Chapter Text
CAST
ABBIE MILLS...Nicole Beharie
ANDY BROOKS…John Cho
LUKE MORALES…Nicholas Gonzalez
AUGUST CORBIN...Clancy Brown
ICHABOD CRANE…Tom Mison
REVEREND KNAPP/SELAPHIEL … Patrick Gorman
MICHAEL … Yetide Badaki
LATISHA OUCHI-JACKSON … Leslie Jones
ACT 1
Opening: Darkness. A vast nothing. Soft, heavenly music in background.
VOICE: In the beginning, there was Light. [A bright light explodes out of the darkness. It is beautiful and brilliant.] Or so we've all been told.
There is the sound of an alarm and the light retracts until it's dark once again. Upbeat music begins to play “Dance Apocalyptic” by Janelle Monae. Scene zooms out and suddenly we're faced by the face of a black woman, early 30s. She is laying in bed, her eyes are completely black [the music sounds far away, as if played in another room]. The woman is ABBIE MILLS . Its just before dawn.
She closes her eyes. The music goes back to normal when she opens her eyes, now normal brown eyes. She frowns and hits her alarm clock before rolling over, noticeably groaning before she starts pouting and kicking her feet under the covers.
ABBIE stares up at the ceiling for a moment then sighs heavily before crawling out of bed. Song continues as ABBIE goes about starting her day--starting her shower, donning her sheriff's department uniform, pouring a shitton of sugar into her coffee. She sips the coffee, pulls a face, then pours it out. She then makes a cup of black unsweetened coffee, sips and smiles, before grabbing her keys.
Scene goes to in her Jeep, the song is playing on the radio. ABBIE taps the wheel and hums along as she waits for the light to change. Her phone starts ringing, cutting the music off. The display says it's LUKE. She purses her lips, hits reject, then the music comes back on.
The song fades as she pulls into Sleepy Hollow Sheriff's Department and parks. She picks up her phone, looks at the “missed” call. She stares at the phone for a moment then she squenches her face as she has flashes of memories, it shows modern Abbie looking more and more distressed between each memory:
Her and her sister, as young girls in the woods.
Four barren, white trees.
A creature standing in front of the trees.
ABBIE let's out a soft sobbing noise and shakes her head to clear it. She gets out of her Jeep, pocketing her phone.
Inside Sheriff's Department… ABBIE enters and looks around. She spots two men near the coffee pot, talking. The men are LUKE MORALES and ANDY BROOKS. While their attention is elsewhere, she hurries across the station heading toward an open door that says SHERIFF AUGUST CORBIN.
LUKE [just as ABBIE is almost to the door] Hey, Abs…
Abbie closes her eyes and mouths “fuck” as Luke approaches her from behind. Just as she's about to turn, an older man AUGUST CORBIN opens the door to his office.
CORBIN: Mills, a word in my office please?
ABBIE: [giving CORBIN a thankful look] Sure thing boss. [She shoots LUKE an apologetic glance as she enters Sheriff Corbin's office and closes the door] You're a lifesaver.
CORBIN: You could just tell him you're not interested.
ABBIE: [scoffs] You've obviously never been a five foot three black woman trying to gently let down the office egomaniac.
CORBIN: [nods in affirmation] Fair point. I take it you want to volunteer to do patrol with me? So you can put off letting Luke down gently.
ABBIE: You read my mind.
CORBIN: And since when are you five foot three? [ABBIE gives him a flat look, he chuckles] Just two more weeks of evading him and you won't have to worry about it anymore.
ABBIE: [rolls her eyes and groans] Don't remind me. Even more of a reason to look forward to it.
CORBIN: [glances at something past ABBIE] He's on a call if you want to make a run for it now. You owe me a coffee for this by the way. At Mabie's. Not one of those monstrosities from Starbucks.
ABBIE: I will even throw in an apple pie ala mode.
CORBIN: Far be it from me to turn down some apple pie… let's get out of here kid.
They exit the Sheriff's Office. LUKE is noticeably trying to rush the person off the phone. He waves a hand trying to get ABBIE'S attention, but her and CORBIN are on a mission: avoiding LUKE. So they breeze on past as if they don't notice him and exit the Sheriff's Department.
LUKE finally gets the caller off the line and hurries after them. By the time he makes it outside, a police cruiser containing ABBIE and CORBIN are quickly pulling off. A vinyl sign that advertises "Experience the History of Sleepy Hollow! Contact the Hudson Valley Historical Society for tour details" with what appears to be a war reenactment scene flutters in the breeze as LUKE stands there a moment, hands on his sides. He sighs and goes back inside.
-End Scene-
ACT 2:
1781. Battlefield. Hudson Valley.
Blue and red coats alike are battling it out. Scene focuses in on one blue coat soldier, ICHABOD CRANE, as he fires his musket from behind a tree. He is very obviously terrified, but who wouldn't be in his situation? He drops the musket and takes aim with a pistol. He fires then afterwards, starts checking the hands of fallen red coats.
BLUECOAT1: [pointing at something behind ICHABOD] Rider!
ICHABOD turns to see a red coat on a white horse coming onto the battlefield. The red coat wears a mask, hiding his face. ICHABOD thinks quick and shoots the rider in the chest. RIDER falls off his horse but then gets right back up. The expression on ICHABOD'S face is the embodiment of "shit shit shit shit…" but he stands his ground, ready to fight.
Before ICHABOD can make a move to attack, RIDER cuts him across his chest with an ax. The moment the blade touches him, for a moment his eyes glow a bright, brilliant blue. He falls to his knees and stares up at RIDER in almost disbelief. RIDER raises his ax again. ICHABOD draws his sword.
A single pulse of white light seems to radiate from ICHABOD. Scene pans around to various fighters stopping to turn toward him--some look stunned, some awed--as his sword begins to glow red, as if hot. He lunges to his feet and decapitates RIDER with one blow.
There is a burst of light. When it fades, RIDER falls to the ground, headless. ICHABOD seems dazed and bewildered. But then he too collapses to the ground.
Right about now you're probably wondering if I'm going to keep the whole "mingling of their blood" scene. I'm not. Because that's not how blood binding fucking works. But we'll get to that later.
Scene fades to black. Muffled voices can be heard.
