AMERICAN HORROR STORY
"Perfect Boy"
By
Thomas Wong
Thomas Wong
Email: [email protected]
Mobile: 917-622-8108
Note: This script takes place in between episodes 7 and 8 of
Season One of the series.
ACT ONE
TITLES UP: 1982
INT. THE HOUSE - NURSERY - DAY
We’re CLOSE ON a dangling MOBILE above a hand-carved wooden
CRIB in the center of this BRIGHT BLUE room. The mobile’s
MINIATURE AIRPLANES dance slightly in the air.
A young, very pregnant CONSTANCE LANGDON enters with fouryear-old TATE LANGDON in tow. YOUNG MOIRA follows, dressed in
a conservative maid’s outfit. This is her first day, and
Constance is making sure to set the appropriate tone.
CONSTANCE
I anticipate taking the baby for
his morning constitutional around
eleven. You can clean the nursery
then. Fresh linens, and scrub the
floors with vinegar and oil soap.
I’ll know if you use anything else.
Tate blankly stares at Moira, who tries to avoid his glance.
She’s clearly unnerved. Constance looks expectantly at Moira.
CONSTANCE (CONT’D)
(beat; sharp)
Is there a problem, Moira?
MOIRA
I... It’s just... I’ve never seen a
child so... quiet. Does he ever
speak?
Constance rears back, ready to strike.
CONSTANCE
I realize this is your first day in
my employ, but let me assure you it
will be your last if you are in any
way implying that my boy is some
kind of idiot.
MOIRA
Please, Mrs. Langdon, I would
never... I meant no disrespect.
Constance looks at Moira evenly.
CONSTANCE
Given your age and inexperience,
I’ll overlook your transgression.
This time.
2.
MOIRA
Thank you, ma’am.
Constance fondly runs her fingers through Tate’s hair.
CONSTANCE
I’ll grant you Tate is quiet, but
he’ll come out of his shell soon.
He’s just waiting for his baby
brother to arrive.
MOIRA
If I may, ma’am... How do you know
your new blessing will be a boy?
Constance smiles and looks down at her pregnant belly.
CONSTANCE
I just do. I’ve always had that
gift. His name will be Matthew.
After my brother who was killed in
Vietnam. Why a good Christian white
man had to die for those people, I
will never understand.
(then)
Follow me. I’ll show you the
commode you may use...
Constance and Moira leave. Tate stares at the mobile, his
face emotionless.
INT. THE HOUSE - TATE’S ROOM - EVENING
CLOSE ON the doorway, as we hear APPROACHING STEPS.
CONSTANCE (O.S.)
...steaks, medium rare. More red
than pink. Mashed potatoes in
gravy. And a nice green sauteed
with garlic and butter.
MOIRA (O.S.)
Yes, ma’am.
Constance and Moira enter, and their mild conversation
becomes DREADFUL SILENCE as they stare ahead in shock.
REVEAL CRUDE HORRIFIC IMAGES on Tate’s walls: planes
crashing, soldiers shooting each other, dark demonic faces
smiling wickedly.
Moira crosses herself and runs out of the room. Constance
stares at her son. She slowly approaches him as he draws in
the corner. Shaken, Constance kneels by him.
3.
CONSTANCE
Tate, honey... Why did you draw all
these pictures, my sweet?
Tate turns to Constance and stares at her blankly.
(flat)
The baby.
TATE
Tate shows Constance what he’s drawing: a bloody image of him
CUTTING THE BABY OUT OF CONSTANCE. Constance reels in shock
and begins weeping.
OFF Tate, vacant-eyed, stroking the picture on the wall...
TITLE SEQUENCE
INT. HARMON HOUSE - KITCHEN - DAY
Over the sensual tones of a VIOLIN and CELLO playing in
perfect harmony, we’re CLOSE ON a STREAM OF COFFEE pouring
into a GLEAMING SILVER VESSEL.
OLD MOIRA fastidiously sets a SILVER COFFEE SERVICE on a
tray. She quickly polishes a small smudge and takes the
service into...
INT. HARMON HOUSE - LIVING ROOM - CONTINUOUS
...the living room where a visibly pregnant VIVIEN HARMON
languidly plays CELLO with the handsome ANSON HORNSBY (45)
who leads on the VIOLIN. Moira sets down the tray and begins
to serve just as Vivien and Anson finish their piece.
ANSON
Twenty years and we’re still
completely in sync. I never would
have guessed it had been so long
since you last played, Vivien.
VIVIEN
Muscle memory is a powerful thing,
Anson.
ANSON
So is raw talent.
Vivien smiles at the compliment. She and Anson exchange a
meaningful look. Old Moira picks up a cup of coffee and turns
toward Anson, becoming YOUNG MOIRA. She sensually places the
cup in front of him and offers the CREAMER. She lightly
strokes the handle.
4.
MOIRA
Cream? Sugar? You deserve something
sweet for that performance.
ANSON
(looking at Vivien)
Thank you, Moira, but I take my
coffee black.
Young Moira shrugs and turns to pour for Vivien, becoming Old
Moira in the process. Moira prepares to put cream in Vivien’s
coffee. Vivien puts her hand over her cup and fondly gazes at
Anson.
VIVIEN
I think I’ll take it black today.
For old times’ sake.
Moira retreats into the background. Anson smiles at Vivien.
ANSON
Your timing was perfect as usual.
Jacob just pinched his nerve, and
there you were.
VIVIEN
You’re giving me something to do
other than get fat and fight with
Ben. And the money doesn’t hurt.
This is a really big favor, Anson.
ANSON
You’re doing me the favor.
Normally, I’d ask a student to fill
in, but to have you instead...
(wistfully)
I still remember your performance
of the Six Suites.
VIVIEN
I hope I live up to your memory.
Vivien and Anson unconsciously move closer to each other,
caught up in their reverie. A slightly disheveled BEN HARMON
enters. His eyes narrow. Anson and Vivien move apart.
ANSON
(beginning to stand)
Ben...
Ben holds up his hand to indicate Anson should stay seated.
5.
BEN
(looking at Vivien)
Anson. Vivien, a word?
Ben walks toward the kitchen. Vivien gives Anson an
apologetic glance before following Ben.
INT. HARMON HOUSE - HALLWAY - MOMENTS LATER
Vivien and Ben speak in low, tense voices.
BEN
You can’t be serious about working
with that man.
VIVIEN
Anson and I were an item a lifetime
ago. We’re just discussing a job.
BEN
You think that’s what he’s here
for? You haven’t picked up your
cello in years. He’s a world class
musician. Do the math.
VIVIEN
Don’t overanalyze my life, Ben.
Sometimes a string quartet is just
a string quartet.
BEN
Whatever you want to believe,
Vivien. I still think it’s a bad
idea. Dr. Hall told you to take
things easy.
VIVIEN
It’s just a few gigs each month.
Minimal rehearsal time. Low stress.
And we could use the money. The
twins will be fine.
BEN
(snaps)
You’re being a selfish brat.
Vivien and Ben both reel from his tone.
BEN (CONT’D)
(apologetic, weary)
Sorry. I haven’t been sleeping
well. The crappy motel mattress has
been digging into my back, so I’m a
bit on edge.
(MORE)
6.
BEN (CONT’D)
(trying to joke)
Anson being here isn’t helping.
VIVIEN
Then it’s a good thing Anson isn’t
offering you the job.
(sarcastic)
Oh, was that bratty?
Vivien heads to the living room. Ben storms off to his
office. When the hallway is clear, REVEAL HAYDEN, watching
carefully. She smiles mysteriously.
INT. BEN’S OFFICE - LATER
Ben stares distractedly off into space. Tate scrutinizes Ben
from the sofa. A moment of silence. Ben looks at his watch.
BEN
I think our time is almost up,
Tate. Is there anything else you’d
like to discuss?
TATE
Not really. Don’t want to bother
you.
BEN
What do you mean by that?
TATE
Nothing. Just you seemed kinda
distracted today. That’s all.
BEN
(lecturing)
These sessions are for your
benefit. The onus is on you to
bring up things you want to talk
about. I can’t do all the work.
TATE
I was making an observation. I’ll
keep my mouth shut next time.
Ben rubs his eyes.
BEN
I’m sorry, Tate. You’re right. I am
distracted.
