Oct. 19, 2020

Part 4 "The Voices"

Part 4

A wrong choice, a hollow home, a truth told...

Malevolent follows Arkham Investigator Arthur Lester as he unravels the mysterious circumstances that have befallen him.

This fourth part shows the result of Arthur's choice when dealing with the Wraith and the fallout of that decision. A kindness on Arthur's part leads him down a dark and murderous path... If you enjoyed this story, become a Patreon supporter to receive all Chapters as they are completed as well as the choices that you, the listener, get to make. Find out more here: https://www.patreon.com/TheINVICTUSStream


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Original transcript by Carley McConnell and Jack! Reviewed by Moon.


(BEGIN Part 4.)


(Arthur breathes heavily. The baby quietly cries. Rainfall outside.)


ARTHUR: We’re going to spare her.


ENTITY: Really?




ENTITY: What are you going to ask for?


ARTHUR: Something simple. Something that I know she can do for us.


ENTITY: Right.


ARTHUR: Um... oh. Alright. I can ask her something simple, right?




ARTHUR: Okay. I offer to free your soul in exchange for guidance towards the nearest town.


ENTITY: Interesting. Now, cut the chair.


(Suspenseful music rises as Arthur cuts the chair. The wraith wails. Arthur breathes heavily.)


ARTHUR: Is she?


ENTITY: I see the direction she is pointing. She has honored your offer.


ARTHUR: Thank you.


(The wraith quiets to nothing in a reverberating echo.)


ARTHUR: Is she?


ENTITY: Yes. (A pause, only the sound of rain falling.) We need to leave this place.


ARTHUR: Agreed, that child needs warmth, sleep and most importantly, something to eat. Let’s leave this place and never look back.


(Arthur steps, shushes the baby.)


ARTHUR: It’s alright.


(As the baby continues to cry, Arthur steps through a door and shuts it behind him. Thunder rolls as Arthur continues to walk.)


ENTITY: So. What’s the plan?


ARTHUR: Find somewhere safe, I guess, give the child to the authorities, maybe?


ENTITY: You think that will be easy? Remember you’re still wanted back in Arkham.


ARTHUR (annoyed): Yes, yes, I know. For now, the child’s life is most important. If we just wanted it to die we would’ve left that place an hour ago. (He sighs.) Now, is there a road? You mentioned one leading away from the house?


ENTITY: Yes, the driveway. It’s overgrown but leads through the woods.


ARTHUR: Well, I suppose there is only one way to go, then.


(Thunder rolls as Arthur walks through the grass.)


ARTHUR: This brings me back to the woods before the accident.




ARTHUR: We’ve been a bit preoccupied, but… what was all that about? I-I mean, why did the woman give us this child, and what was in the woods?


ENTITY: There was something animal following us. I’ve felt it since then.


ARTHUR: Yes, and, and the typewriter in the basement?


ENTITY: The black goat comes.


ARTHUR: Yes. Exactly. There is something larger going on here. It - something that feels almost...


ENTITY: Unfinished.


ARTHUR: Yes. (A pause.) I know it’s dark, but... you don’t see anything, do you?


ENTITY: I promise you, Arthur, I’ll let you know the minute something begins to follow us.


ARTHUR: No, thank you. In fact, this is one time I would be happy to just walk blindly around.


(A brief pause. The baby cries intermittently. Arthur’s footsteps and the sound of rain, getting quieter.)


ENTITY: The rain is letting up.


ARTHUR: Thank god, feels like it’s been storming forever.


(The rain stops.)


ENTITY: I think I see a main road.


ARTHUR: Where? Where the driveway leads out?


ENTITY: Yes, it’s overgrown – no wonder this place is abandoned. It’s near impossible to see.


ARTHUR: And this road?


ENTITY: It’s paved and, more importantly, I see lights. A fair distance, but a manageable walk away.


ARTHUR: Thank god. Let’s just move. (Arthur walks on gravel.)


ENTITY: It looks like a truck stop, diner and gas. I’m not sure what you’d call it.


ARTHUR: Let’s just call it a blessing. (Arthur breathes heavily.) God, I can practically taste the coffee now. Does it have a large glass window on the front and a wraparound counter inside?


(The baby cries louder.)


ENTITY: Yes. And a number of people.


ARTHUR: Oh, wonderful.


ENTITY: A woman, crying. She’s wrapped in a blanket.


ARTHUR: Crying?


ENTITY: She looks ragged, cut up – there’s a police officer with her.


ARTHUR: Wait. What?


ENTITY: Arthur, I think this might be a bad idea. There’s a phone booth to your right, let’s just wait a moment.


(Arthur steps. The sound of electronic buzzing rises in the background.)


ARTHUR: Well? What are they saying?


