[EXT. A seemingly normal suburb… with no working streetlights]
[TAPE CLICKS ON.]
[Light footsteps, along with jangling of the bags.]
MARTIN
Slow down, I can barely see a thing!
ARCHIVIST
Sorry.
[A bird-call-like sound in the background. It repeats as Martin speaks.]
MARTIN
(surprisingly chipper) No prizes for guessing who’s in charge here, eh?
ARCHIVIST
Mm, I – I suppose not.
MARTIN
You know, I really miss the days when I could blame broken streetlights on the council.
A strongly-worded letter just doesn’t feel as forceful when it’s addressed to (funny voice, pitched lower) whichever Dread Power it may concern.
[The Archivist sighs.]
ARCHIVIST
Mm.
MARTIN
John?
ARCHIVIST
(zoned out) Hm?
MARTIN
(concerned) John, are you alright?
ARCHIVIST
Uh, I – I –
MARTIN
(overlapping) I mean, like, comparatively.
[Slight pause. A different bird screeches in the background.]
ARCHIVIST
(not fine) I’m fine.
MARTIN
Nope. Try again!
ARCHIVIST
Look, I would just really like to get through here as quickly as possible.
MARTIN
How come? This one seems like the quietest place we’ve been in a while – it’s just rows and rows of quiet houses. I mean, I know some people don’t like that sort of thing, but – (slight laugh) – I’m actually finding it kind of relax–
[The Archivist stops walking, his bag(s) jangling to a stop.]
ARCHIVIST
(cutting him off) Martin. Please.
[All of a sudden, it’s apparent he’s breathing heavily.]
MARTIN
…John? Where are we?
ARCHIVIST
I-It’s complicated.
MARTIN
That’s – not an answer!
ARCHIVIST
Can we please just move on?
[In the distance, there is a long, shrill scream. It sounds like it’s coming from a little girl.]
MARTIN
John, where have you brought us?
[Pause.]
[Then the Archivist shifts.]
ARCHIVIST
What do you think happened to all the children when the world changed? Or were you not thinking about it?
MARTIN
(softly) No…
ARCHIVIST
(overlapping) Because they didn’t just vanish. Childish fears are… simplistic. Direct.
[As he’s speaking, Martin reacts and sighs to his words.]
ARCHIVIST (CONT’D)
The Eye prefers the more complex neuroses and disquiets of a fully developed mind. So the children are allowed to age – and they are placed into domains where their fears can… mature.
[Martin exhales.]
ARCHIVIST (CONT’D)
Domains like this one.
MARTIN
Christ, that’s – that’s messed up!
ARCHIVIST
Yes.
[Beat.]
MARTIN
We’ve got to help them.
ARCHIVIST
How?
MARTIN
(getting agitated) I – I don’t know! I’m not the one who’s supposed to know everything, alright? There has to be something we can do!
[Another blood-curdling scream in the background.]
MARTIN
What’s happening to them?
ARCHIVIST
Do you really want to know that? Really? I’ve been trying very hard to keep this one bottled up.
[Martin sighs as he speaks.]
MARTIN
Wh, What about the Avatar? (gaining steam) I know you said it didn’t change anything, th-the domain would still exist, but at this point I don’t care, alright? Anyone who’s chosen to spend their apocalypse tormenting children – God, you need to end them. Now.
ARCHIVIST
It’s not that simple.
MARTIN
Seriously? Seriously?
[The Archivist lets out a heavy, belaboured sigh.]
ARCHIVIST
Fine.
[The bags jingle as he starts walking.]
MARTIN
Okay, good.
[They keep walking.]
MARTIN (CONT’D)
Where are we going?
[The Archivist doesn’t answer.]
MARTIN (CONT’D)
John?
[The Archivist is too busy ringing a doorbell.]
[The background noises of screeching things hang in the silence for a pause.]
[Then:]
MARTIN
John, wait – are you, are you sure? –
[The door opens.]
CALLUM BRODIE
Yeah? What is it?
[This is clearly a child. His voice has a tinge of what do you want to it, like he owns the place and doesn’t particularly like you.]
ARCHIVIST
Callum Brodie.
CALLUM
(hmph) Yeah?
MARTIN
Wait, is this – ?
ARCHIVIST
Are your parents home?
CALLUM
Dad’s dead. Mum’s here, but she lost it a while back. So now it’s just me.
ARCHIVIST
Do you know who I am?
CALLUM
…You’re the Eye guy, right?
ARCHIVIST
That’s right.
CALLUM
So you’re like, real important.
ARCHIVIST
(amused exhale) I suppose I am.
CALLUM
(unimpressed) Okay. So. What do you want?
MARTIN
John, can I have a word?
ARCHIVIST
Sure. Excuse me, Callum.
[Movement as he and Martin step aside to talk.]
MARTIN
(not really a question) That’s the Avatar for this place?
