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EXPRESSLY FOR THE PURPOSE OF PUTTING TOGETHER SCENES IN ORDER TO FLESH OUT A VIBE.
| OPENING CREDITS. White text on black, set to DIDN'T LEAVE NOBODY BUT THE BABY1. On the last note of the song, CUT TO: INT. [TOWN NAME] CHURCH. AFTERNOON. The church — small, maybe the size of a schoolhouse, made of white cedar — is claustrophobia-inducingly packed. If there is a fire, none of these people will survive. All stand, voices raised in some mix of prayer and rapture that is still not loud enough to drown out the voice of EDISON "EDDIE" ASH, who stands by the altar. He is in his shirtsleeves, snakes2 wrapped around his arms and raised above his head. His fervor matches that of the congregation, and there is sweat streaking his shirt. The crowd parts to let him through when he steps towards the pews, and the snakes pass hands. Eddie begins to recite Mark 16:17-18.
1 ideally all of the music will be diegetic (audible only if being played in the context of the scene, i.e. if there is a radio on, that will track the scene, but otherwise, there will not be much). exaggerate the sounds of everything else, as a result. 2 the box in which the snakes are kept has a latch but not a lock; made of a dark wood, no engravings. |
| INT. EDDIE'S HOUSE. BEDROOM. NIGHT. The house is modest. Two stories, a few rooms on each floor, no basement but a cellar door outside. There's nothing particularly extravagant about the decorations or the furniture, and nothing that would make it obvious that the house belonged to a man of God. The bedroom is no different — a double bed with a patternless bedspread, white curtains on the windows, a few bookshelves, undecorated closet door. A cross hangs on the far wall. The light from the single bedside lamp is a dull orange, highlighting the figures of both Eddie and the GIRL, half-undressed, arms around each other. It's a slow, almost awkward process getting them both down onto the bed, but they manage it, her straddling him, the thin dress she wears hiked up to her hips. They embrace a few moments longer — no sounds save those that they make. At length, Eddie takes her hands, and puts them around his neck.3 He's smiling.
3 belt? (possibly only when roles are reversed.) |
| INT. EDDIE'S HOUSE. LIVING ROOM. MORNING. This is the first time that LAUREL DAYE has been in the same town as Eddie, instead of being a week behind. He stays in town too long — she catches up. The house seems empty when she comes in, white light flooding in through the open windows. The further she moves into the house, the further it becomes apparent that it isn't. The voices are indistinguishable, both held at a hushed whisper, though one is considerably more frantic than the other. Laurel follows the voices towards the kitchen. The door is almost closed, and through the sliver of space afforded, she can see EDITH ASH sitting with her knees tucked up to her chest on the kitchen floor, and Eddie crouched in front of her, with his back to the door. Edith, unlike her brother, is a mess. Her long, dark hair is full of knots, her clothes are tousled, and from the looks of it, she seems to have been crying. She is babbling as Eddie whispers to her, holding onto one of her hands and cupping her cheek with the other. Once Laurel has reached the door, a third figure is visible between them: a child, with hair as dark as both of the Ash siblings, curled against Edith's side.4 A small hand suddenly emerges to tug at Edith's sleeve, and both Ashs immediately go silent, Edith's breath coming in audible gasps as she tries to stem her crying. Eddie, by contrast, is still perfectly composed, and, as he stands, looks back at the door, meeting Laurel's gaze. 4 7/8 years old. the father is later revealed to have up and left upon discovering edith's pregnancy. unclear if his sister's sin is what bothers eddie or if it's a preoccupation with his sister, period. |
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