sib1x09
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 INT. SALOON CAR. NIGHT. 1
INSERT OVER – ATLANTA
To the guitar intro to 'Dream brother' by Jeff Buckley, we're
riding along a city street inside a typical saloon car,
driven by a young twentysomething female exec. She reaches
forward and turns the radio up, and we hear the DJ's voice
speak over the song. He has a very smooth voice, perfect for
this late night slot.
DJ (V.O.)
Bringing you all the tunes you'll
need to pass the night hours away,
this is UV Radio, on air from dusk
till dawn every night.
2 INT. STUDENT DIGS. NIGHT. 2
We're in a student halls of residence now, with a young guy
and girl sharing a large room, both listening to the radio
station on the stereo between their two beds. They're dressed
in modern goth outfits – plenty of black.
DJ (V.O.)
For those of you who can't stand
the sunlight, or at least the sorts
of people who walk around in it,
we'll give you plenty of food for
your brain during the hours of the
day you actually stay awake.
3 EXT. YACHT. NIGHT. 3
We're on the top deck of an expensive looking yacht now,
floating quietly on the still waters of one of the region's
lakes, a group of three young demons swigging beer and
chatting as the small radio on deck carries on the broadcast.
DJ (V.O.)
You're listening to an old
favourite of mine, 'Dream Brother'
by Jeff Buckley, just the kind of
mood you need as today turns into
tomorrow and you start wondering if
it's gonna be
worth getting up for work again in
a few hours time…
4 EXT. ATLANTA STREET. NIGHT. 4
We're walking along one of the city's quieter streets,
passing some noisy bars but not stopping as we follow a group
of three young guys, all pale and skinny.
DJ (V.O.)
You know, I met Jeff once, and I
always meant to ask him if he would
have still taken that swim in the
river if he'd known how big he was
going to become. I guess it just
goes to show you that some of us
only get one shot at life in this
world…
5 INT. RUNDOWN BUILDING. NIGHT. 5
We're looking down from the top of a short staircase inside a
beaten up old building as the door at the foot of the stairs
opens, and the three guys we were following walk in, talking
and laughing as they climb the stairs.
DJ (V.O.)
… so I guess the secret is to live
every day like it's your last, and
never think about tomorrow until
you wake up in it and turn it into
today again. So for all of you out
there who wish sometimes you could
start your life over, I'm gonna
play this song for you. And for
those of you who do get that second
chance…
6 INT. RADIO STUDIO. NIGHT. 6
Still following the three guys, they push open a door and
walk into a fairly well-lit room filled with archaic looking
radio equipment, peeling rock concert posters lining the
walls and old sofas and throw rugs giving the place a cosy
feel.
At the far end of the room is a booth separated from the rest
of the room by soundproof glass, containing a desk, a large
CD player, several empty beer bottles, a microphone and the
DJ we have been listening to, DANYAEL, a slim goth boy with
rock star looks who waves and grins to his three friends as
they walk in.
DANYAEL
… well, I raise a glass to you, the
lucky ones. Enjoy.
Danyael flips a switch on the large, clunky CD changer behind
him and slips off his headphones.
7 INT. RADIO STATION – BOOTH. NIGHT. 7
Danyael leans back in his old leather chair as one of the
friends enter the booth via a door to one side, and hands
Danyael a brown paper bag. Danyael nods thanks as the friend
leaves, and slips his headphones back on.
DANYAEL
(into mic)
So just to remind those of you with
short memories, you're tuned in to
UV Radio, home of DJ Danyael's
Night Songs…
Danyael takes a red bottle of blood from inside the bag, and
raising it to his friends on the far side of the glass to say
cheers as he removes the stopper.
DANYAEL (cont'd)
… and haven for those of you ill at
ease in the human world.
Danyael thumbs off the mic again and takes a deep, grateful
swig of the blood. He leans back, licking his lips and
letting out a satisfied sigh.
DANYAEL (cont'd)
(to himself)
Now this is what it's all about…
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
8 EXT. HIGHWAY. MORNING. 8
'Inbetween Days' by The Cure is our soundtrack as we look
down on one of the main highways leading into Atlanta city
centre, pulling closer until we pick up a beaten up old van,
weaving conservatively through the morning traffic. The van's
windows are blacked out.
9 INT. VAN. MORNING. 9
Inside the van, the song still plays loudly as we see CHRIS
driving, tapping the wheel and singing along without a care
in the world. He wears his fedora against the sunlight, but
thanks to the darkened windows no actual sunlight can get
inside.
Which is handy for TWIST, lying on a sleeping bag in the
cluttered back half of the van, a pillow held over her head
as she tries to blot out the horrific sound of Chris singing.
