horror of the witches
In early 2001, my good friend Paul Cotgrove asked if I could develop a treatment for a proposed horror feature film he was planning. Paul had made his directorial debut a couple of years earlier with the excellent British horror short, GREEN FINGERS, starring Ingrid Pitt, Robin Parkinson and Janina Faye, and was looking to further his filmmaking career by helming a full-length shocker.
The plan was for me to pen a story outline, using the imposed title 'Horror Of The Witches', that would then be turned into a screenplay by the great David McGillivray. I was informed that the concept had to feature roles for "aging ex-Hammer stars", and, since the producers were doing a deal with a model-kit maker, that we had to include some kind of beast or creature that they could turn into a marketable plastic figurine!
At the most exciting point of the project, I was told that Caroline Munro had agreed to play one of the leads, and the producers were hoping to cast Susan George too, although this suggestion seemed to fall by the wayside when Susan was briefly contracted to appear in 'EastEnders' during the summer of 2001.
McGillivray, as it turned out, didn't like my story idea, finding it old-fashioned and saying it had all been done before - however, since I had been asked to write a retro-style script in the first place, I didn't take these criticisms to heart. Paul had cited BLOOD ON SATAN'S CLAW and THE BEAST IN THE CELLAR as having the 'feel' he wanted me to try and achieve, and I took him at his word, mercilessly ripping off both of these Tigon gems and roughly combining the best elements of their respective plots into something new, while always attempting to retain that classic 1970s British horror ambience still beloved of so many fans today.
Sadly, despite some two years' effort by our producers to raise finance for the film, wining and dining everyone under the sun, we just couldn't seem to secure our required budget of £750,000 and 'Horror Of The Witches' gradually fizzled out as a going concern. As my first attempt at scriptwriting, however, I'm quite proud of it - and the esteemed script editor/continuity expert Renee Glynne, a lady with experience across seven decades of U.K. cinema, described the tale as being "relentless - right to the end". Could 'Horror Of The Witches' be something of a lost genre classic? I leave it to you to decide, by presenting the final draft screenplay in its entirety for your perusal and, hopefully, your enjoyment.
As you read, try to picture Caroline Munro as heroine 'Georgina', and Janina Faye as hotel landlady 'Bettina'; we had also been informed that Veronica Carlson was interested in the part of 'Michelle', Robin Parkinson was cast as 'Mr. Emney', and Paul and myself had discussed the possibility of approaching Wanda Ventham for the role of the farmer's wife, Anthony Valentine or Ian Ogilvy as the village policeman, and Sheila Keith as the elderly psychic. The central figure of Serena, the young sorceress, was always intended to be portrayed by someone from the topless/nude modelling scene, and Paul had been in talks with Cathy Barry and Theresa May with a view to taking this part. I think we could have turned this into a neat little homage to the golden age of British horror, and it's a great shame that the money ultimately failed to materialise. If there's anyone out there with a million bucks and a desire to see the finished product on screen, you know what to do…
HORROR OF THE WITCHES screenplay by Darrell Buxton
1. EXT. AN AREA OF WOODLAND IN SOUTHERN ENGLAND - AFTERNOON
Open on close-up of sunlight glinting through the trees. Focus to reveal a shot of a tree limb, from which a handful of catkins are seen dangling, moving slightly in the breeze. Pan down to reveal: Farmer JOHNS, walking through the woods, with his small collie dog RUSTY at his side. JOHNS is not your typical rustic type, but a tall, lean-faced figure with a sturdy stride and a confident air about him. The agricultural life is definitely not in his blood, being more of a hobby to occupy him during his retirement after years in the city. The man calls occasionally to his pet, who gambols and cavorts about his master's feet as JOHNS strides along.
JOHNS
Come along, Rusty!
JOHNS bends to collect a stick, which he throws for the dog to chase.
JOHNS
Go on, boy. Go on. Fetch.
RUSTY, tongue lolling from his mouth, pursues with canine enthusiasm and proudly returns with the trophy clenched between his jaws, releasing it into JOHNS' grip after a playful tussle.
JOHNS
Let go, Rusty. Good dog.
JOHNS and RUSTY continue their way through the trees. Suddenly, the sharp sound of a snapping branch is heard, followed by rustling in the undergrowth. The dog begins to bark incessantly.
JOHNS
Quiet now, boy
It becomes clear from the sounds that something is heading in their direction.
JOHNS whistles to the dog, and they both begin to run through the trees. Whatever is pursuing them now seems to be coming closer, however.
JOHNS
Someone there?
Cut to P.O.V. shot giving the pursuer's eye-view of JOHNS and RUSTY. Farmer JOHNS looks anxiously over his shoulder as he runs, now moving faster - he is breathing heavily, and is in a state of panic. RUSTY, behind him, maintains his loud barking, but as we follow JOHNS, the dog moves out of shot and we suddenly hear an off-screen whimper. JOHNS stops, turning back to see what fate has befallen his faithful pet, and discovers to his horror that the animal lies dying a few yards back. The dog has been disembowelled.
JOHNS
(quizzically)
Rusty?
Before JOHNS can react further, an ill-defined mass of fur and claws lunges at him, scarring bloodily across his face and ripping at his torso. JOHNS screams as he is attacked by an as-yet undetermined beast. As we continue to hear the sound of the farmer's screams, and the sound of the beast tearing at him, a slow pan reveals that some way back, standing by a clump of trees, is a young woman, SERENA, clad in long, dark robes, viewing the whole scene with some interest although no emotion registers on her face. (We will later discover that SERENA is the key 'witch' figure in the story). Pan back to reveal that the killer beast is in fact TODD CRAVEN, human apart from his right arm and hand which have been transformed into the clawed appendage seen previously. He is crouching over the remains of his victim, and appears appalled by what he has done. He begins to cry.
TODD
(to no-one in particular)
Help...please help.
Fade to:
2. EXT. MANOR HOUSE - NIGHT
Establishing shot of a large manor house located in woodland area just outside the small village of Ryedale. Despite a lengthy period of disuse, the once-grand property still shows signs of its former splendour. However, little visible light appears to emit from the windows of the house. Perhaps it may be briefly illuminated by a sudden, crackling lightning flash?
3. INT. MANOR HOUSE BASEMENT - NIGHT
OPENING CREDITS SEQUENCE: The credits sequence should feature the title and film credits over blurred or indistinct footage of a witches' coven holding some kind of ritual, with the WITCHES wearing similar robes to those worn by SERENA in the pre-credits scene. The robes should be hooded, and the WITCHES should have the hoods over their heads so their faces cannot be seen. As the credits end, the ritual we are watching could reach some kind of climax, possibly the sacrifice of a male victim, although again it should be unclear exactly what is happening. (Events in the year 1572 will be referred to at a later point and the credits sequence here might indicate the coven's 16th-century activities).
4. EXT. A COUNTRY LANE - DAY
A car containing two females drives along the lane towards the village of Ryedale.
5. INT. FORD CAR - DAY
The vehicle's passenger seat contains GEORGINA CRAVEN, a dark-haired, well-dressed, reasonably sophisticated woman in her mid-forties. Beside her, at the wheel of the car, is MICHELLE CRAVEN, her sister, blonde and slightly younger. GEORGINA holds a folded and seemingly frequently-consulted 'A.A. Map Of The Road' in her lap.
MICHELLE
Lovely round here, isn't it?
GEORGINA
(a little tersely)
If you like that sort of thing, I suppose.
MICHELLE
Just trying to lighten the mood a little.
GEORGINA
(apologetic)
I know - sorry to be so tetchy. It's just that we've been driving for ages. And for what? I mean, there's no guarantee that...
MICHELLE
(pointing)
There! There's the sign, Georgina. 'Ryedale, 3 miles'.
GEORGINA
I thought we'd never find it
MICHELLE
Well at least we know the place exists now. Perhaps old Harriet was right after all.
GEORGINA
Bloody Harriet. I'd almost forgotten her.
MICHELLE
Gina, how could you? She told us about the village, after all.
GEORGINA
Told us? Saw it in the P.G. Tips, more like. Or the brandy fumes.
MICHELLE
At least she gave us something to go on.
GEORGINA
I still take all that crystal ball mumbo-jumbo with a pinch of salt, I must say.
MICHELLE
But it's better than nothing, Gina. After all, Todd's been missing for, what, 3 months now. I know our family has never been close, but 3 months? Without a word?
GEORGINA
You never know, the police might turn up with something yet.
MICHELLE
Look, we reported him missing weeks ago. Do you know how many people just vanish without a trace every year?
GEORGINA
Is that with or without the alien abductions?
MICHELLE
I wish you'd take this all a bit more seriously. It's not a day trip, you know.
GEORGINA
Sorry. But even so, I'm sure that old biddy was faking.
The dialogue between GEORGINA and MICHELLE continues in voice-over as we flashback to:
6. INT. A DARKENED ROOM, SOMEWHERE IN LONDON
The current conversation between the sisters should be maintained while we see flashback shots of them in the room in London, sat around a table talking to HARRIET, an older but still sprightly woman with flecks of grey hair (a Sheila Keith type?). HARRIET should be seen dealing tarot cards or using some other accoutrements familiar to psychics or fortune-tellers.
