EPISODE 3

Written by Nick & Matt Lang

October 22, 2020 Nightmare Time Ep. 3 1.

‘NIGHTMARE TIME THEME’

SONG LYRICS - WRITTEN BY JEFF BLIM You, no need to run away You little run-away Cuz the nightmare will get you soon No need to contemplate How deeply that you’re afraid Cuz your life is a waning moon It’s a matter of time, A matter of time Don’t need to look far to find it Every story you tell we’re in pursuit It’s all in your mind, It’s all in your mind Look behind you! Hey what was that? Boo You can run, but are you fast enough? You can hide, but I will find you Close your eyes if you don’t dose off Hold your breath so I don’t hear you The trail of tears that you will leave me Will lead me straight to those that fear me You can run if I don’t catch you But the Nightmare Time is gonna get you Take every precaution, babe Get out the caution tape Cuz the timer is ticking down You even understand The danger that you are in? You’re standing on shaky ground It’s a victimless crime, A victimless crime I’m in your head and you know it Nothing that you do about it It’s all by design, All by design... Where’d he go? You can run but, are you fast enough? You can hide, but I will find you Close your eyes if you don’t dose off Hold your breath so I don’t hear you The trail of tears that you will leave me Will lead me straight to those that fear me You can run if I don’t catch you But the Nightmare Time is gonna get you Just run away if you want, if you dare The Nightmare’s gonna get you Just run away if you want, if you dare The Nightmare’s gonna get you Just run away if you want, if you dare Daddy’s gonna get you You can run if I don’t catch you But the Nightmare Time already caught you

10.24.20 PART 1:

Written by Nick & Matt Lang

October 22, 2020 Jane's A Car 1.

‘SHE LETS ME DRIVE’

SONG LYRICS - WRITTEN BY JEFF BLIM

Got my foot on the gas The carburetor groans While the fuel injection moans In the V6. Been in and out of shops But that fox body won’t stop Since ‘86. I’ve traded in for new. (I’ve traded it in for something new, yeah, oh) But I come right back to you. She lets me drive (Oh, she lets me drive) Down that ol’ country road She lets me (She really lets me) She makes me GO Oh, all the way back home She lets me drive She makes me go She hugs the road Downshiftin’ gears Throughout the years She takes me home Got my feet on the dash We roll down Highway One With the west coast settin’ sun In the rear glass And every time it starts The suspension pounds my heart And I feel that She lets me drive (Oh, she lets me drive) Down that ol’ country road She’s fire (She’s really fire) Transmittin’ smoke Oh, you’re my every hope! She lets me drive She makes me go She hugs the road Downshiftin’ gears Throughout the years She takes me home When I fix you up You fix me Feet on the dashboard Can’t really ask for more Lovin’ the hatchback Soundin’ the 8-track Hand on the stick shift Feeling the whiplash She lets me drive

Lang, 10.22.20 Jane's A Car 2.

EP3, PT1: JANE’S A CAR In the GARAGE of a small auto-repair shop, in the tiny town of Hatchetfield, LEX FOSTER sits in the driver’s seat of a parked 1986 Foxbody Mustang. She bobs her head along to some smooth tune that plays on the car’s radio. That is, until the song cuts out and the tape-deck rolls... TAPE VOICE (O.S.) …And that is when I came into possession of this strange Black Book... LEX (to herself) What the hell? Lex tries to switch it back to the radio, but the nob seems busted. The tape continues... TAPE VOICE (O.S.) Within it’s pages, burial rights, spells, incantations… LEX Piece of shit. Lex whacks the stereo. The tape cuts in and out. TAPE VOICE (O.S.) …to worship these Lords in Black… LEX Come on. TAPE VOICE (O.S.) …Pokotho. Bliklotep. T’noy Karaxis... As Lex kicks the center console, her boyfriend, ETHAN GREEN, leans in through the open car window. ETHAN Don’t hit it like that! TAPE VOICE (O.S.) ...Nibblenephim. And Wiggog Y’wrath… Ethan swiftly thumps the radio once, just so. The tape stops and the smooth tune flows from the speakers once more.

Lang, 10.22.20 Jane's A Car 3.

ETHAN (smiles) That’s how you hit it. Pleased with himself, Ethan wipes his oily hands on his oily coveralls and returns to his work under the car’s hood. LEX If you were gonna rebuild this junk- heap, why didn’t you give it a new stereo? ETHAN Because Mr. Houston didn’t want a new stereo. He wants the car just how it was before the crash. That includes the janky-ass tape-deck. LEX (suddenly somber) This is Mr. Houston’s car? ETHAN Yeah. And with all the money this guy sunk into tracking down these old parts, he coulda bought a new mustang. LEX (a beat) His wife died in this car. ETHAN Freaky-deaky. I don’t know why you’d wanna keep something like that. He’d be happier in a Mazda. LEX (pensive) Maybe he doesn’t want to be happy. Maybe he doesn’t want to forget her. ETHAN Well, if it were me, this thing’d be in the dump. When shit happens, you move on. Beating yourself up won’t bring anyone back. You’re here one minute, gone the next. That’s why you gotta be careful. Alright, give her some gas.

Lang, 10.22.20 Jane's A Car 4.

As Ethan leans on the front of the Mustang, looking down at the engine, Lex presses her foot on the gas pedal... only to find the car’s somehow shifted into ‘drive.’ The Foxbody jerks forward, pushing Ethan back. He slams into the workbench and watches like a deer in headlights as the car comes closing in. ETHAN (CONT'D) NOOOO!!! Just before Ethan is crushed, Lex slams on the breaks. SCREECH! The Mustang stops an inch from Ethan’s face. It sits there, engine purring, as he leaps to his feet and pulls open the driver’s door. ETHAN (CONT'D) (to Lex) Out. Out. LEX I’m so sorry, Ethan. I swear it was in park. Lex climbs out of the car and Ethan points to the letters by the gear-shift lever. ETHAN Look at this, Lex. You looking? This is a “P.” This is a “D.” Do you see the difference? Do you see how the “P” has a little tail coming down? That’s how you know it’s not a “D!” He sees Lex is visibly upset. He softens. ETHAN (CONT'D) Hey. I’m sorry. I didn’t mean to yell. It’s just, I coulda died. LEX I swear it was in park. She buries her face into his chest, and looks back at the Foxbody Mustang. It’s engine growls. Ethan rubs her back. ETHAN It’s okay, babe. Come on. You’re shaking. You’re shaking. Across town, at PIZZA PETE’S FAMILY FUN ZONE, TOM HOUSTON’s knee bounces nervously under the table.

Lang, 10.22.20 Jane's A Car 5.

TIM You’re shaking, Dad. TOM What? Tom sits in a booth across from his ten-year-old son, TIM. Around them, birthday parties rage and pinball machines clatter. Tom is anxious and Tim can tell. TIM You wanna switch sides so you don’t have to look at the big-kid games? TOM I’m not shaking, alright? Tom glances behind Tim at a row of violent arcade games, including one called ‘ROADKILL!’ He watches two pixilated cars plow into each other. He winces, remembering... CRASH. BANG... TOM (CONT'D) You know what? Yeah. Let’s switch sides. They switch. From this new side of the booth Tom’s got a clear view of the entrance. He watches it like a hawk. TOM (CONT'D) (Sighs) I just want you to like my friend. TIM You mean your girlfriend? TOM No. She’s a girl. We’re old friends. TIM But you are intimate. TOM Intimate? Do you know what that means? TIM (shrugs) It’s what Uncle Paul says.

Lang, 10.22.20 Jane's A Car 6.

TOM Yeah. Well, Uncle Paul’s a geek who needs to keep his mouth shut... Alright. She’s here. Through the front doors, BECKY BARNES appears. She scans the restaurant, spots Tom, and waves. BECKY Hi! TIM (to Tom) That’s Becky Barnes? TOM Yeah. What? TIM Nothing. (nods) I’m just proud of you, Dad. Becky makes her way to the booth, throwing her jacket next to Tom and pecking his cheek. BECKY So sorry I’m late. Bridgette had her operation today. And the parking here is just bananas! Hi Tim! I can’t tell you how excited I am. I’m at Pizza Pete’s with two Houston boys. I’m the luckiest lady in the whole town. With Becky in the booth, the OBNOXIOUS TEENage waiter rushes to Tim. OBNOXIOUS TEEN Hey, little man. You ready to order now that your mom’s here? TIM She’s not my mom. My dad’s just intimate with her. Tom freezes, blushes. Tim grabs Becky’s arms. TIM (CONT'D) You wanna play Zombie House? BECKY Sure! It’s not scary is it?

Lang, 10.22.20 Jane's A Car 7.

The ten-year-old pulls Becky out of the booth, over to the big-kid games, leaving Tom to order. TOM Can we just get a large Cheesey Pete and a pitcher of coke? OBNOXIOUS TEEN Okay, slow down, sir! (writing it down) Large… Cheesey… Pete… and a pitcher of what? TOM Coke. Tom turns to see Tim and Becky standing at Tim’s favorite machine, orange toy-guns in their hands. On the screen, a horde of zombies bite and claw. TIM Quick! Shoot ‘em! BECKY Shoot them? What if I wanna help them? TIM Come on! You’re gonna die! A smirk creeps into the corner of Tom’s mouth. Tim hasn’t had this much fun at Pizza Pete’s since... CRASH. BANG. Becky’s video game character is ripped apart by a wave of the undead. BECKY Ooh. They got me. I’m not very good, am I? TIM Just continue. BECKY Okay, but I’m really gonna need your help. Later that night, Tim is asleep on the couch between Becky and Tom as some terrible movie plays on the TV. JACQUELINE (O.S.) You listen to me, Chris Kringle. No one says “no” to Jacqueline Frost.

