sib1x07 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
FADE IN:
1 EXT. BLACKNESS 1
We hear a sound in the dark eclipse. It sounds like the
buzzing of bees. Progressively it grows louder, until we get
the impression that hundreds of bees are working in direct
formation.
We PULL BACK from the BLACKNESS. SLOWLY and METICULOUSLY we
REVEAL where the BLACKNESS is coming from. It exists on a
single Television screen. The Television is new age (possibly
Sony), and Hi-Def. It looks futuristic, like nothing we've
seen before.
But we continue to PULL BACK.
Gradually, we find that what we are looking at is one
Television out of many. First there are TWO… then there are
THREE… then we PICK UP THE PACE… and PULL BACK at a FASTER
and FASTER RATE…
… until we have TWO HUNDRED TELEVISIONS directly in sight…
all emitting the same BUZZING NOISE.
These TELEVISIONS play a VARIETY of images. Some are showing
us HOME VIDEOS.
We CLOSE IN on ONE PARTICULAR HOME VIDEO. The footage is
GRAINY. We can make out two GIRLS playing in a back garden.
One of them has LIGHT BROWN HAIR. The other has LIGHT BLONDE
HAIR. They look suspiciously like a young version of a
certain Slayer and her sis, a former Key turned Watcher in
Training.
We PULL BACK to the MULTITUDE of TELEVISIONS. No TWO of them
are playing the same IMAGE. They alternate between HOME
VIDEOS, CURRENT PROGRAMMING, and CCTV FOOTAGE. The CURRENT
PROGRAMMING represents a broad spectrum of channels. On one
of the CCTV CAMERAS, we see a BANK ROBBERY in progress. The
HEIST is organised by a bunch of VAMPIRES wearing bomber
jackets. The JACKETS are EMBLAZED with the identikit of LOS
AMIGOS. They steal the money… leaving a trail of corpses in
their wake.
PULL BACK EVEN FURTHER to REVEAL that these TELEVISIONS make
up a SET OF MONITORS in a SATELLITE CONTROL BOOTH.
2 INT. SATELLITE CONTROL BOOTH. DAY. 2
An OPERATOR is MONITORING this SATELLITE CONTROL BOOTH. He
goes by the name of MIKE. He's a big guy in his thirties,
with GINGER HAIR and Elvis Style Side-burns. He stares at the
MONITORS for what seems like an eternity. His eyes barely
stay awake. Mike takes a
sip of some Irish Coffee. The sip turns into a prolonged
drink. He puts the cup down, and sighs. He goes back to
staring lifelessly at the screens. Mike's eyes drop slowly.
But he pries them open.
We PULL BACK even further than this. We leave Mike in the
wake, as we PUSH BACK, and up until we get to an AERIAL SHOT
of the scene. Mike becomes a tiny figure in a sea of
technology.
3 EXT. SPACE. 3
The Final Frontier indeed. Our focus is on the Earth. From
here, it does look like a giant Blueberry. We pick up the
Satellite in question, as it arcs gracefully around the side
of the Earth. As we watch the Satellite, a small mist of
purple mist appears. It starts to envelope the Satellite
slowly, and as it does so begins to CRACKLE with Electricity.
4 INT. SATELLITE CONTROL BOOTH. DAY 4
We're up close on Mike's increasingly pale face.
MIKE
(scared)
What's going on?
The Lights in the Satellite flicker on and off. Outside the
Purple Mist covers the window. We hear Electricity crackle
inside.
The monitors flick on and off erratically, and Mike starts
pushing buttons frantically until the images start to come
back. When I say images, I mean one singular image.
Specifically a face. A face that our audience knows pretty
well.
MALKUTH, who is on every single Monitor, staring at us. His
face breaks into an evil grin. Then he laughs. It's a truly
evil guffaw. One that sends a shiver down Mike's spine.
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
5 INT. HOUSTON - APARTMENT. EARLY EVENING. 5
INSERT OVER - Houston.