OLDER MANS VOICE: --too soon. I told them he was not ready. No matter what the prophecies say… he wasn't ready.
Scene begins to fade in. Everything is blurred but well lit, figures can be made out through the haze.
WOMANS VOICE: Ichabod, my love, can you hear me?
Scene shows ICHABOD, lain on a cot, eyes wide as he looks around in confusion, mouth open as he gasps for breath. An older man--REVEREND KNAPP--puts his hand on the nurse's shoulder.
KNAPP: We have to hurry Mrs Crane. We don't have much time. We have to act quickly.
The nurse, KATRINA CRANE, sniffles gently as KNAPP hands her a cup. She nods and puts the cup to ICHABOD'S lips, tilting it carefully.
KATRINA: Drink, my love. Perhaps we will see each other again someday. There are so many things I wish I could tell you right now...
ICHABOD stares at KATRINA as if he is trying to say something but can't. He swallows hard a few times, takes ragged breath, and his eyes roll back as he falls unconscious. KATRINA gently lays him on the cot. She covers her mouth to suppress a sob, her hand resting on her belly.
KNAPP: His wound needs to be mended before… what comes next.
KATRINA: [she nods] Will he be aware of what's happening before he awakens again?
KNAPP: We do not know. But you cannot dwell, Katrina. He was never meant to truly be yours. You were warned to not get too attached.
KATRINA cups ICHABOD'S cheek as she nods again.
KATRINA: It would have been better if he hadn't been so easy to love.
KNAPP: Come. There are things to get done.
KATRINA pulls a sheet over ICHABOD and the scene fades to black again.
In the darkness, chains can be heard rattling. Jars are heard shattering. Water can be heard gently flowing. A soft, but masculine groan cuts through the noise, followed by the gentle whisper of shifting rocks.
When scene fades in, its focused on a patch of damp soil in an underground tunnel. View pans around to show sigils writ on the walls, jars form a large circle around the centre of the space. Light filters in through a small gap in the wall. The amount of light indicates it is early morning, just before dawn. It's not a coincidence, it's the same exact morning from the cold open.
The jars begin to rattle then shatter, releasing various creatures: frogs, insects, worms, all other types of extraneous creepy crawlies. The soil in the centre of the circle bows and cracks. After a moment, a hand breaks through the soil. ICHABOD slowly clamors from the shallow grave, gasping for breath as he sits up and looks around.
He grasps his chest and looks down at bandaging that is falling loose around his body. He runs a finger over the scar then pulls his coat tighter around his body, shivering as he collects his bearings. His lips move as he makes a soft noise, as if trying to speak.
He climbs to his feet, still holding his coat closed and staggers up some stone steps, leaning against the wall for support. He stumbles and falls as he makes it outside. Everything around him seems to tilt and spin. He's disoriented. He lays on his back, staring up at the sky. He focuses on a solitary star glimmering in the morning sky.
The view pans back to ICHABOD. His eyes are pure white and he seems to struggle for breath. His entire body begins to convulse then goes still.
ICHABOD: [quietly, voice quivering] In… In the beginning… There was… there was... Darkness.
He gasps loudly, eyes returning to normal as he rolls onto his side, curling up tightly as he groans in pain. He gives several more struggled breaths before sitting up and looking around. He staggers to his feet and walks through the misty forest.
WOMAN'S VOICE, as though speaking from another realm: Ichabod Crane. [He spins around and looks around frantically] Ichabod! [He turns again]
ICHABOD: Who said that? [Voice trembling] Is anyone there
He spots a cloaked, shadowy figure in the distance and starts moving toward them.
ICHABOD: Pardon me, but…
WOMAN'S VOICE: This way Ichabod Crane. [The shadowy figure lifts their hand to point and disappears in a mist of grey.]
ICHABOD stops and blinks at where the figure had been. He looks in the direction the figure pointed, swallows hard, then moves in that direction, disappearing into the mist.
Scene changes to the streets of Sleepy Hollow. CORBIN is sitting in the police car, behind the wheel, watching ABBIE as she speaks to a driver they have pulled over. CORBIN clearly has something heavy on his mind, but smiles and shakes his head when Abbie puts away her ticket book and he sees her shake the person's hand.
ABBIE returns to the cruiser and gets in the passenger side.
CORBIN: No ticket?
ABBIE: [shakes her head] They were lost, trying to find 295, and didn't see the speed limit sign. I told them how to get to the interstate and wished them a good day.
AUGUST: [nods] Honest mistake. It happens. You know, you'd make a good sheriff when I retire.
ABBIE: [laughs] Don't you even start…
CORBIN: But unfortunately, you're running away from us…
ABBIE: [shakes her head, still laughing] I said don't start… [her phone rings, she looks at it, it says LUKE is calling, she groans] Can you… Can you tell him I'm making a stop?
CORBIN: Grace Abigail Mills… [he takes the phone] Make that two cups of coffee… [answers the call] What's up, Morales, Mills is in the middle of a stop. [Nods] Sure, I'll tell her to call you. Is everything okay with the two of you? [ABBIE gives CORBIN a wide eyed Mind Your Business Old Man look] Huh. Really? Been avoiding you and you can't figure out why… Well, son, maybe you should take that as a hint to back off a little. She's got a bunch on her plate right now. But I'll let her know you called. [Nods again then hangs up and hands the phone over to ABBIE] Hey Mills, Morales called. He suspects you're avoiding him. He’s worried about you.
ABBIE: I don't mean to avoid him, it's just…
CORBIN: He can be a bit much, I get it. He's been aiming for more and you don't want more. Not right now.
ABBIE: Exactly. I just don't know how to tell him.
CORBIN: You could start by actually talking to him.
ABBIE: [half hearted] I will I will…
CORBIN: Would you feel better if was there with you when you do?
ABBIE: Oh my God no! But thanks for the offer dad.
AUGUST: [chuckles] Let's grab some lunch and coffee.
ABBIE: You're gonna turn into a cup of coffee if you're not careful. Didn't you say Reverend Knapp called you about needing to speak to you?
CORBIN: Lunch and coffee first. You know how Knapp can be when he calls me for a chat about those hooligans that mess up the church.
