PORTER HOUSE © 2003 amber rose
TOTAL LENGTH:
31 minutes 40 seconds
Black.
A woman’s high-heels clack on pavement.
(5 seconds)
Fade up.
1. EXT. CITY bus
station – night
Heeled boots hurry across a walkway. The footsteps echo faintly,
as if being followed by another pair of shoes.
A suitcase is hastily handed over and stuffed in the luggage
compartment.
(10 seconds)
Cut to:
2. int. bus - night
KAREN GOODWIN steps onto the half-full bus. Bobbed chestnut hair
frames her face. She resolutely takes a seat.
Raindrops begin to appear on the window.
KAREN’S eyelids droop.
(15 seconds)
Cut to:
3. Title montage
(The camera glides fluidly, titles flashing over the images. A
20s jazz tune plays, barely heard.)
Heavy rain obscures a sign hanging lopsided from the wooden entry
arch. Thunder rolls.
An empty hallway. Candles
alight, just as they go out of sight. Footsteps echo. Thunder claps with a
burst of lightening.
A flash of a face in a window as the curtain is whipped shut. A
young woman giggles airily.
AIRY Voice
They’re coming… soon.
Title: Porter House.
(20 seconds)
Cut to:
4. int. bus - morning
KAREN is the only remaining bus passenger.
The BUS DRIVER startles her awake.
bus driver mac
You’re here, love.
karen
Oh. Thank you.
Bleary eyed, KAREN exits the bus.
(20 seconds)
Cut to:
5. ext. Yanembah bUS station – Morning
KAREN seems out of place at the desolate bus station.
A diminutive woman appears. Her blonde hair is bound in twin
braids and she wears a flowing floral dress. Her hand is extended in greeting.
violet
Karen Goodwin?
karen
Yeah.
violet
Violet Travers. From the school. To show you ‘round?
karen
Oh, right! Sorry, half asleep. Hi!
KAREN shakes VIOLET’S hand.
VIOLET smiles, dimpled cheeks exaggerating
her appearance of youth.
violet
Welcome to Yanembah.
A lone crow caws from atop the derelict bus shelter.
(30 seconds)
Cut to:
6. int. car – morning
KAREN peers out the passenger window as she and VIOLET converse.
Splotchy tree trunks rise from muddy red soil.
violet
How was the ride up?
They pass a small herd of scrawny beef cattle.
karen
I slept most of the way. Although, not very well. Where are we
headed?
They slow as homes start to appear.
violet
To your place. And if you’re tired
I’ll leave you to rest.
An old woman, in a towelling dress and holey straw hat, is
weeding.
karen
Oh no, I think I want to see what I’ve got myself into.
KAREN tries to make light of her situation.
violet
It’s not that bad out here, you know. You’ll get used to it.
(50 seconds)
Cut to:
7.ext. karen’s cottage –
day
As they pull up, KAREN’S face softens.
Plants prettify the small yard and wire fence. The cottage has a
little porch with swinging seat.
KAREN grabs her suitcase and follows VIOLET to the front door:
it’s not locked. They enter.
(15 seconds)
Cut to:
8.int. karen’s LOUNGE –
day
Their footsteps echo as in the first scene.
KAREN starts to inspect. Labelled boxes sit amongst scattered
pieces of furniture.
VIOLET looks to the kitchen at the end of the house.
VIOLET
Would you like a cup of tea?
KAREN
How about a beer? I know there has to be a pub in town.
vIOLET
Actually there’s two.
karen
A two-pub town? Things
are getting more civilised by the moment.
(30 seconds)
Cut to:
9. int. YANEMBAH pub – afternoon
A group of older men smoke around the pool table. A woman sits at
a pokie machine.
Empty plates are on the table in front of KAREN and VIOLET. They
each hold a beer.
KAREN is examining framed photographs on the wall beside them.
karen
I always loved old photos.
She touches the dusty frame.
karen cont’d
You can’t help but wonder about the people in picture, you know?
Who were they, what did they do… it might be nice to
run a unit on local history.
(pause)
I almost sounded like a teacher just then. Scary.
violet
Why is that scary?
Agitated, KAREN fidgets as she tries to make her point.
karen
It’s like I’ve spent three years blindly studying what I’m
passionate about, got my degree, and thought ‘well shit, now I need a real
job’. That just doesn’t feel like the right reason to be teaching, I guess.
(pause)
What about you?
Pondering, VIOLET sips her beer.
violet
I love my kids, seeing them cook a meal or make themselves a
dress. That’s an achievement, you know?
karen
See! That’s the attitude a real teacher should have. I’m just
some academic trying to make a living.
violet
I think you’re too hard on yourself. You were spoken very highly
of.
