariel as the teen
breathes angrily, heavily.
GLADYS
Talking in your sleep?
Ariel’s rage subsides.

94
 ARIEL
Something like that.
Gladys nods, lays back down.
EXT. O’MALLORY FARM – FIELD – AFTERNOON
Cops patrol up and down the street. Jack and Thomas grimly
survey the field. FOUR CATTLE RIPPED TO PIECES sit ROTTING.
JACK
Good God.
Thomas swallows hard.
THOMAS
Neighborhood and main street’s covered.
JACK
Keep it up. Like we need the neighborhood
watch forming a posse. That’ll solve
things.
He looks at the BARN. WOOD and SHINGLES have been SCRATCHED
OFF.
JACK (CONT’D)
What are you afraid of, Thomas?
THOMAS
Me? Damn Bigfoot with wings or whatever’s
doing this.
JACK
Anything else?
THOMAS
Being forgotten. Feeling like this work’s
not worth anything.
Jack takes out his coin.
THOMAS (CONT’D)
What is that, sir?

95
 JACK
I got this in the hospital the day my son
was born.
THOMAS
Neat. What about Mom?
JACK
She left three years after.
THOMAS
Oh…I—I didn’t…
JACK
It’s fine. You didn’t know.
He pockets the coin.
JACK (CONT’D)
Keep the patrols going. Concentrate on
civilians. Nothing gets out of those
woods.
THOMAS
But freaking Chernabog out there’s smart.
Where are we supposed to watch?
JACK
Everywhere.
Jack walks off. Thomas manages one last glance at the
ROTTING COWS.
INT. SALEM POLICE STATION – LOCKUP – LATER
Ariel picks at a TRAY OF FOOD. Gladys has picked apart her
CHICKEN, picking the BONES out.
GLADYS
Are you going to eat that?
Ariel slides the chicken to Gladys. The crone SNATCHES it,
PICKS the BONES OUT. Ariel watches, unnerved.

96
She CASTS the BONES, carefully studying them. Ariel goes
back to staring at the wall.
GLADYS (CONT’D)
The darkness surrounding you wants to
envelop this town. But—(notices a bone) it
doesn’t consume you. Not at all what I
expected.
The alarm RINGS. The door SLIDES OPEN. A COP comes in,
holding a CELL PHONE. Gladys continues to stare at the
bones.
COP
Phone call for…Childs?
ARIEL
It’s Chylde.
She takes the phone, holds it to her ear.
COP
Five minutes.
The cop wanders off.
ARIEL
Perry?
PERRY (V.O.)
Surprise.
She smiles.
ARIEL
What’s going on?
PERRY (V.O.)
Every cop in town’s out here. Curfew’s
tight. Feels like this place is gonna blow
any minute.
ARIEL
Can I ask a favor?

97
 PERRY (V.O.)
Go ahead.
ARIEL
Find the box. Keep the papers somewhere.
PERRY (V.O.)
Will do. Anything else?
ARIEL
Stay home tonight.
A long pause…
PERRY (V.O.)
I’ll try.
ARIEL
Stay safe.
PERRY (V.O.)
You too.
She hangs up. The cop takes the phone. ALARM sounds. The
door SLAMS SHUT.
GLADYS
Love and fear aren’t so different. They
can both make fools of us. Yet we persist.
ARIEL
What do you know?
GLADYS
It can be a candle in the dark, however
faint. Besides, darkness is only one side
of the coin, Ariel.
Ariel turns to Gladys, unnerved again.
ARIEL
Who are you?

98
 GLADYS
A seer. A wanderer. Titles never mattered
to me.
ARIEL
How about exorcist?
GLADYS
No, sadly.
ARIEL
Then what is it?
Gladys turns to face Ariel.
GLADYS
Something ancient. Hungry. Restless.
The slow horror builds within Ariel again…
GLADYS (CONT’D)
And yet there is a good heart in you.
ARIEL
What good is left in me anymore?
GLADYS
We all have darkness, Ariel. But it is
only a piece. We are always two.
Silence.
ARIEL
Then how do you keep it away?
GLADYS
You remind it who’s in control.
EXT. FOREST – PENANCE’S NEST – DUSK
The nest has GROWN considerably. MORE RIPPED UP ANIMALS.
Some have BURNS all over them.
As the light LEAVES the forest, Penance STIRS, breathes in.

