Perhaps nowhere aboard does Weaver throw the ''business-as-usual'' book out the window as in the interior. Right off the bat you can’t help but notice the interior wood — all rare Obechi — that gleams with 14 coats of polyester varnish. The triangular Scopinich table in the salon raises and lowers as needed without being bothersome underway. A unique island on centerline acts as breakfast counter and food-prep area. The opposing L-shaped counters work well, effectively making this galley as big as the kitchen in most homes. And the SubZero undercounted refrigerator and freezer keep the entire salon free of visual obstructions. Weaver continues to innovate below decks, running the companionway along the port side, using rather than ignoring the beautiful curve of the hull. The outboard side boasts an art gallery and copious storage for rods and other sundries in full-length cabinets. The starboard master cabin places a true queen berth against the forward bulkhead. Thank you! I hate sleeping with my head lower than my feet. The queen berth lifts on rams at the touch of a button to reveal yet more storage. And finally, the master has a private head with separate shower stall. Forward, a guest stateroom provides a double berth on one side and a single upper berth along the companionway wall. It, too, boasts its own head and shower. Finally, a third stateroom sits aft, abutting the engine room bulkhead with two athwart ship, over/under singles, concealed washer/dryer stack and more storage. Directly across from the guest cabin, at the foot of the salon stairs, lies a day head. I found the Weaver 65 to be quiet, dry, responsive and as close to art as boatbuilding can get. The cold-molded hull, combined with a 121/2-degree dead rise at the transom and a sharp, 23.7-degree dead rise at the boat’s center of gravity, makes for a cushioned ride that the most demanding skippers will appreciate. Jim Weaver is no ''me-too'' builder.