The dull murmur in the pub fades as an elderly but tough looking
woman takes a seat at the far end of the bar. Her left arm is bandaged from
elbow to fist.
The BAR TENDER silently hands the woman a scotch on ice.
KAREN, curious, looks to VIOLET.
VIOLET
(whispering)
That’s Nancy Chambers. Lives on her own, just
out of Yan’bah. Town thinks she’s crazy. Something about her family. If you ask me she’s not making
any trouble, so why worry?
NANCY neither
speaks nor moves save to sip at her drink.
karen
What’s with the arm?
violet
Don’t know. It’s been like that as long as I can remember. Kids’ll say it’s to hide the ‘horrible claw she uses to gut
cows and disobedient children’.
KAREN laughs a little.
karen
Wonder what the town is going to think of me?
violet
Oh, you’ll know soon enough. Nothing stays a secret here for
long.
They share an easy smile. KAREN looks at their empty glasses.
KAREN
I guess it’s time for me to bite the bullet and start unpacking.
VIOLET touches KAREN’S arm as they rise to leave.
violet
Now, since you won’t let me help, you’re coming for lunch
tomorrow.
karen
If you insist! Thanks for everything.
violet
My pleasure.
KAREN glances back at a sharp clunk as they exit.
NANCY has
slammed her empty glass on the table. The old woman is staring straight at
KAREN.
(2 minutes 20
seconds)
Cut to:
10. int. karen’s cottage – night
(The camera glides through the cottage, as in Scene 2)
Empty boxes and crumpled newspaper fill the hallway.
KAREN sleeps fitfully in her underwear and singlet. Bed sheets
are twisted around her bare legs.
(10 seconds)
Cut to:
11. NIGHTMARE the first
The tip of a knife teases a surface.
Slivers of wood fall. A girl giggles.
Slivers become mirror shards. Glass tinkles.
Shards become drops of blood. Scream.
Rosary beads rest in a pool of blood.
(10 seconds)
Cut to:
12. int. karen’s cottage – night
KAREN jolts awake. She is breathing hard.
(5 seconds)
Cut to:
13. ext. violet’s porch – day
Yawning, KAREN rings VIOLET’S brass doorbell. She warily eyes two
sleeping border collies.
Town folk watch her suspiciously, recognising her as an outsider.
VIOLET, smiling and wearing an apron, lets her in.
(15 seconds)
Cut to:
14. int. violet’s kitchen – day
KAREN looks around in awe as she eats: the kitchen is bedecked
with homemade trinkets.
violet
Did you want to see the school today?
karen
We can go there anytime. Aren’t there any historical sights? A town museum? Something hokey and touristy?
The coffee she holds seems to have perked her up substantially.
violet
Not really. There’s the old photos in
the pub… but you’ve already seen those…
VIOLET struggles to think of a place as mischief lights up
KAREN’S face.
karen
Where did you say Nancy Chambers lives?
violet
Just out of town… why?
karen
She might like some visitors.
(35 seconds)
Cut to:
15. int. VIOLET’S cAR - DAY
Cross-legged in her seat, KAREN speaks animatedly.
karen
She’s probably just waiting for someone to drop in, you know.
At the wheel VIOLET seems less enthusiastic.
violet
We’re just driving past.
KAREN
Right. But
what if she just happens to be in her yard. It would be rude not
to wave and say ‘hello’.
Pulling a face, KAREN deepens her voice.
karen cont’d
How many people do you think she has buried under her
floorboards?
VIOLET shoots her a look, trying not to smile.
They fall silent as the landscape grows more desolate.
violet
That’s it just ahead.
An innocuous weather-beaten house sits in a neat garden. Hens
peck amongst thriving vegetable patches.
KAREN looks disappointed.
karen
That’s it?
violet
That’s it.
karen
Oh. I guess I expected something a little more…
VIOLET takes on KAREN’S dramatic tone.
violet
Scary? Creepy?
Bloodcurdling?
karen
Well, yeah. Oh! That was no fun at… what is that?
KAREN points: a large HOUSE looms in the distance.
There is an awkward silence before VIOLET simply states.
violet
That’s Porter House.
KAREN waits for her to elaborate.
karen
And?
violet
It’s an old hospital…
VIOLET is beginning to sense danger: KAREN looks excitably
interested.
VIOLET Cont’d
And it’s off limits. No one’s supposed to go in there.
karen
Why not?
violet
(exasperated)
Because it’s Porter House!
VIOLET flounders for an excuse that will subdue KAREN.
karen
Oh come on! What’s going to happen? This will be an adventure!
Reluctantly, VIOLET heads toward PORTER HOUSE.
violet
We’ll drive up, but I’m not going in.
karen
Okay, okay. We’ll just drive up…
KAREN seems content.
A weathered face peers out from behind gauze curtains. NANCY anxiously
watches them drive past.