A short while later, ABBIE and CORBIN are walking up to an old church. CORBIN is sipping on a coffee as they walk up the sidewalk to the doors. CORBIN grumbles under his breath as they reach the door. He turns up his cup to finish off his coffee then throws the cup in the trash.
ABBIE: I don't want to hear you lecture me on talking to Luke for the rest of the day. Not when you've been whining about talking to Knapp.
CORBIN: This is different, Mills, Knapp will keep us here for at least an hour. It's you I'm concerned about. I don't want you to get bored.
ABBIE: I won't get bored. I'll poke around and see if I can find where these kids keep getting in.
CORBIN tosses his cup in a trashcan and they go into the church. ABBIE wanders off toward the altar while CORBIN goes over to REVEREND KNAPP. It's the same man from the infirmary scene. He doesn't seem to have aged a single day. KNAPP nods firmly at CORBIN and leads him to an office.
KNAPP looks out at ABBIE then looks at CORBIN.
KNAPP: Still nothing? Not even the smallest indication? [Shuts the door]
CORBIN: Not that she's mentioned. She shows up well rested for work.
KNAPP: This isn't good. I felt it this morning, August. He's awake. They both are. You know what this means… Don't you?
Scene goes to ABBIE poking around near the altar. KNAPP and CORBIN'S are voice overs as she tilts her head and notices a door behind a curtain. Soft, feminine, intelligible whispers can be heard as ABBIE approaches.
CORBIN: I know exactly what it means, Knapp. You've been telling me since I was a kid…
ABBIE pushes the curtain aside then carefully opens the door. A warm orange glow is cast over her face. The whispers seem to grow louder it can finally be understood. It's whispering "My Lady, My Goddess… Save me."
KNAPP: If he has awakened, that means she is in danger… She needs to know who she is. She needs to know what she is.
Scene pans around to show a candlelit altar. On the altar is artwork of a multi-armed, black Goddess with a sword in one hand and a severed head in a cage in another, The Goddess is standing with one foot upon a headless corpse. Pans back to ABBIE. Her eyes have gone black again as she steps toward the altar. There is a knife on the altar, surrounded by candles. The knife has a handle made of an old time-darkened jawbone and dark grey blade that looks recently sharpened and polished but isn't metal--possibly stone or bone as well.
CORBIN: I'll tell her. She's not going to like it and she probably won't believe me. I don't want to believe it. Hell, when I was a kid I thought you were just an old kook.
Scene goes back to CORBIN and KNAPP. CORBIN is seated at a desk, KNAPP is standing on the other side, hands on the desk. He looks terrified.
KNAPP: The fate of the world depends on it, August. I've already spoken to Michael… They, too, feel it in their bones that the time is coming near.
CORBIN: Michael?
KNAPP: Michael. They have given me Her dagger. The blood of Abel calls to Her when time draws near...
Scene goes back to ABBIE as she carefully picks up the knife. The knife glows orange, as if hot, in her hands.
KNAPP: If Abbie can hear it call to her… then you know what it means…
The whispers get louder until it sounds like a desperate cry for help. ABBIE closes her eyes. There are quick flashes of different scenes: two small children, chasing after each other, laughing; ABBIE sitting on a grassy hill with a flower crown on her head smiling as she watches them play; two adults, a man and a woman, the woman is lying a basket of grain and vegetables at ABBIE'S feet, the man presents a slaughtered lamb, ABBIE recoils slightly at the sight of the lamb but gives the man a forced smile and nods before looking at the woman adoringly and picking up her basket; the man approaching the woman with the knife in his hand as she tends to her garden.
Scene shows ABBIE in the hidden room, her eyes are squeezed shut tight as a distant, cheerful voice says, "Good morning, brother…" followed by a horrified scream, followed by ABBIE'S own voice curiously asking "Where is Abel, Cain?"
CORBIN'S VOICE, echoing through the church: Mills?
ABBIE shakes her head. The knife stops glowing and she shoves it in the back of her trousers, under her coat. Her eyes go back to normal, she frowns at the altar and walks out of the hidden room. KNAPP and CORBIN are walking toward the main altar as ABBIE steps from behind the curtain.
ABBIE: I couldn't find anything, Sheriff. [eyes KNAPP almost suspiciously] Unless the kids are coming in through the entrance and you just can't hear them.
CORBIN: Turns out it wasn't kids this time. [Chuckles and slaps KNAPP on the back] apparently one of the church ladies had some cute puppies coming up on bring ready for homes. He thought we might want one or two for the department.
ABBIE: We can't afford to train K9 units, Sheriff!
CORBIN: That's what I said but, I am going to talk to Joe, he might need a pup when he gets back from Afghanistan. [Looks at KNAPP] You know how hard war can be on a person…
KNAPP: [nods] But sometimes it's necessary. All we can do is pray for the best outcome.
ABBIE: [snorts] Yeah it's necessary to send kids barely out of school to a war zone over oil prices…
CORBIN: Let's get out of here, kid. We still got to man the school zone in a couple hours. [Nods toward the doors] See ya around Knapp.
KNAPP nods curtly and watches ABBIE and CORBIN leave. He looks toward the hidden room then walks over and looks around cautiously before slipping into the room. He carefully approaches the altar, the knife now gone. He closes his eyes and holds back a sob before falling to his knees before the altar.
KNAPP: [softly] Praise be given to The Darkness, for our Goddess lives… [he bows low] My service will always be unto You my Lady.
The scene pulls back from KNAPP bowing in front of the altar. When he and the altar are in full view, golden wings slowly unfurl from his back and go into a resting position as he murmurs his benediction over and over.
Scene goes to ABBIE and CORBIN as they make it back to the cruiser.
ABBIE: I still don't see why he can't come and talk to you at the office when it's stuff like this…
CORBIN: He's an old man, Mills, give him a break…
ABBIE: We got time to stop by Starbucks before heading to the school? [CORBIN pulls a face] Hey, you like your coffee, I like my caramel frappuccino.
CORBIN: We have time, but only if we go through the drive thru. I'll even pay.
ABBIE: Fine by me…
They get into the cruiser and drive off.
-End Scene-
ACT 3:
Scene opens in the forest, it appears to be very late afternoon, early evening…
Feet can be heard shifting through leaves accompanied by laboured breathing. Scene focuses in on leather booted feet as they drag across the ground. Fog is beginning to come in. Scene pans to a distant view of ICHABOD CRANE staggering through the forest.