ENTITY: I don’t know, Arthur. I can’t read lips, but she does look inconsolable.


ARTHUR: Wait, you... you don’t think… the car that pulled off to the side of the road…


ENTITY: The one we originally stopped for?


ARTHUR: Yes. You don’t think that this child’s mother…


ENTITY: She definitely looks like someone who has lost something of immeasurable value.


ARTHUR (sighing): What is the police officer doing?


ENTITY: He’s just listening to her. Maybe consoling her. The – there’s another officer that’s just appeared from the back.




(The sound of a rickety truck pulling up. Someone gets out and shuts the door.)


ENTITY: There’s a truck pulling up to the diner. Looks like a man getting out, he’s left his engine on.




ENTITY: He’s pulling a case out of the back of the flatbed. It looks like he’s delivering something.


ARTHUR: Right.


(The sound of knocking on the diner door, muffled voices.)


ENTITY: Arthur, his flatbed is empty, and the truck says Crawford Farm, Harper’s Hill.


ARTHUR: Amanda Cummings lives in Harper’s Hill.


ENTITY: What do you want to do?


ARTHUR (sighing, a long pause): Even if this child doesn’t belong to that mother, we should leave her with them.


ENTITY: You want to give them a baby?


ARTHUR: No, I mean – that would lead to too many questions, but maybe we can leave her on the stoop of the diner and… get their attention.


ENTITY: Arthur, are you sure?


ARTHUR: Yes. No? Y-yes. We’re in no condition to be taking care of another life and she’d be so much safer with them. And this car may be our only chance to get to Harper’s Hill.


ENTITY: You want to ask him for a ride?


ARTHUR: No. Maybe, I don’t know. I mean, we could, or we could just climb into the back of his flatbed.


ENTITY: If he catches you…


ARTHUR: Well, that could be bad, but if we just ask that could be worse.


ENTITY: Alright. Well, let’s cross that bridge when we get to it. For now, if you stay low there is a cement partition you can hide behind on your way to the front entrance.






ARTHUR: Do me one favor first. (Slowly.) Describe her to me.


ENTITY: The child?


ARTHUR: Yes. I won’t get to see her but… maybe just let me know what she looks like so I can try to remember.


ENTITY (sighing): She has warm eyes. (A gentle melody begins to play. The baby babbles.) A soft blue, and a curling smile through thin lips as if she knows more about the world than she’s letting on. Her eyebrows are thick and curious, and her fingers are chubby but long: a piano player for sure one day.


ARTHUR: Thank you for that.


ENTITY: N-no, of course.


ARTHUR: Alright, here we go. Shhh, it’s alright. I hope to see you again soon.


ENTITY: They haven’t seen you, let’s go.


(The baby’s cries get fainter as he steps away on the gravel.)


ENTITY: Arthur, keep your head down.


ARTHUR: I just want to watch. I want to make sure they see her.


ENTITY (sighing): Alright.


ARTHUR: Do they see her yet, I...?


ENTITY: Yes, they’ve seen her. They’re panicked. The woman, she’s… crying. Arthur, I-I think this is her mother.






ARTHUR: I mean, we did pull over to see if we could help. I suppose we did. Okay, where’s the truck?


ENTITY: Back along the partition. (Arthur steps.) Stop. Right here. Okay, what’s your plan?


ARTHUR: I’m just going to ask them for a ride.


ENTITY: What? Why?


ARTHUR: Because, let’s be bold. There’s no sense in dancing around it when we know we’re going to Harper’s Hill


ENTITY: Exactly, why bother interacting with someone?


ARTHUR: We’re… I’m doing it. Is he in the truck?


ENTITY: He’s heading to it now, but...


ARTHUR: Alright.


ENTITY (in a growly whisper): Arthur! Arthur, stop! Listen to me!


ARTHUR: Excuse me, sir. I’m so sorry to bother you but I was wondering if I could get a ride.


ENTITY (harshly): Arthur! You went to the wrong truck. This one just pulled up. It doesn’t have any signs on it.


TRUCKER (muffled): Sure.


ENTITY: He’s waving you over to the passenger’s side.


(Arthur steps, opens the door, and slides in.)


ARTHUR: Thank you!


TRUCKER (louder but still muffled): Of course. No sense in leaving you out here alone.


ARTHUR: Well, you could’ve.


(The trucker breathes slowly and heavily.)


ENTITY: Arthur, this man is wearing a gas mask. I can’t see his face, but his head seems to be fixated on the road ahead of you.


ARTHUR: I, um... (He clears his throat.) Thank you, I appreciate it. I’m heading to Harper’s Hill.


TRUCKER: It’s all good.


ARTHUR: My name’s Arthur.


KELLIN: Kellin.


ARTHUR: Nice to meet you.


