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Stan Harris is a procrastinating horror novelist who gets a call from his publisher warning him that he’s only got until the end of the night to complete his latest work. As paranormal events start unfolding around him, Stan finds all new inspiration, and danger, while completing his stories.
Molly, a paranormal con artist who cleans people of their valuables instead of their demons, accidentally rips off a Drug Kinpin. She now has to save her kidnapped partner and herself while battling through the under belly of Los Angeles.
Street vendor Marcia is scraping together a living in the ghetto section of Kingston, Jamaica. Her young daughter is being hounded by a rich sugar daddy who has been supporting the family; her brother’s life is being threatened by a local thug. So, when the licentious patron threatens to abandon the family, and her brother breaks down under pressure, Marcia hits bottom. She needs to escape to a haven where she can get lost in fantasy; Marcia, don in sex-me-up clothing and outrageous glamour, finds refuge in the beats of the very dance hall outside of which she normally vends.
Deceived by the scruffy ginger counselor who’s the only boy near her emotional age at Emily Dickinson Writing Camp, Marion ditches lunch duty and jumps the next bus out of town. Alone and friendless, she holes up in a nowhere motel, ignoring the nagging calls from her sister and indulging in utter anonymity. There Marion meets Norman, and each is haunted by the feeling that they’ve met the other before. Like a garage band covering a string quartet, freshman director Jesse Robinson rebuilds Psycho from a looser, warmer material. Young and Innocent throws a haze across Hitchcock’s spartan menace, replacing autumnal chill with summer swelter, and adult frailty with the languageless longings of adolescence.
Nick Moon, P.I. (Paranormal Investigator), delves into a hidden world of monsters and creatures of the night as he takes on a case to retrieve an ancient artifact with astonishing power.