TATE
Family problems, right? Violet told
me.
7.
Ben swallows his annoyance and takes a deep breath.
BEN
You know how I feel about you
seeing her.
TATE
I get it. You’re worried, because
you care about her. I care about
her, too. I want you to know that.
(off Ben’s look)
You care a lot about your family,
don’t you?
BEN
Yes, I do. And I’ll do anything to
protect them.
(a beat between them)
So if there’s nothing else...
Ben opens his EMPTY CALENDAR.
BEN (CONT’D)
When do you want to come in for
your next session?
TATE
How about tomorrow? Same time?
Ben writes in Tate for 3pm.
INT. CHURCH OFFICE - FLASHBACK - 1982 - DAY
An emotional Constance and a still blank-eyed Tate sit with
FATHER SULLIVAN.
FATHER SULLIVAN
Mrs. Langdon, what you are asking
for is impossible. The church no
longer condones exorcisms.
CONSTANCE
Your unwillingness to help my boy
will doom his immortal soul, Father
Sullivan.
Constance begins sobbing. Father Sullivan shrinks back in his
seat.
FATHER SULLIVAN
Please calm yourself. This display
of emotion is excessive.
8.
CONSTANCE
How can you ask a mother to be calm
when her child is possessed?
FATHER SULLIVAN
I don’t believe Tate is under any
sort of possession. I’ve seen this
behavior in children before. He
will grow out of this soon enough.
CONSTANCE
Your eyes have not seen what I have
seen, Father. Your flesh does not
burn with the knowledge that your
blood is tainted. I am pleading
with you, as a faithful and
generous patron of this church.
Help me save my son.
FATHER SULLIVAN
Mrs. Langdon, I understand that you
are concerned, but there is nothing
I can do for you. I suggest you
pray for the patience to see you
through this difficult time.
Constance glares at Father Sullivan and angrily wipes her
eyes.
CONSTANCE
Difficult time? God will judge you
for failing me in this difficult
time.
Constance pulls Tate out of the office.
INT. CHURCH HALLWAY - FLASHBACK - 1982 - MOMENTS LATER
Constance and Tate walk quickly down this dimly lit, empty
hallway lined with DARK STAINED GLASS WINDOWS. Constance’s
HARD SHOES CLACK LOUDLY with each step.
Constance and Tate head toward the DOUBLE DOORS of the exit,
where a THIN BEAM OF SUNLIGHT shines through a crack between
the doors. A soft SCRAPING SOUND follows them and grows
louder with each passing second. Constance whirls toward the
sound in alarm to see...
WALTER BELLAMY (30s), a dashing gentleman in a SEERSUCKER
SUIT. Walter drags his LONG UMBRELLA behind him. Constance
smiles in relief and tilts her head in slight flirtation.
CONSTANCE
You startled me, Mr...
9.
Walter offers Constance a conciliatory smile. He speaks with
a genteel Southern accent.
WALTER
I do apologize for my failure in
manners, Mrs. Langdon. My mother
taught me better. The name is
Walter Bellamy, and I am ever your
humble servant.
CONSTANCE
Enchantee, Mr. Bellamy.
(then)
How did you know my name?
WALTER
You are a formidable figure in this
community. I daresay your fame
precedes you.
(re: Tate)
And who’s this serious young man?
Constance’s face lights up with pride.
CONSTANCE
This is my son, Tate.
(off Tate’s blank look)
He’s a little shy, especially when
he hasn’t had his lunch. So, I
suppose we must be going.
(flirtatious)
It warms my heart to see that the
traditions of the South are not
completely lost in nouveau
California. Good day, Mr. Bellamy.
As Constance turns...
WALTER
I can help you, Mrs. Langdon.
Walter offers Constance his simple, elegant CARD in stark
Courier font - WALTER BELLAMY, 310-297-4421. Constance
curiously looks at the card.
How so?
CONSTANCE
WALTER
I’m a spiritualist.
CONSTANCE
A spiritualist? I’m afraid I don’t
know what that means.
10.
Walter steps closer. They’re almost face-to-face.
WALTER
I channel spirits, Mrs. Langdon.
People’s energies. Their souls, if
you will. Why, I can tell your
unborn baby boy has the most
beautiful, shining soul. He
positively glows.
Constance is completely charmed. Walter gestures toward her
pregnant belly.
May I?
WALTER (CONT’D)
CONSTANCE
Yes. Of course.
Walter’s expression shifts, a subtle hunger evident. He
gently caresses Constance’s belly, which elicits a smile from
her. Suddenly, the double doors SLAM OPEN, sending a BEAM OF
LIGHT over Constance. Walter yanks his hands back, as if
burned by hot coals. He steps back, away from the light.
Constance doesn’t notice.
WALTER
Now I’m afraid I’ve gone too far.
My mother would tan my hide if she
knew I was being so forward.
CONSTANCE
I won’t tell. So... What do you do
with these souls?
WALTER
I can manipulate them. Balance
them. Transform them. For a very
reasonable fee, of course.
And the spell is broken. Constance offers Walter a superior
smirk.
CONSTANCE
Ah, money. The base of every human
interaction. Excuse my bluntness,
Mr. Bellamy. But if the church
can’t do anything for Tate, I doubt
your brand of airy fairy hoodoo
voodoo can.
WALTER
You misunderstand me, Mrs. Langdon.
I don’t seek financial recompense.
11.
He smiles lasciviously at her.
CONSTANCE
You forget I am a married woman.
(then)
And since my husband would not be
very understanding of why I have
another man’s business card...
Constance holds out Walter’s card to him. He doesn’t take it.
Constance lets it drop to the ground. Walter’s teeth shine in
the dim light. Constance moves to leave...
WALTER
You don’t want to save Tate’s soul?
That’s why you’re here today, isn’t
it?
Constance freezes in place.
WALTER (CONT’D)
The darkness will consume him. You
know this to be true.
Walter picks up his card from the ground and offers it to
Constance. She stares at him, unnerved.
CONSTANCE
All this New Age chatter has just
about worn out my patience.
WALTER
(re: the card)
Take it. The church is limited in
its powers and world view, but
there are other ways.
Constance scrutinizes Walter for a moment before snatching
the card out of his hand. Constance rapidly walks away from
Walter, pulling Tate forcefully toward the exit.
INT. HARMON HOUSE - LIVING ROOM - DAY
Vivien plays a piece on the cello. Violet watches, enchanted she’s smiling and bright, unlike her normal brooding teen
self. Vivien pauses to stretch her fingers.
VIOLET
That was amazing, Mom. I could
totally feel the love.
VIVIEN
Thank you, Violet.
12.
VIOLET
Seriously. You, like, look really
happy.
VIVIEN
I am happy. Music was such a big
part of my life for so long. I
guess I didn’t realize how much I
missed playing.
Violet thinks for a moment, her face introspective.
VIOLET
Do you ever wonder what would’ve
happened if you... never stopped?
Vivien looks closely at her daughter, then wraps her in a
loving embrace.
VIVIEN
Never. Raising you was the high
point of my life. I wouldn’t take
back that time for anything.
Violet watches her mother shyly, unsure. Vivien continues.
VIVIEN (CONT’D)
And even though I loved the music,
I didn’t want to sacrifice family
for the career.
BEN (O.S.)
That’s true, you know.
Violet and Vivien turn to see Ben watching them. Violet pulls
away from Vivien.
BEN (CONT’D)
Your mother and I had a lot of
conversations about continuing her
career, but she chose you.
Violet looks away, touched and embarrassed. She spots Tate
waving her upstairs. She moves toward the staircase.
VIOLET
I’m gonna do some homework. Keep
rocking, Mom.
Violet heads upstairs. Ben watches Vivien intently.
BEN
I miss these moments. Our family
acting like a family.
13.
I do, too.
VIVIEN
BEN
Then let me move back in. The
sooner we see ourselves as a
family, the sooner we can begin the
healing process.
VIVIEN
I’m not ready. We need to work on
so many things... And I’ve realized
I need to start with me.
BEN
(seething)
And where does Anson fit in?
VIVIEN
Anson has nothing to do with any of
this. You might remember that I’m
not the one who cheated.
BEN
I’m sorry about what happened with
Hayden. I’ve said it a million
times. How long are you going to
punish me for it?