(2 minutes)
Cut to:
16. ext. porter house – day
VIOLET’S car slowly pulls up. The two-storey HOUSE’S distorted
reflection appears in the windscreen.
Sun-bleached paint flakes off a timber exterior
and iron-lace balustrades. Dead plants line the collapsing fence.
A lopsided sign hangs in the entry arch: ‘Porter House’.
KAREN steps out of the car, heading for the front door. VIOLET,
shivering, follows hesitantly.
violet
Karen, I really don’t think this is a good idea…it doesn’t feel
right here.
karen
We’ll just have a quick peek. It’ll be fine. Trust me.
Smiling, albeit a little forced, KAREN tries the door.
It opens. She glances back at VIOLET before stepping through.
PORTER HOUSE’S foundations groan, almost like a sigh.
(35 seconds)
Cut to:
17. int. porter house receiveing room - day
KAREN stares at the expansive empty, pristine, room. The wooden
floorboards are polished, the walls a warm yellow.
Framed by the doorway, VIOLET uncertainly enters.
Behind her the outside world slowly drains of colour.
VIOLET, looking pale, takes KAREN’S hand and they head deeper in.
Their footsteps echo oddly.
Outside a window the greyscale landscape seems scratchy, jumping
like a television not quite on the station. The sun is moving too quickly
across the sky.
They come to a double door with five different locks,
nevertheless the doors swing open when KAREN pushes.
(30 seconds)
Cut to:
18. int. porter house patients’ wing – day
The corridor looks cold, bare walls sanitary white, floorboards
slick. Closed doors run up either side. Each door has a name card, a tray slot
and multiple locks. At the other end is another pair of double doors.
Walking out of VIOLET’S grasp, KAREN tries to look everywhere at
once.
VIOLET has stopped outside the first door. The name card reads ‘Yeates, A.’. She instantly reaches for the handle.
At the sound of the opening door, KAREN walks back. She follows
VIOLET in.
(25 seconds)
Cut to:
19. int. amity’s room – day
A single bed is covered in a lace bedspread. A rag doll lays on the pillow.
VIOLET gently touches the doll’s forehead.
violet
Just like new.
KAREN runs her fingers over the jam jar lined windowsill; the
name ‘Amity’ is carved into the wood over and over. Around the windows edge are
carved tallies, as in a prison cell.
Picking up a jar KAREN examines it; silvery powder sifts across
the glass.
VIOLET looks too, before being distracted by
the curtains.
violet
My goodness, look at it! They don’t make lace like this anymore.
Reaching to touch the delicate material, she wobbles. Her eyes
roll back in her head.
KAREN drops the glass jar to catch a fainting VIOLET.
The jar rolls under the bed.
karen
What’s wrong?!
A pallid VIOLET squirms, struggling to stand. KAREN, worried,
hurriedly walks her out.
(45 seconds)
Cut to:
20. EXT. PORTer house - afternoon
KAREN sits VIOLET down on the hood of the car. Colour has
returned to VIOLET’S face.
karen
Violet? Look at me. You
okay?
VIOLET massages her temples, nodding
violet
Yeah, I just got real light headed all of a sudden.
karen
You’re sure you okay? You scared the hell out of me!
violet
Sorry.
karen
That’s okay! I’ll take you home.
VIOLET hands the keys over. She freezes mid-action. Night is
settling over them.
violet
It’s almost dark!
karen
How long were we in there?
They stare at PORTER HOUSE. It’s
foundations groan again, this time remorseful.
As they drive away Jazz music drifts from PORTER HOUSE. Dancing
footsteps sound loudly and the front door slams shut.
(35 seconds)
Cut to:
21. int. violet’s lounge – afternoon
The front door opens and VIOLET steps in, leaving KAREN on the
porch.
karen
You’re sure?
VIOLEt
Yeah. I’m feeling fine now. I’ll go straight to bed. Promise.
karen
Alright, but I’ll be around in the morning.
VIOLET smiles and waves goodbye.
(15 seconds)
Cut to:
22. int. violet’s bedroom – night
(Camera glides around the room.)
VIOLET twitches in her sleep.
At the foot of her bed rest the border collies.
The dogs’ heads lift. They growl.
(10 seconds)
Cut to:
23. nightmare the second
(seen from an unknown POV)
She watches fire from her swing set.
Butterfly wings flutter.
A doll hangs from bloody rope.
Leaves rustle and she falls.
(10 seconds)
Cut to:
24. int. violet’s bedroom – morning
VIOLET startles awake. Leaves rustle outside her window.
Glancing at the time—7:45am—she gets
up.
(10 seconds)
Cut to:
25. ext. violet’s porch – morning
violet
Scratch, breakfast! Scratch?