MICHELLE (V.O.)
Well I thought Harriet was very helpful. I mean, we're here, aren't we?
(The flashback continues; we see HARRIET gazing into a crystal which is mounted in an ornate setting, then talking animatedly to MICHELLE, who reacts positively to what she hears, while GEORGINA seems less convinced). The voice-over dialogue is maintained over this scene.
GEORGINA (V.O.)
Which only goes to show how desperate we are. Todd's our brother - we have to follow any leads we get, even if it all turns out to be a wild goose chase. I still think the old girl was a faker. I mean, all that rubbish about 'psychic visions', and how we might find Todd in this place. She probably found out about us from a friend in the police records department, stuck a pin in a map, and thought she'd try and sting us for a bit of cash. She did ask you for money, didn't she?
Return to:
7. INT. FORD CAR - DAY
MICHELLE
Look, we're here! 'Ryedale welcomes careful drivers'. Now to find the Peacock Hotel.
GEORGINA
Shouldn't be too difficult - this place doesn't exactly look like Piccadilly, does it?
8. EXT. RYEDALE - DAY
Ryedale is a small English country village. We see the sisters' car driving past the village green, behind which is situated a row of small shops, possibly including a Post Office, a grocery store etc. Ryedale gives the impression of being a place far removed from the 21st century, not merely because it is picturesque and old fashioned but because it has a peculiar, uneasy atmosphere. Few people show their faces, and a sense that something is not quite right hangs in the air.
Cut to:
9. EXT. A DARK ALCOVE LOCATED TOWARDS THE END OF THE ROW OF SHOPS - DAY
A strange-looking old man is lurking in the shadows. He witnesses the sisters' car as it passes, and appears to be viewing it with some interest. He mutters to himself and shakes his head. (The character should be shown in a rather sinister light at this stage, although he will ultimately be revealed as the helpful REVEREND WAVERLY towards the end).
Fade to:
10. INT. THE BASEMENT ROOM OF THE MANOR HOUSE - DAY
TODD is seen in close-up, until it is seen that he is chained to the wall with iron manacles. He gradually appears to be rousing from a groggy or unconscious state. He becomes fully conscious and aware of his surroundings and begins to pull violently on his chains, yelling for aid as he does, although the tone of his voice suggests he realises his cause is hopeless.
TODD
Help! Somebody! Please! Oh God...
TODD breaks down and starts to weep
Pan to: The heavy-looking door of the room, close to where TODD is tethered. From outside, a small panel is slid open and the face of SERENA glances in through an iron grille. She acknowledges that everything is to her liking, and slams the sliding panel shut.
Cut to:
11. EXT. RYEDALE POLICE STATION - DAY
The village police station is barely worthy of the name, being an old-fashioned country-cottage type building indistinguishable from most of the other houses in Ryedale, aside from its bold and striking 'POLICE' sign hung over the doorway. A middle-aged yet well-preserved woman, carrying a shooting stick, and wearing a tightly-wrapped headscarf and the green gumboots which mark her as modern gentry, heads towards the station. It is MRS. JOHNS, the farmer's wife.
12. INT. RYEDALE POLICE STATION - MAIN DESK - DAY
The inside of the station is as basic and unassuming as the exterior. Faded posters of the 'Watch Out - There's A Thief About' variety hang grimly to the wall, and appear to have been there as long as anyone can remember. Behind the main reception desk stands Ryedale's local copper, P.C. GREGG. Behind him, in the small office area, sits the young female police clerk, MAY, an attractive, petite 23 year old with mousy brown hair. MRS.JOHNS approaches the desk, her mere presence demanding attention and urgency.
P.C. GREGG
Morning, madam. Mrs. Johns, ain't it? Blossom Farm?
MRS. JOHNS
That's right, Constable...
(she fishes for the policeman's surname, with a vaguely superior air)
P.C. GREGG
You alright, missus? What can I do for you? We don't often see you folks come down to the village.
MRS. JOHNS
It's my husband. Guy. Went out walking with Rusty yesterday.
P.C. GREGG
Rusty?
MRS. JOHNS Our dog. 9-year-old collie, he is. Thing is, they haven't come home.
P.C. GREGG
Oh, I'm sure you'll have nothing to worry about. Happens all the time, this sort of carry-on.
MRS. JOHNS
(snappily)
Look, I do hope you're going to treat this matter seriously.
P.C. GREGG's eyes roll.
P.C. GREGG
Of course, madam. Perhaps you could start by filling us in with a few more details?
MRS. JOHNS
I didn't think anything of it yesterday - Rusty loves the woods, Guy's sometimes out there for hours with him. So when they weren't back by dusk, I went off to bed - had an early start next day, today I mean, with the chickens to feed and what have you. Anyway, I got up at five this morning - no Guy. I've looked all over, even been out poking around the wood myself - no sign of him.
P.C. GREGG
Mustn't worry too much just yet. He's probably been over to Pedborough - to meet the lads at the Nag's Head, I wouldn't wonder.
MRS. JOHNS looks aghast at the suggestion.
P.C. GREGG
(continues)
Tell you what, though - May here can fix you a nice cup of tea, I'll take a statement from you, and this afternoon I'll see what I can do to track him down, eh?
Close-up of MRS. JOHNS, looking less than convinced in the policeman's abilities but resigned to the fact that there is little more she can do.
Cut to:
13. EXT. THE WOODS - DAY
A young man, STEVE, is seen playfully chasing a pretty girl, ABIGAIL, through the trees. ABIGAIL is about 22, and has longish red hair. She carries a small white handbag strapped over her shoulder.
STEVE Abby! Wait!
(Medium close-up on ABIGAIL)
ABIGAIL giggles a little and continues to skip ahead, turning her head back slightly and giving STEVE a come-on look.
(close-up on STEVE)
STEVE
(more impatient)
Abby!
(medium shot) ABIGAIL runs into a clearing in the forest. STEVE follows and manages to catch up, grabbing her around the waist. They look into each other's eyes, and kiss.
ABIGAIL
Steady now, Steve.
STEVE
Oh Abby, I can't believe we're...you're...that we're together like this.
ABIGAIL
(pressing a finger to his lips)
Hush - quiet.
STEVE
It's just that...well, you know how long I've wanted you.
ABIGAIL
And now you have me.
STEVE
But...when you said 'yes' in the bar last night...I mean, I've asked you so often before and you've never seemed to be interested.
ABIGAIL
Can't a girl change her mind? After all, how many sexy blokes are there in a dump like Ryedale? Look, I know I must have seemed like a stuck-up cow before, but let's just call it 'playing hard-to-get'. Well you've got me now.
STEVE
But why did you want to meet out here? Why the forest?
ABIGAIL
You know why. What would that bitch say if she could see me now? (laughs)
STEVE and ABIGAIL kiss and embrace, hesitantly at first but with increasing eagerness. ABIGAIL seems to be the more forceful and dominant. She begins to fondle STEVE's crotch, and he responds by placing a hand under her skirt, tugging at her underwear.
ABIGAIL (breathlessly and excitedly)
Fuck me.
STEVE pulls down ABIGAIL's panties. She daintily steps out of the white knickers, removes the bag from her shoulder and lays down on the grass, pulling STEVE down as she elegantly descends. STEVE hurriedly tugs at the zipper on his jeans, and together he and ABIGAIL work at removing them. The couple make love, with an animal fury at first but eventually with a more graceful passion.
Cut to:
Close-up of ABIGAIL's face, with STEVE's back, head, and shoulders visible as the scene appears to be reaching its climax. ABIGAIL has an ecstatic expression, but this is not a result of the attentions of her lover. ABIGAIL glances across to her right, where her handbag lies open. While STEVE is otherwise occupied, ABIGAIL reaches over to the bag - and produces a glinting, steel knife.
Cut to:
Reverse shot, in order to see STEVE's face and head in full view as ABIGAIL suddenly but gently pushes underneath his chin, lifting his head with her left hand and gently caressing the underside of his face.
STEVE
Oh Abby...
ABIGAIL holds the knife in her right hand, and without warning, slashes STEVE across the throat. Blood pours from the wound. STEVE looks at her, startled, but the wound is so deep that he cannot react in a more coherent fashion. STEVE clutches at his throat but more blood gushes through his fingers. Still wide-eyed, he tumbles backwards and expires. ABIGAIL manoeuvres herself from underneath his dead body.
Cut to:
Overhead shot of ABIGAIL, now standing (left of screen), with STEVE's body lying before her, blood still seeping from the gash in his neck, his eyes wide with fear. ABIGAIL raises her face to the skies.
ABIGAIL
(loudly and triumphantly)
Now have I proven myself to you?!
Slow fade to:
14. EXT. THE PEACOCK HOTEL, FORECOURT - DAY
Two hours later. The Peacock is a small hotel, with modern entrance and lobby area built on to an older, Tudor-style structure. We see the car turn on to the gravel forecourt and stop in front of the building. GEORGINA and MICHELLE exit the vehicle and remove their suitcases from the car boot.
