Copyright 2004, 2010 by Ronald L. Ecker
All Rights Reserved
This online version has been divided into three Web pages.
FADE IN:
MONTAGE - SALEM, MASSACHUSETTS (MID-OCTOBER)
-- EXT. STATUE - DAY -- The foreboding statue of Salem's
Puritan founder Roger Conant, depicted in heavy cloak and
hat, stands near Salem Common.
SUPERIMPOSE: "SALEM, MASSACHUSETTS."
-- EXT. SALEM WITCH MUSEUM - DAY -- A sign above the entrance
of the old Gothic Revival church building reads "Salem Witch
Museum."
-- EXT. THE WITCH HOUSE - DAY -- A sign in front of the old
frame building identifies "The Witch House."
END MONTAGE
EXT. A LARGE PILE OF EARTH - DAY
Some dirty white objects roll down the pile from the shovel
of a backhoe. It's a human skull and some bones. The skull
lands eerily facing CAMERA.
EXT. DITCH-DIGGING SITE - DAY
A "Witch City" logo, showing a witch on a broomstick, is on
the door of a parked Salem police cruiser.
An unmarked car parks by the cruiser. Detective Lt. JOHNNY
BAIER, handsome, mid-30's, gets out of the unmarked car.
Johnny walks over to where COPS #1 and #2 stand by the pile
of excavated dirt near the backhoe. The cops wear the Witch
City logo as shoulder patches.
With the cops are a BACKHOE OPERATOR, his SUPERVISOR, and
four other hard hats.
JOHNNY
Dug up some old bones, have we?
Johnny squats down for a look at the skull and bones resting
by the dirt pile.
SUPERVISOR
Yes, sir, we're putting in a new
water line. The bones could be
old, but I don't know of a cemetery
ever being out here.
COP #1
Is anyone missing in Salem?
JOHNNY
If they are, they haven't been
missed yet.
Johnny rises. He and the others walk over to the ditch.
COP #1
It's hell to be dead and not
missed.
More bones are seen scattered in the dirt at the bottom of
the ditch, about 6 feet down.
SUPERVISOR
There's some old clothing down
there as well. But no trace of a
coffin or nothing.
COP #1
(to Johnny)
You think Terry can I.D. the bones?
JOHNNY
Nah, they'll have to go to Boston.
SUPERVISOR
The old water line didn't miss 'em
by far -- if the remains were here
when the old one got laid.
Johnny gives Cop #1 an amused look.
JOHNNY
"When the old one got laid."
COP #2
You don't think it's a prank, do
you, with the Haunted Happenings
festival going on?
SUPERVISOR
This is no Halloween prank. Those
bones have been six feet under for
a while.
CLOSE-UP - SKULL
Creepy, its dark eye sockets seemingly staring at CAMERA.
COP #1 (O.S.)
Hell, they could go back to the
witch trials of 1692.
EXT. SKY - NIGHT
A full moon with wisps of dark clouds.
EXT. DITCH-DIGGING SITE - NIGHT
In the darkness, the excavated ditch by the pile of dirt is
pitch-black inside, as if some frightful secret lies shrouded
within.
EXT. STANFORD HOME - DAY (EARLY MORNING)
A nice older New England home. Misty, about 7:15 A.M.
INT. KITCHEN - DAY
Husky JIM STANFORD, late 40's, in pajamas and robe, pours
a cup of coffee.
He sits down at the table and looks at the front page of
the "Boston Globe." He sips his coffee as he starts to read.
Stanford hears something BREAK -- a faint crashing sound,
toward a side of the house, from below. He rises.
INT. HALLWAY - DAY
Stanford enters the hallway. He calls out,
STANFORD
Kay?
He walks to a closed basement door.
INT. BASEMENT - DAY
Stanford turns on the light.
He descends the creaky stairs in the shadowy, cluttered
basement.
Stanford sees a freshly broken window. Walking toward it,
he suddenly stops as a RAT goes by his feet.
Grabbing a 34-inch baseball bat propped nearby, Stanford
tries to run down the rat, but it hides.
STANFORD
You little bastard.
Stanford props the bat against the wall. He proceeds to the
window, through which his line of sight is just above ground.
The rock that shattered the window lies amid broken glass on
the floor. A piece of paper is tied around the rock with two
rubber bands.
Stanford picks up the rock and removes the paper. He reads
the hand-printed message: "Fuck You, Stanford, A Haunted
Happening, Ha Ha Ha".
As Stanford looks at the piece of paper, he hears what could
be a FOOT MOVE on leaves right outside the window.
Looking toward the window, Stanford catches a fleeting
glimpse of something dark as it moves away.
Stanford looks to the side out the window as best he can, but
sees nothing.
The sharp CLANK of something falling behind him startles him.
Turning, he sees the bat roll to a stop on the floor, having
fallen over from the wall.
Aggravated, Stanford sets the note aside, puts the rock on
top of it, and heads toward the stairs.
