sib2x03
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 EXT. NEW ORLEANS - RESIDENCE/GARAGE - MORNING. 1
An upper class, well maintained garden is laid out before us,
with tall trees swaying in the breeze behind a long, wide
garage, that has a swing door opening on to a long driveway
heading off screen. The sun is out, the birds are singing -
it's a perfect day.
So when the tranquility is rudely shattered moments later by
a sudden DRUM ROLL echoing out from inside the garage, it's
no surprise that every bird nestled quietly in the trees
around scatters, flapping away and into the sky.
Somebody inside the garage is beating the heck out of a drum
kit, with badly-timed rolls and splashes making it sound as
though John Bonham is losing a fight with the Tin Man.
The noise of the drums is soon joined by a low, rumbling
sound - somebody is playing a bass guitar in there too.
Equally badly.
The attempt at melody rages on for a few more beats until a
bed-headed and pretty tense-looking CHRIS stalks into frame,
wrapping a dressing gown round himself and muttering darkly
under his breath.
Chris heads for the swing door and grabs the handle,
wrenching the door up and stepping into:
2 INT. GARAGE - MORNING. 2
As Chris steps into the spacious, well-stocked garage,
noticeably free of any cars, a wedge of sunlight follows him
inside, creeping across the garage floor.
TWIST (O.S.)
What the- hey!! What are you trying
to do, kill us both?
Chris pauses, looks up, and then SIGHS, lowering the garage
door carefully behind him.
He walks further inside and towards TWIST and DANYAEL, the
source of the noise. Twist sits behind a beaten-up old drum
kit, glaring indignantly back at Chris, while Danyael is
wearing a bass guitar and trying to blend into the background
as an obviously angry Chris marches over.
CHRIS
What in the blo-
TWIST
(interrupts)
Ah! You promised you wouldn't
complain if we made any noise.
CHRIS
'Noise,' yes. That was what I'd
class as a 'racket,' that's taking
things up a notch. Mardi Gras isn't
until February!
TWIST
(insulted)
'Racket'?
CHRIS
What on earth are you two playing
at in here?
DANYAEL
(mumbles)
It was the White Stripes...
CHRIS
What?
Twist stands from behind the kit, hands on hips.
TWIST
We were playing a song, Chris. You
know, music? Something people a lot
younger and cooler than you listen
to these days?
CHRIS
(frowns)
Don't get smart, Twist. It's
only...
(checks watch)
It's barely nine-fifteen, I hardly
think that's any fit time at all
for you two to be doing... whatever
the hell it was you were doing just
then.
TWIST
Look, what were we supposed to do?
We were bored, we'd already drank
all the beer in the house, so when
Dan and I found this kit and
guitar, we figured we'd, you know,
make a little noise.
CHRIS
A little noise wouldn't have been a
problem. A little noise wouldn't
have woken Julie and myself up!
TWIST
Okay, waking Julie up, that's my
bad, but why do you need to sleep?
We're fricken vampires!
CHRIS
That's not the point!
Danyael steps between them, hands raised diplomatically.
DANYAEL
Guys! Come on, we don't need to
fight about this.
Chris scowls and steps off, and Twist sits back down,
pouting.
CHRIS
We're only housesitting for another
day until Mr. Hickman gets back
from that conference, and when he
arrives we stand to make a tidy sum
of cash from this endeavour. If we
then have to pay him most of that
back because of the damage you two
have doubtlessly caused, I will not
be pleased.
TWIST
(grumpy)
Bum job anyway. Why the heck are we
looking after somebody's house?
Shouldn't we be going out and
killing bad guys?
DANYAEL
Yeah, good point. Why are we here?
CHRIS
(wearily)
I explained it to you both
perfectly well the other day...
TWIST
Well, explain it again. Just assume
I wasn't listening.
CHRIS
(darkly)
You never are.
TWIST
Chris! Find a point and get to it
already.
CHRIS
The chap who owns this place needed
a favour, and we needed a place to
stay before we carry on to our next
stop. I knew we just needed to stay
put for two days and pick up some
easy money, so I said yes.
TWIST
And where were we while all of this
negotiating was going on? All I
know is we pulled up outside and
you told me not to break anything!
CHRIS
You pair were off doing... whatever
it is you keep going and doing.
Danyael leans back against the tall bass amplifier and lights
a cigarette, letting Chris and Twist fight this one out.
TWIST
Okay. Good. All on the same page
now, boss. Thanks. Can we get back
to jamming now?
Chris looks at Danyael, who just shrugs.
DANYAEL
Hey, it keeps her busy. Would you
rather we let her loose inside the
house with this much energy?