With a groan, she gives up and throws the pillow away,
sitting up and clambering into the passenger seat and turning
the stereo down herself.
CHRIS
(glares at her)
Hey! Some of us were listening to
that, you know…
TWIST
Chris, honey, now you know I love
music, but even I have my limits,
and one of those limits is hearing
you SING to THE FRICKEN CURE at
EIGHT O'CLOCK IN THE FRICKEN
MORNING!!
CHRIS
Oh, come on, it's good morning
music! Wakes you up, leaves you
ready to tackle the day!
TWIST
(incredulous)
Tackle what? It's first thing in
the morning, the sun's up, and if I
step outside, you'll be partner to
a small pile of dust!
CHRIS
Well, I mean apart from that.
TWIST
Okay, compromise. Let me pick a
station instead.
CHRIS
(sighs)
Alright. But we're losing a
classic…
TWIST
(mock tearfulness)
Oh… my heart… she bleeds so!
Twist starts turning the dial, brining us static and bursts
of music and voices until she picks up a local news
broadcast.
CHRIS
Oh, wait, leave that on.
Twist pauses and turns the volume up.
RADIO
Police remain at a loss to explain
the series of bizarre killings in
and around the Atlanta area of
recent months, but played down
speculation of a vampire-like
serial killer today as 'popular
hysteria and media scaremongering.'
Chris and Twist exchange a look.
TWIST
That anything to do with this guy
you're here to see?
CHRIS
I should hope not, Aaron and I have
known each other a long time, and
last time I checked he didn't go in
for any of that 'slaughter of
innocents' thing.
(chuckles)
He always says 'there's too much
money to be made off humans, why
would I want to kill 'em?'
TWIST
Sounds like my kind of guy, then!
CHRIS
He's excellently connected which
will be great for us.
We're a little strapped in the cash
department at the moment, as our
current choice of transport should
indicate.
TWIST
I was holding out for a Beamer…
CHRIS
My usual sources are temporarily
unavailable, so I called Aaron and
asked if he had any work that
needed doing, and he said come on
over and he'll set me up with
something.
TWIST
So your hacker mate Neuro's been
caught by the Feds again, then.
CHRIS
(beat)
Unfortunately, yes. However,
Aaron's assignments have always
paid exceptionally well in the
past, so they still should do so.
TWIST
Anything there for little old me?
CHRIS
Well, you're new to the deal. You
weren't around last time I saw
Aaron, so if you want to help me
out, the option's there.
Twist pulls a thoughtful face as she looks out through the
windows, watching the traffic go by.
TWIST
(mock aloofness)
The lady Twist will consider your
kind offer…
CHRIS
Glad to hear it.
10 EXT. STREET - AARON'S PLACE. MORNING. 10
Aaron's place is on the outskirts of the city, a seemingly
innocent grey brick building next door to some fenced off
inner city basketball courts, a few streets off any main
roads. Chris' van is parked up outside.
11 INT. AARON'S PLACE. MORNING. 11
Inside, the place is more like a gambling den than anything
else – long tables line all three floors of the warehouse
sized building, linked to each other by a series of crazy
looking spiral staircases.
Chris takes off his fedora and hands it with a nod to the
burly doorman as he and Twist enter on the ground floor.
Twist gazes around, soaking the atmosphere up.
TWIST
This place is cool! Why haven't we
ever been here before?
CHRIS
You know me, Twist, I'm not a
gambling man.
TWIST
Chris, you spend your entire life
trying to avoid having any fun at
all, ever.
CHRIS
And how would you know?
AARON
(booming voice; from first
floor)
Christopher Berkeley, well stick a
fork up my ass and roast me over a
campfire!
Chris and Twist look up for the owner of the big voice, still
reverberating around the inside of the building.
Looking down on them from one of the balconies that break up
the three floors of the building is AARON, a well-built black
man with a wide smile and hands that could hide entire
watermelons. He's dressed well – gold chains and expensively
tailored suits cut to fit his unusual frame, and he waves
happily at them to come join him.
With a glance, Chris heads up the nearest staircase and Twist
follows.
12 INT. AARON'S PLACE – 1ST FLOOR. MORNING. 12
The noise is louder up here, as Chris weaves past a few rowdy
card tables and makes his way over to Aaron. The two shake
hands before Aaron bear hugs Chris warmly, slapping him on
the back and offering him a cigar which Chris refuses.
As Twist joins them, Aaron snaps his fingers and has a table
and three chairs brought over, quickly followed by two wine
glasses of fresh blood.
As Aaron lights another cigar, Twist sniffs the glass and
throws a hopeful look at Chris, who nods once. With a happy
smile, Twist drinks as Chris and Aaron speak.