MICHELLE
Well here we are. At last - I could use a drink.
GEORGINA
(playfully)
Might have known. They don't call you 'Betty Ford' for nothing.
15. INT. THE PEACOCK HOTEL, LOBBY - DAY
The sisters approach the registration desk. In the background, MRS. WIGGINS, an older female employee of the hotel, aged about 35-40, is seen performing a menial task. At the desk, however, and to our surprise, it is ABIGAIL who greets and attends them.
ABIGAIL
(rather sullen)
Hello - welcome to the Peacock.
GEORGINA
Hello - I'm Georgina Craven; (indicates) my sister Michelle - we're booked in with you for the next few nights.
ABIGAIL checks the register. She shakes her head, and searches for some documents beneath the desk. She then re-checks the register.
ABIGAIL
Craven, you said?
GEORGINA
That's right
ABIGAIL
Sorry. You're sure you have the right place?
GEORGINA
The Peacock Hotel?
ABIGAIL
Well that's us - but I can't find anything about your reservations, I'm afraid.
(smiles unconvincingly)
MICHELLE
No, we're definitely with you, we're booked in here. I rang you myself last week. A lady called Harriet arranged...
ABIGAIL
Well you're not in the register. I'm sorry. There's another place in the village - they might have a vacancy.
Behind the reception desk, the door to the office opens and an older woman, about 50, emerges. She is BETTINA FARLEY.
BETTINA
(loudly)
Is there a problem? Abigail?
ABIGAIL
Nothing I can't handle
BETTINA
(to GEORGINA)
Problem?
GEORGINA
Well I hope not. We're the Cravens, Georgina and...
BETTINA
Michelle. Yes, we've been expecting you. I'm Mrs. Farley - Bettina Farley. Here you are, ladies - if you'd just care to complete your registration forms, we'll get you sorted out.
ABIGAIL slams a pen down on to the desk in a display of mild petulance and flounces away. BETTINA glares at her as she goes, but soon returns to dealing with the sisters.
BETTINA
Sorry about all that. Here are your keys. Room 12, second floor. You get yourselves unpacked and settled in, and the bar is open if you'd like a drink.
MICHELLE
Lovely - thank you very much.
16. INT. ROOM 12 - DAY
A few minutes have passed. GEORGINA and MICHELLE are busy unpacking in their room.
GEORGINA
Wonder what all that was about?
MICHELLE
Probably just a misunderstanding - reservations must get missed all the time.
GEORGINA
Not that - I mean the way they looked at each other downstairs. Daggers drawn.
MICHELLE
(mildly disapproving)
Oh Gina! You always look for the worst in people.
GEORGINA
No, there's definitely some sort of problem.
MICHELLE
Something and nothing, I expect. Must get a bit tense in a small place like this, under each others' feet all day. Anyway, fancy a G&T?
Cut to:
17. INT. POLICE STATION - DAY
A seated MRS. JOHNS, looking rather annoyed and impatient, drinks the now-cold dregs of her tea, pulling a face which suggests that the beverage is not her preferred Earl Grey. She rises to place her cup and saucer on the counter.
MAY
Finished then?
MRS. JOHNS
(haughtily)
Thank you
MAY
Look, the constable was probably right - your husband will turn up. Anyway, P.C. Gregg's gone out to have a nose around - he'll let you know straight away if he finds anything. Best thing you can do is go home and wait for him to call.
MRS. JOHNS
But this just isn't like Guy. Not at all. And Rusty will want feeding, I'm sure. Loves his food. Poor creature.
MAY
We'll do what we can for you. Thing is, though, it's normally only me and the constable here. Ryedale's not really what you'd call a crime blackspot.
MRS. JOHNS has, by this point, virtually given up on the possibility that the police might actually achieve something here.
MRS. JOHNS
Listen, dear, I think I'd better take some sort of action myself. Maybe pop into the village, spread the word - there's definitely something rather odd going on.
Close-up of MAY, who looks up from her desk, rather perturbed at these remarks.
MAY
Odd?
Cut back to MRS. JOHNS
MRS. JOHNS
(hesitantly)
Well...there's this.
MRS. JOHNS reaches into the pocket of her coat and produces an animal-like claw. It is stained with dried, reddish-brown blood.
MRS. JOHNS
I discovered it lying in the undergrowth, - just off the pathway through the forest. I didn't want to show it to the constable - he didn't seem especially concerned before, so I suspect he might not have taken it too seriously. But I wonder if it could be connected with my husband's disappearance. I've never seen anything like the horrid thing.
Close-up of MAY, who is clearly attempting to disguise her mild anxiety.
MAY
I'm sure your husband will be fine, Mrs. Johns. And you were right not to let the constable see that (indicates the claw). I bet it's been out there for centuries - I hear there used to be bear, wild boar, all sorts living in these parts at one time. Looks pretty old to me.
MRS. JOHNS
Maybe you're right, dear. I expect I'm looking too hard for explanations. I've probably walked past this (holds up the claw) a dozen times without noticing, but you know what it's like when your mind begins to race, and when I saw it lying there, I thought...
MAY
Look, leave all the thinking, all the worry, to us. That's what we're here for. Get yourself back to the farm - that's where P.C. Gregg will know to reach you.
MRS. JOHNS
I dare say you're right, dear. It's a clear enough day - I'll walk back home, a bit of fresh air should help clear my head.
MAY
You never know, you might just find your husband waiting for you.
MRS. JOHNS
I'll kill him if he is. Putting me through all this.
MAY
I'll see you out.
18. EXT. POLICE STATION - CONTINUOUS
MRS. JOHNS leaves through the front entrance, escorted out by MAY who then returns inside.
19. INT. POLICE STATION - CONTINUOUS
MAY, back at her desk, has picked up the telephone.
MAY
(coldly)
She's on her way. Yes, a couple of minutes ago. Heading back to Blossom Farm. (pauses) Well, she was saying something about going into the village. I'm worried - we don't want her stirring things up like that. I think we've got to get drastic. (another pause) Tell Serena I'll handle it.
Cut to: 20. EXT. PEACOCK HOTEL FORECOURT/ENTRANCE - DAY
SERENA, now clad in a fashionable and eye-catching summer dress, strolls across the forecourt and into the front entrance of the hotel. Pull back to reveal REVEREND WAVERLY, again hiding, this time among the few cars parked to one side of the hotel. He watches SERENA go into the Peacock, then opens a small notepad and scribbles something into it. Cut to close-up of: The vicar's notepad, on which we see he has scrawled a single word - 'Serena?'.
21. INT. PEACOCK HOTEL - THE BAR - DAY
Moments later. MICHELLE and GEORGINA walk into the bar area to see that ABIGAIL is now serving there. She is talking to another female, with long dark hair and striking looks. It is SERENA. She is sitting on a bar stool, sipping a cocktail.
SERENA
Steve? From last night? No!
ABIGAIL
I had to, Serena. You of all people should understand that.
SERENA
But you didn't have to convince anyone how committed you were.
ABIGAIL
I think I had to convince myself.
SERENA
And what about now? How do you feel?
ABIGAIL
Different. Alive.
As GEORGINA and MICHELLE arrive, the younger women fall silent but look at each other as though exchanging uncharitable thoughts about the newcomers in their midst. MICHELLE sits at a table in the corner and GEORGINA goes to the bar.
ABIGAIL
Sorry about the confusion earlier
GEORGINA
Oh, that's o.k. . Could I have a gin and tonic twice, please?
ABIGAIL prepares the drinks, for which GEORGINA pays. As GEORGINA turns away to join her sister, ABIGAIL and SERENA again look at one another, and giggle conspiratorially.
22. INT. PEACOCK HOTEL BAR - CORNER TABLE - DAY
MICHELLE
Eavesdropper! Come on then, what were they gabbling about?
GEORGINA
Boy talk, by the sound of it
MICHELLE
That takes me back! Remember that spotty kid you had a crush on at school?
GEORGINA
Me? Graham Jobson was yours, wasn't he?
MICHELLE
Lord, no!
MICHELLE and GEORGINA both giggle like teenagers.
MICHELLE
(taking a sip of her drink)
Aah, that's better. You can't beat the day's first G&T, can you? O.K., so what's the plan now we're here?
GEORGINA
First thing tomorrow, I think we should explore the village, have a look around, and ask some of the locals if they've seen anyone who looks like Todd. I brought these along.
GEORGINA reaches into her bag and produces a few photographs of TODD.
GEORGINA
I thought if we showed them around, someone might just recognise his face or remember spotting him in the past few weeks.
MICHELLE
Perhaps we could ask if anyone knows Harriet? The way she spoke about Ryedale...
GEORGINA
I suppose so. Anything that might help us trace where Todd is. Anyway, I'm going back to our room - I need to freshen up and then we ought to think about grabbing a bite to eat.
23. INT. PEACOCK HOTEL - STAIRS - DAY
GEORGINA and MICHELLE continue their conversation.
MICHELLE
I wonder if we should start with Mrs. Farley? She was quite helpful earlier, and who knows, Todd might even have stayed here at the Peacock?
MICHELLE and GEORGINA arrive at the landing, on the floor where their room is situated.
