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AMERICAN HORROR STORY

"Perfect Boy"

By

Thomas Wong

Thomas WongEmail: [email protected]: 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 four-year-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.

CONSTANCEI 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?

MOIRAI... It’s just... I’ve never seen a child so... quiet. Does he ever speak?

Constance rears back, ready to strike.

CONSTANCEI 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.

MOIRAPlease, Mrs. Langdon, I would never... I meant no disrespect.

Constance looks at Moira evenly.

CONSTANCEGiven your age and inexperience, I’ll overlook your transgression. This time.

MOIRAThank you, ma’am.

Constance fondly runs her fingers through Tate’s hair.

CONSTANCEI’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.

MOIRAIf I may, ma’am... How do you know your new blessing will be a boy?

Constance smiles and looks down at her pregnant belly.

CONSTANCEI 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.

2.

CONSTANCETate, honey... Why did you draw all these pictures, my sweet?

Tate turns to Constance and stares at her blankly.

TATE(flat)

The baby.

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.

ANSONTwenty years and we’re still completely in sync. I never would have guessed it had been so long since you last played, Vivien.

VIVIENMuscle memory is a powerful thing, Anson.

ANSONSo 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.

3.

MOIRACream? 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.

VIVIENI think I’ll take it black today. For old times’ sake.

Moira retreats into the background. Anson smiles at Vivien.

ANSONYour timing was perfect as usual. Jacob just pinched his nerve, and there you were.

VIVIENYou’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.

ANSONYou’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.

VIVIENI 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.

4.

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.

BENYou can’t be serious about working with that man.

VIVIENAnson and I were an item a lifetime ago. We’re just discussing a job.

BENYou 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.

VIVIENDon’t overanalyze my life, Ben. Sometimes a string quartet is just a string quartet.

BENWhatever you want to believe, Vivien. I still think it’s a bad idea. Dr. Hall told you to take things easy.

VIVIENIt’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.

5.

(MORE)

(trying to joke)Anson being here isn’t helping.

VIVIENThen 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.

BENI think our time is almost up, Tate. Is there anything else you’d like to discuss?

TATENot really. Don’t want to bother you.

BENWhat do you mean by that?

TATENothing. 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.

TATEI was making an observation. I’ll keep my mouth shut next time.

Ben rubs his eyes.

BENI’m sorry, Tate. You’re right. I am distracted.

TATEFamily problems, right? Violet told me.

6.

BEN (CONT’D)

Ben swallows his annoyance and takes a deep breath.

BENYou know how I feel about you seeing her.

TATEI 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?

BENYes, 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?

TATEHow 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 SULLIVANMrs. Langdon, what you are asking for is impossible. The church no longer condones exorcisms.

CONSTANCEYour unwillingness to help my boy will doom his immortal soul, Father Sullivan.

Constance begins sobbing. Father Sullivan shrinks back in his seat.

FATHER SULLIVANPlease calm yourself. This display of emotion is excessive.

7.

CONSTANCEHow can you ask a mother to be calm when her child is possessed?

FATHER SULLIVANI 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.

CONSTANCEYour 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 SULLIVANMrs. 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.

CONSTANCEDifficult 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.

CONSTANCEYou startled me, Mr...

8.

Walter offers Constance a conciliatory smile. He speaks with a genteel Southern accent.

WALTERI 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.

CONSTANCEEnchantee, Mr. Bellamy.

(then)How did you know my name?

WALTERYou 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.

CONSTANCEThis 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...

WALTERI 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.

CONSTANCEHow so?

WALTERI’m a spiritualist.

CONSTANCEA spiritualist? I’m afraid I don’t know what that means.

9.

Walter steps closer. They’re almost face-to-face.

WALTERI 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.

WALTER (CONT’D)May I?

CONSTANCEYes. 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.

WALTERNow I’m afraid I’ve gone too far. My mother would tan my hide if she knew I was being so forward.

CONSTANCEI won’t tell. So... What do you do with these souls?