VIVIEN
You lied about everything, Ben.
About stopping the affair, about
going to see her in Boston and
leaving me and Violet-- You’re a
liar, and you won’t be moving back
in until I can trust you again.
BEN
Violet deserves to have a stable
family, and you-VIVIEN
Don’t bring Violet into this.
You’re just trying-Vivien doubles over in pain. She falls to her knees.
Vivien!
BEN
Ben helps Vivien stand. She looks up, her face contorted in
agony, her lips FLECKED WITH BLOOD.
14.
INT. DOCTOR’S OFFICE - DAY
Ben and Vivien sit with DR. HALL, the OB/GYN.
DR. HALL
It’s a bleeding ulcer. Not ideal,
but not entirely uncommon. Have you
changed anything in your diet
recently?
BEN
(interrupting)
It’s probably stress-related.
Vivien started working again.
VIVIEN
I’m just playing cello. It’s very
casual. I literally picked it up a
few days ago.
BEN
But it could have been a catalyst.
Vivien shakes her head in annoyance.
DR. HALL
A new job will increase stress
levels, but it’s unlikely that it
would have a physical manifestation
so soon after. Cut back on coffee,
tea, pain killers - anything that
might cut into your stomach lining.
If you experience another
recurrence, we’ll look into it
further. Anything else?
VIVIEN
No. Thank you, Dr. Hall.
Ben and Vivien rise to leave.
DR. HALL
Vivien, can you stay for a moment?
I have one thing to discuss with
you. In private.
Vivien sits back down. Ben gives the doctor a questioning
look, then leaves.
VIVIEN
Is there something wrong?
15.
DR. HALL
I didn’t want to raise my concerns
in front of Ben, but I do agree
with him. You shouldn’t be working.
VIVIEN
It’s a string quartet. Really more
of a hobby than a job. I’m fine.
DR. HALL
Pregnancy for a woman of your age
already puts you in a high risk
category. And you’re carrying
twins. Add to that the obvious,
sustained tension between you and
Ben. You’re asking for a
miscarriage. It’s my strong medical
opinion that you should not be
working in any capacity.
VIVIEN
I understand what you’re saying,
but I can manage the stress. No
harsh food or drink. My body is a
temple. Does that satisfy you?
DR. HALL
Then I think you need consider
speaking with a professional.
VIVIEN
Oh, Dr. Hall... No disrespect, but
between you and Ben, I have enough
people trying to get into my head.
DR. HALL
Not for you. For the twins. A “baby
whisperer,” if you will.
Vivien looks incredulous.
VIVIEN
I don’t know how a baby whisperer
could help in managing my stress.
DR. HALL
I’m talking about the twins’
stress. A fetus is subliminally
aware and can internalize the
mother’s stress as its own.
Dr. Hall opens her desk drawer and looks through a file.
16.
DR. HALL (CONT’D)
You may be able to handle the
stimulus from everything in your
life, but there are two others who
may not be as adept.
Dr. Hall finds a “baby whisperer” and begins to pull out her
information, but FREEZES. She stares straight ahead GLASSYEYED. Vivien doesn’t notice.
Dr. Hall stiffly pulls a STAINED OLD CARD from the back of
the file - WALTER BELLAMY, 310-297-4421. She robotically
offers the card to Vivien. Vivien reaches for the card. The
second she touches it...
SMASH CUT TO:
INT. VIOLET’S ROOM - SAME
Tate and Violet hang out. Suddenly, Tate grabs his head in
agony, then looks up in fear. Violet looks at him anxiously.
SMASH CUT TO:
INT. CONSTANCE’S HOUSE - BEDROOM - SAME
Constance sits at her vanity, fixing her hair. A DELICATE
CRYSTAL CASE on the vanity shatters.
INT. DOCTOR’S OFFICE - SAME
Vivien takes the card and puts it in her bag.
VIVIEN
I’ll think about it. OK?
Dr. Hall slowly nods. Vivien leaves. Instantly, the doctor
SNAPS OUT OF HER TRANCE and looks around baffled.
INT. CONSTANCE’S HOUSE - BEDROOM - SAME
Hesitantly, Constance pushes aside the broken crystal shards
to reveal a MINIATURE AIRPLANE - one of the dangling pieces
of the mobile we saw in 1982. Constance puts her hand to her
neck in apprehension.
END OF ACT ONE
17.
ACT TWO
INT. BEN’S OFFICE - MORNING
Ben sits at his desk and writes on his NOTEPAD. The sound of
Vivien’s cello drifts into the room. Ben blinks his eyes
sleepily.
HAYDEN (O.S.)
She’s totally falling for him.
Ben snaps awake to find Hayden sitting on the sofa.
HAYDEN (CONT’D)
Red flags everywhere.
BEN
What are you doing here, Hayden?
HAYDEN
Trying to help.
Ben tries to usher Hayden out of the office.
BEN
Get out before Vivien sees you.
HAYDEN
Why do you care if she sees me? She
obviously doesn’t care if you see
him. She’s practically parading him
in front of you.
BEN
Vivien would never have an affair.
She isn’t like that.
Hayden moves in close to Ben. They’re face to face.
HAYDEN
You weren’t like that either. And
let’s face it - Vivien was kind of
a slut before you met. You can
still see it in her judgey eyes.
BEN
Leave before I call the police.
Hayden sensually moves her lips to Ben’s ear.
HAYDEN
No one would blame you, Ben.
18.
BEN
Blame me for what?
HAYDEN
She’s in love. You have no choice.
BEN
What are you talking about?
HAYDEN
YOU HAVE TO KILL HER, BEN!
SMASH CUT TO:
INT. BEN’S OFFICE - SAME
Ben wakes up with a gasp. He looks down at his desk to see a
large ink blot stains his notepad from where he left his pen.
Ben nervously wipes the sweat off his face. He stands
unsteadily and walks out.
REVEAL Hayden standing at Ben’s desk, intensely staring
ahead...
INT. HARMON HOUSE - KITCHEN - SAME
Violet reads a book, while Moira prepares a TEA SERVICE.
Constance enters.
CONSTANCE
Violet, my sweet. I’d like a word
on a... personal matter.
VIOLET
Sure. What’s up?
Moira places the tea service on a tray.
CONSTANCE
(to Moira)
Where I come from, “personal” means
out of the hearing of those whose
business it does not pertain to.
MOIRA
I do not have any interest in your
personal matters. And I’m no longer
obligated to.
Moira picks up the tray and leaves. Constance watches her go.
19.
CONSTANCE
Violet, would you ask Tate to speak
with me? It concerns matters of the
utmost importance.
VIOLET
Why can’t you?
CONSTANCE
You have such a special bond with
him.
VIOLET
You’re his mother. Isn’t that a
special bond?
CONSTANCE
Impertinent girl, you know Tate is
not inclined to appear before me.
But you...
(softens)
...the dead are drawn to you like
moths to the flame. You have the
power to reach out to him, convince
him of things he doesn’t want to
do. If I had that gift, I would use
it to help you. Please, Violet. I
am begging you.
VIOLET
OK. Whatever. I’ll talk to him.
CONSTANCE
Thank you. Do it as soon as
possible.
Constance leaves. OFF Violet, unnerved...
EXT. THE HOUSE - BACKYARD - FLASHBACK - 1982 - DAY
Constance smokes a cigarette, while she watches Moira gather
the bedsheets that have been hung up to dry. Moira expertly
folds a sheet and places it in a LARGE WICKER BASKET beside
her.
CONSTANCE
Even in this smog, I find the fresh
air keeps the sheets smelling like
a summer day.
MOIRA
Yes, ma’am.
20.
CONSTANCE
Make sure you don’t let the sheets
brush the grass today. I can’t
abide stains.
Constance turns and sees twelve-year-old ADDIE playing in a
corner of the yard. Constance scans the yard nervously.
CONSTANCE (CONT’D)
Addie!
(beat)
Adelaide! Heed me, girl.
ADDIE
What, Mama?
CONSTANCE
Where’s Tate? You’re supposed to
mind him.
Addie shrugs.
ADDIE
He’s playing.
CONSTANCE
(mutters)
I don’t know why I bother. That
girl can hardly mind herself.
Moira screams.
ANGLE ON Moira holding a sheet stained with fresh blood.