INT. HALLWAY - DAY
Stanford comes out of the basement, closing the door behind
him. He listens. The house seems almost too quiet.
Stanford starts toward the kitchen, then stops. He glances
behind him.
STANFORD
Kay? Are you here?
INT. KITCHEN - DAY
Stanford talks on the phone at the counter,
STANFORD
(into phone)
Seven one nine Oakwood, right.
Stanford hangs up.
The newspaper lies spread open on the table as Stanford goes
over and sits back down.
Stanford starts to sip his now lukewarm coffee. About to get
up for a hot cup, Stanford senses something odd, unsettling --
something under his spread newspaper.
Stanford seems almost afraid to look. Peeking down by the
side of the table, he sees what looks like a piece of rope --
or even a huge rat's tail -- hanging down from under the
paper.
Slowly rising, Stanford takes hold of the newspaper. He
snatches it away from the table and steps back.
Lying neatly on the table is a noose, the rope hung over
the table edge to the floor, where it lies in a coil.
The newspaper is suddenly snatched out of his hands.
Stanford is hurled backward -- CRASHING into the wall like a
big rag doll - by some invisible force.
He scrambles up from the floor to flee, but is thrown
forward, landing on his stomach. Something BANGS his face
on the floor, busting his nose.
Stanford rises, again trying to flee. The table lifts up and
is thrown at him, knocking him right out the door.
INT. HOUSE - DAY
Stanford, dazed, nose bleeding, stumbles and falls over
furniture. The invisible something snaps the noose around
his neck, and drags him choking to the staircase.
He tries to loosen the noose and struggles to get to his feet
at the foot of the steps. He is thrown tumbling up the steps,
and is smashed down on the landing at the top of the stairs.
Stanford lies gagging in terror on the landing. The noose
is snatched tighter.
EXT. REAR OF THE HOUSE - DAY
Attractive KAY STANFORD, late 40's, returns from jogging in
a sweatsuit. She enters a back door of the house.
INT. KITCHEN - DAY
Entering, Kay stops, alarmed at the sight of the table lying
upended near the other door, a broken cup, spilt coffee, and
drops of blood on the floor.
Kay starts to back out. She grabs a cell phone from the
counter and heads out the way she came.
EXT. REAR OF HOUSE - DAY
Kay punches 911 on the cell phone as she runs out of the
house. She starts moving toward the front.
KAY
(into phone)
I think my home's been invaded.
They may still be inside.
(listens)
Kay Stanford. Seven one nine
Oakwood. Please get someone
here.
(listens)
Yes, my husband's in there, and
there's blood.
Kay moves to a thinly curtained window. Trying to see inside,
she is startled by what looks like a YOUNG BLACK WOMAN'S FACE,
staring calmly from behind the curtain.
Kay emits a cry and steps back. She is startled again as she
backs into someone or something.
Turning, Kay sees that it's a 50-ish male NEIGHBOR. Wearing
pajamas and robe, he holds his morning newspaper still in its
wrapper.
NEIGHBOR
What is it, Kay?
KAY
There's someone in my house. Look
in that window.
The Neighbor goes to the window. He peers inside through the
thin curtains.
To his horror, he sees Stanford hanging from the staircase
landing.
INT. STAIRCASE AREA - DAY
Lt. Johnny Baier stands looking in awe at the crime scene.
Stanford lies dead on the floor, in a pool of blood, below
the staircase landing. The rope has been cut, the loosened
noose still around his neck.
On the wall above the corpse is a large, intricate design,
some kind of symbol, drawn in blood.
Crime scene investigator TERRY MEYERS, 30-ish, being assisted
by COP #3, takes a last picture of the body. COP #4 is also
present.
JOHNNY
So what do you figure on the weapon
he was cut with, Terry?
MEYERS
I'd say a knife with a good twelve
inch blade. When she's able, have
the wife check the kitchen, to see
if there's a butcher knife missing.
Johnny gazes at the bloody design on the wall.
JOHNNY
I want to keep this quiet -- this
thing on the wall. Any idea what
it means?
MEYERS
You tell me. Satanic? Could be
gang-related.
Meyers snaps a picture of it, Johnny staring at the symbol.
INT. VAN - MOVING - DAY
JAIME ROMERO, 25, casually dressed, talks to someone unseen
in back as he drives through Salem. A rock tune PLAYS low
on the radio.
ROMERO
Salem is the place, man. They've
got things like the Witch Museum,
then every October they have this
Halloween shit all month. I was
here two years ago, had my fortune
told by this lady at a psychic
fair. She said I was going to meet
someone really cool.
Jaime glances back and laughs.
ROMERO
Get it? "Really cool."
EXT. FUNERAL HOME - DAY
A sign identifies a Salem funeral home, as Romero's van,
which has a state government tag, pulls in and stops under
the awning at a side entrance.
INT. ROMERO'S VAN - DAY
Romero opens his door and glances back.
