Aileen was weary. The long journey through the dense forest had taken a toll. She leaned on a tree near the edge of the woods and rubbed her groin. She looked back at the path behind her. The breadcrumbs she had scattered had been eaten away by birds and small rodents. A few stray chipmunks remained, eyeing her from a distance. The narrow trail had filled in as she had moved along; vines, twigs and leaves consuming her footsteps and erasing them almost as soon as her feet had left the earth. No turning back now, Aileen turned to face the cottage.
The cottage loomed ominously in the small clearing before her. It was just a simple structure, and not nearly as terrifying as Aileen had pictured it. It seemed rather… cozy. The hag who lived within this isolated hovel hated outsiders and was distrustful of any who came near. Labeled a witch by the villagers, she kept to herself. She was outside gathering plants in a basket carried over her arm when Aileen spotted her. Their eyes met for a brief second. The old woman’s icy stare bore holes in time and space. Aileen gulped and sighed. She gently heaved herself up from her brief respite at the wood’s edge and approached cautiously, still clutching her heavy abdomen. This is why I’m here she reminded herself.
“Hello,” Aileen hailed.
As she trudged into the clearing, the old woman continued to stare at her, unmoving and unspeaking, like a wild animal startled from its reverie. Her white hair danced every which way around her and her throat flashed with every breath. Her eyes followed Aileen’s every shift in movement.
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“I am Aileen,” she continued. “I came here to seek your help.” She held her empty hands aloft. “I mean you no harm.”
“I know why you’re here,” the crone interjected. “This isn’t the first time, nor will it be the last.”
Aileen quieted a moment before continuing. “I am very sick.” She chose her words carefully, rubbing her belly. “The child that grows inside of me is making me ill. Something is dreadfully wrong. The Village Elders will do nothing.”
“The Elders are why I am here,” the old woman spat, glaring at Aileen. “I used to live in the village like you. I was forced here when they ransacked my home and set fire to my house and garden. They destroyed everything I had.”
“I am dreadfully sorry,” Aileen said. She had known of the witch’s treason, of how she had gone directly against the Elders’ orders to help others like herself. She knew of the banishment by the torchbearers and pitchfork wielders who had shown up on the woman’s doorstep, although it had happened when Aileen was far too young to remember. The Elders spoke of it often and had kept the defaced property as a warning to be heeded.
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“We… we still need you.” Aileen’s voice grew heavy with her words. “I need you.”
Aileen drew nearer. She was close enough now to see the tiredness in the old woman’s eyes, the pain that haunted her every movement. They studied one another for a long while. The woods, the clearing, and the cottage lay in quietude as if sleeping all around them. They were both enveloped in silence.
The old woman was robust and hardy. She had endured much and it was written in every fold of her skin; every crease, every wrinkle bore signs of her past. Aileen was downtrodden, spent and weak. She could barely hold herself up. Her skin was pale and ghostly, her ashen complexion ill-fitted for a woman of her young age. She was with child, but her body bore the gift all wrong and off-kilter. She leaned to the side and gasped slightly as she drew each breath, her hand still clenched over her stomach region. The air only barely entered her lungs before trickling out again.
Finally, the old woman spoke. “You are very sick,” she said.
Aileen spoke again. “I desperately need your help. I cannot bear this child. Doing so will kill me. The Elders do not understand – they say it is all part of God’s Plan.”
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The old woman spoke again. “I was young once, and carrying a child I did not consider my own, that was conceived not of my choosing. I ran away.” Her eyes softened. “I tried to resolve my situation on my own with some herbs I had acquired from a Medicine Man on the down low, way back before I knew what I was doing, and I almost died when I used them wrong.” The old woman studied Aileen and continued, “There was a woman not unlike me now in the village at that time. Her name was Bella. She helped me to recover from all that had happened to me. I stayed with her and studied her craft, so that I might safely help others like myself. Like yourself.”
“The Elders found our aid to be threatening. They claimed it went against God’s Will. Bella disappeared mysteriously without a word. I stayed to upkeep our house and garden and to continue her practice, and because it was important that we remain steadfast in our service. That was the very same home I was later forced to flee in order to keep my life,” the witch went on.
