American Horror Story - Zen134237.zen.co.uk

February 14, 2011Writer’s DraftAmerican Horror Storywritten byRyan Murphy&Brad Falchukdirected byRyan MurphyRYAN MURPHY TELEVISIONALL RIGHTS RESERVED. COPYRIGHT © 2011 TWENTIETH CENTURY FOX FILMCORPORATION. NO PORTION OF THIS SCRIPT MAY BE PERFORMED, PUBLISHED, REPRODUCED, SOLD, ORDISTRIBUTED BY ANY MEANS OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE,WITHOUT PRIOR WRITTEN CONSENT OF TWENTIETH CENTURY FOX FILM CORPORATION. DISPOSAL OF THISSCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE.

TITLES UP: San Francisco, 1978. The words dissolve, and wehold on blackness. Hear soft eerie wind chimes. CUT TO:EXT. HOUSE -- AFTERNOONPUSH across a leaf-strewn lawn to find a GIRL, eight, withlong braids, staring at an abandoned Victorian house that hasfallen into grave disrepair. Shutters missing, paintpeeling...an ingenue turned dowager by the march of time.Suddenly, a rock whizzes by the girl’s head and SHATTERS anupper story window. She turns and we finally SEE her face.This is ADELAIDE, and she has Down Syndrome.TWO BOYS, TEN, bash a gate open with a baseball bat and strutinto the yard. This is Troy and Bryan...the Rutger twins.TROYHey, retard.They head into the empty derelict house, on a mission.Adelaide suddenly speaks.They stop, turn.ADELAIDEExcuse me.ADELAIDE (CONT’D)You’re going to die in there.They stare at her a beat, the moment is shocking. Then Troyruns to her, viciously pushes her to the ground. He regardsher, spits on her, then heads back into the house.INT. HOUSE -- AFTERNOONCLASSICAL music plays. FLASHLIGHT BEAMS illuminate stunningVictorian fixtures as they are shattered by the bat. Leadedstained glass, intricate moldings...the destruction ishorrifying and complete, punctuated by the loud gunshotfirecracker sound of SNAP and POPS the boys throw everywhere.INT. KITCHEN -- AFTERNOONTroy bashes stunningly beautiful leaded cabinets, shatteringthe glass. Suddenly, with alarm from another room --Troy!BRYAN

2.INT. LIVING ROOM -- AFTERNOONWe are on Troy’s face as he slowly makes his way across theempty room. All we HEAR is the sound of flies...a faintbuzzing, then a cacophony. He finally stops near where hisbrother is standing and kneels down.Awesome.TROYHe is looking at a dead gutted POSSUM...someone, something,has feasted here. The possum’s face is frozen and twisted infear. ANGLE: the boys crouching reflection in the gray flatdead eye of the animal. Just then, a NOISE. Faint childishLAUGHTER. Adelaide? The boys investigate.They walk down the hall, when suddenly a BASEMENT DOOR at theother end slowly creaks opens. The boys freeze, then --Go.TROY (CONT’D)(afraid)BRYANYou go, shithead.A dare. Troy moves forward. His brother follows.INT. BASEMENT -- CONTINUOUSA murky soup, the flashlights cut a swath.The beams illuminate the odd stray cobweb, nothing much downhere. The boys split up to investigate, Troy throwing the oddsnap and pop. Until --TROYCheck it out.Bryan approaches and stares with wonder. The flashlightsilluminate a wall of dusty SPECIMEN JARS filled with yellowviscous fluid. Within the fluid: monstrosities. Severeddeformed hands, feet, a twisted jaw...a horrifying tableau inthe style of Joel Peter Witkin.Next to the jars: a neat line of surgical equipment. Clamps,disembowelers, spreaders...all caked in rusty blood.A moment of awe from the boys. WE SEE (but they don’t)something move behind them. A flash of white.Troy picks up one of the jars, studies, it.

3.Don’t.BRYANBut Troy smashes it against a wall, it shatters.TROYIt stinks down here. It stinks likeshit.(beat)Last summer, when we had a raccoonstuck in the chimney? That’s whatit smells like. Let’s go find it.BRYANNo, it smells bad. I’m going.Bryan starts off. Troy starts investigating, throwing thesnap and pops. Bryan is half way up the stairs, when the snapand pops ABRUPTLY STOP.Troy?BRYAN (CONT’D)There is no sound. Then, a faint childish laugh.BRYAN (CONT’D)(freaked)Who’s down here!Silence. He moves down the creaking steps. Until hisflashlight beam finds...Troy...eyes wide with fear...his throat ripped out.Terrified, Bryan feels something behind him. He hears anoise: breathing. He slowly turns, his beam ILLUMINATES:A blonde two year old BOY, wearing a Lindberg-era whitechristening gown with seed pearls long yellowed. His mouthand face is smeared with blood, his skin is wrinkled like anancient man. The INFANTATA smiles, gurgles...Then ATTACKS.The lightlight falls to the ground.FADE TO BLACK.A SINGLE WORD POPS UP: TODAYINT. DOCTOR’S OFFICE -- DAYTHE SOUND OF RUNNING WATER. Come up on a TRAY ofINSTRUMENTS.

4.A stainless steel SPECULUM, a large SYRINGE with NEEDLE,COTTON SWABS, COTTON BALLS, RUBBER GLOVES. The water stopsand the hands of DR. DAY come into view. He towels them off,pulls on the gloves.DR. DAYAre your periods regular again?He messes with the instruments as a WOMAN speaks. It’s VIVIENHARMON.VIVIENPretty much. Every other month.Dr. Day turns. REVEAL Vivien, gowned, on her back, her legsin STIRRUPS. She’s pretty, forty, but she looks thirty five.VIVIEN (CONT’D)I’m not complaining. After all ofthat blood.Day inserts his gloved fingers into Vivien, beginning hisexam. She takes in a sharp breath.VIVIEN (CONT’D)Ben hates blood.DR. DAYHow are you two doing? Sexualrelations?Day is clinical. He’s not looking to get off here.VIVIENSometimes.He inserts the speculum. She exhales. It hurts a little.DR. DAYYou having trouble with arousal?VIVIENA little. Thought maybe it was premenopause.He pulls out the speculum, takes off his gloves.DR. DAYCould be. Any issues achievingclimax?VIVIENI don’t know, it depends. When I’malone it’s fine.

5.He nods.DR. DAYWell, things look great from aphysical standpoint. Are youanxious about having sex? Aboutsomething happening?VIVIENYou mean like getting pregnant?DR. DAYIt would be a normal response.VIVIENWell, I would like to go back on mybirth control pills.He takes out her FILE. Writes --DR. DAYI want to wait a beat on those.They can cause irregularities inyour hormone levels and I thinkyou’re already having some issuesin that department. Your cycle, thesexual issues.VIVIENI don’t have sexual issues.(then)Maybe I’m just depressed.Day takes a beat, then keeps writing -- that’s not his fieldof expertise.DR. DAYI’ve recently had some success withwomen your age using bioidenticalhormone treatments. Estrogen,progestin.VIVIENWait, so I am going throughmenopause?DR. DAYI don’t think so. This is more ofa pre-emptive strike. Your body islike a house, you can fix the tilesin the bathroom and the kitchen butif the foundation is decaying,you’re wasting your time.

6.VIVIENAre there any side effects?DR. DAYThe bHRT’s are great for your skin,your organs. Most of the women Igive these to tell me they makethem feel ten years younger.VIVIENI don’t let my family use plasticbottles or hold their cell phonesto their ears, now you want me toput something in my body and nottell me side effects? Don’t theymake those things with horse pee?DR. DAYFeel and look ten years younger.VIVIENThe arousal issue is mine, notBen’s. I’m just reconnecting withmy body after what happened, Idon’t want to give it away again.DR. DAYYou’re worried about losingcontrol, I’m offering you somethingto help you get it back.VIVIENI’m not a house.DR. DAYVivien, what are you so afraid of?Off Vivien, unsure of the answer --INT. BACK BAY BROWNSTONE -- DAYVivien comes home with GROCERIES. Goes into the KITCHEN.Starts unloading. Along with the food is a LITTLE PHARMACYbag. She pulls out the hormone pills and creams, looks atthem, thinks, then HEARS A NOISE from upstairs. A piece offurniture being moved? Her eyes go wide. Then, the soundagain, longer, louder. She’s TERRIFIED, dials the phone. 911.OPERATOR911 operator, what is youremergency?

