sib1x17 Script created with Final Draft by Final Draft, Inc.
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14 INT. CIEGUE'S CAR. MORNING. 14
Ciegue shuffles along the backseat of the car, its windows
darkened, before realising the car isn't moving.
CIEGUE
Why aren't we moving?
VAIL
There's, uh, someone outside, sir.
CIEGUE
And?
Ciegue turns round in the seat and peers out through the
darkened glass. A smile crosses his face.
CIEGUE (cont'd)
Well, well, well..
(to Amzin)
Wait here. And keep the engine
running, I won't be long.
15 EXT. BURNSBOROUGH - STREET. MORNING. 15
Ciegue steps out of the car, smoothing his long black leather
jacket down as he calmly steps up to face Chris.
CIEGUE
Hello again, Chris. It's been what,
four years?
CHRIS
Not long enough. I don't know what
you're doing here, Ciegue, but
don't expect to carry it on any
longer.
CIEGUE
I'm sorry, was that a threat? I
hear so many of those these days,
it's hard to tell.
(smiles)
Walk away, Chris. You know you
can't beat me.
CHRIS
Not a chance.
CIEGUE
Very well.
(beckons Chris forward)
Let's get this started.
Chris takes a few cautious steps forward, then leaps in with
a swing of his blade - which Ciegue effortlessly catches in
mid-air.
Quick as a cobra, he punches Chris hard in the chest three
times, before grabbing his sword arm, twisting him round and
throwing him against the house next to them.
Chris SLAMS into the wall, leaving a dent in the plaster and
bricks, and clatters to the floor.
Dazed, he can't react as Ciegue marches over, grabs him by
the throat and lifts him up, spinning round and throwing
against the house opposite them.
Chris crashes to the floor again, his lips red with blood as
he coughs, clutching his wounded chest and wincing with pain.
Ciegue kneels down in front of him, not even out of breath.
CIEGUE (cont'd)
You won't listen, will you? You
can't stop me, Chris, and you know
it. Now, I'd better be going. Maybe
I'll see you around. Although, if I
do, I'll have to kill you.
With that, Ciegue stands and climbs back into the car which
revs its engine and pulls away, leaving the bruised and
bloody Chris slumped on the ground.
After a few beats, Donald wheels frantically into frame.
DONALD
Chris! What happened?
CHRIS
(coughing)
Just catching up.. with an old
acquaintance..
Chris picks his sword up off the floor and uses it to help
himself stand. Donald looks on, concerned.
DONALD
Looks like you had a few choice
words to say to each other.. Are
you sure you're okay?
CHRIS
(snaps)
I'm fine. Let's get moving.
Chris walks off again, wincing with every other step. Donald
waits a moment, not sure what to make of things.
16 INT. BAR. MORNING. 16
Crane, Danyael and Twist walk into a moderately-sized,
darkened bar, with soft background music piping out of an old
fashioned jukebox in one corner. The clientele is sparse and
mainly young, sulky looking men, with a handful of old
regulars propping up one corner of the bar.
Crane nods to the barman, who reaches under the counter and
flips a hidden switch. Crane motions for Danyael and Twist to
follow as she walks through the 'Staff Only' door around the
corner from the bar.
17 INT. BAR - CORRIDOR. MORNING. 17
The trio walk down a set of steps before coming to a heavy
iron door. Crane raps on it twice, and a shutter opens to
show a pair of eyes peering out at her.
MAN BEHIND DOOR
Oh, hey, Crane. Who're these two?
CRANE
True believers.
MAN BEHIND DOOR
Okay, hold up.
The shutter closes, and with the CLUNK of several bolts
sliding across, the door swings open.
18 INT. REBEL CELL. MORNING. 18
Holding the door open inside the large room beyond is REYES,
a tall vampire with short brown hair and a white
shirt over blue jeans. He nods to Danyael and Twist as they
enter, and Twist scans the room. The underground room is
large and spacious, with a pool table, TV and set of sofas,
two fridges, a clunky old radio transmitter mounted on a
rickety desk, and about eight more vampires milling around
inside. Reyes lights a cigarette as he closes the door.