(A pause.)


KELLIN: You’re wondering about the mask.


ARTHUR: No, I’m just thankful for the ride. I appreciate it.


KELLIN: I was in the great war. My lungs... They didn’t do so well with all the chemicals.


ARTHUR: Right. Completely, I...


KELLIN: I try to be more careful is all.


ARTHUR: That’s completely fine. Ah, thank you for the explanation.


(A pause.)


KELLIN: I didn’t need to.


ARTHUR: Sorry?


KELLIN: I didn’t need to tell you.


ARTHUR: Right.


KELLIN: I wanted to.


ARTHUR: W-well, thank you for that. I appreciated it.


(The sound of Kellin breathing through a gas mask. Periodically, they pass another car or make a turn. The engine continues to rumble.)


ENTITY: Arthur, need I remind you that you’re still, most likely, wanted by the police? You’ve been in an accident, you’ve just dropped a missing child off at the diner where this man was. This is a bad idea. We shouldn’t be –


ARTHUR (sudden, fierce): Quiet.




ARTHUR: Nothing. Sorry, did I say that out loud? I… it’s been a long day.


KELLIN: Do you know how to sing?


ARTHUR: Sorry?


KELLIN: I... (ARTHUR: I, uh.) It took me a second to realize what was going on.


ARTHUR: That’s alright. Th-thank you again for the ride.


KELLIN: Of course. Could use the company really, and after all, I’m done my day. (ARTHUR: Right.) Name’s Kellin, Kellin Holeman.


ARTHUR: Yes, yes. You mentioned…


KELLIN: It’s Gaelic. You know what it means?


ARTHUR: No, uh...


KELLIN: It means slender. Thin. Like timber in a forest that’s been cleared.


ARTHUR: You don’t say. A-and why do you think your parents named you that?


KELLIN: Don’t know, but I’ve heard it before, you know?


ARTHUR: Heard what?


KELLIN: Slender.


ARTHUR: Yes, um. Me, too.


KELLIN: You’ve heard it, too? So, you know how to sing?


ARTHUR: Um, not really, no, I...


KELLIN: The radio’s out.


ARTHUR (laughing nervously): Ah, right. I was wondering what you meant.


KELLIN: Yes. (ARTHUR: I was a bit confused, frankly.) Do you mind if I sing?


ARTHUR: Uh. No, not at all.


KELLIN (taking a shaky breath, singing): “I don’t care if it rains or freezes, long as I got my plastic Jesus sitting on the dashboard of my car. It comes in colors pink and pleasant. Glows in the dark ‘cause it’s iridescent. With my plastic Jesus, I’ll go far.”


ENTITY: Arthur, something is wrong with this guy. We need to get out of the car.


ARTHUR: I appreciate the ride, very much. How far is it to Harper’s Hill?


KELLIN: Shhhh.


ARTHUR: I-I’m sorry, I...?


KELLIN (harsher): Shhhhhh.


ARTHUR: Right, well. Maybe I should get out now, do you mind?




ARTHUR: Well, I-I don’t want to intrude on your evening.


KELLIN: It didn’t stop you in the first place, from asking for a ride.


ARTHUR: I-I’m sure you have–


KELLIN: I already told you I was done. You didn’t like my singing?


ARTHUR: N-no, of course not, I just...




ARTHUR: No, I mean, of course I do and I appreciate the ride very much.


KELLIN (shakily): You keep saying that.


ARTHUR: Because it’s true!


KELLIN: Then why do you keep… (Heavy breathing.) Then why do you keep on trying to leave? Pfft. You’re just like all the others.


ARTHUR: All the others?


ENTITY: Arthur!


KELLIN: Yes. You won’t sing but you heard my name just the same. (Singing. Tense music in the background) “Through my trials and tribulations – (ENTITY: Arthur!) “And my –” (ARTHUR: Kellin, I –) “Travels through the nations –” ((ENTITY: Arthur!) (ARTHUR: I don’t mean anything –)) “With my plastic Jesus I'll go far.” (Normal voice.) You do have the lord – (ENTITY: Arthur!) Ssssh. Quiet. (ENTITY: Arthur, open the fucking door and roll out! This man is unstable.) Quiet! You have the lord, don’t you?


ENTITY: Arthur, he’s reaching for the glovebox.


KELLIN: Sssssh. Quit talking so loud!


ARTHUR (shaken): I’m – I’m not saying anything.


KELLIN: Not you. Sorry, they sing so fucking loud, you know. (He grunts.) Is it your turn again?


ARTHUR: For what?


KELLIN (harshly): For singing, Arthur! Is it your turn?


ARTHUR: Yes, if you’d like, I-I...


KELLIN: Then sing!