“I am truly very sorry for your loss,” Aileen spoke pensively, realizing that all of this was much larger than her self, much larger than the stories she had been told. “I do not mean to endanger you. I come alone, seeking your help. Beyond the stories that the Elders tell, I have only heard of you through hushed whispers under the table where prying ears cannot linger. That is how I learned that you had come here. In all of my searching for answers and desperately trying to find someone who could assist me, no one would even utter your name. They just told me that I needed to see the Witch of the Wood. It became a sort of unspoken understanding among those of us who could bear children as my condition grew worse.”
Aileen was in arm’s reach of the witch now, her gaze at her feet studying the soft ground between them.
“You needn’t know my name. My name is the babble on the brook, the cry of the lark, the dance of the wind through the willows,” the old woman whispered. She put her arm around Aileen, her grasp gentle but strong. The girl sobbed as the witch held her closer. “I can help you, but you will not be able to go back to the village. You are too far along and too many will notice the change. Others who have undergone such noticeable changes have been hung, or stoned, even burned at the stake. You will be in grave danger if you return, as will I for assisting you.”
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Aileen looked up at her and nodded. The fear in her eyes gave way to a sense of solace, to an understanding that in order to save her own life she would have to leave everything she knew and all that she loved and held dear. It wasn’t fair but it was necessary. The witch was right; she had seen what had become of others who had lost their babies early. She should have come sooner, but she had been so afraid, both of what was happening to her and of the unknown outcome. Perhaps there was another way.
“Can I stay then, with you? Like you did with Bella. To learn all that I can, so that I may one day help others like you have?”
The witch smiled. “If it pleases you to do so, you may stay afterwards as long as you wish and learn what you can. Many have come and gone before, and have left for distant lands unknown to us to help those who have needed it. We are not alone.”
“I would appreciate that very much,” Aileen said, resigned to her fate. A smile crept across her face, offering hope. “Thank you.”
The witch answered, “No need to thank me. Not now and not later. I do this because I don’t want any to have to suffer as I have, as too many of us have. I do this because these circumstances are more complicated and varied than the Elders will acknowledge.” She smiled back at Aileen. “I will gladly help you, as I have those before and those yet to come. You are welcome to join us in this… And you can call me Abuela.”
Jennifer Weigel is a multi-disciplinary mixed media conceptual artist residing in Kansas USA. Weigel utilizes a wide range of media to convey her ideas, including assemblage, drawing, fibers, installation, jewelry, painting, performance, photography, sculpture, video and writing. You can find more of her work at:
https://www.jenniferweigelart.com/
https://www.jenniferweigelprojects.com/
https://jenniferweigelwords.wordpress.com/
Those religious icons really get around. This time it’s a journey to visit the Deep Ones. And Dracula’s Castle. Because everyone has to be a tourist now and then, and what’s the point if you don’t pick up a souvenir or two?
This was a gift for a friend for their sea life monster theme bathroom. It started as one of those old school wood plaques where the picture is waxed on. And the eyes were originally that creepy – all I did was add the tentacles. So don’t blame the overall weirdness on me, it wasn’t all my doing.
Oh, and apparently Mary wanted in on the action, so she’s gone to Dracula’s Castle for a bite. She even brought back her own religious icons souvenirs…
So this one isn’t as old, nor is it real wood. But it still totally goes with Mary’s journey. And it’s also a little blacklight reactive with the flowers.
So I just keep on going… Here are some more repaint porcelain figurines and other madcap painting. OK maybe some of them aren’t porcelain, but still totally redone.
This Pennywise clown started as some plastic figurine from Italy. I was drawn to this because of the pretty marble base. It’s a nice touch, don’t you think? I’ve seen others in this series and honestly they’re all kind of creepy to start with, so they really lend themselves towards repaint prospects. Perhaps I’ll pick up more to redo in similar ways later on… Oh, and the eyes are blacklight sensitive, in case he wasn’t creepy enough already.