99
Under the leaves, the Wraith RISES, it’s sad twisted face
gazing up at its brother.
Penance SNAPS, growling. The Wraith withdraws, stays by the
nest.
Inside, MONSTROUS SCREECHES and SQUEALS as JUVENILES stir.
They’re tiny Penances, but uglier.
Penance looks out at the DISTANT LIGHTS of the town. That
SMILE stretches across his face…
INT. SALEM POLICE STATION – LOCKUP – NIGHT
Ariel sits, watching the window. Waiting. Gladys is on the
floor of her cell, clutching her necklace. She whispers
into her hands.
INT. SALEM POLICE STATION – LOBBY – CONTINUOUS
It’s quiet. A SKELETON CREW works the place.
EXT. HIGHWAY 21 – NIGHT
Perry’s JEEP SPEEDS through the night.
INT. PERRY’S JEEP – CONTINUOUS
He’s got one thing on his mind as he stares at the road.
Nothing else matters…
EXT. HIGHWAY 21 – CONTINUOUS
A DEER CORPSE RIPPED to pieces by the Juveniles SLAPS ONTO
THE ROAD. PENANCE LANDS, HIS SHAPE OUTLINED IN THE
HEADLIGHTS!!
INT. PERRY’S JEEP - CONTINUOUS
Perry SEES it TOO LATE, HITS PENANCE HEAD ON. GREEN BLOOD
SPLATTERS the windshield. The car SWERVES, METAL AND GLASS
flying everywhere.
The DASHBOARD FLICKERS as Perry comes to, dazed, bleeding.
Penance is CRUMPLED on the side of the road. The MONSTER
stirs, GRUNTING in pain.
Foot HITS the GAS. Nothing. His hand finds the key. THE CAR
STALLS. Perry keeps trying, to no avail…
EXT. HIGHWAY 21 – CONTINUOUS

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Penance slowly gets up, equally dazed from the crash. His
ONE GOOD EYE spots Perry. An ANGRY GROWL escapes him.
INT. PERRY’S JEEP – CONTINUOUS
The CAR STARTS! Perry SPEEDS OFF as Penance ROARS in the
distance.
INT. SALEM POLICE STATION – LOCKUP – NIGHT
Electricity goes HAYWIRE. Gladys looks up, clutches her
necklace tighter.
Shallow, GURGLING breaths. ROBERT’s SHAKING, DECAYED hand
CLUTCH the metal, MUCK coating it.
She glares at him.
A sad sound escapes the ghost as he shuffles to a wall,
painting NEW LETTERS on it.
He finishes. Ariel peeks out. “FORGIVE US” is slathered on
the wall.
In one of the flashes, Robert DISAPPEARS. She GRIPS the
bars, summoning the courage…
She sits down, shuts her eyes. Deep breaths…
INT. CELL – NIGHT [BEGIN NIGHTMARE]
A dilapidated copy of her cell. The cell door empties into
a CORRIDOR.
Her eyes FLY open. Everything is QUIET. She gets up, THROWS
the RUSTED DOOR OPEN with a CLANG!
INT. CORRIDOR – CONTINUOUS
Metal, cage-like corridor covered in metal thorns.
Moonlight cuts through the holes.
Ariel walks down the hall, nary an OUNCE of fear in her
anymore.
A HIDEOUS CLAW GRABS AT HER. THEN ANOTHER. And ANOTHER!!
SYMPHONIES of HOWLS surround our heroine as the Nightmares
FUTILY GRAB AT HER.
EXT. MAUSOLEUM – CONTINUOUS

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Her hands GRAB that door. NO BLOOD this time. The HOWLS of
the NIGHTMARES behind her.
She THROWS that damn thing open! A YAWNING DARKNESS INSIDE.
Ariel enters. She gives the monsters one last glare…Before
SLAMMING the door!
INT. MAUSOLEUM – STAIRWELL - NIGHT
Cavernous, GLOOMY, stretching down into an ABYSS with only
the moonlight lighting the way.
Using the wall, Ariel descends.
The lower she goes, a GENTLE SOBBING grows louder…
INT. MAUSOLEUM – CRYPT – NIGHT
Filled with SKULLS and TWISTING SCULPTURES. Moonlight cuts
through the OPPRESSIVE DARKNESS.