ARTHUR: Okay. (He sings shakily.) “I can’t forget the night I met you. It’s all I’m thinking of. But now you call it, uh... but I call it love…”


KELLIN: No. No. No. No. You’re missing a word. You skipped a word: madness. Why, Arthur? What makes you nervous – (ARTHUR: I–) To say madness?


ARTHUR: I forgot the lyric. I just forgot what the word was. That’s all.


KELLIN: Oh. It’s because of me, isn’t it?


ARTHUR: No, no.


KELLIN: You think…


ARTHUR: I-I don’t think anything. Look, I just, I want to get out. If you could just pull over to the side.


KELLIN: It’s because I hear voices in my head. Because they sing songs that I’m mad. Oh, dear. I offered you a ride. That’s not very nice of you, Arthur. I need to think.


ENTITY: Arthur, he’s slowing down to the side of the road. When he stops, get out of the car, and run!


(The truck pulls to a stop. Kellin kills the engine and sighs.)


KELLIN: Arthur. I need –


ENTITY: Arthur, run!


KELLIN: Arthur? I just need a moment to consider how you’ve hurt my feelings. Just sit right there.


ENTITY: Arthur, get out of the car and run!


KELLIN: And if you move, I will fucking kill you. Thanks.


ENTITY: Arthur? You’re not going to run, are you? (The Entity whispers.) Coward.


KELLIN: I lost my temper there, didn’t I? (Arthur breathes shakily, Kellin whispers.) It’s not going to be okay. Let me just bring him back to the place and then we’ll talk. I can’t do this without you. Okay! Okay! (Normal voice.) Say you’re sorry.


ARTHUR: I… I’m sorry.


KELLIN: I forgive you.


(Kellin starts up the truck again.)


ENTITY: Arthur, what is your plan here? You missed our chance to run. So now what? We’re at the mercy of this man?


ARTHUR: I’m really sorry, Kellin. I didn’t mean to offend you.


KELLIN: Offend.


ARTHUR: Yes. (A pause.) So, uh. How far did you say it was to Harper’s Hill?


KELLIN: I didn’t.


ENTITY: Arthur, I think we are turning off the main road.


ARTHUR: Kellin, I…


KELLIN: I get sick some days. In the summer. You ever get that?


ARTHUR: Some days?


KELLIN: It used to drive my sister wild. I would cough till my lungs felt like broken glass. It was like it was the breeze that made me sick.


ENTITY: Arthur, we’re heading down a long, thin, dirt road.


ARTHUR: You mean like hay fever?


KELLIN: Yes! That. Yes. That was the name of it. Animals can get it too, did you know that?


ARTHUR: No, I, I didn’t.


KELLIN: You think I’m lying.


ARTHUR: No! No, of course not.


KELLIN: My cat had that, but not for the summer. She’d cough and wheeze whenever we touched her. She was always trying to pull herself away from me.


(The truck pulls onto a gravel road. Kellin kills the engine, grabs the keys.)


KELLIN: You think she was sick from me?


ARTHUR: No, no. Of course not.


KELLIN: My mother did.


ENTITY: Arthur, this isn’t a house… or maybe it will be. It’s just a series of small buildings in the forest. Some piles of wood. Most of the buildings are just framing without walls. It’s far off from the main road.


KELLIN: I would hold her. Tight. She would cough and wheeze, but I didn’t let her go. If I let go, she would just run away, you know?




KELLIN (heavy sighing): Thank you for not running away. (He sniffs.) Let’s go.


ENTITY: Arthur, he’s reaching for the glovebox. The– (Kellin opens and closes the glove box.) There’s a gun inside, Arthur. He’s just grabbed it.


(Kellin gets out of the truck.)


ENTITY: He’s left the car, Arthur. (Arthur sighs shakily.) What are you going to do?


ARTHUR: I, I don’t know.


ENTITY: He’s waiting for you.


ARTHUR: Just tell me everything you see and we’ll…


ENTITY: He’s pointing the gun.


ARTHUR: Alright.


(Arthur gets out of the truck.)


KELLIN: I want to show you what I’ve been working on.


ENTITY: Arthur, his back to you. You could attack him. Take his gun.


ARTHUR: No. No, I can’t!




ARTHUR: Nothing! Sorry… no.


KELLIN: Are you mocking me?


ARTHUR: No, Kellin. I’m very interested in what you’ve been working on.


(Kellin pauses. The sound of footsteps.)


KELLIN: Have you been watching me?


ARTHUR: No. God, no.


(Kellin sighs heavily. Arthur breathes.)


KELLIN: I’ve been building this all, piece by piece, bringing parts in from town. Do you know the hardest part so far?


ARTHUR: No, no…


KELLIN: Guess.


ARTHUR: I, I couldn’t.


KELLIN: Guess.