REYES
You must be Danyael, right? I'm
Reyes, I'm in charge round here.
They shake hands. Reyes offers Danyael a cigarette, and he
takes it.
TWIST
So this is how you Maryland rebels
do things, huh? Nice. There's a
bunch of guys that could take a few
lessons in luxuries off you..
REYES
We have an arrangement with the bar
staff upstairs. We keep an eye on
the streets, look out for the
civilians, they keep us stocked up
on what we need and don't give us
any trouble.
DANYAEL
Good deal. Shame there aren't more
places like this.
CRANE
We're doing our best! Reyes, these
two are in town with Chris
Berkeley.
REYES
Really? The Chris Berkeley?
TWIST
Yeah, him. Why does everybody call
him that? It's not like he's a
fricken superhero or anything!
REYES
Heh, you two must be his sidekicks,
right? I can spot the inferiority
complex a mile away.
Twist grits her teeth but Danyael just chuckles, taking a
bottle of beer offered by another vampire.
DANYAEL
Chris wanted us to come and
introduce ourselves, he's trying to
re-establish the old links set up
by Spice and her cell over in
Seattle.
CRANE
Spice? Isn't she..
TWIST
Dead, yeah. That's kind of why
we're doing this. Keeping the dream
alive, you know?
REYES
Well, I guess Crane's filled you in
on our little problem round here..
Reyes walks towards a whiteboard fixed to one wall, with a
map of Burnsborough drawn across it and glossy photos
highlighting marked out locations.
DANYAEL
The gangster family in town, yeah.
REYES
They took out a lot of the original
rebels lodging round here before
the rest of us moved in, by now
they've got their claws into most
of the east side of this place.
They control the docks that lead
out to sea and to the freeway on
the far side of town.
TWIST
So shipping in reinforcements isn't
a problem for them, huh?
CRANE
Got it in one.
REYES
We've been looking for a way to
shut them down for some time now,
hopefully you guys can help us do
that.
DANYAEL
What makes you think us three will
make a difference?
CRANE
You're kidding, right? We've heard
all about what you guys have been
doing. That riot in Houston, all
those rebel cells getting attacked
in Atlanta and Minnesota.. you guys
are like living legends!
TWIST
(mock aloofness)
Well, one doesn't like to boast..
DANYAEL
That's very flattering, but, uh, we
should wait till Chris shows up.
TWIST
You've got no spirit for adventure,
you know that? Look, I'm sure
wherever Chris is right now, he can
take care of himself just fine
without us.
19 INT. HOUSE - FRONT ROOM. MORNING. 19
Chris flops down into frame, sitting on an old sofa and
rubbing his aching ribs. Donald manoeuvres through the inside
of the house with difficulty, tearing down 'Police Line'
yellow tape that covers one doorway.
DONALD
Through here's where they found the
body, it was-
(beat; sees Chris)
Look, are you sure you're alright?
CHRIS
I'll be okay. I just had the wind
knocked out of me a little is all.
DONALD
Looks like you had more than just
the wind knocked out! What exactly
happened? I heard the sounds of you
fighting someone, then a car drives
away and I find you like this!
CHRIS
I'll explain it all later. Show me
what happened in here first.
20 INT. HOUSE - BACK ROOM. MORNING. 20
Chris and Donald step through the doorway. Most of the
furniture in the room is covered with white dust sheets, and
a chalk outline has been drawn on the carpeted floor. Red
stains still mark the grey fabric, and Chris kneels down to
take a closer look.
DONALD
The victim's name was Eric Harper,
single guy in his thirties, worked
down at the local meat packing
warehouse as a forklift driver.
Normal guy, nothing remarkable
about him at all. No criminal
record, heck, not even a parking
fine.