7.VIVIEN(whispering)There’s someone in my house.OPERATORAre you sure it’s not a member ofyour family?VIVIENNo. My daughter is at school and myhusband is at work. I think someoneis robbing us. Someone robbed thebrownstone next door two weeks ago.What do I do?OPERATORWe’re sending a patrol car.She hears a THUNK -- like a body hitting the floor. Shehangs up. Thinks. Grabs a KNIFE and starts upstairs.INT. SECOND FLOOR -- CONTINUOUSANGLE: on the gleaming knife at her side. More sounds. Vivienslowly makes her way to the door, takes a deep breath andCREAKS it open. On her face, the blood rushing out of it.Oh shit.GIRL’S VOICE (O.S.)Vivien backs out into the hallway, almost goes over therailing. She’s going to throw up. Before she can, herhusband, BEN comes out, naked. He’s 42, fit, handsome as sheis pretty.BENVivien....He goes to hug her. She instinctively SLASHES at him with theknife. It SCRAPES his arm. Both of them look at the small,yet real wound, shocked. She drops the knife. He takes herin his arms and keeps repeating with hysteria...BEN (CONT’D)I’m sorry I’m sorry I’m sorry...She lets him hold her for a beat, then breaks away in tearsand runs down the stairs. Off a naked, bleeding Ben we SMASHTO BLACK.INT. CAR -- DAYDRIVING OVER THE GOLDEN GATE BRIDGE, SIX MONTHS LATER. HardSUNLIGHT through the windows. Ben’s driving.

8.Vivien in the passenger seat, staring out the window. Theirfifteen year old GOTH daughter VIOLET in the back with sixmonth old DOG, HALLIE.BENIsn’t it beautiful?VIVIENThe light is different from Boston.Feels like I can see more. Ithought it was supposed to be allfoggy.VIOLETI need to go to the bathroom.BENIt’s just a little while longer.VIOLETI need to go.BENWhere would you like me to pullover, sweetie -- the Bay or thePacific?VIOLET(re: the dog)Bet if baby substitute had to shityou’d find somewhere.VIVIENI don’t like that word, Violet.A beat, then Violet looks out the window. Thoughtfully --VIOLETThirteen hundred people have jumpedoff of this thing -- at leastthat’s what they think. They don’tsee them all and they stoppedcounting right before a thousand.I looked it up. Twenty six of themsurvived. You know what all ofthem said was their first thoughtafter they stepped off?(then, mischievous)Oh shit.Her mother’s discomfort makes Violet grin.

9.VIOLET (CONT’D)Kind of how I feel about this move.(then)I’m not going to like the school.San Francisco is filled withhippies and freaks and drugaddicts.BENI’m glad we named you Violetinstead of our second choice.VIOLETWhich was?Sunshine.BENThey all kind of crack up. A fleeting moment of familytogetherness. Ben shares a smile with his wife, then reachesout his hand to hold hers, but she PULLS it AWAY.EXT. OLD VICTORIAN HOUSE -- DAYThey pull into the driveway. Everyone takes a good look --it’s looking better than it did the last time we saw it. Newpaint, shutters, gutters. There’s a FOR SALE sign on thelawn. All three of them take it in as they come to a stop.BENThis is it.Vivien is unsure. Violet is intrigued. MARCY, the RELATORgreets them from the front porch with a WAVE.INT. HOUSE -- DAYMarcy shows them around. The FOYER is epic, beautiful,soaring ceilings and a grand STAIRCASE. House porn.MARCYIt’s the finest Queen Anne on themarket. Venetian chandeliers,original moldings. The stainedglass is some of the only of it’skind that survived the great quake.As you can see the previous ownersreally loved the place like achild. They restored everything.Gay?VIVIEN

10.MARCYSweetheart, it’s San Francisco,they’re all gay.Light laughter. Except from Violet, who rolls her eyes. Bensees this and fights a laugh. They head into the KITCHEN.INT. KITCHENIt’s beautiful. Looks original except with all of the modernbells and whistles.MARCYDo you cook?BENViv is a great cook. I got hercooking lessons a few years ago forher birthday and she ended upteaching the teacher a few things.MARCYCooking lessons. Romantic. You’rea psychiatrist?BENPsychologist. You said something onthe phone about there being a studyupstairs that I could use as a homeoffice? I’m planning on seeingpatients here so I can spend moretime with the family.MARCYHow refreshing.Vivien shakes her head.INT. HALLWAY -- DAY -- CONTINUOUSHallie sniffs around, PEES in a corner, then SENSESSOMETHING. Explores, then -- STARTS BARKING LIKE CRAZY.INT. KITCHENViolet is staring out the window at the BACKYARD.VIVIENViolet, will you go see what’sgoing on with Hallie?Violet storms out. Teenager.

11.INT. HALLWAYViolet finds Hallie, barking madly at the BASEMENT DOOR.Shut up!VIOLETShe won’t. Violet looks at the door. It’s BOLTED SHUT. Oldschool bolted. Two heavy bolts and two HUGE PADLOCKS.Someone doesn’t want to let anyone in -- or maybe out.Violet wiggles the doorknob, trying to pry it open.INT. BASEMENT -- DAYFrom the BOTTOM of the steps. POV of something watching thedoor move, the knob jiggle. We hear it’s raspy breathing.INT. HALLWAYViolet tries the door a few more times, then yanks on thelocks. No luck. She stares at the door, oddly drawn to it.INT. LIBRARY -- DAYMarcy shows Vivien and Ben the BEAUTIFUL GOTHIC LIBRARY.MARCYThis is my favorite room in thehouse.BEN(to Vivien, trying)When I saw the pictures of thisroom online I thought maybe youcould use it as your music room.MARCYYou’re a musician?I was.VIVIENBENShe’s a cellist. She played in theBoston philharmonic.She heads over to the WALL. Something isn’t right.MARCYWhy did you quit?There’s an answer, but we’re not going to get it.

12.VIVIENThis wallpaper is coming off.She goes to the wall, grabs a tiny PEELING PIECE of seagrasswallpaper and gently pulls it off. It opens a small window tothe ORIGINAL WALL, no bigger than a couple of postage stamps.VIVIEN (CONT’D)I think there’s a mural under here.MARCYThe last owners must have coveredit up. They were modernists.(then, with difficulty)Speaking of the last owners, fulldisclosure requires me to tell youabout what happened to them.VIVIENOh God, one of them didn’t die inhere, did they?MARCYYes, actually. Both of them.(off their shock)Murder suicide. I sold them thehouse, too. Just the sweetestcouple. You never know I guess.BENSo that’s why it’s half the priceof every other house in theneighborhood.MARCYI have a very nice painted lady nottoo far from here but you’re goingto get a third of the house fortwice the price if you go that way.Vivien and Ben aren’t sure. Violet comes in carrying Hallie.VIOLETWhere did it happen?MARCYThe basement.Another beat. Violet grins.VIOLETWe’ll take it.Off Ben and Vivien --

13.EXT. HOUSE - EVENINGAs MOVERS finish bringing the last boxes in, Marcy pulls theIN ESCROW sign off of the FOR SALE sign and replaces it withone that says SOLD.INT. HOUSE -- MASTER BEDROOM -- NIGHTBen comes out the bathroom in his pajamas, happy. Vivien isstill unpacking, there are boxes everywhere. He comes inbehind her, kisses her, she gently moves away.BENCome to bed, we’ll finish this inthe morning.VIVIENI’m worried about Violet. She’sright about kids being differentout here. She can’t handle anotheryear of not fitting in.BENYou mean you can’t.(then)I treat kids like Violet every day.In three months she’ll have lostall of the dark eye make up andcombat boots and be walking aroundin Birkenstocks with unshaven pitssmelling like patchouli.She laughs. He takes her in his arms.VIVIENIt doesn’t freak you out at all?What happened here?BENMy repulsion is tempered by thefact that this house is worth fourtimes what we paid for it.VIVIENBut it’s not like some old ladydied in here. A murder-suicide.Gives me the creeps just thinkingabout it.BENSo don’t think about it.