WALTERI 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.

CONSTANCEAh, 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.

WALTERYou misunderstand me, Mrs. Langdon. I don’t seek financial recompense.

10.

He smiles lasciviously at her.

CONSTANCEYou 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...

WALTERYou 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.

CONSTANCEAll 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.

VIOLETThat was amazing, Mom. I could totally feel the love.

VIVIENThank you, Violet.

11.

VIOLETSeriously. You, like, look really happy.

VIVIENI 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.

VIOLETDo you ever wonder what would’ve happened if you... never stopped?

Vivien looks closely at her daughter, then wraps her in a loving embrace.

VIVIENNever. 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.

VIOLETI’m gonna do some homework. Keep rocking, Mom.

Violet heads upstairs. Ben watches Vivien intently.

BENI miss these moments. Our family acting like a family.

12.

VIVIENI do, too.

BENThen let me move back in. The sooner we see ourselves as a family, the sooner we can begin the healing process.

VIVIENI’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?

VIVIENAnson has nothing to do with any of this. You might remember that I’m not the one who cheated.

BENI’m sorry about what happened with Hayden. I’ve said it a million times. How long are you going to punish me for it?

VIVIENYou 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.

BENViolet deserves to have a stable family, and you--

VIVIENDon’t bring Violet into this. You’re just trying--

Vivien doubles over in pain. She falls to her knees.

BENVivien!

Ben helps Vivien stand. She looks up, her face contorted in agony, her lips FLECKED WITH BLOOD.

13.

INT. DOCTOR’S OFFICE - DAY

Ben and Vivien sit with DR. HALL, the OB/GYN.

DR. HALLIt’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.

VIVIENI’m just playing cello. It’s very casual. I literally picked it up a few days ago.

BENBut it could have been a catalyst.

Vivien shakes her head in annoyance.

DR. HALLA 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?

VIVIENNo. Thank you, Dr. Hall.

Ben and Vivien rise to leave.

DR. HALLVivien, 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.

VIVIENIs there something wrong?

14.

DR. HALLI didn’t want to raise my concerns in front of Ben, but I do agree with him. You shouldn’t be working.

VIVIENIt’s a string quartet. Really more of a hobby than a job. I’m fine.

DR. HALLPregnancy 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.

VIVIENI 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. HALLThen I think you need consider speaking with a professional.

VIVIENOh, Dr. Hall... No disrespect, but between you and Ben, I have enough people trying to get into my head.

DR. HALLNot for you. For the twins. A “baby whisperer,” if you will.

Vivien looks incredulous.

VIVIENI don’t know how a baby whisperer could help in managing my stress.

DR. HALLI’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.

15.

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 GLASSY-EYED. 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.

VIVIENI’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

16.

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.

BENWhat are you doing here, Hayden?

HAYDENTrying to help.

Ben tries to usher Hayden out of the office.

BENGet out before Vivien sees you.

HAYDENWhy 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.

BENVivien would never have an affair. She isn’t like that.

Hayden moves in close to Ben. They’re face to face.

HAYDENYou 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.

BENLeave before I call the police.

Hayden sensually moves her lips to Ben’s ear.

HAYDENNo one would blame you, Ben.

17.

BENBlame me for what?

HAYDENShe’s in love. You have no choice.

BENWhat are you talking about?

HAYDENYOU 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.

CONSTANCEViolet, my sweet. I’d like a word on a... personal matter.

VIOLETSure. 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.

MOIRAI 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.

18.

CONSTANCEViolet, would you ask Tate to speak with me? It concerns matters of the utmost importance.

VIOLETWhy can’t you?

CONSTANCEYou have such a special bond with him.

VIOLETYou’re his mother. Isn’t that a special bond?

CONSTANCEImpertinent 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.

VIOLETOK. Whatever. I’ll talk to him.

CONSTANCEThank 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.

CONSTANCEEven in this smog, I find the fresh air keeps the sheets smelling like a summer day.