CHRIS
Model citizen. What was the cause
of death?
DONALD
Massive wounds to the chest and
abdomen, made by a serrated weapon
and a rushed, clumsy hand.
Seems the attacker barged in here,
sliced the guy open, extracted a
handful of organs and then split.
That was three weeks ago, there've
been six more cases since then.
Chris lays a hand on the bloodstain and closes his eyes, a
soft mauve glow starting to form beneath his outstretched
palm. Donald leans forward in his chair, trying to get a
better look.
DONALD (cont'd)
What's that?
CHRIS
I'm seeing what I can pick up.. if
there are any traces of demon or
monster activity, I may be able to
pick up a trail.
DONALD
Heh, you've sure learned a few
tricks since last time we met..
CHRIS
Perk of the job, plenty of time to
learn.
Chris opens his eyes and stands, shaking his head.
DONALD
Nothing?
CHRIS
The scent's too faint, I'll need to
see a fresher site. Where were the
other attacks?
DONALD
Three more inside people's homes,
one who was a nightwatchmen and two
more out in the woods just past
town limits.
CHRIS
Tourists?
DONALD
Nope, that's the other funny thing.
Everyone was a local, they'd been
living here their whole lives. The
victims in the woods were a married
couple out camping, it was their
wedding anniversary. That was one
of the more recent ones, shall we
head out there?
CHRIS
I need to catch up with Twist and
Danyael first, see what they've
been able to find out.
DONALD
No problem, there's a bar down the
road, we can arrange for them to
meet us there.
Donald reverses out of the room and Chris follows, casting
one last look round the room. We pan back down to look at the
bloodstained carpet again, before we:
21 INT. WAREHOUSE. DAY. 21
SLAM! The lid of a dirty-looking packing crate slams down
into frame, and as we pull back we take in the box that it
has sealed, and the line of other crates next to it.
A regular little assembly line is running, with rows of
demons and humans packing sealed bags into the crates,
sealing them and showing them down a ramp leading off screen,
out of the warehouse.
We stay on the scene for a few moments before we:
22 INT. BAR. DAY. 22
Chris holds the bar door open as Donald wheels in, the two
men in the same bar that houses the rebels downstairs.
Donald taps on the bar, and shakes hands with the bartender,
nodding to the older regulars at the bar and exchanging a few
greetings.
DONALD
Everybody in town knows where this
place is, it's the accepted meeting
place.
Donald nods thanks as the bartender places a bottle of beer
down on the counter, which he stretches up to grab. Chris
raises an eyebrow, chuckles and shakes his head as a new song
starts on the jukebox - it' 'White Wedding' by Billy Idol.
Chris turns round - he knows somebody who harbours an
obsession with this particular song..
And there's Twist, eyes closed, tapping her fingers on the
side of the jukebox, nodding her head along with the tune as
Chris steps into frame.
CHRIS
I might have known I'd find you
here..
Twist jumps, startles, then relaxes as she sees Chris.
TWIST
I told you to stop lurking on
people like that! Somebody could..
(notices his bruises)
What the heck happened to you? Have
you been fighting with the other
girls again?
CHRIS
I ran into some trouble. What did
you and Danyael find out?
TWIST
Oo, you're gonna love this. Come
on.
Twist grabs Chris' hand and leads him round to the staff
entrance. Donald raises his beer to Chris as he passes.
23 INT. REBEL CELL. DAY. 23
Chris looks up at the whiteboard, matching up the marked
locations with what he knows. Reyes stands next to him, a
proud look on his face. Chris notices and turns to him.
CHRIS
Is something the matter?
REYES
What? Uh, no, why should there be?
CHRIS
You've just been giving me a rather
odd look..
REYES
Sorry. It's just not every day I
meet a hero like yourself, you
know? Most of the time, us rebels,
we're kind of flying against the
wind out there. Nice to know we've
got guys like you on our side.
