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1.
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1 INT. MIDDLE OF THE NIGHT 1
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Black screen.
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A rumbling sound. It intensifies.
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A woman’s face appears suddenly in close up, shocked,
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disoriented. It is AMELIA (late 30s.) She travels fast,
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pinned back to what could be a car seat. It’s not clear.
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She is suddenly lifted up and around, her face tumbling as
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if in a dryer, 360 degrees.
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The image slows down as she shuts her eyes. Bits of dirt
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and debris fly past her face. There’s no sound. The effect
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is strangely beautiful.
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BOY’S VOICE (O.S.)
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(Nearly inaudible)
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Mummy....
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Amelia tries to open her eyes, she continues to spin.
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Her face stops tumbling and comes to an upright position.
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A skidding sound builds in intensity. Her hand reaches
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above to brace herself for the impact. She turns to look
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beside her. Time is stretched.
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She sees a man staring ahead. He looks terrified. A light
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grows brighter. The skidding sound is almost deafening.
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Amelia instinctively looks away from him, closing her eyes.
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The terrible sound peaks, then slowly recedes.
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BOY’S VOICE (O.S.)
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(Louder still)
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MUM.
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Amelia hears the boy’s voice for the first time. She opens
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her eyes as she ‘falls’ slowly back into space.
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Finally, she ‘lands’. There is complete silence.
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Amelia is lying on a pillow. She looks at the ceiling,
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dazed.
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Her breathing is erratic.
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2.
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BOY’S VOICE
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(Very loud)
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MUMMY!
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She sees her six year old son, SAMUEL, bedside. He’s small
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for his age, intense. A panicked look on his face.
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SAMUEL
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I had the dream again.
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Amelia makes one mighty effort to get up. Her fluffy
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Maltese terrier, BUGSY, jumps off the bed with her. She
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scrambles to her feet, stumbling on the way to her son.
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2 INT. SAMUEL’S ROOM - NIGHT 2
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POV under the bed. The doona is lifted. Amelia and Samuel
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peer underneath. The doona is dropped back into place.
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Black. Closet doors open, Amelia takes a quick look inside,
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Samuel checks everywhere. Amelia closes it.
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Amelia is dark haired and wiry. Pretty, but nervous
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looking.
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Samuel’s little face is white with anxiety. He moves back
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and forth from one foot to the other.
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SAMUEL
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Can we check under the bed?
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AMELIA
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(Patient)
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What did it look like?
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Samuel shrugs his shoulders. He can’t remember.
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AMELIA
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Remember what we said? If you can’t
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see it, then it mustn’t be real.
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SAMUEL
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It said it’s coming to kill us
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both.
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His comment unnerves Amelia. She recovers quickly.
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AMELIA
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(Very gentle)
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It’s just a silly dream.
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3.
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3 INT. SAMUEL’S ROOM - NIGHT 3
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Amelia searches through the bookshelf. Samuel clings to her
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waist, not letting go. Bugsy follows them.
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4 INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 4
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Amelia sits up in bed, Samuel in her lap, the doona
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surrounds them like a giant caterpillar. Amelia gives the
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book everything she’s got, fighting her tiredness.
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AMELIA
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(In the voice of the
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wolf)
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Well I’ll climb down your chimney
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you fat little pigs! And he climbed
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down that chimney, straight into
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the huge black pot. And that was
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the end of the big-bad-wolf!
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She closes the book. Samuel is still anxious.
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SAMUEL
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Did they really get the wolf?
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AMELIA
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(Reassuring)
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I’m sure they did.
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SAMUEL
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I’m gonna kill the monster if it
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tries to hurt you Mum.
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AMELIA
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(Gentle)
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Nothing’s going to hurt me Sam.
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SAMUEL
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I’ll bash it to pieces when it
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comes.
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AMELIA
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Time for bed now, OK? It’s very
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late.
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Samuel flips the pages straight back to the beginning.
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SAMUEL
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Just one more time... Then I’ll
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sleep.
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4.
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He won’t take no for an answer. She gives in to another
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read.
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Samuel snuggles in close to her, wide awake.
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AMELIA
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(As bright as she can)
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A long time ago, just yesterday in
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fact, there were three little pigs
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and one nasty big wolf.
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5 INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 5
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Little legs wrapped tightly around Amelia’s waist.
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Samuel’s face tucked in behind his mother’s. He’s fast
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asleep, she’s wide awake.
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His mouth, chewing at nothing, grinding away. The sound
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goes right through Amelia. His breath irritates her neck.
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His hand plays with her ear in his sleep. She peels it
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away, puts it by his side.
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She unwraps his legs, making sure she doesn’t wake him.
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Amelia inches silently away from her son, her back to him.
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Samuel doesn’t wake up. The gap between them widens.
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Amelia curls up on the other side of the bed, her knees to
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her chest, alone.
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TITLE - THE BABADOOK
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6 INT. AMELIA’S BEDROOM - BASEMENT - LOUNGE - KITCHEN - 6
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MORNING
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- Bedroom. A blaring alarm sounds. A lifeless arm pokes out
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from under the doona, hanging over the bed. It’s hard to
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believe someone could sleep through this noise.
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- Basement. Child’s hands grip a large hammer. The hammer
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is raised and comes down hard on a rusty nail.
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Little hands pushing down on a join in two pieces of wood,
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testing it for strength.
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- Bedroom. The alarm keeps going. The arm has not moved.
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5.
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- Basement. A cricket ball is loaded into a large plastic
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cup, the cup is tied to a wooden plank.
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A metal contraption being fitted onto skinny shoulders.
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Samuel grunts with the effort.
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Samuel’s serious face as he checks the apparatus.
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His legs running up the stairs.
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- Lounge room. Samuel’s head pokes out of the basement,
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checking to see if the coast is clear. It is.
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He pushes a key into the basement door, locking it up.
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- Kitchen. Samuel’s skinny legs standing on a chair, his
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top half obscured by an open cupboard door.
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His hand carefully placing the key back on a key rack.
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Samuel peers around the cupboard door, watching for his
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mother. He closes it quick and jumps down out of sight.
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- Bedroom. The arm is still there. Alarm still blaring.
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A crashing sound downstairs. The arm retracts quickly, like
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a crab in a shell. Amelia pops out from under the covers,
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looking like shit. She slaps the alarm off, listening.
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Another crashing sound, a bigger one.
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She leaps out of bed, racing out of the room.
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7 INT. LOUNGE ROOM - MORNING 7
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Amelia reaches the bottom stairs.
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Sam’s catapult covers his body, comes up over his head. At
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the top sits a plastic cup with a cricket ball in it.
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The lounge room is a mess, swords, toy soldiers and other
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‘boy war paraphernalia’ everywhere. The big old tube TV has
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been knocked off its stand and lies on its side.
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Bugsy is in the midst of it, barking, wagging his tail.
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Amelia struggles with all her might to hold her temper.
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SAMUEL
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It’s not broken! It just slipped.
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6.
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She calmly walks to the TV, her movements controlled.
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AMELIA
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(Reasonable)
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I don’t want you using the hammer
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and nails-
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SAMUEL
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Wait look at this! When the monster
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comes in the room-
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AMELIA
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Not inside the house Samuel-
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SAMUEL
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I push down here-
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He pushes down hard, a lever rises and launches the ball.
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AMELIA
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Don’t!
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It smashes a perfect hole in one of the windows.
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Amelia stares at the hole, imploding. Samuel’s face
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crumples with anxiety.
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8 INT. SAMUEL’S ROOM - MORNING 8
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Samuel waves his hands in the air. He has his school
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uniform on finished off by a sparkly magician’s hat.
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Bugsy is jumping up and down and barking.
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SAMUEL
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Nothing in my hands. Nothing in my
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hands.
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Amelia kneels at Sam’s feet trying to do up his laces.
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AMELIA
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Stand still please..
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He does. For three seconds.
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AMELIA
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I don’t want you making weapons
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anymore.
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SAMUEL
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7.
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You have to look at me. Mum? It
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doesn’t work if you-
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She pins him with her gaze.
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AMELIA
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(Gentle)
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This monster thing has got to stop.
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Alright?
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Samuel waves his arms about. Bugsy continues to bark.
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SAMUEL
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Nothing in my hands.
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AMELIA
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(Firmer)
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Samuel?
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POOF! A beautiful bunch of paper flowers pops into Samuel’s
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hands, seemingly out of nowhere.
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Amelia smiles in spite of herself. She takes the paper
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bouquet. Sam touches her cheek very gently. She softens.
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AMELIA
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(Closing her eyes)
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That feels nice.
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Sam hugs her, she hugs him back. He kisses her cheeks,
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grips her tighter and tighter. She hides her annoyance.
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AMELIA
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(Restrained)
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That’s enough now..
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Samuel won’t stop, he hugs her really tight. She recoils.
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AMELIA
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(Snapping)
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Don’t do that!
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Sam stops in his tracks. Amelia immediately looks guilty.
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9 INT. CAR - MORNING 9
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The car is a junk heap, inside and out. Takeaway coffee
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cups, lolly wrappers, plastic containers, kid’s socks.
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Amelia focuses on getting through the traffic. Samuel
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focuses on the back of his mum’s head.
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8.
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SAMUEL
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If I fired nails into its chest,
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would that kill it?
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AMELIA
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(Miles away)
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Kill what?
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SAMUEL
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(Annoyed)
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The monster in my dream.
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AMELIA
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It certainly wouldn’t make it
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happy.
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SAMUEL
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What about if I fired them into its
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head?
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AMELIA
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That’d probably do it.
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SAMUEL
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If I fired them into its chest-
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AMELIA
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Let’s talk about something else,
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alright?
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Samuel looks out the window. Amelia keeps her eyes straight
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ahead. Silence.
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SAMUEL
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(Quiet)
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If I fired them into its eyes, I
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could run away because it’d be
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blinded.
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Amelia stares straight ahead, choosing to ignore him.
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SAMUEL
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Mum?
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10 EXT. SCHOOL ENTRANCE - INT. CAR - MORNING 10
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The decrepit hatchback rolls to a stop, standing out like a
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sore thumb amongst the Mercs and Audis.
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Samuel climbs over the front seat, just to kiss his mum.
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AMELIA
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9.
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Off you go. You’re late already.
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He climbs back over, grabs his bag. It’s really heavy.
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AMELIA
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What have you got in there?
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SAMUEL
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See you later alligator!
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11 INT. CAR - MORNING 11
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Amelia has very upbeat music playing full blast in her car
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bubble. She sings along without inhibition, happy.
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She glances down, notices a small cockroach on her leg. She
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immediately stops singing, sweeps it away in disgust.
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Then straight back into it, singing her heart out.
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12 INT. NURSING HOME - MORNING 12
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An ancient woman’s sleeping face, her mouth hangs open.
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Another very old lady, her head in her shaky hand.
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Cheery music plays in the background. Despite this, the
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atmosphere is funereal.
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An elderly man without his teeth in. He watches Amelia as
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she arrives with a warm smile and two cups of tea.
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AMELIA
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Here you go Ron. Nice cup of tea.
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He takes the tea offered, chewing on his gums absently.
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Amelia moves to the ancient woman, staring into space.
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AMELIA
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(Speaks lovingly, close
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to her ear)
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And one for you Norma, that’s got
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milk in it.
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NORMA
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What?
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AMELIA
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(Still loving)
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10.
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That’s got milk in it.
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NORMA
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(Confused)
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I don’t want milk.
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AMELIA
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(In her ear)
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You said you wanted milk.
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NORMA
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No, I don’t want that.
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AMELIA
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Not to worry, I’ll make you another
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one.
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Amelia gives the befuddled Norma a friendly smile.
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13 INT. NURSING HOME KITCHEN - DAY 13
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Amelia focuses on stacking the dishwasher, serious.
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Robbie, a sweet, slightly chubby (male) nurse enters.
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ROBBIE
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Just where a woman should be, in
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the kitchen.
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Amelia gets the joke, brightens up.
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AMELIA
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(Responding))
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Get to work, woman!
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They laugh. Robbie fills a mug with water and drinks it.
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AMELIA
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Do you want a cuppa?
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ROBBIE
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Nah, I’m heading for the Dementia
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ward.
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AMELIA
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You’ve got a few years before you
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end up there.
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He laughs. Amelia smiles.
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Robbie hovers. Amelia stacks the dishwasher, shy.
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11.
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Robbie eventually puts his cup in the dishwasher and
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leaves.
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Amelia relaxes slightly when he’s gone.
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14 INT. NURSING HOME - AFTERNOON 14
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Amelia is playing ‘colour shape lotto’ at the games table.
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One of the old ladies places a card on the board.
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Pause. Amelia waits very patiently.
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AMELIA
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(Eventually)
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That’s it Larry, your go.
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Pause. He doesn’t put anything down. Pause.
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The woman next to him, head in hand, emits a low wailing
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sound. Amelia politely ignores it.
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AMELIA
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(To Larry)
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Same colour or same shape or both.
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(Beat.)
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I can help you if you like.
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The woman’s wail rises in pitch and volume. The players
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become agitated. Amelia can’t ignore it any longer.
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AMELIA
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(Very patient)
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It’s alright Mrs Winter, you don’t
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have to play. It’s OK.
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The old woman wails like someone being murdered. Amelia
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rubs her back tenderly, hiding every ounce of stress.
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15 INT. WORK KITCHEN - AFTERNOON 15
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Amelia is on her knees with her head inside an empty
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cupboard. She scrubs as if her life depended on it.
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Amelia’s supervisor Beverly arrives, irritated.
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BEVERLY (O.S.)
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Amelia.
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Amelia bumps her head as she backs out.
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12.
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BEVERLY
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(Curt)
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Your son’s school is on the phone.
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Amelia looks worried.
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16 INT. PRINCIPAL’S OFFICE - AFTERNOON 16
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Amelia sits opposite the principal, a tired looking man in
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his 50s, and Sam’s teacher, a dour, middle aged woman. The
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principal is grave, the teacher looks traumatized.
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The principal lays down a sinister contraption made from a
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belt, with some wood, screws and nails attached to it.
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Amelia’s face falls. This is worse than she imagined.
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PRINCIPAL
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This is the home made gun he
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demonstrated in class today. It
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fires off nails.
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AMELIA
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Oh my God. Did he hurt anyone?
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TEACHER
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The nails could have gone right
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into a child’s eye. Or worse.
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Amelia studies the gun, parental shame creeping over her.
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AMELIA
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(Genuine)
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I’m so sorry. I had no idea. I’m
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going to have a serious talk with
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him-
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PRINCIPAL
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Mrs Vanek, we’ve had the talks,
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we’ve had the sessions with the
|
|
counsellor... Miss Bowen can’t have
|
|
the boy in her class anymore
|
|
without supervision, it’s just too
|
|
dangerous.
|
|
(Carefully)
|
|
We’re going to have to employ a
|
|
monitor for him.
|
|
|
|
AMELIA
|
|
A monitor?
|
|
|
|
PRINCIPAL
|
|
13.
|
|
|
|
|
|
He’ll still be in the class, but
|
|
he’ll be separated from the other
|
|
children. The monitor will
|
|
supervise him one on one.
|
|
|
|
AMELIA
|
|
All the time?
|
|
|
|
PRINCIPAL
|
|
Yes...
|
|
|
|
Amelia searches both their faces, becoming desperate.
|
|
|
|
AMELIA
|
|
Please. Samuel won’t cope with
|
|
this. He already feels so
|
|
different.
|
|
|
|
PRINCIPAL
|
|
I understand your concern, but this
|
|
is the only way we can keep him in
|
|
school.
|
|
|
|
AMELIA
|
|
(Desperate)
|
|
I’ll have a talk to him-
|
|
|
|
PRINCIPAL AMELIA
|
|
Mrs Vanek... I’ll have a serious
|
|
talk and I know he’ll settle down.
|
|
|
|
PRINCIPAL
|
|
The boy has significant behavioural
|
|
problems.
|
|
(Beat)
|
|
Miss Bowen and myself realize
|
|
you’ve had a rough trot so we’ve
|
|
tried to be as lenient as we can...
|
|
|
|
Amelia’s vulnerable demeanour shifts, her face tenses.
|
|
|
|
AMELIA
|
|
Sorry?
|
|
|
|
Uncomfortable moment. He treads very carefully.
|
|
|
|
PRINCIPAL
|
|
Sometimes.. boys.. can be very hard
|
|
to handle when there’s no father
|
|
around.
|
|
|
|
AMELIA
|
|
14.
|
|
|
|
|
|
Oh I see. I’m a single mother so I
|
|
can’t look after my child, is that
|
|
right?
|
|
|
|
PRINCIPAL
|
|
No, no that’s not what I meant-
|
|
|
|
AMELIA
|
|
Samuel doesn’t need a full time
|
|
monitor, he needs some
|
|
understanding!
|
|
|
|
TEACHER
|
|
Are you saying I’m not
|
|
understanding?
|
|
|
|
AMELIA
|
|
(Frustrated)
|
|
I’m just saying he needs more care
|
|
at the moment, that’s all!
|
|
|
|
TEACHER
|
|
I have 24 other 1st graders in that
|
|
class! Would you like me to put
|
|
them all at risk for your son?
|
|
|
|
PRINCIPAL TEACHER
|
|
Please, let’s just keep calm here -
|
|
-I’m not a psychologist!
|
|
|
|
Amelia stands, defensive.
|
|
|
|
AMELIA
|
|
You know what? I think it’s best I
|
|
just look for another school.
|
|
|
|
PRINCIPAL
|
|
(Exasperated)
|
|
Mrs Vanek, you can’t just take the
|
|
boy out of school. We’ll have to
|
|
inform Community Services.
|
|
|
|
AMELIA
|
|
You do what you need to do, and
|
|
I’ll find a school that sees my son
|
|
as a human being, not a problem to
|
|
be gotten rid of.
|
|
|
|
PRINCIPAL
|
|
That’s very unfair. We’re only
|
|
trying to help the boy.
|
|
|
|
AMELIA
|
|
15.
|
|
|
|
|
|
Please stop calling him ‘the boy.’
|
|
His name is Samuel.
|
|
|
|
|
|
17 INT. SCHOOL HALLWAY - AFTERNOON 17
|
|
|
|
Amelia spies Samuel sitting with a 7th grader on a bench at
|
|
the end of the hall. She can see he’s been crying. His eyes
|
|
are red and puffy. She approaches, bracing herself.
|
|
|
|
SAMUEL
|
|
(Trying not to cry)
|
|
I wasn’t going to hurt anyone...
|
|
|
|
Amelia crouches down. She chooses her words carefully.
|
|
|
|
AMELIA
|
|
(Very gentle)
|
|
We’re going to have a break from
|
|
school for a little while.
|
|
|
|
Samuel’s face crumbles, his mouth opens wide in a silent
|
|
scream. Then the wail starts up. It’s devastating.
|
|
|
|
Amelia takes his hand and slowly leads him down the hall.
|
|
Her look of helplessness says it all.
|
|
|
|
|
|
18 INT. CAR - AFTERNOON 18
|
|
|
|
AMELIA
|
|
(Trying hard)
|
|
I’m going to buy you a big tub of
|
|
ice cream. What would you like?
|
|
|
|
SAMUEL
|
|
(Finally)
|
|
Miss Bowen hates me.
|
|
|
|
AMELIA
|
|
No she doesn’t. You just need a
|
|
break.
|
|
|
|
Samuel doesn’t respond, just stares out the window.
|
|
|
|
AMELIA
|
|
(Beat.)
|
|
We can see Ruby and Aunty Claire at
|
|
the park today. Would you like
|
|
that?
|
|
|
|
Samuel looks out the window, not responding.
|
|
16.
|
|
|
|
|
|
AMELIA
|
|
You can play on that swing you
|
|
like. For as long as you like. OK?
|
|
|
|
He nods, warming up a little.
|
|
|
|
AMELIA
|
|
Don’t tell Aunty Claire what
|
|
happened. I’ll tell her later...
|
|
|
|
SAMUEL
|
|
Are you gonna stay at home with me
|
|
all the time now Mum?
|
|
|
|
AMELIA
|
|
(Smiling)
|
|
We’ll sort something out.
|
|
|
|
Her smiles sticks, but her eyes look worried.
|
|
|
|
|
|
19 INT. SUPERMARKET CHECKOUT - AFTERNOON 19
|
|
|
|
Amelia has vagued out. The ‘beep beep’ of the register just
|
|
white noise in the background.
|
|
|
|
She sees Samuel performing a magic trick for a little girl
|
|
near the bubble gum dispenser.
|
|
|
|
She pays as quick as she can keeping one eye on her son.
|
|
|
|
The little girl’s mother arrives, looking relieved. Amelia
|
|
rushes to Samuel at the same time.
|
|
|
|
LITTLE GIRL
|
|
Watch this Mummy!
|
|
|
|
SAMUEL
|
|
(Preparing)
|
|
I can do it again!
|
|
|
|
The mother and Amelia register each other, smiling.
|
|
|
|
AMELIA
|
|
No Samuel, don’t bother the lady.
|
|
|
|
MOTHER
|
|
(To her daughter)
|
|
We’ve got to get home and see
|
|
Daddy, haven’t we?
|
|
|
|
The mother smiles at Samuel.
|
|
17.
|
|
|
|
|
|
SAMUEL
|
|
My Dad’s in the cemetery.
|
|
|
|
The woman’s face drops. Amelia tenses.
|
|
|
|
SAMUEL
|
|
He got killed driving Mum to the
|
|
hospital to have me --
|
|
|
|
AMELIA
|
|
Samuel!
|
|
(To woman)
|
|
I’m sorry he just..
|
|
|
|
MOTHER
|
|
Oh, that’s.. I...
|
|
(To Samuel)
|
|
Well, isn’t your Mum lucky to have
|
|
you then!
|
|
|
|
She practically runs off, clutching her child’s hand.
|
|
Amelia watches them leave, embarrassed, sad.
|
|
|
|
|
|
20 EXT. PARK - AFTERNOON 20
|
|
|
|
Samuel climbs up onto the swing seat, looks to his mum.
|
|
|
|
Amelia sits on a bench with her younger sister CLAIRE, a
|
|
‘young professional’, immaculately groomed. Claire’s 5 YO
|
|
daughter RUBY plays close to her mum, a total princess.
|
|
|
|
Amelia watches Samuel, massaging her jaw, preoccupied.
|
|
|
|
CLAIRE
|
|
The artist was so drunk he vomited
|
|
right in front of his own
|
|
installation. We lost all these
|
|
sales. Robert was beside himself...
|
|
(Beat)
|
|
You’re not listening.
|
|
|
|
AMELIA
|
|
(Snapping to)
|
|
No no I am listening, you lost all
|
|
these sales. What happened then?
|
|
|
|
SAMUEL (O.S.)
|
|
MUM!
|
|
|
|
The women look up at Samuel.
|
|
|
|
SAMUEL
|
|
18.
|
|
|
|
|
|
I’m gonna jump on the monster and
|
|
break it in HALF! Watch...
|
|
|
|
He leaps. Amelia feigns interest, massaging her jaw.
|
|
|
|
CLAIRE
|
|
Is that tooth still playing up?
|
|
|
|
Amelia immediately stops massaging.
|
|
|
|
CLAIRE
|
|
(Irritated)
|
|
Go to the dentist.
|
|
|
|
AMELIA
|
|
Two thousand dollars later...
|
|
|
|
CLAIRE
|
|
Do you need to borrow some money?
|
|
|
|
AMELIA
|
|
(Bright)
|
|
No, no it’s fine. I just need a
|
|
good night’s sleep.
|
|
|
|
CLAIRE
|
|
Ruby don’t play there sweetie it’s
|
|
wet.
|
|
|
|
Ruby stands up and smooths her skirt down perfectly.