WOMAN'S VOICE, as if far away: Ichabod Crane… [he looks around desperately]
ICHABOD: Who said that? [Whirls around looking for the source of the voice] Please, if you're there, I… I could use some help…
WOMAN'S VOICE, loud and clear: I'm right here.
ICHABOD spins around to face a woman in a vibrant green hooded cloak. The hood hides most of her face but, now that she is close enough to see, she is obviously a black woman. He eyes her curiously.
ICHABOD: Do I know you?
WOMAN: Not yet in this life. [She points ominously behind ICHABOD] A path to town lies not too far that way. But you mustn't tarry, the Hessian soon rises from his daylight slumber.
ICHABOD stares at her a long moment then starts in the direction she pointed. It's not long before he emerges from the forest, next to a battered paved road. The expression on his face becomes one of uncertainty… he's never seen a road quite like this before. His curiosity gets the better of him and ICHABOD tentatively approaches the road, kneeling down to touch it, finding it solid. He lightly traces the yellow line before looking up.
He looks right then left before clamoring to his feet, his eyes on something to the left. ICHABOD moves to step out onto the road. A loud diesel horn blows, he jumps back just in time to avoid being run over. His eyes are now wide, jaw hanging slack. He has no idea what that was but he has no desire to be trampled by one.
ICHABOD shivers and wraps his coat around himself a little tighter before heading toward the left, the same direction as the odd contraption. A smile tugs at the corner of his mouth and he begins to limp/run down the road, taking care to remain on the shoulder as the mist grows thicker.
He ducks underneath a battered road sign on the shoulder that reads: SLEEPY HOLLOW 3 MILES.
Scene slowly pans over the darkening forest, thunder rumbles gently in the distance as the trees pass more quickly below. The scene begins to draw in on The Hudson River, speeding forward until it reaches the tranquil river bank underneath a bridge.
After a moment the water begins to bubble, slowly at first then more rapidly, as if something is floating to the surface. Soon a wooden casket breaks the surface, it is wrapped with heavy chains and locked.
The chains rattle as something hits hard from inside the casket. Another hard knock. And another. The wood cracks as blow after blow hits. A fiat punches through the side and the casket sinks below the water again as water rushes in. The water rolls and bubbles as though something is moving beneath the surface.
Pans back as the water begins to bubble again, the bubbles moving closer to the bank until the HEADLESS strides out, the chains wrapped around him, axe strapped to his back. Once he stands upon the bank, he tugs and snatches at the chains until they fall uselessly to the ground. Dark, ominous music plays as he trudges up a dirt path that leads to the road, next to a wooden sign that says "WELCOME TO SLEEPY HOLLOW" in elaborate lettering. He turns toward the road leading to SH, as if contemplating going that direction.
HEADLESS then turns his body toward the old covered bridge. Thunder rumbles and lightning flashes, illuminating a barn on the other side of the river. He stomps across the bridge as horses can be heard neighing in the distance.
Scene changes to a cozy mom and pop type diner. ABBIE and CORBIN are sitting in a booth, laughing. ABBIE is nibbling on Apple Pie ala mode while CORBIN has a burger and fries in front of him. CORBIN is looking at ABBIE like a proud papa as she finishes regaling him with a story.
ABBIE: … mama worked on getting all the gum out of Jenny's hair for two days [she reaches over and steals a French fry off CORBIN'S plate, CORBIN looks between his plate and ABBIE'S hand] before just giving up and cutting her hair. [She eats the fry]
CORBIN: I think it's a real shame you and your sister barely talk… [ABBIE shrugs]
CORBIN shifts in his seat and peers at ABBIE.
CORBIN: I wasn't joking earlier when I said you would make an excellent sheriff when I retire. If you stayed here you could work on repairing your relationship with your sister, you know.
ABBIE reaches across the table and puts both her hands on one of CORBIN'S.
ABBIE: I know you think I'm just trying to run away…
CORBIN: I don't think you are, Abbie. I know you are. You shouldn't be ashamed to admit it. You have plenty to want to run from… Or do you forget the day I had to come pick you and Jenny up from Old Man Oglesby's farm because he found y'all wandering in the woods near his house… lost and scared.
ABBIE looks at CORBIN like a sad little girl that's been caught in a lie.
CORBIN: What about that day your boyfriend left you to take the fall for his crime? You have plenty to be running from Abigail. But what if… what if your purpose is to be here in Sleepy Hollow? What if you're meant to reconnect with Jenny and fight the demons that have been following you?
ABBIE sucks in a deep breath. She stares down at her pie. There are various flashes of young ABBIE and young JENNY with their bikes in the woods. It's the same images from earlier when she arrived at the station. She looks at CORBIN. There’s no way he can know she’s wanting to run away from a literal demon...
ABBIE: I'd be a lot better at it if I had FBI training.
CORBIN gazes at her for a moment then scoffs and shakes his head.
CORBIN: You are a stubborn woman. [ABBIE smirks and steals another fry] And you're also a fry thief!
STATICY VOICE: [from their police radios] We just had a call from Mister Oglesby. He said he saw someone entering his barn…
CORBIN looks at ABBIE as if silently asking her if she wants to take the call. ABBIE holds down her talk button.
ABBIE: The Sheriff and I will get right on it. It's probably just one of his grandkids making sure the weather isn’t scaring the horses…
CORBIN: [waves to an older woman behind the counter] We'll be back to pay Mabie.
MABIE: Sure thing August. You and Abbie be safe out there.
ABBIE gives CORBIN a look as they leave the diner.
ABBIE: [Mimicking Mabie] Be safe out there, August.
CORBIN: [innocently] What?
ABBIE: I think I know why you like her coffee so much… and it has nothing to actually do with the coffee.
CORBIN: What are you hinting at Mills?
ABBIE: [as they get into the cruiser] Aw come on Sheriff… you and Miss Mabie… It's been almost 15 years since your wife died… and Miss Mabie seems pretty sweet on you...
CORBIN: [flusters] Let's just get this call done.
ABBIE: [teasingly nudges his side with her elbow] Come on, Corbin… you and Miss Mabie? Huh? What's up with y'all?