ROMERO
Stay put. I'll let them know you
are here.
EXT. VAN - DAY
A stretcher has been rolled out to the van, and an undertaker
and an assistant remove a corpse in its body bag, while
Romero calmly looks on. He glances at the threatening sky.
ROMERO
Can you guys tell me how to get
to the police station? I have to
take some bones back to Boston.
EXT. MIDDLE SCHOOL - DAY
A sign identifies "Salem Middle School." It's raining.
INT. PRINCIPAL'S OFFICE - DAY
Handsome WES COVINGTON, 45, stands in thought at the window
of his office, gazing morosely out at the rain.
EXT. ROMERO'S VAN - DAY
In the back, a transparent plastic bag holds the skull and
bones from the ditch-digging site.
It rains as Romero closes the back door and hurries to get
in behind the wheel.
INT. PRINCIPAL'S OFFICE - DAY
Seated at his desk, Wes opens a drawer. He stares for a
moment at a thin manila envelope, lying on top of other
items in the drawer.
EXT. POLICE STATION - DAY
Romero's van pulls out from the rear parking lot in the rain.
A dark-red 10-year-old Chevy with the tag number "RGL 124"
is parked across the street. It follows Romero's van.
INT. PRINCIPAL'S OFFICE - DAY
Wes slowly takes the manila envelope from the open desk
drawer. He gazes at the envelope as if wondering whether to
take out its contents, or dreading to.
His SECRETARY, 55, steps in with a look of concern.
SECRETARY
Wes, have you heard? Jim Stanford
was murdered this morning.
Wes gives her a stunned, speechless look.
EXT. HIGHWAY 107 (SALEM) - DAY
Rain pours down now, as Romero stops his van at a stop sign
where the street meets Highway 107.
The tailing Chevy pulls up behind the van. There are no cars
behind the Chevy.
INT. ROMERO'S VAN - DAY
Romero, trying to see through the downpour, waits for a
chance to pull out into highway traffic.
He hears someone open the back door of the van.
EXT. VAN - DAY
Romero gets out in the rain and looks incredulously as a
THIEF in a hooded raincoat, all his or her features unseen,
removes the bag of bones from the van.
As Romero starts toward the Thief,
ROMERO
Hey, what do you think you're
doing? You can't --
The Thief's gloved hand slits Romero's throat with a knife.
Romero, unable to speak, grabs his throat, spurting blood.
The Thief heads for the Chevy with the bag.
EXT. HIGHWAY - DAY
The Thief gets into the Chevy.
Romero, holding his throat, blood pouring over his hand,
leaves the van and staggers onto the highway, despite the
blinding rain, to try to flag down help.
Behind the van the Chevy backs up, turns around and drives
away.
In the downpour, DRIVER #1 suddenly sees Romero ahead, hits
the brakes, but the car SLAMS into Romero, flinging him into
the neighboring lane. DRIVER #2's car runs over him.
EXT. COVINGTON HOME - LIVING ROOM - NIGHT
Answering the front door, Wes, with a drink in hand, lets in
RALPH WILKINS, cultured-looking, about 60, in a business suit
and overcoat.
WES
Hi, Ralph, come on in.
WILKINS
I guess you've heard about Jim
Stanford today.
WES
Yeah, I went by a little while ago
to pay respects to Kay and the kid.
WILKINS
And a guy from the Boston morgue
gets his throat cut here. What's
going on?
WES
I don't know. Would you like a
drink?
WILKINS
No, thank you. Let's look at what
you called me about.
INT. DEN - NIGHT
Wes and Wilkins stand at a table by a wall of the nice den.
On the table are a large old family Bible, open on a book
stand, with historical family documents beside it.
Wes gazes sadly at a picture on the wall above the desk. It
shows Wes, a pretty 30-ish woman, and a teenage boy together,
apparently in happier times.
Wilkins reads one of the documents with fascination.
WILKINS
This is some interesting history.
But I'm going to wait before I
accept it for the library. I want
you to think about it a while.
I don't want you to regret parting
with old family heirlooms.
Wes looks at the manila envelope from his office desk, now
lying by the Bible. Wes picks it up.
WES
There's another document, Ralph,
that I haven't kept with the others.
Wes takes an old document, handwritten in ink, from the
envelope and hands it to Wilkins.
WES
I've kept it tucked away in my
office at school. My son knows
nothing about it.
Wes waits as Wilkins reads. Wilkins looks appalled.
WILKINS
I can't believe my eyes.
(beat)
May I have a copy of this?
Wes hands Wilkins the envelope.
WES
I thought you might ask. There's
a copy inside.
Wilkins returns the document to Wes, who puts it on the table,
underneath the others.
WES
What do you plan to do with your
copy?
WILKINS
I have no idea. What would you
like me to do?
WES
Nothing. I just wanted you to know.
A pause as Wilkins gazes at the copy.
WILKINS
I'm not sure it's something that I
wanted to know.