KAREN finds VIOLET on the porch with a dog dish in hand. The
other dog, ROSIE, is eating but she seems nervy.
karen
Hey, you’re up! Feeling better?
VIOLET seems distracted.
KAREN
What’s wrong?
violet
I can’t find Scratch. It’s not like him to miss a meal.
karen
I’m sure he’ll turn up. Probably got lost
chasing a possum.
VIOLET smiles reluctantly. Reaching down, she scratches ROSIE
behind the ears. ROSIE growls low in her throat and stops eating.
violet
You’re probably right. I’m just antsy. Weird dreams…
ROSIE snaps. Snatching her hand back, VIOLET eyes ROSIE crossly
violet CONT’D
Rosie! Bad!
The dog settles with a whine and KAREN backs away slightly.
karen
(wheedling)
Well, since you’re feeling better, what do you think about going
back to the house? I’d like to see more.
VIOLET thinks fidgeting; she clearly has mixed emotions.
violet
I’m kinda curious, but… No, let’s go.
karen
We’ll make an historian of you yet!
(1 minute)
Cut to:
26. ext. porter house – morning
The same Jazz song from previous scenes is playing on the car
radio as they pull up.
karen
It’s so big isn’t it? I wish I’d brought notebooks or something
to catalogue anything we find. It really should be documented. Doctor Ford
would just love this. Maybe I should call the University…
Oblivious to KAREN’S rant, VIOLET absently follows her up the
stairs.
(20 seconds)
Cut to:
27. int. porter house patients’ wing – morning
VIOLET stops outside AMITY’S room.
violet
Just going to have another look in here.
(5 seconds)
Cut to:
28. int. amity’s room - morning
VIOLET dazedly wanders about the room. Her hands touch everything
that comes within reach.
She settles at a gramophone and flips through the collection of
music beside it.
(15 seconds)
Cut to:
29. int. patient’s room 1 - morning
Stepping into a room, KAREN is disappointed.
The bedroom is empty save for a bare bed.
(5 seconds)
Cut to:
30. int patient’s room 2 – morning
KAREN’S hopeful face falls in the next room.
A poorly painted landscape hangs above an empty bookshelf. The
bed is dressed with stained sheets.
(5 seconds)
Cut to:
31. int. patients’ wing - morning
Moping, KAREN is drawn to the last door: it is open a crack,
although it hadn’t been before.
The name card reads ‘Maynard, E.’
(10 seconds)
Cut to:
32. int. esma’s room - morning
The walls are covered with religious paraphernalia.
Votive candles sit on a dressing table. KAREN picks up the silver
hand mirror: it has no glass.
KAREN picks up a rosary on the bedside table.
Jazz music begins to play, startling KAREN. She heads into the
corridor to investigate.
(15 seconds)
Cut to:
33. int. porter house PATIENTS’ WING - morning
The music seems to be coming from the other end of the corridor.
It gets louder as KAREN’S pace quickens. Suddenly it silences and she is still.
The double doors at the end of the corridor fly open.
Startled, KAREN cautiously enters.
(15 seconds)
Cut to:
34. int. amity’s room - morning
VIOLET kneels and opens a chest at the end of the bed.
The underside of the lid is covered in carvings. ‘Amity’ is
repeated frequently. There a scattered ‘Esma’s also.
Lace underclothes are neatly folded in the chest. VIOLET
carefully lifts them out to examine them.
Underneath a camisole is a diary. She picks it up.
(20 seconds)
Cut to:
35. int. dr porter’s office - morning
KAREN stares about the office. Medical books and psychology texts
rest on shelves.
On the ordered desk a cigar rests in an ashtray. A wooden block
inlaid with brass letters reads ‘Dr Porter’.
Drawn to the filing cabinet in the corner, KAREN opens a drawer.
Folders are arranged alphabetically by surname. She pulls out the one she
wants:
Yeates, Amity.
(20 seconds)
Cut to:
36. int. amity’s room - morning
Sitting on the edge of the bed, VIOLET reverently examines the
diary.
She pulls reading glasses from her bag. She begins to read the
neat cursive script:
‘Welcome to Porter House, Amity.’
(15 seconds)
Cross fade:
37. int. amity’s room 1924 - day
Eight-year-old AMITY lies on her bed, writing, doll under her
arm. Her dark hair rests in two long braids against pale skin. Her large grey
eyes are sharp and intelligent.
amity v/o
How very dull. Dr Porter has given me this diary to keep. I
expect he shall want to read it, too. What would you like me to write for you,
dear Doctor?
(15 seconds)
Cut to:
38. int. dr porter’s office 1924 – day
dr porter
A diary is for expressing your thoughts and feelings.
DR PORTER sits attentive. AMITY reclines on a love seat.
amity
And what if one has no feelings?
dr porter
I don’t believe that for a moment, Amity.