CHRIS
(beat)
Good point.
He turns and heads back for the door, carefully sliding it up
and stepping back outside, pausing to shout back:
CHRIS (cont'd)
Just try and keep it below a
hundred decibels, alright? We're
heading off soon, and I don't want
the entire New Orleans police force
on our backs because you pair
managed to make enough noise to
bring down an airliner.
TWIST
(salutes)
Hai!
With a last suspicious look, Chris closes the door and heads
back to the house. Twist waits a few beats, then:
TWIST (cont'd)
So... that amp go up to eleven or
what?
Danyael raises an eyebrow - and then GRINS at her. Twist
cackles gleefully and counts him back in with four cymbal
crashes, and as the duo blast back into another medley of
noise, we mercifully:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
3 INT. BLACK FORD - DAY. 3
Chris is driving as Twist, Danyael and JULIE snooze in the
passenger and back seats respectively, as soft classical
music pipes through the car stereo.
Chris looks like he's enjoying the music, until Twist shifts
in her sleep - and yet still manages to reach over and turn
the radio to another station without waking up.
As Buckwheat Zydeco's cajun classic 'Jambalaya' fills the
car, Chris looks round at her, then with a defeated shake of
his head gets back to driving.
4 EXT. FREEWAY - DAY. 4
The song continues over the scene as the Ford drives along a
freeway, framed on each side by thick Louisiana forests,
passing a large sign: 'Next Exit, New Orleans City Centre.'
The Ford indicates and pulls off the freeway, following the
curve of the round road and out of view.
5 EXT. NEW ORLEANS - CITY STREET - DAY. 5
Chris steers round a corner in the heart of the city, the
streets thronged with people enjoying the warm afternoon, the
streets full of life on two levels as the two-tiered houses
overlooking the road are also packed with bodies.
The Ford passes a large mansion and follows a road that leads
away from the bustle of the city centre, heading out towards
a more thickly-wooded part of town.
6 EXT. NEW ORLEANS - MANON'S ESTATE - DAY. 6
The Ford approaches a massive stately home, overlooking a
small bayou to its rear, and shaded from the sun by
selectively-placed trees lining its grounds.
7 INT. BLACK FORD - DAY. 7
Chris brings the car to a halt, leaving the engine running
and turning the music down as he nudges Twist to wake her up.
TWIST
(waking up)
Hmf? Whu? Antonio, no, what would
Melanie say...
CHRIS
Glad to see your senses are as
sharp as ever.
TWIST
(blinks)
Are we there yet?
CHRIS
For once, yes.
Chris leans back and gently shakes Danyael, who wakes up with
a SNORT, and then Julie, who YAWNS as she comes round, before
Chris turns his attention back to the house opposite them.
JULIE
(stretches)
I don't know how you guys keep up
with all this travelling, I've only
taken two trips with you and I feel
like I'm stuck in another time zone
already!
DANYAEL
You get used to it when you don't
need to sleep.
TWIST
(wrinkles nose)
What's that smell?
CHRIS
New Orleans.
(inhales deeply)
Fresh forest air, is what it is.
TWIST
(eyes him)
Okay, if that's what you want to
call it. I call it 'a stink.'
(sees house)
Oo, pretty. Who lives there?
CHRIS
The man we're here to see. Jacques
Manon.
Chris motions for Danyael to pass him his backpack from the
back seat, and once Danyael does so Chris rustles through it,
producing a local newspaper and showing it to Twist.
Chris has circled an article about a local book dealer,
celebrating a recent find of many rare and previously lost
books and collections on the grounds of his estate. A photo
of a rugged man in his thirties with neat, dark hair
accompanies the article.
JULIE
The book dealer guy?
TWIST
(off photo)
Me-ow. Please tell me this is the
guy!
CHRIS
(takes paper back)
That's him, and you only get to
meet him if you promise to be on
your best behaviour.
TWIST
(starts to protest)
But-
CHRIS
(firm)
Best behaviour.
Twist folds her arms and pouts like a sulking schoolgirl,
then nods. Chris turns to Danyael, who chuckles.
DANYAEL
Hey, don't worry about me. I only
have one kind of behaviour.
CHRIS
Glad I can always count on one of
you two. Not like that time we met
up with those actors in Los
Angeles.
TWIST
(tetchy)
I said I was sorry for that! And
besides, we paid for the damages,
right?
CHRIS
No, I think you'll find I paid for
the damages.
TWIST
(shrugs)
Same diff. You won't get me a Gold
Card of my own.
Chris opens the car and steps outside.