14.VIVIENThat’s your professional advice,doctor?BENNo place is perfect. No place andno person.(then)All I know is that for the firsttime in months I feel at homesomewhere. Moving here, buying thishouse was the right thing to do forour family. It’s a good thing andfrankly, we deserve some good afterall the shit we’ve been through.(then, realizing)Sorry.She nods, not sure, but desperate to trust him. He kissesher. Another fleeting moment, this one of marital bliss, butshe can’t sustain it. She pulls away, leaves him to go domore unpacking.EXT. SCHOOL COURTYARD -- DAYViolet walks through the commons, SMOKING. She surveys thescene -- a few kids reliving their grandparents’ HaightAshbury fashion mistakes but most are unmemorable. Uppermiddle class high school in an upscale urban neighborhood.She passes THREE pretty girls -- seniors dressed like they’retwenty-five -- talking up some boys -- LEAH, BECCA and ABBY.Overhears their conversation --LEAHSo I let him.BECCADo coke off of your nipples?LEAHThey were numb for like two days.They all crack up. Violet tries to disappear into her sweateras she passes, but --LEAH (CONT’D)Hey! Student council passed a ruleagainst smoking in public spaces.The girls step in front of her.BECCASecond hand smoke kills.

15.Violet puts the cigarette out.VIOLETI didn’t know. I’m new.Violet nervously flicks her butt into a planter. Leah flips.LEAHWhat the hell is the matter withyou? People sit here. They eathere.VIOLETYou don’t know me. Why are youdoing this?BECCALeah’s grandma died of lung cancer.She takes this stuff prettyseriously.Leah holds the butt out to Violet.LEAHEat it.(off Violet’s shock)Eat it. Or I’m going to kick theshit out of you.ABBYCome on, Leah, it’s enough.LEAHNo, I want to see her eat it.She grabs Violet’s face.BECCASeriously, Leah, she’s like twelve.Leah starts trying to shove the cigarette into Violet’smouth, but Violet resists, then instinctively SPITS in Leah’sface. That stuns everyone. Abby and Becca can’t help butlaugh. A beat, then Violet takes off running.LEAH(calling after her)You’re dead! DEAD!

16.INT. HOUSE -- MUSIC ROOM -- DAYVivien drops the NEEDLE on an old record player. Classicalcello plays as she sets out her INSTRUMENTS -- a large bowlof water, scraping tool, small knife. Slowly and carefully,she starts removing the old wallpaper.As she does, the GOYA-ESQUE MURAL begins to reveal itself.She can’t quite make out the first image -- until she pullsoff one more sliver or paper to see -- A WOMAN, her face bentin pain, her body twisted and tortured.Vivien stares at the image, transfixed and disturbed whensuddenly a HAND touches her shoulder. She jumps out of herskin, turns, sees ADELAIDE, the child with Down Syndrome wesaw earlier, now a woman in her forties.ADELAIDEYou’re going to die in here.Adelaide!CONSTANCE (O.S.)Constance, Adelaide’s mother enters from the kitchen carryinga BOX. Constance is a chain smoker, and she sounds like it.CONSTANCE (CONT’D)Adelaide. I put that “Dora theExplorer” on for you so you wouldsit and watch it.ADELAIDEIt was “Go Diego Go.” I don’t likeit.CONSTANCEBrown cartoon characters -- youcan’t tell the difference.Vivien doesn’t know what to make of this. Finally --CONSTANCE (CONT’D)Hi. Hi. I’m Constance your neighbor-- the tear down next door. Thisis my girl Adelaide. Go home Addy.Now!Adelaide storms out.CONSTANCE (CONT’D)That girl is a monster. I love herand I’m a good Christian but JesusH.(MORE)

17.CONSTANCE (CONT’D)Christ, if they’d invented some ofthose tests a few years earlier...VIVIENHow did you get in my house?CONSTANCEYou left your back door open,though I have to warn you Addyseems to always find a way in.She’s got a bug up her ass for thisplace, always has. You got a dog?VIVIENYes. Is that a problem?CONSTANCEBetter for me. I run a littlekennel out of my house. Doggy daycare kind of thing. Don’t bothercalling the cops on me -- I’m inwith one of the city managers andhe always looks the other way.VIVIENLook, it’s very nice to meet youbut I wasn’t really prepared forcompany.CONSTANCEI’m gone. Brought this for you,housewarming. Addy wanted to cookyou a pie but she tends to spit inthe cooking so I figured this wasbetter -- should help you get ridof some of the bad ju-ju.She hands Vivien the box.CONSTANCE (CONT’D)Those homosexual boys were niceenough and I say live and let live,but I can’t help but think thatthat lifestyle drove them to dowhat they did.(then)I can’t remember your name.VIVIENI didn’t tell you. I’m VivienHarmon.

18.CONSTANCEAnyway, enjoy, relax, let me knowif you need help with your pup.Glad you’re getting rid of thatwallpaper. Thought those peoplewere supposed to be stylish.She exits. Vivien can’t help but laugh a little at theiroddity. She shakes her head, opens the box to see a TIGHTLYWOUND BUNCH OF SAGE. A beat, then -- through the window shesees Constance walking back to her house.CONSTANCE (CONT’D)(calling back)It’s Sage. For cleansing thespirits in the house. Too many badmemories in there.INT. HOUSE -- SAGE MONTAGE -- NIGHTVivien moves through the house, the burning sage bundle inher hand. She’s not sure if she buys this whole cleansing thespirits thing, but she’s committing. She moves into anUPSTAIRS HALLWAY --She hasn’t spent much time in this part of the house yet.It’s barely decorated and there are even a few EMPTY BOXESstacked at the dead end. Suddenly, the flame in the sagebundle is BLOWN OUT. Odd. She looks UP for the source anddiscovers a DRAFT coming from a TRAP DOOR IN THE CEILING.The attic.She puts down the sage, pulls over a chair. Standing on it,she pulls the DRAWSTRING.INT. THE ATTIC -- LOOKING DOWN ON VIVIENThe DOOR opens and STAIRS extend into the hallway. Common inthese old houses. She climbs in. DARKNESS, SILENCE. Her eyesadjust. Miraculously, she finds a LIGHT CORD, pulls it.The single bulb turns on and she’s standing face to face witha BLACK RUBBER MAN.INT. BEDROOM -- NIGHTBen is on the bed, reading when he hears his wife SCREAM.INT. ATTICBen rushes up the stairs, finds Vivien sitting on some STACKSof old newspapers.

19.BENWhat happened? Are you okay?She points to the rubber man -- he’s actually just a largerubber suit -- known as a RUBBER ASPHYXIATION SUIT hangingfrom a hook. The suit is black, covers the entire body andhas a mask with two small eye holes and two tiny breathingstraws that can be pinched to temporarily suffocate thewearer.BEN (CONT’D)Guess those guys were into thekinky stuff.(then)Should I try it on?VIVIENStop it. It’s not funny.But they laugh. A beat, then Violet peeks her head in.EXT. HOUSE -- NIGHTVIOLETWhat happened?(seeing the suit)Holy shit.VIVIENGet it out of here.Ben tosses the suit in the GARBAGE.INT. BEN’S HOME OFFICE -- DAYTIGHT on various items as we hear a therapy session. Ben’sdiploma from Yale; psychiatric books he has written.BEN’S VOICEThese fantasies started, two yearsago, three years ago...?MALE VOICETwo years.We see Ben, very calm and professional in his shrink chair.BENIs there a structure to thethoughts...a pattern...MALE VOICEIt’s always the same, it starts thesame way.

20.How?BENMALE VOICEI prepare for the noble war.We REVEAL TATE LANGDON...17, handsome, charismatic ashell...he could be a cult leader or a movie star.TATEI get a taste for thebloodletting...and I pack up myweapons of mass destruction.INT. VIOLET’S BEDROOM -- SIMULTANEOUSINTERCUT WITH:Violet neatly unpacks razor blades, raises one, examines it.INT. OFFICE -- SIMULTANEOUSGuns?BENTATEObviously.And then?BENINT. HIGHSCHOOL HALLWAY -- DAYTate walks through a crowded hallway, smiling sweetly,wearing a trenchcoat and holding a duffel bag.TATE’S VOICEI’m walking through the halls, I’mcalm, I have the secret, I knowwhat’s coming and I know no one canstop me, including myself.BEN’S VOICEDo you target people who have beenmean to you? Unkind?TATE’S VOICENo. I kill people I like.In the hall, a SWEET INNOCENT 16-YEAR-OLD GIRL smiles at him.He smiles back.BEN’S VOICEDo you feel sympathy?