MICHELLE
Gina? Did you lock our door?
The door to room 12 is slightly ajar.
GEORGINA
It's open! Yes I did lock it - I've got the key in my bag. Bloody hell, I hope we've not been robbed.
MICHELLE pushes the door open - and screams. Dangling from the light fitting is the corpse of RUSTY, the dog which we saw killed in the pre-credits sequence.
MICHELLE
(turning away in shock, her face in her hands)
Oh Gina! Don't! Oh my God!
GEORGINA pushes past her sister and enters the room, but stands gasping for breath in the doorway when she too sees the animal's corpse, with blood dripping on to her bedspread beneath.
GEORGINA
Jesus, that's sick. I think I'm going to throw up.
GEORGINA dashes into the bathroom and does precisely that.
24. INT. ROOM 12 - CONTINUOUS
Brief shot of the dog's hanging corpse.
25. INT. BETTINA'S OFFICE - SOME TIME LATER
Close-up of MICHELLE's unsteady, outstretched hand, into which a glass is thrust from left of screen.
BETTINA
There you go. That should calm you down a little.
Cut to medium shot: MICHELLE and GEORGINA are seated, still recovering from the shock, and nursing medicinal brandies. BETTINA is hovering around in the background, attempting to console the frightened sisters.
MICHELLE
I still can't believe it. Who would do such a thing? And that poor animal.
BETTINA
I'm so sorry, ladies. We're doing all we can. I called the police - they've taken...it...away, and the local bobby will ask around, you know, the residents and so on, but he seemed as surprised as the rest of us. How ghastly!
Cut to: 26. INT. A SMALL SIDE ROOM IN THE HOTEL - DAY
Seated on opposite sides of a small desk are the village policeman, P.C. GREGG, and one of the hotel's elderly residents, MR. EMNEY. The policeman listens with a studious expression on his face while MR. EMNEY rambles on.
MR. EMNEY
Dead dogs? Rum business, y'know. Saw this sort of thing in India during the war. Won't be doing with it.
P.C. GREGG
That's all well and good, Mr. Emney, but did you notice anything strange earlier today? Anything suspicious?
MR. EMNEY
Suspicious? Here? At the Peacock?
P.C. GREGG
Nothing out of the ordinary?
MR. EMNEY
Out of the ordinary? Good God, man, this is the Home Counties, don't y'know?
Return to:
27. INT. BETTINA'S OFFICE - DAY
BETTINA, GEORGINA and MICHELLE continue with their chat.
GEORGINA
Thanks for the drinks - they're just what we need.
BETTINA
No problem. On the house, of course.
MICHELLE
Very kind of you. My nerves are shattered. Gina - do you think we should stay? I don't know if I can spend a night here, and the girl on the desk did say there was another hotel.
BETTINA
Oh please don't go. And don't listen to what she tells you. I'll sort out another room for you before nightfall. It'll probably be a while before I can bring myself to rent that one again, anyway.
GEORGINA
I'm sure we'll be fine here, once we've got over the shock.
MICHELLE
(slightly agitated)
What I can't understand is why? And why us?
GEORGINA
Try to stay calm, 'Chelle.(to Bettina) I take it nothing like this has ever happened here before?
BETTINA
Of course not - I'm having a job taking it all in myself. Although I suppose it will be added to the village legends...
GEORGINA
What do you mean?
BETTINA
Ah, nothing, dear. It's just that...well, Ryedale has what you might call a chequered history. I've been here as long as I can recall, but some of the villagers, born and bred in these parts, will tell you stories...nothing recent, mind - it's just that this area seems to have quite a past, all kinds of weird goings-on hundreds of years ago. Then again, I expect there are dozens of places that could say the same. It's nice and quiet nowadays - until tonight.
Cut to: 28. INT. RECEPTION DESK - DAY
ABIGAIL is listening at the door and has heard most of the preceding conversation. P.C. GREGG looms into shot behind her.
P.C. GREGG
Eavesdropping can get you into all sorts of bother, you know.
ABIGAIL whirls round, surprised and a little embarrassed, but soon composes herself.
ABIGAIL
I'm entitled to know what's going on around here, aren't I?
Fade to:
29. EXT. THE FIELDS SURROUNDING BLOSSOM FARM - AFTERNOON
Extreme close-up of MRS. JOHNS Cut to: Mid-shot of MRS. JOHNS, shooting stick clasped firmly in her right hand, striding back across the fields towards the farmhouse buildings.
Cut to:
30. EXT. THE FARMYARD - MINUTES LATER - AFTERNOON
As we see Blossom Farm in detail for the first time, we note that it exudes an archetypal farmyard ambience. The farmhouse and outbuildings have seemingly been planted in a sea of mud; and the traditional trappings of agricultural life are everywhere. A couple of milk churns lie discarded, bales of hay are piled against the wall of a brick barn, and a few geese and chickens scurry about. MRS. JOHNS walks through this typical English country scene, and the birds cluck or honk their displeasure at the interruption to their daily routine. MRS. JOHNS advances towards the rear of the farmhouse, noticing that the door to the kitchen has swung open a little way - she doesn't react, however, as this fact seems insignificant to her, open doors simply being an everyday aspect in such an out-of-the-way place. Indeed, it may possibly even signify the return of her husband.
MRS. JOHNS
Guy? You there?
MRS. JOHNS pushes the door and enters the kitchen.
Cut to:
31. INT. THE KITCHEN - CONTINUOUS.
The kitchen looks exactly how you might imagine it to; large and lived-in, with walls covered in red tile, bushels of vegetables hanging everywhere, and a big, basic wooden table positioned centrally. On the black kitchen range at the far end of the room, boiling water simmers and bubbles in a huge lidded pot.
MRS. JOHNS
You home, Guy? (mutters) Muddy boots all over this floor, I bet. You know what I've told you.
MRS. JOHNS notices the lighted stove.
MRS. JOHNS
Good lord - it's not like you to involve yourself in the cooking, Guy! Guy? (whistles) Rusty?
Cut to:
Reverse shot as MRS. JOHNS approaches the range and, curiosity getting the better of her, gingerly lifts the lid of the utensil. MRS. JOHNS emits a hellish shriek, a combination of surprise and utter horror. Quick cut to: Close-up revealing the contents of the pot - Farmer JOHNS' severed head, with wide eyes staring upwards, and mouth agape as though one final panic-stricken cry has been stifled and forever frozen.
Cut to:
Medium shot as MRS. JOHNS allows the metal lid to slip from her grasp with a crash, and begins to back away slowly, one hand over her mouth, her expression one of disbelief mixed with total shock at the nightmarish vision she has glimpsed.
Cut to:
32. INT. KITCHEN DOORWAY - CONTINUOUS
. Medium shot framing the open kitchen door-frame, through which the young policewoman, MAY, rushes unexpectedly - her arm held aloft, gripping a rusted scythe which we presume she will have handily discovered lying around the farm grounds. Across her normally sweet and pretty features flashes a look of wild exhilaration and crazed intent. MAY swings her right arm down with an astonishing ferocity - and decapitates MRS. JOHNS with a single swift swipe of the deadly blade.
Cut to:
33. INT. PEACOCK HOTEL BAR - EVENING
For a small hotel bar in a neglected spot such as Ryedale, this evening seems exceptionally busy. BETTINA and MRS. WIGGINS are serving, attending mainly to a party of 4 or 5 travelling SALESMEN who use this as a rendezvous point at which to compare notes and knock back a few whiskies. MR. EMNEY nurses a pint of bitter at a corner table, while MICHELLE sits not too far away. GEORGINA is at the bar, ordering, and attempting to evade the attentions of the besuited would-be romeos.
GEORGINA
Two Bloody Marys this time, please.
BETTINA prepares the drinks.
BETTINA
Sorry about all this hurly-burly. This crowd meets up here about every six weeks or so.
GEORGINA
You look as though you could do with a hand.
BETTINA
Oh, I think me and Molly can manage.
GEORGINA
What about your young receptionist? Where's she?
BETTINA
(curtly)
Her? Night off.
34. INT. LARGE BASEMENT OF THE MANOR HOUSE ON THE OUTSKIRTS OF RYEDALE - NIGHT
. A group of young women, all aged between 18 and 25, the WITCHES previously seen during the credits sequence, are preparing for a black magic ritual. They are wearing the same hooded robes, but the hoods are not pulled up, and the women chatter amongst themselves, discussing their activities. Prominent among the group are SERENA - the obvious head of the coven - MAY, and ABIGAIL. In the background we see TODD. He has taken on a slightly more bestial appearance; his once-white shirt is in tatters, baring most of his torso, and we can see that the fur has spread a little way across his right side and chest. His face, too, though still recognisably human, has a rather wilder look to it. TODD is manacled to a wall on the right side of the room, and strains against his tethers. The WITCHES light candles around a central altar. One of them has been seen concocting a sedative, crushing wild leaves using a pestle and mortar, and mixing it with water, creating a potion which she now forces TODD to drink. As a result, drowsiness overtakes him, and as he lapses into a sleep-state he is unchained and brought to the altar. A ritual is performed as the WITCHES stand surrounding him. As the women chant and dance, they begin to disrobe, revealing themselves totally naked. As the collective gyrations continue, SERENA beckons one of the other witches forward. The two of them climb on to the altar and, sitting astride the drugged TODD, face one another and start to kiss. The two women writhe on top of him, SERENA straddling his pelvis, the other girl positioned provocatively over his face, as the chanting around them becomes faster and increasingly frantic. TODD half-awakens, but is too weak to respond to the events in any way. In the background, the remaining witches have begun to fondle and embrace one another. SERENA gracefully clambers down from the altar and joins them, as the central figure in their semi-orgy, leaving TODD at the sexual mercy of the other girl. As the ritual reaches a frenetic climax, the chanting suddenly stops, the candles snuff themselves out. Through the darkness, the chief witch makes a pronouncement.