Lang, 10.22.20 Jane's A Car 8.

TOM (rolls his eyes) Oh, great. Here comes another song. JACQUELINE (O.S.) (singing) I’ve got a cold heart, and I don’t like Christmas at all… Becky motions to Tim’s head resting on her shoulder. BECKY (to Tom, softly) Looks like the movie put Tim to sleep. TOM Yeah. I don’t blame him. BECKY It’s awful. TOM I’ll take him upstairs. Tom tucks Tim into his BED, kisses his forehead, and starts for the door. He’s stopped when Tim props himself up, half- awake. TIM Is Becky still here? TOM Yeah, but she’s right about to go home. TIM She doesn’t have to. TOM (a beat) Get some sleep, bud. Back in the LIVING ROOM, Tom finds Becky curled up on the couch, trying to make sense of the movie. BECKY Okay. Jacqueline is Jack Frost’s teenage daughter, but Chris is just regular Santa in disguise? Wouldn’t it be better if Chris was Santa’s teenage son? Then it wouldn’t be so weird when he starts dating Noel. (MORE)

Lang, 10.22.20 Jane's A Car 9. BECKY (CONT'D) I know she’s eighteen, but I still don’t like that. TOM Yeah, but then it’d be ‘Son Of Santa Goes To High School.’ That’s, like, a different movie, Beck. BECKY You’re right. TOM (a beat) So you wanna call it a night? BECKY We could. Or… I could stay. TOM (hesitant) If you stay… you’ll be here when Tim wakes up. And he’ll start thinking of you in a certain way. And… I don’t want to put that on you if you’re not ready. BECKY (a beat) Tom. I was with my ex-husband for fifteen miserable years. I thank God everyday that he’s dead… to me. Dead to me. I don’t know where he is. The point is, if that time with him taught me anything, it’s that I don’t want to waste one more second being unhappy. I want to be here when Tim wakes up. Every time he wakes up. The question is, do you want me here? She touches his face. Searches his eyes. BECKY (CONT'D) Do you, Tom? Do you want me here? TOM Becky Barnes… (a beat) I want you… right here. BECKY Oh, Tom… They embrace. Between passionate kisses, Becky asks...

Lang, 10.22.20 Jane's A Car 10.

BECKY (CONT'D) Should we turn off the movie? TOM Let it play. Tom and Becky fall onto the couch and make love to the sounds of ‘Santa Claus Is Goin’ To High School.’ All is right with the world. A few days later, in the early morning, Tom stands in TONY GREEN’s Body-Shop, looking down at his fully restored 1986 Foxbody Mustang. TONY There she is. Just like new. Well, as new as a thirty-three year old car can be. (a beat) Tom, you alright? TOM (snapping out of a daze) Yeah, sorry. She’s just so beautiful. Sorry she took up so much space in your garage for… TONY A year and a half. TOM Has it been that long? Tom’s eyes glaze over as he turns back to the car. The car he’s had since high school. Where he last he saw... Jane. TONY (a beat) Listen, Tom. A buddy of mine is a collector of vintage automobiles. He’d give you a good price if you don’t want to… He’d take of her. TOM No. No. She belongs with me. (tears forming) This car meant a lot to Jane and… TONY (comforting him) Hey. Hey, pal. It’s alright. I can’t imagine losing someone like that. (MORE)

Lang, 10.22.20 Jane's A Car 11. TONY (CONT'D) If anything happened to my boy, Ethan, I don’t know what I’d do. Look, why don’t you come inside and…? TOM Thanks, Tony. I’ll see you around. Tom climbs into the car and revs the engine. TONY See you around, Tom. He waves as Tom speeds off. Not long after, Tom sits behind the wheel with Tim in the passenger’s seat. The town outside blurs by as they roar through the streets, en route to drop Tim off at school. Tom glances over to find his son staring blankly out the window. Last time Tim rode in this car, things did not end well. TOM You okay? TIM Yeah. TOM We got the car back. 1986 Foxbody Mustang. She’s a classic. You know, in a few years, if you’re really good, this could be your car. What’d you think of that? TIM I dunno. Tim goes back to staring blankly as they pull up to Hatchetfield Elementary. TOM Alright, well, have a good day at school. I’ll pick you up at four. TIM I think I’ll just take the bus. TOM Okay. Tim hops out and heads for the entrance. Tom’s about to leave when... BEEEEP! The car horn honks itself. Tim runs back, grabbing a paper sack from the backseat.

Lang, 10.22.20 Jane's A Car 12.

TIM Forgot my lunch. Thanks, Dad. Tim’s off again, leaving Tom to scratch his head. Did he see Tim’s lunch and honk the horn? Guess he must’ve. Tom stops at a red light as a corny, old pop tune comes on the radio. He smiles. TOM Jane loved this song. (a beat) I, on the other hand… Tom turns the dial to the classic rock the station. That’s more like it. The light turns green... just as the stereo switches itself back to Jane’s pop song. TOM (CONT'D) Huh. That’s funny. The GARAGE door clanks open, and Tom pulls the Mustang into it’s old parking spot. He turns off the engine and sits there for a moment. He runs his fingers down the side of the steering wheel, fondly. TOM (CONT'D) I missed you… He turns to the passenger’s seat, this time not talking to the car... TOM (CONT'D) I miss you. He chokes down the lump in his throat and starts into the house. As he shuts the garage door and turns out the light, he hears... JANE I missed you too. TOM (Gasps) He whirls around, but there’s no one there. Just the clutter, and the cobwebs... and the car. The next day, Tom tears through the selection at a local BOOKSHOP. Worried he might be hearing things, he’s just looking for a few basic answers. He’s flipping through pages when he’s interrupted by a bright, smiling face...

Lang, 10.22.20 Jane's A Car 13.

BECKY Hey, stranger. Fancy meeting you here. TOM Oh, hey, Beck. BECKY I was just picking up some books for the kids at the hospital. Ours are getting a little ratty. Whatcha reading? TOM Oh. Nothing. Just… nothing. BECKY “Neurology for Dummies.” You’re not a dummy, Tom. TOM Yeah, I’m just doing a little bit of research. I’m wondering how exactly flashbacks work. If a familiar place, or thing, or a car could trigger auditory hallucinations. Jane’s a psychiatrist. I could just ask her… (catching himself) I wish I could ask her. BECKY You’re thinking about Jane? Is it because of the other night? TOM No. Just a passing thought. This book is very hard to understand. It’s certainly not for dummies. BECKY Alright. Well, I don’t know what your plans are tonight, but if you and Tim are up for it I was thinking about coming over after work. We could get some take-out. Play a few board games. TOM Tonight’s no good, Beck. I just got the Mustang back… He points to the car parked outside the front window.

Lang, 10.22.20 Jane's A Car 14.

BECKY (getting closer) Oh, I remember the Mustang. It’s the same one from high school, right? I’d love to see that backseat again sometime. TOM (backing away) Becky, there are people around. BECKY Sorry. Was I being crude? TOM A little. Anyway, we got two cars now so I gotta clean out the garage so they both fit. BECKY I could help. TOM There’s a bunch of shit in there, Becky. You don’t wanna go through that shit. BECKY (getting the idea) Okay. Well, maybe we could do something this weekend? TOM (nods) Absolutely. Tom pulls back into the GARAGE. He sits behind the wheel, thinking. He cooks dinner for Tim. Helps him with his homework. He lies awake in BED for hours. He remembers Becky’s face. Pizza Pete’s. Tim’s laugh. That night... Jane. He can’t go on like this. He gets out of bed. Looks in the mirror. TOM (CONT'D) Tom. What’re you doing? What the hell are you doing? He goes through the HOUSE, collecting Jane’s things. Old pictures. Keepsakes. A bottle-opener from the Birdhouse. He puts it all into boxes, and carries them into the GARAGE. He pulls out his phone, and takes a deep breath. He dials an old friend. It goes to voicemail...

Lang, 10.22.20 Jane's A Car 15.

TOM (CONT'D) Hey, Tony. Tom Houston. I was thinking about what you said... Just curious how much your buddy would pay for the Mustang. Gimme a call back. Whenever you like. Tom hangs up, sighs, and starts inside. Until... JANE I thought you missed me, Tom. TOM (mortified) Hello? Who’s there? JANE Have you forgotten my voice already? How many thousands of times did I whisper your name… Tom? He realizes where the voice is coming from. The Mustang. And he knows whose voice it is... TOM Jane? But... you’re dead… The car’s headlights flash. The horn HONKS. JANE Wrong! I’m not dead, Tom… (a beat) I’m a car. Surprise! I was trying to be subtle. Give you your space. I know you startle easily. But really, Tom? Sell the Mustang? Is nothing sacred to you? TOM This can’t be happening… JANE I know you’re shocked. So am I. I can’t believe you’d even consider selling the car in which we first made love. The car you drove me to the hospital in when I was about to give birth to our son. TOM I wasn’t gonna sell the car. I was curious what the guy was willing to pay.

Lang, 10.22.20 Jane's A Car 16.