21.TATE’S VOICENo. I’m helping them.INT. CLASSROOM -- DAYTypical algebra tedium. Until Tate enters.TEACHERCan I help you?No.TATEHe RAISES HIS GUN, shoots the teacher. She instantly goesdown. Tate looks at the shocked students, who are paralyzed.He starts roaming the aisles and just shooting.INT. OFFICE -- DAYTATESome of them beg for their life,but I don’t feel sad, I don’t feelanything. Its a filthy world welive in, a filthy goddamnedhelpless world, and honestly? Ifeel I’m taking them away from allthe shit and piss and vomit thatruns in the streets, you know? I’mhelping to take them somewhereclean and silent and kind.INT. CLASSROOM -- DAYThe entire classroom has been massacred, the walls are bloodsmeared. The sweet girl from the hallway has been badlywounded, but she’s not dead. He stops in front of her, aimsthe gun. She raises her shaking hand, we SEE him through agaping bullet hole.Please...INNOCENT GIRLHe shoots her dead.INT. OFFICE -- DAYINT. SCHOOL -- DAYTATEThere’s something about the blood,man. All that blood. I drown in it.Tate is bounding down the stairwell, to escape. He hearssomething, stops turns.

22.A TORRENT OF BLOOD, A WALL OF IT, races down the stairwell athim. He spreads his arms, to welcome it. It envelopes him, heis obliterated.INT. OFFICE -- DAYBen shows no emotion, writes SOCIOPATH on his tablet.TATEThe Indians believed that bloodholds all the bad spirits, theywould cut themselves once a monthin ceremonies, let the spirits gofree. There’s something smart aboutthat. Very smart. I like that.INT. VIOLET’S BEDROOM -- SIMULTANEOUSViolet cuts herself with the razor blade. She stares at thecrimson gash on her arm with no emotion.INT. OFFICE -- DAYTATEYou think I’m crazy?BENNo. I think you’re creative, and Ithink you have a lot of pain you’renot dealing with.TATEMy mother’s worried about me.Yes.BENTATEShe’s a cocksucker. I mean,literally, she’s a cocksucker. Shesucked the guy off next door allthe time, my dad found out, heleft. He left me alone with acocksucker, can you imagine? Howsick is that?Tate for the first time shows vulnerability.TATE (CONT’D)I’m not crazy, dude. Don’t youthink it’s interesting? The idea ofletting the bad blood out? Theworlds a filthy place. A goddamnedhorror show. So much pain. So much.

23.INT. VIOLET’S ROOM -- DAYViolet makes another cut.MALE VOICEYou’re doing it wrong.She whirls around, revealing --TATEIf you’re trying to kill yourself,cut vertically. They can’t stitchthat up.VIOLET(freaked)How’d you get in here?TATEIf you’re trying to kill yourselfyou might also try locking thedoor.He leaves. She stares.INT. MASTER BEDROOM -- NIGHTMiddle of the night. So quiet you can hear the buzz of theDIGITAL CLOCK. Ben and Vivien in bed. Suddenly, from abovewe see BEN’S EYES SPRING OPEN. There’s no life behind themthough. He gets up, SLEEPWALKING.INT. HOUSE -- STAIRWELL -- NIGHTBen, NAKED, walks down the stairs. The house CREAKS, GROANS.INT. HOUSE -- LIBRARY -- DAYIN THE SHADOWS we can make out some more of the mural. It’sa HELLSCAPE. QUICK CUTS as Ben KNEELS down, turns on the GASin the fireplace, LIGHTS a ROLL OF NEWSPAPER, tosses it onthe logs, IGNITING A HUGE FIRE.He stands, watches the fire. The room and his naked formGLOWS. As if he was reaching for a long lost love he reachesout to the fire, closer. Then --Ben!VIVIEN (O.S.)Ben pulls his hand back, turns to see his wife. He’s stillnot with it.

24.VIVIEN (CONT’D)What are you doing? You’re naked.Come back to bed.BENAm I in a dream?Vivien softens, goes to him, starts leading him back.VIVIENNo, you’re sleepwalking.She leads him out, turns to look at the fire as she does andcatches a glimpse of the MURAL as we...END ACT ONE

25.ACT TWOEXT. BACKYARD -- DAYVivien hangs BEDSHEETS up on clothes lines, drying them.It’s peaceful, golden light, an easy breeze. A TALL WOMAN, inher sixties comes around into the backyard.Moira’s impressed.VIVIENCan I help you?MOIRAI’m Moira O’Hara, I’m thehousekeeper.VIVIENI didn’t know the place came withone.MOIRAWhy are you hanging your sheets?Perfectly good electric dryerinside.VIVIENI don’t like the chemicals infabric softener and the organicones don’t work. This is the onlyway to dry them without staticcling.MOIRAI work Monday through Thursday.Four hundred a week. If you have adinner party and you want me toserve or straighten up, it’s extra.Thanksgiving on, Christmas off.That was the deal with the lastfellows.VIVIENI’m sorry, I’m just not sure if weneed a maid.MOIRAWhat have you been using to cleanthe floorboards?VIVIENMurphy’s oil soap.

26.MOIRANo. White Vinegar. Oil soap killsthe wood. Have you ever owned ahouse this old?No.VIVIENOff Vivien --INT. KITCHENMOIRAIt has a personality, feelings.Mistreat it and you will regret it.Trust me, madam, you need me.(then)May I come in? My cab’s left andI’d like to call another.Vivien brings Moira some TEA.Ben enters.VIVIENYou worked for the previous owners?MOIRAAnd the ones before that. I’ve beenthe housekeeper here for years.They come, they go, I stay. Myhusband has been ill for some timeso I’m the breadwinner.(then)They were both nice boys, the onesbefore you. I found the bodies.VIVIENWhat happened? I mean, I hate togossip.MOIRAI don’t know. They fought a lot.Money I think. Who can know whensomething so horrible happens?Sometimes people just go mad.(then, hushed)I cleaned the mess. You’d neverknow.VIVIENBen, this is Moira O’Hara, she’sthe last owner’s housekeeper.(MORE)

27.VIVIEN (CONT'D)Well, actually she’s been workinghere for years.Moira turns to greet Ben. Ben’s POV -- she’s a STUNNINGTWENTY-FIVE-YEAR OLD. Tiny waist, succulent breasts.BENNice to meet you, Moira.They shake. Moira smiles, so hot. Her eyes cry sex. There’sthe sound of a CAR HORN.She exits.MOIRAThat’s my cab. I’ll use thelavatory first if you don’t mind.VIVIENWhat do you think?BENWait, you want to hire her?VIVIENShe’s a bit of character but she’salso the first person I’ve metsince we moved here that I actuallylike.BEN(a beat, confused)How long has she been working here?VIVIENI don’t know exactly. The point isthat she knows the house, she seemshonest and I could use the help.Ben is baffled. She smiles as Moira comes back in. Vivientalks to her so Moira is old again.VIVIEN (CONT’D)Can you start tomorrow?MOIRAThursday’s better but I’ll make itwork.She nods to both of them -- they both see different Moira’s --and leaves.

28.VIVIEN(noticing something)What?Ben takes her in his arms.BENNothing. You just always surpriseme.She likes that. He kisses her. Things get passionate. She sowants to give in, but can’t. She pulls away.BEN (CONT’D)You know, you’re going to have toforgive me one day.He’s hurt, exits. She shakes her head, disappointed inherself. How long does she have to hold on to this?INT. BATHROOM -- LATERVivien digs through the VANITY, finds the old PRESCRIPTIONBAG. Tears it open, removes the HORMONE REPLACEMENT MEDS Dr.Day gave her. She fills a cup with water, SWALLOWS A PILL.EXT. BASEMENT -- DAYTIGHT on bolt-cutters slicing through the locks.INT. BASEMENT -- DAYBen and Violet enters to investigate. There’s really nothinghere now but dust and an odd piece of unloved furniture.Crap.What?VIOLETBENVIOLETThis is where those dudes killedthemselves, right? I thought maybewe’d find a body or something.Ben looks at her, laughs. So does she. A beat, he puts hisarms around her shoulders. Brightly --BENOkay! I’ve really enjoyed thisfather daughter bonding time.He leaves. Violet takes a beat, then follows.