AARON
How the Horned One are you, Chris?
I never hear much from you these
days, still racing round the world
trying to cure yourself, eh?
(laughs)
Crazy idea if you ask me, but, who
am I to dictate another fiend's
fate?
CHRIS
Well, Twist and I have been quite
busy, we-
AARON
(interrupts)
Yes, I couldn't help but notice
your exquisite friend when the two
of you arrived…
(holds out his hand to
Twist)
… I don't believe I've had the
pleasure?
TWIST
(holds out her hand)
Not many people have, I'm very well
behaved these days. Name's Twist.
Aaron takes her hand, but instead of shaking it or kissing
it, he sniffs at it. Twist raises an eyebrow to Chris, who
just nods again to tell her to leave him to it. Aaron
releases the hand and sits back, dragging on the cigar as he
regards Twist.
AARON
Vampire, eh? Young too, only about
five in our years.
TWIST
(impressed)
Not bad, got myself turned back in
'99. That's a pretty good trick,
how'd you do it?
AARON
(taps nose)
All in the nose.
There's demon blood in my family
many generations back, and some,
like myself, have a highly
developed sense of smell, keeps us
alert to any good deals.
(grins broadly)
And I can sense a good one coming
your way tonight!
CHRIS
Well, you probably know why we're
here, Aaron. The money's running a
little tight, so I thought it was a
good time to drop by and-
AARON
(interrupts)
Say no more, Chris. You need a few
of my old missions to earn some
readies, not a problem. What about
your lady?
CHRIS
Oh, she's not my 'lady,' we-
TWIST
Now, darling, don't be rude!
Twist pats Chris on the cheek, and he glares at her, but she
just winks at him to get him to play along. Aaron chuckles, a
deep belly laugh that rattles the table.
AARON
You go see my man Derrinck, you
remember him?
CHRIS
Bad breath and glasses?
AARON
He'll offer you a few jobs. Plenty
of scum running round the streets
lately. Lots of murders up top, the
local police are starting to clamp
down on our activities a bit until
they know what's going on.
TWIST
Any ideas? We heard about it on the
news on the way in.
AARON
(shrugs)
Could be lots of things. Whatever
it or they is, it doesn't want to
be found very easily.
Chris leans back, rubbing his chin as Twist finishes her
glass of blood and starts on his.
13 INT. AARON'S PLACE – OFFICES. MORNING. 13
Chris knocks on an open office door at the back of the top
floor of the building and steps into a modest office holding
a few cabinets and a desk, behind which sits
DERRINCK, Aaron's book-keeper, a thin, pale skinned man with
glasses. He's busy poring over an accounts book as Chris and
Twist step inside his office.
DERRINCK
(without looking up)
Take a seat, please, won't be a
moment.
Twist looks at the incomprehensible wall charts and flow
diagrams peppering the wall as they wait.
DERRINCK (cont'd)
(closes book)
Now then, how can I-
(looks up; recognises
Chris)
Mr. Berkeley!
CHRIS
Please, Derrinck, it's just Chris.
Derrinck stretches across the table and the two shake hands.
Twist notices that Chris doesn't seem to want to get too
close to the guy, thanks to his bad breath.
DERRINCK
Good to see you again, it's been
what, four years?
CHRIS
About that.
DERRINCK
What brings you into our fair city?
CHRIS
Business. Specifically, any of
yours that you want to offer me.
DERRINCK
Ah, still on the old path, eh?
Derrinck turns in his chair and retrieves a thick binder from
one of the bookcases behind him. He lays it open on the desk
and leafs through it.
Chris glances at Twist, eager to get moving again.
CHRIS
Something quick to get started,
we're in no real rush so I can work
on a few things for you, whatever's
going.
DERRINCK
(turning pages)
Ah yes, I know just the thing.
How's that chap you used to work
with, by the way? Funny looking
half-demon fellow, what was his
name… oh yes, Malkuth, wasn't it?
Chris is silent. Twist throws a cautious look at him.
CHRIS
(icily; through clenched
teeth)
We don't exactly talk any more.
DERRINCK
(beat)
Aah, always a shame when good
business deals go sour, isn't it!
Ah, here we are…
Derrinck takes out a sheet of paper from one of the wallets
inside the binder and hands it to Chris.
DERRINCK (cont'd)
This is a rundown of several well
known underworld gangsters and
troublemakers operating in the
area. We get a lot of info about
people hassling Mr. Aaron's
clients, affecting our business and
generally being a pain. We get the
police on to them where we can, but
in more specialist cases we need
more… specialist help.
TWIST
Which is where we come in, right?
Trust us, we're very special.