We're in a modestly furnished small apartment, cream walls,
beige sofa - very twentynothing style. TWIST sits on the
sofa, a tub of ice cream in one hand and a spoon in the
other, watching the small TV set before her. It's showing an
episode of 'Mystery Science Theater 3000' and she giggles as
she watches.
Suspended by his ankles and hanging in the doorway behind her
is CHRIS, exercising in his tracksuit bottoms as he heaves
himself up to touch the doorframe and then back down to hang
again, using a pair of steel clamps fitted to the top of the
doorframe.
TWIST
All that blood rushing to your head
can't be good for you, you know.
CHRIS
Au contraire, over time the organs
sink lower into the body, and
standing on one's head or something
similar reverses the process!
TWIST
So what, you're gonna learn how to
walk on your hands now?
Chris reaches up, unfastens the clamps and flips down to the
floor, grabbing a towel and drying off the sweat.
CHRIS
We're talking long-term effects
here. Little bit at a time.
Otherwise I'd end up with my
kidneys fighting for space round my
lungs.
Twist rolls her eyes and turns back to the TV.
CHRIS (cont'd)
So what are you watching this time?
That set's not been off since we
got here.
TWIST
Well, if your friends are going to
insist on having such a nice TV
installed, then you're damn right
I'm gonna be watching it!
Anyway, I'm watching a cool old
MST3K episode.
CHRIS
MST-what?
TWIST
Basically, there's this guy and
these two home made robots who
watch bad old movies and add their
own quasi-satirical commentary.
CHRIS
Huh.
TWIST
And it is, of course, the greatest
thing in the history of the world.
Ever.
Chris chuckles to himself and heads out of the room.
CHRIS (O.S.)
Too much TV will rot what little of
your brain is left, you know… I'd
rather have a vampire for a partner
than a zombie!
TWIST
So explain to me what favour you
owe the people who own this place,
or vice versa? I mean, they're
letting us stay here for free and
treat it like it was our own… What
did you do, free them from slavery
or something?
CHRIS (O.S.)
Sort of! It's a funny story,
actually. I was hunting down this
pack of trashk, nasty buggers who
kidnap human families to sell as
sets of slaves, and when I broke
into their hideout the only people
I found were the Buxton family, who
just happen to be Brits like
myself. And before you knew it,
we'd made friends, and they said if
I was ever in town they'd help me
out any way they could.
TWIST
Like staying rent free at this
place?
CHRIS (O.S.)
Exactly. Nice bunch, although the
mother does have a slightly
alarming obsession with setting me
up with her daughter…
TWIST
Oo! Sounds promising!
CHRIS (O.S.)
Ah, not exactly. There's a picture
over the fireplace, go see for
yourself.
Twist gets up and steps over to the fireplace behind the TV.
A mantelpiece shelf over the fireplace has a line of framed
photographs on it. Twist locates a family shot and lifts it
up.
Two smiling parents, two small happy children… and one very,
very ugly daughter beaming out by her mother's side.
Twist pulls a face at the photo and quickly puts it back
down.
TWIST
Eesh. Not so much the ugly stick,
more like the ugly logging factory!
Twist flops back down on the sofa and retrieves her ice
cream.
TWIST (cont'd)
So you're still heading off to that
underground shopping centre thing?
Chris walks back into the room, dressed and pulling his coat
on, his fedora in one hand.
CHRIS
'Shopping centre' is a slightly
simplified term for Houston's
famous Market, but yes, I'm out to
do some shopping. Are you still
going to that concert?
TWIST
Damn straight! Rob Zombie and
Powerman 5000 at the same gig? I'd
have been forced to kill you if you
hadn't let me go.
She calmly keeps eating her ice cream as Chris raises an
eyebrow at her. He can never tell if she's joking half the
time. He grabs his leather backpack from the floor.