ILLUMININATED by RED MOONLIGHT, A WOMAN in A DECAYED GOWN

leans against an OPEN STONE COFFIN, SOBBING. Her arms have
STRANGE SIGILS BURNED into them. Her BLONDE HAIR HIDES her
face…
Inside the coffin—MISS HAPPY, sleeping peacefully like
Princess Aurora, stripped of her mask, weapons, and Stitch.
Ariel watches the woman weep, an understanding washing over
her.
ARIEL
So you were here all this time.
JESSICA stops crying for a moment, turns to her daughter. A
BLOODSTAINED, DECAYED BLINDFOLD covers her eyes.
JESSICA
My little Miss Happy…
She holds herself against the tomb, stumbles.
JESSICA (CONT’D)
Six years? It sounds so much shorter. You
must be so beautiful—

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 ARIEL
This is your fault.
JESSICA
Everything for you. I give everything, and
now? Nothing. I can never leave.
ARIEL
What did you do?
JESSICA
Neither of us would survive your birth.
They spoke to me, offered a possibility.
ARIEL
So you gave me up.
JESSICA
I—I had no choice! And I gave my life so
they would not touch you until I died.
She starts crying again. Ariel softens a little.
JESSICA (CONT’D)
But I tried to back out—to save you.
She collapses, sobbing again.
JESSICA (CONT’D)
So they collected what was owed…
Ariel glances at Miss Happy.
ARIEL
A piece of my soul.
JESSICA
Yes. But too old. Too hard to control.
When they weren’t chasing you, they
searched for her.
Ariel approaches her mother, reaching out a hand, then
withdrawing. She gently shakes Miss Happy instead.

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The sleeper wakes. She gazes up at her rescuer.
MISS HAPPY
Nice to see you again.
Ariel helps her out of the coffin.
ARIEL
I didn’t find Stitch.
MISS HAPPY
It’s okay.
The child turns to Jessica, a hint of sadness in her eye.
She gently takes Ariel’s hand.
They depart. Ariel manages one last glance at her mother as
the two DISAPPEAR into the dark.
ARIEL
Goodbye, Momma.
INT. SALEM POLICE STATION – LOCKUP – NIGHT [END NIGHTMARE]
Ariel WAKES UP, TEARS STREAMING DOWN her face. Only
EMERGENCY LIGHTS are on. GUNFIRE and SCREAMS from upstairs.
The cells are unlocked. Ariel slides the door open and
leaves.
Gladys is curled in the corner of her cell, muttering.
INT. SALEM POLICE STATION – HALLWAYS – NIGHT
DARK, Destroyed by the attacking Nightmares. HUMAN and
MONSTER CORPSES all around. A STRAY FIRE burns somewhere.
She moves through the devastation. Something with GLOWING
EYES watches her from the ceiling…
The Juvenile HISSES, LUNGES for her.
She catches it, struggling as it CLAWS and SCRATCHES at
her. She HURLS it down the hall!
It SCREECHES at her--

BOOM!! Its head EXPLODES. Jack enters with a SHOTGUN. He

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COCKS it.
JACK
You should be in your cell.
The creature’s remains TURN TO ASH. Jack approaches Ariel.
He’s bloody, beaten.
He raises the gun towards her.
JACK (CONT’D)
Gimme a reason why I shouldn’t just drop
you now.
ARIEL
Because I’ve already died twice. It isn’t
fun.
JACK
You knew they would come here. They are
yours, aren’t they?
ARIEL
I tried to warn you. I said I could help.
He edges closer, rage gathering.
JACK
Don’t you fucking start! This is all your
fault!
That hits her hard. But she stands her ground.
ARIEL
Maybe. But if you shoot me, it’ll be
yours.
They stare each other down. Ariel shuts her eyes, welcoming
the possibility…
Jack lowers the gun. Ariel sighs in relief.
FOOTSTEPS down the hall. Perry rushes in, using a ROAD
FLARE as a torch.
Once again, Jack stands dumbfounded. Ariel smiles at the