JANE Oh, so there’s a price tag on all those memories? On our life together? On me? You’re just gonna box me up and stick me in the garage with all the other shit. I’ve been gone for, what? A year and a half? And look at how much shit has built up in here! TOM How is this possible? How are you… a car? JANE Really? You’re seriously asking me that question? You don’t pay attention to anything, do you? No wonder we crashed! Think, Tom. What were we listening to that night? TOM Uh… The radio? JANE You don’t remember the tape? (Sighs) We had just left your parents’ house. Tim was asleep in the backseat. I put on a tape. The audio diary of one of my patients. He was a professor of literature. Years ago, he had discovered some sort of… spell book. He claimed it was the cause of his complete mental breakdown. I was reviewing his old notes. He’d recorded himself reading an incantation from this book. Part of a ritual of “soul transference.” And I guess the ritual worked, because when that car hit us… TOM Your soul transferred into the Mustang? JANE Yes, Tom. For better or for worse, I’m a car now. I’m not happy about it. (getting upset) (MORE)

Lang, 10.22.20 Jane's A Car 17. JANE (CONT'D) It has been very lonely and painful, and all I wanted to do was get fixed and come home. And that girl called me a “junk-heap.” I want a new stereo! TOM Whatever you want, Janey. Whatever you need. You’re home! I thought I lost you, but you’re home! This is a miracle! I gotta go tell Tim! JANE Don’t you dare. TOM What? Why not? JANE Think about it, Tom. First Tim is told I’m dead. Now you want to tell him I’m a car? Are you trying to scar him for life? TOM So I can’t tell Tim his mom’s alive? JANE You can’t tell anyone. Can you imagine what people would say if they found out I’m a car? “Oh. Look at the sentient car.” They’d put me on display in some sort of traveling auto show, and I have no interest in that. You dragged me to the Hatchetfield Motor Show once, and that was quite enough for me. Thank you very much. TOM So I’m supposed to keep this secret my whole life… JANE Calm down, Tom. I have a plan. But I’m going to need your help. Here. Get inside me. Let’s go for a drive. The sun comes up over Hatchetfield, and the town goes about its daily business. Tom and Jane drive downtown, where people weave in & out of coffee shops, clothing stores, and offices.

Lang, 10.22.20 Jane's A Car 18.

JANE (CONT'D) Alright, Tom. Take a right up here. Onto Main Street. (a beat as Tom drives) Slow down. Let’s just cruise. Now, look at all these people. Coming and going. Look at these women. Do you see them, Tom? TOM (uncomfortably) Yeah. JANE Do you find any of them… attractive? TOM (not wanting to answer) Uh… No. JANE (getting frustrated) Okay. Let’s try the beach. That afternoon, Tom and Jane are parked by the BEACH near Starry Cove, watching people sunbathe and play volleyball. One woman catches Jane’s attention... JANE (CONT'D) There. In the pink bikini. What do you think of her? TOM I... don’t... know. JANE Come on, Tom. This isn’t rocket science. Is she your type? TOM No. JANE Why not? TOM Because she’s not you. JANE Oh, bullshit. (a beat) (MORE)

Lang, 10.22.20 Jane's A Car 19. JANE (CONT'D) Sorry, I know you’re trying to be sweet, but I’m not going to get upset with you. I just want to know which of these women you could see yourself sleeping with? TOM Janey, I can’t do this. I’m at the beach, sitting in my car, looking at all these women. I feel like a creep. JANE Well, do you wanna go to the mall and look at women there? TOM I wanna go home. JANE Alright, I’ll make this easy on you. Look at that one with the clip board, asking for donations. Tom surveys the boardwalk and spots the woman Jane’s referring to. TOM You mean... the Greenpeace girl? JANE Yes. I’ll start. I find her very attractive. I like her hair. I like that she cares about the environment. I bet she’s a vegetarian. I like her. I’m feeling her whole earthy vibe. So what do you think? TOM (admitting) She’s pretty. Is that what you want from me? JANE So we’re in agreement? TOM Yes. JANE Is there anyone else you prefer over her?

Lang, 10.22.20 Jane's A Car 20.

TOM (takes a quick look) No. Not really. JANE Okay, good. TOM What’s your point here? JANE Shh. Look. Tom looks back to the Greenpeace Girl. After being ignored by passersby for hours, she throws up her arms. JANE (CONT'D) She’s giving up. No charity here. She’s realizing that all these people take the lake’s beauty for granted. She’s packing up. She’s heading down the block. Probably to the farmer’s market. She’s smart too. I like that. Alright, Tom. Follow her. TOM Uh… Okay. The engine purrs as Tom follows the Greenpeace Girl onto an empty street between the beach and Oakley park. JANE Hang back a little, Tom. Not too close... Not yet. Oh! She looked back at us. (as if to the Greenpeace Girl) Don’t worry, sweetie. Nothing to see here. I’m just a car. Rolling along. Going where I need to go. I’m not following you. There’s a million reasons I could be driving this slow. Maybe I’m looking for a place to park or a specific address. (a beat) Alright, Tom. No one’s looking. Speed up. Close the distance. Step on it, Tom. Tom gives it some gas. The engine growls. The Greenpeace Girl turns back. Her eyes go wide and she starts to flee the approaching Mustang.

Lang, 10.22.20 Jane's A Car 21.

JANE (CONT'D) Shit! She sees us! Quick, Tom! Now! TOM Now what?!? JANE Run her over!!! TOM What!? JANE Hit her, Tom! She’s running! Hit her, quick! Before she gets away!!! TOM NO! Tom swerves to the side, narrowly missing the Greenpeace Girl. He slams on the breaks as she runs for dear life. She rounds a corner. Gone. JANE Dammit, Tom. I hope you’re happy. It took us all day to settle on her. TOM Why, Janey? Why did you want me to hit her? JANE Well, how else am I supposed to get a new body? TOM What? JANE Think about it, Tom. Last time the spell was read, my soul went into a car. I’ve cued up the tape to the transfer ritual. Since my body is gone, I need to put my soul into a new body. What? You thought we were just scoping out chicks for fun? TOM Jane! You’re talking about killing somebody!

Lang, 10.22.20 Jane's A Car 22.

JANE No. We just wanna give the body and spirit a shock. Loosen the bond a little bit, so my soul can slide in and push hers out. TOM Well, where’s the other soul go? JANE (as if rolling her eyes) I don’t know. Heaven. TOM Jane, you don’t believe in Heaven. JANE Well, you do, so what’s the big deal? TOM (gobsmacked) I don’t want your soul in the body of some random woman I don’t even know. That’s weird! JANE Oh, I’m sorry, Tom. I completely forgot to consider your feelings in all this. You’re right. I’ll stay a car forever. I’ll sleep in the garage with all the spiders. Drink gasoline. And go in every six months to let some strange men change my oil! TOM Alright, I get it. (takes a breath) If this is what it takes to bring you back... I’ll do it. I mean, I have to! But can’t it be someone who deserves it? What about... Linda Monroe? JANE Why? Do you find her attractive? TOM You know what? Let’s sleep on it. It’s late. I’ll drive us home.

Lang, 10.22.20 Jane's A Car 23.

The sun goes down as they pull into the GARAGE. Tom turns off the engine and they sit in silence. After a moment, Jane says... JANE I’ve been thinking about it, and you know where we could’ve looked for a body? TOM Where? JANE St. Damien’s. You know, the hospital. TOM (knowing the answer) Why? JANE Cuz isn’t that where your old friend works? You know... Becky Barnes. TOM (lying) Becky Barnes? I haven’t seen her since… JANE Yesterday? In the bookstore? TOM (he’s caught) How did you… JANE I’m not blind, Tom. I’m a car. You two looked… real friendly. TOM Well… She’s an old friend. JANE Old girlfriend. (a beat) You know, I’m not the jealous type, but I’ve had a lot of time to think while I was being repaired. (with genuine fear) (MORE)

Lang, 10.22.20 Jane's A Car 24. JANE (CONT'D) I know you loved her a long time ago, but is there any part of you… any small part… that was glad I was gone, so you could be with her? TOM Janey… No… JANE (starting to cry) I’m just so hurt… and scared… (a beat) And I’m a car! TOM You may be a car, but you’re still my wife. What can I do? JANE You’ve known it was me for a whole day, and you haven’t even kissed me. TOM (realizing she’s right) I’m sorry, Janey. JANE Make me feel like a woman again, Tom... Kiss me. TOM (looks at the car interior, befuddled) Uh... Where? JANE (seductively) Everywhere. Tom complies. He starts kissing the car, everywhere he can think to. The dashboard. The door handles. The steering wheel. TOM Oh yeah. Is that good? JANE Yes, Tom. Yes. Take your shirt off. TOM Okay.

Lang, 10.22.20 Jane's A Car 25.

JANE And your pants. TOM Okay. JANE Make love to me, Tom... Make love to your car. Tom climbs into the backseat. Where he and Jane first became intimate. Where they’d be intimate again. He feels her smooth upholstery. Her soft seat cushions. TOM Oh yeah. Oh yeah. He’s tender and attentive. Loving and lascivious. JANE Careful with my cup holders, Tom. They’re sensitive. Yes, Tom. Yes! TOM Oh Janey… Oh Janey… KNOCK KNOCK. There’s a tapping at the car door. Tom quickly covers himself, and rolls down the steam-covered window to find... Tim. TOM (CONT'D) (covered in sweat, but playing it cool) Hey kiddo. TIM What are you doing in there, Dad? TOM Nothing. TIM Why are the windows all foggy? TOM Are they? TIM I heard you get home. You didn’t come in. Are you okay, Dad? TOM Yeah. Yeah. I feel like a million bucks. I really do. (MORE) Lang, 10.22.20 Jane's A Car 26. TOM (CONT'D) You know, the two of us have been through a bit of a rough patch recently, but I think things are finally turning around. Don’t you think so, pal? TIM I guess. TOM Tell you what. Why don’t we do something fun this weekend? As a family. We’ll go to a drive-in movie! Huh? How’s that sound? Just the three of us. TIM I’d like that... I like Miss Becky. The car’s rear-view mirror cracks. Tom gulps. His son just spilled the beans. TOM (caught again) Uh… TIM No one could ever replace Mom, but Becky’s really nice. I like when she stays over. She makes really good pancakes. TOM (a beat, he smiles) Why don’t you head on in, son? TIM Okay, Dad. You coming too? TOM I hope so. We’ll see. TIM Okay. Tim heads inside. Tom struggles to think of how he’s gonna get out of this one. TOM Jane, lemme explain why Tim is confused. When I said “the three of us,” I meant the three of us…

Lang, 10.22.20 Jane's A Car 27.