DERRINCK
(nods)
Exactly.
CHRIS
I'll take a look over this, give
you a call later to discuss
details. Are you still on the same
number?
DERRINCK
Oh yes, call us anytime you like.
Chris nods to him as he gets up, followed out by Twist who
blows Derrinck an exaggerated big kiss as she leaves.
14 INT. VAN. AFTERNOON. 14
Chris reads down the list as Twist drives through the city
centre traffic, humming along to the radio.
TWIST
And you're sure you can trust this
Aaron guy? I mean, he's not sending
you out on a bunch of suicide
missions to get rid of you or
anything, right?
CHRIS
No, not at all. I'm one of his best
earners, or so he tells me. I've
always thought Aaron could give Don
King a run for his money if the two
had to go head-to-head in a hype
contest…
Twist turns the van down another street, trying to read the
street signs through the darkened glass.
TWIST
Where are we staying again?
CHRIS
Maple and 17th, landlady there in a
little underground apartment, rents
it out to travelling underworld
characters like ourselves. Quite
cosy, and her cooked breakfasts are
well worth getting up for!
There's a beat as Twist looks from side to side, peering
through the glass and biting her lip.
TWIST
Right…
(beat)
We're definitely lost, then.
CHRIS
Oh, Twist!
TWIST
It's not my fault! You made this
sunproof glass so damn dark, I can
barely see the road in front of me,
let alone read any signs!
Chris shakes his head as Twist tries to keep on driving.
15 INT. VAN. DUSK. 15
Chris tries to read a large roadmap of the city centre while
Twist tunes the radio looking for a new station. She pauses
on one and turns the volume up.
As 'Pretty When You Cry' by VAST begins to play, Twist's face
lights up and she turns to Chris.
TWIST
Oh, sweet! There was this great DJ
back at my college who played this
all the time. I forget his name
now, something like…
DANYAEL
(through radio)
So that was VAST with the ever
appropriate 'Pretty When You Cry,'
a song I always like to play
whenever I start thinking good
thoughts about my ex, so I can
quickly turn them into bad ones.
You're listening to DJ Danyael on
UV Radio, broadcasting out of
always-welcoming Atlanta for all
you surface dwellers and
underground lurkers…
Twist looks ecstatic and shakes Chris out of his
concentration. He looks up, wearily.
CHRIS
Twist, I'm never going to find this
bloody place if you keep stopping
and telling me about how much you
love every other song you hear!
TWIST
No, no, that's him! That's the guy!
The DJ from College! Who I listened
to before and after I died! Can I
go see if I can visit the station?
Can I? Can I? Can I? Can I? Can I?
CHRIS
(exasperated)
Oh, for goodness' sake, yes!!
TWIST
Sweet! I'll track him down in no
time, if he's here somewhere I'll
find him. I loved that guy when I
was younger, his show was the best!
CHRIS
Okay then, go looking. I'll call
you when I find this apartment
place. And try not to get in too
much trouble!
TWIST
Aw, thanks, Chris!
She slides open the side door of the van and hops out into
the night air, determined to track down her old radio hero.
Chris looks up, thoughtfully, as the door closes again.
Focusing on the list of hits that Derrinck passed on earlier,
the camera picks up one name at the foot of the page:
'Danyael, local radio disc jockey for UV Radio, located
inside Atlanta city limits.'
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
16 EXT. ATLANTA - STREET. NIGHT. 16
Twist walks down the street, passing by several large
buildings as she scans the streets thoughtfully. She pauses
at a street corner and rubs her chin.
TWIST
Hmm… now if I was an underground
radio station, where would I be
hiding?
She thinks, then snaps her fingers.
17 EXT. ATLANTA - OUTSIDE BAR. NIGHT. 17
We're looking at the outside of a neon-lit nightspot, loud
and bustling on the inside and we get a blast of that music
as a pair of young goths walk out, pointing back inside the
bar and laughing at some private joke.
Pull back to reveal Twist, watching them. She grins and moves
away from the wall she was leaning against and starts to
follow the couple.
18 EXT. ATLANTA - STREET. NIGHT. 18
The couple, still talking, round a corner in front of us and
walk left off screen. In the background, Twist suddenly
speeds up so she doesn't lose them, getting to the corner a
few moments later and looking round.
The couple are nowhere to be seen, we're just looking at a
quiet street full of disused buildings and warehouses.
She pouts, but then notices something up ahead.
Highlighted in a doorway that opens before them, we see the
couple walk inside one of the buildings opposite, nodding to
a heavier-looking guy manning the door.
With a triumphant smile, Twist heads across the street and
towards the doorway.
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Script created with Final Draft by Final Draft, Inc.