ENTITY: Fucking guess, Arthur.


ARTHUR: I… maybe the... maybe just getting it here? Getting all the pieces.


KELLIN: You think I’m weak?


ARTHUR: What? No!


KELLIN: Do I look like I’m not strong enough to carry wood?


ARTHUR: No. I, I just meant –


ENTITY: Arthur, stop. He’s just going to take it wrong.


KELLIN: Quiet! Quiet. I knew what you meant. I’m not an idiot. (Footsteps.) No, that’s not the hardest part. The hardest part was this.


ENTITY: He’s leading you into the large, half-finished building. It looks like the main house, maybe. The door is only a tarp, but the walls are all here. Some of the framing in here isn’t finished, but for the most part, the house is functional. There is a cot to your right and some other things…


KELLIN: This way. (Kellin pushes past a tarp.)


ENTITY (breathing sharply): You need to slow down if you want me to notice more things.


(Kellin and Arthur both step.)


ENTITY: We’re in a room at the back of the house. There’s no roof over this part.


ARTHUR: It’s very impressive.


KELLIN: This wasn’t the hardest part.


ARTHUR: No, of course, I, I just mean the work you’ve done here.


KELLIN: I did it all myself.


ENTITY: This room is a simple room. There’s an oil drum in here but there’s – wait. (Tense music starts.) No, there is a metal sheet lying on the floor as well. He-he’s bending down to it.


(Kellin scrapes the metal across the floor.)




ENTITY: Arthur, there is a basement. He had the stairs covered by that metal sheet. (More intense.) You can’t go down there. You need to stop, now. (A coin toss.)


ARTHUR: We have to. He has the keys. We have no way out.


ENTITY (harshly): Arthur, for fuck’s sake!


(Arthur climbs down the stairs.)


KELLIN (whispering): Just ask him, you want me to ask him? Okay, fine! I’ll just ask him. But I’m not going to – (He cuts himself off.)


ENTITY: This is a stone-walled cellar. It looks like he’s dug it by hand.


KELLIN: Why did you come here?


ARTHUR: I, I’m not sure what you mean, Kellin. You – you brought me here.


ENTITY: Arthur, I think…


KELLIN: Shhh. Quiet.


ENTITY: He’s trying to –


KELLIN: I said quiet! You came to me. You said you’ve heard my name, you said you liked my singing. You like my house.


ARTHUR: Of course, Kellin, but you brought me here. Maybe you just –


KELLIN: I’m just trying to find out if I am here to save you. Or if you are here to save me.


ARTHUR: No one needs saving. There’s nothing –


KELLIN: Yes, we do! How!? How do you get it to listen to you!?


ARTHUR: What? How do I get what to listen to me?


KELLIN: That voice inside your head. The one that keeps telling you things.


ENTITY: Arthur.


ARTHUR: Wait. You can...?


KELLIN: Of course, I hear him. And the voices in my head won’t shut up unless I -


ENTITY: Arthur, don’t tell him about me. He’s lying. He’s bluffing, he’s crazy. He’s just talking about his conscience. He doesn’t understand. (The Entity’s voice gets deeper at the end.)


KELLIN: Tell me. Don’t lie to me. Do you hear a voice inside your head as well?


(A pause.)


ARTHUR: Yes. Yes, I do.


ENTITY: Arthur, you…


ARTHUR: I do hear a voice inside my head.


KELLIN: You’re lying to me.


ARTHUR: No. No, I’m not.




ARTHUR: Why what?


KELLIN: Why are you lying?


ARTHUR: I’m not, Kellin. I do hear a voice as well. It… it tells me what I see.


KELLIN: What you see?


ARTHUR: Yes. It has control of my eyes. I... can’t see anything.


KELLIN: How do you stop it?


ARTHUR: You don’t. You start listening to it.


ENTITY: Arthur, you fucking idiot. He can’t hear me. Hey, Kellin, your mother was a whore.


KELLIN: Well then, I know what I have to do.


ARTHUR: You don’t need to do anything.


(Kellin walks away and climbs the stairs.)


ENTITY: Arthur, you’ve just told a man who hears voices to listen to them. He’s heading back upstairs. You fucking idiot.


ARTHUR: I… I don’t know what you want from me, okay? I…


ENTITY: You really thought he could hear me?


ARTHUR: Yes! No. I don’t know. I don’t know.


ENTITY: Well, what now?


ARTHUR: Let’s get the fuck out of here, maybe he – (Arthur begins to walk.)


ENTITY: Wait. Arthur, there is a makeshift bed in the corner.




ENTITY: It looks like someone was sleeping down here.


ARTHUR: So? He sleeps down here.


ENTITY: No, there was a cot upstairs that he was clearly using.