Twist drapes an arm round Chris' shoulders.
TWIST
Careful, pal, he doesn't handle
compliments too well!
CHRIS
These sites, are they gangland
activity?
REYES
Yeah, as best as we can pinpoint.
CHRIS
Interesting..
TWIST
I can almost hear the plan
forming..
CHRIS
I know where to find the gangsters.
And I think it's about time we put
a stop to their work out here.
Reyes grins, but Chris' eyes are full of determination as he
stares at the board.
CUT TO BLACK:
END OF ACT TWO
ACT THREE
FADE IN:
24 INT. DEMON BAR. DAY. 24
We're inside another bar inside the town, but this one has a
very different clientele - demons and their human colleagues
sit around the bar and in the booths, raucous laughter and
chatter sounding over the jukebox.
The door swings open and all talk stops - visitors aren't
welcome round here.
Standing framed in the doorway is Twist, saved from the
sunlight by the clouds overhead but dressed in a sharp,
charcoal grey business suit, her hair pulled back in a tight
ponytail. She carries a briefcase and wears shades which she
pushes down her nose to scan the bar with a grin.
TWIST
Ah, this must be the place.
ON SCENE
Twist marches boldly into the room,
the stunned people inside just
watching her as she takes a seat at
the bar, laying her briefcase down
beside her. She looks around at the
faces studying her.
TWIST
So! Who's a girl gotta eat to get a
drink around here?
The bartender, a burly, red-skinned demon called VARG, steps
into frame.
VARG
This ain't the place for you,
little girl. Best pick yourself up
and get out of here.
TWIST
(innocently)
Oh, I'm terribly sorry, I could've
sworn this was the place to get in
on the action with the Balkor
family..
A murmur passes round the bar. Two large men step into frame
next to Twist.
BURLY MAN
You tryin' to make us an offer?
DEMON
Heh, hope you brought us something
to keep us interested..
(looks her up and down)
.. besides yourself, anyways..
Twist just smiles again and picks up her briefcase, laying it
flat on the bar. She flips the locks and opens it - to reveal
four little KITTENS, mewling as they scrabble around inside.
The Burly Man raises an eyebrow but as he looks across to his
Demon friend, he sees the brown-scaled fiend licking his lips
and eyeing the critters hungrily. Twist carefully closes the
briefcase.
TWIST
Now then, boys, before we start
breaking out the plates and
cutlery, let's talk business. Why
don't you start by filling me in on
exactly what kind of a racket you
guys are running around here,
starting with what the link is to
the poor townsfolk who keep showing
up in pieces..
The man and demon exchange another look.
25 INT. HILLSIDE NEAR DOCKS. DAY. 25
Chris steps into frame, standing on top of a hill overlooking
the docks we saw earlier on. The drizzle of rain is still
falling and the waves beyond the docks are thick with mist,
but we can see the rows of old warehouses and piles of
packing crates, with a large cargo lifter rolling up and down
the rows. Chris starts down towards the jetties and walkways
below.
26 INT. DOCKS. DAY. 26
We can see Chris at the far end of the frame as three men
walk past in the foreground, chattering. Chris steals between
two small wooden buildings, staying out of sight.
Pressed flat against the wall of one of the buildings, he
edges forward until he can hear footsteps, and he hunches
down, poised and ready.
We hear the flare of a cigarette lighting, then a stocky
demon walks past, whistling tunelessly. He doesn't see Chris,
who waits a moment more then darts forward to reach one of
the other warehouses, ducking down as the large cargo lifter
rolls past nearby.
We can hear the clunks and whirrs of machinery inside the
warehouse, and with a stolen look left and right Chris forces
the door open and ducks inside.
27 INT. DOCKS - WAREHOUSE. DAY. 27
The sound of machinery is much louder in here, and we can see
conveyor belts filled with large packing crates rolling past
us. Demons and humans dressed in plain red overalls are
loading the boxes onto the belts, others are depositing white
plastic bags inside and others are taking them out towards
the jetty through large open doors at the far end of the
warehouse.
