Feaver Crescent

Garret is doomed to revisit his old compulsions when he’s reunited with the much older woman he had a questionable connection with as an adolescent.
An edgy sexual thriller, Faever Crescent tells the story of Garret, a recovering sex addict who’s life with Shalyn, his pregnant fiancée, appears to finally be on the right track until he reconnects with Meredith, the now respectable wife of his new employer. Garret and Meredith have a history that stretches all the way back to the sultry summer when he was thirteen and she was twenty-six; a summer of lusty awakenings and willful manipulation that came to an abrupt end when Meredith vanished overnight without so much as a word of warning. Or at least that’s how Garret remembers that fateful summer.
It’s going on two decades since they’ve seen or heard from each other, but there’s no mistaking a lingering tension between them. Meredith, a reinvented woman of wealth and society, with a teenage daughter of her own, wants nothing to do with Garret’s sudden appearance in her carefully cultivated world. But despite her best efforts to get him out of the picture, she’s slowly drawn in by his cagey threats and gravely manipulative charm.
Before long, Garret’s scarcely contained demons resurface ten-fold as the new life he’s struggled to acquire starts to crumble around him. In an attempt to appease his rekindled appetites, Garret resumes the worst of his past sexual behavior with a desperate abandon, paying little heed to the havoc he’s inflicting on his life. Meredith too is forced to make some gritty decisions as she struggles to hold her own family together and keep them as far away as possible from her former life.
The lines between victim and victor, between sexual predation and proposed innocence become increasingly more muddied as Garret grows more unstable, convinced somewhere along the way that what’s at the root of his broken, twisted sexuality lies in the arms of his former abuser and that his only solution is to finally end the relationship on his own terms.
Having developed a passing, flirtatious relationship with Meredith’s rebellious daughter Jesse, Garret coaxes her into his vehicle under the pretext of a ride home, but instead takes her to a secluded area where things get very rough and tense between them as Garret reaches out to Meredith one more time, using Jesse as leverage. It’s in that moment that Meredith, desperate and afraid, discloses a secret she’s been holding onto for seventeen long years – that Jesse is in fact Garret’s biological daughter. But before Garret can even process what he’s heard, Jesse plunges a drywall knife into his ribcage and escapes into the night.
Bottomed out and bleeding heavily, Garret drives himself to the hospital where Shalyn, his now estranged fiancé, has been admitted after going into labor.
Shining a stark light on the roots of sexual behavior, Faever Crescent puts a twist on the usual views of sexually inapt relations. But it’s also, in effect, a story about the role of escapism as a survival tactic, the longing for intimacy, the hunger for power and the destructive forces of lust. It’s a reckoning that challenges each character, on some level, to tackle the graver, more evocative issues that lurk beneath the surface in order to take responsibility for who they are and who they want to become.

  • Joel Thomas Hynes
    Cast No Shadow, Down to the Dirt, Little Man (Short)
  • Jonathan Bronfman
    The Witch, Patti Cake$, Two Lovers and a Bear, Mean Dreams, The Other Half, Race, Indignation
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  • Nickel Independent Film and Video Festival
    St Johns, NFL
    November 20, 2013
    Won Audience Award for Little Man
  • Canadian Screen Awards
    March 13, 2014
    Nominated - Adapted Screenplay for Cast No Shadow
  • Atlantic Film Festival
    Halifax, NS
    September 22, 2016
    Won Best Screenplay for Cast No Shadow
Writer Biography - Joel Thomas Hynes

Joel Thomas Hynes is a multidisciplinary artist from Calvert, Newfoundland.

He is the author of numerous acclaimed books, including Down to the Dirt (adapted to screen in 2008), Right Away Monday, Straight Razor Days, God Help Thee: A Manifesto and Say Nothing Saw Wood (which was recently adapted, by Hynes, to the big screen under the title Cast No Shadow and won numerous awards including four Canadian Screen Award Nomination).

JTH has also written and directed a couple of award winning short films – Little Man and Clipper Gold and wrote and directed several shorts during a 2014 residency at the Canadian Film Centre in Toronto, wherein the screenplay for Faever Crescent was initially developed as well.

Hynes has also been working as an actor for almost twenty years and continues to perform lead and principle roles in both television and film, including shows such as Orphan Black, Frontier, Mary Kills People, Republic of Doyle, Book of Negroes, Hatching Matching and Dispatching and films such as Hunting Pignut, Cast No Shadow, Crackie, Down to the Dirt, and First Round Down.
Hynes is currently based out of Toronto and is in the midst of releasing an album of original music. His latest novel We’ll All Be Burnt in Our Beds Some Night, is set for release in April, 2017.