ARCHIVIST
Callum Brodie. Thirteen years old. He guides the children through their fears of the Dark.
MARTIN
This is that kid Basira went after last year, right? The one the darkness cult took. So, So that’s not even a kid, that’s whatever was inside Maxwell Rayner; it’s just wearing his body!
[The Archivist inhales.]
ARCHIVIST
(calling) Callum!
[Footsteps – either the Archivist towards Callum or Callum towards the Archivist.]
CALLUM
Yeah? What?
ARCHIVIST
You remember when those people kidnapped you? What happened?
CALLUM
(nonchalant) Mm – It was fine; I just hid and the cops came and got me.
ARCHIVIST
Tell the truth.
[His static rises. Callum makes a sound of – not exactly pain, but discomfort, whether physical or at the thought of having to be truthful.]
CALLUM
I-I-I was, I was scared, alright? I was really, really scared.
[The static fades.]
CALLUM (CONT’D)
And it was d-dark, and I couldn’t see anyone, and – I didn’t know where I was, and – and there, there was something on my face and – it was cold, and it was slimy. And it didn’t like me.
Then there was a bang, and it was gone. And – the police were there.
ARCHIVIST
And what happened to the thing that tried to take you over?
CALLUM
Don’t know, it – went away.
ARCHIVIST
It died in the light.
CALLUM
Whatever.
ARCHIVIST
And it was after that you started shoving smaller kids into cupboards, right?
CALLUM
Yeah, give them a taste of it. Make them afraid of the dark.
[It’s funny – when he says these last statements, it almost sounds like there’s the slightest of echoes, like his voice is layered. It gives a buzz to his words.]
ARCHIVIST
But you’ve always pushed around smaller children, haven’t you?
CALLUM
They make me feel sick. I hate them.
ARCHIVIST
And now?
CALLUM
Now everyone’s afraid of me.
[Pause.]
ARCHIVIST
Martin?
MARTIN
Fine, you’ve made your point.
ARCHIVIST
Thank you, Callum.
CALLUM
(disgusted sigh) Whatever.
ARCHIVIST
Isn’t it past your bedtime?
[Callum scoffs, and starts to close the door.]
CALLUM
I don’t have a bedtime anymore.
[He shuts the door.]
[Martin and the Archivist start walking.]
ARCHIVIST
You see?
[Martin, however, is still frustrated.]
MARTIN
See what, John; what am I supposed to see? That you don’t want to kill a – thirteen year old kid? Big revelation.
ARCHIVIST
I don’t know what you want me to do.
MARTIN
I want you to use your power. I want you to help them; I want you to make things better!
ARCHIVIST
There is no better anymore.
MARTIN
(increasing in volume, emotion) You keep – saying that, and I hate it!
ARCHIVIST
(also giving in to the argument) I keep saying it because it keeps being true; you know that!
MARTIN
What I know, is that leaving children here is – (struggles for words) i-it’s inexcusable; it’s monstrous!
ARCHIVIST
(overlapping, firm) Martin. Tell me what you want me to do, and I will do it!
[Silence, but for the screams in the background.]
[Then:]
MARTIN
Tell me about this place. I need to know.
ARCHIVIST
I thought you hated listening. (inhale) Are you… sure that’s what you want?
MARTIN
Of course it’s not.
[A jangle as he sets his bag down.]
MARTIN (CONT’D)
But I need to hear it.
ARCHIVIST
Okay.
[An exhale. Static rising. And:]
ARCHIVIST (STATEMENT)
See Jack. See Jack run. Run, Jack. Run into the dark.
Don’t see Jack anymore.
Jack doesn’t want to be in the dark. Everyone knows there are monsters in the dark. Horrible monsters, with sharp teeth and red eyes and big nasty claws, that eat up little children who don’t run fast enough.
So why does Jack run into the dark? Is it because a grown-up told him to? No. Now that it’s dark, the grown-ups are asleep. They are snoring in their beds and will not wake up no matter how much Jack shouts.
Some grown-ups are not in bed, but they do not want to help Jack. They want to be alone. They don’t want any children around at all. They tell Jack it is after his bedtime, and put him in another dark room where he cannot run.
So no grown-ups told Jack to run into the dark.
Is it because he is brave enough to fight the monsters? No. Jack is scared all the time. The world is so big and the night is so long, and the monsters are waiting under the bed and in the closet and down the hallway and in the street and round the corner and behind him.
They cannot wait to eat him.
He wants to be somewhere the monsters can’t get him.
Jack is not brave. So why does Jack run into the dark?
Because everywhere is dark on Night Street. And if he doesn’t run, then the monsters will get him.
Jack has never seen a monster – of course he hasn’t; it’s too dark – but he is sure that they are there. See that shadow, behind the swings? It is twisty and twirly, and if he doesn’t jump over it, Jack is sure that it would cut off his feet and eat them.
See that tree, the one in the back garden? If Jack got too close, he is sure the bark will open like a big mouth and splinter teeth will bite off his hands to wear like apples.