Constance runs over to her and sees Tate, ARMS SCORED WITH
BLEEDING WOUNDS.
INT. THE HOUSE - FLASHBACK - 1982 - EVENING
Constance frets by the front door. There’s a KNOCK. Constance
looks through the peephole to see...
INTERCUT WITH:
EXT. THE HOUSE - FLASHBACK - 1982 - SAME
...Walter, wearing the same seersucker suit as before. He
carries his long umbrella. Walter stands very close to the
front door.
Constance throws open the door.
CONSTANCE
I called you hours ago.
21.
WALTER
I came as quickly as I could, Mrs.
Langdon. You didn’t give me much
notice.
CONSTANCE
Be thankful I didn’t change my mind
while you were easing your way
over.
Constance gestures for Walter to enter. Walter doesn’t move.
CONSTANCE (CONT’D)
You are trying my patience today.
WALTER
I do apologize, but I cannot bring
myself to enter your home without
your explicit invitation to do so.
My mother always told me the lady
of the house should have complete
say over who crosses her threshold.
I hold true to those beliefs today.
CONSTANCE
We don’t have the luxury of time
for manners and meaningless
niceties, Mr. Bellamy.
WALTER
I assure you, Mrs. Langdon. Manners
and niceties are anything but
meaningless. They define our world
and give us power when all else is
out of our control.
CONSTANCE
(dripping with sarcasm)
Well, glory be to refinement and
civility. Mr. Bellamy, would you be
ever so kind as to be my guest in
my house this evening?
WALTER
(mysterious smile)
It would be my pleasure.
Walter steps into the house.
INT. THE HOUSE - HALLWAY - FLASHBACK - 1982 - MOMENTS LATER
Constance and Walter stand in the hallway. Moira approaches
with TWO GLASSES OF WHISKEY. Constance takes one.
22.
With a slight flirtatious tilt of the head, Moira offers the
second glass to Walter.
MOIRA
Whiskey, Mr. Bellamy?
WALTER
No, thank you, Moira, though I do
greatly appreciate your kindness.
Moira smiles shyly.
MOIRA
Will Mr. Bellamy be joining us for
supper?
CONSTANCE
Go home, Moira. I will not need you
tonight.
MOIRA
Yes, ma’am.
Moira hastily retreats. Constance walks toward Tate’s room.
Walter doesn’t follow. She turns in annoyance.
CONSTANCE
Are you coming?
WALTER
I apologize, Mrs. Langdon. I’m
sensing all of the spirits in your
home. Forgive me, but this house is
lousy with them. Layers thick like
wallpaper.
Walter and Constance walk and pass NORA, the ghost of the
house’s first owner. She stares at Walter in abject shock and
horror. He looks back at her and winks. She shrinks into the
recesses of the house.
CONSTANCE
Let’s keep the information to a
minimum. You’re here very much
against my better judgment, and all
I’m hearing is bullshit, which, to
say the least, does not inspire
confidence.
WALTER
I’ll make a believer out of you
yet. As for my terms--
23.
CONSTANCE
I’ll bottom line it for you, sir.
If whatever magic you weave doesn’t
work, you won’t be seeing one red
cent from me.
WALTER
Oh, it will work. I guarantee it.
But as I told you before, I do not
seek anything as vulgar as money.
Walter pauses and looks at Constance. Walter licks his lips
lasciviously. Constance cocks an eyebrow.
WALTER (CONT’D)
I’d prefer something a bit more...
spiritual, so to speak. With your
permission, of course.
CONSTANCE
Will Tate get better?
WALTER
He’ll be the child you always
wanted. The child you deserve.
Your... perfect boy.
CONSTANCE
If that happens, I give you
permission to take anything your
heart desires. Anything at all.
WALTER
That’s just what I was hoping you
would say.
OFF Walter’s dark smile...
INT. HARMON HOUSE - LIVING ROOM - DAY
Vivien practices. Moira carries in the tea service and sets
it down on the coffee table. Vivien stops playing.
MOIRA
It’s chamomile. Very calming of the
nerves and soothing to the stomach.
This particular blend has been in
my family for generations.
VIVIEN
I can’t, Moira. Doctor’s orders.
24.
MOIRA
I don’t care what your fancy modern
doctor says. Sometimes the old ways
work better.
Moira pours a cup. Vivien laughs. She looks in her bag.
VIVIEN
Well, my fancy modern doctor might
be a little too fancy and modern
for my tastes. She wants me to
speak with a “baby whisperer” to
relieve the twins’ stress.
MOIRA
I don’t have any idea what that is.
VIVIEN
That makes two of us.
Vivien finds Walter’s card. She shows Moira. A slight smile
of recognition crosses Moira’s face.
MOIRA
Mrs. Harmon, people take comfort in
all sorts of bizarre ways. Maybe
you should be more open-minded.
Moira offers the tea to Vivien. Vivien accepts. Moira leaves.
Ben enters and sees Vivien with the cup of tea.
VIVIEN
It’s chamomile.
Ben sits.
BEN
I don’t want to argue about a cup
of herbal tea.
VIVIEN
So what do you want to argue about?
(then)
I’m sorry. That was definitely
bratty.
BEN
I wanted to apologize. I haven’t
managed my own stress well, and
it’s manifested itself in ways I
regret. That being said, I’m
begging you. Stop playing, at least
until the babies are born.
25.
VIVIEN
I have everything under control.
BEN
You don’t. And it’s the twins who
will suffer. Please just let this
go for now. You can call Anson
after you give birth. I won’t stand
in your way.
VIVIEN
I don’t believe this. Are you
implying I’m intentionally risking
the safety of my babies to satisfy
an old crush? You are really
unbelievable-Vivien winces in pain. Ben goes to her side, but she waves
him away.
BEN
See? Your body isn’t holding up.
VIVIEN
My body is reacting to our non-stop
fighting. It’s been weeks, Ben. And
things have just gotten worse since
I started playing again because of
your insane jealousy.
Ben pauses.
BEN
Answer me this then: Why do you
think Anson agreed to play with
you? He could have had anyone fill
that spot.
VIVIEN
He respects my musicianship.
BEN
The twins are due in just a few
months. That’s just a handful of
performances before he has to find
someone new. Even if your skills
are as sharp as they were before
you stopped - and they’re not - do
you honestly think that’s worth his
time?
Ben leaves. OFF Vivien, fuming...
26.
INT. VIOLET’S ROOM - SAME
Violet and Tate sit on the bed.
VIOLET
She was all like, “It concerns
matters of the utmost importance.”
So over-the-top.
Violet laughs, but Tate can barely muster a smile.
TATE
Sounds like Constance.
VIOLET
You’re gonna have to talk to her.
Otherwise, she’s just gonna keep
bugging me.
(off Tate’s shrug)
It did sound important.
TATE
I already know what it’s about.
Tate picks at a thread in the comforter.
VIOLET
OK, what’s going on? I’m totally
over this whole mopey emo thing.
Nothing.
TATE
VIOLET
Don’t bullshit me. I can tell
something’s wrong. Constance is
freaking out. You’re acting all
weird. And... I feel something...
(playfully pushes Tate)
Like a disturbance in the Force. So
tell me.
Tate stands.
TATE
I got my appointment with your dad.
Tate leaves. OFF Violet, frowning...
INT. HARMON HOUSE - UPPER HALLWAY - MOMENTS LATER
Tate steps out of Violet’s room. Hayden is waiting for him.
27.
HAYDEN
You’re a cute couple.
Shut up.
TATE
Tate tries to brush by her.
HAYDEN
You know he’s trying to keep you
apart.
Yeah. So?
TATE
HAYDEN
So screw with him. You know how to
do that.
Tate heads downstairs. OFF Hayden’s sly grin...
INT. HARMON HOUSE - LIVING ROOM - MOMENTS LATER
Vivien sits with Anson.
VIVIEN
I’ve thought about it, and... I
just don’t think I can commit. I’m
really sorry-ANSON
It’s OK. Family comes first.
VIVIEN
Thanks for being so understanding.
ANSON
On the outside. Inside, I’m a mess.
And how am I going to find a
replacement?
VIVIEN
Well, you shouldn’t have offered me
the spot in the first place. I’m
bursting at the seams.