29.INT. LIBRARY -- LATE AFTERNOONVivien carefully works the WALLPAPER off the wall. The muralis becoming more clear. A WOMAN is dragged into HELL by aGRINNING DEMON. A BEAUTIFUL MAIDEN is splayed out on a bedwith a MONSTER sitting on her chest. She tries not to takethe images in, she has a job to do.THE RUBBER MAN appears in the doorway behind her. SOMEONE hasput on the suit. He slowly moves towards her.POV -- from within the mask. His BREATHING. He’s almost uponher. She’s oblivious -- Jesus fucking Christ, turn around!Finally, she does --VIVIENViolet! Can you take Hallie out?He’s gone. Nothing. She senses something odd, but thenbrushes it off, goes back to her work.INT. BEN’S HOME OFFICE -- DAYTate is in session, Violet spies through a partially crackeddoor.BEN’S VOICEAre you taking the medications?Yes.TATEHe is aware of Violet, turns and looks at her. She takes in alittle gasp, he’s so handsome.BEN’S VOICEThoughts of suicide?TATENot lately. I met somebody.Off Tate and Violet, eye-locked --INT. VIOLET’S ROOM -- LATERPost session. Music by The Smiths plays. Tate and Violet siton the floor, their sleeves rolled up. He’s showing her hiscutting scars.TATEThis one I did when my dad firstleft. I was ten I think.(points to another)(MORE)

30.TATE (CONT'D)This one a year later. New school.Got beat up.Violet shows him her most recent cutting.VIOLETLast week, first day at my newschool which sucks.TATEWestfield?Yep.VIOLETTATEThe worst. I got thrown out ofthere.VIOLETI hate it here. I hate everyone.All their bougie designer bullshit,the east coast was much cooler. Atleast we had weather.TATEI love it when the leaves change.Me too.VIOLETThey stare at each other, wildly attracted.TATEWhy’d you move here?VIOLETMy dad had an affair. My momliterally caught him in the act.INT. BOSTON HOUSE -- DAY -- FLASHBACKVivien climbs the stairs. She pushes the door open with theknife, we see what was withheld from us. HER POV: Ben fuckinga blonde GIRL in her earlier 20s. Ben looks at her, we seethe pain in his face. The regret and self-loathing.INT. VIOLET’S ROOM -- DAYTATEThat’s horrible. If you lovesomeone you should never cheat onthem, or leave them. Never.

31.VIOLETRight? I know. And the worst partis that six months earlier my momhad, like, this brutal miscarriage.The baby was seven months old, wehad to have this macabre funeral.TATEI’m sorry.He takes her hand. She’s thrown at being touched.VIOLETWhy are you seeing my dad?TATEDon’t ask questions you alreadyknow the answer to. You’re smarterthan that.She nods, it’s true. She looks down at her hand in his, shefeels self-conscious. The song ends on her iPod player.VIOLETYou like Craven? It’s a new band.TATEI’ve never heard of them.She gets up to play them.VIOLETThey’re really cool, they’re fromOregon, the lead singer is dyslexicand a vegan...She turns. Tate has left the room.INT. KITCHEN -- DAYVivien comes in, is shocked by Moira’s OLD LADY ASS. She’s onher hands and knees, SCRUBBING THE FLOOR.VIVIENUm...Moira, you don’t need to dothat.MOIRAThese old floors are finicky. Youhave to treat them right.The SPIDER VEINS are showing through Moira’s panty hoes.Vivien tries not to look.

32.VIVIENOk, well, Ben’s in the shower.While I’m gone will you finishunpacking the guest room and makeup the bed?MOIRAExpecting company?VIVIENNo, just want to finish settlingin.She exits. Moira stares after her, smiles tightly.INT. HALLWAY -- DAYBen, wearing a robe and towel drying his hair --BENVivien? I can’t find my razorblades.No answer. Where’d she go? He sees the door to the guestbedroom OPEN -- someone is in there. He approaches, CREAKSopen the door.IN THE BEDROOM --Young, beautiful Moira is on the bed, MASTURBATING. It lookslike she’s climaxed a few times already and is on her way toanother.Ben watches. Breathless. She opens her eyes, sees Ben andGETS EVEN MORE TURNED ON. Beckons him. He almost goes to her.Desperate not just for sex but for some kind of affection.Then, he steps back, closes the door on the temptation.INT. MASTER BEDROOM -- MOMENTS LATERSMASH CUT TO:Ben comes in, locks the door, opens his robe and startsmasturbating himself. He’s OUT OF CONTROL. He finishesquickly, catches his breath. After a beat, a tear falls downhis face.Ben sits on the bed. Things are starting to fall apartagain. Before he can ruminate,he looks out the window. There,amongst the FLOWING, DRYING SHEETS is an OLD MAN, his facecovered in HIDEOUS BURN SCARS. He’s looking RIGHT AT Ben.Ben jumps up, heads out --

33.EXT. HOUSE -- BACKYARD -- DAYBen runs out, searches for the man through the sheets, buthe’s gone. It’s like he was never there.INT. HOUSE -- KITCHEN -- DAY (LATER)The kitchen, gleams, spotless. Vivien enters with a bag ofgroceries, takes a second to appreciate her ordered home.She sets the bag on a counter, takes out a jug of orangejuice. There is the sudden firecracker sound of SNAP andPOPS. Vivien jumps out her skin, turns and SCREAMS.ZOOM WIDE: every cabinet door and drawer HAS BEEN OPENED.Reveal Adelaide, giggling maniacally at the screen door. Asshe covers her mouth, amused by the horror we...END ACT TWO

35.Vivien snaps. She takes Adelaide’s face in her hands andfocuses her.VIVIENAdelaide, listen to me. I want youto stop coming in my house withoutpermission, am I clear?BEN(she’s gone too far)Vivien.VIVIENAm I clear?ADELAIDE(quiet)Yes.VIVIENThank you.She releases her. Adelaide goes to the door to leave, butthen suddenly races over to pet the dog. Hallie, eating andterritorial, bites her.Hallie!BENVIVIEN(frantic)Are you okay?Adelaide stands there for a beat, her face darkens.ADELAIDEShe shouldn’t have done that.She exits. Constance quietly gets up, heads for the door.She leaves.CONSTANCESorry about all this.(then, to Vivien, matterof factly)Touch my kid again, I’ll break yourgoddamned arm.INT. HOUSE -- OFFICE -- DAYBen, in his chair. Into his TAPE RECORDER, about Tate --

36.BENPatient shows numerous signs ofsociopathic behavior -- grandiosesense of self, lack of remorse.High intelligence makes itdifficult to determine if symptomsare actual or created as a frontfor deeper psychosis...Young, sexy Moira comes in with her BUCKET.MOIRAMay I clean in here?Ben shifts, uncomfortable --BENIt’s not a good time, Moira.MOIRAIt’s Thursday and I’m off in twentyminutes. If I don’t do it now, it’snot getting done until Monday.She enters, starts cleaning. A beat, then Ben grabs histhings, starts out.MOIRA (CONT’D)(wanna fuck?)Am I distracting you?BENThese dictations are confidential.She moves to him, predatory.MOIRAWhy don’t you touch me a little?Get out.BENMOIRAWhat are you afraid of? I won’ttell. I didn’t tell when you saw meplaying with myself the other day.Did you touch yourself after yousaw me?(reading his face)You did. Do it again, show me.She’s right up against him. He’s tempted. It’s been so long.He looks up -- sees Violet at the door. Fuck.

37.From Violet’s POV -- OLD MOIRA is coming on to her dad. Sheflees. Ben pushes past a grinning Moira.INT. HOUSE -- HALLWAY -- MOMENTS LATERBen grabs Violet, spins her around.VIOLETYou are so sick! Will you juststick your dick in anything?BENHey! Do not talk to me like that!Nothing happened in there. She wascoming on to me -- I was rejectingher.VIOLETSo fire her. Get her out of thehouse. She creeps me out anyway.BENI can’t do that.(off her confusion)I’ll have to tell your mother whyI’m letting her go. After allthat’s happened she’s not going tobelieve I was totally innocent.VIOLET(confused)With her? Yes she will.BENYour mom and I are walking atightrope right now -- but we’remaking progress. I don’t want to doanything to screw it up.He’s so emotional. Violet gets it. Still --VIOLETI don’t want that bitch cleaning myroom anymore.EXT. SCHOOL -- COURTYARD -- DAYViolet, smoking, minds her business when she’s SHOVED frombehind. She stumbles, drops her cigarette. Turns to see Leahand her bitch friends.LEAHI told you not to smoke out here.