|
|
|
|
AMELIA
|
|
(Tentative)
|
|
I was going to ask you for one
|
|
favour.. I completely forgot
|
|
there’s a pupil free day tomorrow.
|
|
Would you be able to look after
|
|
Samuel for the day?
|
|
|
|
CLAIRE
|
|
The whole day?
|
|
|
|
AMELIA
|
|
I can’t get out of work.
|
|
|
|
Claire hesitates for more than a moment.
|
|
|
|
AMELIA CLAIRE
|
|
(Bright)
|
|
That’s OK, I’ll ..... Don’t be
|
|
stupid you organize something else.
|
|
dag. I can just put on a DVD for
|
|
him or something.
|
|
19.
|
|
|
|
|
|
SAMUEL
|
|
I can jump from here and smash its
|
|
head!
|
|
|
|
He’s climbed up higher, jumps, does a forward roll, gets
|
|
straight up to punch the air. Claire is unimpressed.
|
|
|
|
AMELIA
|
|
(To Sam)
|
|
Be careful.
|
|
(Beat.)
|
|
What would you like me to do for
|
|
Wednesday? I can get their birthday
|
|
cakes, that’s easy.
|
|
|
|
CLAIRE
|
|
Meels.... I’ve wanted to tell you.
|
|
I was hoping Ruby would change her
|
|
mind...
|
|
|
|
Beat. Amelia waits for the bad news.
|
|
|
|
CLAIRE
|
|
(Sheepish)
|
|
She doesn’t want a joint party with
|
|
Sam this year. It’s stupid I know,
|
|
their birthdays are so close.
|
|
|
|
AMELIA
|
|
(Taken aback)
|
|
Oh...
|
|
|
|
CLAIRE
|
|
She wants her own birthday cake,
|
|
her own party games. She wants a
|
|
princess party.
|
|
|
|
AMELIA
|
|
That’s OK. We don’t have to come.
|
|
|
|
CLAIRE
|
|
(Gentle)
|
|
You can still come, stupid. She
|
|
just doesn’t want to share the day
|
|
with Sam anymore, that’s all...
|
|
|
|
AMELIA
|
|
I understand. A little girl needs
|
|
to feel special on her birthday..
|
|
|
|
Pause.
|
|
|
|
CLAIRE
|
|
20.
|
|
|
|
|
|
Now I feel bad.
|
|
|
|
AMELIA
|
|
You shouldn’t feel bad!
|
|
(Lying)
|
|
I’m sure Sam will be OK with it-
|
|
|
|
SAMUEL
|
|
Mum, I can go really high!
|
|
|
|
They clock him briefly. Samuel climbs higher than before.
|
|
|
|
CLAIRE
|
|
Maybe you want to celebrate his
|
|
birthday properly this year anyway.
|
|
On the day. You’ve still got two
|
|
weeks to plan it.
|
|
|
|
AMELIA
|
|
(Tense smile)
|
|
We’ll think of something.
|
|
|
|
Samuel climbs up to the very top. The women don’t notice.
|
|
|
|
CLAIRE
|
|
(Annoyed)
|
|
You know Amelia, I just want you to
|
|
be happy, then this birthday thing
|
|
rolls around and I end up feeling
|
|
awful.
|
|
|
|
Samuel climbs higher and higher. They still don’t see.
|
|
|
|
AMELIA
|
|
I don’t want you to feel awful
|
|
Claire. We’ll be fine. We’ll be
|
|
absolutely fine.
|
|
|
|
SAMUEL
|
|
MUM! LOOK AT ME!
|
|
|
|
The women finally look. Samuel is on the top of the swing
|
|
with his arms outstretched. He must be 8 feet high.
|
|
|
|
Amelia springs to her feet, frightened.
|
|
|
|
AMELIA
|
|
SAMUEL!!
|
|
|
|
|
|
21 INT. CAR - AFTERNOON 21
|
|
|
|
Amelia grips the wheel. Samuel in the background, crying.
|
|
21.
|
|
|
|
|
|
Amelia makes a conscious effort to not react. Her jaw
|
|
tightens as her son’s cries get louder and louder.
|
|
|
|
|
|
22 EXT. AMELIA’S FRONT YARD - AFTERNOON 22
|
|
|
|
Samuel trudges up the path to their crumbling, falling down
|
|
old terrace. His face is tear stained.
|
|
|
|
Amelia stops at the letter box. A bunch of bills, one has
|
|
FINAL NOTICE written on the outside. She throws them in her
|
|
bag without opening them.
|
|
|
|
Mrs Roach, a sweet elderly neighbour, waters her azaleas.
|
|
Her hands shake with Parkinsons disease.
|
|
|
|
MRS ROACH
|
|
(Smiling)
|
|
Who do we have here!
|
|
|
|
SAMUEL
|
|
(Downbeat)
|
|
Hello Mrs Roach.
|
|
|
|
MRS ROACH
|
|
You look tired little one, have you
|
|
been in the wars today?
|
|
|
|
SAMUEL
|
|
Yeah. Few wars.
|
|
|
|
He has the keys in hand, he unlocks and opens the door.
|
|
Bugsy comes rushing out the door, jumping up on Samuel. Sam
|
|
crouches down to hug the dog, then goes inside.
|
|
|
|
AMELIA
|
|
(Cheery, covering)
|
|
He’s had a big day that’s all, he’s
|
|
just exhausted.
|
|
|
|
MRS ROACH
|
|
Poor little one...
|
|
|
|
Bugsy comes rushing up to Amelia, she picks him up, cuddles
|
|
him affectionately.
|
|
|
|
MRS ROACH
|
|
You look tired too love, are you
|
|
OK?
|
|
|
|
AMELIA
|
|
Nothing that 5 years of sleep
|
|
wouldn’t fix!
|
|
22.
|
|
|
|
|
|
(Upbeat.)
|
|
No, I’m fine, work’s pretty busy..
|
|
(Changing the subject)
|
|
I’ll take out the rubbish for you
|
|
Gracie.
|
|
|
|
MRS ROACH
|
|
You just got in pet. You have a
|
|
break.
|
|
|
|
AMELIA
|
|
No no, I’ll do it now and then it’s
|
|
done.
|
|
|
|
|
|
23 EXT. FRONT OF MRS ROACH’S HOUSE - AFTERNOON 23
|
|
|
|
Amelia drags out two very full and heavy OTTO bins.
|
|
|
|
Mrs Roach watches, smiling, her hand shakes at her side.
|
|
|
|
MRS ROACH
|
|
Oh! You’re an absolute angel.
|
|
|
|
Amelia smiles, completely masking the events of the day.
|
|
|
|
|
|
24 INT. LOUNGE ROOM - AFTERNOON 24
|
|
|
|
Amelia sees Bugsy scratching at the basement door. She
|
|
freezes, watching him.
|
|
|
|
Bugsy spots Amelia and scurries to her. She picks him up.
|
|
|
|
Amelia looks at the door, her face strained. Pause.
|
|
|
|
In a sudden move she strides over and checks the handle.
|
|
It’s locked. Relieved, she wanders out snuggling Bugsy.
|
|
|
|
|
|
25 INT. KITCHEN TABLE - EVENING 25
|
|
|
|
Dinner in silence. Amelia studies Sam.
|
|
|
|
He shovels food in weakly, his face tired and sad. He looks
|
|
up to his mum, manages a smile.
|
|
|
|
She smiles back. It fades as soon as he looks away,
|
|
replaced with worry.
|
|
|
|
|
|
26 INT. SAMUEL’S ROOM - NIGHT 26
|
|
23.
|
|
|
|
|
|
POV under the bed. The doona comes up, Amelia and Samuel’s
|
|
faces peering underneath.
|
|
|
|
Black. Closet POV as the doors open. Amelia and Samuel do
|
|
their nightly routine check for monsters.
|
|
|
|
AMELIA
|
|
(Bright)
|
|
OK?
|
|
|
|
Samuel nods, but looks nervous. He has his pyjamas on, his
|
|
hair is washed and combed to the side. Very cute.
|
|
|
|
AMELIA
|
|
You can choose one tonight.
|
|
Anything you like.
|
|
|
|
He races to the bookshelf, searching through many books.
|
|
|
|
One catches his eye. The spine reads MISTER BABADOOK in
|
|
bold, black letters. He pulls it out, runs to mum.
|
|
|
|
She takes a look at the cover: a black silhouette of a
|
|
figure in a coat and top hat. It looks a little strange.
|
|
|
|
AMELIA
|
|
(Bemused)
|
|
Where’d you get this?
|
|
|
|
SAMUEL
|
|
On the shelf.
|
|
|
|
He jumps up, opens the book.
|
|
|
|
AMELIA
|
|
(Reads)
|
|
'If it’s in a word, or it’s in a
|
|
look, you can’t get rid of The
|
|
Babadook.’
|
|
|
|
It’s a pop up book. Looks like it could even be hand made.
|
|
|
|
Amelia turns the page.
|
|
|
|
A pair of black eyes peep out from behind a door, a tall
|
|
black top hat perched on top. It looks funny.
|
|
|
|
AMELIA
|
|
‘If you’re a really clever one, and
|
|
you know what it is to see... Then
|
|
you can make friends with a special
|
|
one, a friend of you and me.’
|
|
24.
|
|
|
|
|
|
Amelia pulls a lever, a black gloved hand pops out from
|
|
behind the door, waving hello. Samuel’s face lights up.
|
|
|
|
AMELIA
|
|
‘His name is Mister Babadook. And
|
|
this is his book.’
|
|
|
|
The book is beautifully done, but somehow creepy.
|
|
|
|
AMELIA
|
|
We might read another one tonight,
|
|
hey?
|
|
|
|
SAMUEL
|
|
(Turns the page)
|
|
You said I could choose.
|
|
|
|
A little boy next to a big wardrobe, his hand to his ear.
|
|
The words ‘RUMBLE RUMBLE RUMBLE’ are written around him.
|
|
|
|
AMELIA
|
|
A rumbling sound, then 3 sharp
|
|
knocks. ‘ba BA-ba DOOK! DOOK!
|
|
DOOK!’ That’s when you’ll know that
|
|
he’s around, you’ll see him if you
|
|
look.
|
|
|
|
Amelia pulls a lever. The words Ba BA-ba DOOK! DOOK! DOOK!
|
|
pop up. Samuel quickly turns the page.
|
|
|
|
Mr Babadook in his full form. A black top hat, a long black
|
|
coat, pointy black gloves. The face is a mask, staring
|
|
eyes, mouth smiling widely, more like a scream.
|
|
|
|
AMELIA
|
|
(Wary)
|
|
This is what he wears on top. He’s
|
|
funny, don’t you think?
|
|
|
|
Creepy more like it. Amelia turns the page, very wary.
|
|
|
|
AMELIA
|
|
‘See him in your room at night
|
|
(reads to herself)
|
|
and you won’t sleep a wink.’
|
|
|
|
Mister Babadook falls from the ceiling towards the boy. The
|
|
speech bubble reads ‘LET ME IN!’ The boy screams. The image
|
|
is very disturbing. Samuel is instantly frightened.
|
|
|
|
Amelia hides the book from Sam, skimming it for herself,
|
|
concerned. He struggles with her, trying to see it.
|
|
25.
|
|
|
|
|
|
SAMUEL
|
|
Does it hurt the boy? Mum??
|
|
|
|
A black silhouette of the Babadook raising its arms like
|
|
big insect wings. It looks freaky.
|
|
|
|
SAMUEL
|
|
(Getting scared)
|
|
Where does it live? ‘I’ll soon take
|
|
off my funny disguise
|
|
(Take heed of what you’ve
|
|
read...)
|
|
|
|
SAMUEL (O.S.)
|
|
(Anxiety rising to fever
|
|
pitch)
|
|
Does it live under the bed?? Mum??
|
|
|
|
‘And once you see what’s underneath..’
|
|
|
|
SAMUEL
|
|
(Starting to cry)
|
|
Mummy.....
|
|
|
|
She turns the page. Just black text on a white page..
|
|
‘YOU’RE GOING TO WISH YOU WERE DEAD.’
|
|
|
|
She shuts the book quickly as Samuel’s cries escalate.
|
|
|
|
|
|
27 INT. SAMUEL’S ROOM - NIGHT 27
|
|
|
|
Amelia patiently reads another story to Samuel who has his
|
|
arms wrapped around her waist, howling with fear.
|
|
|
|
- A while later.
|
|
|
|
Amelia lies on her side, staring blankly at the large teak
|
|
wardrobe opposite Sam’s bed. The doors are shut. Moonlight
|
|
plays across it, making it look almost alive.
|
|
|
|
Samuel is finally asleep. He scrunches her ear in his
|
|
sleep.
|
|
|
|
She lets him do it, too exhausted to resist.
|
|
|
|
|
|
28 INT. AMELIA’S BEDROOM - NIGHT 28
|
|
|
|
Amelia opens the Babadook book. The Babadook drops from the
|
|
ceiling, the speech bubble ‘LET ME IN’ pops up.
|
|
26.
|
|
|
|
|
|
She flips the page. The silhouette of the Babadook raising
|
|
its ‘wings.’ ‘And once you see what’s underneath’ She turns
|
|
the page. ‘YOU’RE GOING TO WISH YOU WERE DEAD.’ She
|
|
hurriedly turns to the next page. It’s blank.
|
|
|
|
Then the page after and the one after that, all blank. She
|
|
searches for publishing markings. There aren’t any.
|
|
|
|
- Later. Amelia stands on a stool reaching up to top of her
|
|
wardrobe, book in hand. She shoves the book back as far as
|
|
it will go, out of the reach of little hands.
|
|
|
|
|
|
29 INT. LOUNGE ROOM - LATE NIGHT 29
|
|
|
|
The TV flickers, lighting up a dreary room. Amelia stares
|
|
at it, comatose. The rest of the house is in darkness.
|
|
|
|
Bugsy is curled up in Amelia’s lap. There’s a large empty
|
|
chip packet beside her. She’s now onto the chocolate.
|
|
|
|
On the TV: a sexy young girl in a low cut dress nibbles
|
|
some chocolate. A handsome, muscly young guy watches her.
|
|
|
|
Amelia nibbles her chocolate, vagued out. She flicks the
|
|
channel.
|
|
|
|
An ad for phone porn, young girls with their private parts
|
|
covered by ‘stars.’
|
|
|
|
She changes it quickly, this time resting on a love scene
|
|
from an old black and white Hollywood movie.
|
|
|
|
Amelia opens and closes her jaw, massaging the hinge joint,
|
|
a longing in her eyes as the lovers kiss. She turns it off,
|
|
plunging the room into eerie darkness.
|
|
|
|
|
|
30 INT. HALLWAY - LATE NIGHT 30
|
|
|
|
The old house is completely dark. The stairs creak as
|
|
Amelia climbs them.
|
|
|
|
She closes the door on Bugsy. He hangs around outside.
|
|
|
|
|
|
31 INT. AMELIA’S BEDROOM - SAMUEL’S ROOM - LATE NIGHT 31
|
|
|
|
- Amelia’s room. A sewing basket in Amelia’s hands. She
|
|
takes off a top layer of fabric, then a layer of thread.
|
|
Finally she pulls out a vibrator hiding underneath.
|
|
27.
|
|
|
|
|
|
She takes a look at the door then jumps into bed. The room
|
|
is dark, just a sliver of light through the windows.
|
|
|
|
Amelia reaches under the doona, wriggling around. She
|
|
throws her undies on the floor, determination on her face.
|
|
A hum begins, she closes her eyes.
|
|
|
|
- Samuel’s room. He’s having a nightmare, breathing fast.
|
|
His eyes open suddenly. He peeks out over the doona.
|
|
|
|
The doors of the wardrobe opposite are wide open, a yawning
|
|
blackness inside.
|
|
|
|
Samuel cranes his neck to peer in, terrified. He throws
|
|
himself back under the covers, disappearing completely.
|
|
|
|
- Amelia’s room. Amelia’s flushed face pops out from under
|
|
the covers, trying to bring on arousal, almost forcing it.
|
|
|
|
The room seems alive, shadows threaten.
|
|
|
|
- Samuel’s room. Samuel’s pulls a slingshot and some metal
|
|
pellets from under his mattress. He sits up, loads the
|
|
weapon, then aims it at the wardrobe, not breathing.
|
|
|
|
- Amelia’s room. Amelia is about to orgasm, a pained look
|
|
on her face. She holds off for as long as she can.
|
|
|
|
Her door creaks opens, but she doesn’t see. A creepy shadow
|
|
drops to the floor and disappears. Her breathing is very
|
|
deep, she’s almost there..
|
|
|
|
The shadow jumps up on the bed. Amelia yells in fright.
|
|
|
|
It’s Samuel. Amelia turns off the vibrator, flings it under
|
|
the bed. Bugsy runs and jumps on the bed too.
|
|
|
|
AMELIA
|
|
(Flushed, confused)
|
|
What!
|
|
|
|
SAMUEL
|
|
It’s in my room!
|
|
|
|
AMELIA
|
|
What??
|
|
|
|
SAMUEL
|
|
The Babadook!
|
|
|
|
Amelia registers what’s happening, shaking her head.
|
|
28.
|
|
|
|
|
|
AMELIA
|
|
Oh no no no. This is not going to
|
|
happen!
|
|
|
|
SAMUEL
|
|
The closet doors were closed and
|
|
now they’re wide open!
|
|
|
|
Amelia calms herself down, fighting her agitation.
|
|
|
|
AMELIA
|
|
Sam, a book is a book. It can’t
|
|
hurt you.
|
|
|
|
Samuel looks sheepish.
|
|
|
|
AMELIA
|
|
You’ve had a huge day, you’re
|
|
exhausted.
|
|
|
|
She grabs the doona and throws it over the both of them,
|
|
hugging Samuel to her, stiffly. She pats him on the back.
|
|
|
|
Initially he struggles, but slowly, slowly calms down.
|
|
|
|
Finally, silence. He rolls over to look at his mum.
|
|
|
|
SAMUEL
|
|
(Loving)
|
|
I don’t want anything bad to happen
|
|
to you Mum.
|
|
|
|
AMELIA
|
|
Nothing bad’s going to happen to me
|
|
Sam.
|
|
|
|
SAMUEL
|
|
I’m gonna protect you.
|
|
|
|
He touches her face. She closes her eyes, submerging her
|
|
resentment, bringing herself back down to earth.
|
|
|
|
|
|
32 INT. SHOTS OF HOUSE INTERIOR - DEAD OF NIGHT 32
|
|
|
|
The kitchen is dark and empty. Mess everywhere.
|
|
|
|
The lounge room is empty too, it feels spooky.
|
|
|
|
Not a soul in the hall. The old house is entirely still.
|
|
29.
|
|
|
|
|
|
33 INT. AMELIA’S BEDROOM - DEAD OF NIGHT - MORNING 33
|
|
|
|
Amelia sits up in bed, unable to sleep. She’s reading ‘The
|
|
Artist’s Way’, her eyes hanging out of her head. Samuel is
|
|
curled up beside her, fast asleep.
|
|
|
|
She hears a distant sound, like someone running around
|
|
downstairs. The noise concerns her. She listens for more.
|
|
|
|
Dead silence. Eventually, she returns to her book.
|
|
|
|
Another sound downstairs, a bit louder this time. Amelia
|
|
waits to hear more. Troubled.
|
|
|
|
Nothing.
|
|
|
|
She shuts her book, and pulls the doona over her head, over
|
|
Samuel’s too, a little unnerved.
|
|
|
|
Amelia studies her son’s sleeping face under the covers,
|
|
trying to gain some comfort from it.
|
|
|
|
The image of her face ‘speeds up’ as she drifts off to
|
|
sleep, it twitches and moves in fast motion as she sleeps
|
|
her way through the fastest night ever. She opens her eyes,
|
|
still under the doona.
|
|
|
|
SAMUEL
|
|
Mum! It’s nine o’clock.
|
|
|
|
She hurls the covers off to find the alarm blaring away.
|
|
She looks at the time. It is indeed 9 am.
|
|
|
|
She reaches for her mobile phone, on silent. There are five
|
|
missed calls. She checks the last one. The word ‘work’
|
|
flashes up on the screen. She springs out of bed.
|
|
|
|
|
|
34 EXT. OUTSIDE THE HOUSE - MORNING 34
|
|
|
|
Amelia juggles her bag, her keys, Samuel’s things and talks
|
|
on the mobile all at once.
|
|
|
|
AMELIA
|
|
He’s not running a fever anymore...
|
|
My sister’s going to take him.
|
|
|
|
Samuel sneaks past with his catapult. Amelia catches him.
|
|
|
|
AMELIA
|
|
(Covering the phone)
|
|
Put it back.
|
|
30.
|
|
|
|
|
|
Samuel kicks up a fuss.
|
|
|
|
AMELIA
|
|
Put it back or it’s going in the
|
|
bin.
|
|
|
|
Samuel’s shoulders slump, he takes it back inside.
|
|
|
|
AMELIA
|
|
(Back to the phone)
|
|
I’m sorry I couldn’t get to the
|
|
phone, he was throwing up.... No
|
|
worries, see you very soon.
|
|
|
|
She hangs up.
|
|
|
|
AMELIA
|
|
No monster talk at Aunty Claire’s
|
|
alright?
|
|
|
|
Samuel sulks, walking down the path, ignoring her. She runs
|
|
after him and grabs him.
|
|
|
|
AMELIA
|
|
Samuel. No Babadook, no nothing.
|
|
Alright?
|
|
|
|
Samuel gives her a nod. She wins.
|
|
|
|
|
|
35 EXT. OUTSIDE CLAIRE’S HOUSE - MORNING 35
|
|
|
|
Amelia carts Samuel’s things up the long driveway. She
|
|
spots Claire waiting out the front of her semi-mansion.
|
|
|
|
CLAIRE
|
|
What have you been doing?
|
|
|
|
AMELIA
|
|
Sorry.
|
|
|
|
Samuel runs up behind her.
|
|
|
|
CLAIRE
|
|
Day off school hey?
|
|
|
|
SAMUEL
|
|
I’m not allowed back at school
|
|
anymore. My teacher can’t stand me.
|
|
|
|
AMELIA
|
|
That’s not true!
|
|
31.
|
|
|
|
|
|
SAMUEL
|
|
She told me! In front of the class!
|
|
|
|
Claire looks to her sister who can’t look back.
|
|
|
|
CLAIRE
|
|
Is there a pupil free day today?
|
|
|
|
AMELIA
|
|
(Low voice)
|
|
I didn’t want to talk about it in
|
|
front of the kids.
|
|
|
|
CLAIRE
|
|
So you lie to your sister. That’s
|
|
nice.
|
|
|
|
AMELIA
|
|
I just can’t deal with it this
|
|
morning. Please, I never ask you to
|
|
look after him-
|
|
|
|
Samuel is showing Ruby some DVDs he has and is making
|
|
explosion noises near her face. She flinches.
|
|
|
|
CLAIRE
|
|
Be gentle, will you Samuel?
|
|
|
|
AMELIA
|
|
Thanks so much for this. I’ll be
|
|
back at three on the dot.
|
|
|
|
|
|
36 INT. NURSING HOME COMMON ROOM - DAY 36
|
|
|
|
Amelia has a microphone in one hand and a plastic bucket
|
|
with bingo numbers in the other. She looks frazzled.
|
|
|
|
The oldies are scattered on various tables. Most aren’t
|
|
listening, a few are asleep, some have their numbers out.
|
|
|
|
Upbeat musak plays in the background.
|
|
|
|
AMELIA
|
|
Aaaannd, it’s number eleven! Who
|
|
has number 11? Legs eleven?
|
|
|
|
No one responds.
|
|
|
|
AMELIA
|
|
OK, let’s try another one...
|
|
|
|
She reaches in.
|
|
32.