8 EXT. MANON'S ESTATE - DAY. 8
Julie is already out as Chris closes his door, then turns
back to the car and speaks to Twist through an open window.
CHRIS
Wait here until I let Monsieur
Manon know we're here, then just
bring the car up to the front of
the house.
TWIST
(off sunlight)
Well, I wasn't planning on
following you, chief!
Chris turns and heads away from the car, making for a pair of
tall steel gates at the end of the house's long, winding
driveway.
JULIE
So what are we hoping to find here?
I mean, don't get me wrong, nice
place and all, but it seems a
little...
CHRIS
Normal?
JULIE
Yeah.
CHRIS
You'll see. Trust me.
There's a small intercom box which Chris uses to buzz for the
porter.
PORTER
(filtered; through
intercom)
Oui?
CHRIS
Hello there, my name is Christopher
Berkeley, I have an appointment to
see Monsieur Manon.
PORTER
Ah, yes, the Englishman. One
moment, s'il vous plait.
Chris steps back as there is a BUZZING sound, and the tall
gates slowly swing open.
Chris turns and motions to Twist, who wriggles across into
the Ford's driver's seat and starts the car, aiming it
towards the driveway as Chris and Julie start to walk up it
towards the house.
9 EXT. MANON'S ESTATE - MANOR ENTRANCE - DAY. 9
Parking the Ford where there is plenty of shade from the tall
trees, Danyael steps out and join Chris and Julie as they
approach the steps leading up to the mansion's impressive
entrance, the weathered regional architecture covered with
delicate trails of ivy.
Twist grabs a backpack from inside the car before nudging the
door closed and joining the others.
TWIST
(whistles)
Nice place! You say he made all
this from trading in books?
CHRIS
Books and other artefacts, yes.
Think of him as a more scrupulous
version of our old friend Rengler.
TWIST
Only without the healthy interest
in black magic and burning desire
to dissect Spook here, right?
Danyael SHUDDERS at the memory as Chris steps towards the
heavy oak front door. He reaches out a hand to knock, but the
door opens to reveal GERARD, the butler, before he can.
Gerard is a short, podgy man with neat grey hair.
GERARD
Monsieur Berkeley?
CHRIS
(nods)
And these are my associates, Madame
Kingston, Mademoiselle McFadden and
Monsieur Norton.
TWIST
(nudges Danyael)
Hear that? I'm a 'mademoiselle'
now! Don't I just feel all fancy.
Danyael grins as the duo follow Chris and Gerard into:
10 INT. MANOR - DAY. 10
The main hall of the manor is long and wide, with a high
ceiling allowing for plenty of wall space to show off Manon's
collections - paintings, objet's d'art, rows of books and
other relics.
Chris and the others are suitably impressed by the wealth on
display, craning their views up towards the ceiling to take
in the mural painted there.
MANON (O.S.)
You like it? It took fifty men a
month to finish!
They look back - and approaching them is the man from the
article, MANON. He's dressed casually, in a white flannel
shirt and pants, his hair swept back and sunglasses slotted
into his hairline. His accent is thick and French.
He reaches Chris first, and the two shake hands warmly,
before Manon casts his eye across the others.
MANON (cont'd)
These must be your friends?
CHRIS
Yes, this is Julie, Twist and
Danyael.
DANYAEL
Hey.
JULIE
Bonjour.
TWIST
(winks)
Blaireau.
Manon pauses, cocking his head sideways at Twist and looking
puzzled, before Chris quickly draws his attention again.
CHRIS
Don't mind her, she's American.
MANON
Ah, I see. That explains a lot.
Julie leans back and whispers to Twist.
JULIE
What did you say?
TWIST
(shrugs)
I dunno, I don't speak French.
MANON
You and your team must be 'ungry
after your journey, n'est ce pas?
Come, we are settling down for some
lunch, I would be 'onoured if you
would join us.
Manon waves for the team to follow, and with a glance round
to the others, Chris nods for them to fall in line.
11 INT. MANOR - CONSERVATORY - DAY. 11
Manon leads them into a lavishly-furnished conservatory,
heaving with plant life which creates an almost tropical
atmosphere. A long, wide table has a light buffet spread
across it. The overhanging trees outside keep the whole room
thankfully free of any direct sunlight.
MANON
I was expecting some company later
today, but I found myself impatient
and decided to sample my cook's
wares! Help yourself, non?
Chris opens his mouth to say thanks, but Twist is already at
the table, rapidly scooping up a plateful of goodies.
CHRIS
(hisses)
Twist!
Twist already has a mouthful of food as she turns round.
TWIST
What?
CHRIS
(beat)
Never mind.