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sheer audacity of him being there.
ARIEL
I told you to stay home.
PERRY
I tried.
JACK
Perry, get out of here. Now.
PERRY
Not without her.
Jack sighs, frustrated. Finally, he relents.
JACK
Get a radio, get as far from the station
as possible. Call everyone who’s
listening.
He unhooks his and tosses it to Perry. Ariel turns to
leave—
JACK (CONT’D)
And young lady. If this your mess, you
clean it up.
She nods. The two teens leave as Jack moves back down the
hall.
Thomas is slumped against the wall, holding a nasty stomach
wound. He coughs.
JACK (CONT’D)
Easy. Help’s on the way.
THOMAS
Jack—promise me something.
JACK
Don’t—

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 THOMAS
Promise you won’t forget.
JACK
I’m not going to forget you, you’re going
to be fine.
THOMAS
Don’t forget him. Don’t ever forget him.
Jack nods solemnly. Thomas smiles—before fading away…
The sheriff sits alone, holding back tears. SOMETHING
HISSES above him. A JUVENILE bears down on him.
He BLASTS IT TO PIECES!!!
EXT. SALEM POLICE STATION – PARKING LOT – NIGHT
The two run out of the building.
ARIEL
The next town over’s Covington.
PERRY
I don’t think cops are gonna be enough—
They get to his Jeep.

ARIEL
You hit a deer?
PERRY
Part of one. And a monster.

SMASH!! Penance PLUMMETS onto the car!

The two back up, horrified as the monster rears up. He
SWATS Ariel away, GROWLING at Perry.
He GRABS the young man by the throat, CLAW TIGHTENING.
Penance shoots Ariel A SADISTIC GRIN as he SPREADS HIS
WINGS.
Ariel and Perry share one last glance…and Penance TAKES

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OFF.
Ariel watches helplessly as the monster FLIES AWAY.
She falls to her knees. CRACKLING FIRES from the station
and Penance’s DISTANT WINGBEATS grow LOUDER.
No. She gets up. The fear has evaporated within her. All
that remains is pure, untampered determination.
She DASHES AFTER PENANCE!!
EXT. FOREST – NIGHT
The forest is looking eerily like her nightmares.
ABSOLUTELY NOTHING stands in her way as she SPRINTS DEEP
into the woods. Her HAIR TIE falls off in the commotion.
EXT. FOREST – PENANCE’S NEST – CONTINUOUS
Penance lands in the trees, HURLS Perry into the nest.
INT. PENANCE’S NEST – CONTINUOUS
Slimy, dark, made of twigs and bone.
Perry, dazed, whips out his light.
He’s greeted with WHAT’S LEFT OF THE VICTIMS. They’ve been
ripped apart, picked clean, or something in between.
UNHATCHED EGGS line the inside…
Perry fights back vomit. He KICKS the wall, PUNCHING out a
HOLE. The Wraith SWIPES at his shoe!!
EXT. FOREST – CONTINUOUS
The SURVIVING JUVENILES carrying a COP’S CORPSE with a
SHOTGUN land nearby, taking off again.
Penance RATTLES, bearing down on his new victim—
ARIEL (O.S.)
(SHOUTS)
Penance!!
The Nightmare HISSES. Juveniles in the trees TITTERING.
Ariel is breathing hard. She throws off Perry’s jacket.