CORBIN: [still flustered] Nothing is going on…
ABBIE: Oh I get it, you can be all up in my romantic life but I can't know anything about yours… and here I was thinking we were friends that were allowed to be all up in each other's business.
CORBIN: Just drive… [points vaguely]
ABBIE cackles and drives off. Scene goes to the farm as the cruiser pulls up. Lightning flashes and the horses can be heard neighing fearfully and just general racket. The two get out of the cruiser and go onto the porch. CORBIN knocks loudly.
ABBIE: Mr Oglesby, this is Abbie and Corbin from the sheriff's department.
CORBIN: [turns as a loud crashing sound comes from the barn] I'll go check the barn, try the back door. You know he can't hear for nothin'
ABBIE: You can knock louder than me. Why don’t you try the back door and I get th--
CORBIN: [firmly] I will get the barn. No telling what could be out there. I’m old and I’ve lived my life. You’re still young…
ABBIE: [rolls her eyes and grins] The links you go to in order to avoid talking about you and Mabie…
ABBIE goes around the corner of the house, toward the front of the house. CORBIN eyes the barn and takes a deep breath at lightning illuminates the structure. He swallows hard and puts a hand on his gun as he steps down off the porch and walks across to the barn. The barn door claps noisily. CORBIN pauses outside the barn door and looks at the back of his hand. His hand is shaking gently. He clenches it then gives his hand a shake before opening the barn door.
CORBIN: Hank? You in here? [steps in cautiously] It’s the Sheriff. You called about seeing someone come into your barn. Abbie and me are here to check it out. You didn’t come in alone did you?
The horses fidget restlessly. Lightning continues to flash and thunder rumbles.
Scene goes to ABBIE. She knocks on the front door.
ABBIE: Mister Oglesby? You there? [her gaze goes out to an old pickup truck with a door open] Mister Oglesby?
ABBIE moves toward the edge of the porch. She tilts her head curiously then walks down the steps of the porch. Her focus goes to a foot that can be seen underneath the truck door.
ABBIE: Mister Oglesby? [walks closer to the truck] Hey, Mister Oglesby, IT’s Abbie… Me and the Sher-- [stops when she reaches the truck]
View pans to inside the truck. A headless body adorned in worn overalls and flannel shirt is in the drivers’ seat. An old rifle is in the body’s lap. View turns back to ABBIE. She is very obviously shocked and reaches for the radio at her shoulder.
ABBIE: Corbin. I just found Mister Oglesby’s body… He’s been decapitated… I repeat...
Scene goes back to CORBIN. ABBIE’s muffled voice can be heard coming through CORBIN’s radio. Only every other word ABBIE says is coming through.
ABBIE’s VOICE: body… pitated. I repe-- esby’s body… decapitiated…
CORBIN: [draws his gun as there is another crash near the back of the barn] This is the sheriff's department. Come out with your hands up!
One of the back stalls bursts open and a lumbering shadowy figure comes from the stall, leading a horse. When the lightning flashes again, it illuminates the fact it is the HEADLESS HESSIAN. CORBIN looks terrified, the aim on his gun lowering just slightly.
CORBIN: [scoffs] Somehow I always knew it was you… [HEADLESS starts moving toward him] If you think I will let you get her without a fight, you got another thing coming…
CORBIN opens fire on HEADLESS. He swears when his bullets have no effect. He spots a scythe and rushes towards it. He picks it up and stands his ground, gaze set firmly. His hands begin to take on a soft golden glow, then the Scythe begins to glow gold.
HEADLESS drops the reins of the horse and pulls his ax from a strap on the saddle. HEADLESS and CORBIN stalk toward each other. Their weapons release a pulse of energy when they connect.
View jumps to outside. ABBIE is running toward the barn when a pulse of red and gold light comes from the barn, knocking her over. She sits up, staring at the barn in confusion for a moment. A mix of red and gold light can be seen illuminating from within the barn.
ABBIE: What in the hell…
Scene goes silent except for a soft, intelligible whisper. ABBIE’s eyes go out of focus for a moment and she weaves gently before her eyes turn pitch black. She stands slowly, her hand going under the backside of her jacket.
View switches to inside the barn. CORBIN staggers backwards and falls against the barn doors, gasping for breath. HEADLESS throws his axe at CORBIN. Before CORBIN can block the ax, the view goes outside. The blade of the axe pierces the barn door, just as ABBIE [her eyes are still black] reaches the barn. She holds the knife out at her side, the blade of the knife grows into the blade of a sword and glows a deep, dark, blood red. ABBIE herself has a similar glow around her.
The axe blade is pulled from the barn doors and the doors blow open, knocking ABBIE back. The knife falls out of her hand. The knife shrinks back to its normal size. When ABBIE lifts her head, her eyes are back to normal. She pushes herself to her feet as HEADLESS comes out of the barn, mounted on a white horse. ABBIE stumbles back, wide eyed, mouth hanging open as HEADLESS seems to stare at her for a long moment. After about a minute, evidently regarding ABBIE as being a non-threat, he puts his axe in a sheath on his back and turns his mount the other way and running toward the road.
After a minute of staring in shock, ABBIE shakes her head to clear it then runs into the barn, discovering CORBIN’s decapitated body. She falls to her knees and pushes the button on her radio.
ABBIE: Officer down on Oglesby’s farm! Please send back up. Suspect is… on the run on horseback… Officer down on Oglesby’s farm! [sobbing, letting go of the radio, dropping her head forward to cry] oh god… He killed Sheriff Corbin…
There are flashes of ABBIE and her sister, JENNY as children, wandering through the woods with their bikes. It flashes between the past and modern ABBIE crying. As the flashbacks progress, it recounts the demon in front of the four white trees.
Modern ABBIE lifts her head. Her eyes are pitch black and she climbs to her feet, trails of tears streaming down her face... Close by, HEADLESS pulls his horse to a stop and slowly turns it back towards the farm. The horse dances restlessly for a moment before he nudges it into movement, heading back towards the farm.
Back at the farm, ABBIE picks up the knife. Both she and knife glow dark red. The blade grows again. As HEADLESS returns, to his mount toward her. He draws it to a halt and dismounts. He stands next to his horse and pulls out his axe. View draws back until both can be seen, standing facing each other. Lightning flashes and thunder rolls.