|
|
|
|
|
|
AMELIA
|
|
88? Number 88? Two fat ladies?
|
|
|
|
After a long time one dedicated player holds up her hand.
|
|
|
|
AMELIA
|
|
Good Elsie. Another few days and
|
|
someone should be able to call
|
|
‘bingo.’
|
|
|
|
No one gets the joke. She reaches for another number.
|
|
|
|
AMELIA
|
|
Number 69? Not too much of that
|
|
going on in here...
|
|
|
|
No one claims the number. Amelia pulls out another one.
|
|
|
|
AMELIA
|
|
The next number is 5 billion.
|
|
Anyone got that? How about 75
|
|
gazillion, anyone got that one?
|
|
|
|
Some of the sharper members of the crowd look confused.
|
|
|
|
Beverly pokes her head around the corner. She gives Amelia
|
|
a disapproving look.
|
|
|
|
Amelia shuts up immediately. The musak keeps going.
|
|
|
|
|
|
37 INT. NURSING HOME KITCHEN - DAY 37
|
|
|
|
Amelia has her head in her hand, her eyes closed.
|
|
|
|
Robbie enters. She springs out of her contemplation.
|
|
|
|
ROBBIE
|
|
Beverly’s not impressed with you
|
|
having a sense of humour.
|
|
(Beat.)
|
|
Are you alright?
|
|
|
|
AMELIA
|
|
(Bright as she can)
|
|
Yeah yeah, I’m fine. So how, how
|
|
are you?
|
|
|
|
ROBBIE
|
|
You don’t have to be fine you know.
|
|
|
|
Amelia smiles, caught out. She drops her guard a little.
|
|
33.
|
|
|
|
|
|
AMELIA
|
|
I am a bit stressed at the moment.
|
|
|
|
ROBBIE
|
|
Why don’t you go home? Old cranky
|
|
bitch is going after lunch. I’ll
|
|
cover for you.
|
|
|
|
AMELIA
|
|
You’d do that?
|
|
(Beat)
|
|
You can have my pay-
|
|
|
|
ROBBIE
|
|
Don’t be ridiculous.
|
|
(Beat)
|
|
You’ve got a sick kid. Life’s too
|
|
short.
|
|
|
|
AMELIA
|
|
(Smiling)
|
|
You’re so sweet Robbie.
|
|
|
|
He gives her a friendly touch on the shoulder, then drops
|
|
his arm, but stays close. Amelia shifts in her seat.
|
|
|
|
Robbie touches her hand. Amelia pulls it away like she’s
|
|
touched a burning stove. They’re both embarrassed.
|
|
|
|
AMELIA
|
|
Sorry-
|
|
|
|
ROBBIE
|
|
I’m an idiot.
|
|
|
|
AMELIA
|
|
No, no, you’re not an idiot. Not at
|
|
all..
|
|
|
|
ROBBIE
|
|
(Nervous)
|
|
We should do something sometime.
|
|
|
|
AMELIA
|
|
(Tense)
|
|
Yeah sure. I’ve got a bit on my
|
|
plate at the moment, but we could
|
|
have a cuppa sometime or-
|
|
|
|
ROBBIE
|
|
That’d be great. Maybe I can come
|
|
round-
|
|
34.
|
|
|
|
|
|
AMELIA
|
|
Yeah. Or go out. Maybe later,
|
|
sometime.
|
|
|
|
ROBBIE
|
|
Great!
|
|
|
|
It’s almost too much for Amelia. Robbie senses it.
|
|
|
|
ROBBIE
|
|
You go... Say hello to Sam for me.
|
|
|
|
AMELIA
|
|
I will...
|
|
|
|
|
|
38 INT. LARGE INDOOR SHOPPING CENTRE - MONTAGE - DAY 38
|
|
|
|
- Amelia wanders aimlessly looking at the life teeming
|
|
around her. A comforting distraction.
|
|
|
|
- Amelia sits on a bench eating an ice cream.
|
|
|
|
She notices an adorable baby girl at the end of the bench
|
|
sitting on her mum’s lap. The mum tickles the little girl’s
|
|
tummy. She bursts into peals of laughter.
|
|
|
|
Amelia connects with the mother, they share a warm smile.
|
|
|
|
The mother focuses back on her child. Amelia’s smile drops
|
|
slowly, sadness replacing it.
|
|
|
|
|
|
39 INT. UNDERCOVER CAR PARK - DAY 39
|
|
|
|
Amelia gets into her car. She sees a man and a woman
|
|
kissing in their car, opposite her. She doesn’t want to
|
|
look, but the passion of their embrace draws her in.
|
|
|
|
The man whispers in the woman’s ear. She laughs, kissing
|
|
him softly, then deeply, open mouthed.
|
|
|
|
Amelia watches, yearning, immeasurably sad.
|
|
|
|
The couple break apart. They happen to look her way.
|
|
|
|
Amelia looks down, not wanting to be seen. She rummages
|
|
through her bag, happens to look at her mobile. 10 missed
|
|
calls. She checks the sender. It’s her sister.
|
|
|
|
|
|
40 EXT. OUTSIDE CLAIRE’S HOUSE - AFTERNOON 40
|
|
35.
|
|
|
|
|
|
Amelia arrives to a ‘scene’. Ruby is bawling, clinging to
|
|
her mother. Samuel is curled up in a ball on the lawn,
|
|
stressed and frightened. Claire’s face is a hard mask.
|
|
|
|
CLAIRE
|
|
Where have you been! You weren’t at
|
|
work, I’ve rung you a million
|
|
times!
|
|
|
|
AMELIA
|
|
(Bracing herself)
|
|
What happened?
|
|
|
|
CLAIRE
|
|
He’s just scared the crap out of
|
|
Ruby.
|
|
|
|
The little girl cries, her mother gently shushes her.
|
|
|
|
Amelia looks at Samuel. He’s spooked.
|
|
|
|
CLAIRE
|
|
He insisted on talking to this
|
|
bloody Babadook thing, all day.
|
|
Just talking to the air. It even
|
|
freaked me out.
|
|
|
|
AMELIA
|
|
I’m so sorry.
|
|
|
|
CLAIRE
|
|
You need to get him to see someone
|
|
Amelia. It’s not normal.
|
|
|
|
AMELIA
|
|
(Quietly)
|
|
If you don’t want him here for
|
|
Ruby’s party I understand.
|
|
|
|
CLAIRE
|
|
Don’t be stupid. I just don’t want
|
|
to have to deal with this monster
|
|
crap-
|
|
|
|
SAMUEL
|
|
(From the other side of
|
|
the lawn, angry)
|
|
IT’S NOT CRAP, IT’S REAL!
|
|
|
|
AMELIA
|
|
Don’t talk to Aunty Claire like
|
|
that!
|
|
36.
|
|
|
|
|
|
She strides over. He puts his hands in his pockets, grabs
|
|
something and throws it at the cement in front of her. It
|
|
explodes with a bang. The women are stunned.
|
|
|
|
|
|
41 INT. CAR - AFTERNOON 41
|
|
|
|
Amelia grips the wheel, tense. Her eyes flick between
|
|
traffic and son in the back seat.
|
|
|
|
AMELIA
|
|
Where did you get those
|
|
firecrackers?
|
|
|
|
SAMUEL
|
|
You got them for me on the
|
|
Internet.
|
|
|
|
AMELIA
|
|
Well that’s the end of the
|
|
Internet.
|
|
|
|
Samuel sighs. Amelia tries a much gentler approach.
|
|
|
|
AMELIA
|
|
(Reasoning)
|
|
If you keep talking to things that
|
|
aren’t real, Aunty Claire won’t
|
|
want you to come over anymore.
|
|
(Beat.)
|
|
Samuel?
|
|
|
|
No answer. Just stubborn silence.
|
|
|
|
AMELIA
|
|
If the Babadook was real, we’d see
|
|
it right now, wouldn’t we?
|
|
|
|
SAMUEL
|
|
It wants to make us really scared
|
|
first. Then you’ll see it.
|
|
|
|
AMELIA
|
|
Well I’m not scared.
|
|
|
|
SAMUEL
|
|
You will be when it creeps into
|
|
your room at night.
|
|
|
|
AMELIA
|
|
(Civil)
|
|
That’s enough-
|
|
37.
|
|
|
|
|
|
SAMUEL
|
|
You will be when it eats your
|
|
insides.
|
|
|
|
AMELIA
|
|
(Suddenly)
|
|
I’ve decided you’re not having your
|
|
birthday with Ruby this week. No
|
|
cake, no games, that’s the end of
|
|
it.
|
|
|
|
Samuel is crushed. Amelia keeps her eyes on the road, grips
|
|
the steering wheel, her knuckles turning white.
|
|
|
|
|
|
42 INT. KITCHEN - BASEMENT - INTERCUT - EVENING 42
|
|
|
|
- Kitchen. A pot of soup boils away on the stove.
|
|
|
|
Amelia stirs, focusing on the task. She looks up, and can
|
|
just see Mrs Roach sitting in her lounge opposite, watching
|
|
TV. The sight comforts her. She smiles, relaxes.
|
|
|
|
- Basement. Samuel’s sparkly gloves clapping together.
|
|
|
|
Stuffed toys all lined up in a row. At the end of the line,
|
|
a photo of Amelia with her husband, OSKAR. They have their
|
|
arms around each other, smiling.
|
|
|
|
SAMUEL (O.S.)
|
|
Laayydees and gentlemehhhn! Mum and
|
|
dad!
|
|
|
|
Samuel has his magician outfit on, sparkly coat and hat.
|
|
|
|
SAMUEL
|
|
Life is not always as it seems. It
|
|
can be a wonderrus thing..
|
|
|
|
He does a quick magic trick. It’s good, he’s got a knack.
|
|
|
|
Bugsy is close by, sniffing around.
|
|
|
|
SAMUEL
|
|
But it can also be very
|
|
trecheruss...
|
|
|
|
He throws two firecrackers onto the ground. They explode.
|
|
|
|
Bugsy is spooked and hightails it up the stairs.
|
|
|
|
SAMUEL
|
|
38.
|
|
|
|
|
|
(Talking to something we
|
|
can’t see)
|
|
Don’t worry dad, I’m gonna save
|
|
Mum. I’m gonna trap the Babadook
|
|
like this..
|
|
|
|
He runs to the stairs, and pulls on a rope. It tightens
|
|
across the stairs like a trip wire.
|
|
|
|
- Kitchen. Amelia sees Bugsy push open the basement door
|
|
and run through it. She’s shocked to see that door open.
|
|
|
|
- Basement.
|
|
|
|
SAMUEL
|
|
When he’s trapped I’m gonna KILL
|
|
HIM!
|
|
|
|
A newly made nail gun is strapped to his skinny leg. He
|
|
fires it off. Nails fly through the air like tiny spears.
|
|
|
|
AMELIA (O.S.)
|
|
SAMUEL.
|
|
|
|
Samuel flinches. He rips off his weapons fast as he can,
|
|
hides them and bolts upstairs. He’s in huge trouble.
|
|
|
|
|
|
43 INT. LOUNGEROOM - AFTERNOON 43
|
|
|
|
Amelia’s face looks tight and strange.
|
|
|
|
Samuel is nervous, he jigs around on the spot.
|
|
|
|
She searches his pocket, he pulls away from her. She tries
|
|
the other one, pulls out a key. He’s very ashamed.
|
|
|
|
AMELIA
|
|
How did you get this??
|
|
|
|
SAMUEL
|
|
I was just putting something back..
|
|
|
|
AMELIA
|
|
All your father’s things are down
|
|
there.
|
|
|
|
SAMUEL
|
|
He’s MY father! YOU DON’T OWN HIM!
|
|
|
|
A knock at the door. Amelia marches towards it, opens it.
|
|
39.
|
|
|
|
|
|
It’s Robbie, flowers in one hand, a present in the other.
|
|
|
|
ROBBIE
|
|
Just thought I’d see how you’re
|
|
going. These are for you.
|
|
|
|
She takes the flowers limply, not knowing what to say.
|
|
|
|
ROBBIE
|
|
And this is for you matey. My mum
|
|
always got me a model aeroplane
|
|
when I was sick-
|
|
|
|
SAMUEL
|
|
I’m not sick.
|
|
|
|
Uncomfortable pause. Amelia’s face burns. She’s caught out
|
|
big time. A huge wave of shame builds up in her.
|
|
|
|
ROBBIE
|
|
Oh. I thought you were si-
|
|
|
|
AMELIA
|
|
(Suppressed anger)
|
|
No, he’s not actually. The truth
|
|
is, he’s so disobedient he can’t go
|
|
to school anymore.
|
|
|
|
SAMUEL
|
|
(Indignant)
|
|
You said that’s not true!
|
|
|
|
AMELIA
|
|
How many 6 year old boys do you
|
|
know Robbie who still believe in
|
|
monsters?
|
|
|
|
SAMUEL
|
|
(Screaming at Amelia)
|
|
I HATE YOU!
|
|
(To Robbie)
|
|
She won’t let me have a birthday
|
|
party and she WON’T let me have a
|
|
DAD!
|
|
|
|
Samuel bolts up the stairs. His door slams. A terribly
|
|
awkward pause.
|
|
|
|
ROBBIE
|
|
I’m really sorry... If you want to
|
|
talk about it-
|
|
|
|
AMELIA
|
|
40.
|
|
|
|
|
|
No, I don’t. Thanks anyway. Thanks
|
|
for the presents.
|
|
|
|
Robbie just stands there, looking at her, awkward.
|
|
|
|
AMELIA
|
|
(Flustered)
|
|
I wasn’t expecting anyone over. The
|
|
house is a mess.
|
|
|
|
ROBBIE
|
|
I don’t care-
|
|
|
|
AMELIA
|
|
(Snapping)
|
|
I care!
|
|
(Beat.)
|
|
Please, can you just go?
|
|
|
|
ROBBIE
|
|
I, I..
|
|
|
|
AMELIA
|
|
Please go!
|
|
|
|
Robbie leaves, embarrassed. Amelia shuts the door,
|
|
completely ashamed of herself.
|
|
|
|
She looks up and sees the door to the basement wide open.
|
|
She walks to it. Samuel has left the light on down there.
|
|
|
|
After a time, she forces herself down those stairs.
|
|
|
|
|
|
44 INT. BASEMENT - AFTERNOON 44
|
|
|
|
Amelia finds the crowded space in chaos. Samuel has pulled
|
|
out all his father’s things, a desperate attempt to
|
|
connect.
|
|
|
|
The sight of it all puts Amelia into a spin. She races
|
|
around randomly stuffing things back in boxes.
|
|
|
|
She clocks the photo of her and Oskar, walks over, picks it
|
|
up, puts it in her pocket, unable to even look at it.
|
|
|
|
She turns and what she sees makes her jump with fright.
|
|
|
|
Samuel has fixed a hat, shirt and trousers to the wall,
|
|
using his father’s things to replicate a person. A pair of
|
|
shoes rest under each trouser leg. Oskar’s violin is out of
|
|
its case, propped up against the wall, as if the shirt arm
|
|
were holding it.
|
|
41.
|
|
|
|
|
|
Amelia’s fright subsides overtaken by a terrible remorse
|
|
that hits her right in the guts. Tears well in her eyes.
|
|
|
|
|
|
45 INT. SAMUEL’S ROOM - AFTERNOON 45
|
|
|
|
Amelia hears Samuel playing on a kid sized electric piano.
|
|
|
|
It’s good, definitely music, not just noise.
|
|
|
|
She enters the room, he stops playing immediately.
|
|
|
|
AMELIA
|
|
That was really good.
|
|
|
|
Samuel is mute. She walks to the bed, sits next to him.
|
|
|
|
AMELIA
|
|
(Reaching out)
|
|
Your dad could play like that. He
|
|
only had to hear something once.
|
|
|
|
SAMUEL
|
|
(Short)
|
|
I know. You’ve told me.
|
|
|
|
AMELIA
|
|
(Forcing herself)
|
|
You can have your own birthday
|
|
party this year if you want..
|
|
|
|
Sam shrugs.
|
|
|
|
AMELIA
|
|
I’ve made some yummy soup. Real,
|
|
not out of a can.
|
|
(Nothing.)
|
|
And after dinner we can play
|
|
Monopoly, OK?
|
|
|
|
She smooths his hair gently. He doesn’t shrug her off.
|
|
|
|
AMELIA
|
|
OK?
|
|
|
|
He gives her the smallest of nods. Amelia breathes a tiny
|
|
sigh of relief.
|
|
|
|
|
|
46 INT. KITCHEN - NIGHT 46
|
|
42.
|
|
|
|
|
|
Sam watches his mum taste her soup. She bites down on
|
|
something. It hurts. She takes it out of her mouth. It’s a
|
|
shard of glass. Her tongue bleeds slightly.
|
|
|
|
AMELIA
|
|
Don’t eat it.
|
|
|
|
Samuel stops. She sifts through her soup. Another shard.
|
|
|
|
She tests his soup. No glass. She looks through hers and
|
|
sees more pieces. Samuel looks panicked.
|
|
|
|
AMELIA
|
|
Did you put glass in my soup?
|
|
|
|
SAMUEL
|
|
The Babadook did it mum...
|
|
|
|
He gets up. Amelia searches his face for the truth.
|
|
|
|
SAMUEL
|
|
The Babadook did it!
|
|
|
|
AMELIA
|
|
(Unnerved)
|
|
You go and watch a DVD, I’ll make
|
|
something else.
|
|
|
|
He looks like he’s about to jump out of his skin.
|
|
|
|
AMELIA
|
|
(Firm)
|
|
Just go watch a DVD Samuel.
|
|
|
|
|
|
47 INT. KITCHEN - NIGHT 47
|
|
|
|
Amelia fries some sausages. The TV is loud. She goes in to
|
|
have a look.
|
|
|
|
Samuel watches a magician DVD for kids, his back to her.
|
|
|
|
MAGICIAN ON TV
|
|
Ladies and gentleman! Life is not
|
|
always as it seems...
|
|
|
|
Amelia looks at Sam’s little frame, so tiny sitting there.
|
|
|
|
Her mind is preoccupied, suspicious of her son.
|
|
|
|
|
|
48 INT. STAIRS - AMELIA’S ROOM - SAM’S ROOM - NIGHT 48
|
|
43.
|
|
|
|
|
|
- Stairs. Amelia trudges up the stairs. She sees the back
|
|
of Samuel running into his room. He shuts the door behind
|
|
him.
|
|
|
|
Odd.
|
|
|
|
- Amelia’s room. Amelia catches sight of something shoved
|
|
under her wardrobe. She bends down to have a look.
|
|
|
|
It’s a hammer. There’s a broken glass next to it, shards of
|
|
glass on the carpet. Her throat tightens.
|
|
|
|
She stands up, notices the bed. All the covers have been
|
|
pulled off and are lying on the floor. Amelia moves in,
|
|
spotting a photo in the centre of the mattress.
|
|
|
|
It’s the one of her and Oskar. Oskar’s face has been
|
|
scratched out with a pen. Her eyes have been drawn over
|
|
with black holes, the mouth drawn into a silent scream. She
|
|
strongly resembles the pictures of the Babadook.
|
|
|
|
- Sam’s room. Amelia storms in. She holds up the photo
|
|
close to Samuel’s face, shaking with rage and fear.
|
|
|
|
AMELIA
|
|
Do you think this is FUNNY!
|
|
|
|
Samuel’s face drops. He runs straight for his catapult.
|
|
|
|
Amelia intercepts, trying to grab it from him. He wrenches
|
|
it back off her, a genuine struggle.
|
|
|
|
She bends down to reason with him. He takes the chance to
|
|
slap her hard across the face, then shoves her so
|
|
forcefully she falls on her back.
|
|
|
|
SAMUEL
|
|
(Violent)
|
|
DO YOU WANT TO DIE!?
|
|
|
|
Amelia is speechless. She watches Sam load the catapult.
|
|
For the first time, she’s genuinely scared of her son.
|
|
|
|
|
|
49 INT. KITCHEN - SAMUEL’S ROOM - INTERCUT - NIGHT 49
|
|
|
|
- Kitchen. Bugsy jumps up, trying to reach Amelia’s lap.
|
|
She ignores him, scratching her head, staring into space.
|
|
|
|
The lights dip in and out. It makes her anxious.
|
|
|
|
Suddenly that pain in her mouth again. She feels the
|
|
offending molar, wincing as she pulls and tugs at it.
|
|
44.
|
|
|
|
|
|
- Sam’s room. He sleeps sitting up with his catapult on,
|
|
breathing too fast and shallow, dwarfed by his armour.
|
|
|
|
- Kitchen. Amelia scratches her scalp with her fingers, as
|
|
if to relieve the pressure in her head and jaw. Bugsy tries
|
|
to comfort her, but she’s in another world.
|
|
|
|
- Sam’s room. He wakes suddenly. Shadows in every corner.
|
|
It doesn’t feel safe. He looks at the wardrobe opposite.
|
|
|
|
The doors are open.
|
|
|
|
Sam slips off the bed. Mustering all his courage, he takes
|
|
small steps towards the wardrobe.
|
|
|
|
- Kitchen. Amelia’s fingers scrape against her scalp. The
|
|
sound intensifies, the image so close it becomes surreal.
|
|
|
|
Her face, her eyes in close up, full of anxiety. The sound
|
|
of her scratching becomes deafening.
|
|
|
|
- Samuel’s eyes and face, framed by the catapult.
|
|
|
|
The dark closet yawns open, a deep terrifying hole.
|
|
|
|
He lifts his eyes and face slowly, following something we
|
|
don’t see up the wall and across the ceiling.
|
|
|
|
- Amelia hears a terrible crashing sound upstairs. Then
|
|
Samuel screaming, as if he’s being murdered. She leaps to
|
|
her feet and is up those stairs in an instant.
|
|
|
|
|
|
50 INT. SAMUEL’S ROOM - MOMENTS LATER 50
|
|
|
|
Amelia finds the wardrobe, too heavy for Sam to pull over,
|
|
lying face down on the floor. His clothes spill out
|
|
underneath it. The room looks like it’s been ransacked.
|
|
|
|
Amelia can’t see Samuel. She runs to the open window, then
|
|
to the bed in a panic, searches underneath.
|
|
|
|
Samuel is squashed right into a corner. He still has his
|
|
catapult on. He won’t come out, clinging to the bed post.
|
|
She has to really take hold and drag him out.
|
|
|
|
She’s never seen anything like it. His body is rigid in her
|
|
arms, his face a picture of terror. It frightens her.
|
|
|
|
SAMUEL
|
|
(Over and over)
|
|
Don’t let it in! Don’t let it in!
|
|
Don’t let it in!
|
|
45.
|
|
|
|
|
|
He starts to hyperventilate. Amelia carries him to the bed
|
|
and covers him with her body, trying to calm him.
|
|
|
|
Her eyes scan his pillows. Underneath one of them lies a
|
|
book. She can see the spine of it.
|
|
|
|
‘MISTER BABADOOK.’
|
|
|
|
Her blood runs cold.
|
|
|
|
|
|
51 INT. STAIRWELL - NIGHT 51
|
|
|
|
Amelia throws the book down the stairs, pages flying.
|
|
|
|
|
|
52 INT. SAMUEL’S BEDROOM - NIGHT 52
|
|
|
|
- Samuel lies in a foetal position and sucks his thumb as
|
|
Amelia pats his back, singing him a lullaby. Her voice
|
|
trembles as she sings it. Samuel stares into space.
|
|
|
|
|
|
53 INT. BATHROOM - NIGHT 53
|
|
|
|
Amelia is in the bath, her knees up to her chest, crying
|
|
her heart out. She takes a deep breath, trying to calm
|
|
herself.
|
|
|
|
It doesn’t work. She breaks out into fresh sobs, completely
|
|
alone.