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 PENANCE
My sons will enjoy him live.
He SLAMS onto the ground, advances toward Ariel.
PENANCE (CONT’D)
Why keep up this charade? This life was
never yours. You have always belonged to
us.
ARIEL
I don’t belong to anyone.
Penance laughs. So do the others. Her hand curls into a
fist, the bones CRACKING—
PENANCE
That brat deludes you. And you must learn
your place!!
Penance SMACKS her into the air!!
INT. PENANCE’S NEST – CONTINUOUS
The JUVENILES drop the CORPSE into the nest. He grabs the
shotgun off it.
He LIGHTS another flare, throws into the nest.
The Wraith moans beneath, claws waiting—
Perry BLASTS it, dropping through the hole.
EXT. FOREST – CONTINUOUS
She lands HARD. Her eyes GLINT ORANGE…but she resists the
change.
Penance SLAMS her against a TREE.
ARIEL
Still me, you bastard!

He growls in anger before swiftly TEARING HER ARM OFF!

Ariel SHRIEKS in pain!
EXT. FOREST – PENANCE’S NEST - CONTINUOUS

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Perry hears her scream PIERCE the night!
PERRY
Oh God—
EXT. FOREST – CONTINUOUS
She holds the wound, writhing in pain. Blood POURS out.
Penance BITES the SEVERED ARM, then TOSSES it aside.
Her remaining hand PAINFULLY CRACKS, the bones SNAPPING and
EXTENDING—

A NEW ARM ERUPTS from her socket as she PAINFULLY

TRANSFORMS AGAIN. Her skin turns RED, JAGGED, DISEASED,
her hands become TALONS, BONE and MUSCLE DISTORTING. Her
clothes TEAR from the stress—
She’s STRUGGLING through it all, holding on. Her back
ARCHES as BAT WINGS EXPLODE outward.
She’s neither the monster nor human, but something IN
BETWEEN…
Penance is not pleased.
PENANCE
Impossible.
Her ORANGE EYES glare angrily as she LUNGES at Penance!!
EXT. FOREST – PENANCE’S NEST – CONTINUOUS
The nest has quickly turned into a BALL OF FIRE.
The Wraith rears up behind Perry, a GNARLY WOUND in its
chest. It hisses.
Perry hears it, whirls around just as the ghoul LEAPS for
him!
He CLOCKS the creature with the shotgun, knocking it to the
ground!
It CONTORTS itself back up, MUCH ANGRIER. Perry COCKS the
gun…
Before the JUVENILES SWOOP DOWN, CLAWING at him!!
EXT. FOREST – CONTINUOUS

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Ariel TACKLES Penance. Her WINGTIPS DIG into his shoulders.
With VIOLENT FURY, she SLASHES and CLAWS, GREEN BLOOD
SPRAYING EVERYWHERE.
So furious, in fact, that she doesn’t see Penance’s FIST
SMACK her away. Penance gets up, wipes blood from his
mouth.
Ariel tries to get up, PAIN SHOOTING through her body. The
MONSTROUS CANCER crawls up her arm, distorting it further.
PENANCE (CONT’D)
Stop resisting. It’s too painful.
Perry’s SCREAMS catch her attention! The POISON SPREADING
UP HER ARM HALTS…Penance gets close to her.
Ariel spots the BURNED HALF OF HIS FACE.
She SLASHES him on his BAD SIDE. He ROARS in pain as she
LEAPS INTO THE AIR with a GREAT WINGBEAT!
EXT. FOREST – PENANCE’S NEST – CONTINUOUS
Perry struggles against the Juveniles GNAWING AT HIM!!
He THROWS THEM OFF, falling to the ground. They FLY AWAY,
CIRCLING him like vultures!
They’ve really done a number on him. He’s bleeding, slashed
up. The Wraith’s hand falls onto a SKULL, MELTING it into
dust. The FIRE ROARING behind it makes it a lanky, TWISTED
SHADOW with GREAT BEADY EYES.
Perry takes aim at one of the Juveniles. He
waits…waits…LINES UP THE SHOT…

BOOM!! The Juvenile PLUMMETS to the ground. The Wraith

approaches, CLAWS OPEN, JAGGED TEETH BARED and DRIPPING
BLACK SLIME…It’s RIGHT ABOVE PERRY!

