s1e9 – End of Paradise
A crew or workmen are putting together a large structure, the sounds of SAWS sawing, HAMMERS hammering, and the general AMBIENT NOISE of a construction site.
INT. BUILDING INTERIOR – DAY
Inside, more workmen are building what looks like a stage at the far end of the building interior. As the workmen are hammering the stage together, one workman gets a glazed look in his eyes, just before he turns his hammer on another man, bashing the man’s head in, as blood and brain matter starts flying everywhere. The other workers SCREAM in shock and disbelief as they rush to restrain the attacker.
EXT. ARKHAM LATE 1800’S – DAY
A newly finished sign reveals the structure as the Paradise Theatre.
INT. PARADISE THEATER – NIGHT
An audience laughs at the images on the screen. The Paradise has become a movie theater, showing the popular silent films of the day.
After the film, several patrons remain behind. After the crowd leaves the theater, the remaining patrons make their way to stairs, leading to under the theater. The stairs seem to lead to a basement, filled with the sounds of LAUGHTER and MUSIC. Men and women in Sunday Best stand around drinking, dancing, laughing, and having a good time.
In a very extravagant room, complete with strange symbols on the floor, and what almost appear as thrones, men and women in masks drink, engage in group carnal activities, and even more aberrant behaviors, all while several cameras film the depravity. SCREAMS and MOANS of pleasure and pain fill the room.
EXT. PARADISE THEATER 1970’S – DAY
The Paradise looks run down and decrepit now. The windows are boarded up, and the paint if faded and peeling. A man nails signs over the windows indicating that the theater is closed for good now.
INT. PARADISE THEATER 1990S – DAY
Inside the Paradise, a pretty young women stands on some scaffolding, surrounded by buckets of paint. She is playfully splattered with paint. Shes wears a Walkman, and is SINGING along with whatever is playing.
Something attracts the young womans attention, and she stumbles off the scaffolding as she SCREAMS. . .
s1e8 – Dead of Night
INT. A DARKENED BEDROOM – DAYThree CHILDREN rest in beds, clearly sick, wrinkled, and dehydrated. Their wheezing is audible. A sobbing CHECKLEY sits in a chair in a dark corner of the room.
INT. A DARKENED BEDROOM – NIGHT
The youngest child, a pre-teen girl, issues forth a death
rattle first, quickly followed by the 13 year old boy, and
then, finally, as CHECKLEY’s cries increase, the 15 year old
Are you sure you can do this?
Yessa sir, I can do this. Are you sure this is what you want? There is no turning back from this.
Yes! Do it! I’ll pay anything! Just do it!
As you wish sir. We must gather some materials and prepare. Are you sure you are prepared for what must happen? There is no turning back.
Just get it done!
INT. A DARKENED BASEMENT – NIGHT
A chicken squawks in a nearby cage. Candles flicker around the three bodies of the three CHILDREN, the light reflecting from the sheen on their waxen flesh.
MARSELLA is busy preparing for something, placing odds and
ends in a circle around the CHILDREN. All the while quietly
reciting something in an indecipherable language.
CHECKLEY stands nearby, quietly shivering with fear and
anticipation, watching the ritual with fascination.
All is prepared. Come, aid me sir.
This had better work.
MARSELLA finds her place, near the caged chicken, and begins to chant loudly. As her volume increases, the chicken SQUAWKS more furiously. MARSELLA opens the cage, grabbing the chicken with one hand. She lifts a dagger form the floor while upending the chicken. She runs the dagger across the chicken’s neck, spilling its hot blood over the bodies of the CHILDREN.
INT. A DARKENED BASEMENT – DAY
MARSELLA grabs CHECKLEY’s hand, and before he can react, she
runs the bloody blade across his palm, shedding his blood
over the bodies as well.
As the combined blood seeps into the skin of the CHILDREN, a
black smoke or fog slowly appears over the bodies, until it
enters them quickly and violently. MARSELLA covers the bodies
with a blanket.
CHECKLEY and MARSELLA sit near the covered bodies as they
notice some movement beneath the blanket.
MARSELLA, it worked! Look!
MARSELLA glances at the covered forms, shaking her head slightly with a disappointed frown.
CHECKLEY yanks the blanket off the bodies, to reveal a nightmare. The CHILDREN are starting to move, but their flesh is torn and rotten, hanging form the bones in strips and chunks. Raw muscle is visible in many locations. They have a feral, hungry look in their dead eyes.
What in the name of GOD, MARSELLA?
What have you done to my CHILDREN?
WHAT HAVE YOU DONE?
CHECKLEY flees the basement without waiting for an answer. He
bolts the door shut behind him, trapping MARSELLA in the room
with the CHILDREN.
He leans against the door, listening to the SCREAMS of MARSELLA and the sound of RIPPING FLESH and SAVAGE FEEDING.
s1e7 – Blood Brothers
The chanting was inhuman in both language and tone, an insectile buzzing that would have been disturbing, sickening even, to human ears. Krash-an of the Lyrok Clan was not human, however. To him, the singing of his brethren was sweet music, hinting of the glories to come.
Soon, the Hunter would come. Soon, their quarry would die and the New Cycle would begin. The human plague that
had infested this planet for so long would be cleansed.
Krash-an was so intent in the ritual that the crashing sound did not register at first. Not until one of the brethren paused in the chanting and looked up did he realize that something was horribly wrong.
Strangers stood by the doorway. Armed, clearly dangerous strangers. One of them spoke.
“Evil ritual, lots of cloaked weirdos, really lousy music. Mind if we join in?”