CHRIS
Good stuff. Well, I'll be back in a
few hours, hopefully with lots of
new toys to play with.
TWIST
Swords, axes, that kind of thing?
CHRIS
Depends who's in, if that inventor
from Newcastle's in town then
there'll be a stall full of gadgets
that'd have James Bond crying into
his pint!
TWIST
(mock enthusiasm)
Go go gadget monster hunter…
Chris smirks and hefts his bag onto his shoulder, when there
is a sudden loud, bassy HUM, and every light in the apartment
goes out. There is silence for a few moments.
TWIST (cont'd)
(shocked)
My… my TV!!
CHRIS
(annoyed)
Oh, great, a powercut, just what we
needed!
With a second hum, the lights return, but the TV is showing
nothing but static. Twist looks up at it, heads over and
tries to adjust the aerial, but with no luck. She starts
hitting it.
TWIST
Ah, come on, you stupid thing!
CHRIS
Probably just interference or
something.
(beat)
Twist, if you keep smacking it like
that, you're going to break it!
TWIST
But my beautiful TV is gone!
The phone rings. Chris and Twist exchange a look.
CHRIS
(frowns)
Hmm, that's odd, I don't remember
giving anyone our number…
Chris' hand picks up the receiver as it continues to ring.
CHRIS (cont'd)
Hello?
VOICE
(filtered)
Oh, hello, is that you,
Christopher?
CHRIS
Angie?
VOICE
Oh, it is you! Excellent.
TWIST
Who is it?
CHRIS
(holds receiver against
chest)
It's Angela Barstow, one of the
readers in the area. Haven't spoken
to her for years.
(into phone)
Angie, how are you?
ANGIE
Oh, I'm fine, Chris, sorry to sneak
up on you and call you like this.
CHRIS
That's fine. How did you get this
number? I hadn't told anyone I was
staying here.
ANGIE
Well, no, but if you think about
it, I am psychic…
CHRIS
(grins)
What can I do for you, then?
Chris sits down on the sofa as Twist continues to curse and
hit the TV to bring the picture back.
ANGIE
You've probably noticed the sudden
lack of any television signal.
CHRIS
Yes, I thought it was just a
sunspot or something.
It's Twist who's in more distress,
she's missing her show with the
talking robots or something.
ANGIE
Well, I thought I should get in
touch because something… strange
has fallen over the area.
CHRIS
Strange how?
Chris wanders over to the window and looks out. The sun has
set and the city is starting to light up as he scans the
panorama, looking for anything unusual.
ANGIE
I can't quite explain it, it's as
though a thick cloud of something
just appeared over the city and
started to mess with all kinds of
communication.
CHRIS
Then how is the phone still
working?
Twist curses again and sits back, glaring at the TV.
ANGIE
Ah, that's the thing. My phone's
enchanted, so it can set up a
connection to any other phone and
the two will work, but normal
phones aren't working at all. If
you check your mobile phone, you'll
find that it won't be able to
connect to anything.
Chris roots round inside his jacket for his phone and holds
it up to look at it.
The screen is blank except for the words 'No Signal.'
He frowns and tucks the phone away.
CHRIS
So what are you telling me, Angie,
has someone cast a spell over the
city to stop people making phone
calls?
ANGIE
My senses are telling me it's a lot
worse than that, I think someone's
trying to-
Before she can finish her sentence, the bassy hum is heard
again and all the lights go out.
As Chris glances out the window, lights start to flick off in
blocks over the whole city, rapidly reducing it to darkness.
Chris frowns again, his reflection visible in the window.
CHRIS
To shut down the power. Angie, sit
tight, I'll be round in a minute. I
think we may have a problem.
TWIST (O.S.)
Damn straight we do! I'd never seen
that episode before and now look at
everything!
She waves a hand round to indicate the darkness.
We can dimly make the two of them out, their vampire-enhanced
eyes glittering in the gloom. Chris heads for the door.
TWIST (cont'd)
Hey, where are you going?