EXT. DITCH-DIGGING SITE - DAY
The Backhoe Operator refills a ditch section containing new
water pipe.
The hard-hat Supervisor watches, other hard hats in b.g.
The Operator looks curiously toward something further along
the ditch, about where the bones were dug up. He looks at
the Supervisor and nods toward it.
The Supervisor turns to look.
A mysterious BLACK HUMAN FIGURE kneels or squats by the pile
of dirt from the ditch, its back to the Supervisor. It seems
to be handling something in the dirt.
The Supervisor walks over and stops behind the figure.
SUPERVISOR
Is there something I can help you
with?
The figure immediately rises and turns.
It's a 30-ish, one-eyed black man (his name is MONTOUT), in
all-black garb including fedora. His one eye is riveting,
the other one closed or missing under shriveled skin.
Montout shows the spooked-looking Supervisor what he holds.
It's a white styrofoam cup, full of dirt.
Without a word Montout walks away. The Supervisor steps over
to the Operator on his backhoe. They watch Montout walk
toward town.
OPERATOR
Who was that?
SUPERVISOR
Beats the shit out of me. Why the
hell would he come take some dirt?
OPERATOR
Maybe he's going to roll it and
smoke it. We've got plenty of dirt
here to spare.
SUPERVISOR
Get back to work.
EXT. SALEM STATE COLLEGE - LIBRARY - NIGHT
Students leave the library.
SUPERIMPOSE: "SALEM STATE COLLEGE."
INT. HEAD LIBRARIAN'S OFFICE - NIGHT
A LIBRARIAN, 25, looks in as Wilkins sits working at his
desk.
LIBRARIAN
We're all closed up. Are you going
to work here all night?
WILKINS
I'll be a few minutes yet. I've
almost got this report wrapped up.
LIBRARIAN
Well good night.
WILKINS
Good night.
As the Librarian leaves, she closes the office door, on which
a plaque reads "Ralph Wilkins, Head Librarian."
INT. CLOSED LIBRARY - NIGHT
Dark and spooky.
INT. WILKINS'S OFFICE - NIGHT
Wilkins, still not finished work, sits in troubled thought.
He looks again at his work. Sighing, he picks up a note with
a book call number on it.
INT. CLOSED LIBRARY - NIGHT
Dark. Wilkins, note in hand, turns on the lights in one of
the aisles between bookstacks. He heads down the aisle.
Almost at the aisle's end, Wilkins looks for a book.
Taking hold of a book, Wilkins stops, to look with concern
toward the dark entrance of the aisle, as if sensing that
someone or something is there.
Wilkins seems to dismiss the feeling. He takes down the
book and opens it. He looks in the book for a moment, then
he looks again toward the aisle entrance. His eyes widen.
Something barely visible moves slowly, eerily out of the
darkness toward the entrance to the aisle.
Its features become discernible as the figure moves into the
aisle's light and stops at the entrance.
It's a BLACK WOMAN, fairly attractive, about 25, in a dark
hooded cloak. She stares at Wilkins with an unsettling lack
of expression. Wilkins stares back.
WILKINS
Who are you?
The Woman doesn't move or speak.
Wilkins looks scared as he closes the book and returns it to
the shelf. His eyes momentarily on the shelf, Wilkins looks
again toward the entrance.
The Woman is gone.
There's a metal footstool in the aisle, close by one of the
bookstacks. Wilkins watches as something, like an invisible
foot, slowly ROLLS the footstool to the center of the aisle.
Wilkins stares at the footstool. Suddenly something KICKS
it through the air, Wilkins ducking as the footstool CRASHES
against the wall behind him and bounces off his back.
Wilkins turns and hurries to the end of the aisle, as if to
flee around the corner between the bookstack on the left and
the wall.
Before Wilkins can get to the corner, the whole bookstack on
the left is shoved -- the noise is SCREECHING -- till its end
HITS the wall, blocking Wilkins's way.
Now the same thing happens on the right -- something
incredibly powerful shoves the entire right bookstack till
its end SLAMS against the wall.
Trapped in the aisle, Wilkins backs up against the wall, his
eyes on the frighteningly vacant aisle entrance.
Then the aisle entrance is no longer vacant. The Black Woman
in the cloak again stands there, staring without expression
at Wilkins. He trembles with fear.
WILKINS
(haltingly)
What do you want?
WOMAN
(after a moment)
Wilkins.
Wilkins stares. Then the Woman is gone.
On a shelf near Wilkins, as he watches in horror, one of the
bent-wire book supports, suspended from the shelf above, is
methodically TORN OUT as if by a powerful invisible hand.
Wilkins tries to run, but something shoves him back powerfully
against the wall.
Before Wilkins's eyes the wire book support is bent straight
in midair.
As Wilkins is pressed against the wall, the length of wire
is PLUNGED into Wilkins's right eye, through his head, and
into the wall.
As Wilkins, pinned to the wall by the wire, screams in agony,
another bent-wire book support is TORN from its shelf.