JANE Shut up. I want the truth out of you, Tom. What the hell is going on between you and Becky Barnes? TOM (gulp) Now? Nothing. Ever since I found out you’re a car, it’s over with her. JANE What’s over? TOM (a beat) Nothing… JANE I’m not stupid, Tom! I’m a car. (breaths) And I understand that you thought I was dead. I get that. Given time, I can learn to forgive your infidelity. But it’s going to take a lot of work on my end. TOM (nodding) Yeah. I’m sorry. Thank you, Jane. JANE So I’m gonna need you to do some work as well. I don’t want to hear any whining the next time I tell you to run a woman over. Are we clear? TOM Crystal. JANE Okay. Put on your seat belt. TOM Why? Where are we going? JANE To Becky’s house. You’re going to end this “nothing” that’s been going on behind my back seat. The moon hangs in the night sky. A cool mist covers the ground.

Lang, 10.22.20 Jane's A Car 28.

The Mustang’s headlights cut through the fog, illuminating the home of Becky Barnes. Tom parks the car. The engine rumbles. JANE (CONT'D) Alright. Here we are. Go ahead. Tom reaches to pull the keys from the ignition. JANE (CONT'D) No. Keep me running. I don’t wanna get cold. TOM But… JANE I mean, this shouldn’t take too long, right? It was nothing, after all. TOM Right. Tom knocks on the front door and Becky answers, a smile spreading across her face. BECKY Well, this is a surprise. TOM Hey, Beck. Can we talk inside? BECKY Sure. She sees the Mustang running nearby. BECKY (CONT'D) You know your lights are on, right? TOM Yup. Let’s talk inside. Becky leads Tom toward the kitchen. BECKY I was just making dinner. You’re more than welcome to… TOM (frantically) Come over here! Away from the window! She’ll see you!

Lang, 10.22.20 Jane's A Car 29.

He pulls her into a corner of the room. Confused, she tries to look for someone outside. BECKY Who? TOM Becky… How do I put this? (thinks) Do you see my car out there? BECKY Yeah… TOM Don’t look! (a beat) My wife… Jane… is in my car. BECKY (a look of horror washing over her) Oh my god, Tom… You dug up your dead wife? TOM No! What? Do you think I’m crazy? (very serious) My wife’s soul was transferred into my 1986 Foxbody Mustang by some kind of evil magic. BECKY (backing away) Tom, you’re scaring me… TOM I’m glad you understand the severity of the situation. I’m scared too! She’s not acting like herself. (crazed) I just spent all day driving around, looking at women, trying to find one to run over! Tears well up in Becky’s eyes. She nods, humoring him. BECKY Mmhmm… TOM I didn’t do it! But I might have to. She wants a body. (MORE) Lang, 10.22.20 Jane's A Car 30. TOM (CONT'D) Sooner or later I’m gonna run somebody over! That’s why you have to stay away from me, Becky. Stay far away. (gets closer, whispering) As of now, I’ve had to drive Jane everywhere, but I’m very afraid that she might be able to drive herself. BECKY (very worried for him) Cars don’t drive themselves, Tom… TOM I know, but Jane is tricky sometimes. She lets me do things that she could probably do better herself. She thinks it helps my self esteem, but it just drives me crazy! BECKY (frightened for her life) Oh Tom… TOM Becky, I’m sorry to put you through this. I love you. I always have, and I always will... But I’m married to that car out there and I have to go. Tom heads for the door. Becky tries to stop him. BECKY Tom, I don’t think you should be driving anywhere. I think you need some help. Lemme call my friend at the hospital… TOM Goodbye, Becky. He leaves, slamming the door behind him. Back in the CAR, Tom exhales. TOM (CONT'D) There. It’s done. JANE Good job, Tom. Thank you.

Lang, 10.22.20 Jane's A Car 31.

TOM Now let’s go home. He tries to shift into reverse, but the lever won’t budge. The engine growls. TOM (CONT'D) Jane… Jane… What are you doing? JANE That’s not the only reason we came here, Tom. You see, I understand. You love me and her. You’re a man torn between two women, and it’s torture. I’m going to end that pain, Tom. For both of us. BEEEEP! BEEEP! The horn honks on its own accord, drawing Becky out from inside the house. She looks toward the Mustang and starts for it. BECKY Tom? Tom, please don’t go anywhere. JANE See? You don’t have to choose. You can have us both. My soul... in her body. TOM Janey. Don’t do this… VRRMMMM. The engine roars. The tape deck switches on. From the car speakers, the audio diary of Jane’s former patient starts to blare... TAPE VOICE I will now read from the ritual of soul transference… JANE I always wondered what I’d look like as a red-head. TAPE VOICE (chanting) Mahund-da-day da-day-lee-ah… TOM JANE! NO!!! VROOOM!!! The Mustang takes off, barreling in the direction of Becky Barnes. She sees the car headed straight for her.

Lang, 10.22.20 Jane's A Car 32.

BECKY TOM!!! Becky breaks for the house. Realizing she’s too far to make it, she turns and runs for the nearby woods instead. The car swerves, kicking up dust as it gives chase. TOM JANE! STOP IT!!! STOP IT!!! Tom struggles with the steering wheel, but no matter how hard he tires, the Mustang keeps course, careening toward Becky. BECKY SOMEBODY! HELP ME!!! The car goes off road, following her into the forest. In desperation, Becky considers climbing a tree. But no... not after what happened last time. She keeps running. Behind her, the car bangs and bounces, thundering over rocks and underbrush. Inside, the tape continues... TAPE VOICE Da-day da-day da-day-lee- HUMDALAH!!! The car closes in. Becky whirls around as it speeds toward her. BECKY AHHH!!! TOM BECKY!! THUMP! The Mustang plows into Becky. She tumbles over it, slamming on the hood, then the roof, then the dirt. She rolls to a bruised and bloody stop as the car continues flying forward, directly into a tree. CRASH! BANG! Darkness... Silence... Then a voice... OFFICER Miss Barnes. Miss Barnes, can you hear me? Becky’s eyes flutter open. She’s in a white room, on a clean bed, looking up at a POLICE OFFICER. Beside her, a heart monitor BEEPS. She’s bandaged, and stitched, but alright. BECKY Tom… Where’s Tom?

Lang, 10.22.20 Jane's A Car 33.

OFFICER There’s been an accident, Miss Barnes. You’re in the hospital. Mr. Houston has been taken into custody. BECKY What? Why? OFFICER We were on the lookout for the owner of a red 1986 Mustang. He tried to run down a woman at the beach this afternoon. Don’t you remember him chasing you with his car? BECKY Yes... I remember. OFFICER I’m afraid Tom Houston has suffered a complete mental breakdown. (a beat) He believes his dead wife’s soul was in that car. Is it true that you and he have recently formed a romantic relationship? BECKY (nods) Yes. OFFICER Miss Barnes. Who can say what triggers something like this? Guilt. Grief. Maybe the guy just didn’t want to be happy. (sighs) Goodnight, ma’am. The officer turns to leave. Becky sits up. BECKY Officer... What happened to the car? OFFICER Pile of junk went straight to the dump. BECKY (nods) Good.

Lang, 10.22.20 Jane's A Car 34.

Later, Becky is released from the hospital. She breaths in the cool night air, feels the breeze on her skin, and heads for home. Tim is awoken from a restless sleep by the sound of his BEDROOM door creaking open. He rubs his eyes, and calls through the dark... TIM Dad? BECKY Shhh, sweetie. Daddy went away for a while. But don’t worry… The light on Tim’s nightstand switches on. Becky sits on the edge of his bed, and Jane smiles... JANE/BECKY Mommy’s home.

THE END

Lang, 10.22.20 PART 2:

Written by Nick & Matt Lang

October 22, 2020 The Witch In The Web 1.

‘THE WITCH IN THE WEB’

SONG LYRICS - WRITTEN BY JEFF BLIM

The witch in the web wants power Power over you From the heights of her lonely tower She flies at the early dew I can hold her just for so long In the web I spin and loom But a witch is a witch If you allow her To have power over you The witch in the web is scary But only in your mind Many children she has buried Their memories are mine I tell you this for a reason Just you and your guitar A witch becomes a coward When you remember who you are The witch in the web is ancient That means I know her well She certainly tests my patience From her black and white cell I could throw away the keys now But that’s not me, oh no You see, a witch is a witch for a reason Until you let her go.

Lang, 10.22.20 The Witch In The Web 2.

EP3, PT2: THE WITCH IN THE WEB Hannah sings ‘The Witch’s Lullaby,’ then... SLAM! The door to HANNAH FOSTER’s ROOM bursts open, and her mother, PAMELA, comes storming in. PAMELA Nanners! You got any idea what time it is? Hannah stops strumming and looks up from her ukulele. HANNAH Nightmare time. PAMELA It’s 3am! I got a date bright and early with my future husband, so shut up! Pamela rips the instrument from Hannah’s hands. HANNAH No! PAMELA Bad girls don’t get to keep their little guitars. Pamela hobbles for the doorway on a broken foot, her heavy cast dragging beneath her. Hannah stops her, pleading. HANNAH Please. I have to keep singing, or I’ll forget the songs. PAMELA Good. Pamela slams the door behind her. Defenseless and alone, Hannah lays back on her beat-up old mattress, pulls the blanket over her head, and waits for the nightmares to come. THE NEXT MORNING, Pamela plants herself in front of the TV as her favorite show begins... NEWS ANNOUNCER This is Morning Cup O’ News with Dan and Donna.