Another BLAST!! HALF IT’S FACE IS GONE. It topples

over, BURNING TO ASH.
Perry falls to the ground, exhausted. He’s too tired to
feel anything other than relief. He checks the SHOTGUN.
EMPTY. The SOUND of the fire sounds almost calming…
The SCREECH OF THE LAST JUVENILE SPOILS IT.

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It’s perched on a branch, JAWS DRIPPING. It LEAPS OFF,
CLAWS AND TEETH BEARED. Perry can barely move. He struggles
to get away--!

ARIEL TACKLES IT OUT OF THE AIR, like a DARK AVENGING

ANGEL. She STABS IT in the HEAD, WINGS SPREAD.
Perry gets to his feet, leaning on the shotgun for support.
Every action hurts, but he powers through it.
Ariel YANKS her claw out of the creature. She stands,
breathing hard.
Perry stares at her form ILLUMINATED by the FIRE and
MOONLIGHT. He’s terrified, awestruck. She is terrifying,
yet beautiful. Both a monster, but still the girl he loves.
PERRY
Christ…
She slowly meets his gaze, the rage within subsiding upon
seeing the one person left that matters to her…
They share a quiet, pregnant moment…

PENANCE TACKLES PERRY from off screen. He PINS the

teen to the ground, CRUSHING the shotgun.
Perry struggles, to no avail. There’s no sadism in the
creature anymore, just hunger and RAW RAGE.
He OPENS THAT MASSIVE MAW, ROWS OF TEETH WAITING FOR PERRY—

A SICKENING CRUNCH!! Penance SCREECHES!! He looks

behind him.
His wings are STUMPS, SPURTING BLOOD. Ariel’s claws are
bloody. There’s a COLD FURY in those orange eyes.
ARIEL
(grabbing Penance)
How’d that feel?!
She HURLS Penance off Perry!
The monster SLAMS onto the ground. He HACKS, CRAWLING away
as a TRAIL of BLOOD forms behind him like a slug.
Ariel advances toward her foe, ignoring a SHARP PAIN down

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her back. The INFECTION SPREADS FURTHER through her body—
Penance SPITS blood. He lets out a HOARSE LAUGH.
PENANCE
You have nothing—
(coughs)—
you are nothing but a slave.
ARIEL
And you’re just a bad dream.
PENANCE
(mocking, half in pain)
You have no one, Ariel. Your father rots
in his own regret at the borderlands. Your
mother suffers her punishment. And
everyone else is dead because of you!
A RAGE builds inside her…
PENANCE (CONT’D)
You can never escape the night within your
soul!!
That hurts more than any of the blows she’s taken tonight.
ARIEL
Then I’ll learn to live with it.

She raises a claw. Penance ROARS DEFIANTLY as she SWIPES

HIS UPPER JAW OFF!
Penance’s now faceless, LIFELESS body collapses, his tongue
LIMPLY sliding to the ground. The corpse TURNS TO ASH,
leaving only a BLACKENED SKELETON.
Ariel’s chest heaves, hands shaking. The adrenaline wears
off as that horror she’s felt sets in again…
A LIGHTNING BOLT of PAIN through her body!! Bones CRACK,
the INFECTION SPREADS further.
She falls to her knees, WINGS CURLING INWARD. Her hands

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PAINFULLY SPASM, becoming more MONSTROUS and MUTATED. The
SEETHING VOICES of the Nightmares FILL HER EARS!
Perry picks himself up. Ariel’s struggle cuts him as deeply
as any knife. And this time, despite his wounds and
fatigue, there is NO HESITATION when he goes to her.
Every ounce of her being tries to keep the monster away,
keep it from flooding her mind. There’s so much pain, too
much for her to handle—
PERRY
Ariel!!
His voice surprises her, cutting through the noise in her
head. She watches him stumble towards her, her glowing eyes
filled with pain and sadness.
He collapses to his knees, grabbing her shoulders.
PERRY (CONT’D)
Ariel, look at me. You can do this. You
hear me? You can do this!
ARIEL
I can’t—
She SCREAMS in pain as another SPASM RIPS through her.
PERRY
Yes you can!
He holds her tightly, eyes welling up.
PERRY (CONT’D)
I’m not losing you.
Tears fall from Ariel’s eyes. She wills her arms around
Perry. Her claws DIG into his back!! He winces, but holds
tight.
Ariel CLUTCHS Perry’s back, SCRATCHING HIM as her claws
TRAIL down…SLOWLY TRANSFORMING BACK to NORMAL.
The chorus of voices fades—
The INFECTION RECEDES from her body. Her wings SHRIVEL UP,