MOIRAYes, ma’am.

19.

CONSTANCEMake 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.

ADDIEWhat, Mama?

CONSTANCEWhere’s Tate? You’re supposed to mind him.

Addie shrugs.

ADDIEHe’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.

CONSTANCEI called you hours ago.

20.

WALTERI came as quickly as I could, Mrs. Langdon. You didn’t give me much notice.

CONSTANCEBe 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.

WALTERI 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.

CONSTANCEWe don’t have the luxury of time for manners and meaningless niceties, Mr. Bellamy.

WALTERI 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.

21.

With a slight flirtatious tilt of the head, Moira offers the second glass to Walter.

MOIRAWhiskey, Mr. Bellamy?

WALTERNo, thank you, Moira, though I do greatly appreciate your kindness.

Moira smiles shyly.

MOIRAWill Mr. Bellamy be joining us for supper?

CONSTANCEGo home, Moira. I will not need you tonight.

MOIRAYes, ma’am.

Moira hastily retreats. Constance walks toward Tate’s room. Walter doesn’t follow. She turns in annoyance.

CONSTANCEAre you coming?

WALTERI 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.

CONSTANCELet’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.

WALTERI’ll make a believer out of you yet. As for my terms--

22.

CONSTANCEI’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.

WALTEROh, 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.

CONSTANCEWill Tate get better?

WALTERHe’ll be the child you always wanted. The child you deserve. Your... perfect boy.

CONSTANCEIf that happens, I give you permission to take anything your heart desires. Anything at all.

WALTERThat’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.

MOIRAIt’s chamomile. Very calming of the nerves and soothing to the stomach. This particular blend has been in my family for generations.

VIVIENI can’t, Moira. Doctor’s orders.

23.

MOIRAI 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.

VIVIENWell, 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.

MOIRAI don’t have any idea what that is.

VIVIENThat makes two of us.

Vivien finds Walter’s card. She shows Moira. A slight smile of recognition crosses Moira’s face.

MOIRAMrs. 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.

VIVIENIt’s chamomile.

Ben sits.

BENI don’t want to argue about a cup of herbal tea.

VIVIENSo what do you want to argue about?

(then)I’m sorry. That was definitely bratty.

BENI 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.

24.

VIVIENI have everything under control.

BENYou 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.

VIVIENI 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.

BENSee? Your body isn’t holding up.

VIVIENMy 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.

BENAnswer me this then: Why do you think Anson agreed to play with you? He could have had anyone fill that spot.

VIVIENHe respects my musicianship.

BENThe 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...

25.


Violet and Tate sit on the bed.

VIOLETShe was all like, “It concerns matters of the utmost importance.” So over-the-top.

Violet laughs, but Tate can barely muster a smile.

TATESounds like Constance.

VIOLETYou’re gonna have to talk to her. Otherwise, she’s just gonna keep bugging me.

(off Tate’s shrug)It did sound important.

TATEI already know what it’s about.

Tate picks at a thread in the comforter.

VIOLETOK, what’s going on? I’m totally over this whole mopey emo thing.

TATENothing.

VIOLETDon’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.

TATEI 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.

26.

HAYDENYou’re a cute couple.

TATEShut up.

Tate tries to brush by her.

HAYDENYou know he’s trying to keep you apart.

TATEYeah. So?

HAYDENSo 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.

VIVIENI’ve thought about it, and... I just don’t think I can commit. I’m really sorry--

ANSONIt’s OK. Family comes first.

VIVIENThanks for being so understanding.

ANSONOn the outside. Inside, I’m a mess. And how am I going to find a replacement?

VIVIENWell, you shouldn’t have offered me the spot in the first place. I’m bursting at the seams.

ANSONI guess I was trying to recapture some of the magic we had when we were at the conservatory.

VIVIENYou were always very passionate about my talent.

27.

ANSONAmong 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.

VIVIENThis 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.

