diff --git "a/scripts/Babadook.txt" "b/scripts/Babadook.txt" new file mode 100644--- /dev/null +++ "b/scripts/Babadook.txt" @@ -0,0 +1,6159 @@ + 1. + + + + +1 INT. MIDDLE OF THE NIGHT 1 + + Black screen. + + A rumbling sound. It intensifies. + + A woman’s face appears suddenly in close up, shocked, + disoriented. It is AMELIA (late 30s.) She travels fast, + pinned back to what could be a car seat. It’s not clear. + + She is suddenly lifted up and around, her face tumbling as + if in a dryer, 360 degrees. + + The image slows down as she shuts her eyes. Bits of dirt + and debris fly past her face. There’s no sound. The effect + is strangely beautiful. + + BOY’S VOICE (O.S.) + (Nearly inaudible) + Mummy.... + + Amelia tries to open her eyes, she continues to spin. + + Her face stops tumbling and comes to an upright position. + + A skidding sound builds in intensity. Her hand reaches + above to brace herself for the impact. She turns to look + beside her. Time is stretched. + + She sees a man staring ahead. He looks terrified. A light + grows brighter. The skidding sound is almost deafening. + + Amelia instinctively looks away from him, closing her eyes. + + The terrible sound peaks, then slowly recedes. + + BOY’S VOICE (O.S.) + (Louder still) + MUM. + + Amelia hears the boy’s voice for the first time. She opens + her eyes as she ‘falls’ slowly back into space. + + Finally, she ‘lands’. There is complete silence. + + Amelia is lying on a pillow. She looks at the ceiling, + dazed. + + Her breathing is erratic. + 2. + + + BOY’S VOICE + (Very loud) + MUMMY! + + She sees her six year old son, SAMUEL, bedside. He’s small + for his age, intense. A panicked look on his face. + + SAMUEL + I had the dream again. + + Amelia makes one mighty effort to get up. Her fluffy + Maltese terrier, BUGSY, jumps off the bed with her. She + scrambles to her feet, stumbling on the way to her son. + + +2 INT. SAMUEL’S ROOM - NIGHT 2 + + POV under the bed. The doona is lifted. Amelia and Samuel + peer underneath. The doona is dropped back into place. + + Black. Closet doors open, Amelia takes a quick look inside, + Samuel checks everywhere. Amelia closes it. + + Amelia is dark haired and wiry. Pretty, but nervous + looking. + + Samuel’s little face is white with anxiety. He moves back + and forth from one foot to the other. + + SAMUEL + Can we check under the bed? + + AMELIA + (Patient) + What did it look like? + + Samuel shrugs his shoulders. He can’t remember. + + AMELIA + Remember what we said? If you can’t + see it, then it mustn’t be real. + + SAMUEL + It said it’s coming to kill us + both. + + His comment unnerves Amelia. She recovers quickly. + + AMELIA + (Very gentle) + It’s just a silly dream. + 3. + + +3 INT. SAMUEL’S ROOM - NIGHT 3 + + Amelia searches through the bookshelf. Samuel clings to her + waist, not letting go. Bugsy follows them. + + +4 INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 4 + + Amelia sits up in bed, Samuel in her lap, the doona + surrounds them like a giant caterpillar. Amelia gives the + book everything she’s got, fighting her tiredness. + + AMELIA + (In the voice of the + wolf) + Well I’ll climb down your chimney + you fat little pigs! And he climbed + down that chimney, straight into + the huge black pot. And that was + the end of the big-bad-wolf! + + She closes the book. Samuel is still anxious. + + SAMUEL + Did they really get the wolf? + + AMELIA + (Reassuring) + I’m sure they did. + + SAMUEL + I’m gonna kill the monster if it + tries to hurt you Mum. + + AMELIA + (Gentle) + Nothing’s going to hurt me Sam. + + SAMUEL + I’ll bash it to pieces when it + comes. + + AMELIA + Time for bed now, OK? It’s very + late. + + Samuel flips the pages straight back to the beginning. + + SAMUEL + Just one more time... Then I’ll + sleep. + 4. + + + He won’t take no for an answer. She gives in to another + read. + + Samuel snuggles in close to her, wide awake. + + AMELIA + (As bright as she can) + A long time ago, just yesterday in + fact, there were three little pigs + and one nasty big wolf. + + +5 INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 5 + + Little legs wrapped tightly around Amelia’s waist. + + Samuel’s face tucked in behind his mother’s. He’s fast + asleep, she’s wide awake. + + His mouth, chewing at nothing, grinding away. The sound + goes right through Amelia. His breath irritates her neck. + + His hand plays with her ear in his sleep. She peels it + away, puts it by his side. + + She unwraps his legs, making sure she doesn’t wake him. + + Amelia inches silently away from her son, her back to him. + + Samuel doesn’t wake up. The gap between them widens. + + Amelia curls up on the other side of the bed, her