Lang, 10.22.20 The Witch In The Web 3.

PAMELA (to the news anchor on TV) Hello again, Dan. Miss me? I’m gonna marry you one of these days, you beautiful bastard. Just wait’ll you get a load o’ me. (BURPS, then to Hannah) Nanners, bring me them beers from the ice box! Hannah stands in the KITCHEN NOOK of her mother’s run-down mobile home, exhausted from another restless night. She grabs a half-drank six-pack from the fridge. On the TV, DAN REYNOLDS flashes that winning smile. DAN Good morning, Hatchetfield. This is Dan Reynolds... DONNA And I’m Donna Daggit. As the leaves fall and the Jack-O-Lanterns light up, we know ‘round these parts that can only mean one thing... Just a few short months until the Hatchetfield Honey Festival! DAN That’s amazing, Donna. PAMELA You’re amazing, Dan. (to Hannah, her eyes still locked on the TV) Nanners. I wanna be alone with my man. Go play outside. HANNAH With what? PAMELA I dunno. Find some dog turds. Here. Knock yourself out. She tosses Hannah a beer from the six-pack. Hannah inspects it, shrugs, and heads outside. Pamela turns back to the TV, and melts into the recliner. PAMELA (CONT'D) Alright. Where we going today, Dan? OUTSIDE, Hannah sits on the metal steps to her front door. She stares out into the Hatchetfield Witchwood, the forest that’s bordered her home all her life.

Lang, 10.22.20 The Witch In The Web 4.

Lately, however, something has changed. Almost as if the Witchwood itself has woken up, and it’s calling to her. She cracks open the beer and takes a swig. HANNAH (it’s gross) Ugh. Hannah looks up at a tree. She nods to it awkwardly, like a wallflower at a school dance. HANNAH (CONT'D) So… What’s your name? (a beat) That’s pretty. (another beat, listening) Huh? Can’t hold who? Hannah leans in closer to the tree, trying to hear what it’s “saying”. But its “voice” is drowned out by... VROOM. Hannah looks to find an old STATION WAGON pulling up beside her trailer. From it, emerges DOUGLAS KEANE, aka DUKE, the social worker assigned to assist the Foster family. He sees the girl, talking to a tree. DUKE Hannah? HANNAH Hiya, Duke. DUKE Heya, darling. Just came to check… Whatcha got there? He points to the can in Hannah’s hand. Knowing she could get in trouble, she decides to play dumb and shrugs. DUKE (CONT'D) Where’d you get that? HANNAH Momma. DUKE She inside? HANNAH (lying) No. DUKE She tell you to say that?

Lang, 10.22.20 The Witch In The Web 5.

HANNAH (nods) Uh huh. DUKE (sighs) Let’s go have a word with her. INSIDE, Pamela is also playing dumb. PAMELA Thank you so much, Mr. Keane. I can’t believe Hannah would just steal one of my beers. (to Hannah) I taught you better than that, Nanners. If you’re gonna drink someone’s beers, you gotta throw in a few bucks. DUKE Just seems to be a pattern here, Ms. Foster. First, Lex gets caught with your pills. Now, Hannah with your alcohol. PAMELA I know, Duke. Why do they gotta make it so hard to be a single mother? If only I had a man around to help me. (touching his arm, seductively) To hold me. DUKE (brushing her off) Alright, Pamela. You’re not going to be holding onto Hannah at all if this keeps up. You wanna lose her, like you lost Lex? PAMELA Oh, don’t get my hopes up, Duke! DUKE This is no joke, Pamela. I found Hannah talking to a tree. She needs to be mentally engaged with something. Where’s her ukulele? PAMELA What?

Lang, 10.22.20 The Witch In The Web 6.

DUKE The instrument you took from her. PAMELA Me? Take from my own child? DUKE That’s what she says. PAMELA Well, we’ve already established she’s a lying, little turd. Pamela retrieves the ukulele from the cupboard. PAMELA (CONT'D) I was just cleaning it for her. Here you go, Nanners… (to Hannah, quietly) Tattle-tale. Hannah sees the instrument. A look of concern washes over her when she realizes... HANNAH That’s not mine. PAMELA Yes it is. HANNAH It’s wrong. PAMELA No, it ain’t. DUKE Just give Hannah her ukulele back. PAMELA You think I got money for two of these? This thing keeps me up all night. She won’t stop playing. How am I supposed to get my beauty sleep? DUKE Don’t play past nine, Hannah. With the instrument returned, Duke heads for the door. He’s stopped when Hannah explains... HANNAH It’s the wrong color. Mine’s white.

Lang, 10.22.20 The Witch In The Web 7.

DUKE What? In her hands, Hannah holds a black ukulele. Duke turns to her mother, but Pamela shrugs. She couldn’t care less what color the thing is. Duke turns back to Hannah as her eyes go wide. HANNAH It’s only black in my dreams. In Nightmare Time. (a beat, then to Duke) Is this Nightmare Time too? ELSEWHERE in Hatchetfield, an AEROBICS VHS TAPE from the 1980’s plays on a vintage television set. Onscreen, the COACH instructs... AEROBICS COACH Alright, girls! Pick up those knees! That’s it! An old, chorded wall-phone RINGS. A mysterious woman stops her work-out, pauses the tape, and throws a towel over her shoulders. MISS HOLLOWAY picks up the receiver and puts it to her ear. MISS HOLLOWAY Hiya, Duke. DUKE (on the other end) Heya, darling. I see you’ve taken your first tenuous steps into the twenty first century. MISS HOLLOWAY (out of breath, taking a swig from her water bottle) How’s that? DUKE You knew it was me. Finally cave and get yourself a caller id, Ms. Retro? MISS HOLLOWAY (he’s wrong, but...) That’s some fancy detective work there. DUKE So, you busy tonight?

Lang, 10.22.20 The Witch In The Web 8.

MISS HOLLOWAY Douglas Keane, are you asking me out? It’s a school night. DUKE Yeah, and I gotta wash my hair. But this isn’t about us. There’s a fourteen year old girl named Hannah Foster. I think she might be in need of your… expertise. Later, two cars pull up to the FOSTER RESIDENCE: the old station wagon, and a 1987 Pontiac Firebird. Duke’s hand wraps on the front door and Pamela answers. DUKE (CONT'D) Hello again, Pamela. This is Ms. Holloway. Miss Holloway smiles politely, turning up the collar on her baggy jean jacket. DUKE (CONT'D) (to Pamela, in reference to Ms. Holloway) She’s the specialist I told you about. PAMELA What did I say? Hannah don’t need no specialist. I’m a good mother. I have never taken my daughter to a doctor, so unless you got a court order I’m not letting this shrinky- dink into my home to poke around in Hannah’s head. Duke sighs, raises his brows, and turns to Ms. Holloway. DUKE You’re up. Miss Holloway leans closer to the screen door that stands between her and Pamela. She places a hand on the doorframe and starts tapping as she speaks, rhythmically, hypnotically. MISS HOLLOWAY Ms. Foster. Pamela, was it? PAMELA You don’t know me.

Lang, 10.22.20 The Witch In The Web 9.

MISS HOLLOWAY No. I don’t. But I do know you haven’t been sleeping very well. Neither has Hannah. Her voice is melodic. It echoes in Pamela’s ears. MISS HOLLOWAY (CONT'D) Up at all hours of the night. Heck, it must be a battle just keep your eyes open right now. You wanna sleep, don’t you, Pamela? PAMELA (nodding off) Huh? MISS HOLLOWAY With Hannah sleeping well, you can rest too. Deeply. Peacefully. Isn’t that what you want? PAMELA (half-awake) Uh huh. MISS HOLLOWAY Why don’t you let us in so I can help Hannah? PAMELA (dreamily) Okay… As if in a trance, Pamela opens the screen door, letting Duke and Miss Holloway inside. MISS HOLLOWAY Now go sleep on the couch. PAMELA Uhhh… Pamela sleepwalks to a sunken, old sofa, and flops face-first into the cushions. She’s already snoring. Duke watches, in awe. He can’t explain the things Miss Holloway can do, so he won’t even try. He just shakes his head and smiles. DUKE I think I’m in love with you. You know that?

Lang, 10.22.20 The Witch In The Web 10.

MISS HOLLOWAY (shrugs) Wouldn’t blame you. Later, Hannah sits on her dilapidated mattress, hugging her knees. Miss Holloway is on the floor beside her. She takes in the tiny ROOM. The room Hannah once shared with her older sister. Electric lights hang from the ceiling. There’s a map of California pinned to the wall. Miss Holloway smiles at the young girl. MISS HOLLOWAY (CONT'D) Hello, Hannah. I’m Ms. Holloway. I’m a friend of Duke’s. I work with children. I help them with problems that adults might not understand… or believe. She sees the black ukulele propped up in the corner. She picks it up and addresses it fondly. MISS HOLLOWAY (CONT'D) So Duke tells me that your sister gave you this. I used to play music too. A long time ago… HANNAH That’s not mine. She switched ‘em. MISS HOLLOWAY Your mother? HANNAH (a beat, then as if to warn her) No. Miss Holloway sets the instrument down. MISS HOLLOWAY Hannah, can you tell me about ‘Nightmare Time?’ When did it start? HANNAH When Webby went away. At the sound of the name, Miss Holloway freezes. MISS HOLLOWAY (this strikes her) Hannah. Is Webby a… spider?