|
|
|
|
|
|
54 INT/EXT. KITCHEN - FRONT YARD - HALLWAY - NIGHT 54
|
|
|
|
- Amelia takes the ‘MISTER BABADOOK’ to the table, opening
|
|
it, becoming more agitated as she reads.
|
|
|
|
‘If it’s in a word or it’s in a look, you can’t get rid of
|
|
the Babadook.’ She turns the page.
|
|
|
|
The image of the Babadook falling on the boy in bed. The
|
|
speech bubble ‘let me in!’ from the creature’s mouth.
|
|
|
|
She slams the book shut, tries to rip it in half. It’s too
|
|
thick. Determined, she rips out a page at a time, tearing
|
|
each one to pieces.
|
|
|
|
- Amelia shoves the remnants in the Otto bin, shuts it.
|
|
|
|
- Amelia carries the sleeping Samuel into her room.
|
|
46.
|
|
|
|
|
|
55 INT. AMELIA’S BEDROOM - NIGHT - DAY 55
|
|
|
|
Amelia watches Samuel as he sleeps. Bugsy is asleep in her
|
|
arms, his front legs poking up near her face.
|
|
|
|
The power surges, the lamp light flickers.
|
|
|
|
That sound again downstairs. Amelia’s face tightens. She
|
|
listens for more, holding her breath.
|
|
|
|
Nothing. Just tight and tense silence.
|
|
|
|
Amelia moves in to Samuel, squashing Bugsy in between. She
|
|
pulls the doona over her head. It covers the screen.
|
|
|
|
SAMUEL (O.S.)
|
|
Mum do we have to go to Ruby’s
|
|
party?
|
|
|
|
The doona is dragged down to reveal Amelia’s exhausted
|
|
face.
|
|
|
|
It’s suddenly morning. She stares at the ceiling, then
|
|
makes a monumental effort to turn on her side.
|
|
|
|
Her hand comes out from under the doona, reaches to the
|
|
floor. She picks up a present amongst the clothes and books
|
|
scattered there. The paper has angels all over it.
|
|
|
|
|
|
56 INT. CLAIRE’S KITCHEN - DAY 56
|
|
|
|
The present is passed to Ruby who’s waiting expectantly.
|
|
|
|
Amelia looks like she hasn’t slept in years, dark circles
|
|
under her eyes. Sam sits on her lap, fragile, withdrawn.
|
|
His arms around her neck. She suffers it in silence.
|
|
|
|
The middle class mothers surround her, all perfect hair and
|
|
white teeth. Beyond groomed. Kids running everywhere.
|
|
|
|
Ruby opens the present and is obviously disappointed.
|
|
|
|
RUBY
|
|
I’ve already got this Barbie.
|
|
|
|
CLAIRE
|
|
Well now she has a twin. They can
|
|
go shopping together.
|
|
|
|
Ruby flounces outside. The other kids follow her. Except
|
|
for Samuel, who stays exactly where he is.
|
|
47.
|
|
|
|
|
|
AMELIA
|
|
Go on, off you go...
|
|
|
|
Amelia’s aware she’s being watched by the mothers. Samuel
|
|
won’t let go of her neck, burying his face in her chest.
|
|
|
|
AMELIA
|
|
(Laughing nervously)
|
|
He’s just tired..
|
|
|
|
She peels his arms away. Samuel frets, starting to cry. The
|
|
mothers give each other surreptitious looks.
|
|
|
|
Amelia pulls Samuel to her by both wrists.
|
|
|
|
AMELIA
|
|
(Measured)
|
|
Go-and-play-right-now.
|
|
|
|
Sam leaves, half crying, half whining, looking at his mum
|
|
all the way. She tries to pretend nothing’s happening.
|
|
|
|
MOTHER 3 gives Claire a look. Claire rolls her eyes then
|
|
looks to Amelia who is staring right at her. Claire looks
|
|
away, caught out. Amelia is hurt and humiliated.
|
|
|
|
Uncomfortable silence.
|
|
|
|
MOTHER 1
|
|
Claire tells me you’re a writer?
|
|
|
|
AMELIA
|
|
(Nervous)
|
|
Oh! Not so much anymore...
|
|
|
|
MOTHER 2
|
|
What kind of writing do you do?
|
|
|
|
AMELIA
|
|
(Awkward)
|
|
I wrote articles for magazines.
|
|
Some kids stuff but that was really
|
|
just.. I’ve written a novel...
|
|
|
|
MOTHER 3
|
|
Would we have read it?
|
|
|
|
AMELIA
|
|
(Embarrassed)
|
|
It hasn’t been published.
|
|
|
|
MOTHER 1
|
|
Oh. Never mind...
|
|
48.
|
|
|
|
|
|
An awkward pause. Amelia’s face flushes with humiliation.
|
|
|
|
CLAIRE
|
|
She’s very talented, she just needs
|
|
to get back into it, that’s all.
|
|
|
|
Amelia becomes very uncomfortable, the focus on her.
|
|
|
|
MOTHER 1
|
|
It must be very difficult. I do
|
|
volunteer work with some
|
|
disadvantaged women. A few of them
|
|
have lost their husbands and they
|
|
find it very hard.
|
|
|
|
Amelia looks at Mother 1, her face darkens.
|
|
|
|
CLAIRE
|
|
(Changing the subject)
|
|
How’s Richard’s merger going?
|
|
|
|
MOTHER 1 (O.S.)
|
|
Oh! Good but his workload’s
|
|
ballooned.
|
|
|
|
Tight on Amelia, fighting a growing anger.
|
|
|
|
MOTHER 1 (O.S.)
|
|
I’ve got the kids 24/7 it feels
|
|
like.
|
|
|
|
MOTHER 2 (O.S.)
|
|
Tell me about it...
|
|
|
|
MOTHER 1 (O.S.)
|
|
I don’t even have time to go to the
|
|
gym anymore, it’s ridiculous!
|
|
|
|
AMELIA
|
|
(Blurting it out)
|
|
That’s a real tragedy.
|
|
|
|
The mothers all look at Amelia, taken aback. She stares at
|
|
Mother 1, her contempt obvious.
|
|
|
|
AMELIA
|
|
Not having time to go to the gym.
|
|
How do you cope?
|
|
|
|
Pause.
|
|
|
|
AMELIA
|
|
49.
|
|
|
|
|
|
You must have a lot to talk about
|
|
with those poor disadvantaged
|
|
women.
|
|
|
|
Horrible silence. Claire gives her sister a death stare.
|
|
|
|
Amelia looks away, defiant, refusing to meet her gaze.
|
|
|
|
|
|
57 EXT. TREE HOUSE - CLAIRE’S BACKYARD - INTERCUT - DAY 57
|
|
|
|
The large backyard is decked out with swings and a tree
|
|
house. A clown entertains the kids with a lame trick.
|
|
|
|
- Tree house. Ruby climbs up to find Sam hiding there.
|
|
|
|
RUBY
|
|
This is my tree house. I say who
|
|
comes here.
|
|
|
|
SAMUEL
|
|
I’m not hurting anybody.
|
|
|
|
- Backyard. Claire kisses the other mothers goodbye. Amelia
|
|
fixes on the clown and kids.
|
|
|
|
MOTHER 1
|
|
You sure you don’t want us to stay?
|
|
|
|
CLAIRE
|
|
(Cheek kissing)
|
|
No that’s fine. I’ll call you when
|
|
they’re ready to be picked up.
|
|
|
|
The women give Amelia a half hearted goodbye as they leave,
|
|
she returns it, embarrassed.
|
|
|
|
AMELIA
|
|
I can stay after and help you clean
|
|
up.
|
|
|
|
CLAIRE
|
|
(Cold)
|
|
I’ll be fine.
|
|
|
|
Amelia doesn’t go. The tension builds as they sit there
|
|
watching the children play in the enormous backyard.
|
|
|
|
- Tree house.
|
|
|
|
SAMUEL
|
|
50.
|
|
|
|
|
|
How would your Mum know if it’s
|
|
real or not? She never comes to our
|
|
house.
|
|
|
|
RUBY
|
|
Mum told Dad she doesn’t want to go
|
|
to your house coz it’s too
|
|
depressing.
|
|
|
|
SAMUEL
|
|
The Babadook would eat your Mum for
|
|
breakfast! It’d rip her arms off!
|
|
|
|
RUBY
|
|
(Scared)
|
|
Shut up!
|
|
|
|
- Backyard. Amelia can’t stand it anymore.
|
|
|
|
AMELIA
|
|
I never say anything bad to you or
|
|
anyone. I say one thing and I’m an
|
|
evil bitch.
|
|
|
|
CLAIRE
|
|
You were bloody rude.
|
|
|
|
AMELIA
|
|
She was so condescending! ‘I work
|
|
with disadvantaged women’, give me
|
|
a break!
|
|
|
|
CLAIRE
|
|
Shereen is a huge supporter of the
|
|
gallery, her husband is one of our
|
|
major investors, and she’s my
|
|
friend!
|
|
|
|
AMELIA
|
|
Those women look down on me.
|
|
|
|
CLAIRE
|
|
They feel for you in your
|
|
situation!
|
|
|
|
AMELIA
|
|
They feel sorry for me Claire!
|
|
There’s a big difference!
|
|
|
|
- Tree house.
|
|
|
|
RUBY
|
|
51.
|
|
|
|
|
|
I didn’t want you to come to my
|
|
birthday party anyway. My mum made
|
|
me do it.
|
|
|
|
SAMUEL
|
|
Well, I didn’t wanna come. It’s
|
|
boring.
|
|
|
|
RUBY
|
|
No one likes you. You make up
|
|
stories coz you don’t have any
|
|
friends.
|
|
|
|
SAMUEL
|
|
I’m not making things up, you can’t
|
|
see things coz you’re stupid.
|
|
|
|
- Backyard.
|
|
|
|
CLAIRE
|
|
I know what this is really all
|
|
about.
|
|
|
|
AMELIA
|
|
Oh? What?
|
|
|
|
CLAIRE
|
|
As soon as anyone mentions Oskar,
|
|
as soon as they even so much as
|
|
hint at it, you can’t cope.
|
|
|
|
This hits a raw nerve with Amelia, she covers it.
|
|
|
|
AMELIA
|
|
That’s not true.
|
|
|
|
CLAIRE
|
|
I know he was the love of your
|
|
life. And it is God awful what
|
|
happened to him. But it’ll be seven
|
|
years Amelia, isn’t it time you
|
|
moved on?
|
|
|
|
Amelia struggles desperately to keep her feelings in.
|
|
|
|
AMELIA
|
|
I have moved on! I don’t mention
|
|
him, I don’t talk about him. What
|
|
strain is it on you Claire? I
|
|
listen... I listen to your life,
|
|
day in day out and you don’t stop
|
|
to ask me anything about mine!
|
|
52.
|
|
|
|
|
|
CLAIRE
|
|
(Defensive)
|
|
I do ask! I want to know how you
|
|
are!
|
|
|
|
AMELIA
|
|
Only if everything’s fine!
|
|
|
|
- Tree house.
|
|
|
|
RUBY
|
|
You’re not even good enough to have
|
|
a dad. Everyone else has one and
|
|
you don’t.
|
|
|
|
SAMUEL
|
|
(Getting upset)
|
|
I do have a dad.
|
|
|
|
RUBY
|
|
Your dad died so he didn’t have to
|
|
be with you. And your mum doesn’t
|
|
want you.
|
|
|
|
SAMUEL
|
|
(Very close to tears)
|
|
That’s not true.
|
|
|
|
RUBY
|
|
Is so.
|
|
|
|
Samuel stands up, his hurt turning to rage.
|
|
|
|
- Backyard.
|
|
|
|
AMELIA
|
|
You don’t come round to our house
|
|
anymore.
|
|
|
|
CLAIRE AMELIA And you know why that is.. I ask and you
|
|
never come round-
|
|
|
|
CLAIRE
|
|
(Snapping)
|
|
Because I can’t stand being around
|
|
your son!
|
|
|
|
AMELIA
|
|
I can’t believe you just said that.
|
|
|
|
CLAIRE
|
|
You can’t stand being round him
|
|
yourself!
|
|
53.
|
|
|
|
|
|
- Tree house. Samuel lurches forward and pushes his cousin,
|
|
hard.
|
|
|
|
Ruby is knocked off balance. She grabs at the air as she
|
|
falls backwards right out the door.
|
|
|
|
Samuel face drops as he watches her fall.
|
|
|
|
- Backyard. Claire sees her daughter fall, turn mid air and
|
|
land straight on her face on the ground below. It looks
|
|
awful. Both sisters rush over.
|
|
|
|
Ruby stands up, in shock, blood pouring from her mouth.
|
|
|
|
Slowly, surely, she starts to howl.
|
|
|
|
All the kids stop playing and stare. Some get scared.
|
|
|
|
CLAIRE
|
|
Let me have a look darling.
|
|
|
|
She opens her mouth. A tooth has snapped off at the base.
|
|
|
|
Ruby is hysterical. Blood spurts out.
|
|
|
|
Amelia sees her son at the top of the tree house. He looks
|
|
scared and guilty as he climbs down.
|
|
|
|
CLAIRE
|
|
(Lashing out at him)
|
|
WHAT DID YOU DO!
|
|
|
|
SAMUEL
|
|
(Very upset, to Amelia)
|
|
She said I didn’t have a dad! She
|
|
kept saying it!
|
|
|
|
RUBY
|
|
(Through the sobs)
|
|
He.. He... said the Babadook was
|
|
going to kill you Mummy...
|
|
|
|
She howls. Claire picks her up and moves swiftly into the
|
|
house. Amelia follows, shame and anxiety on her face.
|
|
|
|
CLAIRE
|
|
(To Amelia)
|
|
That bottom tooth is an adult
|
|
tooth! She’s not going to get it
|
|
back!
|
|
|
|
Ruby squeals. Claire holds her tight and marches to the
|
|
front door. Amelia follows her closely.
|
|
54.
|
|
|
|
|
|
CLAIRE
|
|
Stay here and look after the
|
|
children! Do you want another one
|
|
to get hurt?
|
|
|
|
Claire’s voice upsets one of the girls, the girl cries,
|
|
this sets another one off. The kids are scared.
|
|
|
|
She charges out of the door with her squealing daughter.
|
|
|
|
Amelia turns to see a group of children in various states
|
|
of distress. And in the middle is Samuel, completely lost.
|
|
He rushes in to Amelia. She pushes him away. He runs to her
|
|
again.
|
|
|
|
AMELIA
|
|
GET AWAY FROM ME!
|
|
|
|
Samuel stops in his tracks, shocked and scared.
|
|
|
|
Amelia looks at the crying children in front of her. Her
|
|
stress reaching boiling point.
|
|
|
|
|
|
58 INT. CAR - DAY 58
|
|
|
|
Amelia drives fast, stuffing her emotions down.
|
|
|
|
A large cockroach appears on her bare leg. She violently
|
|
sweeps it away. It goes flying into the mess at her feet.
|
|
|
|
SAMUEL
|
|
(Crying)
|
|
Mum.. I didn’t mean to hurt her.
|
|
She wouldn’t believe me.. Mum-
|
|
meee...
|
|
|
|
He starts kicking the back of her seat to get her
|
|
attention.
|
|
|
|
Kicking over and over and over....
|
|
|
|
Amelia swerves to the side of the road, screeches to a
|
|
halt.
|
|
|
|
She flips her seat belt off, turns around.
|
|
|
|
AMELIA
|
|
There is no BABADOOK!
|
|
|
|
Samuel’s anguish rising to fever pitch. He screams and
|
|
cries, kicking the seat over and over.
|
|
55.
|
|
|
|
|
|
AMELIA
|
|
IT’S ALL MADE UP IN YOUR HEAD!
|
|
|
|
Samuel suddenly goes quiet. He looks to his right, seeing
|
|
something Amelia can’t see. He looks horrified.
|
|
|
|
SAMUEL
|
|
(To the air)
|
|
Get out!
|
|
(To Amelia)
|
|
Mummy..
|
|
|
|
AMELIA
|
|
(Frightened)
|
|
Samuel, stop it now...
|
|
|
|
SAMUEL
|
|
(To the air, terrified)
|
|
GET-OUT!
|
|
|
|
He goes red in the face, as if he’s choking. Amelia
|
|
watches, immobilized by shock.
|
|
|
|
A middle aged couple stop and stare, concerned.
|
|
|
|
Samuel kicks and punches, thrashing his body around. He
|
|
screams out in pain. Amelia desperately tries to help.
|
|
|
|
Samuel’s eyes roll back in his head, his body goes rigid,
|
|
his fingers splayed. It looks absolutely horrifying.
|
|
|
|
Amelia panics. She opens her car door.
|
|
|
|
AMELIA
|
|
(To the onlookers)
|
|
Please help! There’s something
|
|
wrong with my child!
|
|
|
|
|
|
59 INT. DOCTOR’S SURGERY - DAY 59
|
|
|
|
An eye is checked by a sharp light. The pupil contracts.
|
|
|
|
A tongue depressor is put into the child’s mouth.
|
|
|
|
A stethoscope against Samuel’s bare chest.
|
|
|
|
DOCTOR (O.S.)
|
|
Cough now.
|
|
|
|
Samuel’s throat showing the reflex of a cough.
|
|
56.
|
|
|
|
|
|
Samuel looks to the doctor, an overworked, middle-aged man.
|
|
|
|
Amelia sits on a chair nearby. She looks wrecked.
|
|
|
|
|
|
60 INT. DOCTOR’S RECEPTION - DOCTOR’S SURGERY - DAY 60
|
|
|
|
- Samuel waits on the bench, exhausted. The receptionist
|
|
gives him a warm smile. He doesn’t smile back.
|
|
|
|
- Surgery.
|
|
|
|
DOCTOR
|
|
I’d say it was a febrile
|
|
convulsion. The brain gets
|
|
overheated-
|
|
|
|
AMELIA
|
|
Yes, I know what they are, I’m a
|
|
nurse.
|
|
|
|
DOCTOR
|
|
It always looks worse than it is.
|
|
|
|
AMELIA
|
|
I’ve never seen anything like
|
|
that..
|
|
|
|
DOCTOR
|
|
He’s obviously suffering from a
|
|
high level of anxiety, very
|
|
committed to the monster theory.
|
|
|
|
AMELIA
|
|
That’s an understatement..
|
|
|
|
The doctor stops to look at Amelia, slightly irritated.
|
|
|
|
DOCTOR
|
|
All children see monsters.
|
|
|
|
AMELIA
|
|
Not like this. And it’s getting
|
|
worse.
|
|
|
|
DOCTOR
|
|
He could see a psychiatrist. I have
|
|
some numbers. Takes a few weeks to
|
|
get in.
|
|
|
|
AMELIA
|
|
57.
|
|
|
|
|
|
Of course he needs to see someone.
|
|
But can I just get something now to
|
|
make him sleep? Just until I get an
|
|
appointment.
|
|
|
|
The doctor hesitates.
|
|
|
|
AMELIA
|
|
Please. I haven’t slept in weeks.
|
|
Neither has Samuel. When we go home
|
|
tonight the whole nightmare will
|
|
start up again and I’m-not-coping..
|
|
|
|
He seriously studies Amelia, sizing her up.
|
|
|
|
DOCTOR
|
|
I can prescribe a short course of
|
|
Benzodiazepine, just till the tests
|
|
come back. These are very strong
|
|
for children. Most mothers aren’t
|
|
too keen on them unless it’s really
|
|
bad.
|
|
|
|
AMELIA
|
|
It’s really bad.
|
|
|
|
He opens his pad and writes out the script.
|
|
|
|
DOCTOR
|
|
They can make children feel
|
|
uncoordinated, foggy, maybe some
|
|
temporary nausea. They’ll help him
|
|
to sleep though, that’s for sure.
|
|
|
|
He rips out the prescription and hands it to her.
|
|
|
|
DOCTOR
|
|
That’s for one week. Half strength.
|
|
|
|
Amelia’s face relaxes a little. Problem solved for now.
|
|
|
|
|
|
61 INT. SAMUEL’S ROOM - NIGHT 61
|
|
|
|
Amelia has a glass of water and the pills at hand. Samuel
|
|
sits up, worried, looking at the pills.
|
|
|
|
SAMUEL
|
|
Is there something wrong with me?
|
|
|
|
AMELIA
|
|
I’m sure everything will be
|
|
alright. These will help for now.
|
|
58.
|
|
|
|
|
|
SAMUEL
|
|
Why don’t people like me?
|
|
|
|
AMELIA
|
|
Why do you say that?
|
|
|
|
SAMUEL
|
|
Ruby said people don’t like me coz
|
|
I’m weird.
|
|
|
|
AMELIA
|
|
Sometimes people say things that
|
|
aren’t true.
|
|
|
|
Samuel doesn’t look convinced.
|
|
|
|
AMELIA
|
|
You just need to take your
|
|
medicine, have a big sleep and not
|
|
worry.
|
|
|
|
Samuel is suddenly very anxious. He clings to Amelia. She
|
|
tries not to tense up at his touch.
|
|
|
|
SAMUEL
|
|
I don’t want you to die.
|
|
|
|
AMELIA
|
|
I’m not going to die for a long
|
|
time yet.
|
|
|
|
SAMUEL
|
|
Did you think that about my dad
|
|
before he died?
|
|
|
|
The comment hits her. She slowly pulls him away from her.
|
|
|
|
AMELIA
|
|
You need to take these pills so you
|
|
can go to sleep.
|
|
(Bright)
|
|
I’ve got the day off tomorrow.
|
|
Maybe we can do something.
|
|
|
|
SAMUEL
|
|
Will these make the Babadook go
|
|
away?
|
|
|
|
AMELIA
|
|
I think so. But you have to promise
|
|
you won’t mention it again.
|
|
|
|
He takes the pills in hand, looks at her seriously.
|
|
59.
|
|
|
|
|
|
SAMUEL
|
|
I promise to protect you if you
|
|
promise to protect me. Then I won’t
|
|
mention it.
|
|
|
|
AMELIA
|
|
Of course I will.
|
|
|
|
SAMUEL
|
|
Sometimes people say things that
|
|
aren’t true.
|
|
|
|
She looks him in the eyes, as sincerely as she can.
|
|
|
|
AMELIA
|
|
I promise to protect you.
|
|
(About the pills)
|
|
Come on.
|
|
|
|
He takes them, she gives him the water, he drinks it.
|
|
|
|
SAMUEL
|
|
(Anxious)
|
|
Can you stay here with me?
|
|
|
|
AMELIA
|
|
Yes.
|
|
|
|
SAMUEL
|
|
I love you Mum.
|
|
|
|
AMELIA
|
|
(Tight)
|
|
Me too.
|
|
|
|
Samuel’s face drops with her response. Amelia tucks him
|
|
into bed. He doesn’t look at her, infinitely sad.
|
|
|
|
Amelia stands and looks at Samuel’s back, a guilty sadness
|
|
crosses her face.
|
|
|
|
|
|
62 INT. AMELIA’S ROOM - NIGHT - MORNING 62
|
|
|
|
Amelia sits on her bed, heavy with exhaustion.
|
|
|
|
Her face seen from above as she falls onto the pillow in
|
|
slow motion. The pillow seems miles away. A lullaby plays
|
|
on violin. Her face relaxes, her eyes close.
|
|
|
|
Finally she lands on the pillow, surrendering to deep
|
|
sleep.
|
|
60.
|
|
|
|
|
|
A soft, unearthly light plays on her face.
|
|
|
|
After several blissful moments, the lullaby ends. Amelia
|
|
opens her eyes and looks over at the clock. 11am.
|
|
|
|
She drifts up to sitting. It’s quiet and calm in the room
|
|
and outside. She stands, her face is tranquil, dreamy.
