Lilith’s Copy Justine
Decades Pass
An Annotated Screenplay
By Serafina Goodnight
Based on Material From The Fictional Characters
Aubrey Swann
And
Vera Adamcikova
Adapted from the novel ‘Decades Pass’ by Aubrey Swann
It’s her- This is the girl
For Amelia?
No- This is Lily
Are you sure?
She looks uncannily like her. As if I painted her myself.
I will take it under advisement.
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Decades Pass © 2021-2023 by Serafina Goodnight is licensed under CC BY-NC 4.0. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/
Intro- EXT- Sunset
An aerial view, sweeping along the Carpathian mountains. Light is fading as day comes to an end. We see birds flocking, and maybe a few bats. In the distance, we can see the faint outline of a once majestic castle- a wolf howls, distantly too, perhaps it is nearer the castle than we.
PAUL (Sylvanne’s voice is so pretty)
(VO)
There is a village, deep in the mountains,
Older than its neighbors and siblings
And older than the man-made imitations of those towers of stone-
We draw closer to the castle
PAUL
(VO)
It is said by the men and women of the village that monsters once roamed these hills, with rivers running red with blood.
History tells a different story.
Historical fact suggests that the monsters that truly preyed upon those dwelling in the Old Carpathians
I hope this is alright- I saw Ms. Romana pass her script on to you.
I’d say this to your face, but you’re so busy-
And I’m better at writing than speaking. Anyway
In any case- I just wanted to say how grateful I am for this opportunity. I hope I will prove worthy of your faith.
Your Lilith,
Justine Clare
I’m sure you will. Please let Desmond know if you need anything,
I look forward to dreaming this dream together.
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PAUL
(VO Continued)
Lived in those artificial mountains- aristocracy,
Bleeding dry in many ways the people who they patronized and stewarded
A road becomes clear, leading towards the gaping fanged mouth of the castle. On this trail there is a carriage, nondescript.
At the reins is an old, bearded Holy Man named FATHER GABRIEL. Inside sits our narrator- a baby faced, almost feminine man of Scholarly ‘employment’. He is reading from a tome of some extravagant size- presumably the same words he is speaking to us.
PAUL
But still, shadows gather
And still the village remains
Named perhaps for this lingering quality
A name shared with the road on which it stands vigil
Decades Pass.
The carriage pulls to a stop, just outside of the castle gate.
FTHR GABRIEL
Are you ready, boy?
PAUL winces and closes the book.
PAUL
Did we have to wait until night, Father?
FATHER GABRIEL dismounts and removes his riding cap, revealing a hairline almost fully receded, a natural tonsure- he is no monk - but he is dressed almost like one.
FTHR GABRIEL
It is easier to change the hearts of men,
Sometimes,
Than it is to race the setting sun.
FATHER GABRIEL clears his throat
What did you think of the novel, Justine? Aubrey wishes to know.
Wait, THAT’s Aubrey Swann?
Don’t mind our laughing. He hears that a lot. No, that is. One space for me between you and the reason we’re all here. I wanted to make sure we did this right, this time. So this beautiful man gets to dream with us, too.
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FTHR GABRIEL
At any rate- we would be more fiercely unwelcome here by day. The people of this town can be troublesome with their superstitions.
FATHER GABRIEL begins to unload the limited cargo of the carriage, including a leather bag- much like a doctor’s bag. It seems heavy in his hands.
He struggles with a tall suitcase, before PAUL climbs to assist him. The case is lifted to the ground,
Before FATHER GABRIEL uses straps on one side to strap the case to PAUL’s back. PAUL staggers for a moment
(Cont.)From the weight of the box. He steadies himself on FATHER GABRIEL’s shoulder
PAUL
Then (a heavy breath) I am as ready as ever I will be.
The two men pass under the monstrous gate on foot- as they do, there is a groaning: the wind passing through the ancient iron? Only PAUL looks back, before looking up at the castle.
CASTLE AVELINE was once a marvel, now only a vestige of its former glory- from the outside at least. Walls still stood upright, the stone undisturbed, it could even be hard for one to say exactly what made the exterior look so dead. Perhaps it was the gray of the clouds, only faintly now illuminated by the lingering wisps of sunlight.