knees to + her chest, alone. + + TITLE - THE BABADOOK + + +6 INT. AMELIA’S BEDROOM - BASEMENT - LOUNGE - KITCHEN - 6 + MORNING + + - Bedroom. A blaring alarm sounds. A lifeless arm pokes out + from under the doona, hanging over the bed. It’s hard to + believe someone could sleep through this noise. + + - Basement. Child’s hands grip a large hammer. The hammer + is raised and comes down hard on a rusty nail. + + Little hands pushing down on a join in two pieces of wood, + testing it for strength. + + - Bedroom. The alarm keeps going. The arm has not moved. + 5. + + + - Basement. A cricket ball is loaded into a large plastic + cup, the cup is tied to a wooden plank. + + A metal contraption being fitted onto skinny shoulders. + + Samuel grunts with the effort. + + Samuel’s serious face as he checks the apparatus. + + His legs running up the stairs. + + - Lounge room. Samuel’s head pokes out of the basement, + checking to see if the coast is clear. It is. + + He pushes a key into the basement door, locking it up. + + - Kitchen. Samuel’s skinny legs standing on a chair, his + top half obscured by an open cupboard door. + + His hand carefully placing the key back on a key rack. + + Samuel peers around the cupboard door, watching for his + mother. He closes it quick and jumps down out of sight. + + - Bedroom. The arm is still there. Alarm still blaring. + + A crashing sound downstairs. The arm retracts quickly, like + a crab in a shell. Amelia pops out from under the covers, + looking like shit. She slaps the alarm off, listening. + + Another crashing sound, a bigger one. + + She leaps out of bed, racing out of the room. + + +7 INT. LOUNGE ROOM - MORNING 7 + + Amelia reaches the bottom stairs. + + Sam’s catapult covers his body, comes up over his head. At + the top sits a plastic cup with a cricket ball in it. + + The lounge room is a mess, swords, toy soldiers and other + ‘boy war paraphernalia’ everywhere. The big old tube TV has + been knocked off its stand and lies on its side. + + Bugsy is in the midst of it, barking, wagging his tail. + + Amelia struggles with all her might to hold her temper. + + SAMUEL + It’s not broken! It just slipped. + 6. + + + She calmly walks to the TV, her movements controlled. + + AMELIA + (Reasonable) + I don’t want you using the hammer + and nails- + + SAMUEL + Wait look at this! When the monster + comes in the room- + + AMELIA + Not inside the house Samuel- + + SAMUEL + I push down here- + + He pushes down hard, a lever rises and launches the ball. + + AMELIA + Don’t! + + It smashes a perfect hole in one of the windows. + + Amelia stares at the hole, imploding. Samuel’s face + crumples with anxiety. + + +8 INT. SAMUEL’S ROOM - MORNING 8 + + Samuel waves his hands in the air. He has his school + uniform on finished off by a sparkly magician’s hat. + + Bugsy is jumping up and down and barking. + + SAMUEL + Nothing in my hands. Nothing in my + hands. + + Amelia kneels at Sam’s feet trying to do up his laces. + + AMELIA + Stand still please.. + + He does. For three seconds. + + AMELIA + I don’t want you making weapons + anymore. + + SAMUEL + 7. + + + You have to look at me. Mum? It + doesn’t work if you- + + She pins him with her gaze. + + AMELIA + (Gentle) + This monster thing has got to stop. + Alright? + + Samuel waves his arms about. Bugsy continues to bark. + + SAMUEL + Nothing in my hands. + + AMELIA + (Firmer) + Samuel? + + POOF! A beautiful bunch of paper flowers pops into Samuel’s + hands, seemingly out of nowhere. + + Amelia smiles in spite of herself. She takes the paper + bouquet. Sam touches her cheek very gently. She softens. + + AMELIA + (Closing her eyes) + That feels nice. + + Sam hugs her, she hugs him back. He kisses her cheeks, + grips her tighter and tighter. She hides her annoyance. + + AMELIA + (Restrained) + That’s enough now.. + + Samuel won’t stop, he hugs her really tight. She recoils. + + AMELIA + (Snapping) + Don’t do that! + + Sam stops in his tracks. Amelia immediately looks guilty. + + +9 INT. CAR - MORNING 9 + + The car is a junk heap, inside and out. Takeaway coffee + cups, lolly wrappers, plastic containers, kid’s socks. + + Amelia focuses on getting through the traffic. Samuel + focuses on the back of his mum’s head. + 8. + + + SAMUEL + If I fired nails into its chest, + would that kill it? + + AMELIA + (Miles away) + Kill what? + + SAMUEL + (Annoyed) + The monster in my dream. + + AMELIA + It certainly wouldn’t make it + happy. + + SAMUEL + What about if I fired them into its + head? + + AMELIA + That’d probably do it. + + SAMUEL + If I fired them into its chest- + + AMELIA + Let’s talk about something else, + alright? + + Samuel looks out the window. Amelia keeps her