114
DETACH like autumn leaves from her back. The ORANGE fades
from her eyes.
The lovers hold each other as the night air WAFTS the
trees, the fire BLAZES and Penance’s skeleton SMOLDERS…
INT. SALEM HIGH – HALLWAYS – DAY
Everyone’s back in school. Perry walks down the hall
BANDAGED, arm in a CAST. The CLAW SCARS on his back poke
out from under his shirt…
People watch him, whisper to each other. He doesn’t care.
A tiny MEMORIAL for the FOUR missing people hangs in the
hall…
INT. SALEM HIGH – CLASSROOM – CONTINUOUS
He sits, doodling in his notebook while the teacher drones
on. A TEEN leans in, notices his drawing.
TEEN
Hey. What happened to you?
PERRY
Car accident.
TEEN
Shit. I heard you knew the weirdo girl.
PERRY
Yeah?
TEEN
I heard she died. Did she die?
Perry doesn’t answer.
TEEN (CONT’D)
She probably hung herself.
The teen leans back. Perry finishes the drawing.
It’s A BEAUTIFUL GIRL, FACE HIDDEN in LONG HAIR sits under
a tree. GIANT BAT WINGS SPREAD from her BACK.

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INT. JACK’S CRUISER – AFTERNOON
Jack is also patched up, but thankfully not as heavily as
his son.
Perry gazes outside the window, a semblance of peace in his
eyes.
JACK
You okay, son?
Perry turns to his dad. He cracks a little smile.
PERRY
Better.
(beat.)
A lot better.
Jack smiles back as Perry turns to the window. He eyes
ARIEL’S PENDANT around PERRY’S NECK…
EXT. MAUSOLEUM – DUSK [NIGHTMARE]
A rosy DUSK LIGHTS the Nightmare realm’s sky with ORANGE
and RED.
A hand slides down the door, avoiding the thorns on the
way.
Ariel gazes up at the structure, a sad understanding
crossing over her.
She leaves.
EXT. DARK FOREST – CONTINUOUS
The forest is LIGHTER, less oppressive. DANDELIONS and
other assorted flowers grow EVERYWHERE. The dark is still
there, but far away, deep in the forest.
Ariel walks through, no fear in her heart.
MISS HAPPY (O.S.)
It’s beautiful.
Miss Happy comes out of the trees. She has a NEW Stitch on
her belt.

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 ARIEL
It should. I worked hard on it.
MISS HAPPY
The beasts haven’t budged from their
hovels. I knew you could do it.
ARIEL
We’re in this together, remember that.
MISS HAPPY
True.
The little girl takes Ariel’s hand.
MISS HAPPY (CONT’D)
So where are we going?
ARIEL
I think I have a lead. It’s farther up
state.
MISS HAPPY
Could you send some more flowers my way?
How about dogwood? I haven’t smelled
dogwood in a long time.
ARIEL
I’ll think of something.
They walk together through the forest.
INT. GREYHOUND BUS – DUSK
An old Greyhound speeding up the highway. Only Ariel and a
few others are riding.
Ariel wakes up. She’s by the window. The landscape WHIZZES
by. A DUFFLE BAG, various PAPERS from her house and her
JOURNAL sit in the adjacent seat.
She’s wearing Perry’s jacket. She zips it up.
Leaning against the window, she curls up. Slowly, a content
smile spreads across her face as she drifts off to sleep,

117
the SOUNDS of the FOREST coming back to her…
FADE OUT.
CREDITS.
THE END

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