CHRIS
We are going to meet Angie, she
seems to have some kind of an idea
as to what's happened.
TWIST
Isn't this just a powercut?
CHRIS
According to her, no. Seems like
something magical has caused all
this so we'd better get to the
bottom of it.
TWIST
But what about my concert?!?
CHRIS
(beat; patiently)
Twist, if there is no power, then
there will be no concert…
Twist mutters something under her breath.
CHRIS
I'm sorry? I didn't catch that..
TWIST
(sulkily)
Nothing. Let's go.
We can make out the two of them leaving the room.
6 EXT. STREET - OUTSIDE APARTMENT. NIGHT. 6
Chris and Twist walk out into the street. There isn't a
single light on up or down the street, although people are
already venturing outside with torches and candles, looking
around and trying to work out what's going on.
TWIST
Jeez, you'd think these people
never saw the night before. How did
we manage when we were all
cavepeople?
CHRIS
Very badly, by all accounts. Come
on, Angie's is only a few blocks
away.
Cars are backed up along the street, their headlights
managing to pierce the blackness as the impatient drivers
honk at one another.
7 EXT. ANOTHER STREET. NIGHT. 7
Chris and Twist walk along, past gangs of people gathering
around, talking and looking worried. Traffic lights are out
and so the streets are filled with backed up cars. Chris and
Twist weave their way around the parked cars.
TWIST
If this is magical, who's causing
it and why?
CHRIS
That's what I hope Angie can tell
me, and more importantly where to
find the cause.
TWIST
She's not going to be all vague
like that chick in Orlando, is she?
Because, you know, I'm a Dragnet
kind of girl when it comes to
psychic stuff. Just the facts,
ma'am.
CHRIS
Don't worry. Angie's a bit less…
traditional than Brenda was.
TWIST
'Traditional'? Why am I not liking
the sound of that at all?
8 EXT. THE AIR OVER HOUSTON. NIGHT. 8
We leave Chris and Twist walking for a moment and pull back,
up a mile into the air so we can look down on the whole city.
The lights of the car headlights twinkle out but apart from
that the whole place is in darkness.
And as we watch, we start to see a glittering purple cloud
forming in the air around us, the same crackles of
electricity as the ones we saw surrounding the satellite
lacing through the cloud.
9 EXT. ANOTHER STREET. NIGHT. 9
Back with Chris and Twist as they walk, and now distant
police sirens can be heard. A large black van parked on the
road opposite catching Chris' attention.
Chris pauses as stares and Twist, not looking where she's
going, bumps into him.
TWIST
Oof! Nice emergency stop there, but
I'm gonna have to fail you for
control…
She realises Chris is looking at the van and peers over.
TWIST (cont'd)
What?
CHRIS
That van, see the logo on the side?
Twist squints, the logo hard to read despite her improved
vision.
The logo is of a smirking devil's face with fangs, a cigar
clamped between it's lips, and stylised writing reading 'Los
Amigos' running round the outside of it.
TWIST
Very pretty. What, you want it as a
tattoo or something?
CHRIS
I recognise it… and the part of my
brain that recognises it is telling
me it means trouble.
TWIST
Trouble how? Like, Twist gets to
practice her new Jackie Chan moves
trouble, or Twist gets thrown
around like a Raggedy Ann doll by a
seven-foot tall monster kind of
trouble?
CHRIS
(eyes her)
Well, if you want to be that
specific… If memory serves, then
'Los Amigos' are a gang of vampire
robbers who like to cruise around
and knock off banks after hours.
They're very bold about it and
that's probably why no-one's picked
them up yet.
TWIST
The old saying where the more open
you are about doing something, the
less likely anyone is to stop you?
CHRIS
Something like that. Or they've got
the local police in their pockets.
Either way, they mean trouble and
I'm not getting a good feeling at
all about seeing them here, now.
TWIST
Not exactly a coincidence, is it?