Krash-ans amazement was replaced by blinding fury. “Kill them!”
s1e6 – Demon of Catheway
A young man, early 20s, average in appearance browses in a pawn shop, when something catches his eye. “She’ll love this” he exclaims as he holds up a necklace that seems Egyptian in style. (Fade)
At a birthday party, the young man stands by a woman, clearly his sister, as she opens a small box. “Oh Brian, it’s beautiful!” “Anything for you Janet”, he replies. She puts on the necklace and hugs Brian who is obviously pleased that she likes the trinket. (Face)
Janet is conversing with an older man, seemingly a professor. “That is a fascinating necklace you have on, Janet. May I ask where you acquired it?”
“My brother Brian got it for my birthday. Isn’t it beautiful?”
“Yes, it is. Do you think you could put me in touch with your brother? I’d love to know where he acquired it.”
“Sure I can do that.”
Brian is on the telephone. “Yeah, I can look and see if there are any more like that, no problem. Ten percent over the cost? Sure.” (Fade)
Brian is looking through the pawn shop with a disappointed eye. Eventually, he asks the man behind the counter who pawned the necklace (after a brief description of the item). The man is hesitant to say until Brian counts off $100 and hands it over. The man leaves, and returns in a minute with a scrap of paper, which he hands to Brian. “Thanks man” says Brian as he leaves. (Fade)
Brian is standing on a street corner in what looks likes a very small town. He seems to be waiting for something. After moment, an old, faded red Trans-Am pulls up, inside of which is a long-haired older man. “You Brian?”
“Yeah, man. You Leland?”
“Ayup. Hop on in and we’ll talk about the necklace.”
Brian, with a nervous look, climbs into the car, and as it pulls away, he notices that Leland is pointing a large handgun in his direction.
“Sorry kid, you just ask too many damn questions, and I’ve needed a sacrifice. Bad luck for you I guess.”
(Fade to black)
s1e5 – The Bookstore
In a semi-lit room sits a middle age man at a desk, looking over what appears to be an unopened, large, old book. He reaches for the phone and dials a number. “Hey, its me, Wedenburg. Yeah, I just got a new set of books. Old books. You are definitely going to want to see these. Might be good for your collection. Yeah. Yeah. Uh-huh. Okay, I”ll see you tomorrow. Good night.
He hangs up the phone, takes a drink from his coffee cup, and turns his attention once more to the book on the desk. “Okay. Lets see what you’ve got going on inside, my friend” he mutters as he opens the tome before him. As he scans the pages, slowly, sometimes stopping to peruse an entry more closely, he fails to notice the lights growing more dim around him. When he notices the room has darkened, he looks up from the book, his face barely visible in the gloom. “Son of a bitch. Again?” he asks no one in particular. That is when suddenly, from out of nowhere, something moves in the darkness, grabbing him violently. His screams trail off as he is dragged into the darkness, until all is still and quiet once more.
s1e4 – A Cult of One
The old man sits chanting in the dim light, a shadow of a candle flickering on his face.
“Master, thank you for this opportunity to redeem myself. The final sacrifice is made, and I await your blessing.”
The air shimmers before the old man, becoming a deepening, moving shadow.
“You have done fair well, Gammell. And you shall have your reward. Though it shant be the eternal life you desired, this ritual will allow you to live on after a fashion. Use it well and use it wisely.”
The scene shifts
The old man stands in a sterile-looking hallway lit by fluorescent lights along the ceiling. A scruffy man in scrubs approaches him, and they confer in a secretive manner for a few minutes. The old man hands the scruffy man some money, followed by a handshake and a nod.
The scene shifts again
The old man is lying on a table, partially covered by a sheet, harshly lit by a brilliant white light over the end of the table. His eyes are closed in death, and a severe and fresh stitched Y-shaped scar is very visible on his torso.
A quiet, deep, malevolent laughter sounds from the air around the old man’s body.
s1e3 – When Giants Clash
The sewers under any town are mostly just pipes, moving wastewater to a treatment plant. Some pipes are larger, however; large enough, in fact, for people to travel through them. At a few places, several of the larger pipes come together, forming rooms. Under the streets in the older sections of the sewer system, some of these rooms are quite dry, and often serve as a meeting place for evil plotting, dark rituals, or even a simple bitch session.
“He never asks my opinion. He just says “Jump!” and expects me to do it," Mark grumbles, taking a large pull from his beer.
“At least he doesn’t push you around. They slammed my jacket in the car door and took off. I was six blocks away from the lair before I got it unzipped. I thought we were supposed to be superstrong or something.” Gary eyes his empty bottle unsteadily and tosses it onto the growing pile.
“Ha! All the vampires I ever heard of could do . . . stuff. You know, change shape, grow claws, fly. All we got was a face with tire tracks across the forehead. Oh, and we can’t get drunk as easy. Watta gyp!” Mark shifts into his demonic visage. “Oooo, look at me! I’m soooo scary!”
“I could not care less about powers. I just wish I could show those jerks who’s the bigger man, err, vampire.”
“Well, I wish I had my own minions to command. They’d do my every bidding, and bring me beer, and blood, and some of those fried onion things, and . . .”
A gust of wind blows in from the side tunnel, knocking both vampires to the floor and toppling the lantern. The shadows dance wildly as the light rolls, then coalesce into an odd funnel shape, touching down on the small hill of beer bottles. The wind whistles over the mouths of the bottles, raising an eerie noise.
Mark and Gary look at each other uncertainly. They pick themselves up from the floor and begin to edge towards a grimy exit.
The howl changes to an ominous voice. “Your wish is granted.”