|
|
|
|
|
|
63 INT. SAMUEL’S ROOM - MORNING 63
|
|
|
|
Amelia sees Samuel lying on his bed with his back to her,
|
|
completely still. She drifts towards him. His eyes are
|
|
closed, his face perfect, like a doll’s.
|
|
|
|
She leans in to check he’s breathing. He is.
|
|
|
|
|
|
64 INT. HALLWAY - MORNING 64
|
|
|
|
Amelia shuffles down the hallway, yawning, content.
|
|
|
|
Three knocks on the front door.
|
|
|
|
She covers over her dressing gown, smooths down her hair
|
|
and moves to the door, opening it.
|
|
|
|
There’s no one there. She peers out onto the street. Not a
|
|
soul. It’s very quiet, strangely so. She stands there a
|
|
moment, puzzled, then closes the door.
|
|
|
|
Amelia’s almost at the end of the hall when it happens
|
|
again.
|
|
|
|
Three loud, sharp knocks.
|
|
|
|
She turns, strides to the front door, opens it.
|
|
|
|
Sitting on the welcome mat is the book of ‘MISTER
|
|
BABADOOK.’ Its pieces all glued back together.
|
|
|
|
The blood drains from Amelia’s face. She bends down to pick
|
|
it up. She looks on the street for any sign of life.
|
|
|
|
Nothing.
|
|
|
|
Amelia runs inside with the book firmly in her grasp.
|
|
|
|
|
|
65 INT. LOUNGE ROOM - MORNING 65
|
|
61.
|
|
|
|
|
|
Amelia flips through the book, becoming more frightened as
|
|
she goes. She finds a new page with large angry words.
|
|
|
|
‘I’ll WAGER with YOU, I’LL MAKE you a BET. THE MORE you
|
|
DENY, the STRONGER I GET.’
|
|
|
|
She flips the page.
|
|
|
|
The boy in the bed has been replaced by a screaming woman.
|
|
|
|
She looks like Amelia. The Babadook drops down over her,
|
|
the words ‘LET ME IN’ flying out of its mouth.
|
|
|
|
Amelia flips the page. The woman stands with arms
|
|
outstretched. The Babadook’s shadow rises behind her.
|
|
|
|
‘You start to CHANGE when I get in, the BABADOOK growing
|
|
right UNDER YOUR SKIN.’
|
|
|
|
Amelia’s hands shake as she fumbles for the next page.
|
|
|
|
OH COME! COME SEE WHAT’S UNDER-NEATH!
|
|
|
|
She turns the page.
|
|
|
|
A huge shadow envelops the woman as she snaps the neck of a
|
|
little white dog. The dog looks exactly like Bugsy.
|
|
|
|
Amelia flips the page, not wanting but needing to see.
|
|
|
|
The woman strangles a boy with her bare hands. The shadow
|
|
holds her arms, forcing her to it. Amelia flips the page.
|
|
|
|
An image of the woman, her mouth open in a terrible scream.
|
|
|
|
She slits her throat, blood spurts everywhere.
|
|
|
|
Amelia turns to the final page. Just text that says ‘IF
|
|
IT’S IN A WORD, OR IT’S IN A LOOK, YOU CAN’T GET RID OF THE
|
|
BABADOOK.
|
|
|
|
|
|
66 EXT. BACKYARD - MORNING 66
|
|
|
|
Petrol splashes out of a can.
|
|
|
|
A pair of hands throw a lit match into the barbecue where
|
|
the ripped up book now lies. It ignites quickly.
|
|
|
|
Amelia stands back as the flames rise, watching it burn.
|
|
62.
|
|
|
|
|
|
She sees Samuel at the back door, trying to wake up. She
|
|
shoots him a tense smile. He looks concerned.
|
|
|
|
|
|
67 INT. AMELIA’S HALLWAY - CLAIRE’S HOUSE - MORNING 67
|
|
|
|
Amelia is on the phone to Claire.
|
|
|
|
CLAIRE
|
|
She has to have a root canal and a
|
|
crown.
|
|
|
|
AMELIA
|
|
I’ll pay for everything.
|
|
|
|
CLAIRE
|
|
You can’t even pay for your own
|
|
dental work, how are you going to
|
|
do that?
|
|
|
|
Amelia doesn’t know what to say.
|
|
|
|
CLAIRE (O.S.)
|
|
I really have to go now..
|
|
|
|
AMELIA
|
|
(Blurts it out)
|
|
Claire, I think someone is stalking
|
|
me and Samuel.
|
|
|
|
CLAIRE (O.S.)
|
|
What?
|
|
|
|
AMELIA
|
|
A book turned up at our house.
|
|
|
|
CLAIRE
|
|
What are you talking about?
|
|
|
|
AMELIA
|
|
I threw it away. But someone glued
|
|
it back together and put it on our
|
|
doorstep.
|
|
|
|
CLAIRE (O.S.)
|
|
A book? Amelia I can’t help you
|
|
now-
|
|
|
|
AMELIA
|
|
I don’t expect you to help, I just-
|
|
|
|
CLAIRE
|
|
63.
|
|
|
|
|
|
If you’re worried you should go to
|
|
the police. I’ve got to go.
|
|
(Hangs up.)
|
|
|
|
Amelia puts down the phone, crushed. She stares at her
|
|
hands, black from the smoke. Silence.
|
|
|
|
The phone rings sharply, giving her a fright.
|
|
|
|
AMELIA
|
|
(Picking up)
|
|
Claire?
|
|
|
|
There is a silence on the other end.
|
|
|
|
AMELIA
|
|
(Growing tense)
|
|
Hello?
|
|
|
|
Finally, a noise on the other end, but not a human one.
|
|
|
|
‘Babababababa dook-dook-dook’
|
|
|
|
The sound rips through Amelia. She slams down the phone.
|
|
|
|
|
|
68 EXT. OUTSIDE MRS ROACH’S HOUSE - DAY 68
|
|
|
|
A door opens. Amelia waits there, a vulnerable smile.
|
|
Samuel is beside her, sitting on the doorstep.
|
|
|
|
MRS ROACH
|
|
(Lighting up)
|
|
Hello love.
|
|
|
|
AMELIA
|
|
Hi Gracie.
|
|
(To Samuel)
|
|
Up you get Sam.
|
|
|
|
MRS ROACH
|
|
Oh he’s alright. You tired little
|
|
one?
|
|
|
|
SAMUEL
|
|
I’m exhausted Mrs Roach. I’m on
|
|
drugs.
|
|
|
|
AMELIA
|
|
(Explaining)
|
|
He had a fit yesterday. He’s
|
|
alright, but we’ve had to medicate
|
|
him.
|
|
64.
|
|
|
|
|
|
MRS ROACH
|
|
Oh, you poor little thing...
|
|
|
|
AMELIA
|
|
Gracie would I be able to leave
|
|
Samuel with you for an hour or so?
|
|
I’ve got to do something and he
|
|
can’t come along.
|
|
|
|
MRS ROACH
|
|
Yes of course. Are you alright?
|
|
|
|
AMELIA
|
|
(Upbeat)
|
|
I’m fine. I normally wouldn’t ask
|
|
you to look after him-
|
|
|
|
MRS ROCHE
|
|
(Genuine)
|
|
That’s no problem.
|
|
|
|
Mrs Roach reaches out taking Amelia’s hand.
|
|
|
|
MRS ROACH
|
|
It’s not a crime to ask for help
|
|
love.
|
|
|
|
Amelia tries with all her might not to cry.
|
|
|
|
|
|
69 INT. POLICE STATION - DAY 69
|
|
|
|
Amelia enters, intimidated by the surroundings.
|
|
|
|
There are three policemen on duty, one older sergeant at
|
|
the front desk, and two in the back who don’t look old
|
|
enough to be working. They all look bored.
|
|
|
|
Amelia shuffles up to the counter.
|
|
|
|
AMELIA
|
|
Hi. I want to report someone
|
|
stalking me and my child.
|
|
|
|
SERGEANT
|
|
(Starts writing)
|
|
When did the incident occur Madam?
|
|
|
|
AMELIA
|
|
It started this week.
|
|
|
|
SERGEANT
|
|
Can you tell us what happened?
|
|
65.
|
|
|
|
|
|
AMELIA
|
|
Someone sent me a.. a children’s
|
|
book.
|
|
|
|
The teenage cops stifle a laugh. Amelia sees it. The
|
|
Sergeant gives them a quick, stern look.
|
|
|
|
SERGEANT
|
|
And?
|
|
|
|
AMELIA
|
|
(Directed at the two in
|
|
the back)
|
|
And it contained violent and
|
|
graphic images of my child and me
|
|
being murdered.
|
|
|
|
The two in the back instantly stop smiling.
|
|
|
|
SERGEANT
|
|
Can we have a look at the book
|
|
please?
|
|
|
|
AMELIA
|
|
(Sheepish)
|
|
I burnt it.
|
|
|
|
SERGEANT
|
|
(Deflated)
|
|
You burnt it.
|
|
|
|
AMELIA
|
|
Yes.
|
|
|
|
SERGEANT
|
|
Well, unfortunately there’s nothing
|
|
we can do about it.
|
|
|
|
AMELIA
|
|
He’s making phone calls to me as
|
|
well.
|
|
|
|
SERGEANT
|
|
What’s he saying?
|
|
|
|
AMELIA
|
|
Nothing, he’s just making noises.
|
|
|
|
SERGEANT
|
|
How do you know it’s the same
|
|
person?
|
|
|
|
AMELIA
|
|
66.
|
|
|
|
|
|
Because of what he wrote in the
|
|
book!
|
|
|
|
SERGEANT
|
|
The book you burnt.
|
|
|
|
AMELIA
|
|
(Defeated)
|
|
Yes.....
|
|
|
|
She looks past the policemen in the back and sees a coat
|
|
rack. On the rack hangs a long black coat. Perched right on
|
|
top of the coat is an old fashioned black top hat.
|
|
|
|
Just like the coat and hat in the book.
|
|
|
|
Amelia looks suddenly frightened. The Sergeant notes it. He
|
|
looks at her hands on the counter, black from the fire.
|
|
|
|
Amelia retracts them, trying to remain composed.
|
|
|
|
She straightens her hair, the hair she didn’t brush this
|
|
morning. The Sergeant doesn’t take his eyes from her.
|
|
|
|
SERGEANT
|
|
Are you having a hard time at the
|
|
moment, love?
|
|
|
|
She looks to the hat and coat, then back to the Sergeant,
|
|
trying to concentrate.
|
|
|
|
AMELIA
|
|
OK, thanks, don’t worry about it.
|
|
|
|
She almost runs out.
|
|
|
|
|
|
70 EXT. OUTSIDE MRS ROACH’S HOUSE - AFTERNOON 70
|
|
|
|
Samuel trudges towards his mum coming down the path.
|
|
|
|
MRS ROACH
|
|
Did you get your things done?
|
|
|
|
Amelia nods, trying to appear relaxed.
|
|
|
|
SAMUEL
|
|
Mrs Roach has Parkingsuns, that’s
|
|
why she shakes all the time like
|
|
she’s dancing.
|
|
67.
|
|
|
|
|
|
AMELIA SAMUEL Samuel- It might get worse but it won’t get
|
|
better-
|
|
|
|
AMELIA
|
|
You don’t have to say everything
|
|
that comes into your head!
|
|
|
|
MRS ROACH
|
|
It’s alright love. He wanted to
|
|
know, so we talked about it.
|
|
|
|
Amelia checks herself. Samuel trudges back home, tired.
|
|
|
|
MRS ROACH
|
|
He sees things as they are, that
|
|
one. His dad was the same, always
|
|
spoke his mind.
|
|
|
|
AMELIA
|
|
(Snapping)
|
|
I’d rather not talk about his dad.
|
|
It’s been seven years!
|
|
|
|
She walks off without a goodbye. Mrs Roach looks after
|
|
Amelia, concerned by her uncharacteristic response.
|
|
|
|
|
|
71 INT. LOUNGE ROOM - KITCHEN - HALLWAY - DAY 71
|
|
|
|
- Amelia passes Samuel lying on the couch, already half
|
|
asleep. Her tooth is giving her a massive migraine.
|
|
|
|
- Bugsy is in the kitchen, barking nonstop. She tries to
|
|
move closer to him, he runs straight past her outside.
|
|
|
|
It looks like a bomb’s gone off. Food in the sink, mess
|
|
everywhere. She pauses for a moment, overwhelmed.
|
|
|
|
Something tickles her arm. It’s a cockroach. She jumps,
|
|
flicking it off in disgust. It falls to the floor.
|
|
|
|
She notices another one on the floor nearby. Then another.
|
|
|
|
About six or seven of the bastards. They seem to be coming
|
|
from behind the fridge.
|
|
|
|
Amelia pulls the fridge out from the wall. The wallpaper is
|
|
torn in one place. A cockroach pops out of it. It disgusts
|
|
her. She starts to peel back the paper.
|
|
|
|
A hole in the wall. It’s filled with cockroaches. They
|
|
crawl out, some dropping at her feet. She has to stop from
|
|
vomiting as she runs for a broom.
|
|
68.
|
|
|
|
|
|
Samuel appears at the door.
|
|
|
|
AMELIA
|
|
Don’t come in here!
|
|
|
|
- Later. The contents of the fridge have been turfed out
|
|
onto the benches. It looks even messier than before.
|
|
|
|
Amelia has an old dress on and large rubber gloves. She
|
|
looks completely dishevelled, manically cleaning.
|
|
|
|
Suddenly, three knocks at the door. Amelia freezes.
|
|
|
|
A pause. The three knocks come again.
|
|
|
|
She creeps past a sleeping Samuel on the couch, towards the
|
|
front door, her broom as a weapon.
|
|
|
|
Amelia looks through the peephole.
|
|
|
|
Two strangers at the door, a man and a woman.
|
|
|
|
Amelia opens the door.
|
|
|
|
The people look Amelia up and down. The old dress, the
|
|
gloves, her dishevelled hair.
|
|
|
|
AMELIA
|
|
(Terse)
|
|
I don’t want to buy anything.
|
|
|
|
WELFARE MAN
|
|
Are you Amelia Vanek?
|
|
|
|
AMELIA
|
|
(Suddenly nervous)
|
|
Yes.
|
|
|
|
WELFARE MAN
|
|
I’m Warren Newton and this is Prue
|
|
Flannery from the Department of
|
|
Community Services. The Babbage Bay
|
|
Primary School has asked us to stop
|
|
in and say hello.
|
|
|
|
AMELIA
|
|
My son has only been away two days.
|
|
|
|
WELFARE MAN
|
|
69.
|
|
|
|
|
|
He’s not actually registered at
|
|
Babbage Bay anymore. If I could
|
|
just come in, meet Samuel and get
|
|
you to look at these papers, that’d
|
|
be terrific.
|
|
|
|
Amelia manages to give them a feeble smile.
|
|
|
|
- Lounge room. The welfare pair scrutinize their surrounds,
|
|
both noticing the smashed window, now patched up with
|
|
plastic and duct tape.
|
|
|
|
Amelia is suddenly very self conscious.
|
|
|
|
Bugsy comes out, barking loudly. Samuel wakes up, groggy.
|
|
|
|
AMELIA
|
|
Bugsy! Sshh! That’s enough.
|
|
|
|
Bugsy runs away when Amelia tries to pick him up.
|
|
|
|
WELFARE WOMAN
|
|
Hello Samuel. I’m Prue and this is
|
|
Warren.
|
|
|
|
Samuel sits up. She puts out her hand, he shakes it.
|
|
|
|
SAMUEL
|
|
Hello.
|
|
|
|
WELFARE WOMAN
|
|
How are you?
|
|
|
|
SAMUEL
|
|
I’m a bit tired from the drugs Mum
|
|
gave me.
|
|
|
|
They both look to Amelia with concern.
|
|
|
|
AMELIA
|
|
Not ‘drugs’, tranquillizers.
|
|
|
|
Their concern grows.
|
|
|
|
AMELIA
|
|
(Quickly)
|
|
From the doctor. He had a fit
|
|
yesterday.
|
|
|
|
Bugsy barks, Amelia tries to grab him, he runs outside.
|
|
|
|
SAMUEL
|
|
70.
|
|
|
|
|
|
I feel really tired akshally.
|
|
|
|
WELFARE WOMAN
|
|
That’s no good.
|
|
|
|
The welfare woman throws Amelia a disapproving glance. She
|
|
looks into the kitchen chaos.
|
|
|
|
WELFARE WOMAN
|
|
(To Amelia)
|
|
May I have a glass of water?
|
|
|
|
AMELIA
|
|
Yes, of course. I’ll just get you
|
|
one.
|
|
|
|
Amelia darts into the kitchen. The welfare people follow.
|
|
|
|
They notice a mound of wallpaper on the floor.
|
|
|
|
AMELIA
|
|
It’s a real mess, I know. I’ve just
|
|
found a cockroach infestation. I
|
|
normally keep the house sprayed, I
|
|
DID spray it already actually!
|
|
There’s a big hole in the wall
|
|
behind the fridge, that’s why I..
|
|
|
|
Amelia shows them to the area behind the fridge.
|
|
|
|
There’s no hole in the wall, just a mound of wallpaper at
|
|
their feet. No cockroaches. Amelia is gob smacked.
|
|
|
|
The two welfare people sneak a look at each other.
|
|
|
|
AMELIA
|
|
I didn’t mean a hole in the wall,
|
|
there was a hole in the wall paper.
|
|
They were laying their eggs in
|
|
there, I think.
|
|
|
|
She smiles, very nervous. They smile back, politely.
|
|
|
|
WELFARE MAN
|
|
We’ve caught you at a bad time.
|
|
I’ll leave some information for you
|
|
to read over, we can come back in a
|
|
week to talk through your options.
|
|
Here’s my card.
|
|
|
|
SAMUEL (O.S.)
|
|
Mum.
|
|
71.
|
|
|
|
|
|
All three adults look to Samuel.
|
|
|
|
SAMUEL
|
|
I think I’m gonna vomit.
|
|
|
|
|
|
72 INT/EXT. OUTSIDE HOUSE - LOUNGE ROOM - LATE AFTERNOON 72
|
|
|
|
- Outside. Amelia stuffs all the wallpaper in the bin.
|
|
|
|
- Lounge room, soon after. Samuel is once again fast asleep
|
|
on the couch. It’s just starting to get dark.
|
|
|
|
|
|
73 INT. KITCHEN - LOUNGE ROOM - EVENING 73
|
|
|
|
Amelia is washing dishes. She can see Mrs Roach watching TV
|
|
in her lounge room. She smiles, comforted by the familiar
|
|
sight. Time stretches.
|
|
|
|
She looks into the soapy water. The splashing sound, the
|
|
warmth calms her. She pulls out a plate, looks up again.
|
|
|
|
Standing in the shadows, behind Mrs Roach, is the half
|
|
visible form of the Babadook. The black shadowy coat, the
|
|
tall top hat, the long black gloves can just be seen.
|
|
|
|
It appears to be looking right at her.
|
|
|
|
Amelia drops the plate into the sink.
|
|
|
|
SAMUEL (O.S.)
|
|
Mum.
|
|
|
|
Amelia starts and looks at Samuel at the kitchen door.
|
|
|
|
SAMUEL
|
|
(Exhausted)
|
|
I’m gonna go to bed.
|
|
|
|
AMELIA
|
|
Ah... It’s only 6 o'clock. Don’t
|
|
you want to stay up with your Mum
|
|
for a while?
|
|
|
|
SAMUEL
|
|
No..
|
|
|
|
He turns and leaves. Amelia looks back out the window. No
|
|
Babadook. Just Mrs Roach sitting with a cup of tea.
|
|
|
|
She turns and follows Sam into the lounge, on edge.
|
|
72.
|
|
|
|
|
|
AMELIA
|
|
(Desperate)
|
|
If you go to bed now, the pills
|
|
won’t work properly. You have to
|
|
stay up for a while sweetheart.
|
|
|
|
Samuel sighs. He drags himself onto the couch again.
|
|
|
|
|
|
74 INT. LOUNGE ROOM - EVENING 74
|
|
|
|
Samuel finishes off a magic trick, his heart’s not in it.
|
|
|
|
AMELIA
|
|
What about another one?
|
|
|
|
SAMUEL
|
|
(Cranky)
|
|
No Mum!
|
|
|
|
|
|
75 INT. LOUNGE ROOM - BATHROOM - AMELIA’S BEDROOM - NIGHT 75
|
|
|
|
- Samuel is on the couch half asleep, watching a video.
|
|
|
|
Amelia stares at the screen but doesn’t take it in.
|
|
|
|
She looks into the mess of the kitchen, fear on her face.
|
|
She turns up the volume on the TV, Samuel stirs.
|
|
|
|
- Bathroom. Samuel is almost asleep in the bath. Amelia
|
|
washes his back vigorously.
|
|
|
|
- Bedroom. Amelia reads. Sam barely has his eyes open.
|
|
|
|
AMELIA
|
|
...and lived happily in a beautiful
|
|
palace for the rest of their days.’
|
|
THE END.
|
|
|
|
Samuel is asleep. Amelia stares at the end of her bed, the
|
|
light of the lamp bleeding into the darkness beyond.
|
|
|
|
The lights flicker. The bedside light buzzes softly, then
|
|
gets louder. Amelia flicks her arm out and turns it off.
|
|
|
|
|
|
76 INT. AMELIA’S BEDROOM - LATER 76
|
|
|
|
Amelia lies wide awake in bed on her side. Samuel is out to
|
|
it. She turns over, restless, staring at the ceiling.
|
|
73.
|
|
|
|
|
|
That sound downstairs again. Only this time, it comes up
|
|
the stairs and stops outside her door. Amelia freezes.
|
|
|
|
A slight scratching sound at the door. She starts to panic,
|
|
the scratching gets louder.
|
|
|
|
She hears a whimpering. It’s the dog.
|
|
|
|
She springs out of bed and opens the door, relieved.
|
|
|
|
Bugsy runs in, jumps straight up on the bed, finds a spot
|
|
near Samuel and settles. Amelia jumps under the covers.
|
|
|
|
Silence. Darkness. Amelia’s eyes flicking, nervous.
|
|
|
|
The scratching starts up again, only this time it can’t be
|
|
the dog. Amelia stares at the door unable to move.
|
|
|
|
The door clicks and moves open by itself. Amelia watches,
|
|
her heart in her throat. The rustling, scratching sound
|
|
moves inside the room. Amelia slips the covers over her
|
|
head, terrified. She can’t see anything now.
|
|
|
|
The sound appears to be moving closer.
|
|
|
|
After an age, Amelia pulls down the duvet, unable to stand
|
|
it anymore. She peers into the terrible darkness.
|
|
|
|
Something large and black lurks in one corner on the
|
|
ceiling.
|
|
|
|
She can’t make out what it is. Time stops.
|
|
|
|
The shadow scuttles quickly across the ceiling. It stops
|
|
right above her head. Amelia is paralyzed by fear. She
|
|
hears a rasping sound. The thing appears to be breathing.
|
|
|
|
Her hand reaches for the bedside lamp. Her eyes are fixed
|
|
on the dreaded shadow right above her head.
|
|
|
|
Before she can get there, the thing drops down right on top
|
|
of her. She sees its hideous, mask like face millimetres
|
|
from her own; the black eyes, the mouth wrenched open in a
|
|
permanent, silent scream. She takes a huge breath, as if
|
|
breathing the thing in, terrorized.
|
|
|
|
Amelia switches on the lamp, springs out of bed and turns
|
|
on the overhead light. Bugsy barks. Samuel wakes.
|
|
|
|
There’s nothing there. Samuel sits up, trying to focus.
|
|
|
|
AMELIA
|
|
74.
|
|
|
|
|
|
We’re going downstairs.
|
|
|
|
SAMUEL
|
|
Why?