ANSONVivien, I’m sorry--

VIVIENNo, no. I’m just thinking.

(then)Would you hate me if I changed my mind again?

ANSONI could never hate you.

VIVIENCan we pick up tomorrow? I... I think I need some time.

ANSONOf 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.

TATEI guess a lot goes back to my mother’s adultery.

Ben’s ears perk up.

28.

BENAdultery? You’ve never mentioned this before.

TATEI 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.

BENSo what about her affair upset you the most?

TATEThe 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.

BENHow did your father know she was lying?

TATEThere 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.

BENDo you want me to take it down to the basement?

VIVIENMoira just mopped the floors. We can leave it here for now.

BENOK. I’ll see you tomorrow.

29.

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.

MOIRAMrs. Harmon, are you all right? I can bring you a glass of milk.

VIVIENI’ll be fine.

MOIRAIt’s really no trouble at all.

VIVIENThe pain is already gone.

Moira heads toward the kitchen and stops.

MOIRAPerhaps 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...

VIOLETThen what did he say?

TATE“It’s brave of you to share this.”

30.

VIOLETBarf.

TATEI know. So you’re not mad I--

The phone continues to ring until...

WALTER (V.O.)Hello?

Immediately, Tate DROPS TO THE GROUND and begins to CONVULSE.

INT. HARMON HOUSE - LIVING ROOM - SAME

Vivien sits on the sofa.

VIVIENMr. 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.

VIVIENI 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.

VIVIENYou’re back.

31.

BENI need my umbrella. Who was that on the phone?

VIVIENTelemarketer.

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.


Violet holds Tate, who is no longer convulsing. He bolts upright and runs toward Constance’s house. The rain is coming down in sheets.

TATEMAMA!

Violet tries to calm him down. Tate shrugs her off.

TATE (CONT’D)MAMA!

ANGLE ON the gazebo where CHAD, the flamboyant past owner, and Moira watch.

CHAD(re: Tate)

What crawled into her jockstrap?

MOIRARetribution. The child paying for the sins of his parent.

Chad looks impressed, but slightly nervous.

CHADThank god I was always nice to you.

OFF Moira’s tight smile...


Ben exits and walks toward the car. He stops and watches Vivien through the window. She unpacks the cello. His eyes narrow.

32.


Drenched, Tate frantically paces around the backyard. Violet, terrified, follows him.

TATEWhy won’t she answer me? MAMA!

VIOLETTate, what’s going on?

TATEIt’s happening! MAMA!

Violet grabs his arm. Tate stops, shaking in terror.

VIOLETWhat’s happening?

Tate looks at her fearfully.

TATE(whispers)

He’s coming.

OFF Tate, his eyes huge with dread...

END OF ACT TWO

33.

ACT THREE


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.

TATEWe should just tell them the truth.

CONSTANCEWhat? 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

TATEThey’ll believe us.

CONSTANCEThey 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.

TATEI know.

(then)But do I have to kill Mrs. Harmon?

CONSTANCEI 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.

34.

TATEI won’t let you hurt her. Even if it kills me.

Tate runs out.

CONSTANCETate!

Constance wrings her hands. Hayden sidles up to her.

HAYDENIf 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.

WALTERMany 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.

CONSTANCEI do. He’s perfect.

35.

WALTERHe does have a perfect soul.

(clucks his tongue)Pity about the birth defect.

CONSTANCEWhat on earth are you talking about? The doctors insisted on the amnio after Addie--

WALTERThe 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.

CONSTANCEMy baby...

Walter crouches, hands near Constance’s belly.

WALTEREven 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...


36.

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.

MOIRAI don’t have to tell you. I’m no longer in your service. You made sure of that.

CONSTANCEYou 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.

MOIRAOr 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.


Vivien rehearses. Constance enters. Vivien stops.

VIVIENI’m sorry, Constance. Has the music been bothering you? I know the sound travels between our houses.

CONSTANCEIt’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?

CONSTANCEMy 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.

37.