ARTHUR: Right, so you think that…


ENTITY: Arthur, there is also a chain on the ground.


(Tense violin music.)


ARTHUR: Do, do you think…


ENTITY: I don’t think we’re the first person he’s brought back here.


ARTHUR (breathing heavily): We need to get the fuck out of this basement now.


ENTITY: Arthur, we have entertained this man enough. We don’t just need to leave the basement, we need to take his truck and leave this place.


ARTHUR: But his keys –


ENTITY: Are in his pocket, we have to get them.


ARTHUR: Alright.


(Arthur walks up the stairs.)


ARTHUR (whispering): Where is he?


ENTITY: I don’t know. I don’t see him.


ARTHUR: The truck?


ENTITY: Still here.


ARTHUR: Well, then, where did he go? Where was his cot again?


ENTITY: By the front door. (Arthur steps.) No, your… yes, that way.


ARTHUR (pulling a tarp aside): Is there anything here of substance?


ENTITY: A couple of articles, a photo.


ARTHUR: A photo? Who’s in the photo?


ENTITY: Two kids. A boy and a girl.


ARTHUR: He and his sister, perhaps?


ENTITY: Possibly, but he’s not wearing a mask, so I don’t know.


ARTHUR (sighing): What do the articles say?


ENTITY: One headline reads “missing girl.”


ARTHUR: Jesus. Should we check the truck just in case?


ENTITY: No – let’s head out back. Oh – wait. Hold on. (Dice roll.) There’s a rifle just tucked under his coat.


ARTHUR (gasping): Oh, thank God.


(Arthur picks up the rifle and starts to walk.)


ARTHUR: Alright.






ENTITY: Nothing, just... this house. It looks like it’s been in a state of construction for years.


ARTHUR: What do you mean?


ENTITY: The wood isn’t fresh, it’s dry and old. The floorboards don’t look new but instead well worn. It looks as though someone just gave up.


ARTHUR: Do you suppose this is even his place originally?


ENTITY: I... I don’t know. There’s another tarp hiding the back yard.


ARTHUR: Should we be quiet?


ENTITY: He left us alone in the basement, I think he knows exactly what he’s doing.


(Arthur steps and pulls aside the tarp.)


ENTITY: The trees open here quite a bit and… it looks like there is a lake, just beyond. I see a light.


ARTHUR: Alright. (Arthur steps into crunchy ground.)


ENTITY: The ground is sandy here and… I see him. He’s on the end of a long dock that leads out onto the lake.


(The sound of gentle waves.)


ARTHUR: What is he doing?


ENTITY: He’s looking at the moon and he doesn’t have his gun.


(Arthur steps onto the dock. Kellin’s breathing is audible.)


ARTHUR: Kellin?


KELLIN (sighing): She came to me. Did you know that?




KELLIN: She asked for my help.


ARTHUR: Why did that do that?


KELLIN: ‘Cause she knew I heard them too.


ARTHUR: The voices?


KELLIN: Yes, only…


ARTHUR: Only what?


KELLIN: Only hers weren’t like mine.


ARTHUR: Kellin, I…


KELLIN: We had to shut her up. (He pauses.) They keep telling me to check on her, but I don’t want to.


ARTHUR: You don’t have to.


KELLIN: You told me to listen. I’m listening.


ENTITY: Arthur, he’s reaching down to something by his feet. (Kellin fiddles with a chain. Suspenseful music begins to play.) There’s… a chain, leading off the dock and into the water. He’s begun pulling it up.




ENTITY: I don’t know, Arthur. The chain is wet and covered in algae. It’s–it’s fairly long. Wait. He’s pulled up something. It looks like… a bird cage, but there’s something inside.


(Something drips as Kellin pulls up a cage.)




ENTITY: Arthur, he has a human head in the cage.


ARTHUR (loudly, in disgust): Jesus fucking Christ!


ENTITY: Waterlogged and thick with rot.


ARTHUR: What the fuck?




ARTHUR (breathing hard): Kellin, what the fuck is going on!


KELLIN (whispering): I’m sorry I ignored you for so long.


ENTITY: Arthur, he’s talking to it.


KELLIN: What do you need to tell me?




ENTITY: Arthur!


KELLIN (a deep sigh, then his normal voice): Arthur? Tell that voice in your head that my mother was not a whore.


(A clap of suspenseful music.)






KELLIN: I might not be able to hear him, but she can. She knows what’s inside of you, Arthur. And she knows what it is.


ARTHUR: How, how does she know that?


ENTITY: Arthur, he’s –


KELLIN: She says... what!? (To the head.) What? What do you mean?


ARTHUR: Kellin?


ENTITY: Arthur, don’t!


(The sound of a step against the dock.)


KELLIN: No. No, not you. No. You can’t do this to me.