When PAUL’s gaze returns, FATHER GABRIEL has escaped his view entirely. At the end of a long stone bridge is a large wooden door with small windows set higher than Cont. PAUL is tall- black eyes, as no light, not even FATHER GABRIEL’s torch, could be seen through them.
But the door was, very slightly, open.
You should see the model that Stephen has put together for the castle.
It’s so beautiful.
Maybe I can walk you over after the table read?
I would love that.
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PAUL walks through the door and immediately has to shield his eyes.
INT- CASTLE AVELINE- NIGHT
-Against all indications, the interior of the castle is lit brightly- many candles light the walls (who has lit them?) and the entryway is much as it was in paintings PAUL had seen himself. He is overcome for a moment by emotion. He strains his eyes to look at the tapestries on the walls, but they look ever so slightly blurry.
He removes first the large case on his back (setting it on the immaculate tile floor), and then his glasses which he wipes clean with the fabric of his shirt.
The Tapestries are still slightly blurry until……
PAUL hears voices from the next room. The tapestries come into focus- revealing a beautiful, if slightly sinister, image.
PAUL
Father?
The soft muttering continues from the next room, with no pause to respond to PAUL’s call.
PAUL
Father, are you there?
PAUL stalls for a moment and cautiously enters the room from which he hears the speech.
We are shown first a bounteous feast- Roasted Turkeys, stewed vegetables, small fish on adorable little skewers, and desserts of all kinds. It is a veritable culinary rainbow.
FATHER GABRIEL
My boy!
It seems I was wrong (his mouth is full)
PAUL enters the room slowly.
FATHER GABRIEL
The Castle is deserted no longer.
FATHER GABRIEL motions toward a chair in the corner of the room near the fireplace. In the chair sits a very old and incredibly thin old man- BARON CLOVIS AVELINE, He has incredibly sharp features- and a face lined in a deep red around his eyes but most notably at the corners of his mouth, leading down into his jaws
Making him look almost like a marionette.
He is dressed well, in a dark navy suit opening to a faintly stained undershirt, accented at the collar by a golden silk cravat.
Click
Click Click
It strikes me that Mr Dowd is not as scary as I imagined Aveline.
Don’t let him hear you say that! All I can say is, wait until you see him in his makeup.
I’d show you sooner (there are photographs) but I want for your reaction to be genuine
Like seeing a bride on her wedding day.
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Click
PAUL regards the figure in the chair.
PAUL
Good Day
AVELINE
(clicking again, he begins to speak- almost a wheeze, like wind traveling through the pipes of a long unattended organ, but soft-spoken and fluent)
Good Night, and welcome. I hear you have come many miles to see my family home.
AVELINE rises from his chair, revealing himself to be quite tall as well. He glides over to PAUL, with a hand outstretched.
PAUL looks over at FATHER GABRIEL, who is still transfixed on the food before him. His happiness will have to do for approval. PAUL takes the Baron’s hand and gives it a weak shake.
AVELINE
What did you think of the Tapestries?
When I came here for the first time
Not so long ago- they were the first of what struck me.
I had thought the old castles deserted for a reason
Not so!
There is still much beauty to be found in these halls
Yes?
PAUL
(meekly)
Yes.
AVELINE holds on to PAUL’s hand for a moment too long,
Unauthorized tale usage: if you spot this story on Amazon, report the violation.
Causing both of them to lock eyes.
The Baron is shaking, ever so subtly. The only parts of him that seem fixed in place are his eyes.
PAUL is visibly frightened.
AVELINE quickly moves the hand he just shook with PAUL to his face and turns away from our two travelers.
CLICK
CLICK CLICK
CLICK
PAUL slowly shuffles over to FATHER GABRIEL
PAUL
It was a long ride, Father. Perhaps we should continue our work when it is light.
AVELINE
(turning back around)
Your (CLICK) W(CLICK)ORK
Hm?
PAUL
Yes. The castle- we’re here to….
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PAUL is overcome by a heavy feeling. It feels kind of like fear, but it is primarily exhaustion.
He does not feel right.
PAUL
Father?
FATHER GABRIEL
Hmpf
GABRIEL continues eating.