Bent straight, the length of wire is PLUNGED into the wall
through Wilkins's left eye.
Wilkins, dead and bleeding, hangs from the wall by the two
straightened wires through his eye sockets.
Blood, pouring down the wall from the back of his head, pools
on the floor at his feet.
On the wall above Wilkins's head, the same design that was
seen at Stanford's is already drawn in blood.
EXT. SALEM CITY HALL - DAY (SUNSET)
"City Hall" is engraved above the entrance of the stately
building. A taxi arrives in front.
ANGELA THEOBOLD, 30-ish, black, wearing an overcoat with
purse, gets out of the taxi.
Angela is lovely, with something of a mysterious aura. (She
doesn't resemble the black Woman seen earlier.) Standing
before the steps, she looks up at the mahogany double doors.
Angela starts up the steps as the taxi departs.
INT. CITY COUNCIL MEETING - DAY (SUNSET)
A large number of concerned citizens are present, as CITIZEN
#1 addresses council president Wes and his fellow councilors.
Lt. Johnny Baier and uniformed POLICE CHIEF PARHAM, 50-ish,
sit near the front.
CITIZEN #1
I think I speak for most of the
folks here tonight. We think
there's some kind of connection
between these terrible killings.
There has to be, in a town as
small as Salem.
As Citizen #1 continues, Wes notes Angela as she quietly
enters the chamber and takes a seat in the rear.
CITIZEN #1
This celebrating of witches and all
has drawn some kind of deranged
cult or serial killer to Salem.
(MORE)
A lot of us think it would be a
good idea if the Haunted Happenings
festival was cancelled at once.
CITIZEN #2
That's nonsense. All you're going
to do with cancellation is hurt the
town's economy.
CITIZEN #3
That's right. If Halloween has
lured a killer or cult here, well,
the killer or cult is already here.
No need to cancel the festival.
Johnny, turned in his seat to watch the argument, notices
Angela, and their eyes briefly meet. They seem to have met
before and are not on friendly terms.
CITIZEN #1
You want to encourage this beast,
or beasts, or whoever it is?
CITIZEN #2
What you want to do is let the town
go broke.
CITIZEN #1
This town gets by for eleven months
a year without Haunted Happenings.
CITIZEN #3
That's right -- thanks to the one
month a year that we have it.
As Wes raises a hand for quiet,
WES
Okay, let's not get out of order
here, please. The police chief
is here to address our concerns.
So at this point, I'll ask Chief
Parham to say a few words.
Parham rises to address the citizens.
PARHAM
Thank you, Mister Covington. My
fellow citizens, there is no need
to cancel our annual festival, as
there is nothing at all to suggest
that Halloween and these killings
are somehow related.
Johnny smugly exchanges looks again with Angela.
PARHAM
I want to assure you that we are
doing everything possible to get
to the bottom of these cases.
The guilty parties will be
apprehended. We can't divulge
all we have yet.
The Supervisor from the ditch-digging is among the citizens
present. He looks intrigued by the chief's words.
PARHAM
But if anyone has information
in connection with these recent
tragedies, then please share that
with us, as well as any suspicious
behavior that you may observe,
just to be on the safe side.
LATER
The meeting over, Angela approaches Wes, who puts papers in a
briefcase. Some citizens and councilors are leaving, others
staying to converse.
ANGELA
Mister Covington?
WES
Yes?
ANGELA
I'm Angela Theobold. May I speak
with you?
WES
What about?
ANGELA
Well, would you laugh if I told you
I'm a psychic?
WES
No, but if you're looking for a job
at one of the psychic fairs, you
need to talk to --
ANGELA
No, Mister Covington. I don't
charge for my work, and I'm not
into card games.
WES
What are you into?
ANGELA
With regard to the recent murders, I
think I can be of help.
Wes gestures toward Chief Parham, who with Johnny speaks with
some citizens.
WES
The police chief is right over
there. That's his bailiwick.
Angela's and Johnny's eyes again meet.
ANGELA
I know. I talked with him earlier
today. Along with the lieutenant
there with him.
WES
And?
ANGELA
They told me that my help wasn't
needed.
WES
They were skeptical.
ANGELA
To say the least.
WES
Well so am I. Maybe you should
talk to the mayor.
Wes starts to go.
ANGELA
The mayor's unavailable. I hear
he's quite ill, as you know. That
leads me to you, sir, as city
council president.
WES
Well I don't know what you expect
me to do, Ms...
ANGELA
Theobold. Call me Angela.
WES
I'm going to level with you. I
don't believe in psychics. The
fairs in town are a show. Now if
you will excuse me...
ANGELA
You seem troubled. I sense a
great sadness... You have lost
someone, recently.
Wes glares at Angela.
WES
Look, I'm not going to stand here
and listen to your act. I find it
invasive and insulting. I've also
had a long day. So goodbye.
Wes moves off.