ARTHUR: Kellin, let me help you.


KELLIN (frantic): No, not you! You’re mine! You came to me. You’re mine!


ARTHUR: Kellin? Kellin, what is she saying?


(Suspenseful music rises, then stops.)


KELLIN: She says she wants to be with you. To help you with that voice inside your head. She says she can hear it… and she can make it stop. (Music starts again.) I’m not going to let that happen. She came to me. I’m going to cut your throat and let you bleed out on this dock.


ENTITY (growling): Arthur! Would you, just for once, fucking listen to me! Take the rifle off your back and shoot this guy in the fucking head. Now!


(A pause.)


ARTHUR: I’m sorry, Kellin.


ENTITY: Yes, Arthur, YES!


(Arthur raises the gun to shoot. The gun clicks.)


ARTHUR: What? (ENTITY: What?)


KELLIN: I don’t keep that rifle loaded, Arthur.




KELLIN: Ready or not. Here I come.


(Kellin starts to run across the dock.)




(Intense music. Kellin’s breathing is loud and fast as he gets closer.)


ARTHUR: Jesus fucking Christ! Where?! (Arthur starts to run.)


ENTITY: Run to your left. (Arthur gasps.) No! Turn!


ARTHUR: I can’t. I-I don’t know where…


ENTITY: There’s a large rock near the shore to your left.


(Arthur rummages around.)




ENTITY: Yes! (Arthur pants.) Wait.




ENTITY: This isn’t a rock. It’s an overturned boat. Arthur, we can use this!


ARTHUR: Where is – ?


ENTITY: He’s coming closer. We need to move.


ARTHUR: Where? The boat?


ENTITY: We’re too close to the dock, still.


ARTHUR (desperate): What do we do?


ENTITY: Just. Stay down.


ARTHUR (whispering): Fuck.


(Kellin’s breathing is audible as he walks along the grass.)


ENTITY: We’re too close to the dock, still. If we try to use the boat now, he will see us.


ARTHUR (whispering): Fuck.


ENTITY: We need a distraction. Something to keep him occupied.


ARTHUR: What if we… what if we… what if we went to the truck and honked the horn?


ENTITY: No. That’ll only draw him. (Arthur: Fuck!) Not keep him busy. We need –






ARTHUR: Fire, we’ll start a fire at his house.


ENTITY: Arthur, are you sure?


ARTHUR: We have no choice.


(A pause while the Entity thinks.)


ENTITY: Stay low and move quietly.


(Arthur starts to walk, breathing shakily.)


ENTITY: Arthur, stop! Don’t move. (Kellin sings softly: “Long as I got my plastic Jesus...’) He can’t see you right now. Wait… Wait… Go!


(Arthur continues to walk along the grass.)


ENTITY (quickly): Just past these trees. You’re almost at the house.


(Arthur walks on solid wood.)


ARTHUR: What am I looking for?


ENTITY: Quickly, to his bed. (Arthur pushes aside a tarp.) I thought I saw a… yes! There! A lighter!


ARTHUR: Do we need…?


ENTITY: Wait! I hear him. (Tense music starts. Arthur gasps.) He’s coming up behind us, you need to hide.


ARTHUR: Where!?


ENTITY: Now, quickly! Just – hug the wall. The other wall! Arthur, no! Not under his bed!


(Arthur fumbles underneath the bed, breathing shakily.)


KELLIN: Little pig, little pig, Let me come in. (Whispering.) By the hair of your chinny chin... (Normal voice.) Arthur, I know you’re here. (He steps closer.) You don’t understand. My sister, she’s… she’s everything I have. I can’t let her leave. Which means, you can’t leave either.


(He pulls aside the tarp.)


KELLIN (harshly): Fine! You want to do it this way. You tried to shoot me. I think instead of letting you bleed out, I’m gonna to cut your fucking head off and put it in the water right next to her so you can be together. Just like she wants. (He steps closer.) There you are!


ENTITY: Arthur!


(Arthur grunts in pain as Kellin catches him. Arthur scrabbles away amidst suspenseful music.)


ENTITY: Arthur!


KELLIN: I’ll huff… and I’ll puff...


ENTITY: Arthur, you dropped the lighter!


ARTHUR: I fucking know! Where? Where did I drop it? Where is it?


ENTITY: Behind you, to your right! No, more to the left! No!


KELLIN: And I’ll blow your house down.


(The lighter flicks on.)


ENTITY: Yes, light the bed! It’s catching! Just wait. Hold the lighter! Another second! Just hold it there!


(Arthur is stabbed. His ears start to ring.)


ARTHUR (in pain): Agh! Fuck!


ENTITY (faint, fading back in as the ringing fades): Arthur! Arthur! Arthur!