SERENA
Soon, my sisters - the time is near.
35. EXT. RYEDALE VILLAGE - MID-DAY
Next morning, GEORGINA and MICHELLE wander round the village, showing photographs of their brother and asking various locals if they recognise him.
Close-up on: VILLAGER examining photograph of a smiling, younger TODD.
MICHELLE
(slightly pleading)
If you could remember...maybe you saw someone like him within the past few weeks?
VILLAGER
(shaking head and handing back the picture)
Sorry, dear. Not many strangers round here - I'm sure I'd know if I'd seen him.
MICHELLE
You're certain? Perhaps a closer look?
VILLAGER
No - I think I'd have remembered him.
GEORGINA
Come on, 'Chelle. We can always try at the Post Office.
Cut to:
36. INT. MANOR HOUSE BASEMENT - DAY
The young witches discover that TODD has broken off his shackles and is missing. MAY runs from the basement up into the main room of the house following the discovery.
37. INT. MANOR HOUSE MAIN ROOM - DAY
MAY
Serena! Serena! The Chosen has broken loose!
Several of the other coven members stop their activities, take notice and gather round. There is a general commotion.
SERENA
Calm yourselves, sisters. Calm now.
MAY
But the Chosen...
SERENA
Fear not - we should all be aware of the power of Hades. We know the Chosen has escaped us before - but this is merely a sign that the demon grows within him. It is to be expected. He has killed recently, and will surely kill again - yet we must come to understand that once his blood-lust is sated, we will find him, we will regain control.
Return to:
38. INT. THE VILLAGE POST OFFICE - MID-DAY
GEORGINA and MICHELLE are in discussion with the local POSTMISTRESS, and show her the photograph of TODD.
MICHELLE
So, if you could just...
POSTMISTRESS
(examining photo closely)
Well I'm not sure...I dare say I'd remember if I'd seen him - we don't see a lot of unfamiliar faces...
GEORGINA
Perhaps we could leave a picture with you? You know, to display here in case any of your customers recognise him?
POSTMISTRESS
Yes, I think we can arrange...
The door to the Post Office suddenly bursts open and a 2ND VILLAGER enters, out of breath and somewhat distraught.
2ND VILLAGER
A monster! In God's name!
GEORGINA
What?!
General panic ensues.
2ND VILLAGER
I don't know - some kind of creature. I...I think it's attacked Mrs. Cornish. Out on the Green. Quickly!
39. EXT. THE VILLAGE GREEN - MID-DAY
. GEORGINA, MICHELLE, the POSTMISTRESS, and one or two others dash out of the Post Office into the market square, to catch a glimpse of TODD, now more bestial than ever, running across the village green at speed, on to the road leading away from Ryedale into the nearby woods. TODD disappears behind a house on the corner almost before anyone can react. Things have happened so quickly that neither GEORGINA nor MICHELLE has even considered the possibility that this 'thing' might be their missing brother. In the street lies an elderly woman, MRS. CORNISH. She is dying, covered in blood, and claw-marks have utterly shredded her clothes and flesh. MICHELLE rushes over to the body, in the futile hope that she can help, but when she sees the full extent of the victim's injuries she turns away. She and GEORGINA embrace tearfully in an attempt to comfort one another. All around, there is sobbing and babbling chatter as the villagers react in disbelief to the events they have witnessed.
Cut to:
40. EXT. THE REAR OF A ROW OF TERRACED HOUSES NEAR THE GREEN - MID-DAY
Moments after the attack, TODD, in a desperate but emotionally-heightened state, seeks an escape route from the village. He arrives at the back of a small terrace, leaping over the wall into the garden of one of the houses. (Hand-held camera shot:) We follow as TODD rushes to the rear door of the house, smashing his way through the entrance and into the kitchen. A couple of pots and pans clatter to the floor as the growling, snarling TODD knocks against them while he desperately searches for an exit. He wrenches open another door and races into the living room of the house. A YOUNG MOTHER and her 2 CHILDREN scream as the monstrous figure invades their home; TODD panics and hurtles past them, leaping through the front window with an enormous crash. Glass flies everywhere and TODD tumbles out on to the pavement.
41. EXT. STREET IN FRONT OF THE HOUSE - MID-DAY
TODD picks himself up, apparently unscathed, quickly checks his bearings and runs down the street to his left.
42. EXT. FRONT OF THE HOUSE - MID-DAY
The YOUNG MOTHER stares out through the broken window in disbelief. The CHILDREN clutch at her skirts and begin to cry.
43. EXT. THE WOODS - DAY
. TODD, who can only be described in his current form as a 'man-beast', is seen bolting through the forest like an animal. From his jaws drip a mixture of saliva and blood. His expression is part satisfaction at having quelled his hunger, part horror that demonic forces are taking over his personality. Realising he is far enough away from the village, he stops for breath. TODD spies the road which runs adjacent to the trees, and races towards it.
44. EXT. THE ROAD - DAY
. TODD reaches the road and continues to run barefoot along the flat, dark surface. (The location used here should resemble the stretch of road seen during the 'hitch-hiking' scenes in 'Vampyres'.) Suddenly, a sleek black car appears out of nowhere. The vehicle heads towards TODD at speed, hitting him and knocking him up on to the bonnet. As his unconscious form sprawls across the vehicle, several of the robed WITCHES appear on the scene, apparently having materialised among the nearby foliage. SERENA steps from behind the wheel of the stationary car and begins to issue orders and generally control the proceedings.
SERENA
Secure him - quickly, sisters. He knows he can't escape us for long.
The WITCHES produce netting and ropes with which to bind their captive. They tie TODD securely and bundle him into the back of the car which then zooms away as speedily as it had appeared.
Cut to:
45. EXT. VILLAGE GREEN - DAY
The body of MRS. CORNISH, covered by a blanket, is seen being lifted by stretcher and placed into the back of an ambulance. A few villagers still stand around the green, watching on in disbelief. As the camera pans around the small group, behind them in the semi-distance we see a familiar-looking figure. The shot focuses to reveal REVEREND WAVERLY, still keeping an eye on all of the bizarre happenings around Ryedale.
Cut to:
46. INT. PEACOCK HOTEL - OUTSIDE ABIGAIL'S ROOM - DAY
BETTINA is seen on the first floor landing, outside the room in which her daughter resides. A small plaque attached to the door, with a tasteful floral design, says 'Abby's Room'. BETTINA hesitates outside the room, glances around quickly, and pushes the door open.
47. INT. ABIGAIL'S ROOM - DAY
Abby's room is neat and well-kept. It contains a small single bed, which appears not to have been slept in; a dressing table with a large mirror; a chair, on which there is a pile of folded clothes; and a small bedside cabinet. BETTINA, her manner that of a common housebreaker, begins to scan the room. She is clearly looking for something. Perhaps even she is not sure what.
BETTINA
Now then, my girl. Let's see.
BETTINA searches along the top of the dressing table, and pulls open a couple of small drawers, finding only cosmetics and the like within. She moves over to the bedside cabinet and pulls at the drawer here. It is locked. BETTINA, however, produces a spare key from her pocket and places it in the lock.
BETTINA
A daughter shouldn't keep secrets from her mum.
BETTINA opens the drawer, which contains a few photographs. They show ABIGAIL, SERENA, and a couple of other young girls (who should be among those we have seen as members of the coven earlier), but the photographs are perfectly innocent, everyday poses with the young women smiling and laughing in some unknown outdoor location. BETTINA pushes the photos aside, and reveals, at the back of the drawer, the steel knife with which we saw her daughter use to cut her lover's throat. There are traces of dried blood on the blade. BETTINA slams the drawer shut.
Cut to:
48. INT. ABIGAIL'S ROOM - DAY
Close-up of BETTINA's gasping face. She places a hand over her mouth in shock, and we focus on her wide, staring eyes.
BETTINA
Abby! Oh no!
Cut to:
49. INT. MANOR BASEMENT - AFTERNOON
TODD is now tied, gagged, and chained to the wall of the basement room once more. He is conscious and struggles against his bonds, though without success. The WITCHES are again busy preparing the altar for another ritual, and in the background we can hear wildfowl clucking.
SERENA
Well done, my sisters. I am pleased with your work.
ABIGAIL is present, and attends SERENA in the manner of a hand-maiden. She looks at SERENA lovingly.