ANSON
I guess I was trying to recapture
some of the magic we had when we
were at the conservatory.
VIVIEN
You were always very passionate
about my talent.
28.
ANSON
Among other things. I would have
been glad to give up some stability
in the group to see where things
could lead.
(then)
I will say I still see all of the
passion you had for the music. I
hope you can find that kind of joy
no matter what you choose.
Vivien and Anson regard each other for a moment. Vivien tears
up, momentarily overwhelmed.
VIVIEN
This time with you... I have been
really happy. It’s been a while.
Vivien looks into Anson’s eyes. He embraces her. She pulls
away.
ANSON
Vivien, I’m sorry-VIVIEN
No, no. I’m just thinking.
(then)
Would you hate me if I changed my
mind again?
ANSON
I could never hate you.
VIVIEN
Can we pick up tomorrow? I... I
think I need some time.
ANSON
Of course. I’ll see myself out.
Anson picks up his violin case and leaves. Vivien composes
herself on the sofa.
REVEAL Tate standing behind her, listening to everything...
INT. BEN’S OFFICE - LATER
Ben sits in his chair, taking notes. Tate is on the sofa.
TATE
I guess a lot goes back to my
mother’s adultery.
Ben’s ears perk up.
29.
BEN
Adultery? You’ve never mentioned
this before.
TATE
I don’t like to talk about it, but
you made me realize I’m only
holding myself back if I keep it
in. I want to get better.
BEN
So what about her affair upset you
the most?
TATE
The lies, mostly. My father knew
she was cheating, but he loved her
so much he made her promise to
stop. She didn’t. She just lied
about it.
Ben crinkles his brow. He’s intrigued.
BEN
How did your father know she was
lying?
TATE
There were weird phone calls. My
mother always said it was a wrong
number, but my dad had a feeling.
He would wait outside the house at
night and watch. All the men coming
and going... That’s when he knew
for sure.
OFF Ben, wrapped up in Tate’s story...
INT. HARMON HOUSE - LIVING ROOM - NIGHT
Ben watches Vivien put her cello in its case.
BEN
Do you want me to take it down to
the basement?
VIVIEN
Moira just mopped the floors. We
can leave it here for now.
BEN
OK. I’ll see you tomorrow.
30.
Ben hugs Vivien and kisses her on the head. It’s barely
tolerable for her, but she hides it. Ben leaves. The second
the front door closes, Vivien winces in pain. She grabs her
belly and sits on the sofa. Moira, dressed in her overcoat,
enters.
MOIRA
Mrs. Harmon, are you all right? I
can bring you a glass of milk.
VIVIEN
I’ll be fine.
MOIRA
It’s really no trouble at all.
VIVIEN
The pain is already gone.
Moira heads toward the kitchen and stops.
MOIRA
Perhaps you should consider calling
that fellow your doctor
recommended.
Moira leaves via the kitchen, a small smile on her face.
Vivien tries to stand, but is forced to sit again.
VIVIEN
(calling)
Moira! Moira...
Vivien takes a deep breath and grabs her bag. She pulls out
the card and looks at it briefly. Then she picks up the phone
and dials. The phone RINGS...
EXT. HARMON HOUSE - FRONT - SAME
...over the sight of Ben packing up his car. Ben looks upward
as it begins to RAIN.
EXT. HARMON HOUSE - BACKYARD - SAME
Over the ringing phone, we watch Tate and Violet giggle and
huddle together to keep their secret cigarette dry. The phone
rings...
VIOLET
Then what did he say?
TATE
“It’s brave of you to share this.”
31.
Barf.
VIOLET
TATE
I know. So you’re not mad I-The phone continues to ring until...
Hello?
WALTER (V.O.)
Immediately, Tate DROPS TO THE GROUND and begins to CONVULSE.
INT. HARMON HOUSE - LIVING ROOM - SAME
Vivien sits on the sofa.
VIVIEN
Mr. Bellamy, hello. My name is
Vivien Harmon.
WALTER (V.O.)
Ah, yes. The twins. I can feel
their distress. Would you like me
to come by tonight?
This disturbs Vivien slightly.
VIVIEN
I don’t know if that’s necessary.
But are you free tomorrow? I’ll be
at home all day.
WALTER (V.O.)
I’m afraid my day is completely
booked. However, I can stop by
anytime tomorrow night.
Vivien’s concern grows. She pauses, considering how to
respond to Walter’s statement. Ben reenters.
VIVIEN
(quickly)
I’ll get back to you.
WALTER (V.O.)
Mrs. Harmon, I assure you-Vivien hangs up. Ben cocks his head at her.
VIVIEN
You’re back.
32.
BEN
I need my umbrella. Who was that on
the phone?
VIVIEN
Telemarketer.
Ben looks at Vivien suspiciously and goes to his office.
INT. BEN’S OFFICE - MOMENTS LATER
Ben grabs his umbrella and looks through the window. A FLASH
OF LIGHTNING reveals a glinting AXE against a tree. Ben
blinks, and it’s gone.
EXT. HARMON HOUSE - BACKYARD - SAME
Violet holds Tate, who is no longer convulsing. He bolts
upright and runs toward Constance’s house. The rain is coming
down in sheets.
MAMA!
TATE
Violet tries to calm him down. Tate shrugs her off.
MAMA!
TATE (CONT’D)
ANGLE ON the gazebo where CHAD, the flamboyant past owner,
and Moira watch.
CHAD
(re: Tate)
What crawled into her jockstrap?
MOIRA
Retribution. The child paying for
the sins of his parent.
Chad looks impressed, but slightly nervous.
CHAD
Thank god I was always nice to you.
OFF Moira’s tight smile...
EXT. HARMON HOUSE - FRONT - SAME
Ben exits and walks toward the car. He stops and watches
Vivien through the window. She unpacks the cello. His eyes
narrow.
33.
EXT. HARMON HOUSE - BACKYARD - SAME
Drenched, Tate frantically paces around the backyard. Violet,
terrified, follows him.
TATE
Why won’t she answer me? MAMA!
VIOLET
Tate, what’s going on?
TATE
It’s happening! MAMA!
Violet grabs his arm. Tate stops, shaking in terror.
VIOLET
What’s happening?
Tate looks at her fearfully.
TATE
(whispers)
He’s coming.
OFF Tate, his eyes huge with dread...
END OF ACT TWO
34.
ACT THREE
INT. HARMON HOUSE - KITCHEN - DAY
From the window, we can see it’s STILL RAINING. Not a speck
of sunlight to be seen. Constance and Tate are in the middle
of a tense conversation.
TATE
We should just tell them the truth.
CONSTANCE
What? And get laughed out of this
house? At any other time, this
boyish naivete would be charming,
but not when the consequences are
of such magnitude
TATE
They’ll believe us.
CONSTANCE
They will not. He is crafty and
manipulative. They’ll never know
what he is until it is too late.
Tate looks on in terror. Constance smothers him in an
embrace, and Tate lets her for once.
CONSTANCE (CONT’D)
You’re my boy, Tate. You’re my
perfect boy. I will do anything to
protect you. You know that, don’t
you?
Constance pulls back and maternally wipes the tears from
Tate’s face.
TATE
I know.
(then)
But do I have to kill Mrs. Harmon?
CONSTANCE
I will do my best to avoid that
situation. But only the woman of
the house has the power to keep him
out. If that vulgar, entitled woman
allows him in, then our only choice
is to see that there is no woman of
the house.
Tate pushes Constance away.
35.
TATE
I won’t let you hurt her. Even if
it kills me.
Tate runs out.
Tate!
CONSTANCE
Constance wrings her hands. Hayden sidles up to her.
HAYDEN
If he won’t play, I will.
OFF Constance, glaring at her unexpected ally...
INT. THE HOUSE - TATE’S ROOM - FLASHBACK - 1982 - LATER
Tate stares ahead, expressionless, his arms wrapped in
BANDAGES. Constance and Walter stand over him. Walter calmly
regards Constance. As he speaks, he methodically CRACKS EACH
KNUCKLE on his fingers.
WALTER
Many souls have passed through
these hands. They each have a
distinctive... flavor. Tate’s is
dark. Thick. Like black oil.
(reaches toward her belly)
May I?
CONSTANCE
(snaps)
For the love of-- Yes, of course.