You see that drum, the one from the old drying machine? There’s a big worm that lives underneath it, and Jack is sure that if he disturbs it, it will wrap around him like a big slimy snake and squeeze him until his eyes pop out.
So Jack keeps running. He keeps running through the dark. He runs through his big, dark house. He runs through his big, dark garden. He runs down the big, dark street that just goes round and round and round.
He runs until he sees another child. It’s Callum, from number 27. He’s big and brave and isn’t scared of monsters, though he knows ever so much about them. He smiles when he sees Jack. He is Jack’s friend.
For just a minute, Jack stops running. Callum smiles and says he’s found a brand new monster.
Jack doesn’t want to hear about it. He knows that when Callum tells him what it is, then it will start to chase him. He won’t see it, of course, because it is just too dark. But he will know it’s there.
Jack can’t tell Callum to be quiet, though. Last time he did that, Callum put him in a hole for a very long time, and the next hole would certainly be full of all of Callum’s nastiest monsters.
And anyway, Callum is Jack’s friend. And friends don’t tell each other to be quiet.
So Callum begins to tell Jack about a new monster. It lives down the drain and pops up through the plughole when you’re washing your hands and bites off all your fingers one by one. The only way to stop it is to shine a torch down the hole.
But there are no torches on Night Street. There are no lights at all. No way to check a drain or a shadow or a tree. Only monsters. And the dark.
So Jack begins to run.
See Kaitlyn. See Kaitlyn hide. See Kaitlyn hide in the dark, because everywhere is dark on Night Street.
This time, Kaitlyn is in her wardrobe. The door is closed all but a crack so she can see into her bedroom. But the night light is out, and the room is pitch black, and she can hear the monsters moving about.
They are looking for her. They snuffle and grunt and growl. They knock over her lamp and gut her cuddly toys and talk to each other of whether they want to cook Kaitlyn into a stew or barbecue her arms and legs.
Kaitlyn buries her face in her mother’s old fur coat and she cries and she cries. Her mother is downstairs, but she is part of the sofa now. She won’t stop staring at the television and laughing. Laughing and laughing.
She doesn’t like it when Kaitlyn is awake. She doesn’t hear it if she screams.
The monsters are getting closer. They have looked for her under the bed. They have looked through her chest of drawers. They have climbed up all the bookshelves, and now they are moving towards the wardrobe.
She cannot see them, but their voices are sharp and mean and they come closer and closer and Kaitlyn is ever-so-scared.
Kaitlyn read a picture book once, full of horrible spiky fish with big eyes and crooked teeth. She would see them every time she went to bed for weeks.
That was what the monsters looked like, she was sure of it. They would grip her with their nasty cold fins and bite her head clean off.
Kaitlyn could not hide for long. It was very dark. But their big eyes would see her in no time.
She was curled up in the corner of the wardrobe against a huge pile of scarves.
Wait. There’s someone behind the pile! Kaitlyn can barely see, but it looks like – Callum Brodie! What is he doing in her wardrobe?
Kaitlyn doesn’t like Callum Brodie. He punches her in the arm sometimes and calls her a baby, and he’s always told her the monsters were going to get her. He was a bully.
“Go away, Callum Brodie,” Kaitlyn says. “I’m trying to hide.”
Callum Brodie just smiles a big grin full of crooked teeth.
“She’s in here!” Callum Brodie shouts, loud enough for the whole street to hear. Kaitlyn can hear the monsters coming towards the wardrobe. She pushes Callum Brodie back and opens the door.
It is so dark outside that she can’t see anything at all, but she runs and she runs and she runs, looking for another place to hide.
See Kaitlyn hide.
[Something creaks in the background – not the typical wooden creak, but like a door that won’t close properly squeaking in the wind.]
[Static rushes in, then fades.]
[When the Archivist speaks, it’s got a snap to it.]
ARCHIVIST
Is that enough for you? Do you need to hear more?
ARCHIVIST (STATEMENT)
See Luka. See Luka sleep –
MARTIN
(cutting in) No, no, no; that’s enough!
[A jangling as he – reaches over?]
MARTIN (CONT’D)
That’s enough.
[Pause.]
[A few steps.]
[Then, clothing sounds as the Archivist speaks:]
ARCHIVIST
Thank you for not hitting me this time.
[A pause that stretches on for the span of three heavy breaths.]
ARCHIVIST (CONT’D)
Was that what you wanted? What you needed?
[Beat.]
MARTIN
No, it didn’t help at all.
ARCHIVIST
I’m sorry.
[Another pause.]
MARTIN
Let’s get out of here.
ARCHIVIST
If you’re sure.
MARTIN
The sooner we get back to the Archives, the sooner we can put a stop to this. All of this. They just – (inhale) They’ll just need to hang on a little longer.
ARCHIVIST
Right. (exhale) Right.
MARTIN
Come on.