Chris stays close to cover as he edges forward, ducking back
as two workers wander past, then getting close enough to
reach one of the crates.
With a quick heave, he lifts it straight off the moving
conveyor and lays it down gently on the floor, round a corner
and out of sight from the main shop floor. Chris wrenches the
lid off and looks down into the contents.
It's filled with white plastic bags, and Chris reaches in and
tears one of them open. Before we can see what's inside, we
cut back to:
Looking up from the floor again, his eyes widen as he sees
the contents. With a sad shake of his head, he jams the lid
back down on the crate and lifts it again, moving off screen
with it.
28 INT. DEMON BAR. DAY. 28
Twist is sat in a booth now, and she looks up as a chubby
demon squeezed into a well-tailored suit shuffles in to sit
opposite her. This is OREN BALKOR, one of the higher ranked
members of the crime family moving in on Burnsborough. He's
short and fat with a bald head and very dark skin, with a
tortoiseshell-like pattern running across his skin. He lights
up a fat cigar as a muscular human bodyguard stands by the
booth, arms folded.
OREN
So, you're the chick with the cats?
TWIST
That's me. The name's Loren. Sophia
Loren.
OREN
Like the actress?
Twist hesitates - she probably should have picked a different
alias..
TWIST
Er, yeah. I hear you're the man I
need to speak to if I want to get
in on the business in this town.
OREN
(chuckles)
The 'business' ain't for people
like you, sweetheart. Why should we
let you in on any of this.
Twist closes her eyes. When she reopens them, they've turned
the blood red of a vampire, and she grins, showing her fangs.
Oren nods, looking impressed.
TWIST
Let's just say I've got an interest
in what you're doing. And I'm
hungry.
OREN
Haven't worked with a vampire for a
while. There's this half-vamp guy
who moves around a lot, can't
remember his name now.. Malkum,
Markuth, something like that. You
know him?
TWIST
(coldly)
It's Malkuth. And yeah, I know him.
Can we get back to our business?
OREN
Eager, ain'tcha? Okay, missy, let's
see what we can do. What can you
bring to our organisation if we cut
you in on a piece of it?
TWIST
Way I see it, you guys need people
on your team who can keep supplying
you with fresh merchandise. No
offence to the guys sneaking round
at the moment hacking people open,
but they're..
OREN
Dumb?
TWIST
I was going to say 'inelegant,' but
yeah, they're being pretty dumb
about it too. You need someone with
a little more grace..
Twist's eyes fall down to the cutlery on the table, and she
snatches up a knife. Spinning it, blade point first, on her
finger a few times, she then snaps out with her other hand
and GRABS Oren's wrist.
His eyes widen as she gently forces his palm down onto the
tabletop, spreading his fingers out. Twist rests the knife
down between two of his outstretched fingers.
TWIST (cont'd)
.. and I'm the girl for the job.
Slowly at first, then rapidly building up speed, she starts
to STAB the knife down between each of the gaps between his
fingers, playing a high speed game of pinfinger that only
someone with her vampire reflexes could manage.
Oren is frozen to the spot, a whimper escaping his lips as
Twist's hand becomes a blur, before she finishes, calmly
laying the knife back down on the table and releasing Oren's
hand. He snatches it back up, rubbing his wrist, but a grin
creeps across his face.
OREN
You're hired.
TWIST
(smiles)
Groovy. Okay, here are my terms. I
work at night, alone, and I get to
pick my targets. All I need you to
do is tell me where to pick up my
money.
OREN
You don't waste any time, do ya? We
work out a few old warehouses down
by the docks, but the headquarters
is in the old harbour master's
office. Since we moved in, we don't
get any trouble round there.
Oren grins and chomps down on his cigar, and Twist grins
back, maintaining her cover.
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Script created with Final Draft by Final Draft, Inc.