VIVIENI couldn’t trouble you.

CONSTANCEWe 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.

VIVIENI’m all right, Constance. In fact, I’ve been considering talking with a professional--

CONSTANCEI 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.

VIVIENI 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.


Constance walks toward the kitchen. Hayden steps out of the shadows.

CONSTANCEI did my best. Now do yours.

Hayden grins devilishly.


Violet reads. Tate enters, nervous. Violet looks up.

38.

TATEYou know I would never hurt you, right?

VIOLETI know.

Tate stares at her intensely. Violet shifts uncomfortably.

VIOLET (CONT’D)What? You’re starting to freak me out.

TATEYou have to hide. No matter what. Don’t let him see you.

VIOLETWho?

TATEGET OUT OF HERE!

OFF Violet’s eyes, wide with alarm...


Vivien is lost in the cello. Ben enters, wet and exhausted. He surveys the scene and glares at Vivien.

BENYou didn’t talk to Anson, did you?

VIVIENI did. Then I realized I was only quitting because of the unreasonable amount of pressure you were putting on me.

BENJust admit it, Vivien. You’re in love with Anson. You always have been.

VIVIENI’m not in love with Anson.

BENWhy else would you deliberately put our twins’ lives in danger?

VIVIENYou’re not going to bully me on this, Ben.

39.

(MORE)

I’m not one of your patients that you can manipulate to do exactly what you think they should do.

BENSo I’m the problem then.

VIVIENThat’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.

BENLord 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.

VIVIENBen...

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.

BENShe’s not cheating with Anson.

HAYDENWho said it was Anson?

Ben covers his eyes in frustration.

40.

VIVIEN (CONT'D)

BENHayden, I told you--

Ben opens his eyes. Hayden is gone. The door is still closed.


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:


...Walter Bellamy, looking EXACTLY AS HE DID IN 1982 - same age, same seersucker suit, same umbrella.

Through the peephole, Vivien looks at him curiously.

WALTERMrs. 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.

WALTERSuddenly, I realize this visit may likewise appear overly forward.

VIVIENMr. Bellamy... Thank you for coming all this way, but I--

WALTERExcuse 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.

41.

VIVIENYou’re right, but I don’t know if this is the right time.

WALTERI 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.

VIVIENThis is Walter. He’s--

Ben turns to Walter.

BENWalter, 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.

VIVIENWhat’s gotten into you? He’s someone Dr. Hall recommended I talk to.

BENWe don’t need anyone to know our business.

VIVIENI can’t look at you right now. Go into your office, finish your work, then get the hell out of this house.

BENFine.

Ben clenches his jaw and storms back into his office. Vivien puts her head in her hands.

42.

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.

VIVIENMr. 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.

WALTERIt would be my pleasure.

OFF Walter’s enormous grin...

END OF ACT THREE

43.

ACT FOUR


Vivien and Walter sit at the table. Moira prepares tea in the background. Vivien is fascinated by Walter.

WALTERI’ve always been attuned to the spiritual world. I can sense their moods, their personalities, even their deepest desires.

VIVIENHow 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.

WALTERA 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.

MOIRAMrs. Harmon, I’m afraid I’m not feeling myself today. Would you mind if I left early?

VIVIENOf course not, Moira.

MOIRAThank you.

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.

WALTERWould you mind bringing me some sugar, Moira?

44.

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.

VIVIENYou were talking about pure spirit energy... Do you feel that in my twins?

WALTERMrs. 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.

BENYou’re in my head.

Hayden sits by Ben.

HAYDEN(dreamy voice)

I would take such good care of you, Ben. I would never yell.

BENYou’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.

45.

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.

MOIRAViolet, I’ve made a horrible mistake. You have to get Mrs. Langdon.

VIOLETWhy?

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.

TATEMama?

CONSTANCEOh 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...

CONSTANCEYou’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.

46.

(MORE)

My mother taught me never to trust a conniving bitch.

CONSTANCEHow 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.