(15 seconds)
Cross fade:
39. int. dr porter’s office 1924 -
night
DR PORTER is alone at his desk, writing.
dr porter v/o
Intelligent beyond her eight years. Exhibits sociopathic behaviour and
violent tendencies. Possibly stemming from early
childhood trauma.
(10 seconds)
Cut to:
40. int. dr porter’s office - morning
KAREN closes AMITY’S folder and chooses a few more.
(5 seconds)
Cut to:
41. int. amity’s room - morning
Removing her glasses, VIOLET sits for a moment.
Putting the diary in her bag, her glasses fall off her lap.
(10 seconds)
Cut to:
42. int. dr porter’s office - morning
Engrossed in the files KAREN absently wanders into the next room.
(5 seconds)
Cut to:
43. int. library - day
Sunlight hits KAREN’S face. She looks up from the files.
French doors open onto a huge courtyard.
(5 seconds)
Cut to:
44. int. amity’s room - day
Picking up her glasses, VIOLET sees the jar KAREN dropped
yesterday under the bed. She reaches for it.
(5 seconds)
Cut to:
45. ext. courtyard - day
Neat garden beds overflow with flowers and native bushes. A swing
set rests in the farthest corner. Eucalypt trees rise from the middle of the
yard.
A rope ladder hangs from the tallest tree. Shading her eyes,
KAREN’S gaze follows the rope.
Nestled in the branches is a tree house.
(15 seconds)
Cut to:
46. int. amity’s room - day
VIOLET stares at the jar: it contains a pair of dead butterflies.
She shakes it gently as she thinks.
(5 seconds)
Cut to:
47. ext. courtyard - day
Flinching from the glare, KAREN’S eyes again fall on the swing
set.
A figure sits motionless on the swing, back to KAREN: it looks
like VIOLET.
(10 seconds)
Cut to:
48. int. aMITY’S rOOM - day
Wings beat frantically against glass; the butterflies have come
to life.
Dropping the jar VIOLET screams.
(5 seconds)
Cut to:
49. ext. courtyard - afternoon
KAREN goes to call to the figure, but halts at the scream.
Racing into PORTER HOUSE she glances back briefly. The swing set
is empty.
(10 seconds)
Cut to:
50. INT. porter house PATIENTS WING - afternoon
KAREN finds VIOLET on the floor outside AMITY’S door.
Helping her up, KAREN walks her out.
(10 seconds)
Cut to:
51. int. porter house receiving room - afternoon
KAREN notices outside does not look right: staticky,
greyscale scenery fuzzy, rolling.
KAREN struggles as if something holds her back. With effort, she
throws herself and VIOLET out the door.
(10 seconds)
Cut to:
52. Int. violet’s bedroom – dusk
Having propped her in bed, KAREN hovers over VIOLET.
karen
Can I get you anything while I’m out?
violet
No, I’ll be fine. I’m just tired now.
karen
A pub meal is probably the closest thing to takeaway for me.
VIOLET laughs weakly.
karen cont’d
Get some sleep. I’ll be back ASAP. ‘Kay?
(20 seconds)
Cut to:
53. INt. YANEMBAH pub - night
A little shaky, KAREN orders a meal from the BARTENDER and takes
a seat at a table in the corner.
She flicks through the patient files, focusing on choice words:
suicidal tendencies;
homicidal behaviour;
escalating psychosis.
KAREN jumps as a glass clunks before her. The BARTENDER has
brought her scotch.
bartender
Your drink, Miss.
karen
But I didn’t ord…
KAREN spies NANCY sitting
in the opposite corner.
karen cont’d
Never mind. Thanks.
Sinking down KAREN meets NANCY’S steady
gaze.
(35 seconds)
Cut to:
54. int. violet’s bedroom - night
VIOLET can’t sleep. Rolling over she spots her bag.
Hopping out of bed she pulls out the diary.
She fumbles her glasses on and opens to a random page.
amity v/o
Sister Anne brought me a kitten today.
(15 seconds)
Cut to:
55. int. amity’s room 1928 – day
amity v/o cont’d
She didn’t seem pleased with my experiment.
SISTER ANNE screams as she enters AMITY’S room.
AMITY has a biology text open on her dresser. Beside it is the
half dissected kitten.
(10 seconds)
Cut to:
56. int. dr porter’s office 1928 –
afternoon
dr porter
Anne meant the kitten to be a pet. Something
for you to nurture.
DR PORTER rests back in his chair, pen and paper in hand. AMITY
is looking through a medical text.
VIOLET watches from the corner, diary on her lap.
amity
For what purpose? I don’t
see what one may learn from keeping a kitten.
dr porter
You learn about responsibility and companionship. How to care for others. Esma for instance. She seems
quite taken with you.
amity
She simply follows me around. Perhaps I’ll dissect her too.