38.Violet stands tall, no fear.VIOLETWhat is your problem, bitch?LEAHShe just call me a bitch?ABBYSounded like bitch.VIOLETSeriously. Mommy drink too much?Daddy love your brother more? Youruncle play with your titties whenyou were a kid? I’m not scared ofyou.LEAHYou should be.Staredown. Then Violet sees it: a twitch in Leah’s face --Violet might not be scared, but Leah is. Violet CHARGES her,grabs Leah around the waist linebacker style and DRIVES herinto the concrete. OTHER STUDENTS notice, form a circle.STUDENTSFight, fight, fight!Violet gets two punches in before Abby and Becca attack.Three on one -- not very good odds for Violet. She gets theshit beaten out of her, but she still puts up a pretty goodfight. Leah gets her down, punches through Violet’s raisedhands. Violet reaches out, grabs her STILL LIT CIGARETTE fromthe ground and pushes it into Leah’s arm. Leah SCREAMS, jumpsoff. Violet scurries to her feet.LEAHShe freaking burned me!Kids disperse, there are teachers coming. Violet sees them.Takes off.INT. HOUSE -- LIVING ROOM -- NIGHTVivien works on her wall. She’s making progress, more imagesare being revealed -- all of them depicting some form ofPAIN, some of them with a strangely SEXUAL component. PULLBACK to reveal Ben, standing behind her, looking.BENMy professional opinion is thatwhoever painted that wall had somedeep psychological issues.

39.She turns, surprised to see him.VIVIENI thought you had a patient.BENThey bailed. You want some help?She motions to her tools. He grabs one. Starts working. Theysteal looks at each other.BEN (CONT’D)This thing doesn’t freak you out?VIVIENIt’s weird -- I know it should butfor some reason I find it kind ofcomforting.BENOne of my psych professors told methat people tell stories to copewith their fears. All art and mythsare just creations to give us somesense of control over the thingswe’re scared of. Afraid of dying?Create reincarnation. Afraid ofevil? Create a benevolent God whosends evil doers to Hell. I’vetreated soldiers with PTSD byhaving them draw pictures of whathappened over there.VIVIENI think I just like that I don’thave to think while I do it.He stares at her, smiles. She doesn’t understand.BENI always thought you were theprettiest like this -- no make up,hair in a messy braid.I’m old.VIVIENHe puts down his scraper, moves in close --BENViolet won’t be home for an hour.VIVIENNo, Ben. Okay? No.

40.She pulls away. A beat, then he SWEEPS all of her tools andwater off the table. He’s in a RAGE.BENHow long, Vivien? How long are yougoing to punish me?VIVIENI’m not punishing you, younarcissistic asshole -- I’m havingtrouble forgiving you for sleepingwith one of your goddamn patients!You want me to have sex with you?When I can’t even look at your facewithout seeing the look on it whenyou were pile driving her in ourbed?BENI screwed up! I’m sorry! I washurting too!VIVIENI’m sorry, did the life you weregrowing die inside of your bellyand did you have to carry thatcorpse inside of you? Did you haveto go into labor? Give birth toyour dead baby?BENMy baby died, too! He was my son,too!VIVIENAnd you buried your sorrow in sometwenty-year-old’s pussy.BENI can show you statistics on howmany men cheat after a miscarriage.I was there for you. I was patientand understanding and caring and Iput your feelings first.My hero.VIVIENBEN(so frustrated)I don’t know how to say thiswithout coming off like an asshole.

41.VIVIENNever stopped you before.(then)You’re angry at me -- fine, yell atme. Six months in therapy of youcrying and apologizing was allbullshit. Give me the real storynow.A beat, and then it comes out --BENYou got a dog! I needed you and yougot a dog! It was me you shouldhave been curling up with at night!I needed you. I was suffering andyou weren’t there.VIVIENNow it all makes sense. She wasrevenge.BENWe haven’t had sex in almost ayear.VIVIENYou’re keeping track?BENOctober 20th. And we had great sex,Viv. It was loving and sexy andpersonal and even a little...weird.She laughs lightly through her tears.BEN (CONT’D)I love you. I moved across thecountry for you because in all mylife the only thing I’ve been trulyscared of is losing you. Losingthis family.(then)Something horrible happened to us.More horrible than anything on thiswall and then we handled it evenmore horribly. But this place isour second chance. It’s notsupposed to happen overnight butit’s like this wallpaper, a littlebit at a time. I just need to knowthat you want it, too.

42.She looks up at him, her eyes wet. She can’t move. Wants torun to him but she’s paralyzed by the fear of beingvulnerable to him again.He makes his move, kisses her. She’s overwhelmed. His touch,finally letting herself feel it after so long.Both of them crying as they fall to the floor. Kissing.Clothes coming off. Buckles and zippers fumbled with.There, on the floor, they make love again. As they both reachclimax, we CUT TO:INT. LIBRARY -- LATEROn the floor, post coitus. Him behind her. She’s looking upat the wall.VIVIENThanks.(off his look, smiling)Not for the sex, idiot.BEN(kissing her neck)For what, then?VIVIENGiving up your practice, moving usout here, finding this house.BENI want you to feel chosen.She pulls him close.VIVIENI always wanted a house like thisgrowing up. You’ve been to myparents house out on the Island.Post war prefab hell. The wholeplace rattled when you walked downthe hall. I used to dream about oldplaces like this. A place with asoul.BENWhat do you want to do about thiswall?VIVIENI know it’s disturbing...like,deeply disturbing.(MORE)

43.VIVIEN (CONT'D)But I don’t know...something aboutit inspires me.BENTo pillage a small hamlet?VIVIENTo make art again...to play again.That gets his attention. Forget the sex, her playing musicagain would be a true breakthrough.BENYour cello is up in the attic. Youwant me to get it down for you?VIVIENRelax, cowboy. If I want it, I’llget it down myself.They share a smile, kiss.BENI really think we’re going to behappy here.Me too.VIVIENINT. KITCHEN -- NIGHT (LATER)Vivien straightens up, hopeful for the first time in a longtime. Violet tries to sneak by unseen, fails.VIVIENWhat happened to your face?VIOLETI fell down.Vivien stops her, takes a good look. She’s a mess.VIVIEN(kind)Sit down.I’m fine.VIOLETVIVIENIf you don’t clean those upproperly they’ll get infected.

44.Fine. Vivien grabs a FIRST AID KIT, runs hot water on somehand towels, sits. Tends to Violet.VIVIEN (CONT’D)Was it a girl or a boy?VIOLETGirls. Three of them.VIVIENHope they look worse.You know their names?VIOLETI’m not narcing.Vivien just keeps at the cuts and scrapes. A quiet beat.Just a mother taking care of her daughter’s boo-boos.VIVIENYou want dad and I to look intoswitching schools? There are somegood private schools in the area.VIOLETI’m not running away -- I’m notscared of them.VIVIENYou’re not scared of anything.When you were in kindergarten youhad me come pick you up from asleepover party because the othergirls insisted on keeping a nightlight on.Violet almost smiles.VIVIEN (CONT’D)You got the short end of the stickwith this one, kiddo. The move.Dad and I have been pretty hard tolive with for a while now.VIOLETI just don’t get why you guys won’tget divorced if you’re somiserable.VIVIENWe still love each other.