So what do you want to do?
Chris looks from the truck to the far end of the street and
back.
CHRIS
Nothing for now, but we're going to
need to keep our eyes open for this
one. Angie's place is just round
the corner, but I think we should
keep tabs on this van too.
TWIST
Let's just wait till we hear bank
alarm sirens, then we'll know where
they are!
She smirks at Chris but he isn't watching. Chris and Twist
walk on, Chris' eyes not leaving the van.
10 INT. LOS AMIGOS VAN. NIGHT. 10
We're inside the van now, looking out the tinted side window
as Chris and Twist carry on walking down the street. There
are two burly vampires sat in front, both watching the duo
walk away.
LOS AMIGO #1
Is that him?
LOS AMIGO #2
Yeah. Heh, thought he'd be taller.
LOS AMIGO #1
The hell is he doin' here?
LOS AMIGO #2
Aah, who cares, probably nosin'
around and looking for somewhere to
get his next fix. I heard he was a
junkie.
LOS AMIGO #1
Yeah, well, I hear a lot of things.
Come on, the others are waitin' and
we've got a whole night to start
working through!
The second vamp grins as the first turns on the van's engine
and drives away off screen.
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
11 EXT. ANOTHER STREET. NIGHT. 11
Moments on from Act One… and the streets of Houston have
become a walking, talking, and violent example of Vigilante
style mayhem in the twenty-first century.
Except there is no Punisher/Batman figure righting the wrongs
of the normally sociable and decent here, only these now
deviant figures, who take it in turns to dismantle the fabric
of the city.
The alarms are out. Thus alarms don't go off when trashcans
are hurled through the windows of designer shops. The
deviant's snatch whatever they can, whether it is jewellery,
guns, clothes, or even deodorant.
Cops try and keep the peace, but the response times are down
due to the lack of a telephone system to alert them to calls.
12 EXT. CORNER OF 6TH & 7TH. NIGHT. 12
Two Police Officers are using their Police Car as cover. Both
sport .45s. They take aim at people they cannot see, and thus
their gunfire is sporadic at best, and wasteful at worst. 5
metres down the road is the BLACK VAN that LOS AMIGOS were
riding around in just a few short moments ago.
13 EXT. BLACK VAN. NIGHT. 13
LOS AMIGOS take fire at the Police Officers. These guys are
screaming and bellowing like an immortal Bonnie and Clyde
(except without the sexual tension.)
LOS AMIGO #1
Dis is what I call payback!
LOS AMIGO #2
I guess we shouldn't be thinking
about why we're using guns when
we're Vampires…
LOS AMIGO #1
(shrugs)
Because it's fun!
LOS AMIGO #2
Oh… yeah.
Both shrug, and continue firing.
LOS AMIGO #1
Besides, can't have the cops
getting their hands on our ill
gotten gains, can we?
Both members of LOS AMIGOS laugh.
We pan down to see a MONEY BAG that is partially obscured by
view, situated just by the rear left tire.
14 EXT. POLICE CAR. NIGHT. 14
The Police Officers are forced to lay low. The bullets flying
towards, and slamming into, their car, are now produced from
an assault rifle. As expected, the car is now being cut down
into ribbons. Glass from the destroyed windows lines the
ground.
COP #1
Damn it!
COP #2
I guess 'cease and desist' isn't
all it's cracked up to be…
EXT. CORNER OF 6th & 7TH. NIGHT.
Chris & Twist are on the corner, crouching down behind a car
that is sporting several bullet holes. Looks like they got
caught up in the crossfire between the cops and the Amigos.
Chris pops his head up, staring at the gunfight.
CHRIS
I knew those vampires were up to
something, good job we followed
them! And now those police officers
look like they need our help.
TWIST
Oh, come on, Chris, we can't help
everyone!
Chris runs forward.
TWIST (cont'd)
Damn!
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Script created with Final Draft by Final Draft, Inc.