INT. CORRIDOR - NIGHT
As they are leaving, along with the last of the citizens, the
Supervisor from the ditch-digging stops Johnny and Parham.
SUPERVISOR
Excuse me, Chief. Lieutenant.
(to Johnny)
Remember me?
JOHNNY
Sure. What do you need?
SUPERVISOR
Well, something's been kind of
bothering me. After what you said
tonight, Chief, I thought I should
mention it.
PARHAM
Please do. What is it?
SUPERVISOR
A weird black guy with one eye, and
wearing all black, took some dirt
from the ditch where those bones
were dug up. I mean this guy fell
out of the ugly tree and hit every
branch going down.
JOHNNY
There's no law against being ugly.
SUPERVISOR
No, sir, I just can't forget it,
the way the guy looked.
JOHNNY
How much dirt did he take?
SUPERVISOR
Just a styrofoam cupful.
PARHAM
He didn't say what it was for?
SUPERVISOR
He didn't say a damn thing. He
just looked at me with that one
good eye and walked off with his
cupful of dirt. He gave me the
creeps.
JOHNNY
We'll be on the lookout. Let us
know if you see him again.
SUPERVISOR
Sure will. Thanks, Lieutenant.
Chief.
The Supervisor moves off. Parham and Johnny proceed toward
the exit.
PARHAM
Sounds like a person of interest.
JOHNNY
Could be. What'll we call him?
PARHAM
How about the One-Eyed Dirt Man?
They stop as they reach the exit.
PARHAM
Johnny, our festival is getting
national publicity this year. But
not the kind that we want. Let's
catch these people, okay? That's
the right kind of publicity. I'm
counting on you.
Parham walks on out.
EXT. COVINGTON HOME - NIGHT
The house is dark. There is rain, THUNDER, and lightning.
INT. WES'S BEDROOM - NIGHT
Wes lies asleep on his side in the dark. An empty drink
glass sits on the bed table. Intermittent lightning and
THUNDER outside.
Wes opens his eyes.
SARAH COVINGTON, early 40s, lies facing Wes on the bed.
Nude, she looks hauntingly beautiful in the flashes of
lightning.
Wes looks at her with wonder and desire.
WES
Sarah...
He moves to her, and they kiss.
As their lips part, there is rotten flesh on Wes's mouth.
To his horror, Sarah is a hideous decomposing corpse.
Turning away, Wes starts to leap up from the bed. Standing
over him by the bed is Angela, in a white nightgown, on her
face a look of pure evil.
Angela raises a long butcher knife. She comes down with the
knife, blood splattering on her gown.
Wes bolts up in the bed from his nightmare. He plops back
down in the lonely lightning-illumined dark.
INT. BEDROOM - DAY
A clock reads 9:40, bright sun shines through the window, as
the bedside PHONE RINGS.
The ringing gradually wakes up Wes.
WES
Oh God...
(answers phone)
Hello.
INTERCUT WITH:
INT. SCHOOL - SECRETARY'S DESK - DAY
Wes's Secretary is on the phone. A female clerk, 25, listens
as she files at a cabinet.
SECRETARY
I was calling to make sure you're
all right.
WES
I'm okay... Overslept again. I'll
be in in an hour.
The Secretary hangs up. She exchanges looks with the clerk.
EXT. RESTAURANT #1 - NIGHT
A nice eatery in Salem.
INT. RESTAURANT - NIGHT
Wes walks in and gets a friendly greeting from a WAITER.
WAITER
Good evening, Mister Covington.
WES
Good evening.
The Waiter grabs a menu. Wes follows him toward a table for
one or two, other patrons dining at tables.
WES
What's the special tonight?
Wes exchanges waves with a couple he knows.
WAITER
All the boiled shrimp you can eat.
About to sit down, Wes notices Angela, sitting alone at a
table for two with a salad and glass of wine.
ANGELA
Would you care to join me? No
sense in both of us dining alone.
Wes hesitates, then walks over to her table, the Waiter
following, and sits down across from Angela. Wes declines
the menu.
WES
I'll have the shrimp with a baked
potato. And a Bloody Mary first.
The Waiter moves off. Wes and Angela look at each other.
WES
What a coincidence.
ANGELA
Someone recommended this place.
WES
You knew I was coming here, right?
You being a psychic and all. You
even knew I would order the shrimp.
ANGELA
We psychics don't know everything,
Mister Covington. Wouldn't it be
nice if we did?
WES
You can call me Wes. And your name
once again?
ANGELA
Angela. Theobold.
WES
Angela. So tell me about myself.
We'll get to you later.
ANGELA
Do you find me a joke?
WES
No, really, tell me about myself.
You're the psychic here.
ANGELA
Your name is Wes Covington, and
you're head of the city council.
WES
Oh, that's good.
ANGELA
I am sorry for your loss, Wes.
Your wife, I presume. And for
whatever's wrong now in your
family.
Wes looks a bit irked, as if Angela has stepped out of
bounds.