45.VIOLETReally? Could have fooled me. Ithought you hated each other --well, at least you hated him. Idon’t blame you. He was a shithead.(realizing)Sorry.VIVIENIt’s all right -- he was ashithead.Shared smiles. Vivien finishes up. Violet starts out, turns.VIOLETWhat are you scared of?You said I’m not scared ofanything. But what scares you?VIVIENEverything.(then)That’s why we’re not getting adivorce. You’re dad’s the only onewho keeps me from feeling afraidall the time.Violet gets it, exits. Off Vivien --INT. VIOLET’S ROOM -- DAY (LATER)Violet is pacing, in a teenage rage. Tate quietly watches asshe spews.VIOLETI hate her. I want to kill her.TATEThen do it. One less highschoolbitch in the world making the livesof the less fortunate moretolerable is, in my opinion, apublic service.Violet pauses, then laughs. He breaks her mood. She lights upa joint, inhales, hands it to him.TATE (CONT’D)No thanks. I like to stay pure.Why?VIOLET

46.TATEI want to feel what I’m feeling.A moment of connection, then --TATE (CONT’D)Look, you want her to leave youalone? Stop making your life aliving hell? Short of killing her,there’s only one solution: scareher. Make her afraid of you, that’sthe only thing bullies react to.How?VIOLETTATEIt’s simple. You simply walk up toher and say --EXT. HIGHSCHOOL -- DAYLeah is whirled around by a calm Violet.VIOLETHere’s the deal. I need you to stopharassing me. I’ve got what youwant. Drugs. Come to my housetomorrow, get your free sample. I’ma dealer, and a good one. I’ve gotthe best shit in town.Violet smiles darkly, leaves. Leah is intrigued.INT. VIOLET’S ROOM -- DAYVIOLETShe’s a cokehead. I don’t havecoke.TATEYou won’t need it. That’s just anexcuse to get her here. She’llleave empty handed and terrifiedand I promise you, you’ll never bebothered by her again.VIOLETHow am I gonna terrify her?TATEThat’s where I come in.He smiles sexily. She laughs. It’s a plan.

47.INT. HOUSE -- KITCHEN -- NIGHTQUIET. The clock on the wall TICKS from twelve-ten to twelveelevenAM. MOVE THROUGH THE HOUSE --INT. UPSTAIRS HALLWAY -- NIGHTDark.INT. LIBRARY -- NIGHTLit by a single LAMP. The silence broken by Vivien’sexcessive SCRAPING. She peels off the LAST SCRAP ofwallpaper. Stands back to take in the WALL.INT. MASTER BEDROOM -- NIGHTBen has fallen asleep reading. His eyes OPEN. The sameunconscious zombie-like awake he was the night of thefireplace.INT. LIBRARYSLOW PULL BACK to finally reveal...The WALL -- if the Anti-Christ had a Sistine Chapel, this is what would adorn theceiling. It’s a painted prayer to PAIN. Vivien is oddlyundisturbed by the images of torture, murder, RAPE.As she loses herself in the mural we see Ben SLEEPWALK behindher, unseen, into the KITCHEN.INT. KITCHENBen, at the stove. TURNS ON THE BURNERS -- all of them.INT. BEDROOM -- NIGHTA TOILET FLUSHES and Vivien, in her pajamas, comes out of thebathroom, rubs lotion on her arms. Ready for bed.She looks up, jumps when she sees THE RUBBER MAN standingsilently in the doorway. A beat, then a smile --VIVIENHot. I thought I told you to throwthat thing away.The Rubber Man is silent.INT. KITCHEN -- NIGHTBen leans down. Eye level with the BLUE FLAMES. They HISS.He reaches his hand out.

48.INT. BEDROOM -- NIGHTThe Rubber Man just stands there. Vivien laughs.VIVIENI have to admit, I’m giving youpoints for creativity.(then)You were pretty hot this afternoon.Wanna go for a two-peat?She gets into bed. Pulls off her pajamas. Rubber Man movestowards her.VIVIEN (CONT’D)You going to take the suit off?(off his head shake “no”)Okay, whatever, I can be kinky.The Rubber Man approaches, RIGHT INTO CAMERA.INT. KITCHEN -- NIGHTBen lowers his hand, into the flames. It BLISTERS, CRACKS.No response. Like it’s happening to someone else.INT. BEDROOM -- NIGHTThe Rubber Man, on top of Vivien. FUCKING HER. It feels sogood, but it HURTS -- not just physically. She can feel thedarkness of the Wall inside of her. Her head is back, a tearrolls down her cheek. He FINISHES and stops moving.INT. KITCHEN -- NIGHTBen’s hand is being burned by the flames. His flesh bubbles.INT. BEDROOM -- NIGHTThe Rubber Man is gone. Vivien pulls up her pajama pants.She’s emotional, vulnerable. Gets under the covers, turns outthe light as Ben enters, still SLEEPWALKING. He gets intobed. She rolls over. On her face.VIVIENGood night. I love you.Ben stares off into space.BENLove you, too.END ACT THREE

49.ACT FOUREXT. HOUSE -- AFTERNOON (LATER)A hand pushes open the gate. REVEAL Leah, who stops andstares at the house.INT. LIBRARY -- DAYVivien takes her cello out of its case, looks at it. Shehesitates, sits with it, slowly begins to play a John Cagesolo. It’s passionate, full of all her unexpressed feelings.An exorcism. INTERCUT the dramatic bowing of her cello with --INT. HOUSE -- BASEMENTFrom the bottom of the stairs, looking UP at the door. Thesounds of muffled talking. The locks being UNLOCKED. The dooropens. Violet and Leah look down from above.LEAHWhat’s down there?VIOLETMy stash. My parents toss my roomevery week.Leah’s not sure. Violet, playing it cool, starts down.LEAHIf you’re screwing with me...Violet disappears down the stairs. Leah does NOT want to godown there. Violet reaches the bottom -- turns --VIOLETIt’s just a basement.Fuck it. Leah comes down. Leah’s POV, following Violet.VIOLET (CONT’D)I found the best hiding place.This is great shit, too. A lot ofthe coke coming into the US fromCentral America is smuggled in onlobster boats in Gloucester. I usedto show my boobs to one of thelobsterman in return for a key ortwo before they cut it.They come around a corner, find TATE, sitting on a RUSTEDMEAT FREEZER.

50.LEAHWho the hell are you?TATESo this is the coke whore.SLOW MOTION -- Leah looks eyes with Violet. She can see it inViolet’s face -- things are about to get scary for her. Sheflees. Too slow. Tate grabs her.TATE (CONT’D)(to Violet)Get the light!Violet TURNS OFF the light.INT. LIBRARYVivien’s solo moves toward a crescendo. The bow almost burns.INT. BASEMENTNow it’s just sounds. Leah fighting. Tate laughing.VIOLETIt’s enough, Tate.Violet’s BUMPED to the ground. We can hear the wind beingknocked out of her. Leah’s screams become more desperate.LEAHOh, God! Get it off of me! PleaseGod get it off of me!VIOLETWhat’s happening? Tate it’s enough!Violet fumbles for her cell phone as screams continue. Turnson her NIGHT VISION APP. SEARCHES for Leah with the phone.Finds her. There’s something on attacking her. The thingturns. It’s the INFANTATA. It HISSES at Violet.Violet SCREAMS, shocked, the phone falls to the floor, we seeher kick her way to the wall. Turns on the light. Nothing ishere now. It’s all happened in milli-seconds.Leah scampers to her feet. Her face is slashed. CLAW MARKS.She runs up the stairs, out of the house.TATEI don’t think she’ll be botheringyou anymore.

51.He goes to Violet. She backs away.VIOLETWhat was that? Something was onher. What did you put on her?TATEWhat are you talking about? Shekneed me in the balls and got away.She must have run into a wall orsomething.VIOLETI saw something. With my phone. Itwas like a monster or something.TATEYou’re talking crazy. Violet, thisis cool. We just showed that bitch.VIOLETGet out. I don’t want to see youagain.He tries to hug her. She backs away, moves up the stairs,never taking her eyes off of him. She’s going to CRY.TATE(deadly)I thought you weren’t afraid ofanything.She doesn’t like this guy anymore. She TRIPS backing up thestairs, gets her footing and runs out. Off Tate, a devilishgrin on his face....INT. LIBRARYVivien finishes. She’s flushed and smiling, this was apersonal triumph for her. She hears the front screen doorslam -- Leah exiting. Off Vivien, enjoying a moment of rarehappiness --INT. SAN FRANCISCO DOCTOR’S OFFICE -- DAYTIGHT on blood filling a syringe. As the draw continues --FEMALE VOICEAgitation, difficultysleeping...anything else?REVEAL Vivien, having her blood drawn, talking to a newphysician, DR. EMILY FLEMING.