ABIGAIL
Can I be the one? Tonight, Serena?
SERENA
Very well. You must cut deeply, however. Our rites are at an important stage - the blood sacrifice is vital.
MAY removes a cockerel from a basket, holding it high above the centre of the altar as two other witches lead the man-demon TODD towards it. TODD is seemingly in a drugged state. He is placed on the altar as ABIGAIL takes the cockerel by the neck. She holds a steel knife in her other hand. The coven members begin to gently writhe and softly chant.
SERENA
(grandly)
To life and power eternal!
The chanting and movement stops, and ABIGAIL slashes the bird's throat. As the cockerel's blood drips on to TODD, he seems to awaken, revitalised for just a moment. His face briefly takes on a monstrous aspect before he falls into an unconscious state once more, back under the witches' power.
50. EXT. THE PEACOCK HOTEL - SAME DAY - LATE AFTERNOON
GEORGINA and MICHELLE walk towards the hotel entrance.
51. INT. HOTEL LOBBY - LATE AFTERNOON
GEORGINA and MICHELLE enter, still both visibly shaken by the events they have witnessed in the village.
GEORGINA
So what did you tell the police?
MICHELLE
What could I say? I've never seen anything like it before.
BETTINA appears, looking a little nervous
BETTINA
Hello, Georgina. Would you ladies mind me having a quick word in the office?
GEORGINA
(sympathetically, having noticed BETTINA's wariness)
Not at all. We've got a moment, haven't we, 'Chelle?
MICHELLE nods and the three of them go into the office behind the reception desk.
52. INT. BETTINA'S OFFICE - LATE AFTERNOON
The three women are seated, fairly close together in the rather cramped office.
BETTINA
(quietly and somewhat hesitant)
I...I couldn't speak to anyone before...but there's something I have to tell you.
Cut to:
53. INT. MANOR HOUSE BASEMENT - EARLY EVENING
Long shot to show TODD, again chained to the wall. A figure lurks in the shadows (we should not see who this is during the scene but the intention is that it is P.C. GREGG). As he steps towards TODD; Cut to: Close-up of TODD, whose face has now taken on an even more demon-like appearance although the human within is still recognisable. His eyes flicker open, but we hear a sudden thud as though he has been hit or kicked in the midriff, and he screws up his eyes as his face winces in pain. He cries out and his assailant hits him again.
TODD
(groggily and in a semi-human voice)
You bastard. His torturer lands another blow and TODD cries out in agony again. TODD How can you do this? How could you involve yourself in this?
As we hear the sound of a final, knockout blow, cut back to:
54. INT. BETTINA'S OFFICE - EARLY EVENING
MICHELLE
Take your time - we've all had a bit of a shock these past couple of days.
BETTINA
It goes back more than a few days, dear.
GEORGINA
Why - whatever's the matter?
BETTINA
It's my daughter. You know, the young woman you've seen working here? Yes, my girl. Abigail.
MICHELLE and GEORGINA glance at each other.
GEORGINA
Go on.
BETTINA
My darling Abby. She was such a good child. In fact, she's always been well-behaved - until...
BETTINA is on the verge of tears
MICHELLE
There now.
BETTINA
I'm sorry. It's just that...it all started about 6 months ago - when she arrived. Serena, they call her. You've seen her too, in the bar talking with Abby.
GEORGINA registers recognition
BETTINA
Newcomers always get noticed in a place like Ryedale. For most, it takes some getting used to. Not her, though. Not Serena. Of course, most of us thought there was something odd about her - but she just seems to laugh off any gossip. And the youngsters all took to her. All the village girls...at first I thought it was nice that Abby had made a new friendship. But now I never see her. We used to be so close - more like sisters than mother and daughter - she used to love helping out at the hotel.
GEORGINA
Perhaps it's nothing - you know, new friends arrive, mum takes a back seat, that sort of thing.
BETTINA
No, it's not like that. God, if it were only like that. Abby's changed. Guests at the hotel used to comment on how bright and sunny she seemed, but nowadays she just treats everyone like dirt. As for me - well, we argue all the time, when she's here at all, that is. Our relationship seems to have broken down completely, I just can't talk to her, can't open my mouth. And I don't know where she goes, what she does. I know who she's with, though.
MICHELLE
Surely she can't get into much harm in a place like Ryedale? She's, what, twenty-two?
BETTINA
But you don't see, do you? The dog in your room, that awful business with Mrs. Cornish - ever since Serena came to the village, strange, horrible things have occurred. More than most people know. But I listen. I know. I thought Serena was a bad influence - but after today, I'm sure she's pure evil.
GEORGINA
Maybe you're over-reacting
BETTINA
(more sternly)
But Georgina, you saw. You saw what happened in the village today. Poor Mrs. Cornish. And...(hesitates)...and I found this.
BETTINA produces a small cloth bundle, which she unwraps to reveal the knife she found in Abby's room.
BETTINA
It's blood. I can't explain it - I don't want to explain it.
BETTINA looks downwards in anguish, holding her right hand against her forehead in a gesture of despair.
MICHELLE
But surely you don't think...
BETTINA
(looks up)
I just don't know, Miss Craven. But I do know why you're both here - looking for someone, aren't you?
MICHELLE
Yes - our brother, Todd. We were going to ask you about him.
BETTINA
If he's here - if he's been anywhere near Ryedale, he could be in terrible danger.
MICHELLE clutches GEORGINA's hand.
MICHELLE
Gina?
GEORGINA
Mrs. Farley? What sort of danger?
BETTINA
That's the problem - I just don't know. Except that Abby is involved. Dear Abby.
GEORGINA
(changing her attitude, now a little more concerned)
But what can we do? I mean, if what you say is right - if there's any truth in this?
BETTINA
There might be someone. Someone we can turn to.
(Fade out).
55. INT. HOTEL LOBBY - LATE EVENING. Close-up of BETTINA, talking on the hotel phone.
BETTINA
Hello? Reverend Waverly? Mrs. Farley, Peacock Hotel. Yes, Ryedale.
Cut to:
56. EXT. PEDBOROUGH VICARAGE - EXTERIOR - NIGHT (establishing shot of the house)
57. INT. PEDBOROUGH VICARAGE - THE LIBRARY - NIGHT
BETTINA, GEORGINA and MICHELLE are seated in the library, a spacious room well-stocked with many volumes of religious reading matter. There is a large desk in the middle of the room, around which paces REVEREND WAVERLY, the elderly vicar of the parish - the mysterious figure we have previously seen lurking around the village. He exudes an air of wisdom, knowledge, and confidence. He also appears to have accepted without question Bettina's assertions of strange goings-on in nearby Ryedale.
BETTINA
So can you help us, Reverend?
WAVERLY
The Church is always rather sceptical with regard to these matters, Mrs. Farley. But I take a rather wider view. I pride myself on knowing a little - just a little, mind you - on the subject. And what I don't know, I can find out.
WAVERLY indicates a number of ancient-looking bound volumes, stacked on his desk. He then pushes the books to one side to reveal a computer monitor! The monitor displays the colourful homepage of a website entitled 'Witchcraft and Demonology - Legend and Truth'.
WAVERLY
I did a bit of digging following your call. Most interesting. This half-man, half-devil business - intriguing. Rang a few bells, too. Took me a while, but have a look at these.
WAVERLY beckons the women to gather round as he taps away at the computer keyboard, to access a pertinent image from the website.
WAVERLY
Parish records - 16th century, you know. Found this. 1572, it's dated. Is that anything like the creature you saw?
WAVERLY indicates a woodcut image of a man partially transformed into a demonic entity, similar to how we have seen TODD earlier.
MICHELLE
That's it! Exactly like it.
WAVERLY
Then, ladies, we're on to something. And it might just all tie in with some of the recent happenings around your village. Though, Lord, I hope not.
GEORGINA
What is it, Reverend?
WAVERLY
Well our man-beast could be...it's almost too horrible to contemplate...but it might just be connected with the events reported here, from over 4 centuries ago. Apparently there was a ritual designed to bring about eternal life - the parish records indicate that a local coven tried to perform the spell. It's quite elaborate.
GEORGINA
Go on
WAVERLY
Well, Miss Craven, it seems the coven members had to lure and kidnap a male victim, who, over a period of weeks, they believed they could gradually transform into a demon from Hell. The poor unfortunate would have to be kept secure and guarded well, since as his evil strength grew, he might temporarily break free of their influence. According to the book here, the beast could then only be subdued and re-captured once it had tasted blood...
MICHELLE
That would explain the attack on Mrs. Cornish
BETTINA
(musing to herself quietly)
And one or two other things...
WAVERLY
Here's the interesting bit. It says that the ultimate stage of transformation, the point at which the demon finally takes over the host body, involved the sacrifice of a blood relative. There's usually some form of marker to signify the intended victim - often the corpse of a beast.
MICHELLE
Gina! The dog! The dog in our room!
GEORGINA
(shocked)
It's me they want!
WAVERLY
(calmly)
Possibly. Anyway, once the demon had fully materialised in the host, the coven members would immediately kill the being and eat part of its flesh - they believed that this would make them immortal.