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Writer Statement

When I was thirteen years old I spent a summer in a very covert sexual relationship with a woman twice my age. Although my own narrative doesn’t play out in the same manner as my protagonist’s does (not by any stretch as Faever Crescent is a complete work of fiction), I have bumped up against a lot of similarities – the fact that I tend to consider my own story exceptional for example, in that I have never viewed myself as a victim of any sort of crime despite the obvious legal issues. I grew up fast where I come from and felt, as Garret notes in early voice over, that I was beyond my years, almost as though I were an adult already at thirteen and my age was simply a “minor” inconvenience. But throughout the course of writing this story my attitude has altered somewhat as I’ve been forced to confront what it is exactly that I’m trying to say in respect to my main character. But where my fictional story deviates dramatically from my own is the subject of sexual addiction – a subject which remains grey and controversial despite the best research and expert opinions available. Whole industries have grown up around and for the treatment of sexual addiction, yet some experts maintain that it doesn’t even exist, that addiction can only be associated with substance abuse issues. Church groups maintain that sexual addiction is merely an excuse, a cover for low moral standards. The issue of abstinence also varies wildly off course when compared to what abstinence means to the alcoholic, for example. The drug addict’s best chance at recovery is to abstain from using their drug of choice. But for the so-called sex addict, or the sexually compulsive individual, abstinence can hardly be as cut and dry. Humans need sex. I’ve set Garret up as a man blind to the consequences of his past behavior and who has obviously projected his history onto his present day relationships – his inability to connect and to achieve genuine intimacy has landed him in serious trouble over the years. Garret’s present day behavior appears to be directly connected to the events of his early adolescent with his former “abuser”, the alluring Meredith. He is at a crossroads, confronted with the prospect of a stable family and a secure “normal” lifestyle at a time when he is triggered to confront the worst of his past behaviors. Perhaps if Meredith hadn’t suddenly reappeared in his world Garret might have coasted along for another few years without much drama – perhaps fatherhood may have altered his psyche in such a way that his sexually compulsive nature would have naturally taken a back seat. For a time. But I believe that eventually it all rises to the surface no matter how or, for how long, it gets suppressed.
Back to the reality of storytelling, in terms of what’s at stake for my character, I can’t think of a more ideal time to toss a woman like Meredith into the mix. Here is a character that not only appears to play a major role in the roots of Garret’s sexual acting out, but is at the same time maintaining her own innocence throughout and casting much doubt on Garret’s nature and motivations. Garret is not a traditional protagonist in any sense, but nor is he necessarily an anti-hero. Meredith’s conviction that she is a victim of heresy and fanciful revelations by a sick individual such as Garret furthers the reader’s inability to trust him just as those close to him (like his beautiful fiancé Shalyn and his friend and co-worker Leonce) can’t seem to trust him either. But as it turns out, Meredith’s stance is a mere power play born of
self-preservation. And this ultimately brings me around to one of the major themes being developed in this story – the murky subject of sexual power. My intent right now is for all my scenes and interactions to double back on the idea of the ownership of sexual power, from the simple scene between Garret and Leonce at the bar where they are discussing contracting plans, to the scene between Meredith and her daughter Jesse in the hallway outside Meredith’s bedroom at night, to the spontaneous sex scene with Garret and Shalyn, the scene in the massage parlour where Garret abruptly changes his mind and walks away, to the uncomfortable scene between Garret and Jesse in his car where he pulls over and has sex with her in an abandoned parking lot, and indeed every single scene in the flashbacks with young Garret and young Meredith – all of these scenes are dealing with the idea of sexual power on some level. So maybe that’s what I’m trying to work out in my writing – where intimacy finds its place in all this, where the line exists between seduction and manipulation and what this tension means to the ones who are left to ride out the consequences. But ultimately what am I trying to “say” as the writer? I don’t think I’m trying to offer up any sort of message or solution. More accurately I’m trying to avoid that at all costs. I’m just wanting to tell an observant, intriguing story that can be as interpretive as sexuality itself. Less a portraiture of a struggling sex addict, Faever Crescent aims to be a character piece disguised as a sexual thriller that I anticipate will be provocative and intriguing to a broad audience.