WES
What do I do for a living?
ANGELA
I sense children. A large group.
You're a teacher?
WES
Middle-school principal. And you
didn't already know that?
ANGELA
No, I didn't.
(beat)
Listen, I'm here to try to help,
Wes, before another person dies.
I always know when I'm called,
though I never know why, except
to assist where I can.
WES
You said you went to the police and
they turned you down.
ANGELA
Yes.
WES
Have you ever done any psychic work
for a police department before?
ANGELA
Yes. I worked on a couple of
murder cases for Boston P.D.
What I was able to give them was
helpful. So I do have a track
record. On that and non-criminal
matters.
The Waiter serves the Bloody Mary and leaves.
WES
Let's get back to me. What else
can you tell me?
ANGELA
You knew the last victim quite well.
WES
Yes. Salem, for all its fame -- or
infamy -- is still a small town.
Wes takes a swallow of his Bloody Mary.
WES
And I drink too much too. Right?
ANGELA
I didn't know that. But I'm not
surprised. Shall we keep playing
games?
WES
No. What exactly is it you want?
ANGELA
I want you to help me be of help.
WES
How?
ANGELA
I need you to let me in. No one
will talk to me. If I could be
introduced, if you could get me
into a crime scene, I can help put
a stop to this mayhem.
A beat. Wes seems to give in under Angela's gaze.
WES
I'll have to make a call. It won't
be up to me.
ANGELA
I understand.
INT. STANFORD HOME - NIGHT
Kay, wearing black, moves listlessly to the front door.
She peeks out through the curtains. She opens the door,
and Wes and Angela enter. Wes takes Kay's hand.
WES
Hello, Kay. This is Angela.
Angela shakes Kay's hand.
ANGELA
Hello, Mrs. Stanford. Thank you
for letting me come here.
Kay closes the door. She and Wes watch as Angela walks
forward, looking over the house.
Angela walks toward the kitchen. Wes and Kay follow.
INT. KITCHEN - NIGHT
Angela, looking around, stops by the table, and touches it.
Wes and Kay watch.
ANGELA
My God. It's so strong. This is
where it attacked him...
(moves toward the door)
But he didn't die here.
INT. THE HOUSE - NIGHT
From the kitchen, Angela follows the path that Stanford took
in his struggle.
She stops where the noose got him, then she moves to the
shadowy area under the staircase landing. Wes and Kay
follow.
Standing in the death area, Angela folds her arms, rubbing
them with her hands, as if she has entered an ice box.
ANGELA
It's cold...
Angela steps to the wall, freshly painted where the bloody
symbol had defiled it.
Angela puts the palm of her hand to the wall, and slides the
hand slowly downward. Her hand stops at the center of where
the symbol was.
ANGELA
Oh... Something was here -- on the
wall. I see blood on the wall.
A design... drawn in blood.
Kay looks awestruck, tears filling her eyes.
KAY
Yes. The detective asked to keep
it a secret, and the wall was
repainted. Do you know who did it?
ANGELA
Not yet.
WES
You said "it" attacked him.
ANGELA
Yes. It may not have been human.
Angela suddenly looks a bit faint.
WES
Are you all right?
ANGELA
Yes. This takes a lot out of me.
If you could drive me to my hotel,
I --
KAY
(anxiously)
Don't go. Can you come and stay
here? Please. My son has gone
back to school, and -- I don't know
why, but I feel close to Jim with
you here.
ANGELA
I will come back tomorrow, and
stay, if you wish, while in Salem.
KAY
Thank you.
INT. WES'S CAR - MOVING - NIGHT
Wes drives, Angela on the passenger side. Light rain begins
falling. Wes turns on the wipers.
As Wes stares ahead, the rain and wipers seem to stir a dark
memory.
EXT. A LATE-MODEL CAR - NIGHT (FLASHBACK)
In darkness and rain, with lightning and THUNDER, the car,
lights on, sits on the shoulder of an interstate highway.
Wes, getting soaked, opens the car trunk. He glances back
as bright headlight beams approach.
INT. WES'S CAR - MOVING - NIGHT
Angela looks knowingly at Wes as he drives, staring ahead.
Becoming aware of Angela's gaze, Wes seems to come back to
the present.
WES
I hate to drive in the rain.
(beat)
I have to apologize. We didn't
talk much about you over dinner.
What is it you study at Boston U?
ANGELA
Boston College. Psychology.
WES
Psychology. I might have guessed.
Shouldn't you be going to classes?
ANGELA
I'm working on my thesis. Or I was
until this.
WES
And what do you think killed him?
If you think it was something non
human.
Angela shakes her head that she doesn't know.
ANGELA
Have there been any suspicious
deaths recently, besides the three
murders, in Salem?
WES
Well, some human bones were found,
a few days ago. Whoever it was
didn't die recently. But you know
what? Those bones disappeared
while in the custody of the second
murder victim -- Jaime Romero from
Boston. He worked for the medical
examiner.