52.VIVIENA little trouble sleeping, yes.DR. FLEMINGAny hallucinations?VIVIENI’m sorry?DR. FLEMINGThe hormone cocktail you are on cansometimes cause hallucinations,euphoria...VIVIENNo. No hallucinations.DR. FLEMINGHow long have you been taking it?VIVIENA couple of weeks?DR. FLEMINGAny sexual activity?VIVIENYes. Finally. It’s helped withthat.Another laugh. The doctor finishes the blood draw.DR. FLEMINGOkay. Well we’ll do a blood panel,see what’s going on.The doctor calms Vivien, who nods. Everything’s going to beokay.EXT. SCHOOL -- COMMONS AREA -- DAYViolet enters, apprehensive. Abby and Becca -- Leah’s buddies-- come up and surround her.ABBYWhat did you do to Leah?Violet is ready to rumble.VIOLETI didn’t do anything.

53.BECCABullshit. Something happened to herat your house.Violet tenses her fist. It’s about to go down.So?VIOLETBECCASo it was awesome! She totallydropped out of school, youterrorized her! Great job.The girls are laughing.VIOLETI thought you were her friends.ABBYWe hung out with her because herparents were always away so wecould party at her house.BECCAKiller pool.ABBYShe was a total bitch.BECCAHard core.ABBYAnyway. We’re hitting up The Bagelafter school. It’s a pretty cooldeli down in the Mission if youwant to come. A lot of the kidsfrom here go there.BECCASerious dude-age.VIOLETSounds all right. Should I meetyou?ABBYNo, I got my dad’s car. We’re beout front at three.Violet nods. The girls heads off. As they go --

54.BECCAYou think I could pull off thatTaylor Momsen black eye shadowthing?Violet takes it all in, smiles. Holy crap -- she has friends.EXT. HOUSE -- DAYBen stretches. Ready for a RUN. Senses something. Hecovertly turns. Spies the BURNT MAN in a car, lurking. Abeat, then Ben starts his run. The car pulls out, followinghim.EXT. PARK -- DAYBen runs into GOLDEN GATE PARK. The Burnt Man follows.Parks. Continues on foot. He’s slow, but he cuts through theTREES to keep up.Ben SPEEDS UP. Runs out of frame. We’re with the Burnt Mannow. Out of breath. Searching for Ben. He’s lost him, then --Ben grabs him. Spins him around violently.BENWho are you? Why are you followingme?!The Burnt Man cowers. We can see how old he is now,vulnerable, afraid.BURNT MANPlease. Your family is in danger.Ben calms. Backs off. After a beat we CUT TO:EXT. PARK -- DAY (LATER)A bench underneath the Bridge. Ben sits beside the BurntMan. We get a good look at him now -- his face is mangled,so are his hands. Burns that severe can’t heal. The Burnt Mannotices Ben’s hand.BURNT MANWhat happened to your hand?BENWhat happened to your face?BURNT MANIt’s not just my face. Seventypercent of my body. You don’tsurvive something like that -- andthis was the sixties.(MORE)

55.BURNT MAN (CONT'D)(then)I’m Larry Harvey -- and you have toget out of that house.BENI could have you arrested, youknow? Peeking in peoples’ windowsis a crime -- even in SanFrancisco.LARRYThey’re not going to put me back injail. I have brain cancer --terminal and inoperable.BENI’m sorry.LARRYDon’t be. That’s the only reasonthey let me out.(a beat)Homicide. Triple homicide. SanQuentin for forty-two-years withouta cold then two months ago theydiagnose me with these tumors in myhead. Some people would call thatfate.BENGod gave you cancer so you couldget out of prison and tell me tomove?LARRYMaybe. I don’t know. I’ve seenstranger things.BENSounds more like a man who issearching for a chance atredemption for the awful thingshe’s done.Larry chuckles. There’s no redemption for him. He pauses,then looks at Ben directly.LARRYI made it six months in the houseyou live in now before I startedhearing the voices. My wife thoughtI was working too hard. My daughterAngie -- she was six. The older oneMargaret was ten.(MORE)

56.LARRY (CONT'D)Looked like her mother. Funny howit skips a generation like that.BENLook, I get that you’re lonely andyou’re struggling. Getting out ofprison after all of those years.I’m sure...LARRYI killed them all.Off Ben, shocked we FLASH TO:INT. THE HOUSE -- NIGHT -- FLASHBACKA CAN OF GASOLINE. Larry’s carrying it up the stairs. In atrance.LARRYLoraine was ill that night. Mywife. She took a pill and went tobed early. I put the girls down.Then the voices started.We see him enter his children’s room --INT. KIDS’ ROOM -- NIGHTHe pours the GASOLINE.LARRYThey told me what to do. I was likean obedient child.We’re on his face. His eyes are BLACK. DEAD. He lights amatch. TOSSES it. Stay on his face as the FLAMES illuminatethe room.INT. MASTER BEDROOM -- NIGHTLarry gives his wife the same treatment. He watches herBURN. Then, suddenly, she SPRINGS UP. Engulfed in flames.SCREAMING. She grabs him. He snaps out of it. Realizes whathe’s done. It’s too late. He throws her off but now he’s ONFIRE.INT. HOUSE -- STAIRWAY -- NIGHTSLOW MOTION as Larry, a ball of fire, runs down the stairs.INT. LIVING ROOM - NIGHTAnd through the living room, past the MURAL.

57.FLASH BACK TO --EXT. BENCH -- DAYBen is shocked. Larry is crying. He takes a beat.LARRYI don’t know how I put the myselfout. I remember the night, but it’slike a movie. Have you beensleepwalking?The question hits Ben hard.Ben gets up.LARRY (CONT’D)I’ve seen your family. Pretty wife.You seem like good people. If youdon’t get out of that house you’reall going to die in there.BENThere are some pretty serious sideeffects to brain tumors. Peoplehallucinate, act strangely, inventwhole worlds in their heads.LARRYLook up my case. Read thetranscripts.BENI’m a doctor. They might not putyou back in jail but I couldcertainly get you committed to astate mental institution. Trustme, those places make prison looklike Club Med. Leave my familyalone.Larry jumps up, desperate.LARRYPlease. Please get out of there.That place is evil.BENGet off of me! I’m not kidding,leave us alone.Ben starts off. A beat before Larry calls after him --

58.LARRYYou never answered me -- whathappened to your hand?Ben looks down at his hand. Fear plays across Ben’s facebefore he jogs off -- speeding up as he goes.INT. BEN’S HOME OFFICE -- DAYA LOCK is picked. Reveal Violet, on a mission. She feverishlygoes through a drawer, looking for a patient file.She finds Tate’s, pulls it, exits.INT. VIOLET’S ROOM -- DAYViolet pours over the information. She is riveted by wordsher father has used to describe his patient. TIGHT ON THEM:SOCIOPATH...MURDER FANTASIES...VIOLENT.Violet pauses. She goes to her computer, types Tate’s name inGoogle search. A beat. Her eyes goes wide.REVEAL a flurry of headlines.“Student, 17, Kills Fifteen in San Francisco Bloodbath.”“Shooter described as ‘Charming’ and ‘A Loner.’There are several photos of grieving parents, and a school IDpicture of Tate. Finally, Violet gasps.Another headline:“Student Takes Own Life After High School Massacre.”REVEAL the year of the shootings: 1994.Tate died seventeen years ago.Off Violet --INT. KITCHEN -- DAYBen sits at the table, stunned, shaken. Vivien enters, comesup behind him, kisses him. It comforts him. He hides hisburnt hand under the table.VIVIENWhat do you want for dinner?BENWhatever Violet wants.

59.VIVIENShe’s going out with some friends.They share a look -- really? Ben smiles.BENWhat do you want?VIVIENI’m kind of in the mood for Indian.BENYou only like Indian food whenyou’re pregnant.She smiles, tears forming in her eyes. He’s stunned.Really?BEN (CONT’D)She nods, emotional. She’s pregnant.Her face opens up in a huge grin, the first time we’ve seenher truly happy. He bolts up, hugs her, kisses her. Finally,after all this effort, they’re back.MOVE off them. Out of the kitchen. Into the LIBRARY. We lookat the wall for a beat before The RUBBER MAN appears, a jolt.Off his face, looking right through us, we SMASH TO BLACK.Over credits, Prodigy’s “Firestarter.”END PILOT