AVELINE
Y…(he covers his mouth- CLICK) You are here to?.
PAUL
What is that sound?
AVELINE
Perhaps the fire? The wood here is
Very old.
The sound isolates on the sound of the wood crackling in the fire. It was distinctly NOT the sound that we’d heard.
PAUL
No, that’s not it. It stopped just now.
AVELINE
You were saying.
PAUL
Well I…(he thinks for a moment)
It seems silly now.
AVELINE waves his hand and walks- almost falling forward. For a moment, it seems like his entire face is falling apart, but only we see this.
He faces away from us, towards the fire.
The CLICKing resumes.
PAUL
Well, I’m simply a scholar. I wanted to see the tapestries, and to see if the castle was really as
……old as they say.
AVELINE
(still staring at the fire)
And what (CLICK) of the
H o l y
(CLICK)
Man?
FATHER GABRIEL lets out a belly laugh. It’s clear now that Something has intoxicated him. He may as well be blind- his companion’s discomfort alone should
Cause at least some unease. This is not simple politeness either
FATHER GABRIEL
I came to bless the castle.
AVELINE
Hm
(CLICK)
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AVELINE
(CONT.)
Ha ha ha
Why would
M y
Castle need consecrating?
FATHER GABRIEL
The boy is right. It does seem silly.
The castle has stood deserted for some time.
The villagers in Decades Pass
Well, things go wrong.
It’s easier to place blame on old stone than on your neighbor.
AVELINE
Ah (CLICK)
L O R E
(CLICK)
And
S U P E R S T I T I O N
(CLICK)
It is true what they say- Fear makes companions of us all.
CRUNCH
PAUL looks back over at AVELINE, who is still facing away from us.
CLICK CLICK
CLICK
CLICK CLICK
What is the clicking all about? It’s mentioned in the book as well, but I cannot for the life of me figure it out.
Well, you’ve read the descriptions of these creatures in the book. So much of their face shifts when they begin to feed that it can actually be hard for them to maintain a human visage, especially if they’ve been alone for a long time..
PAUL rushes over to FATHER GABRIEL and knocks a comically large piece of meat out of his hand.
FATHER GABRIEL
What is the meaning of……
FATHER GABRIEL’s face freezes. PAUL notices this, but holds, frozen for a moment by fear- not wanting to see what ended FATHER GABRIEL’s protest.
FATHER GABRIEL
Baron?
We see AVELINE swiftly turn around, but we are not able to clearly see his face.
We cut to PAUL’s reaction instead. His mouth opens wide and we hear PAUL and FATHER GABRIEL’s screams create a kind of terrified harmony.
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EXT- TRAIN STATION- DAY
A train screams into the station, steam rising from its engine in the bright light of midday.
We travel from the engine back, past windows of people slowly beginning to leave their compartments. We keep crawling all the way to the back, where a YOUNG WOMAN Remains seated, looking wistfully out of the window. The sunlight and the landscape without
Reflected briefly in her eyes. (Leaving home for the last time)
LILITH ‘LILY’ GRIFFITH
(VO) Soft- as if in confidence
I decided last night
At the bar
If I’m not a star two years from now
I don’t want to be alive.
The Train begins to move again. LILY turns towards her compartment door, as someone looks in on her.
She smiles and shakes her head, waving whoever it is Away. (Likely someone selling something)
LILY
(VO)
So I suppose that means my European tour is almost over.
It almost started to feel like I was waiting for something in these hillside towns.
We see the landscape we flew over during the opening from a new angle as it continues to reflect
Off of her eyes.
LILY
(VO)
It hasn’t been a complete wash. I don’t think I regret it at all. (Lie)
LILY looks down at her bag and digs out a watch- it is just after three.
LILY
(VO, sighing)(Unfinished business)
But all the same, it’s time to stop running.
We linger on LILY’s cold eyes as the light and the reflection begin to change color and darken.
LILY gets up and checks the door again. She keeps standing in the middle of her compartment And places her hand over her throat
She starts singing (The Lullaby)
At least it’s apparent to us that she is singing. We cannot hear it just yet.
LILY is singing a song silently in the dim light, as we watch from just outside.