Close up of ABBIE only. She rolls her shoulders and cracks her neck then she bows her head. Four black wings with a few gold and silver feathers intermingled in unfurl from her back. The wings stretch out, as if they haven’t been used in a very long time, before going into what can only be called a defensive poise. When ABBIE lifts her head, there is a bright, golden halo around her head and her eyes are glowing gold behind the darkness like two small black holes in the vacuum of space.
HEADLESS readies his axe.
View pans out to include both of them again. They look like a modern day David and Goliath getting ready to face off. HEADLESS runs toward ABBIE. ABBIE runs toward him, teeth bared. ABBIE leaps into the air, then comes down, swinging her sword toward HEADLESS. He holds up his axe to block as ABBIE’s sword connects with the blade of the axe. A large pulse of dark energy emits when their weapons connect. ABBIE lets out a loud shriek as she holds her blow. The blade of the axe begins to crack. HEADLESS elbows ABBIE in the hip, sending her flying backwards. ABBIE rolls across the ground, losing the sword. The wings and glow disappear as HEADLESS lumbers toward her, axe drawn and ready to attack.
Out of nowhere a ball of energy hits HEADLESS in the gut, sending him flying back. A beautiful black woman in a shimmering silver gown stands over ABBIE. She has beautiful golden wings and a golden halo. A sword is sheathed at her hip. Even though the angel is beautiful, and diminutive in stature, something about her commands authority.
ANGEL: Stand down, Jegudiel. I command you.
HEADLESS stands and faces the angel. He readies his axe.
ANGEL: I know I have no authority over you anymore. But stand down or my hand will be forced to rise against you, my fallen brother. [Headless steps toward her. She raises a hand and HEADLESS goes still] Unlike you, I have not been sleeping for two hundred years. I am just as powerful as I have always been. Leave here, brother.
HEADLESS’s body relaxes when ANGEL lowers her hand. He returns to his horse, mounts up, and leaves. ANGEL leans down and gently strokes ABBIE’s hair. She takes up the knife and carefully puts it back behind ABBIE’s back, under her jacket.
The ANGEL walks over to CORBIN, falls to her knees and puts a hand to her chest as she softly cries.
ANGEL: My dear brother, Gabriel…
She lifts her head as a figure emerges from the shadows of the barn. It’s REVEREND KNAPP. He has his hands cupped together as he approaches her.
KNAPP: Michael…
The angel smiles softly
MICHAEL: Selaphiel…
She holds out her hands and KNAPP. KNAPP places a dimly glowing orb of light in her hands. She sighs wistfully and nuzzles the orb affectionately.
MICHAEL: Our clever brother… saved us some of his grace so that he could return. [she gazes at the orb and smiles] I will take you to our Raphael. She knows exactly where you next belong, brother.
KNAPP: I will do my best to continue to protect you and the others, Michael. [he looks outside the barn] What of… her.
MICHAEL: Her time to rise will come. We must leave her alone for now.
KNAPP: The Sins…
MICHAEL: If she is awakening, then they already know. I have already heard their voices calling out to her. It’s only a matter of time before they all come together to sing for our Goddess again.
They both look up as blue and red lights start flickering through the trees surrounding the property. KNAPP helps Michael to her feet. They disappear in a soft flash of light. Outside of the barn, ABBIE is sitting up, shaking her head to clear it. Police cruisers and other various first responder vehicles pull up behind them.
ABBIE looks shaken and there is a small cut on her forehead as an EMT rushes up to her and kneels down. A uniformed officer comes up to ABBIE as the EMT is helping her to her feet.
OFFICER: [sounding far away] Do you know what the attacker looked like Mills?
ABBIE looks at him strangely as everything seems to tilt and blur. She squeezes her eyes shut as there are flashes of the four white trees in the woods. ABBIE shakes her head again
OFFICER: [clearly as everything comes into focus] Mills… what did the attacker look like?
ABBIE’s face contorts.
ABBIE: He was…
Scene skips over to Officer ANDY BROOKS, in his cruiser, speeding toward the farm on the backroads.
DISPATCHER: [over radio] Suspect is identified as a middle-aged, white male, approximately six feet tall. Fleeing on horseback toward town. According to Mills he was wearing a colonial style costume.
ANDY: [into his radio] I’m on it!
No sooner than he says this, a figure steps out into the road in front of him and freezes, like a deer caught in headlights. ANDY serves to miss but makes contact with the figure. He pulls over and draws his gun.
ANDY: [in to the radio at his shoulder] I just found someone matching that description. [to the figure, which is ICHABOD CRANE] Don’t move. Put your hands in the air!
ICHABOD, obviously terrified, but reeling from being knicked by a fucking car, weaves unsteadily as he puts his hands up in the air. Another cruiser pulls up and two officers get out, guns drawn as ANDY cuffs ICHABOD and puts him into the back of his car. ICHABOD looks around, confounded as ANDY drives him back to the department. All that can be heard is muffled voices and a loud whining ring, much like when your ears are ringing.
He looks out the windows, squinting at the lights and scenery through the darkness. ICHABOD continues to look around, taking everything in. He’s quickly processed, has a mugshot taken, ect and put into an empty cell. A nurse comes in and checks out his arm and when she checks his pupil dilations, he follows the light with wide, amazed eyes. The nurse snaps her fingers in front of his face, and after a moment the ringing begins to subside.
She smiles brightly.
NURSE: Can you hear me now, baby? [ICHABOD blinks at her, smiling softly] My name is Nurse Latisha. What’s your name, honey?
ICHABOD: [attempts to speak a few times before finally managing to get words out] My name is Captain Ichabod Crane, madam. [looks around in concern] May I ask what is taking place? I can only assume you are one of the rebellion’s nurses, although I thought I knew all of them in our region. Are you new to the regiment?
LATISHA: Rebellion? Regiment? I don’t know about all of that, baby, but I was on call tonight so they had me come over and do a quick evaluation since Officer Brooks said he hit you with his car before bringing you in. [looks towards ANDY, who is standing nearby] Initially, it doesn’t look like he’s seriously injured but you will need to bring him to the hospital in the morning to get an xray on his arm and to have a more thorough exam. I would suggest a mental evaluation given what he just said…
ANDY: Thanks for coming in, Nurse Ouchi-Jackson. We can take it from here.