(30 seconds)
Cut to:
57. int. dr porter’s office 1928 –
night
DR PORTER writes as he sucks a cigar.
KAREN sits opposite him, reading his scrawling handwriting.
dr POrter v/o
Understanding Amity’s mind becomes a more complex task, perhaps
one outside my abilities. As she matures, her mental state only degenerates. In
one sense I am well aware of what the girl is capable.
He picks up a photo of ESMA.
dr porter cont’d
Yet I cannot predict if she will act out these capabilities. I am
fearful of what may become of Miss Maynard.
(30 seconds)
Cut to:
58. int. pub - night
KAREN is holding the fading photo of ESMA: a girl with a black
bob, curling up at the ends, and round dark eyes.
The BAR TENDER places her meal on the table.
KAREN
Thank you. Excuse me? What do you know about Porter House?
Uneasy he looks at the files on the table. Seeing a photo of
PORTER HOUSE he fidgets.
bartender
Never heard of it, miss.
He rushes back to the bar.
KAREN sighs.
Striding to the table, glass in hand NANCY sits
casually across from KAREN.
nancy
Why are you asking about Porter House?
KAREN bristles, carefully answering.
karen
A little research.
NAncy
Let me save you the trouble. Porter House was merely a respected
home for the mentally ill. If you’re looking for something sinister you needn’t
bother going farther than this.
She taps AMITY’S file.
(45 seconds)
Cut to:
59. int. DR PORTER’S office 1932 - day
DR PORTER taps the file in his hands.
dr porter
Do you know what today is, Amity?
Sprawled leisurely on the loveseat, AMITY reads a thick text. She
has the body now of a young woman.
VIOLET watches, diary in hand.
amity
It is Wednesday, Doctor Porter. You must be aging.
dr porter
Yes, but then so are you. You’re sixteen years of age today.
You’re a young lady now.
AMITY looks up from her book, face cold.
amity
No, dear Doctor, I am still what I will always be,
Her voice drops to a whisper.
amity cont’d
A patient in a mad house.
Suddenly she snatches VIOLET’S wrist.
VIOLET yelps.
DR PORTER doesn’t notice VIOLET’S presence. He sits
contemplatively.
amity
If you will excuse me, the birthday girl would like to take a
walk.
AMITY drags VIOLET out of the room.
(50 seconds)
Cut to:
60. int. amity’s room 1932 – day
AMITY stands by the windowsill.
amity
You’ve visited a few times recently. It’s nice to have visitors.
It’s been ever so dreary here of late.
She picks up a jar from the windowsill and shakes it. Dying
butterflies twitch inside.
She thrusts the jar in VIOLET’S face.
amity
You didn’t like them did you?
VIOLET mutely shakes her head.
(20 seconds)
Cut to:
61. int. tree house 1932 – day
A butterfly flutters into the tree house.
AMITY extends her hand, the butterfly lands on her palm. She
quickly closes her fist and she smiles.
amity
Everything dies.
Disgusted VIOLET looks away, gesturing instead to their
surrounds.
violet
How did you do that? Bring us here, I mean.
AMITY opens her palm and blows across it: shimmering dust fills
the air.
amity
Magic.
(20 seconds)
Cut to:
62. int. sitting room 1932 – day
Smugly AMITY wanders to the record player resting on a table.
Pallid, VIOLET sinks into a seat.
She puts on a record. Familiar scratchy Jazz music plays.
amity
This is my favourite song. Have you heard it before? There will
be a party today, Doctor says.
AMITY smiles, fingering the tip of a knife.
Amity cont’d
I’m so glad you came.
(20 seconds)
Cut to:
63. int. yanembah pub - night
nancy
Dr Porter wasted countless hours trying to treat an incurable
patient. He received nothing but suffering in kind. Eventually she took her own
life. Porter House ceased to run the day she died.
NANCY finishes
her scotch.
NANCY CONT’D
That’s it. There’s your big mystery. Now, I suggest you leave
these ghosts to rest.
KAREN is suspicious.
kAren
How do you know about this?
(25 seconds)
Cut to:
64. int. porter house library 1932 – day
VIOLET watches as AMITY sharpens her knife.
On her knees by the window, ESMA prays with her rosary.
amity
Oh do put that down Esma!
Mutely, ESMA looks at from AMITY to her rosary and back. Finally
she wraps the beads around her wrist and rises.
A YOUNG NANCY enters. AMITY quickly hides her knife behind her
back.
YOUNG NANCY
(hesitantly)
Hello Amity, Esma.
ESMA smiles broadly from behind AMITY, waving.
YOUNG NANCY smiles back, wriggling her fingers.