With all of the new movie hype, I couldn’t resist a throwback to the classic Beetlejuice, and this little bride figurine and teddy bear were just too perfect. Featuring more blacklight sensitive accents, like her veil flowers. And I don’t know why she only has one glove, I blame it on the 1980s… Or maybe she was just that drunk (you’d have to be for that wedding)…
So yeah, all those preppers ready for the zombie apocalypse – you know some of them are gonna get bitten. It’s in the script, what can I say? More blacklight eyes, cause why not?
I admit I haven’t seen this film, but it sure looks fun. Mathilda, eat your heart out. Literally.
OK so this isn’t a repaint. Nor is it porcelain. What is it even doing here? Well, she’s cool and ready for a party and kinda reminded me of Abigail, so she sort of just tagged along. Sexy Sadie started as an Avon perfume bottle with a fragrance I didn’t care for (I think it was called Head Over Heels). Because honestly the bottle topper was all that mattered. And now she has her own disco dancing platform. What more could a vampish vixen want?
I wrote this script for Beyond the Veil awhile back, exploring the bond between two twin sisters, Edith and Edna, who had lived their lives together. There was a terrible car crash and someone didn’t make it. The other is trying to contact them beyond the veil…
Beyond the Veil Setting:
Two women reach out to one another individually in a séance setting.
One sits on one side of a dining table. The other sits at the other side. Each studies a candle just beyond her reach; there is darkness between the two candles. The long table is barely hinted at in the interstice between the two but it is clearly present.
The camera is stationary showing both in profile staring through each other.
The women are both portrayed by the same actress who is also the voice of the narrator, who is unseen. All three voices are identical so that it is impossible to tell which of the two women the narrator is supposed to represent.
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Both women are spliced into the same scene. They are together but apart. The two candles remain for the duration of filming so that the two halves of the film can either be overlapped (so that both women appear incorporeal) or cut and sandwiched in the middle between the candles (so both women appear physically present). It is possible to set the scene thusly using both methods in different parts of the story, with both women seemingly flickering in and out of being, both individually and apart.
Script:
I. Black, audio only.
Narrator:
I was riding with my twin sister.
We were in a terrible car crash.
The car drove over the median and rolled.
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It spun off the road where it caught fire.
There was smoke everywhere.
My sister didn’t make it.
II. Fade in to the long table with two lit candles; flames flickering.
Two women are just sitting at either end.
They stare blankly through each other.
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Call and Response
Edith: Now I’m trying to contact her…
Edna: …beyond the veil.
Simultaneous:
Edith: Edna, do you hear me?
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Edna: Edith, do you hear me?
Together (In Unison):
If you hear me, knock three times.
Narrator:
Knock.
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Knock.
Knock.
Call and Response:
Edith: I miss you terribly.
Edna: I miss you so much.
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Edith: Do you remember…
Edna: … the car crash?
Edith: We rolled…
Edna: … over the median.
Edith: There was fire.
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Edna: There was smoke.
Edith: I could hear the sirens.
Edna: They were coming…
Edith: … to rescue us.
Edna: But they were so far away.
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Edith: So far…
Edna: … away….
Simultaneous:
Edith: Are you okay?
Edna: Are you hurt?
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Together (In Unison):
Knock three times for yes. Knock once for no.
Narrator:
Knock
– pause –
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Knock
– pause –
Together (Syncopated):
What’s it like, on the other side?
– long pause –
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Simultaneous:
Edith: I miss you, Edna.
Edna: I miss you, Edith.
Together (Syncopated):
It’s so lonely here.
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Call and Response:
Edith: There’s no one here.
Edna: I’m all alone.
Edith: Without you…
Edna: …the spark of life…
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Edith: …is gone…
Edna: … so far away.
– pause –
Together (Entirely Out of Sync):
It’s so dark.
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III. Fade out to black
Narrator:
I was riding with my twin sister.
We were in a terrible car crash.
The car drove over the median and rolled.
It spun off the road where it caught fire.
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There was smoke everywhere.
I didn’t make it.
I had planned to actually turn this into the video for which it was written, but quickly discovered that my plans for recording required a space that was too drastically different from my new house (and new large gaming table) and that my vision for filming could not be well-fully executed or realized. So now it exists as a script only.
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