MICHELLE
So what happened in 1572?
WAVERLY
The account is a little sketchy, and some of it is indecipherable. But as far as I can tell, the coven was rather inexperienced, and their attempt at the rituals ended in disaster. It seems that the entire female population between the ages of 14 and 25 had been coerced into joining the coven, and that they were all destroyed. One witness describes a survivor, though.
BETTINA
Serena?
WAVERLY
The young woman in question was a stranger to the village - she seemed to have something of a hold over the young girls here, and is believed to have led the coven. Attractive, dark-haired beauty, by all accounts. According to reports, she was seen fleeing the area on the night after the ritual had failed.
BETTINA
I can hardly believe I'm saying this - but my guess is that it is Serena.
WAVERLY
Legend has it that she had already successfully attained immortality for herself, centuries before, but that by 1572 her other powers were beginning to wane. It is believed that she needed to create a new coven...
MICHELLE
As a sort of top-up, you mean?
WAVERLY
In a way, my dear, but her intentions were not entirely self-centred. The archives of the time indicate that her aim was to induct and empower a group of young women like herself, in order to combine their sorcery in ways unimaginable.
GEORGINA
If any of this is right...my God, Michelle - they might have Todd! They're performing the bloody ritual.
MICHELLE
We've got to do something. Now!
WAVERLY
I shouldn't rush into this, Miss Craven. You'll need to have all your wits about you to tackle this sort of thing. In any case, if there is a gathering of some kind, finding them is your first problem.
MICHELLE
But if Todd's in danger...Bettina, you said yourself that...
GEORGINA
Look, I'm as worried as you are, 'Chelle. But what can we do tonight? We ought to sleep on it.
BETTINA
You're right. It's getting late. Might I suggest we go back to Ryedale, get a good night's rest at the Peacock and make some definite plans in the morning?
WAVERLY
That sounds like a splendid course of action, ladies. If there is anything in all of this, you need to be refreshed and well-prepared. Be careful.
GEORGINA
Thank you, Reverend. You've been of tremendous assistance. But is there nothing we can do before tomorrow?
WAVERLY
Well, maybe. I'll do what I can to help further - I'll contact the authorities, but how I'm going to convince the police about any of this...anyway, I'll just have to try. For now, goodnight - and God be with you.
WAVERLY shows the three women out of the library.
58. INT. HALLWAY OF THE VICARAGE - NIGHT.
WAVERLY opens the door and bids the women goodnight.
59. EXT. OUTSIDE THE VICARAGE - NIGHT.
The women walk down a gravel path to their car. As they leave, and WAVERLY closes the door, we see a figure step out of the shadows from behind the house. It is HARRIET, the psychic seen earlier in flashback.
60. INT. VICARAGE LIBRARY - NIGHT.
Moments after the women have departed, WAVERLY is speaking into the telephone. We view him in mid-shot, from the front, with the door to the library visible over his right shoulder.
WAVERLY
Look, I know how this must sound, sergeant. Yes, but I've helped you out before. (Pauses). Serious? My man, you don't know the meaning of the word. I don't think I've ever been quite so serious in my life. So you'll send someone? Good - that's all I can ask.
In the background, unseen by WAVERLY, the library door creaks open and HARRIET steals in. WAVERLY fails to notice as HARRIET picks up a heavy silver candlestick from the desk, and creeps up behind him, raising the potential weapon.
Cut to:
61. INT. VICARAGE LIBRARY - NIGHT.
Close-up of the pile of books left out on the desk. We see HARRIET move across stealthily, but as she does she nudges the books and one of the heavier volumes topples and thuds on to the floor.
Cut to:
62. INT. VICARAGE LIBRARY - NIGHT.
Reverse shot of WAVERLY, still holding the phone to his ear - on hearing the book fall, he whirls round with a surprised expression on his face. HARRIET lunges towards him and attempts to beat his brains out with the base of the candlestick, but WAVERLY ducks to one side (dropping the receiver to the floor) and the candlestick smacks down on to the mantelpiece over the fireplace. WAVERLY and HARRIET continue to struggle, grasping each other around the shoulders and neck in a life-or-death battle.
WAVERLY
I knew they'd send someone. Someone like you.
HARRIET
You can't fight them. Your life, your beliefs, are worthless.
WAVERLY
(ignoring her comments)
They can't enter here, can they? Once they've experienced the power of the dark forces? Oh no, they need mortal help for a place such as this.
HARRIET
Quiet, old man. Die.
As the conflict continues, HARRIET seems to be gaining the upper hand, but WAVERLY somehow finds the strength to loosen her grip and throw her off. As he does so, HARRIET loses her balance and spins backwards, falling against a free-standing bookcase against the far wall. The bookcase teeters and falls, crushing HARRIET to death beneath the weight of its shelves and the large volumes it contains.
Cut to:
63. INT. MICHELLE'S CAR - NIGHT.
We see GEORGINA and MICHELLE through the front windscreen of the vehicle, with BETTINA visible in the rear seat.
BETTINA
We just have to find out where Abby goes tomorrow.
MICHELLE
What about Gina? After all, if you're the one they...
GEORGINA
I'll stay back at the Peacock. I should be alright there, I think.
MICHELLE
(worried)
Are you certain? Look, Gina, I don't like the idea of you being left alone like that. What we've just heard has really got me frightened.
GEORGINA
We still can't be sure. I know something weird is happening, but rituals? Witches' covens? Anyway, even if it is true, I'd feel safer behind a locked door at the hotel. Seriously. Just me, a box of chocs and the new John Grisham. Nothing interrupts that.
Cut back to:
64. INT. VICARAGE - ENTRANCE HALL - NIGHT.
We hear the doorbell ring, and WAVERLEY emerges from the library into the hallway in order to answer. He walks away from camera, towards the door at the far end of the hallway, and unleashes the catch. He opens the door to reveal P.C. GREGG standing outside.
WAVERLY
Ah, you did send someone. How prompt. Good evening, constable.
P.C. GREGG
Evening, reverend. Glad to be of service.
Without warning, P.C. GREGG suddenly produces a knife, jabbing it down into WAVERLY's right shoulder.
Cut to:
65. INT. VICARAGE - ENTRANCE HALL - NIGHT.
Reverse shot, quick close-up of WAVERLY's surprised face.
Cut to:
66. INT. VICARAGE - ENTRANCE HALL - NIGHT.
Quick shot of knife slashing across the screen.
Sudden cut to:
67. INT. PEACOCK HOTEL - BETTINA'S ROOM - NEXT MORNING.
Close-up of BETTINA as she wakes with a start.
Cut to:
68. INT. PEACOCK HOTEL - FIRST FLOOR LANDING - NEXT MORNING.
BETTINA has just awoken and emerged from her room. She peers through the door of the room next to hers, and we see ABIGAIL asleep in bed. BETTINA closes the door, without making a sound.
69. INT. HOTEL DINING ROOM - MORNING.
GEORGINA and MICHELLE are at breakfast, sipping fruit juice. BETTINA, rather furtively, sidles over to their table.
BETTINA
Morning, ladies. Just thought I'd better let you know - Abby's home, for once. She's asleep in her room.
MICHELLE
Now's our chance. Just what we've been waiting for.
GEORGINA
What should we do?
BETTINA
She's bound to go back to Serena sometime today. We'll wait, and follow her. Enjoy your breakfast for now, I'll let you know as soon as anything happens.
BETTINA exits the dining room.
MICHELLE
Gina, I hope we're doing the right thing here.
GEORGINA
You've got to do this, 'Chelle. We have to do something - for Todd's sake.
MICHELLE
I don't know. I just wonder if we're caught in the middle of a simple mother/daughter row?
GEORGINA
There has to be more to it than that. All the weird happenings, and you heard what the vicar said. Bettina's terrified. Even if this is nothing to do with Todd, we ought to at least make sure she's alright.
70. INT. HOTEL RECEPTION AREA - LATE MORNING.
BETTINA is working at the reception desk when ABIGAIL appears.
BETTINA
So you've decided to show your face
ABIGAIL
There always has to be a comment, doesn't there?
BETTINA
Don't take it like that, love. Now you're here, can you help out on reception for a bit?
ABIGAIL
I've got things to do
BETTINA
Come on, Abby. You know we all have to chip in to help run this place.
ABIGAIL
Look, it's you who owns this dump, I just happen to live here.
BETTINA
(a little angrier now)
When you can bother to come home, that is.
ABIGAIL
Oh fuck off, mum
BETTINA
Don't you dare talk to me...oh, to hell with you
ABIGAIL
We'll see. I'm off.
BETTINA
Where...
(her voice tails off as ABIGAIL storms out of the hotel and BETTINA realises no answer will be forthcoming).
BETTINA picks up the reception phone and dials.
BETTINA
Michelle? Is Georgina with you? Abby's just left. O.k.
71. EXT. OUTSIDE THE HOTEL - LATE MORNING.
MR. EMNEY is just about to enter as BETTINA, GEORGINA and MICHELLE leave together.
BETTINA
Excuse me, you haven't seen my daughter, have you?