LATISHA: [eyes ICHABOD for a second then shakes her head to clear it] Just give me a call if you have anything else.
She leaves and ANDY goes and grabs ICHABOD by the arm and roughly pulls him to his feet. ICHABOD noticeably winces but keeps quiet as ANDY takes him down a long corridor then puts him in a cell that is empty and no one else is around and not all the lights seem to be working in the section. After ANDY manhandles him into the cell, he closes the door.
ANDY: We’ll just let you sit here for a bit while we find out details of Sheriff Corbin’s murder. You can think about how you’re going to word your confession.
ICHABOD looks at ANDY, perplexed.
ICHABOD: I have harmed no one!
ANDY: We’ll see about that…
ANDY leaves. After a moment, ICHABOD looks around before settling onto a bench. He begins to look around curiously as the scene fades.
-end scene-
ACT 4:
Scene opens at the department in an interrogation room. ABBIE is sitting at the table, still in her uniform. There is a bandage on her forehead where the cut was. She is staring blankly at her hands on the table. She squeezes her eyes shut then lays her head down on her hands, silently crying.
After a moment, she sits back upright and wipes her eyes with the back of her hand, sniffling loudly. She is taking CORBIN’s death hard because he was not only a netor but he was like a father to her.
Scene goes to Mabie’s diner, several years ago. A much younger ABBIE is sitting slouched in the seat across from CORBIN. She is looking around everywhere except at CORBIN. When he extends a hand across the table, she stares at it, then looks at him.
Scene returns to modern day, ABBIE still in the interrogation room. The door opens and LUKE and ANDY come in. ABBIE folds her arms across her chest as they sit down.
ABBIE: [quietly] I don’t know if I can do this right now…
ANDY: We understand that it’s hard on you, ABBIE. And we wouldn’t ask it of you if it wasn’t important.
LUKE: And it’s important that we get all the details while it’s still fresh in your mind. That way we can bury this guy under the prison for what he did to Corbin... and Mr Oglesby…
ABBIE: [blinks at them, shaking her head] What guy? The murderer? I… I don’t know that you will be able to catch this guy… He was… [a flash of HEADLESS “staring” at her, returns to the room as ABBIE shakes her head again] he was…
ANDY: Apprehended. We got him Abbie. We just need your statement to nail him to the wall.
ABBIE: [head jerks back in surprise] You caught him? You have him in custody?
LUKE: [nods] Andy came up on him while on his way to the farm. He’s being interrogated as we speak. We want to get you to identify him after you’ve had some rest…
ABBIE: [shakes her head and stands] No, I want to identify him right now. I want to see this guy…
LUKE hops up to stop ABBIE from leaving.
LUKE: Not right now, Abbie. You’d only be getting in the way of the others that are trying to get their part done. You’ll have your chance. I promise. Andy and I both promise… But right now, we need your statement. We need you to tell us everything that happened…
ABBIE presses her lips into a tight line but goes back to her seat and sits down.
ABBIE: [quietly, nods] Okay…
Scene has passage of time, ABBIE is talking, LUKE and ANDY are both making notes and nodding.
ANDY: Was there anything unusual about this guy? Any weird physical attributes…? Any missing limbs or strange birthmarks?
ABBIE: [stares at ANDY, eyes full of fear as the sight of HEADLESS flashes] Yeah… but it’s not something I can explain. It’s something I have to see and verify. That’s why I want to see this suspect you’ve brought in. One look at him and I can tell you whether or not you have the wrong guy.
LUKE: With everything you’ve used to describe the guy, we’re pretty sure we got the right one. But, like we said… in the morning.
ANDY: Besides, he’s not exactly being passive like he was when we first caught him. [ABBIE looks incredulous] That may have been because I had just hit him with my cruiser. But the pain seems to be wearing off and now he’s being irate, potentially violent. We don’t want you to deal with that right now.
ABBIE: [sighs with defeat] Morning… [nods] Okay. Morning it is then.
ANDY: Go home and get some rest.
ABBIE gets up and pushes her chair back under the table.
ABBIE: I guess I’ll go home and get some rest… I’ll be back first thing in the morning…
ABBIE walks out of the interrogation room.
Scene goes to inside of an apartment, it’s dark. an instrumental version of Janelle Monae’s PrimeTime plays over the scene. The door opens and ABBIE walks in, tossing her keys on a table near the door as she closes the door. After locking the door, she kicks off her shoes and goes to her bedroom. In her bedroom, she removes her jacket, throwing it over the back of a chair at a small vanity. She takes her gun and holster off and sets it on her dresser. Something can be heard falling onto the floor. She frowns and looks down, the knife is at her feet.
ABBIE picks up the knife and studies it carefully before setting it beside her gun. She starts unbuttoning her uniform as she walks towards an open door on the farside of her room. The room is a bathroom and she flicks on a light as she goes in and closes the door.
Scene changes to ABBIE soaking in a hot bath, head tilted against the back edge of the tub. Her eyes are closed and she’s doing slow breathing exercises. Her brow knits as there is a flash of the four white trees… the tall, pale demon… of HEADLESS.
Her eyes open and she shakes her head as she sits up, pulling her knees to her chest and wrapping her arms around them.
The background music fades.
ABBIE: [whispers] it’s not real… [the same flashes] It’s all in your head...
She rubs her eyes with the heels of her palms as the flashes come again. A knock echoes through her apartment. Water sloshes as ABBIE reaches for a towel. View goes to her entry door. ABBIE has the towel around her hair and is tying a fluffy robe closed around her waist.
ABBIE: [quietly] who the fu--
She looks out the peephole, groans, and rests her head against the door before taking a deep breath and opening the door. It’s LUKE. He bares gifts of a single rose and a small gift bag.
ABBIE: [flat toned] What do you want Luke?
LUKE: I came by to make sure you’re resting. [holds out his meager offerings to her] You’ve had a rough day. I also wanted to make sure you’re okay.
ABBIE eyes him for a long moment then steps back, holding her door open. She takes the offerings.