(Arthur continues to whimper and moan in pain. Kellin’s breathing is audible. The sound of crackling fire gets louder.)


KELLIN: No! My pictures! (He starts to fumble for the pictures, occasionally grunting in pain.)


ENTITY: Arthur, you need to move.


ARTHUR (in pain): My stomach…


ENTITY: Is bleeding, a lot. But his back is to you.


ARTHUR: The fire?


ENTITY: It’s spreading quickly… the wood is old, but Arthur, you need to move!


(Groaning in pain, Arthur splashes into the water.)


ARTHUR: Where is the boat?


ENTITY: You’re heading there, just keep moving.


ARTHUR: My whole waistline, it feels wet with –


ENTITY: Arthur, you’re bleeding a lot. (ARTHUR (breathless): Oh.) Just. Just move. Keep pushing. You can do this, the tree line is lit up behind you. I can see the light off the lake.


ARTHUR: How does it look?


ENTITY (impatient): It looks fine, Arthur. Focus.


ARTHUR: No. No, tell me…


ENTITY: It looks like a sunset. The boat! It’s here. Push it into the water and let’s go!


(Arthur pushes the boat, groaning in pain. It splashes into the water.)


ENTITY: Alright, it’s in the water. Climb in.


ARTHUR: How far is the dock?


ENTITY: What? Arthur, just…


ARTHUR: The dock!


ENTITY: You’re right next to it.


ARTHUR (breathless): No, tell me. If I, if I push the boat like this, will it...?


ENTITY: Yes, it’ll be right next to the dock.


ARTHUR: Good. ‘Cause. We’re going back and getting the head.


ENTITY: What!?


ARTHUR: We’re t –


ENTITY: Are you insane!?


ARTHUR: He said she wanted to help. (ENTITY: Arthur!) He said she can hear you. (Fiercely. The Entity growls.) Fuck you! We’re doing this. (Arthur continues to grunt as he pushes the boat.)


ENTITY: It’s at the end of the dock. You need to move.


(Arthur pants.)


ARTHUR: Where is the boat?


ENTITY: It’s gliding, very slowly here. You might need to swim for it.


(Heavy footfalls on the dock, and the sound of Kellin’s breathing as he runs.)


ENTITY: Arthur!


(He tackles Arthur and they both fall into the water. A fight starts.)




(The sound of bubbles under water, followed by Arthur breaking the surface, gasping for air.)


ENTITY: Arthur, focus! You can do this. Keep your head above water and… (The sound of a struggle, splashing water.) Yes! Arthur, the knife. You can get it! Just keep pulling.


ENTITY: Yes, Arthur. Do it. You have the knife. Run it across his throat. Slit his throat! Arthur, kill him!


(Arthur slices the knife across Kellin’s throat. He gurgles.)


ENTITY: Arthur. Yes! You did it! He’s pulled away. He’s still moving. He’s... Arthur, he’s trying to crawl back up the dock, but he’s leaving you alone. (Kellin gurgles.) The boat is near you. Go! Let’s get out of here.


ARTHUR: Not without the head.


ENTITY: Yes, the head is in the water. The chain is – (More heated.) Just get in the fucking boat first and then you can pull in the head (ARTHUR: Okay.). (Groaning in pain, Arthur climbs into the boat.) Yes, there!


(The sound of the chain rattling as Arthur pulls. The sound of the fire rises slowly in the background.)


ENTITY: Arthur, the smoke from the fire is moving down towards the lake. It– it looks almost like a fog moving in.


ARTHUR: We need to get out of here.


ENTITY: The head. It’s still attached to the dock.




ENTITY: Wait. Kellin… he’s undoing the chain.


(Emotional piano music starts to play.)




ENTITY: I don’t know.


ARTHUR: Is it...?


ENTITY: He’s holding his neck closed. The blood is… He’s done for, Arthur, but... but he’s unlocked the chain. He’s taken off his gas mask. I… I can’t see him anymore, the smoke has surrounded him. You need to start paddling. The fire is reaching the edge of the water. The smoke is… too thick.


(Arthur starts to paddle, the sound of water and the growing fire.)


ENTITY: The smoke is everywhere, Arthur, and… fuck. Arthur, you’re losing so much blood.


ARTHUR (woozy): Ugh. How much is too– (He gasps.) How much is too much?


ENTITY: Fuck, Arthur. (Arthur gasps weakly.) Arthur, I…


ARTHUR (woozier): Hm?


ENTITY (solemnly): Fuck. If this is the end – (ARTHUR: Hm.) I’m sorry.


ARTHUR: You and me both.


(Waves lapping against the boat, the sound of the fire on the shore. Then, a sound like the wraith’s wail.)


A DEEP, DISTORTED VOICE: This too shall pass.


(END Part 4.)