Lang, 10.22.20 The Witch In The Web 11.

HANNAH Sometimes. Sometimes she’s a girl. She used to sing to me. I have to play her songs every night or I’ll forget them. I’ll forget Webby. (leans closer) She wants to get rid of Webby. Then she can get me. MISS HOLLOWAY Who? HANNAH (a beat) The witch. MISS HOLLOWAY What witch? HANNAH The witch in the web. OUTSIDE, Duke hands Miss Holloway a cup of coffee. They lean on the remnants of an old, wooden fence, and breathe the crisp, autumn air. As the sun softly sets, Duke explains... DUKE Lex and her boyfriend got picked up selling her mother’s pain killers. Ethan got two years. Lex got five. Wasn’t her first offense. That was three months ago. MISS HOLLOWAY Three months. I bet that’s when Webby went away. DUKE What? MISS HOLLOWAY When the nightmares started. DUKE Hannah and her sister were close. Lex was more of a mother to her than that charming woman. In fact, Lex told me it was her mother’s idea to sell the pills. (shakes his head) Lex later denied it in court. I think she was afraid of leaving Hannah with no one. (turns to Miss Holloway) (MORE) Lang, 10.22.20 The Witch In The Web 12. DUKE (CONT'D) So maybe it’s some kind of trauma that’s keeping the kid up at night. MISS HOLLOWAY (a beat) Duke, I don’t think this is like the others. I think Hannah may be in some very bad trouble. DUKE Can you help her? MISS HOLLOWAY I’m gonna try. That night, Miss Holloway strikes a match and lights a large candle. The flame illuminates Hannah’s darkened ROOM. MISS HOLLOWAY (CONT'D) So, Hannah, you say there’s a witch in Nightmare Time. She’s the one who wants to get you. HANNAH (nods) Uh huh. MISS HOLLOWAY Well, if you can promise to keep a secret, I’ll tell you something… (a beat) I’m a witch too. HANNAH A good witch? MISS HOLLOWAY Most of the time. Tell me, Hannah. In Nightmare Time, have you ever seen this? From inside her bag, Miss Holloway retrieves a small something wrapped in a tattered shall. Hannah recoils as the layers of fabric are peeled away to reveal... a book. Bound in black. Hannah has seen this in her dreams, and she knows to fear it. HANNAH (Gasps) Why do you have that? MISS HOLLOWAY It’s okay. I keep it safe. It’s called THE BLACK BOOK.

Lang, 10.22.20 The Witch In The Web 13.

HANNAH It’s bad. MISS HOLLOWAY Do you know who THE LORDS IN BLACK are, Hannah? (a beat) They’re Webby’s brothers. They have followers. I think one of them is in your mind. But we’re going to get her out… Miss Holloway begins to open the Black Book. Hannah winces. HANNAH No! There’s nothing good in there. MISS HOLLOWAY (reassuring her) Hannah. Sometimes things aren’t black and white. Sometimes we have to use something bad to do something good. HANNAH It all has a price. MISS HOLLOWAY I know. I can pay it. Let’s just say, I have very good credit. (leans closer) Hannah, you have to go into Nightmare Time. HANNAH No… MISS HOLLOWAY But don’t worry... I’m going with you. As the candle burns, a sweet mist fills the room. The electric lights twinkle. Hannah lays back in her bed and closes her eyes. Miss Holloway flips through the thick, old pages of the Black Book, settling on one displaying the spell she needs. She takes a deep breath, and taps softly on the book’s cover as she guides Hannah... MISS HOLLOWAY (CONT'D) Relax. Focus on the sound of my voice. Drift down. Deep down. Good. Very good.

Lang, 10.22.20 The Witch In The Web 14.

Now fast asleep, Hannah stands in an endless, black VOID. Still dreaming, her eyes open when she feels someone take her hand, gently. It’s Miss Holloway, smiling at her. MISS HOLLOWAY (CONT'D) See? I told you I’d be with you. Now, I know Nightmare Time can be scary, but you have to remember, Hannah… this is your mind. No matter what anyone here tries to tell you, you are in control. Do you understand? HANNAH (nods) Uh huh. MISS HOLLOWAY All the power here comes from you. And you are very powerful, Hannah. Okay? HANNAH Okay. MISS HOLLOWAY Now, where’s the witch? HANNAH That way. Hannah points. They’re suddenly at the edge of a vast forest, but not one of trees. Instead, hundreds upon hundreds of PEOPLE jut up from the ground, roots extending from their legs and into the earth, like twisted, wooden veins. A heavy fog seeps in. Hannah and Miss Holloway set off into the mist. Toward the witch... As they pass the statuesque figures in this human forest, some of them turn to Hannah, trying to warn her... TREE-PERSON 1 Stay away, Hannah. TREE-PERSON 2 We can’t hold her anymore. MISS HOLLOWAY (to Hannah) Who are they? HANNAH Tree-people. The men with hatchets put them here. (MORE) Lang, 10.22.20 The Witch In The Web 15. HANNAH (CONT'D) They all had a touch of the gift. Some of them didn’t want to be planted, but the Hatchetmen did it anyway. Their roots made a web. The witch was stuck... but now she’s not. TREE-PERSON 3 Stay out, Hannah. She’ll get you. MISS HOLLOWAY Hannah. Don’t stop. They press on, deeper into this strange wood. Soon, Miss Holloway begins to notice the attire of the Tree-People they’re passing has become... dated. They reach one girl dressed in an over-sized, vintage tee bearing the logo of some 80’s pop-star the whole world’s forgotten. MISS HOLLOWAY (CONT'D) This girl. Her clothes are… old. HANNAH They get older the deeper you go. Casey was planted in 1986. The Tree-Girl, CASEY, turns to Miss Holloway in a ghost-like daze. TREE-PERSON 4/CASEY Can I have your autograph? HANNAH (to Miss Holloway) We have to go back further. Much further. Hannah and Miss Holloway pass people dressed in clothes from the 70’s, 60’s, 50’s. The decades roll by until they find individuals who look like they’re from the 1800’s. Hannah stops. HANNAH (CONT'D) This is as far as I’ve come. I don’t know their names. They’re so old, they forgot how to tell me. We’re near the center. The witch is close. MISS HOLLOWAY Then let’s keep going. Miss Holloway holds Hannah’s hand tightly as they step beyond an invisible threshold.

Lang, 10.22.20 The Witch In The Web 16.

Into a place in Hannah’s mind that’s dangerous, unknown territory. Their feet fall through the fog and crunch unseen leaves. Before them, in the distance, is a ramshackle, rotting HUT. The WITCH’S HUT. Smoke billows from a crooked chimney. All around, the tree-people spring to violent life, pointing and screeching. TREE-PEOPLE UuuuuuUUUUAAAAAHHHHHHHH!!! Hannah freezes, resisting Miss Holloway’s pull. HANNAH I… I can’t do this… MISS HOLLOWAY Yes, you can. Don’t let go. TREE-PEOPLE AAAAAAAHHHHHHH!!!! The tree-people’s jaws unhinge and their mouths open to unnatural size. Their insides glow as they let loose an ear- piercing, cat-like wail. Wind howls. Miss Holloway’s grip on Hannah starts to give. MISS HOLLOWAY Don’t lose me, Hannah… Hannah? Hannah!!! HANNAH Miss Holloway?! TREE-PEOPLE AAAAAAAAHHHHHHH!!! Hannah’s hand slips from Miss Holloway’s fingers. She’s pushed to the ground by a gust of cold air. She tumbles through briars and thickets of dry-brush, til she lands with a THUMP on the floor-boards of an old, wooden COURTHOUSE. JUDGE You! Hannah looks up to find a village-worth of angry townsfolk leering over her. The citizens of Hatchetfield, circa 1824. Two men grab her arms and yank her to her feet. HANNAH No! Lemme go! She’s dragged to the bench of a decrepit, old JUDGE. He points to her with a spindly, spotted finger.

Lang, 10.22.20 The Witch In The Web 17.

JUDGE Willabella Muckwab! You vile creature! You who hath danced with demons! You who hath penned the abominable tome with the blood of our children! You have been found guilty of the crime of witchcraft. For it, you shall hang from the neck until you are dead. HANNAH No! Please! The villagers pounce on Hannah. She’s suddenly in a CLEARING, the heart of what will one day become Witchwood Forest. She’s staring at a rickety platform. A noose hangs down from a beam up above. The townsfolk take hold of her and push Hannah toward the gallows. VILLAGER 1 Kill the witch!!! VILLAGER 2 Kill her!!! VILLAGER 3 KILL HER!!! Hannah is thrown onto the scaffold. In the back of the crowd gathered to watch the execution, one woman stands out. Hannah can make out her jean jacket and beat-up sneakers. It’s Miss Holloway, calling to her. MISS HOLLOWAY Hannah! Hannah!!! An EXECUTIONER pulls a rope around Hannah’s neck as the Judge cries out... JUDGE Never shall she plague this land again! This land which we paid for with blood! Her immortal soul shall rot here. And the roots of the wood we plant shall ensnare her, forever more. Caught in a web, paid for with our sacrifice. Miss Holloway desperately claws her way through the mob. MISS HOLLOWAY Hannah, you have to take control! You’re giving them the power! With it, they can kill you!

Lang, 10.22.20 The Witch In The Web 18.