TATEMama!

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.

CONSTANCEDon’t make a peep, OK?

TATEYes, Mama.

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.

CONSTANCEI 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!

47.

WALTER (O.S.) (CONT'D)

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.

WALTERSuch 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.

CONSTANCEYou monster! You’ve exacted your price.

WALTERStupid woman. I touched that soul. Every last delectable bit of it. Now I can claim it all.

CONSTANCEPlease. Leave him be. Take my soul instead.

WALTERThat sour, twisted thing? I’d rather starve.

Walter pulls off the blankets covering Tate.

CONSTANCENo! 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.

48.

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.

WALTERThere’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 and SCRUB BRUSH and gets on her hands and knees to scrub the floor. She nervously looks at the bloody stains on the floor, then notices WALTER’S CARD under the bed. She picks it up and stares at it.

Constance SNATCHES the card out of Moira’s hand.

CONSTANCEI don’t pay you to gawk.

MOIRANo, ma’am.

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.

HAYDENYou know what you have to do.

Ben steps into the hallway. Hayden follows.


Ben walks menacingly down the hall toward the living room. Hayden glares at him.

HAYDENWhere 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.

49.

INT. HARMON HOUSE - BASEMENT - SAME

Moira waits, a nervous wreck. Violet and Constance enter through the basement door. Constance approaches and SLAPS Moira.

CONSTANCEYou stupid, spiteful creature. You have put every precious soul in this house in danger.

MOIRAI just wanted to hurt you. I didn’t know what he was until I saw him this time.

Constance softens slightly. Violet is furious.

VIOLETYou manipulated my mother to bring that into our house?

Constance looks keenly at Violet.

CONSTANCEMoira’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...


Vivien blinks at Walter in astonishment. She begins to laugh.

VIVIENLight and dark souls at war. In my womb. You’re joking, right?

WALTERI assure you, Mrs. Harmon. I do not joke about the soul.

VIVIENThat’s not at all what I expected you to say. I’m not sure it’s worth... I’m sorry, what do you charge?

50.

WALTER(smiles charmingly)

It won’t cost you a cent.

VIVIENI guess our insurance is better than I thought. So now what?

WALTERI 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.


The cello lies in pieces on the floor. Ben stands above the carnage, holding the axe.


Vivien looks alarmed. REVEAL Tate standing behind Vivien. Walter’s eyes lock onto Tate. Tate quickly leaves.

VIVIENI should go check on that.

Vivien stands.

WALTERPlease, 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.


Tate hurries down the hall. Violet approaches.

TATEYou shouldn’t be here. I told you to hide.

51.

VIOLETIt’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.


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.


Vivien wakes to the sound of screaming. Still groggy, she struggles to stand and drags herself toward the living room.


Constance goes to Tate.

CONSTANCEYou have to kill her. Only her death will save you and all the souls in this house.

52.

TATEI won’t.

CONSTANCEIf 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.


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.


Vivien sees Walter struggling with Violet.

VIVIENLeave 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.

WALTERI’ll be back.

CONSTANCEI’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.

53.

POLICE OFFICER(to Violet)

Your father got the axe away from him. Then what?

VIOLETThe 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.

BENI’m afraid it’s all really hazy. I must have taken quite a hit to the head.

The police officer closes his book.

POLICE OFFICERI’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.

BENNot at all, officer.

Ben and Violet go to Vivien.

VIOLETHow are you doing, Mom?

VIVIENNot bad, considering. I’m so sorry, honey.

VIOLETWhy? You kicked ass.

VIVIENI wish I remembered.

VIOLETTrust me. You did.

(to Ben)Both of you.

54.

BENI’m sorry my body was involved in any way in the destruction of your cello.

VIVIENNo, you’re not.

BENI didn’t say I was sorry it’s gone. Just being honest.

VIVIENOf course we can’t afford a new one.

BENNope.

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

55.

american horror story - writers guild of america west · american horror story "perfect...

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