ABBIE: Come on in. [indicates inside her apartment with a jerk of her head] Isn't it considered a conflict of interest for you to be here?
LUKE: You’re not a suspect.
ABBIE: [closes the door] But I am a witness.
LUKE: You’re also someone I care about.
ABBIE closed her eyes and sighs, dropping her head forward. She pinches the bridge of her nose.
ABBIE: I don’t need to be dealing with this right now, Luke… On top of everything else I just...
LUKE: Before you finish… I know I’ve been a little clingy lately…
ABBIE: A little?
LUKE: BUT… I also know that you may not be in the same place I am just yet. And I’m okay with that. My expectations have been tempered since day one… and they still are.
ABBIE: [sighs] Jesus H Christ…
She sets her gifts on the coffee table then pulls LUKE in for a kiss. They kiss as they stagger toward her bedroom, the door closing behind them.
Scene goes to later… in ABBIE’s bedroom. LUKE is bare chested and asleep. ABBIE is also noticeably topless and resting her head on his chest, lightly drumming her fingers against LUKE’s skin. Blankets cover them both from the waist downward. Moonlight pours in through the window, casting a silvery glow on everything, through a tiny sliver of an opening between the curtains. ABBIE is staring blankly at the moon through the window.
She lifts her head as angelic vocalizing begins. ABBIE eases out of the bed and walks over to the window, gazing out. Her eyes are pitch black, reflecting the moonlight as she pushes the curtains open wide (yes she’s still naked). ABBIE puts her hand to her chest, over her heart.
ABBIE: [softly, her voice gently echoing] My light…
Scene goes completely black as ABBIE whispering “My Light” echoes over and over again. There is a burst of bright light in the darkness. After a moment, seven bright--but smaller--specks of light blink into existence and angelic vocalizing begins, softly at first but growing louder as more stars begin to appear.
CORBIN’s VOICE: In the beginning… there was darkness. Lonely and fathomless. And thus She created The Light. Her Light created the heavens and the stars to sing for Her.
View pans around from the stars. A celestial being that looks like ABBIE, but with multiple faces, arms, legs, and wings of various colours. The starlight illuminates the black eyes of the forward most face, making them look like two moons.
CORBIN’s VOICE: She was no longer alone… And She deemed it good.
The being smiles brightly, clapping her hands joyfully as the stars vocalize and twinkle. The seven brightest stars begin to take forms like the being’s. The brightest Light attracts the attention of the being and she flies after it, reaching out toward it, laughing as she looks back and reaches toward the seven other lights. They follow after her.
ABBIE’s VOICE: [laughter in her tone] What kind of new age bullshit are you reading this week?
Scene goes to Mabie’s… ABBIE and CORBIN, in their everyday street clothes, are in a booth during the day time. CORBIN has a cup of coffee in front of him and a thick, leatherbound book. The book looks old and well worn. ABBIE sits across from him, nibbling on a plate of fries. She’s smiling brightly, the sun casting an almost heavenly glow on her.
CORBIN: I will have you know, this book is older than both of us, added together and multiplied by itself.
ABBIE: And the library just let you take it out without gloves on?
CORBIN: They trust me not to let anything happen to it.
ABBIE: I just think its funny as Hell that an old man like you is so interested in witchcraft.
CORBIN: A lot of things that happen around here is linked to witchcraft. Can’t ever be too prepared, even if you think the material is just a bunch of hullabaloo… Besides, I think it’s fun to read about the different creation myths.
ABBIE: Our definitions of fun are very, very different, Sheriff.
CORBIN: I’m sure you’ll start to appreciate it some day… This book is based off some of the earliest known writings of mankind.
ABBIE: [shakes head and looks dubious] Appreciate isn’t a word that comes to mind…
CORBIN: [chuckles] Then what does come to mind?
ABBIE: [head falls back and she fake snores]
They both laugh and CORBIN shakes his head.
CORBIN: I thought the same thing at your age.
Scene returns to ABBIE in the moonlight. Tears are streaming down her face. In the background, LUKE can be seen shifting in the bed and then sitting up, rubbing his eyes.
LUKE: Abbie? Abs?
ABBIE’s eyes return to normal and she half turns to look at LUKE.
ABBIE: I think it’s best if you leave. I don’t think I can see you anymore. [shakes her head gently] It’s not fair that I keep dragging you along like this. I’m not ever going to feel the same…
LUKE: [small smile] You can’t say that… you might. One day.
ABBIE: Maybe. But not you. Please, Luke… just… go.
LUKE stares at her a long moment then nods.
LUKE: Okay. I’ll leave. But if you ever change your mind, you know where to find me, Abbie. Like an idiot, I’ll be waiting.
Scene goes to outside ABBIE’s apartment. The entry door opens and LUKE come out, tugging on his shirt as he walks out. ABBIE lingers just inside the door, in her robe.
ABBIE: Thanks for coming over.
LUKE: [putting on his jacket] Don’t mention it, Abbie. And I mean it… if you need me, even if it’s just to rage at someone for a little bit… call me. You don’t have to go through this alone. Corbin meant alot to all of us.
ABBIE smiles softly and reaches up to gently pat his cheek.
ABBIE: I know. See you in the morning, LUKE.
LUKE nods gently and then goes to his car to leave. ABBIE lingers in her doorway, watching his taillights disappear down the street. After the taillights are gone, she pushes away from the doorjamb and closes her door, Locks can be heard sliding into place. When the view goes inside, ABBIE is resting her forehead against the door. She sighs heavily, partially in victory and partially in defeat. She’s had a long day. Losing her mentor and dumping her bootycall all in the same day can be exhausting like that.
ABBIE: [softly] I hear you… I hear you… sing for me… sing sing sing… uplift my spirit, uplift my soul…let me know you’re still there...
ABBIE’s head jerks up as rambunctious pop music starts playing on her phone. It’s the Intro to Beyonce’s Single Ladies. Abbie walks over to her phone. It’s an unknown caller. She frowns and answers the call, putting it on speaker.
ABBIE: Hello? [silence] Hello? Is anyone there?
Soft angelic vocalizing starts coming through her phone. ABBIE’s body goes rigid and her eyes turn black again.
ABBIE: [her voice soft but echoing] I hear you… Greed.
-end scene, end episode-