eyes straight + ahead. Silence. + + SAMUEL + (Quiet) + If I fired them into its eyes, I + could run away because it’d be + blinded. + + Amelia stares straight ahead, choosing to ignore him. + + SAMUEL + Mum? + + +10 EXT. SCHOOL ENTRANCE - INT. CAR - MORNING 10 + + The decrepit hatchback rolls to a stop, standing out like a + sore thumb amongst the Mercs and Audis. + + Samuel climbs over the front seat, just to kiss his mum. + + AMELIA + 9. + + + Off you go. You’re late already. + + He climbs back over, grabs his bag. It’s really heavy. + + AMELIA + What have you got in there? + + SAMUEL + See you later alligator! + + +11 INT. CAR - MORNING 11 + + Amelia has very upbeat music playing full blast in her car + bubble. She sings along without inhibition, happy. + + She glances down, notices a small cockroach on her leg. She + immediately stops singing, sweeps it away in disgust. + + Then straight back into it, singing her heart out. + + +12 INT. NURSING HOME - MORNING 12 + + An ancient woman’s sleeping face, her mouth hangs open. + + Another very old lady, her head in her shaky hand. + + Cheery music plays in the background. Despite this, the + atmosphere is funereal. + + An elderly man without his teeth in. He watches Amelia as + she arrives with a warm smile and two cups of tea. + + AMELIA + Here you go Ron. Nice cup of tea. + + He takes the tea offered, chewing on his gums absently. + + Amelia moves to the ancient woman, staring into space. + + AMELIA + (Speaks lovingly, close + to her ear) + And one for you Norma, that’s got + milk in it. + + NORMA + What? + + AMELIA + (Still loving) + 10. + + + That’s got milk in it. + + NORMA + (Confused) + I don’t want milk. + + AMELIA + (In her ear) + You said you wanted milk. + + NORMA + No, I don’t want that. + + AMELIA + Not to worry, I’ll make you another + one. + + Amelia gives the befuddled Norma a friendly smile. + + +13 INT. NURSING HOME KITCHEN - DAY 13 + + Amelia focuses on stacking the dishwasher, serious. + + Robbie, a sweet, slightly chubby (male) nurse enters. + + ROBBIE + Just where a woman should be, in + the kitchen. + + Amelia gets the joke, brightens up. + + AMELIA + (Responding)) + Get to work, woman! + + They laugh. Robbie fills a mug with water and drinks it. + + AMELIA + Do you want a cuppa? + + ROBBIE + Nah, I’m heading for the Dementia + ward. + + AMELIA + You’ve got a few years before you + end up there. + + He laughs. Amelia smiles. + + Robbie hovers. Amelia stacks the dishwasher, shy. + 11. + + + Robbie eventually puts his cup in the dishwasher and + leaves. + + Amelia relaxes slightly when he’s gone. + + +14 INT. NURSING HOME - AFTERNOON 14 + + Amelia is playing ‘colour shape lotto’ at the games table. + + One of the old ladies places a card on the board. + + Pause. Amelia waits very patiently. + + AMELIA + (Eventually) + That’s it Larry, your go. + + Pause. He doesn’t put anything down. Pause. + + The woman next to him, head in hand, emits a low wailing + sound. Amelia politely ignores it. + + AMELIA + (To Larry) + Same colour or same shape or both. + (Beat.) + I can help you if you like. + + The woman’s wail rises in pitch and volume. The players + become agitated. Amelia can’t ignore it any longer. + + AMELIA + (Very patient) + It’s alright Mrs Winter, you don’t + have to play. It’s OK. + + The old woman wails like someone being murdered. Amelia + rubs her back tenderly, hiding every ounce of stress. + + +15 INT. WORK KITCHEN - AFTERNOON 15 + + Amelia is on her knees with her head inside an empty + cupboard. She scrubs as if her life depended on it. + + Amelia’s supervisor Beverly arrives, irritated. + + BEVERLY (O.S.) + Amelia. + + Amelia bumps her head as she backs out. + 12. + + + BEVERLY + (Curt) + Your son’s school is on the phone. + + Amelia looks worried. + + +16 INT. PRINCIPAL’S OFFICE - AFTERNOON 16 + + Amelia sits opposite the principal, a tired looking man in + his 50s, and Sam’s teacher, a dour, middle aged woman. The + principal is grave, the teacher looks traumatized. + + The principal lays down a sinister contraption made from a + belt, with some wood, screws and nails attached to it. + + Amelia’s face falls. This is worse than she imagined. + + PRINCIPAL + This is the home made gun he + demonstrated in class today. It + fires off nails. + + AMELIA + Oh my God. Did he hurt anyone? + + TEACHER + The nails could have gone right + into a child’s eye. Or worse. + + Amelia studies the gun, parental shame creeping over her. + + AMELIA + (Genuine) + I’m so sorry. I had no idea. I’m + going to have a serious talk with + him- + + PRINCIPAL + Mrs Vanek, we’ve had the talks, + 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 + \ No newline at end of file