AMITY
Well, if it isn’t the Doctor’s favourite little niece. Lovely. Now everyone’s here.
VIOLET is screaming in the background, but her words are not
heard, nor does YOUNG NANCY seem to see her.
VIOLET
(silently)
Get out! She’s got a knife and she’s totally insane and she’s
going to kill everyone. Please just get out!
YOUNG NANCY
I was just… never mind. I’ll come back later.
She turns to leave, then stops and smiles meekly.
YOUNG NANCY cont’d
Oh, and Happy Birthday, Amity.
amity
Why thank you, Nancy. You’ll be here later of course? Esma’s even prepared a speech.
AMITY giggles cruelly and ESMA looks a little hurt.
VIOLET watches hopelessly as YOUNG NANCY backs away.
(1 minute)
Cut to:
65. int. yanembah pub - night
nancy
I practically grew up in that place. It was like a second home. Which is why I would like you to let this lie.
Stressing her final sentence, NANCY rises to
leave. She smiles curtly.
nancy cont’d
Good evening, Miss Goodwin.
(15 seconds)
Cut to:
66. int. violet’s hallway - night
The front door opens. KAREN looks flustered. She skids as she
enters, but doesn’t fall.
There is blood on the floor.
She follows the trail.
(10 seconds)
Cut to:
67. INT. violet’s kitchen - night
A knife is stuck in the kitchen table.
Carved into the wood is the name ‘Amity’.
KAREN runs for VIOLET’S room.
(10 seconds)
Cut to:
68. int. violet’s bedroom - night
The white bed sheet hides a lump. The centre is stained dark red.
KAREN tentatively pulls it back.
She gags at the mutilated wet mass: she found SCRATCH.
Turning away from the remains, she sees AMITY behind her in the
dresser mirror. Her own reflection shimmers oddly.
She checks over her shoulder; she’s alone.
Propped open on the dresser is the diary.
AMITY still smiles from the mirror. She beckons KAREN with a
finger.
Locking eyes with AMITY, KAREN steps forward and collects the
diary.
The glass shatters.
(40 seconds)
Cut to:
69. Ext. violet’s house - night
KAREN leaves the door swinging behind her as she runs out. Little
cuts cover her face.
She takes off in VIOLET’S car.
(10 seconds)
Cut to:
70. ext. nancy’s house -
night
KAREN screeches to a stop outside NANCY’S HOUSE.
She beats on the front door.
NANCY appears.
karen
Violet’s gone.
NANCy
Gone where?
karen
She’s not at home. There’s a dead dog in her bed, I found this in
her room (hands over diary) and Amity was in her mirror. Call me crazy
but I’m a little concerned.
NANCY’S lips
are drawn tight. She is thinking. Finally she moves toward KAREN’S car.
Nancy
Get in the car.
Following, KAREN is visibly relieved.
(40 seconds)
Cut to:
71. int. VIOLET’s car - night
As she goes to start the car KAREN hesitates, unsure.
karen
Where am I going?
nancy
Where else? Porter House.
Nodding, KAREN hurriedly starts the car and puts it in gear. She
hits the accelerator.
nancy cont’d
Do you know what day it is today, Miss Goodwin?
KAREN
Wednesday?
nancy
It’s Amity’s Birthday and it would seem that she’s throwing a
party.
karen
The files stop on Amity’s sixteenth Birthday. Is that when she
died?
NANCY nods,
sighing. Her eyes are a little wet.
nancy
I haven’t been entirely honest with you. Amity did indeed die
that day, but she took a lot of people with her when she chose to go.
(35 seconds)
Cut to:
72. int. porter house sitting room – day
VIOLET watches in horror as SISTER ANNE falls at her feet. SISTER
ANNE’S throat is cut.
The house is in utter pandemonium. Amongst the voices and screams
plays AMITY’S song. AMITY dances happily in the mayhem.
(15 seconds)
Cut to:
73. INT. VIOLET’S CAr – night
KAREN
How did she die?
NANCY begins to
unwrap her arm.
NANCY
Jumped from the tree house, broke her neck. I tried to stop her
and received this as thanks.
All fingers save her index finger are missing. Her arm is
horribly scarred and twisted.
KAREN cringes and hits the accelerator harder.
(15 seconds)
Cut to:
74. int. porter house HALLWAY - day
NANCY and KAREN enter. PORTER HOUSE is in total chaos. NANCY and
KAREN stare at each other; their visages waver.
NANCY’S face
flickers to that of herself as a YOUNG NANCY. KAREN’S features blur, trying to
become someone else but struggling. NANCY appears
her older self again. KAREN also returns to normal.
They stare at each other in amazement as their images flicker
more rapidly:
YOUNG NANCY. KAREN’S
bob curls up at the ends.
NANCY is older.