WALTER
(chuckles)
Manners, Mrs. Langdon. Please mind
your manners.
Walter touches Constance’s belly. She gasps, sensing his
energy coursing through her. Walter looks rhapsodic.
WALTER (CONT’D)
This baby - Matthew... His soul is
bright. Light and airy, like cotton
candy. You can feel it, can’t you?
Constance looks intensely at Walter, finally believing in his
abilities. She nods fervently.
CONSTANCE
I do. He’s perfect.
36.
WALTER
He does have a perfect soul.
(clucks his tongue)
Pity about the birth defect.
CONSTANCE
What on earth are you talking
about? The doctors insisted on the
amnio after Addie-WALTER
The tests don’t catch everything.
Go on. Sense him. You know I speak
the truth.
Constance concentrates on the baby, and it devastates her.
She sinks to the ground, weeping.
My baby...
CONSTANCE
Walter crouches, hands near Constance’s belly.
WALTER
Even with such an effervescent
soul, Matthew probably won’t live
longer than a few days.
(gently)
But I can give his life value.
Constance looks at Walter through her tears.
WALTER (CONT’D)
I can shift some of Matthew’s
lightness to Tate. It will balance
out Tate’s darkness and give him a
chance at salvation. In a way,
Matthew will live on in Tate.
(then)
It’s the only choice.
Constance nods her head. Walter smiles gently, then reaches
for Constance’s belly. He stops himself.
WALTER (CONT’D)
I just need your permission.
CONSTANCE
(completely drained)
Yes. You have my permission.
Constance immediately SCREAMS out in pain...
INT. HARMON HOUSE - KITCHEN - DAY
37.
Constance nervously waits. Moira enters with a smug grin on
her face. It doesn’t escape Constance’s notice.
CONSTANCE (CONT’D)
You’re planning something. Spill
it.
MOIRA
I don’t have to tell you. I’m no
longer in your service. You made
sure of that.
CONSTANCE
You have always resented me. So if
you’re grinning about like some
rotten jack o’lantern, I know
something devious is afoot. Moira,
I’m warning you: do not meddle in
things you know nothing of.
MOIRA
Or what? What could you possibly do
to me that you haven’t already?
Shoot out my other eye?
Constance fixes Moira with a look of death and heads toward
the living room.
INT. HARMON HOUSE - LIVING ROOM - MOMENTS LATER
Vivien rehearses. Constance enters. Vivien stops.
VIVIEN
I’m sorry, Constance. Has the music
been bothering you? I know the
sound travels between our houses.
CONSTANCE
It’s lovely. Perhaps a bit funereal
to my ear, but soothing. I... I
know there have been certain
difficulties between you and Ben-VIVIEN
(mortified)
God... Can you hear us?
CONSTANCE
My dear, every marriage faces its
tests. Better volume than violence,
I always say. I just wanted to
offer my ear. If you needed to get
some things off your chest.
38.
VIVIEN
I couldn’t trouble you.
CONSTANCE
We women are expected to hold our
families together. It’s the least
any mother can do. You’re juggling
Ben, Violet, the twins, and now
this performance - I’m amazed you
even have the strength to sip a
glass of water.
VIVIEN
I’m all right, Constance. In fact,
I’ve been considering talking with
a professional-CONSTANCE
I heard. But how could a complete
stranger truly understand what
you’re going through? As a mother
of such... challenging children, I
believe I am uniquely experienced
in the difficulties of family.
VIVIEN
I appreciate the offer, but I think
it’s best if we keep our neighborly
relationship just... neighborly.
CONSTANCE
(slightly taken aback)
Well, of course. Far be it for me
to cross the boundaries of social
appropriateness.
Constance heads toward the back door. Vivien returns to the
cello.
INT. HARMON HOUSE - HALLWAY - MOMENTS LATER
Constance walks toward the kitchen. Hayden steps out of the
shadows.
CONSTANCE
I did my best. Now do yours.
Hayden grins devilishly.
INT. VIOLET’S ROOM - SAME
Violet reads. Tate enters, nervous. Violet looks up.
39.
TATE
You know I would never hurt you,
right?
I know.
VIOLET
Tate stares at her intensely. Violet shifts uncomfortably.
VIOLET (CONT’D)
What? You’re starting to freak me
out.
TATE
You have to hide. No matter what.
Don’t let him see you.
Who?
VIOLET
TATE
GET OUT OF HERE!
OFF Violet’s eyes, wide with alarm...
INT. HARMON HOUSE - LIVING ROOM - SAME
Vivien is lost in the cello. Ben enters, wet and exhausted.
He surveys the scene and glares at Vivien.
BEN
You didn’t talk to Anson, did you?
VIVIEN
I did. Then I realized I was only
quitting because of the
unreasonable amount of pressure you
were putting on me.
BEN
Just admit it, Vivien. You’re in
love with Anson. You always have
been.
VIVIEN
I’m not in love with Anson.
BEN
Why else would you deliberately put
our twins’ lives in danger?
VIVIEN
You’re not going to bully me on
this, Ben.
(MORE)
40.
VIVIEN (CONT'D)
I’m not one of your patients that
you can manipulate to do exactly
what you think they should do.
BEN
So I’m the problem then.
VIVIEN
That’s not what I’m saying. Moving
out here, getting pregnant - that
was supposed to bring our family
back together. That was supposed to
make us happy again. But we haven’t
been happy in a long time, and I
don’t know if we can be anymore.
Ben and Vivien regard each other a moment.
BEN
Lord knows, I’ve put every ounce of
my being into making you happy, but
it’s always something with you. Did
you ever think, maybe you don’t
want to be happy? So let’s stop
pretending there’s anything I can
do. Just be honest about what you
really want.
Ben...
VIVIEN
Ben holds his hand up and storms out of the room.
INT. BEN’S OFFICE - MOMENTS LATER
Ben enters and slams the door shut. He sits in his chair and
leans back. His FIST COMES CRASHING DOWN onto his desk. Ben
takes a deep breath and looks up. He freezes at the sight of
the AXE resting against the sofa. He stares at it, then
blinks. When he opens his eyes, THE AXE IS GONE.
HAYDEN (O.S.)
I told you she was cheating on you.
Ben angrily spins around to face Hayden.
BEN
She’s not cheating with Anson.
HAYDEN
Who said it was Anson?
Ben covers his eyes in frustration.
41.
BEN
Hayden, I told you-Ben opens his eyes. Hayden is gone. The door is still closed.
INT. HARMON HOUSE - LIVING ROOM - MOMENTS LATER
Vivien stands in the middle of the room, seething. There’s a
KNOCK at the door. Vivien looks out of the peephole into the
dark, rainy day to see...
INTERCUT WITH:
EXT. HARMON HOUSE - FRONT - SAME
...Walter Bellamy, looking EXACTLY AS HE DID IN 1982 - same
age, same seersucker suit, same umbrella.
Through the peephole, Vivien looks at him curiously.
WALTER
Mrs. Harmon, it’s Walter Bellamy. I
wanted to apologize profusely for
my overly forward manner last
night. My mother always told me
apologies were best face to face.
Hence the unexpected house call.
Vivien opens the door.
VIVIEN
(flustered)
It’s all right. How... Did Dr. Hall
give you my address?
Walter smiles patiently.
WALTER
Suddenly, I realize this visit may
likewise appear overly forward.
VIVIEN
Mr. Bellamy... Thank you for coming
all this way, but I-WALTER
Excuse me for saying so, but you
look like you could use a good talk
right about now.
ANGLE ON Ben, coming out of his office. Ben sees Vivien
speaking with Walter. Ben’s eyes narrow.
42.
VIVIEN
You’re right, but I don’t know if
this is the right time.
WALTER
I understand. I hate to impose,
but... Would you be so kind as to
invite me in? At least until the
rain stops.
Ben pushes past Vivien. He glares at Walter.
BEN
(to Walter)
Nice suit.
VIVIEN
This is Walter. He’s-Ben turns to Walter.
BEN
Walter, if you’ll excuse me, I’m in
the middle of a discussion with my
wife.
Ben slams the door on Walter’s face.
RESUME
Vivien glares at Ben.
VIVIEN
What’s gotten into you? He’s
someone Dr. Hall recommended I talk
to.
BEN
We don’t need anyone to know our
business.