But the illusion is too strong. The Witch In The Web has Hannah caught in the memory of her own death. The executioner takes hold of the lever, ready to release the trapdoor beneath Hannah’s feet. JUDGE The innocent must suffer... MISS HOLLOWAY (to Hannah) She’s put you in her place! JUDGE The guilty must be punished... MISS HOLLOWAY (to Hannah) You’re not the witch! JUDGE You must taste blood to be a man! At the judge’s signal, the executioner pulls. The floor beneath Hannah falls away. MISS HOLLOWAY HANNAH!!! Miss Holloway hurls herself at Hannah, catching the girl mid- air. The two of them go crashing through the confines of Hannah’s mind. Neon lights flash. Bulbs burst. Then quiet. Miss Holloway and Hannah land on a dusty, dirty carpet in a large, dark room. They sit, brushing themselves off. MISS HOLLOWAY (CONT'D) Are you alright? HANNAH I got scared. MISS HOLLOWAY Well… don’t next time. (putting a hand on her shoulder) Hannah, I know you’re afraid of the witch. She shows you things. Terrible things. She wants to trick you. She wants to hide, and make a big loud noice. (claps her hands) Why do you think that is? (Hannah shrugs) Because she’s afraid of you too. (MORE) Lang, 10.22.20 The Witch In The Web 19. MISS HOLLOWAY (CONT'D) She’s dead. You’re alive. You’re much more powerful than she is. She knows that. She wants that power. Don’t give it to her. Remember that when we go back. HANNAH I don’t want to go back. MISS HOLLOWAY We have to. It’s not safe here. HANNAH Where are we? MISS HOLLOWAY (stands, takes a breath) I had to get you out of there, Hannah. I did the only thing I could... I pulled you into my mind. (a beat) This is my Nightmare Time. Hannah looks around. She & Ms. Holloway stand in the aisle of a crumbling, abandoned theater. THE STARLIGHT THEATER. From the shadows, a writhing, withered husk slithers into view. 3-GIRL CREATURE Waaaggghhh… UUuuughhhh… MISS HOLLOWAY Be careful. Miss Holloway touches Hannah’s shoulder, cautioning her not to get too close. The thing is a mass of flesh. Three emaciated forms welded together, dragging themselves along with six boney arms. Three hungry mouths cry out eternally. HANNAH What are they? MISS HOLLOWAY Three girls I couldn’t save. HANNAH Girls like me? MISS HOLLOWAY (to Hannah, very serious) No, Hannah. Nothing like you. Miss Holloway points down the aisle toward the empty stage. Beyond it is a door with a neon “EXIT” sign glowing above.

Lang, 10.22.20 The Witch In The Web 20.

MISS HOLLOWAY (CONT'D) Look. There’s the exit. We need to go through it to get back to your mind. Hold my hand. There are bad things in here. Hannah takes Miss Holloway’s hand and follows her down the oddly long aisle. Around them is decay, and debris, and moonlight shining through holes in the roof. The rows of ripped-up velvet seats seem to stretch off into nothing. From the nothing, Hannah can hear voices calling to her... VOICE 1 Hannah… Hannah… VOICE 2 Over here, my little star… VOICE 3 What’s shaking, Banana? VOICE 4 Banana split. Banana pudding. There’s a thousand ways to EAT A BANANA!!! Hannah tightens her grip on Miss Holloway’s arm. HANNAH (to Miss Holloway) This is your Nightmare Time. Why are they calling to me? MISS HOLLOWAY Because I don’t listen to them. Hannah tries to ignore the voices as well, until she hears one that stops her dead in her tracks and makes her blood run cold... WIGGLY We just keep running into each other. Don’t we, Hannah? She whirls around. Suddenly, Miss Holloway is gone and Hannah stands alone in the center of the barren stage. HANNAH (Gasps) Ms. Holloway? Ms. Holloway?!? It’s then that Hannah realizes she’s not alone. Carved into the stage beneath her is strange symbol. Beside it, pinned to the floor by a black blade is a rotting skeleton.

Lang, 10.22.20 The Witch In The Web 21.

Hannah backs away, only to find she can’t cross the boundaries of the etching below. It begins to glow around her. Green light streams up through the floorboards of the stage. It hits the skeleton and the dead thing begins to wriggle and twist. It reaches an ossified arm to it’s ribcage, and wrenches the black blade free from it’s resting place. The heap of bones rises to its feet. Life returns to the corpse in a flash of neon green. What now stands before Hannah is a man with greasy, black hair, a gnarled smile... and an all- denim wardrobe. WILBUR How you doing there, Hannah? HANNAH (confused) Who are you? How do I know you? WILBUR Oh, don’t you worry about that. Hungry? From behind his back, the man produces a sour, green apple. He tosses it to Hannah. When it reaches her, it’s rotten and crawling with maggots. She drops it in horror. SPLAT. HANNAH Ew! She looks up & the man is now inches away. He grabs her arm. WILBUR You’re one slippery little banana peel, you know that? But I gotchu now. It’s a shame. So much power in that noggin going right to waste. In his other hand, he holds the black blade. He raises it high above Hannah’s head. WILBUR (CONT'D) Let’s crack it open, see what’s inside! He brings the blade down, but Hannah is gone. He whirls around to find her safely clutching the arm of Miss Holloway. MISS HOLLOWAY (to Wilbur, gravely) You can’t hurt her. You’re dead.

Lang, 10.22.20 The Witch In The Web 22.

WILBUR Am I? Am I though? MISS HOLLOWAY I should know. I killed you. WILBUR Only about half the time. The other half, I mopped the floor with that head of yours. I ate your heart, and I took your jacket! Fits me better anyway! He pops the collar on Miss Holloway’s jean jacket, which has now jumped to his body, completing his ensemble. MISS HOLLOWAY What are you talking about? WILBUR (points to Hannah) Ask the kid. She knows. (to Miss Holloway) You thought you stopped it, but it shattered when she came. Didn’t it, Hannah? (to Miss Holloway, pointing to Hannah) She sees it all. Every possibility. That’s why her mind is so vast. So powerful. That kid’s a battery. No… She’s a nuclear power plant. She brought me back with nothing more than a toot. MISS HOLLOWAY You’re a nightmare. That’s all. WILBUR Not with her around! That one’s a live wire. For two hundred years, the ghost of that old witch couldn’t do much more than spook a few trick-or-treaters on Halloween. Now, she is a very busy woman. Setting up shop in Hannah’s mind. Pretty soon, Hannah’s body will be her new permanent residence. (thinks) That sounds like fun. Slipping into someone else’s skin. Maybe I should give it a try.

Lang, 10.22.20 The Witch In The Web 23.

Back in the waking world, Pamela Foster’s eyes burst open. Like a puppet on a string, she’s lifted from the old, sunken sofa and silently bobs into the TRAILER’s kitchen nook. Duke sits watch outside Hannah’s room. He fails to notice Pamela sneaking up behind him. WHAM! She knocks him out cold with an iron frying pan. In Miss Holloway’s nightmare theater, the denim-clad man advances on her and Hannah. WILBUR (CONT'D) Think about it. A real witch… No offense, Ms. Holloway… The first disciple of Wiggog Y’wrath. The author of the Black Book itself. Paired with the most powerful psychic mind in the history of reality. That’s a match made in… (thinks) Well, I don’t wanna say ‘Heaven.’ MISS HOLLOWAY (turning to her) Hannah, we’re out of time. You have to get to the exit. They’re not gonna let me go with you. Go now, Hannah. Go. Miss Holloway points Hannah in the direction of the backstage door with the “exit” sign up above. The girl runs for it, leaving Miss Holloway to square off with her old enemy. WILBUR Well, well. Together again. Just you and me. The old duke-a-roo. It’s a grudge match. Uncle Wiley’s back for another shot at the belt. Back off! I got a knife. MISS HOLLOWAY You mean this knife? In her hand, she now holds the black blade. WILBUR (smiles) That’s the one. Miss Holloway tightens her grip on the blade’s hilt, ready to defend herself, but the denim-clad man makes no move. MISS HOLLOWAY You come back just to talk?

Lang, 10.22.20 The Witch In The Web 24.

WILBUR Haha! Ms. Holloway. You know me. You think I’m gonna fight you head- on? On your turf? I don’t wanna get my ass kicked in front of these gorgeous girls. Hey, ladies. 3-GIRL CREATURE Waaaahhh… The six-armed, three-mouthed lump of undead tissue crawls onto the stage, like an enormous, screaming insect. Miss Holloway stays focused on her opponent. WILBUR (laughing) No! I’m gonna cheat! (points to Miss Holloway’s neck) Hey, you got a frog in your throat? Suddenly, Miss Holloway can’t breathe. Back in Hannah’s ROOM, Pamela Foster looms over the sleeping Miss Holloway, strangling her neck. In the nightmare theater, Miss Holloway chokes and struggles in vein, gasping for air. She drops the black blade and falls to her knees. The denim-clad man pounces. In an instant, his hands are wrapped around Miss Holloway’s throat too. Just as Hannah is about to reach the exit, she turns back. HANNAH Ms. Holloway! The man looks to the three-mouthed monster. WILBUR What’re you waiting for? Go get her. The thing lunges forward and bolts for Hannah. 3-GIRL CREATURE WAAAARRGGGHHH!!! Just as it reaches her, Hannah closes her eyes and screams. HANNAH NO! From the girl, a pulse of psychic energy explodes. The six- armed thing is tossed into the darkness like it’s nothing.

Lang, 10.22.20 The Witch In The Web 25.