|
|
|
|
AMELIA
|
|
Because we are!
|
|
|
|
|
|
77 INT. LOUNGE ROOM - NIGHT - MORNING 77
|
|
|
|
Amelia turns every lounge light on. She moves to the
|
|
kitchen, turns the lights on there. Samuel watches, groggy.
|
|
Bugsy follows Amelia, barking continuously.
|
|
|
|
- Later. All the lights still on. The TV is up loud.
|
|
|
|
Amelia tries desperately to stay awake, absently hitting
|
|
the remote. Commercials, nature program, soap opera.
|
|
|
|
An old black and white George Méliès clip appears on the
|
|
screen. Beautiful silent images, childlike but slightly
|
|
disturbing. Just like the Babadook book. A weird tinkling
|
|
lullaby accompanies them, seducing her to sleep.
|
|
|
|
She fights it, her head nodding forward and back, a drowsy
|
|
agitation, desperate to stay awake.
|
|
|
|
The Méliès images stream in front of her. People
|
|
dismembered, heads growing larger and smaller, old style
|
|
cinema tricks.
|
|
|
|
Strange and sinister.
|
|
|
|
Emotions pass over Amelia’s face as she watches, agitation,
|
|
amusement, exhaustion, fear. Something is brewing. She
|
|
jerks forward and back, her eyes heavy.
|
|
|
|
Her face speeds up. It looks bizarre. The tinkly piano
|
|
music continues to play. And still she doesn’t sleep.
|
|
|
|
Amelia’s face returns to normal speed, she looks around.
|
|
|
|
The sun is coming through the windows. It’s already
|
|
morning.
|
|
|
|
She leans over. Something doesn’t feel right.
|
|
|
|
She looks to Samuel asleep on the couch, his back to her.
|
|
|
|
Bugsy peers over Samuel, studying Amelia with caution.
|
|
75.
|
|
|
|
|
|
She returns the dog’s stare, unblinking. There’s an eery
|
|
silence in the room. She looks at the TV. It’s on mute.
|
|
|
|
Amelia suddenly lurches forward and manages to stand. She
|
|
centres herself momentarily, then shuffles to the stairs.
|
|
|
|
|
|
78 INT. AMELIA’S ROOM - MORNING 78
|
|
|
|
AMELIA
|
|
(Into mobile)
|
|
Hi Beverly, it’s Amelia.
|
|
|
|
Pause. Amelia looks exhausted and strange.
|
|
|
|
AMELIA
|
|
(Flat)
|
|
I can’t come in today, I think I’ve
|
|
caught what my son had... I don’t
|
|
want to give it to anyone at
|
|
work... Alright, give all my shifts
|
|
to someone else, that’s just what I
|
|
need... I can’t help it if I’m
|
|
sick, what do you expect me to
|
|
do?... You do that!
|
|
|
|
She throws the phone on the bedside table, sits down
|
|
heavily on the bed, her head in her hands.
|
|
|
|
She lies on her side, pulls up the covers, stares at the
|
|
wall, her eyes zombie like. They eventually close.
|
|
|
|
Silence. And finally, sleep.
|
|
|
|
SAMUEL (O.S.)
|
|
Mum....
|
|
|
|
Amelia’s eyes spring open. She doesn’t respond.
|
|
|
|
SAMUEL (O.S)
|
|
I took my pills, but now I feel
|
|
sick again.
|
|
(Pause.)
|
|
I need to eat something..
|
|
|
|
Amelia’s eyes fill with resentment. She closes them.
|
|
|
|
SAMUEL (O.S.)
|
|
I couldn’t find any food in the
|
|
fridge.
|
|
|
|
Her eyes snap open, staring, cold.
|
|
76.
|
|
|
|
|
|
SAMUEL (O.S.)
|
|
You said to have them with food.
|
|
|
|
Amelia’s face hardens, a buried fury surfacing.
|
|
|
|
SAMUEL (O.S.)
|
|
I’m really hungry Mum.
|
|
|
|
She sits up suddenly, facing Samuel. She looks odd.
|
|
|
|
AMELIA
|
|
Why do you have to talk-talk-talk
|
|
all the time? Don’t you ever STOP
|
|
TALKING?
|
|
|
|
Samuel is taken aback by his mother’s tone.
|
|
|
|
SAMUEL
|
|
I was just-
|
|
|
|
AMELIA
|
|
I-NEED-TO-SLEEP.
|
|
|
|
She looks fierce. Samuel is unnerved.
|
|
|
|
SAMUEL
|
|
I’m sorry Mummy, I was just hungry.
|
|
|
|
AMELIA
|
|
(Frightening)
|
|
If you’re that hungry, why don’t
|
|
you go and EAT SHIT!
|
|
|
|
Samuel backs away through the door, genuinely scared.
|
|
|
|
Amelia lies back down, pulling the sheets over her.
|
|
|
|
After a moment, she realizes with absolute shame what she’s
|
|
just done. It rattles her.
|
|
|
|
|
|
79 INT. SAMUEL’S ROOM - MORNING 79
|
|
|
|
Amelia arrives at the door, sheepish. She sees Samuel on
|
|
his bed, head down. He tries desperately not to cry. His
|
|
body tenses as she comes near, he’s scared of her.
|
|
|
|
AMELIA
|
|
I’m so sorry. I don’t know why I
|
|
said that. That was terrible.
|
|
77.
|
|
|
|
|
|
Samuel doesn’t look at her. He starts to cry. It’s heart
|
|
wrenching, Amelia feels it.
|
|
|
|
AMELIA
|
|
It’s just... I’ve had absolutely no
|
|
sleep... I didn’t know what I was
|
|
saying.
|
|
|
|
Samuel tries to stop crying, he can’t.
|
|
|
|
AMELIA
|
|
I’ll cook you something. What would
|
|
you like? You can have anything at
|
|
all.
|
|
|
|
SAMUEL
|
|
(Crying)
|
|
I’m not hungry anymore.
|
|
|
|
She puts her arm around him. He wriggles away from her.
|
|
|
|
AMELIA
|
|
(Ashamed)
|
|
I can understand you being upset. I
|
|
would be if I were you..
|
|
|
|
Amelia searches for the right words to placate him.
|
|
|
|
AMELIA
|
|
We need to get out of this house...
|
|
Would you like to go to McDonalds?
|
|
|
|
SAMUEL
|
|
You said McDonalds is bad for you.
|
|
|
|
AMELIA
|
|
Once in a while doesn’t hurt.
|
|
|
|
Samuel calms down a little.
|
|
|
|
AMELIA
|
|
You can have whatever you want,
|
|
alright? Even ice cream for
|
|
breakfast if you want.
|
|
|
|
A long pause as Samuel calms down, thinks about it.
|
|
|
|
|
|
80 INT. MCDONALDS - DAY 80
|
|
|
|
Kid’s party. The place is packed with screaming children.
|
|
78.
|
|
|
|
|
|
Amelia looks around at the tacky decor. The sounds and
|
|
sights are irritating, loud and bright.
|
|
|
|
Samuel sits in front of a large Happy Meal, dark circles
|
|
under his eyes. He chomps away on his french fries.
|
|
|
|
Amelia gives him a warm smile. He manages one back. Things
|
|
are better, the power of junk food has worked.
|
|
|
|
A stabbing pain in her jaw. Amelia winces. She reaches
|
|
inside her mouth and feels her back molar. She massages her
|
|
jaw, searching for relief.
|
|
|
|
|
|
81 INT. CAR - DAY 81
|
|
|
|
SAMUEL
|
|
(Very tired)
|
|
Where are we going?
|
|
|
|
AMELIA
|
|
(Wired)
|
|
I just wanna drive for a while..
|
|
|
|
Amelia feels an itch on her leg. She looks down. Her leg is
|
|
covered in cockroaches. She recoils, desperately flicking
|
|
them away. The car swerves, Samuel panics.
|
|
|
|
Amelia looks in the rear vision mirror.
|
|
|
|
A shadowy shape jumps onto the boot then the roof. She can
|
|
hear it, pounding like mad, a terrible sound. She swerves
|
|
all over the road, frightened. Samuel screams.
|
|
|
|
Amelia accidentally accelerates, heading straight towards
|
|
another car. A screeching of tyres, a sickening sound.
|
|
|
|
Amelia is frozen at the wheel, shell shocked. Samuel is
|
|
crying. It’s a miracle they’re not hurt.
|
|
|
|
A young corporate guy gets out of the other car, a brand
|
|
new Audi. He inspects the damage, then runs to Amelia.
|
|
|
|
GUY
|
|
You ran straight into me!
|
|
|
|
Amelia looks at him with a blank expression, in shock.
|
|
|
|
GUY
|
|
I just bought this bloody car! What
|
|
were you doing?
|
|
|
|
The guy looks into the back seat, sees Samuel cowering.
|
|
79.
|
|
|
|
|
|
GUY
|
|
Oh! Driving on the wrong side of
|
|
the road! With a kid in the back!
|
|
You could have KILLED someone, you
|
|
know that!?
|
|
|
|
The man’s face looms large and terrible in the window.
|
|
|
|
She reverses the car suddenly and screeches away as fast as
|
|
she can, leaving the man bewildered in her wake.
|
|
|
|
|
|
82 EXT. MRS ROACHE’S FRONT YARD - AMELIA’S FRONT YARD - DAY 82
|
|
|
|
Mrs Roach is collecting the mail. She sees Amelia and Sam
|
|
getting out of their car, goes to say hello, but is stopped
|
|
by the look on Amelia’s face. She looks terrible.
|
|
|
|
Amelia checks the roof of the car. There’s nothing, not a
|
|
dint, not a scratch. Her face pales. She stumbles to the
|
|
house, Samuel drags along behind, focusing on his mum.
|
|
|
|
Mrs Roach watches them as they disappear, worried.
|
|
|
|
|
|
83 INT. BATHROOM - EVENING 83
|
|
|
|
Amelia has a warm bath running and is sitting in it, fully
|
|
clothed. She holds her knees to her chest, trembling,
|
|
trying to calm herself down. She looks awful.
|
|
|
|
Samuel stands by, worried.
|
|
|
|
SAMUEL
|
|
Mum. Do you want me to call Aunty
|
|
Claire?
|
|
|
|
She doesn’t reply. Samuel edges closer.
|
|
|
|
SAMUEL
|
|
I can talk to her and tell her we
|
|
had an accident and she can come
|
|
over... Mum?
|
|
|
|
AMELIA
|
|
(Quiet)
|
|
Aunty Claire doesn’t want to talk
|
|
to us anymore.
|
|
|
|
Beat. Amelia gets up and grabs hold of Samuel gently. She
|
|
puts him into the bath, shirt, shorts, socks and all.
|
|
|
|
AMELIA
|
|
80.
|
|
|
|
|
|
(Soothing)
|
|
It’s nice and warm in here..
|
|
|
|
Samuel sits opposite his mum, very concerned. Long pause.
|
|
|
|
SAMUEL
|
|
I don’t want you to go away..
|
|
|
|
AMELIA
|
|
(Strangely calm)
|
|
I’m not going anywhere.
|
|
|
|
They sit opposite each other, in silence.
|
|
|
|
|
|
84 INT. ENTRANCE TO BASEMENT - EVENING 84
|
|
|
|
Amelia comes out of the basement, clutching the violin.
|
|
|
|
She clocks Samuel in the lounge and walks right past him
|
|
without acknowledgement. Sam is shocked.
|
|
|
|
|
|
85 INT. AMELIA’S ROOM - EVENING 85
|
|
|
|
Amelia lies down, calmed by the violin tight in her arms.
|
|
|
|
Sam follows, climbing on the bed to stroke her forehead.
|
|
She relaxes and closes her eyes, letting him comfort her.
|
|
|
|
A tender moment between them as Samuel smooths his mum’s
|
|
hair, suddenly the parent.
|
|
|
|
SAMUEL
|
|
Mum... I don’t think we should stay
|
|
here tonight.
|
|
(Nothing.)
|
|
I can call Mrs Roach.
|
|
|
|
AMELIA
|
|
We can’t trouble other people.
|
|
|
|
SAMUEL
|
|
She wouldn’t mind, I know she
|
|
wouldn’t.
|
|
|
|
AMELIA
|
|
I don’t want you to call anyone. I
|
|
just need to sleep...
|
|
|
|
Sam strokes Amelia’s cheek. She relaxes, letting him in.
|
|
81.
|
|
|
|
|
|
He accidentally knocks the violin with his knee.
|
|
|
|
AMELIA
|
|
(Suddenly vicious)
|
|
Leave it!
|
|
|
|
Sam backs away, sitting on an easy chair in the corner.
|
|
|
|
Amelia watches him there from the bed. Her eyelids open and
|
|
close, she gives in to sleep, shutting out her son.
|
|
|
|
|
|
86 INT. AMELIA’S ROOM - EVENING 86
|
|
|
|
A short while later. The last rays of light are dying in
|
|
the room, they play on the curtains, shadows form.
|
|
|
|
Creepy.
|
|
|
|
Amelia’s sleeping face. Whispering voices, barely audible,
|
|
envelop her. They sound demonic. Her face contorts from a
|
|
nightmare. The whispers intensify.
|
|
|
|
Amelia’s eyes snap open. The whispers stop altogether.
|
|
|
|
She sits up. Is she hearing things? She searches the near
|
|
dark room.
|
|
|
|
Eerie silence. Samuel is nowhere to be found.
|
|
|
|
|
|
87 INT. UPSTAIRS HALLWAY - EVENING 87
|
|
|
|
Light is fading fast in the house. Amelia descends the
|
|
stairs, straining to see.
|
|
|
|
The whispers start up again, taunting her. She stops dead
|
|
in her tracks and the sounds stop.
|
|
|
|
She stumbles on, her face dark and troubled.
|
|
|
|
|
|
88 INT. LOUNGE ROOM - KITCHEN - EVENING 88
|
|
|
|
Amelia stands in the dark lounge room. The whispers return,
|
|
only louder this time, more threatening. She can’t tell
|
|
where they’re coming from. It infuriates her.
|
|
|
|
She races into the kitchen, turns on the light, and rounds
|
|
the bench.
|
|
82.
|
|
|
|
|
|
She sees Samuel in his armour, whispering to someone on her
|
|
mobile phone. He almost jumps out of his skin.
|
|
|
|
She rips the mobile out of his hand and looks at the
|
|
screen, livid. Mrs Roach’s name flashes up.
|
|
|
|
She tries to contain her fury as she prepares to talk.
|
|
|
|
AMELIA
|
|
(Calm as possible)
|
|
Gracie. I am so sorry.
|
|
|
|
MRS ROACH
|
|
Has someone broken into the house?
|
|
Sam said someone was trying to get
|
|
in??
|
|
|
|
AMELIA
|
|
No. We’re fine. Samuel’s just being
|
|
very disobedient. Again.
|
|
|
|
MRS ROACH (O.S.)
|
|
Oh! I was so worried!
|
|
|
|
AMELIA
|
|
I’m really sorry. I told him not to
|
|
bother anyone.
|
|
|
|
MRS ROACH
|
|
He asked if you could stay the
|
|
night, that’s no problem at all-
|
|
|
|
AMELIA
|
|
(Very nice)
|
|
No, we’re fine. I have a small
|
|
headache, that’s all. I’ve got to
|
|
go now though. I’m sorry for
|
|
troubling you.....Yes, talk soon.
|
|
|
|
She hangs up, deadly silent, glaring at Sam.
|
|
|
|
He looks white as a sheet.
|
|
|
|
AMELIA
|
|
(Tight)
|
|
I told you not to call anyone and
|
|
you deliberately disobeyed me.
|
|
|
|
Samuel lowers his head, anxious and scared.
|
|
|
|
AMELIA
|
|
83.
|
|
|
|
|
|
Do you want to frighten Mrs Roach?
|
|
An old lady who can hardly walk? Do
|
|
you want to make her sick?
|
|
|
|
Sam is too scared to talk. This inflames Amelia more.
|
|
|
|
AMELIA
|
|
(Exploding)
|
|
Take that bloody thing off!
|
|
|
|
He takes the catapult off quick smart.
|
|
|
|
Amelia takes out her phone battery, chucks it in the bin,
|
|
only half aware of what she’s doing.
|
|
|
|
AMELIA
|
|
(Beside herself)
|
|
Is this the only way I can trust
|
|
you won’t embarrass me in front of
|
|
the neighbours?
|
|
|
|
She grabs something from the kitchen: a large knife.
|
|
|
|
Samuel is freaked out by the sight.
|
|
|
|
AMELIA
|
|
Is this what I have to do?
|
|
|
|
She cuts the cord to the land line, shaking with anger.
|
|
|
|
SAMUEL
|
|
I’m sorry Mummy. I was just scared
|
|
because the Babadook made you crash
|
|
the car and then-
|
|
|
|
AMELIA
|
|
(Stopping dead)
|
|
What did you say?
|
|
|
|
Amelia’s energy darkens. Samuel’s fear increases.
|
|
|
|
SAMUEL
|
|
(Frantic)
|
|
I just didn’t want you to LET IT
|
|
IN!
|
|
|
|
Amelia snaps. She races to the cupboard. Keys jingling.
|
|
|
|
AMELIA
|
|
I’ll make sure we don’t let
|
|
anything in, alright Samuel?
|
|
Nothing is coming in here tonight.
|
|
(Screaming)
|
|
84.
|
|
|
|
|
|
NOTHING!
|
|
|
|
She charges off to the front door, opens it, locks the
|
|
security grill, slams the front door with a vengeance.
|
|
|
|
|
|
89 INT. HOUSE - SAMUEL’S BEDROOM - NIGHT - INTERCUT 89
|
|
|
|
- Amelia locks the doors and windows, her face a mixture of
|
|
rage and fear. She can’t stop herself, slamming and locking
|
|
every door, every window in the house.
|
|
|
|
Bugsy follows her, barking incessantly. She kicks him out
|
|
of the way, completely agitated, driven.
|
|
|
|
- Samuel unlocks a case under his bed, pulling out hidden
|
|
weapons. He listens to Amelia banging around downstairs.
|
|
|
|
- Amelia has locked up the entire house. In one last
|
|
impulsive move, she throws all her keys out a barred,
|
|
|
|
backyard window. Her rage has worn itself out. Now, she
|
|
just looks frightened.
|
|
|
|
|
|
90 INT. SAMUEL’S BEDROOM - NIGHT 90
|
|
|
|
Amelia and Samuel sit on his bed.
|
|
|
|
Amelia tries her best to be nice. The intense pain in her
|
|
jaw and head make it tough. She has the water and pills.
|
|
|
|
Sam is on edge, unwilling to take his medicine.
|
|
|
|
SAMUEL
|
|
(Hesitating)
|
|
I feel sick.
|
|
|
|
AMELIA
|
|
(Civil)
|
|
If you don’t take the pills you’ll
|
|
feel worse.
|
|
|
|
SAMUEL
|
|
(Pleading)
|
|
Mum...
|
|
|
|
AMELIA
|
|
Come on Samuel.
|
|
|
|
SAMUEL
|
|
I don’t think I need-
|
|
85.
|
|
|
|
|
|
AMELIA
|
|
(Suddenly threatening)
|
|
I am the parent and you are the
|
|
child. So take-the-pills.
|
|
|
|
Samuel takes the pills from her. He raises his arm.
|
|
|
|
The pills drop down discreetly into his shirt sleeve as he
|
|
brings his hand to his mouth. A perfect sleight of hand
|
|
that Amelia doesn’t see. He takes a swig of water.
|
|
|
|
She opens his mouth, checks he’s taken them.
|
|
|
|
AMELIA
|
|
Good boy.
|
|
|
|
|
|
91 INT. LOUNGEROOM - EVENING 91
|
|
|
|
Hysterical sound effects from a cartoon on the TV. Amelia
|
|
is dozing. She jolts awake and looks over to the couch.
|
|
|
|
Samuel lies there on his back. His throat is cut. There are
|
|
multiple stab wounds to his body. His dead eyes stare up at
|
|
the ceiling, his face and body soaked in blood.
|
|
|
|
Amelia rushes over to him. She tries to scream, but nothing
|
|
comes out, her face a horrible mask of fear.
|
|
|
|
SAMUEL (O.S.)
|
|
Mum!
|
|
|
|
Amelia looks at her son.
|
|
|
|
He is crouched on the sofa, ready to spring. He’s perfectly
|
|
fine, but terrified by his mother’s behaviour.
|
|
|
|
Amelia slowly recovers, completely disoriented.
|
|
|
|
Samuel looks to her right hand, terrified.
|
|
|
|
Amelia looks to where he’s looking.
|
|
|
|
There’s a large carving knife in her hand.
|
|
|
|
|
|
92 INT. KITCHEN - EVENING 92
|
|
|
|
Amelia throws the knife in the drawer and slams it shut.
|
|
|
|
|
|
93 INT. AMELIA’S ROOM - NIGHT 93
|
|
86.
|
|
|
|
|
|
Amelia sits on her bed, tears roll down her face.
|
|
|
|
Bugsy appears at the door. The sight of him comforts her.
|
|
|
|
AMELIA
|
|
(Shaky)
|
|
Come on sweetheart. Come here.
|
|
|
|
He stays at the door.
|
|
|
|
Amelia goes to him very gently. He puts his ears back but
|
|
lets himself be picked up. She strokes him tenderly, her
|
|
fear dissipates. They stay there like that for a moment.
|
|
|
|
Bugsy suddenly bites her hand and jumps to the floor.
|
|
Amelia watches him run away, in shock.
|
|
|
|
|
|
94 INT. LOUNGE ROOM - NIGHT 94
|
|
|
|
TV still on. Amelia brings two bowls loaded up with ice
|
|
cream, marshmallows on top. She’s trying way too hard.
|
|
|
|
AMELIA
|
|
Here we go!
|
|
|
|
Samuel looks at the bowls, his face is worried and tense.
|
|
She places it in front of him, forcing a smile.
|
|
|
|
AMELIA
|
|
There’s more where that came from.
|
|
|
|
Samuel takes a spoonful, tasting it gingerly.
|
|
|
|
Amelia watches him eat, tense as hell. A sudden, stabbing
|
|
pain in her tooth, her hand flies up to her jaw. It’s
|
|
getting worse. She massages, fear and pain in her eyes.
|
|
|
|
|
|
95 INT. LOUNGE ROOM - LATER 95
|
|
|
|
Mother and son steal glances at each other. The TV blares
|
|
over the top of their silence.
|
|
|
|
Samuel’s eyelids become heavy as he struggles with, then
|
|
succumbs to sleep. Bugsy guards Samuel, watches Amelia.
|
|
|
|
Amelia channel surfs manically, not stopping to look at
|
|
anything. She finally stops on the late night news.
|
|
|
|
NEWS REPORTER
|
|
87.
|
|
|
|
|
|
... in the kitchen where he
|
|
beheaded his sister, reportedly a
|
|
day after her birthday. She had
|
|
just turned seven.
|
|
|
|
Amelia watches, horrified. Images of a normal suburban
|
|
house, cordoned off, police on the scene.
|
|
|
|
NEWS REPORTER
|
|
Her teenage brother remained inside
|
|
where he was eventually shot dead
|
|
by police.
|
|
|
|
Amelia sees police on the TV pass by a window of the house.
|
|
|
|
What she sees next chills her to the bone.
|
|
|
|
There is a clear image of Amelia herself looking out from
|
|
the window of this suburban house, smiling a disturbing
|
|
smile.
|
|
|
|
Amelia tries to comprehend what she sees.
|
|
|
|
Suddenly, all the lights snap off, plunging the house into
|
|
darkness.
|
|
|
|
Amelia’s breathing hardens. Her eyes focus on the couch.
|
|
|
|
Samuel is no longer on it. Her panic increases.