KAREN’S is herself.
YOUNG NANCY. KAREN’S
eyes become bigger, rounder, darker.
NANCY is older.
KAREN is herself.
There’s a sudden scream that sounds like VIOLET.
karen
I’ll be right back.
KAREN, abruptly herself again, rushes off leaving NANCY amongst
the mayhem.
(35 seconds)
Cut to:
75. int. amity’s room - day
Image still flickering, KAREN turns into
AMITY’S doorway. She stops, braced in the doorframe. Her
mouth is open. Her features become that of ESMA.
A surgical knife is buried deep in her chest.
VIOLET smiles, her image flickering in and
out with that of AMITY. ESMA collapses. As she releases a final
breath, her image wavers again between ESMA and KAREN.
AMITY/VIOLET’S feet skip past, obscuring the flickering face.
Feet having passed, blood pools around KAREN’S head and the
rosary in her hand.
(30 seconds)
Cut to:
76. int. porter house hallway - day
NANCY still
looks dazed. She watches a manic AMTIY/VIOLET dance toward DR PORTER’S office.
She looks at her un-bandaged arm. The appearance of it flickers
between YOUNG NANCY’S unharmed arm and older NANCY’S disfigured
one.
(15 seconds)
Cut to:
77. int. dr porter’s office - day
AMITY closes the door behind her. DR PORTER is already clutching
a wounded shoulder.
Expression feral, AMITY closes in on him.
(10 seconds)
Cut to:
78. int. porter house PATIENTS’ WING - day
NANCY comes to
the closed door. Resolutely she reaches for the handle.
(5 seconds)
Cut to:
79. int. dr porter’s OFfice - day
The office door opens. YOUNG NANCY is framed in the doorway.
DR PORTER is sprawled in his chair. His throat is cut.
Through the French doors YOUNG NANCY spots
AMITY. She is heading up the rope ladder.
(15 seconds)
Cut to:
80. int. tree house - day
YOUNG NANCY pulls herself into the tree house.
In bloodstained tattered white lace, AMITY sits in the corner.
young nancy
Stop this.
amity
Whatever for?
young nancy
Not this time. I’m not going to let you…
amity
(interrupting)
Not going to let me do what?
Annoyed, AMITY moves toward YOUNG NANCY.
amity cont’d
This is just like you, Nancy!
AMITY’S anger grows. She edges closer to YOUNG NANCY
amity cont’d
The first time I get to play in years and you try to ruin my fun!
young nancy
I’m not going to let you hurt that girl. Violet?
Violet?!
Her image flickers: momentarily VIOLET’S horrified face appears
in AMITY’S.
AMITY twitches.
AMITY
Stop that.
YOUNG NANCY blocks the doorway as AMITY comes closer.
YOUNG NANCY
I won’t let you. Leave the girl be. Violet, get
out. Violet! VIOLET!
Image flickering, AMITY/VIOLET spasms. Furious
she lunges at YOUNG NANCY with a knife.
YOUNG NANCY tries to fend off her attack; AMITY hacks at her
forearms.
YOUNG NANCY yelps as her fingers are severed.
amity
Fine! This time you come with me!
Giggling, AMITY jumps and pushes NANCY out the
doorway.
(1 minute 5 seconds)
Cut to:
81. ext. courtyard – day
In slow motion the girls fall.
YOUNG NANCY’S face slips into that of older NANCY.
The ground comes closer, motion speeds
up.
AMITY laughs hysterically as they are about to hit.
(10 seconds)
Black.
Fade up:
82. int. home economics room - morning
louise
I always knew that Nancy Chambers wasn’t quite right. In-sane, no
doubt about it… And that poor teacher…
VIOLET sits at her desk, awkwardly stitching. She has healing
cuts and bruises all over and one arm is in a half cast.
LOUISE, a plump older woman sits in front of her smiling
sympathetically.
Pausing awkwardly, LOUISE hesitantly asks:
louise cont’d
Has… Has any of it come back to you dear?
VIOLET looks up, pausing mid stitch.
VIOLET
No. None of it.
LOUISE
Probably for the best.
LOUISE exits, patting VIOLET’S
hand as she goes.
violet
Yes, probably.
She holds up what has been sewing and giggles girlishly. AMITY’S
doll is a wearing a new dress.
(40 seconds)
Black.
83. credit sequence
AMITY’S Jazz tune plays over the credits.
Fade up:
84. int. nancy’s cell –
afternoon
NANCY sits
stiffly on her narrow bed. Her cell is small and padded.
Footsteps approach and someone bangs on the metal door.
NURSE O/S
Pill time!
A tray is pushed through a slot in the door, holding an
assortment of medication in little cups.
Shaking her head NANCY stares
down at her gnarled arm.
(15 seconds)
Black.
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