VIVIEN
I can’t look at you right now. Go
into your office, finish your work,
then get the hell out of this
house.
Fine.
BEN
Ben clenches his jaw and storms back into his office. Vivien
puts her head in her hands.
43.
EXT. HARMON HOUSE - SAME
Walter is standing in exactly the same spot. He hasn’t moved
an inch.
Finally, he slowly turns and walks into the rain, DRAGGING
HIS LONG UMBRELLA BEHIND HIM. It SCRAPES across the concrete
and digs deep trenches in the dirt.
Suddenly, there is a BREAK IN THE RAIN. As the SUN SHINES
down, we see Walter in his TRUE FORM. His SKIN IS ASHEN purplish gray - with LARGE STRIPS OF SKIN dangling off his
face marked with OOZING WOUNDS. His mouth is fixed into a
RICTUS GRIN, filled with BROKEN, ANGULAR, BLACKENED TEETH.
Then the clouds start to darken the sky once more. The rain
falls from the sky.
The front door opens. Vivien steps outside.
VIVIEN
Mr. Bellamy!
From Vivien’s POV, we see Walter freeze in his tracks. He
puts up his umbrella and spins around - he’s just as dashing
as ever. He walks back toward the front door.
VIVIEN (CONT’D)
I’m sorry about all that. Would you
like to come inside for a cup of
tea?
Walter smiles at Vivien.
WALTER
It would be my pleasure.
OFF Walter’s enormous grin...
END OF ACT THREE
44.
ACT FOUR
INT. HARMON HOUSE - KITCHEN - DAY
Vivien and Walter sit at the table. Moira prepares tea in the
background. Vivien is fascinated by Walter.
WALTER
I’ve always been attuned to the
spiritual world. I can sense their
moods, their personalities, even
their deepest desires.
VIVIEN
How does that help you with...
well, fetus psychology?
The tea kettle begins to WHISTLE. Moira takes it off the
stove and pours it into the tea service. Her hands are
TREMBLING.
WALTER
A fetus is a physical manifestation
of the spirit world. Its mind
hasn’t begun to form thoughts and
filter sensations. It’s pure spirit
energy-Moira brings the tea service, but the CLATTERING of the cups
and spoons makes both Vivien and Walter turn to look.
From Moira’s POV, we see Walter in his TRUE FORM. He licks
his lips. Moira nervously sets the tray down.
MOIRA
Mrs. Harmon, I’m afraid I’m not
feeling myself today. Would you
mind if I left early?
VIVIEN
Of course not, Moira.
Thank you.
MOIRA
Moira breathes a small sigh of relief and turns to go, but
Walter reaches for her. His DECAYED, GNARLED CLAW grips
Moira’s arm tightly. Moira stares at him in horror.
WALTER
Would you mind bringing me some
sugar, Moira?
45.
Moira silently grabs the SUGAR POT, which is close by, and
puts it on the table. Walter releases her with a wink. Moira
hurries out of the kitchen.
VIVIEN
You were talking about pure spirit
energy... Do you feel that in my
twins?
WALTER
Mrs. Harmon, you have no idea.
OFF Vivien’s intrigued look...
INT. BEN’S OFFICE - SAME
Ben sits on the sofa and furiously scribbles in his notepad.
HAYDEN (O.S.)
She’s so mean to you.
Ben whirls around to see Hayden.
BEN
You’re in my head.
Hayden sits by Ben.
HAYDEN
(dreamy voice)
I would take such good care of you,
Ben. I would never yell.
BEN
You’re not real.
Ben blinks sleepily as Hayden’s voice becomes progressively
more distorted. He begins to nod off.
HAYDEN
(more distorted)
We would talk and drink and make
love...
Barely able to keep his eyes open, Ben looks down at his
notepad. Every line is filled with: “SHE’S CHEATING. YOU HAVE
NO CHOICE. SHE’S CHEATING. YOU HAVE NO CHOICE. SHE’S
CHEATING. YOU HAVE NO CHOICE.”
HAYDEN (CONT’D)
(sharp)
And I would never cheat on you.
46.
Ben looks up, confused. Hayden stands over him holding the
axe.
HAYDEN (CONT’D)
You have no choice, Ben.
Ben takes the axe.
INT. HARMON HOUSE - HALLWAY - SAME
Violet strolls toward the kitchen, but is stopped by a
frantic Moira.
MOIRA
Violet, I’ve made a horrible
mistake. You have to get Mrs.
Langdon.
Why?
VIOLET
Moira pulls Violet, so she can see into the kitchen. Violet’s
jaw drops as she sees her mother talking with a MONSTER.
INT. THE HOUSE - TATE’S ROOM - FLASHBACK - 1982 - NIGHT
We’re CLOSE ON Constance and Tate holding each other; they’ve
both been through the ringer. Tate looks at Constance.
Mama?
TATE
CONSTANCE
Oh Tate. My boy. My perfect boy.
(to Walter O.S.)
You did it. I’m sorry I ever
doubted you.
WALTER (O.S.)
I’m glad you’re pleased, Mrs.
Langdon. Now for the matter of my
payment...
CONSTANCE
You’ve just given me back my son.
I’m forever obliged to you. But you
have taken us both to hell and
back. Would you mind if we...
satisfied the debt tomorrow?
WALTER (O.S.)
Mrs. Langdon... I’m afraid I’ll
have to take my payment now.
(MORE)
47.
WALTER (O.S.) (CONT'D)
My mother taught me never to trust
a conniving bitch.
CONSTANCE
How dare you-Constance looks up in fury, which becomes ABSOLUTE TERROR.
She SCREAMS.
REVEAL Walter standing above Constance in his TRUE FORM.
Walter pulls Constance up and SLAMS HER AGAINST THE WALL. He
REACHES INTO Constance’s belly. She cries out in agony. Tate
cowers in the corner of the room.
Walter yanks and pulls out the HAZY, GLOWING OUTLINE OF A
BABY. It’s covered with flecks of blood and tissue.
QUICK CUTS OF Walter hungrily devouring the child’s soul.
Walter’s broken teeth gnash at the light; blood and tissue
stain his ashen lips.
Tate grabs a pair of SCISSORS and runs toward Walter.
Mama!
TATE
Tate stabs Walter in the gut. Walter ROARS and drops to the
ground. Constance and Tate scramble out of the room. Walter
slowly stands, pulls the scissors out, and follows.
INT. THE HOUSE - BEDROOM - FLASHBACK - 1982 - MOMENTS LATER
Constance and Tate run into the bedroom. Constance locks the
door behind her. She throws open a closet and hides Tate
under blankets.
CONSTANCE
Don’t make a peep, OK?
Yes, Mama.
TATE
Constance gives Tate a kiss, then shuts the closet door. The
bedroom doorknob begins to RATTLE. Constance furiously digs
through a dresser drawer and pulls out a PISTOL.
CONSTANCE
I have a gun, so if you know what’s
best for you, you’ll stay clear.
The bedroom door begins to SHAKE.
CONSTANCE (CONT’D)
I mean it! I will shoot you!
48.
Walter SMASHES THE DOOR. Constance SHOOTS HIM CLEANLY THROUGH
THE HEAD. Walter yells in pain, but keeps moving. He grabs
Constance and again reaches into her belly. Constance screams
loudly, as Walter yanks out the remnants of the baby’s soul
and devours it. Walter licks his bloody fingers.
Constance collapses, spent. She weeps.
WALTER
Such a sweet, delightful soul. Take
comfort in the fact that he
wouldn’t have lived long. Probably.
Walter walks to the closet and opens the door.
CONSTANCE
You monster! You’ve exacted your
price.
WALTER
Stupid woman. I touched that soul.
Every last delectable bit of it.
Now I can claim it all.
CONSTANCE
Please. Leave him be. Take my soul
instead.
WALTER
That sour, twisted thing? I’d
rather starve.
Walter pulls off the blankets covering Tate.
CONSTANCE
No! Stay away from him!
As Walter reaches for Tate...
CONSTANCE (CONT’D)
GET OUT! GET OUT OF MY HOUSE!
SMASH CUT TO:
EXT. THE HOUSE - FLASHBACK - 1982 - SAME
Walter stands outside the front door. He ROARS furiously.