|
|
|
|
AMELIA
|
|
(Whispering)
|
|
Samuel...
|
|
|
|
Samuel is suddenly beside her. It frightens her.
|
|
|
|
SAMUEL
|
|
(Eyes closed)
|
|
Wake up Mummy.
|
|
|
|
She can see his eyes are closed.
|
|
|
|
AMELIA
|
|
Darling, you’re the one who’s
|
|
asleep.
|
|
|
|
He stands there for some time, then drifts towards the
|
|
basement door, eyes still closed.
|
|
|
|
AMELIA
|
|
Don’t go down there..
|
|
88.
|
|
|
|
|
|
He opens the door. A light comes on down there. Samuel
|
|
disappears down the stairs.
|
|
|
|
AMELIA
|
|
(Moving after him)
|
|
It’s not safe!
|
|
|
|
She stands at the top of the basement stairs watching Sam
|
|
descend. She’s confused by the light being on down there.
|
|
It draws her down, into the bowels of the house.
|
|
|
|
|
|
96 INT. BASEMENT - NIGHT 96
|
|
|
|
Amelia arrives to a basement completely clear of clutter.
|
|
The most beautiful, ethereal light transforms it.
|
|
|
|
Samuel is nowhere to be found. Amelia steps into the light
|
|
and is calmed by it.
|
|
|
|
Out of the shadows steps the man from the photo. Amelia’s
|
|
husband, Oskar, a handsome man in his forties.
|
|
|
|
Amelia’s face drops when she sees him. Her eyes
|
|
spontaneously fill with tears. She races in to him.
|
|
|
|
They stay like that for a long time, holding each other.
|
|
|
|
Amelia cries in disbelief, her emotions overwhelming her.
|
|
|
|
He kisses her, he’s real. She melts into him, letting go
|
|
into one exquisite moment.
|
|
|
|
AMELIA
|
|
(Overwhelmed)
|
|
I thought you were dead..
|
|
|
|
OSKAR
|
|
We can be together sweetheart...
|
|
|
|
She hugs him tighter, in complete disbelief. Long pause.
|
|
|
|
OSKAR
|
|
You just need to bring me the boy.
|
|
|
|
Amelia feels a sudden chill run over her and pulls back
|
|
from her husband. It suddenly doesn’t feel right.
|
|
|
|
The beautiful light has disappeared. Deep shadows fall
|
|
across Oskar’s face. He looks strange.
|
|
|
|
AMELIA
|
|
89.
|
|
|
|
|
|
You mean Samuel..
|
|
|
|
OSKAR
|
|
(His voice distorts)
|
|
You can bring me the boy... You can
|
|
bring me the boy...
|
|
|
|
AMELIA
|
|
Stop calling him the boy.
|
|
|
|
Amelia looks down to Oskar’s hands. There’s nothing at the
|
|
end of his sleeves. She tries to comprehend it. A rumbling
|
|
sound starts up.
|
|
|
|
OSKAR
|
|
(Distorted)
|
|
I think it’s going to rain.
|
|
|
|
She looks up.
|
|
|
|
A razor thin line of blood forms a diagonal line from one
|
|
ear across to his jaw on the other side.
|
|
|
|
AMELIA
|
|
(Terrified)
|
|
No....
|
|
|
|
Amelia bolts up those stairs as fast as she can.
|
|
|
|
|
|
97 INT. LOUNGE ROOM - KITCHEN - NIGHT 97
|
|
|
|
- Amelia enters the lounge room. The lights have returned,
|
|
flickering on and off. The TV is on static.
|
|
|
|
Amelia watches the overhead light flare up. The bulb
|
|
smashes.
|
|
|
|
Complete darkness. A hideous silence.
|
|
|
|
Amelia senses something behind her in the kitchen. She
|
|
turns slowly and is met with her worst nightmare.
|
|
|
|
At the far corner of the kitchen, about 15 metres away, is
|
|
a hideous silhouette in the darkness. A large black coat,
|
|
pointy black gloves and a tall black hat.
|
|
|
|
Then she hears it. A terrifying, insect like noise as the
|
|
thing glides straight towards her. It stops, towering over
|
|
her. She can’t make out any details, but she can feel it
|
|
looking at her, suspended in terror.
|
|
90.
|
|
|
|
|
|
She suddenly tears up those stairs, taking two at a time,
|
|
racing into the first open door she can find. The sound of
|
|
the thing screeching after her.
|
|
|
|
|
|
98 INT. SAMUEL’S ROOM - NIGHT 98
|
|
|
|
Amelia grabs a chair and pushes it under the doorknob,
|
|
stumbling backwards towards the fireplace.
|
|
|
|
An awful silence, just the sound of Amelia’s breath.
|
|
|
|
Something falls down the chimney and lands in the hearth
|
|
right next to her. A black top hat.
|
|
|
|
Amelia goes into a panic attack. She crawls back towards
|
|
the door, but her movements are slow and tortured.
|
|
|
|
She can hear something huge and hideous travelling up the
|
|
wall behind her, then onto the ceiling overhead. An insect-
|
|
like sound fills the room. Amelia can’t bear to look up,
|
|
lying on her stomach, frozen with terror.
|
|
|
|
Something drops down nearby. A black coat. Amelia starts to
|
|
hyperventilate.
|
|
|
|
A terrible noise, flesh ripping from flesh. Something drops
|
|
inches from her face. The ripped off ‘face’ of the
|
|
Babadook, nothing but a hardened mask. Black sticky blood
|
|
oozes from its edges, from the holes where the eyes should
|
|
be, the mouth open in a permanent scream.
|
|
|
|
In spite of her terror, Amelia forces herself to look up to
|
|
the ceiling for a split second, in disbelief.
|
|
|
|
An huge shadow fills half of the ceiling, a hideous shape
|
|
with outstretched ‘wings’, like an enormous bat.
|
|
|
|
Amelia immediately looks away. She holds her breath,
|
|
tensing up, belly to the ground, beyond terror.
|
|
|
|
AMELIA
|
|
(Over and over)
|
|
It isn’t real it isn’t real it
|
|
isn’t real it isn’t real..
|
|
|
|
There is an unbearable screeching sound.
|
|
|
|
POV from high on the ceiling. Something rushes straight
|
|
down towards Amelia’s back at lightning pace.
|
|
91.
|
|
|
|
|
|
Amelia’s eye in extreme close up. A huge bang, a terrible
|
|
scraping, ripping sound. Her pupil ‘bleeds’ outwards till
|
|
the whole eye is completely black.
|
|
|
|
|
|
99 INT. BLACK SCREEN 99
|
|
|
|
The sound of a TV up as loud as it will go. An
|
|
informercial.
|
|
|
|
Terrible, deafening, meaningless sounds.
|
|
|
|
|
|
100 INT. AMELIA’S BEDROOM - NIGHT 100
|
|
|
|
Sam hides behind a locked door clutching Bugsy. The TV is
|
|
deafening even from upstairs. He’s terrified. He unlocks
|
|
and opens the door a sliver but doesn’t venture out.
|
|
|
|
|
|
101 INT. LOUNGE ROOM - NIGHT 101
|
|
|
|
The back of Amelia watching an informercial. Something’s
|
|
not right with her. She breathes very fast and heavy.
|
|
|
|
Her face is revealed. Her eyes have a dead stare, the
|
|
pupils like pin pricks. Her limbs are slightly distorted,
|
|
rigid. She looks human, but there’s something about her
|
|
that just-isn’t-right.
|
|
|
|
She sits as if resting for a moment in her new skin, her
|
|
casual stare at odds with her bizarre appearance. She
|
|
changes channels to ‘Australia’s Next Top Model.’
|
|
|
|
JUDGE 1 (O.S.)
|
|
She’s a great girl, but she’s too
|
|
fat.
|
|
|
|
Amelia watches the program with a dead cool calm.
|
|
|
|
JUDGE 4
|
|
I agree unfortunately.
|
|
|
|
MODEL HOST
|
|
What about Cindy?
|
|
|
|
JUDGE 3
|
|
Cindy is great! She can do soft,
|
|
she can do bold, she can do sexy..
|
|
|
|
Amelia cricks her neck, suddenly agitated. She stands and
|
|
in a few jerky moves is up on top of the old TV.
|
|
92.
|
|
|
|
|
|
JUDGE 3
|
|
I think she has a lot of
|
|
extremes...
|
|
|
|
A stream of piss comes from between Amelia’s legs. It runs
|
|
over the TV screen.
|
|
|
|
Amelia’s face as she relieves herself. She opens her mouth
|
|
wide, clicking her jaw. She looks terrible.
|
|
|
|
|
|
102 INT. UPSTAIRS LANDING - LOUNGE ROOM - KITCHEN - NIGHT 102
|
|
|
|
- Landing. Samuel opens the door a sliver. Bugsy jumps from
|
|
his arms and races down the stairs. Sam is beside himself,
|
|
trying to call the dog back.
|
|
|
|
- Bugsy arrives in the loungeroom, bravely facing his
|
|
opponent. He barks ferociously.
|
|
|
|
Amelia, still on top of the TV, regards the dog with casual
|
|
indifference, her eyes dead.
|
|
|
|
She jumps down to the floor, squaring off at Bugsy.
|
|
|
|
A moment of stillness.
|
|
|
|
Bugsy is spooked and makes a run for it.
|
|
|
|
- Kitchen. Amelia chases Bugsy. The poor thing doesn’t have
|
|
a chance as she grabs it by the neck. He struggles, trying
|
|
to bite her. It’s awful.
|
|
|
|
Amelia’s terrible face, the dead eyes, fixated on the task.
|
|
|
|
The sound of Bugsy squealing in pain.
|
|
|
|
Bugsy’s little legs kick in spasms. A ghastly snapping
|
|
sound.
|
|
|
|
The squealing stops dead, the legs go limp.
|
|
|
|
Amelia looks at the dog’s corpse, emotionless. Her face
|
|
suddenly scrunches up in pain, she looks broken. It’s her
|
|
molar. She yells dropping Bugsy’s corpse on the floor.
|
|
|
|
She reaches into her mouth with her fingers, grabs hold in
|
|
the back, wrenches the tooth from side to side, groaning
|
|
horribly. She pulls and tugs, screaming in pain.
|
|
|
|
After an age it wrenches free. She looks at the bloodied
|
|
molar in morbid fascination, blood pooling in her mouth.
|
|
93.
|
|
|
|
|
|
Suddenly bored with it, she throws the tooth away.
|
|
|
|
- Lounge. Amelia stalks into the room. She instinctively
|
|
whips her head up and looks straight at her son, his face
|
|
peering over the bannister. He disappears, a door slams.
|
|
|
|
Amelia’s jagged limbs move quickly, like a spider. She
|
|
bolts straight up those stairs to her son.
|
|
|
|
|
|
103 INT. AMELIA’S BEDROOM - OUTSIDE AMELIA’S BEDROOM - NIGHT 103
|
|
|
|
- Samuel sits with his back against the locked door, key in
|
|
hand. He hears Amelia’s footsteps right outside. He freezes
|
|
as she tries the door.
|
|
|
|
AMELIA (O.S.)
|
|
(Slightly distorted)
|
|
Samuel.
|
|
|
|
He tenses, sits up to listen.
|
|
|
|
- Amelia on the other side. She clears her throat, tries to
|
|
‘normalize.’ The pupils in her eyes contract slightly.
|
|
|
|
AMELIA
|
|
(More normal)
|
|
Samuel. Let me in.
|
|
(No response.)
|
|
Bugsy’s hurt. We need to go get
|
|
help..
|
|
|
|
Her voice sounds normal but her face is terrifying.
|
|
|
|
AMELIA
|
|
Samuel. Do you want Bugsy to die??
|
|
|
|
Samuel silently disappears out of frame.
|
|
|
|
Back to Amelia on the other side. Her mouth contorts with
|
|
rage, her eyes devil’s eyes. She pounds on the door,
|
|
growing violent.
|
|
|
|
AMELIA
|
|
Samuel! Let-me-in!
|
|
(No response)
|
|
I’ll huff and I’ll puff and I’ll
|
|
BLOW YOUR FUCKING DOOR IN!!
|
|
|
|
She grabs the door frame with both hands, lifts herself up
|
|
and slams the door with both feet. Then again, and again,
|
|
over and over, till the door is kicked off its hinges and
|
|
falls to the floor.
|
|
94.
|
|
|
|
|
|
Amelia enters, looks around. No sign of Samuel. This
|
|
infuriates her.
|
|
|
|
She moves in a jerky, powerful way, as if she has rods in
|
|
her limbs. She looks under the bed, behind the curtains.
|
|
|
|
She hears a tiny noise, swivels around in time to see her
|
|
son sliding down from the top of the wardrobe. His little
|
|
frame running towards the door.
|
|
|
|
Amelia lets out a screeching sound, just like the Babadook.
|
|
|
|
Samuel stops and turns to look, terrified.
|
|
|
|
His mother glides straight towards him, a spectral sight.
|
|
|
|
Samuel instantly wets his pants.
|
|
|
|
AMELIA
|
|
You little pig. 6 years old and
|
|
you’re still wetting yourself.
|
|
|
|
He can’t look at her, puts his hands in his pockets.
|
|
|
|
AMELIA
|
|
(Cruel)
|
|
You don’t know how many times I’ve
|
|
wished it was you not him that
|
|
died.
|
|
|
|
SAMUEL
|
|
(Near tears)
|
|
I just want you to be happy.
|
|
|
|
AMELIA
|
|
(Mimicking him)
|
|
I just want you to be happee! You
|
|
know, sometimes I just want to
|
|
smash your head against the wall
|
|
until your fucking brains pop out.
|
|
|
|
Samuel backs away from her, his fists clenched.
|
|
|
|
SAMUEL
|
|
(Low)
|
|
You’re not my mother.
|
|
|
|
AMELIA
|
|
What did you say?
|
|
|
|
Looking her bravely in the eyes. Those terrible eyes.
|
|
|
|
SAMUEL
|
|
95.
|
|
|
|
|
|
I said you’re not my mother!
|
|
|
|
She bends down to Samuel, her face evil, horrifying.
|
|
|
|
AMELIA
|
|
(Shrieking)
|
|
I-AM-YOUR-MOTHER!!
|
|
|
|
Samuel throws a firecracker on the floorboards, then
|
|
another.
|
|
|
|
They stun her long enough so he can escape.
|
|
|
|
Amelia finds fresh rage. She bolts out after him.
|
|
|
|
|
|
104 INT. UPSTAIRS HALLWAY - SAMUEL’S ROOM - NIGHT 104
|
|
|
|
- Samuel pelts down the hallway.
|
|
|
|
His mother tears after him, screaming, her limbs disjointed
|
|
and ‘broken’, moving fast like a spider.
|
|
|
|
- Sam’s room. Samuel’s hands shake as he puts on his
|
|
weapons.
|
|
|
|
His eyes are wide with terror.
|
|
|
|
Amelia appears in the doorway, huge and terrifying. She
|
|
looks at him with a cruel fascination.
|
|
|
|
SAMUEL
|
|
GET AWAY!!
|
|
|
|
She laughs a hideous laugh, closing in on the boy.
|
|
|
|
He launches the cricket ball, it hits her in the face. She
|
|
bends over, covers her face with her hands, groaning.
|
|
|
|
Samuel looks at his mum, very worried.
|
|
|
|
Amelia stands up, takes her hands from her face. She
|
|
laughs, mocking him. She’s not hurt at all.
|
|
|
|
Samuel fires his nail gun off in desperation, two large
|
|
rusty nails land in his mother’s shoulder. She yells out in
|
|
pain.
|
|
|
|
This time she’s not pretending.
|
|
|
|
Samuel makes a quick getaway.
|
|
96.
|
|
|
|
|
|
105 INT. HALLWAY - NIGHT 105
|
|
|
|
Amelia comes out raging. She pulls the nails out of her
|
|
shoulder, looks downstairs, then up to the top rooms, which
|
|
way did he go?
|
|
|
|
Samuel is behind her, hiding in front of a cabinet in the
|
|
hall. All she has to do is turn around and he’s dead. He
|
|
stares at his mother’s back, holding his breath.
|
|
|
|
There is a loud knock on the front door. Amelia pauses.
|
|
Then she’s down those stairs, hardly touching the ground.
|
|
|
|
|
|
106 INT. LOUNGE ROOM - FRONT DOOR - KITCHEN - NIGHT 106
|
|
|
|
Amelia lurches towards the front door, her face looks
|
|
casually insane, and wholly evil.
|
|
|
|
A silent, swift blur of movement can be seen in the
|
|
background. It’s Samuel escaping to the kitchen.
|
|
|
|
- Amelia’s deranged profile looking through the peep hole.
|
|
|
|
Amelia’s POV. Mrs Roach is waiting outside.
|
|
|
|
Amelia’s fingers clutch the doorknob. She’s ready to rip
|
|
that door off it’s hinges.
|
|
|
|
- Samuel is horrified to see Bugsy’s remains on the floor
|
|
in the kitchen. He tries the back door. It’s locked.
|
|
|
|
- Through the peephole: Mrs Roach waits patiently in her
|
|
dressing gown, shaky on her feet. She hesitates to knock
|
|
again. Her kindly face looks worried.
|
|
|
|
Something changes in Amelia. Her terrible expression
|
|
softens.
|
|
|
|
She lowers her head, her breathing slows down.
|
|
|
|
|
|
107 INT/EXT. - NIGHT - HALLWAY - FRONT PORCH 107
|
|
|
|
The door opens, Amelia stands behind the locked security
|
|
grille. Her face is half in the shadows.
|
|
|
|
MRS ROACH
|
|
Sorry love, I know it’s late. I
|
|
just wanted to make sure you’re
|
|
OK...
|
|
97.
|
|
|
|
|
|
AMELIA
|
|
(Clearing her throat)
|
|
I’m OK.
|
|
|
|
MRS ROACH
|
|
I know this time of year is
|
|
terribly hard for you. And I know
|
|
you don’t want me to go on about
|
|
it, so I won’t..
|
|
|
|
Amelia’s face behind the screen. She starts to normalize
|
|
with Mrs Roach’s words, her eyes full of pain.
|
|
|
|
MRS ROACH
|
|
I just want you to know I’d do
|
|
anything for you and Sam. I love
|
|
you both. You can always talk to me
|
|
love. Always.
|
|
|
|
Amelia’s face softens and saddens with every word. Her eye
|
|
glints in the shadows, tears forming.
|
|
|
|
|
|
108 INT. KITCHEN - NIGHT 108
|
|
|
|
Samuel has just closed a kitchen drawer.
|
|
|
|
AMELIA (O.S.)
|
|
(Normal voice)
|
|
Samuel.
|
|
|
|
Sam jumps. He turns sharply to see his mother at the other
|
|
end of the kitchen. She looks completely normal.
|
|
|
|
Samuel watches her, caught between love and terror.
|
|
|
|
AMELIA
|
|
(Genuine)
|
|
I’m sorry. I said some terrible
|
|
things. But I didn’t mean any of
|
|
them...
|
|
|
|
She takes a step further into the kitchen. Samuel tenses.
|
|
|
|
AMELIA
|
|
I understand you’re scared.
|
|
|
|
Samuel watches her, very wary, but drawn in by her.
|
|
|
|
AMELIA
|
|
(Remorseful)
|
|
98.
|
|
|
|
|
|
I haven’t been good since your Dad
|
|
died. I haven’t been good at all..
|
|
I’m sick Sam, I need help.
|
|
|
|
Samuel’s face softens. He listens intently.
|
|
|
|
AMELIA
|
|
I just spoke to Mrs Roach. We’re
|
|
going to stay there for the night.
|
|
|
|
Amelia comes closer. She kneels in front of her son. Her
|
|
face is soft and terribly sad.
|
|
|
|
AMELIA
|
|
Do you want to do that?
|
|
|
|
Amelia puts one hand gently on his shoulder. Samuel nods.
|
|
|
|
Amelia’s hand behind her back is twisted and clenched.
|
|
|
|
AMELIA
|
|
I want to make it up to you Sam. I
|
|
want you to meet your Dad.
|
|
|
|
She slips her other hand around the back of his neck,
|
|
soothing him with her touch. He tenses.
|
|
|
|
AMELIA
|
|
It’s beautiful. You’ll be happy
|
|
there..
|
|
|
|
Samuel can see his mother’s pupils don’t look normal.
|
|
|
|
Without warning, he quickly raises a carving knife behind
|
|
his back and sinks it deep into his mother’s leg.
|
|
|
|
She looks to him, then to the knife, absolutely stunned.
|
|
|
|
SAMUEL
|
|
Sorry Mummy.
|
|
|
|
He’s out of there.
|
|
|
|
Amelia stumbles onto her arse, looking in shock at the big
|
|
knife sticking out of her thigh.
|
|
|
|
She reverts to something much more primitive than before.
|
|
Her face distorts, a picture of madness. She rips the knife
|
|
out in one go, yelling as she does it.
|
|
|
|
Samuel races to the basement door. He takes a look back.
|
|
99.
|
|
|
|
|
|
Amelia lets out a blood curdling sound as she rises.
|
|
|
|
Samuel disappears into the basement.
|
|
|
|
|
|
109 INT. BASEMENT - NIGHT 109
|
|
|
|
Amelia pauses at the top of the stairs, then descends at
|
|
full speed, screaming like a banshee.
|
|
|
|
A little hand pulls a rope, a trip wire forms.
|
|
|
|
Amelia’s feet connect with it. She tumbles forward, hitting
|
|
her head on the ceiling beam, hard.
|
|
|
|
She stumbles around, concussed. The room spins before her,
|
|
she sees a brief glimpse of Samuel watching in horror, then
|
|
the ceiling, the floor, out of control.
|
|
|
|
It looks terrible as she swerves and stumbles.
|
|
|
|
Sam has a baseball bat in both hands. He runs to Amelia and
|
|
strikes her as hard as he can in the of the knees. She
|
|
buckles and hits her head first on the wall, then hard on
|
|
the concrete floor. The blows knock her out.
|
|
|
|
|
|
110 INT. BASEMENT - LATER 110
|
|
|
|
Black screen.
|
|
|
|
The sound of very fast, shallow breathing. The ceiling
|
|
comes into focus, one dingy light overhead.
|
|
|
|
Amelia in profile breathing super fast. Her pupils are now
|
|
large and black as coals. She tries to lift herself up but
|
|
despite her considerable power, she can’t.
|
|
|
|
She looks down. Every part of her, neck to toe, is tied and
|
|
bound with rope, belts, anything Samuel could get his hands
|
|
on. She looks like Gulliver in Lilliput. She makes a
|
|
terrible shrieking sound, struggling to free herself.
|
|
|
|
Samuel slinks out of the shadows with his magician’s cape
|
|
on, holding the baseball bat, trembling with fear.
|
|
|
|
SAMUEL
|
|
Mum...
|
|
|
|
Amelia sees him. She snarls, threatening him.
|
|
|
|
SAMUEL
|
|
100.
|
|
|
|
|
|
I’m not leaving you...
|
|
|
|
Amelia groans horribly, trying to free herself.
|
|
|
|
Samuel comes in a touch closer. The monstrous Amelia looks
|
|
at him, as if trying to register who it is.
|
|
|
|
Samuel inches in closer, Amelia stops struggling.
|
|
|
|
He pulls out the bunch of paper flowers. She stares at
|
|
them, becoming more herself, calming. Sam leans in.
|
|
|
|
Amelia suddenly yells even louder than before. Samuel runs
|
|
to the far corner of the basement, scared stiff. She laughs
|
|
at his terror, a monstrous, agonized laugh.
|
|
|
|
SAMUEL
|
|
We said we’d protect each other...
|
|
|
|
Some of her ties have come undone. A few of the others are
|
|
starting to come loose.