LILY
(VO)
God I’m so scared. (Telling Mother)
I think this is what you must focus on most of all, Justine- Lily is fundamentally afraid, philosophically afraid. This is why she has remained on the run for so long. THIS is why she has yet to meet her potential: she is a coward. This is what makes her so cruel, in the end.
I think I understand this more (what’s the word) intimately than you could imagine.
It's one of two things that drew me to this project. Why it has been my obsession.
What was the other?
Secrets, Secrets, Justine.
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The light of day fades completely and LILY disappears from our view. We re-enter her cabin and see her sleeping on one of the seats.
SLAM
SLAM SLAM
LILY slowly moves to the door.
OFFICER
Open up, miss.
LILY
What?
OFFICER
We have to check your cabin, Miss.
LILY goes to open the door.
INT- TRAIN HALLWAY- EVENING
LILY faces a young looking Police Constable with a moustache.
LILY
What’s happening?
OFFICER
I’m not at liberty to discuss, miss.
LILY Stands in the doorway, expectantly. (Stand your ground, Justine- you only get one chance at this)
OFFICER
(trying to look around LILY)
Folk believe there’s a criminal on the loose.
Can’t have them leaving this station.
LILY
Where are we?
OFFICER
Sleep deeply, do we?
LILY Says nothing, looking irritated.
OFFICER
Decade’s Pass station- just outside the village, ma’am.
LILY
(Just because you have nothing doesn’t mean there’s nothing to hide)
How long do you think this search will take?
OFFICER
Hard to say.
LILY looks nervously over at a box leaning against the row of seats opposite where she was sitting.
LILY
Am I allowed to leave if this is my stop?
OFFICER
Mind if I check the compartment first?
LILY stares blankly for a moment before nodding. (Sister Agatha on inspection day)
Who is Sister Agatha?
Vera! Some of these notes are private.
Well then, who is the director? Isn’t it my prerogative to discuss my cast’s…..homework.
I was at a convent. A while ago now. Sister Ruth (a senior) had a habit of stockpiling sweets and, since us girls figured out where she kept them Sister Agatha searched our bunks at sunset for any hidden indulgences. She was vigilant for other contraband and misbehavior as well. I hated her.
So you were a Nun, huh?
Hardly- I escaped and ran home at my first opportunity.
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The OFFICER enters the compartment and looks around. Aside from the tall box there are only two more bags overhead. The OFFICER nervously pushes the bags aside to check behind them, but finds nothing.
He turns to the tall box
And nods
LILY opens her mouth to say something, but it is already too late. The OFFICER opens the box to reveal a guitar- ornate in its design and significantly older than the OFFICER or LILY combined.
LILY
Please don’t touch, sir.
It’s- precious to me. (Riddles in the Dark)
OFFICER
You do music, then?
LILY
I try. I’ve been traveling for some time.
OFFICER
Can’t imagine that pays well. (It doesn’t)
LILY
No. I manage (Lie). I mainly just learn, where I can.
Most towns will have someone who has never gotten to express their love for music with someone who understands.
That’s where I come in, and hopefully I improve for it.
A Beat
LILY
Can I go now? This is my stop.
LILY
(VO)
A lie, but I’m too tired and frustrated to deal with this guy right now.
EXT- SUNSET- The streets of DECADES PASS (Per Aubrey ‘Decades Pass was never a rich village- there are very few complicated structures outside of the Castle a few miles outside the town and the Chapel at the end of the main grouping of houses and only one store, which is where most of the town’s resources are pooled)
LILY
(VO) (The festival) (!)
My way is lit by torches that have yet to be dimmed. I can hear the hushed mutterings of families within who have lived in these hills for centuries.
I’m a stranger here.
I’m a stranger everywhere. (No)
Paths continue, regardless.
No?
no to the sneaking and scurrying- if you wish to read my notes like this, you will do it with my knowledge and permission or not at all. My performance, and how I craft it, is for you. These words are not…..unless I can be absolutely sure of your fidelity to my secrecy.
But if I can’t say no- what can I say?
Bold. Were I a man, would you have the nerve?
Were you a Man, I would not Be Here.
Unexpected- but not unwarranted. You’re the star.
Don’t ever devalue your agency here.
Does that mean I have your word?
It means you have whatever you want, Justine.
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