INT. THE HOUSE - LIVING ROOM - FLASHBACK - 1982 - LATER
Supported by Tate, Constance slowly climbs down the stairs to
the front door and looks through the peephole. Walter glares
back at her.
49.
CONSTANCE
(bitter smile)
Now I know you. You are forbidden
to touch Tate or anyone in my
family. Do you hear me? You will
never find your way back into this
house.
WALTER
There’s always a way. I’ll be
patient.
Constance snaps the peephole shut and looks at Tate, dreading
the future.
INT. THE HOUSE - BEDROOM - FLASHBACK - 1982 - DAY
Moira enters with a PAIL
hands and knees to scrub
the bloody stains on the
under the bed. She picks
and SCRUB BRUSH and gets on her
the floor. She nervously looks at
floor, then notices WALTER’S CARD
it up and stares at it.
Constance SNATCHES the card out of Moira’s hand.
CONSTANCE
I don’t pay you to gawk.
No, ma’am.
MOIRA
Moira begins to scrub at the stains on the floor. Constance
tears the card into small bits as she leaves. Moira smiles
slightly.
INT. BEN’S OFFICE - DAY
Ben holds the axe. Hayden opens the door.
HAYDEN
You know what you have to do.
Ben steps into the hallway. Hayden follows.
INT. HARMON HOUSE - HALLWAY - MOMENTS LATER
Ben walks menacingly down the hall toward the living room.
Hayden glares at him.
HAYDEN
Where are you going? Ben?
Ben continues walking. Hayden turns toward the kitchen,
annoyed. Her eyes widen as she catches sight of Walter in his
true form. Hayden beats a hasty retreat.
50.
INT. HARMON HOUSE - BASEMENT - SAME
Moira waits, a nervous wreck. Violet and Constance enter
through the basement door. Constance approaches and SLAPS
Moira.
CONSTANCE
You stupid, spiteful creature. You
have put every precious soul in
this house in danger.
MOIRA
I just wanted to hurt you. I didn’t
know what he was until I saw him
this time.
Constance softens slightly. Violet is furious.
VIOLET
You manipulated my mother to bring
that into our house?
Constance looks keenly at Violet.
CONSTANCE
Moira’s circumstances were
different last time.
(to Moira)
However, your vindictiveness will
not be without consequence. If he
harms Tate in any way, I will make
sure your soul is forfeit.
OFF Constance’s righteous fury...
INT. HARMON HOUSE - KITCHEN - SAME
Vivien blinks at Walter in astonishment. She begins to laugh.
VIVIEN
Light and dark souls at war. In my
womb. You’re joking, right?
WALTER
I assure you, Mrs. Harmon. I do not
joke about the soul.
VIVIEN
That’s not at all what I expected
you to say. I’m not sure it’s
worth... I’m sorry, what do you
charge?
51.
WALTER
(smiles charmingly)
It won’t cost you a cent.
VIVIEN
I guess our insurance is better
than I thought. So now what?
WALTER
I propose to transfer a piece of
the light soul to the dark soul. It
will restore balance. I’ll just
need you permission to start.
VIVIEN
(rolls eyes)
This is ridiculous, but... Fine.
You have my permission to transfer
my twins’ souls.
Walter reaches toward Vivien’s belly, but both Walter and
Vivien stop at the sound of a LOUD CRASH.
INT. HARMON HOUSE - LIVING ROOM - SAME
The cello lies in pieces on the floor. Ben stands above the
carnage, holding the axe.
INT. HARMON HOUSE - KITCHEN - SAME
Vivien looks alarmed. REVEAL Tate standing behind Vivien.
Walter’s eyes lock onto Tate. Tate quickly leaves.
VIVIEN
I should go check on that.
Vivien stands.
WALTER
Please, Mrs. Harmon. Finish your
tea. I insist.
Walter SLAMS VIVIEN’S HEAD INTO THE TABLE, knocking her out.
In his true form, he rises and follows Tate.
INT. HARMON HOUSE - HALLWAY - SAME
Tate hurries down the hall. Violet approaches.
TATE
You shouldn’t be here. I told you
to hide.
52.
VIOLET
It’s my family.
Tate grabs her arm and pulls her into the living room.
Walter steps methodically down the hall.
WALTER
(almost singing)
I’ve been waiting to get into this
house for a very long time. That
soul will taste so sweet-Walter senses something. He smells the air.
WALTER (CONT’D)
But what is this?
(sniffs)
Murky, moody... sensitive. Like
flowers. Like... a violet.
Walter turns into the living room.
INT. HARMON HOUSE - LIVING ROOM - SAME
Walter enters and stares at Constance, Tate, and Violet
against the far wall. Violet screams.
WALTER
(to Constance)
I told you I would find a way.
Walter moves toward them...
Ben steps out from Walter’s blind spot and SLAMS THE AXE INTO
WALTER’S CHEST.
Walter yells in pain, but swings his arm, knocking Ben to the
ground. Walter struggles to pull the axe out of his chest.
Violet rushes to Ben’s aid.
INT. HARMON HOUSE - KITCHEN - SAME
Vivien wakes to the sound of screaming. Still groggy, she
struggles to stand and drags herself toward the living room.
INT. HARMON HOUSE - LIVING ROOM - SAME
Constance goes to Tate.
CONSTANCE
You have to kill her. Only her
death will save you and all the
souls in this house.
53.
I won’t.
TATE
CONSTANCE
If you won’t, I will.
Tate pushes Constance. He grabs Violet and pulls her out of
the room just as Walter removes the axe from his chest. He
follows them.
INT. HARMON HOUSE - HALLWAY - SAME
Tate and Violet hurry down the hall, but Walter catches up to
them. Walter knocks Tate to the ground. He grabs Violet, who
SCREAMS in agony.
INT. HARMON HOUSE - KITCHEN - SAME
Vivien sees Walter struggling with Violet.
VIVIEN
Leave her alone!
Walter ignores her and begins to BITE at Violet. Violet
screams in pain.
VIVIEN (CONT’D)
Stop it!
(then)
GET OUT! GET OUT OF MY HOUSE!
Vivien immediately doubles over in pain, missing the sight of
Walter VANISHING.
INT. HARMON HOUSE - MOMENTS LATER
Constance strides to the front door and looks through the
peephole at Walter, seething in rage.
WALTER
I’ll be back.
CONSTANCE
I’ll be waiting.
Constance snaps the peephole shut.
INT. HARMON HOUSE - LIVING ROOM - LATER
A POLICE OFFICER speaks with Ben and Violet. Paramedics
attend to Vivien. Constance is nowhere in sight.
54.
POLICE OFFICER
(to Violet)
Your father got the axe away from
him. Then what?
VIOLET
The freak grabbed Mom’s cello and
smashed it over Dad’s head,
knocking him out. Then he attacked
me, but Mom chased him out of the
house.
POLICE OFFICER
(disbelieving, to Ben)
And you don’t have any recollection
of this.
BEN
I’m afraid it’s all really hazy. I
must have taken quite a hit to the
head.
The police officer closes his book.
POLICE OFFICER
I’ll have some of my guys drive
around the neighborhood, but I
doubt he’s still around. I’m going
to take one more look around the
house if you don’t mind.
BEN
Not at all, officer.
Ben and Violet go to Vivien.
VIOLET
How are you doing, Mom?
VIVIEN
Not bad, considering. I’m so sorry,
honey.
VIOLET
Why? You kicked ass.
VIVIEN
I wish I remembered.
VIOLET
Trust me. You did.
(to Ben)
Both of you.
55.
BEN
I’m sorry my body was involved in
any way in the destruction of your
cello.
VIVIEN
No, you’re not.
BEN
I didn’t say I was sorry it’s gone.
Just being honest.
VIVIEN
Of course we can’t afford a new
one.
Nope.
BEN
Ben and Vivien smile at each other. A rare moment of levity.
BEN (CONT’D)
Would you mind if I stayed here
tonight? It would make me feel a
lot better to know my family was
safe.
Vivien takes Ben’s hand. Violet sees this and smiles.
EXT. HARMON HOUSE - NIGHT
As the paramedics and police drive away, we hear a SCRAPING
SOUND. A man in shadow drifts down the dark street toward the
house. He drags a long umbrella behind him. We just see his
eyes, while he watches and waits...
END OF SHOW