|
|
|
|
Samuel doesn’t notice as he sneaks back towards her, trying
|
|
his hardest to be brave.
|
|
|
|
SAMUEL
|
|
I know you don’t love me. The
|
|
Babadook won’t let you. But I love
|
|
you mummy, ever since I was born
|
|
and I always will...
|
|
|
|
The words get in somehow. Amelia’s face screws up in pain,
|
|
fighting this thing that has taken her over.
|
|
|
|
Another tie works itself loose, she wriggles and moves.
|
|
|
|
SAMUEL
|
|
My dad died because he died. Not
|
|
because of me.. It’s not my fault.
|
|
|
|
Amelia’s face contorts, affected by his words. She gasps
|
|
for breath, trying to come out of it. A black tear wells up
|
|
in the corner of her eye. She starts to shake.
|
|
|
|
SAMUEL
|
|
(Desperate)
|
|
You let it in, you have to get it
|
|
out!
|
|
|
|
The tear rolls down her face. A black substance seeps from
|
|
one nostril. She looks terrible, shaking, trying to come
|
|
back from the brink.
|
|
101.
|
|
|
|
|
|
Samuel starts to cry at the sight, suddenly losing all his
|
|
strength. The baseball bat goes limp in his arms.
|
|
|
|
SAMUEL
|
|
(Bawling)
|
|
I don’t want you to go away...
|
|
|
|
Amelia’s arm suddenly comes free. Amelia rips the bat out
|
|
of Sam’s hands and throws it across the room. He tries to
|
|
get away. But before he can escape she’s grabbed him.
|
|
|
|
SAMUEL
|
|
NO!... NO, NO!! MUMMY!
|
|
|
|
Her other hand comes free. Samuel tries to punch and kick
|
|
her, she tightens the grip on the back of his neck.
|
|
|
|
She takes both hands and places them round Samuel’s neck.
|
|
She struggles with what she is about to do but loses out.
|
|
|
|
Slowly but surely, she chokes him.
|
|
|
|
His little hands pull at her hands around his neck. But
|
|
she’s too strong. Sam’s face turns red, he can’t breathe.
|
|
|
|
A look of terrible recognition passes across Amelia’s
|
|
monstrous face as she realizes what she’s doing, but still
|
|
she can’t stop. She cries out, trying to summon up strength
|
|
from the depths. It doesn’t come.
|
|
|
|
Samuel eyes bulge. He takes both hands and with great
|
|
effort places them on his mother’s cheeks. He strokes his
|
|
mother’s face, full of love, trying to get her to stop.
|
|
|
|
It’s heart wrenching. Something snaps in Amelia. Her body
|
|
shakes violently. Black tears rolling down her face.
|
|
|
|
She throws Samuel away from her, screaming out as she sends
|
|
him sliding halfway across the room.
|
|
|
|
Amelia gets up on all fours, shaking her head from side to
|
|
side. The movement becomes so quick, so surreal, that her
|
|
head becomes a violent, screaming blur.
|
|
|
|
Samuel calls out to his mother, desperate and frightened.
|
|
|
|
After a time, Amelia’s head movements slow down. Then
|
|
finally, they stop. A long pause.
|
|
|
|
Amelia suddenly and forcefully vomits up a black substance.
|
|
|
|
It hits the floor urgently. Samuel watches on, speechless.
|
|
102.
|
|
|
|
|
|
It’s horrible, disturbing.
|
|
|
|
Just as soon as it started, it stops. Amelia falls face
|
|
forward and lies dead still, her eyes open and staring.
|
|
|
|
Samuel runs to her. Desperate, he grabs her shirt, pulling
|
|
her up, her head falls back. He hits her hard on the chest,
|
|
as hard as he possibly can, over and over.
|
|
|
|
Amelia inhales like a drowning person coming up for air.
|
|
She lets out a cry, a human cry this time, full of pain.
|
|
|
|
Samuel wipes her face and kisses her cheek, grateful she’s
|
|
alive.
|
|
|
|
Amelia looks around completely disoriented.
|
|
|
|
|
|
111 INT. LOUNGE ROOM - NIGHT 111
|
|
|
|
Amelia limps through the basement door holding her son’s
|
|
hand, slowly coming out of her trance like state. They
|
|
stand there shell shocked. The house is silent.
|
|
|
|
A low rumbling starts up. Samuel looks all around him, then
|
|
to his mum. She looks at him, unnerved.
|
|
|
|
SAMUEL
|
|
‘If it’s in a word, or it’s in a
|
|
look, you can’t get rid of the
|
|
Babadook.’
|
|
|
|
Without warning Samuel’s body is suddenly ripped from her
|
|
arms. An unseen force drags him up the stairs, his body
|
|
bouncing as he hollers for his life.
|
|
|
|
Amelia screams as she watches him disappear out of sight.
|
|
|
|
|
|
112 INT. STAIRWELL - AMELIA’S ROOM - NIGHT 112
|
|
|
|
- Amelia races up the stairs as fast as she can.
|
|
|
|
- She arrives at the door.
|
|
|
|
Sam is standing by her bed, his arms rigid. He is picked up
|
|
and flung against the wall. A sickening thud, he looks like
|
|
a broken doll. Amelia screams.
|
|
|
|
She races to Sam, grabs hold of his arms. They’re ripped
|
|
out of her grasp. Sam hits the wall again and again. It’s
|
|
brutal, he starts to lose consciousness.
|
|
103.
|
|
|
|
|
|
Amelia grabs Sam’s leg, then locks her arms round his
|
|
waist.
|
|
|
|
She uses all her strength to push him onto the bed,
|
|
covering him with her body, gripping the edges so she
|
|
doesn’t fly up against the wall herself.
|
|
|
|
The bed starts to shake violently. A rumbling sound
|
|
throughout the room. Amelia stares off into the shadows,
|
|
acknowledging this thing as real for the very first time.
|
|
|
|
AMELIA
|
|
(Desperate)
|
|
What do you want!
|
|
|
|
The bed lifts up then slams down violently with them on it.
|
|
|
|
Amelia holds on tighter, Samuel clings to her.
|
|
|
|
AMELIA
|
|
TELL ME WHAT YOU WANT!!
|
|
|
|
The bed drops to the floor. The sound stops, replaced by an
|
|
eerie calm. Sam hides his face in the mattress.
|
|
|
|
The door creaks open. A figure steps into the light, Amelia
|
|
stands up on the bed to see who it is. Sam grabs her waist,
|
|
hides his face in her skirt.
|
|
|
|
It’s Oskar. A look of dread passes over Amelia’s face.
|
|
|
|
AMELIA
|
|
(SHAKING HER HEAD)
|
|
NO...
|
|
|
|
OSKAR
|
|
Keep breathing..
|
|
|
|
A very faint rumble starts up again. Amelia can’t take her
|
|
eyes from her husband, her panic becomes visible.
|
|
|
|
OSKAR
|
|
Put your seat back sweetheart. Ten
|
|
more minutes and we’re there.
|
|
|
|
AMELIA
|
|
NO...
|
|
|
|
Amelia shakes, tears forming. The rumbling intensifies.
|
|
|
|
OSKAR
|
|
I think it’s going to rain.
|
|
104.
|
|
|
|
|
|
Oskar is oblivious to the noise building around him.
|
|
|
|
AMELIA
|
|
STOP!!
|
|
|
|
Truck tyres skid, brakes screech, horns blaring.
|
|
|
|
A hot, white light shines in Oskar’s face, blinding him.
|
|
The screeching sound becomes deafening.
|
|
|
|
Amelia watches as the top half of her husband’s head is
|
|
severed, from the ear on one side to the jaw on the other.
|
|
|
|
His corpse quickly drops to the floor.
|
|
|
|
Amelia stares at it, her body shakes uncontrollably, tears
|
|
run down her face. She cries out as if she’s being
|
|
murdered, an unimaginable grief.
|
|
|
|
A sound starts up, taunting her. ‘Babababababa dook-dook-
|
|
dook.’
|
|
|
|
Amelia watches the corpse suddenly pulled back, swallowed
|
|
up by the shadows as if it was never there. She searches
|
|
the dark but can only see a formless shape lurking there.
|
|
|
|
Her grief and pain transforms into anger. She spits the
|
|
words out, trembling, hardly able to breathe.
|
|
|
|
AMELIA
|
|
You....are....nothing.
|
|
|
|
The hideous growling grows more threatening with her words.
|
|
|
|
Her energy rises visibly. A pure, white hot rage.
|
|
|
|
AMELIA
|
|
YOU’RE NOTHING!
|
|
|
|
The hideous shadow grows larger, rising up to the ceiling,
|
|
terrorizing her. The floors and walls shake.
|
|
|
|
AMELIA
|
|
This is MY HOUSE! You are
|
|
trespassing in MY HOUSE!
|
|
|
|
Its growls turn to a deafening roar as the shadow touches
|
|
the ceiling, a huge mass of black terror.
|
|
|
|
Amelia fights a sickening, gut wrenching fear as she
|
|
finally faces up to this thing.
|
|
105.
|
|
|
|
|
|
AMELIA
|
|
(Not turning away)
|
|
If you touch my son again, I’ll
|
|
fucking KILL YOU!
|
|
|
|
Bits of the ceiling fall to the floor. The walls crack.
|
|
|
|
Sam’s body is flipped up and pulled violently towards the
|
|
shadows. He yells. Amelia grabs him by the hands and yanks
|
|
him to her, there’s no way she’s letting go this time. Sam
|
|
wraps around her waist, she holds him tight.
|
|
|
|
The sound of the Babadook is deafening. Its presence takes
|
|
over the room.
|
|
|
|
Amelia jumps up on the bed end, her son in her arms, and
|
|
lets out a scream so strong, so piercing, it smashes every
|
|
window in the room. She looks utterly fierce. A mother
|
|
enraged, protecting her son.
|
|
|
|
Her scream dies away, but her eyes are full of life. She
|
|
searches the darkness.
|
|
|
|
The huge shadow shrinks down from the ceiling, its growls
|
|
reduce to a hideous moan. The shadow is slowly and
|
|
completely lost to the darkness.
|
|
|
|
The noise of the Babadook stops altogether.
|
|
|
|
Amelia stands tall on the bed end, searching the shadows,
|
|
holding her breath.
|
|
|
|
An unbearable silence.
|
|
|
|
The outward figure of the Babadook, just like the one in
|
|
the picture book only life size, rolls in to the edge of
|
|
the shadows. It looks absurd, creepy, its black arms
|
|
stretched out like a scarecrow. Amelia holds her breath,
|
|
waiting for something to happen. The ‘figure’ suddenly
|
|
drops to the ground like a sack. Amelia starts. It
|
|
collapses into a shapeless mound of hat and coat with
|
|
nothing underneath. Amelia slides down to the floor,
|
|
staring at it, dumbfounded. Sam jumps on the mattress, face
|
|
down. A moaning sound starts up under the coat. Hellish,
|
|
but somehow sad. Amelia inches in to look, her face
|
|
softens.
|
|
|
|
SAMUEL
|
|
(Looking up, scared)
|
|
Mum, don’t...
|
|
106.
|
|
|
|
|
|
Amelia comes in really close now, reaching out to touch the
|
|
coat, checking if it’s real. The Babadook POV. It rises
|
|
from under the coat up to the ceiling, towering over
|
|
Amelia, then screeches right down to her face. We don’t see
|
|
it but she does. It blows the skin back on her face, her
|
|
eyes widen, her mouth is forced open in a grimace. Just
|
|
like mask of the Babadook. And as quick as it appeared,
|
|
that thing is out of there.
|
|
|
|
The Babadook’s POV flying out the door, Amelia and Sam are
|
|
left behind.
|
|
|
|
|
|
113 INT. LOUNGE ROOM - NIGHT 113
|
|
|
|
By the time Amelia makes it downstairs, the Babadook has
|
|
disappeared into the basement, door slamming. She runs over
|
|
to it, locks the door, takes the key.
|
|
|
|
Amelia turns. Sam stands opposite her. He cries, then
|
|
howls, completely overwhelmed, his body shaking.
|
|
|
|
Amelia races to him, scoops him up. Samuel clings to her
|
|
for dear life. She strokes his head, kisses his face,
|
|
holding him as tight as she can.
|
|
|
|
She takes him to the couch, cradles him in her arms and
|
|
soothes him with her words. Full of a mother’s love.
|
|
|
|
They stay there like that for a long time together.
|
|
|
|
|
|
114 INT. MRS ROACH'S FRONT YARD - DAY 114
|
|
|
|
Sam looks through a window. He has his best clothes on,
|
|
looking adorable. He sees something, his face lights up.
|
|
|
|
The front door opens. Sam guides Mrs Roach down the steps,
|
|
then lets go of her hand and runs to mum.
|
|
|
|
Amelia scoops Sam up in her arms. She looks different.
|
|
|
|
Stronger. Her eyes more relaxed and alive.
|
|
|
|
MRS ROACH
|
|
Watch your mum’s leg little one.
|
|
|
|
AMELIA
|
|
He’s fine. I’ve had the stitches
|
|
out.
|
|
|
|
MRS ROACH
|
|
107.
|
|
|
|
|
|
You’ll have to be more careful
|
|
around the home. It can be a death
|
|
trap.
|
|
|
|
AMELIA
|
|
(Not a touch of irony)
|
|
I know.
|
|
|
|
MRS ROACH
|
|
What time’s the party?
|
|
|
|
AMELIA
|
|
Anytime after 3 is fine. Just going
|
|
to have a bit of real food first,
|
|
before the sugar onslaught starts.
|
|
|
|
Samuel snuggles into her. She hugs him back.
|
|
|
|
MRS ROACH
|
|
See you in a few hours then.
|
|
|
|
Mrs Roach gives them a sweet nana wave. They wave back.
|
|
|
|
|
|
115 INT. LOUNGE ROOM - DAY 115
|
|
|
|
The lounge room is still run down, but tidy and clean.
|
|
There are homemade birthday decorations strung up.
|
|
|
|
Amelia and Samuel sit on the couch, side by side.
|
|
|
|
The couple from Social Services sit opposite, cups of tea
|
|
in hand. Amelia is much more grounded in their presence.
|
|
|
|
PRUE
|
|
That school’s a good choice.
|
|
|
|
AMELIA
|
|
I’ve done a lot of reading about it
|
|
so.. I think Sam’ll be happy there.
|
|
|
|
WARREN
|
|
(Stiff)
|
|
He’s been away from school over two
|
|
weeks now. Time to get back into
|
|
it.
|
|
|
|
AMELIA
|
|
(Strong)
|
|
We needed time to sort things out.
|
|
|
|
Samuel nestles into his mum. Prue smiles tightly.
|
|
108.
|
|
|
|
|
|
PRUE
|
|
Are you having a party?
|
|
|
|
AMELIA
|
|
It’s Sam’s birthday today. We’re
|
|
having a small thing, just a few
|
|
friends.
|
|
|
|
SAMUEL
|
|
The first birthday I’ve ever
|
|
celebrated.
|
|
|
|
The visitors look a little shocked.
|
|
|
|
AMELIA
|
|
That’s not true!
|
|
|
|
SAMUEL
|
|
Yes it is mum.
|
|
(To the visitors)
|
|
My first party on the day.
|
|
|
|
PRUE
|
|
(Pointed)
|
|
That’s unusual.
|
|
|
|
Amelia can see the judgement in the woman’s eyes. She
|
|
decides not to let it go.
|
|
|
|
AMELIA
|
|
(Not a trace of self
|
|
pity)
|
|
My husband died the day that Sam
|
|
was born.
|
|
|
|
The DOCs couple don’t know how to respond.
|
|
|
|
SAMUEL
|
|
He got killed driving mum to the
|
|
hospital to have me.
|
|
|
|
Amelia doesn’t rush in to rescue them.
|
|
|
|
The woman mouths the word ‘oh’. The man is completely out
|
|
of his depth, just staring blankly at them.
|
|
|
|
AMELIA
|
|
Sam’s just like his dad was, always
|
|
speaks his mind.
|
|
|
|
Sam is snuggled right in to his mum, protected.
|
|
|
|
WELFARE WOMAN
|
|
109.
|
|
|
|
|
|
(To Samuel, ignoring what
|
|
just happened)
|
|
Birthday parties are always fun,
|
|
especially when they’re yours.
|
|
|
|
SAMUEL
|
|
My cousin was going to come but
|
|
she’s scared of me because I
|
|
knocked her front tooth out.
|
|
|
|
Amelia looks to DOCs, a half smile plays on her lips. She
|
|
looks beautiful.
|
|
|
|
Prue looks awkward, her cup slipping on the saucer.
|
|
|
|
AMELIA
|
|
(Getting up)
|
|
I’ll take that for you.
|
|
|
|
|
|
116 EXT. GARDEN - DAY 116
|
|
|
|
A cross section of soil. Bugsy’s corpse buried there. The
|
|
flesh begins to rot. Worms and bugs crawl through it.
|
|
|
|
Travelling up to the roots of a plant bursting out of the
|
|
earth. A rose bush. Amelia’s tends to the soil around it.
|
|
|
|
She admires a single black rose in full bloom.
|
|
|
|
Samuel is nearby, opposite the fence. There’s a target
|
|
painted on it. He has two home made ‘nail guns’ on either
|
|
leg. He aims then fires them off in quick succession.
|
|
|
|
Amelia looks up. The nails hit their mark.
|
|
|
|
AMELIA
|
|
Good shot!
|
|
|
|
Samuel looks pleased. He runs over to her.
|
|
|
|
SAMUEL
|
|
I’m protecting you mum.
|
|
|
|
AMELIA
|
|
(Genuine)
|
|
You’re doing such a good job.
|
|
|
|
He runs back to his target, full of beans, firing up again.
|
|
|
|
Amelia picks up another worm and adds it to a bowl full of
|
|
them. She takes off her gloves and gets up.
|
|
110.
|
|
|
|
|
|
117 INT. BASEMENT DOOR - DAY 117
|
|
|
|
Amelia is at the door which now has many bolts on it. She
|
|
undoes them all as Samuel watches. She goes over to where
|
|
she’s put down the bowl of sludge and worms, picks it up.
|
|
|
|
Sam keeps one eye on her as he tentatively sneaks one foot
|
|
into the basement. She turns around and sees him.
|
|
|
|
AMELIA
|
|
(Fierce, protective)
|
|
UH UH UH! NO!
|
|
|
|
He stops in his tracks.
|
|
|
|
AMELIA
|
|
(Moving to him)
|
|
It’s not a game, Sam.
|
|
|
|
Amelia crouches down to Sam’s level, patient and loving.
|
|
|
|
AMELIA
|
|
One day, when you’re a bit bigger.
|
|
You keep working on your weapons...
|
|
|
|
Samuel silently accepts what she’s offering. For now.
|
|
|
|
AMELIA
|
|
(Firm)
|
|
Go right out into the yard and stay
|
|
there till I call you, alright?
|
|
|
|
He nods and runs outside.
|
|
|
|
|
|
118 INT. BASEMENT - DAY 118
|
|
|
|
Amelia descends the stairs. It’s dark and hard to see. A
|
|
very faint rumbling starts up.
|
|
|
|
The room is clearer than before. Oskar’s things are still
|
|
there, but now very neatly stacked in one corner.
|
|
|
|
Amelia places the bowl of slop in the centre of the room.
|
|
She steps back and waits, peering into the darkness. She’s
|
|
frightened, but does her best to conceal it.
|
|
|
|
The rumbling increases. She can see a familiar shadow in
|
|
the corner, moving ever so slightly. A low insect like
|
|
noise. She braces herself, peering in to try and see it.
|
|
|
|
A sound behind her. The back of Amelia’s head as she turns
|
|
around, her eyes widening.
|
|
111.
|
|
|
|
|
|
Amelia is knocked off balance then twisted and bent
|
|
backwards. Her arms grab at the air to try and right
|
|
herself.
|
|
|
|
She grunts and groans, her face is forced to one side. The
|
|
sounds around her are horrible, threatening.
|
|
|
|
Amelia seen from above. She is bent right back as she
|
|
forces her head to look up. She lets out a low guttural
|
|
warning sound, then a shout, full of power..
|
|
|
|
Her back releases slightly, she is able to right herself,
|
|
standing eye to eye with something we don’t see. Her face
|
|
is tense, her pupils dilate. She looks afraid but something
|
|
else is there now. Something soft and sad.
|
|
|
|
AMELIA
|
|
(Tenderly, through the
|
|
fear)
|
|
Ssh.. Ssh... It’s alright, it’s
|
|
alright.. Ssh.....
|
|
|
|
She stays there awhile. Her breathing is laboured, her
|
|
pupils now huge and black. A tortured moan off screen. She
|
|
continues to soothe and reassure it, undeterred.
|
|
|
|
Time stretches. A moment of peace.
|
|
|
|
Amelia’s eyes return to normal. The POV falls away from
|
|
her, dropping to the floor. Amelia stands over it.
|
|
|
|
The bowl of slop there on the floor untouched. Nothing else
|
|
can be seen in the room.
|
|
|
|
In one quick move the bowl is sucked into the darkness.
|
|
|
|
Amelia walks backwards to the stairs. She turns and climbs
|
|
them as quick as she can without running.
|
|
|
|
|
|
119 EXT. GARDEN - DAY 119
|
|
|
|
Amelia carries a tray filled with sandwiches. She sets it
|
|
down in front of Samuel. He has his magician’s outfit on.
|
|
|
|
SAMUEL
|
|
How was the Babadook?
|
|
|
|
AMELIA
|
|
Pretty quiet today.
|
|
|
|
Amelia reaches up and undoes his top collar, inspecting the
|
|
bruises on his neck. She can’t hide her shame.
|
|
112.
|
|
|
|
|
|
SAMUEL
|
|
(Gently)
|
|
It’s much better mummy..
|
|
|
|
She brings her hand up to stroke his cheek, looking at him
|
|
with love. She puts a sandwich on Sam’s plate.
|
|
|
|
SAMUEL
|
|
Wait! I’ve got a new trick..
|
|
|
|
He runs to get a silver dome off the ground, races back and
|
|
plonks it on the table.
|
|
|
|
SAMUEL
|
|
Life is not always as it seems!
|
|
(Waving his hands)
|
|
Nothing in my hands, nothing in my
|
|
hands.
|
|
|
|
He makes something appear in his palm, it’s a coin.
|
|
|
|
AMELIA
|
|
(Impressed)
|
|
Very good!
|
|
|
|
SAMUEL
|
|
Wait! I haven’t finished..
|
|
|
|
Amelia watches on, intrigued.
|
|
|
|
Samuel places the dome over the coin. He grabs a spoon and
|
|
taps it on the top for special effect. He whips the lid off
|
|
and underneath is a bird. A real, live bird.
|
|
|
|
Amelia laughs with surprise.
|
|
|
|
AMELIA
|
|
(Shocked)
|
|
How did you do that!
|
|
|
|
The bird flaps around on the table. Samuel does an
|
|
impromptu jig around his mum, very pleased with himself.
|
|
|
|
She laughs, enjoying his dance. She tries to grab hold of
|
|
his arm. He wriggles free, happy, laughing.
|
|
|
|
AMELIA
|
|
Come here...
|
|
|
|
Amelia finally catches his arm, drawing him to her. She
|
|
hugs him and puts him on her lap. He stops wriggling around
|
|
and settles in, relishing his mother’s love.
|
|
113.
|
|
|
|
|
|
A quiet beautiful moment, neither of them say a thing.
|
|
Amelia rubs her son’s back, he snuggles into her.
|
|
|
|
AMELIA
|
|
(Quietly, after more than
|
|
a moment)
|
|
Happy birthday sweetheart.
|
|
|
|
Sam breaks into a smile. He closes his eyes and leans into
|
|
his mother, his face beaming.
|
|
|
|
THE END
|
|
|