The mental shockwave blazes forward, splintering the stage floor, cracking the entire theater in two. The man in denim sees the blast headed his way. WILBUR Huh?!? BOOM! He’s thrown from Miss Holloway. In the waking world, the psychic eruption flings Pamela across Hannah’s ROOM. SMACK! She cracks a mirror that hangs on the wall. Discharged from her own nightmare by Hannah’s immense power, Miss Holloway wakes to find Pamela out cold on the floor. Duke stumbles into the room, holding a nasty bump on his aching head. DUKE (to Miss Holloway) You alright? Miss Holloway nods. DUKE (CONT'D) What about Hannah? MISS HOLLOWAY It’s up to her now. Either she’s gonna wake up, or the witch will. DUKE How will we know? MISS HOLLOWAY Well, if the witch kills us, that’ll be a big hint. Unable to get back into Hannah’s mind, Miss Holloway kneels next to the sleeping girl, and holds her hand. Hannah finds herself lying in bed. Sunlight pours in through the tiny window. Her eyes flutter open. It’s morning. Her room is clean, and tidy, and somehow brighter than it’s ever been. She looks around. There’s no sign of Miss Holloway, or Duke, or even her mother. She sits up, unsure what to think. Then the door opens, and a smiling face peeks in. LEX Hi, Hannah. HANNAH (first disbelief, then pure joy) Lexi!

Lang, 10.22.20 The Witch In The Web 26.

Hannah’s sister, LEX, steps into the room with outstretched arms. Hannah runs to her. They embrace. LEX I’m back! They let me go. They took Mom instead. It’s over, Hannah. Now we can stay here, together. Forever. Lex swings her backpack from her shoulder. The pins on the front sparkle in the sunshine. LEX (CONT'D) And look at all this stuff I brought you! Lex unzips the bag and pulls out a veritable treasure trove of wonderful things, piling them all around, filling the room. LEX (CONT'D) Toys, and games, and what’s this? A puppy!!! I’m gonna call you Spot. Lex hands a happy, little dog to Hannah. He licks her face and wags his tail. She giggles, sets him down, and looks around. HANNAH Where’s my...? Didn’t you give me something else? LEX What? This isn’t enough for you? HANNAH (trying to recollect) I used to play it. It helped me remember... a friend... What was her name? LEX Oh. You want some friends? Check out these guys! I got the whole set! Lex removes five dolls from her bag: one with a mask-like face leaking blue goo, a purple one with a huge eye, a yellow one with a head like a goat, a pink one with a mouth for a face, and a green one with fur and tentacles. Hannah sees them, and knows who they are...

Lang, 10.22.20 The Witch In The Web 27.

HANNAH Those are... her brothers. They’re bad. LEX Who told you that? That nasty, little spider you think is your “friend?” HANNAH (nods) Uh huh. LEX (a beat, her expression hardens) Well, we’ve already established she’s a lying, little turd. Outside, the sunlight fades. Lex leans over the dolls, coveting them, worshipping them. LEX (CONT'D) The world is theirs, Hannah. All worlds are theirs. But right here? (motions to the room) This can be ours. All you gotta do is agree to stay here... Deep down in Drowsy Town. Hannah backs away as Lex’s voice begins to shift and crack. LEX (CONT'D) I’m not a monster, like they all said. You’re my own blood, Hannah. The daughter of my daughter’s daughter, of my daughter’s daughter... HANNAH (shaking her head) Not Lexi. It’s you… LEX (Sighs) This thing that’s not Lex lurches forward. Her back bulges up into a spiny hunch that scrapes the ceiling. The electric lights above the bed POP one by one. Dark muck drips down the walls as they CRACK and crumble. The not-Lex grabs it’s face and pulls. It’s skin mask peels away, revealing haggard, grey features and a toothless, joyless grin. Hannah stands trapped in Nightmare Time, face-to-face with Willabella Muckwab... THE WITCH IN THE WEB.

Lang, 10.22.20 The Witch In The Web 28.

THE WITCH I gave you the choice. You could’ve had your sister. Now you will have NOTHING! The Witch inches closer, dripping and stinking. All around, Hannah’s room slowly chips away, leaving the stone walls of the WITCH’S HUT. The hag reaches out an enormous, clawed hand and strokes Hannah’s cheek, enviously. THE WITCH (CONT'D) Your bones will be mine! Your blood will be mine! Your pretty hair and your little mouth! And I’ll SHIT OUT YOUR ASS!!! Hannah turns from the grotesque, rotting woman, and something on the crooked mantle catches her eye. It glimmers in the firelight... Hannah’s ukulele! Polished and pristine. Almost glowing. For an instant, Hannah’s fear is forgotten when she remembers what the instrument means to her. Her love for her sister. Her connection to a friend whose name she can almost remember. Seeing it makes Hannah feel powerful. Then she realizes: In Nightmare Time, a world of dreams and symbols, the ukulele IS her power. HANNAH That’s why you took it! Hannah pushes past the Witch and runs for the fireplace. The Witch lunges after her. Her spiny, hunched back scrapes the stone wall, sending a spray of sparks through the hut. Her talons lash. Hannah dives for the mantle. HANNAH (CONT'D) You took it from me, and you hid it in Nightmare Time! But it’s mine! Not yours! I have the power! She grabs the ukulele and lifts it high above her head. She radiates psychic energy. HANNAH (CONT'D) I have the power! THE WITCH NOOOOOOOO!!! The Witch pounces, but can’t stop Hannah from swinging the ukulele with all her might. It hits the stone wall and... SMASH! The Witch’s hut explodes into a million pieces. Boulders, bricks, and debris fly off in every direction. Willabella howls as her stronghold in Hannah’s mind crumbles away, falling off into nothingness.

Lang, 10.22.20 The Witch In The Web 29.

Soon all that’s left is Hannah, the Witch... and a WOMAN with long, white hair. HANNAH Webby. With Hannah’s power fully restored, so too is her connection to WEBBY. The cosmic being smiles at Hannah, then turns to the Witch. WEBBY Hello, Willabella. You’ve been hanging around my brothers. THE WITCH My Lords. My King. YOUR KIIIING, bitch! WEBBY Close your eyes, Hannah. Hannah covers her eyes. Webby bends over the Witch, who cowers in fear. WEBBY (CONT'D) You were gonna hurt my friend. I’m going to destroy you now. A ghost no more. Just… be gone. Webby puts a finger to the Witch’s forehead, and it starts to flake away. THE WITCH UuuaaaaAAHHHHHHHHH!!!! The Witch screams as she crumbles to dust. After two hundred years, Willabella Muckwab is gone for good. Satisfied, Webby walks to Hannah, and lightly touches her shoulder. WEBBY Wake up, Hannah. Hannah’s eyes blink open. She’s back in her room. Her real room. Duke and Miss Holloway look to her. MISS HOLLOWAY Hannah? HANNAH I found her. Webby’s back. Nightmare Time is over. Duke sets Pamela back on the sofa. She’s still out for the count.

Lang, 10.22.20 The Witch In The Web 30.

DUKE What about her? MISS HOLLOWAY I have hunch Pamela’s going to wake up feeling very guilty. She’s going to confess to something that’s been weighing on her conscience. She might go away for a while, Hannah. But I’ll tell you what... (to Hannah) What if, somehow, Lex came home? HANNAH Really? Ethan too? MISS HOLLOWAY (smiles) I’ll see what I can do. OUTSIDE, the sun is rising. With her work here done, Miss Holloway heads for her 1987 Pontiac Firebird. Before she goes, she turns back to Hannah. MISS HOLLOWAY (CONT'D) You know, I help a lot of kids, and I always give them something when I go. A reminder of the warriors they’ve become. Here... From her bag, she produces a navy blue Hatchetfield Nighthawks baseball cap. She offers it to Hannah. MISS HOLLOWAY (CONT'D) It’s imbued with the power of Greyskull. As long as it’s on your head, nothing can harm you. Hannah takes the hat, pulls it on, and spins it backwards. Miss Holloway smiles, winks, and waves to Duke. She gets into her car and revs the engine. Duke puts a hand on Hannah’s shoulder, and the two watch Miss Holloway drive off through the Witchwood.

THE END

Lang, 10.22.20 The Witch In The Web 31.

‘THE WEB I SPIN’

SONG LYRICS - WRITTEN BY JEFF BLIM In the web I spin for You In the Web I spin for you Take it back Take it back Why do you haunt me like a ghost? You’re supposed to love me the most Got me in the spell you cast The iris of your eye is black Weren’t you the one to watch my back, Unlike the witches you summon? Have you noticed that my trust has turned You may have taught me but now I’ve learned Gotta catch you before I’m burned In the web I spin for you In the web I spin for you In the web I spin for you Gotta take it back Gotta take it back In the web I spin for you You used to keep me at your side Have you given that up Have you given that up Have you given that up I suppose you’d have me empathize Got me in the spell you cast The iris of your eye is black You have a tendency to stab my back Just like the witches you summon Have you noticed that my trust has turned You may have taught me but now I’ve learned I’ll enjoy it as I watch you squirm In the web I spin for you In the web I spin for you Gotta take it back Gotta take it back In the web I spin for you What’s the point of giving love and trust for I thought it something that was worth the fight for And now I wonder what I worked so hard for I even thought that I could give my life for you I was the only one that loved and cared for Have you noticed that I have it in for As I grow older that I have no need for The web I spin for you Got you in the spell I cast The iris of my eye is back If I’ma trust I’m gonna trust in me

Lang, 10.22.20 The Witch In The Web 32.

You may have taught me but I’m now learning All this time I’ve been untangling The web I spin for you Gotta take it back take it back Gotta take it back take it back I got to buy more time If I’m to run away You see I can unwind From the web I spin for you You got me inside my head With no way out, I’m caught In the web I spin for you No doubt that if I drop dead You’d find me tangled up In the web I spin for you Gotta take it back Gotta take it back In the web I spin for you

Lang, 10.22.20