MR. EMNEY
Yes, she just passed me a second ago. Looked like she was heading for the country road, out of the village. Lovely day for a stroll, what?
BETTINA
(to MICHELLE and GEORGINA)
She'll be on foot. If we take your car we can find her and follow at a safe distance. Georgina - sure you'll be o.k. here?
GEORGINA
I hope so. I'll stay in our room. I've got the key - and if I need anything, I know your Mrs. Wiggins will see I'm alright.
MICHELLE (driving) and BETTINA get into the car as GEORGINA returns to the hotel.
72. EXT. THE COUNTRY ROAD, AWAY FROM THE VILLAGE - MID-DAY.
We see the car driving slowly down the road.
73. INT. MICHELLE'S CAR - MID-DAY.
Through the car windscreen we see ABIGAIL, in the distance, walking towards the Manor House.
BETTINA
(quietly)
She's there! Michelle, can you park up? We'll have to follow on foot from here.
MICHELLE
Looks like she's heading for that old house.
BETTINA
It's been empty for some time - it'd be just the sort of place where someone like Serena would set up camp. Come on.
74. EXT. THE COUNTRY ROAD, LEADING TO THE MANOR HOUSE GROUNDS - MID-DAY.
BETTINA and MICHELLE leave the car and follow ABIGAIL furtively on foot.
Cut to:
75. EXT. PEACOCK HOTEL FORECOURT - EARLY AFTERNOON.
A police car pulls up and parks outside the hotel entrance. P.C. GREGG steps out from the vehicle and is seen entering the hotel.
Cut to:
76. INT. PEACOCK HOTEL RECEPTION - EARLY AFTERNOON.
MRS. WIGGINS, the part-time assistant at the hotel, is on duty at the reception desk as P.C. GREGG approaches.
P.C. GREGG
(friendly)
Hello, Molly. Nice day.
MRS. WIGGINS
(nods)
Constable. What can we do for you.
P.C. GREGG
I understand you have a Miss Georgina Craven staying here - with her sister.
MRS. WIGGINS
That's right, they've been here for a day or two.
P.C. GREGG
I wonder if I might have a quick word with Miss Craven. I'm afraid her sister's been in an accident. Could be pretty bad.
Cut to:
77. EXT. OUTSIDE THE MANOR HOUSE GATES - EARLY AFTERNOON.
BETTINA and MICHELLE, hiding behind the greenery which flanks the entrance to the grounds, see ABIGAIL walking towards the house itself, some distance away.
78. INSIDE THE GROUNDS OF THE MANOR HOUSE - EARLY AFTERNOON.
Close-up of ABIGAIL. The expression on her face suggests she thinks she may be being followed. Suddenly, she smiles.
79. MANOR HOUSE GATES - EARLY AFTERNOON.
BETTINA and MICHELLE have entered the grounds. The gates to the Manor House grounds are marked on either side by foliage, as the house is located close to the woods we have seen previously. The trees etc. should allow an ample amount of cover, because: Several of the WITCHES suddenly emerge as if from nowhere, to overpower and capture the three older women. ABIGAIL has led them to this place on purpose. The WITCHES forcibly constrain BETTINA and MICHELLE, holding their arms locked behind their backs as the captives struggle. BETTINA looks up accusingly at ABIGAIL.
BETTINA
Abby - it's not too late. What have you got yourself involved in?
ABIGAIL
Something you couldn't possibly comprehend. It's wonderful.
Two of the coven members apply cloths soaked in chloroform to the women's faces, rendering them temporarily unconscious as they drag them towards, and into, the Manor.
80. INT. MANOR HOUSE BASEMENT - AFTERNOON.
In the now-familiar basement, preparations are well under way for the final part of the ritual. The WITCHES are fully robed, and stand in semi-circular formation behind the altar, awaiting the ceremony. Candles have been lit around the altar, over which SERENA looms commandingly. TODD, now with only the merest glimmer of humanity about him, strains against the chain which still binds him to the wall. MICHELLE and BETTINA are held by 3 of the WITCHES. To the right, a door springs open. GEORGINA is violently pushed into the room by P.C. GREGG, who keeps a firm, tight hold on her by the wrists.
SERENA
Our task is almost complete, my sisters.
(Indicates GEORGINA).
We have the blood relative of the Chosen. He can now be anointed - we can eat of his flesh, and then all will kneel before us. The hour has arrived.
SERENA beckons to P.C. GREGG
SERENA
You have served us well. Bring her forward.
P.C. GREGG frogmarches GEORGINA towards the altar. GEORGINA squirms and struggles but without success as the policeman lifts her on to the altar. Two of the WITCHES assist, one holding her ankles so she cannot kick out, the other producing a large ceremonial dagger which she holds to GEORGINA's throat. GEORGINA begins to scream.
MICHELLE
(shouting)
It can't work! We know you failed before!
SERENA
(moving to stand in front of the altar as she speaks)
Practice - as they say - makes perfect.
BETTINA
You evil bitch. What have you done to my daughter?
SERENA
Your daughter? I think not.
SERENA beckons ABIGAIL, who drifts over to her side.
SERENA
(to ABIGAIL)
She claims you as her kin.
ABIGAIL
(disdainfully)
Maybe once - but now I am a child of the dark.
SERENA
Come, sister.
SERENA puts an arm around ABIGAIL, pulling her closer. The two women kiss passionately as BETTINA looks on in disgust.
SERENA
(to ABIGAIL)
To your place. The ritual hour approaches.
ABIGAIL returns to her previous position.
SERENA
As for you (indicating MICHELLE and BETTINA), you should feel privileged. As the first to witness our new-found power, your exquisite deaths will be unlike any previously experienced. You will depart this world in ways which mortal beings could not possibly imagine.
Cut to medium close-up of an agitated TODD, angered by the threat to his sister. He tugs against his chains once again, the commotion interrupting the flow of SERENA's grand statement. SERENA glares at TODD and takes a step or two towards him.
SERENA
(to TODD, gloatingly)
Allow me to demonstrate.
SERENA nods in the direction of the WITCHES holding MICHELLE. They release their grip on her, and SERENA glares at MICHELLE with blazing eyes. It is clear, although the satanic ceremonies have yet to reach full completion, that SERENA already possesses some measure of the vast powers she hopes to secure for herself and the coven members. SERENA's eyes glow with a golden light, and a sudden blast from her eyes propels MICHELLE across the room at speed. MICHELLE hammers backwards into the wall at the left side of the room.
Cut to:
81. MANOR HOUSE BASEMENT - AFTERNOON.
Medium close-up of MICHELLE, revealing that by some occult means, her body has actually been fused into the wall when thrown against it. All that is still visible of her is her right leg, her left hand, and her face, which displays an expression of startled terror. Almost before we have a chance to take in this grisly sight, the protruding parts of MICHELLE's body slide gruesomely down the wall, leaving three trails of thick red blood.
Cut to:
82. MANOR HOUSE BASEMENT - AFTERNOON.
Over on the right side of the room we see the monstrous, almost totally demonic TODD, still struggling against his bonds. He is clearly enraged at the pointless, shocking murder of his sister. His eyes, exhibiting perhaps the final vestige of humanity contained within his features, display recognition of GEORGINA, still lying atop the sacrificial altar, held by the dagger-wielding MAY. As the human side of his mind takes control, TODD exerts an enormous physical effort, and with an animalistic howl, he hurls himself forward and breaks free of his chains. He swipes P.C. GREGG to the floor with a single swift blow, caving in the policeman's skull and killing him instantly. TODD leaps over to the altar, pushing MAY away from GEORGINA and grabbing the ornamental sacrificial dagger which was to have been used on his sister. As the witches begin to panic, and before anyone can react, TODD dives towards SERENA, knocking her to the floor and stabbing her savagely over and over again. SERENA expires in a huge pool of blood. As she dies, colour drains from her face and hair, indicating the evaporation of her powers and influence. The effect this has on the other coven members (including ABIGAIL) is startling - they all immediately lapse into a zombified, trance-like state. As BETTINA gazes on in astonishment, the WITCHES, with blank expressions, slowly turn and walk towards a doorway at the back of the basement. As they move, their robes slip and fall to the floor, revealing them naked, and they file through the portal. The door swings closed behind them.
Cut to close-up on: GEORGINA, who has now clambered down from the altar. We follow her as she walks over to TODD, her now-monstrous brother. Free from the witches, but weakened by his ordeal, he seems to be dying. GEORGINA kneels and cradles his head in her lap as he fades away.
GEORGINA
I'm sorry, Todd. So, so sorry.
TODD
(almost inaudible but recognisably human)
Gina...Michelle...
TODD's eyes close in death, and GEORGINA breaks down, sobbing uncontrollably. Meanwhile, BETTINA runs towards the back room, concerned for her daughter's safety. She swings open the door.
83. INT. BASEMENT - BACK ROOM - AFTERNOON.
It is revealed that the remaining witches, including ABIGAIL, have hanged themselves. Six naked female bodies dangle from ropes suspended from a beam placed across the ceiling.
BETTINA screams her head off.
THE END
(C) Darrell Buxton 2007