Angela looks intrigued.
ANGELA
I don't remember any mention of
bones.
WES
But you're a psychic.
ANGELA
Wes, those stolen bones have to
mean something. They're a key.
(beat)
You need to do something for me.
The police will have photos of the
symbol, the killer's mark, on the
wall at the Stanfords'. I need to
see that mark.
WES
I'll help you get moved in the
morning, then I'll go see the
lieutenant.
EXT. OLD LIQUOR STORE - NIGHT
A sign identifies "Salem Wine and Spirits" on a shadowy
downtown street.
INT. LIQUOR STORE - NIGHT
Behind the counter the STORE CLERK, a world-weary lady about
50, alone in the rather dimly lit, old-fashioned store, takes
a cigarette from a pack.
A BELL RINGS as someone enters the front door. Not looking,
the Clerk lights her cigarette.
CLERK
I'll be right with you.
The Clerk takes a drag, then leaves the cigarette on an ash
tray and steps to the counter. She registers unease at the
person standing there.
It's one-eyed Montout, all in black as before, looking eery
and menacing though he may not intend it.
CLERK
May I help you?
MONTOUT
(Haitian accent)
Do you have any Barbancourt?
CLERK
Barbancourt?
MONTOUT
It is a fine Haitian rum.
EXT. LIQUOR STORE - NIGHT
A police cruiser with its Witch City logo slows to a stop.
Behind the wheel, COP #5 looks over through the store's front
window. He sees the Clerk bagging a quart bottle for Montout
at the counter.
As Montout turns to go, the Cop sees that he's one-eyed.
The Cop pulls over to the curb across the street. He gets on
his radio.
COP #5
(into radio)
Salem, this is one six.
Moments later, Montout, his purchase in hand, walks toward
his dark-red 10-year-old Chevy, parked at the curb. Cop #5
approaches him from his cruiser.
COP #5
Wait a minute, fella.
Montout stops as Cop #5 walks over.
COP #5
Is this your car?
MONTOUT
Yes, it is.
COP #5
Could I see your driver's license
please?
The Cop takes out a little note pad and steps to the rear of
the car.
MONTOUT
What is this about, sir?
The Cop jots down the tag number ("RGL 124").
COP #5
We may need to ask you some
questions, that's all. May I
see your license?
There is the sound of a SIREN approaching in the distance.
Montout takes out his wallet and hands it to the Cop.
As the siren gets closer, the Cop seems to find only money
in the wallet.
COP #5
Where's the license? You've got no
kind of -- ?
Montout clubs the Cop across the face with the bagged quart
bottle, knocking the Cop down in a daze.
Montout grabs up his wallet and jumps into the driver's seat
of the Chevy, the downed Cop fumbling for his sidearm.
Montout takes off in the car, just as a police cruiser, SIREN
BLARING, comes around a corner.
Cop #5 FIRES at the fleeing Chevy.
EXT. CAR CHASE - NIGHT
Montout's speeding car SCREECHES around a corner and heads
down a side street.
INTERCUT MONTOUT AND PURSUERS AS NEEDED
Montout drives his speeding car.
The police cruiser, SIREN BLARING, turns the corner in
pursuit. INTERCUT COP #6 driving.
INTERCUT WITH:
EXT. HAUNTED HOUSE - NIGHT
A sign identifies a "Haunted House" as two ladies exit with
a group of children.
Montout's car speeds toward them as the ladies are escorting
the children across the street. All desperately get out of
the way, some screaming, Montout BLOWING HIS HORN.
A second police cruiser, elsewhere in town, turns on its
bubble light and turns to go join the chase.
Montout's car runs a red light, and dodges its way between
two cars in the crossing traffic.
The first police car is in pursuit. Elsewhere a third police
car falls in behind the second one.
INT. COVINGTON HOME - KITCHEN - NIGHT
Wes pours a refill of scotch on the rocks.
EXT. CAR CHASE - NIGHT
Montout's car runs a stop sign and SLAMS into another car.
Montout's car spins out with front-end damage, but takes off
again.
INT. COVINGTON HOME - LIVING ROOM - NIGHT
Wes sits in despair, alone with his drink.
INT. MONTOUT'S CAR - MOVING - NIGHT
Montout in his speeding car looks in his rear-view mirror at
the pursuing light of the first police cruiser.
Looking ahead, Montout sees a white-railed fence looming in
his headlight beams. He's approaching a dead end where the
road intersects with another.
EXT. ROAD AND WOODS - NIGHT
Tires SQUEALING as he brakes, Montout's car swerves and
overturns, CRASHING through the white-railed fence.
Montout crawls out of the car in pain. As headlight beams
approach, SIREN BLARING, Montout scrambles through the thicket
and disappears into the night.
INT. COVINGTON HOME - LIVING ROOM - NIGHT
Wes, drink in hand, sits filled with painful memory.
OVERLAP SOUND of rain.
Go to Part 2
Return to beginning of script