JULIE
(to Manon)
I must say, Monsieur Manon, this is
a pretty impressive place you have.
MANON
(smoothly)
Please, call me Jacques. A
beautiful lady such as yourself
should 'ave no need for formality
with me.
Manon scoops up Julie's hand and kisses it. She chuckles
despite herself, not used to such gallantry, but Chris
narrows his eyes, not looking too pleased.
Manon grins at Julie, who blushes a little, before Chris
steps into frame, diverting Manon's attention.
CHRIS
You'll forgive me for wanting to
get to business, but as I'm sure
you can appreciate, we are both
busy men.
MANON
But of course. Shall we leave your
friends 'ere while we go and
discuss matters in my study?
CHRIS
(to Julie)
Can you keep an eye on these two?
JULIE
They've got warm weather, comfy
chairs and plenty of food. They
won't be going anywhere.
Chris nods, and Manon gestures for Chris to follow him as he
heads out of the conservatory.
Julie takes a seat in one of the large wicker chairs, each
with two huge cushions, and picks out a few bites from the
buffet as Twist starts piling up her second plateful.
12 INT. MANOR - STUDY - DAY. 12
Manon pushes open a pair of double doors and leads Chris into
his study, a contrast to the breezy air of the conservatory.
The room has a large set of bay windows overlooking the woods
and bayou outside, but almost every available piece of wall
space is covered with bookshelves.
Manon heads for a wooden desk at the far end of the room and
flops into a reclining chair, propping his feet up on the
desk and sighing contentedly.
MANON
A man always needs a place he can
call his own. I 'ave so many people
in and out of this 'ouse at all
'ours, I always make sure this
place is where I can come to be
alone.
CHRIS
(looking round)
You certainly have an eye for your
trade, Jacques. May I call you
'Jacques'?
Manon shrugs, and Chris walks closer to one set of
bookshelves, peering at the titles on the spines.
CHRIS (cont'd)
I can see a few items here that
would make you the envy of
collectors the world over, and I-
MANON
(interrupts)
But you did not come 'ere to
discuss books with me.
Chris looks round, and Manon smiles broadly at him. Chris
allows himself a grin and shakes his head.
CHRIS
I didn't want to seem too forward.
MANON
Pfft! I am a businessman, Chris. I
am too used to dealing with
insensitive piqûres who have no
respect for the printed word, only
the bottom line and their cold,
'ard cash. I see in you someone I
can relate to. A man who
understands the importance of what
I do.
CHRIS
Believe me, I understand.
Manon smiles again, then springs to his feet, heading for a
framed landscape painting on one wall. He removes it to
reveal a safe, which he deftly unlocks and swings open,
reaching inside to retrieve a small, cloth-wrapped package.
Chris' eyes light up as Manon walks back to his desk and lays
the small package down, stepping back and inviting Chris to
unwrap it.
Chris tentatively reaches forward, folding back the cloth
until he reveals a small, brass-plated object, looking like
an archaic engine component. Chris seems pleased with
whatever it is.
CHRIS (cont'd)
Perfect.
MANON
This is what you seek?
CHRIS
This is very much what I seek. How
did you find it?
Manon shrugs as he sits back down.
MANON
The source on my grounds that gave
me so many of my recent finds still
has much to offer. I believe there
are many more items down there, if
only someone with the right
qualities were to go and look.
CHRIS
'Down there'?
MANON
Ah, oui. There are a few things I
should explain to you.
Manon reaches out and wraps the component back up, and Chris
has a look of almost longing in his eyes.
MANON (cont'd)
As I 'ave said, I am a businessman.
This tresor is yours if you would
do a service for me.
CHRIS
Name your price. Short of
unleashing armageddon, it'll be
worth it.
MANON
(laughs)
You 'ave been in this business too
long, monsieur! Your eyes have seen
much conflict, I can tell.
CHRIS
They'd see a whole lot less if I
can find more pieces like the one
you're holding.
MANON
Bon. Point taken.
Manon puts the piece down and leans forward, fixing Chris
with a serious stare.
MANON (cont'd)
I 'ave a problem. One that I alone
can do nothing about, but a... man
such as yourself should 'ave no
difficulty solving.
CHRIS
(beat)
So you know what I am, I take it.
MANON
I know of what you almost became,
but what you are now is a mystery,
even to yourself, I'm sure.
Chris seems to be growing a little impatient with Manon's
flowery speech.
CHRIS
Yes, I'm a mystery. You mentioned a
problem you needed my help with?
MANON
(beat)
Indeed. What I need 'elp with is-
CRASH! One of the bay windows suddenly EXPLODES inwards as
someone leaps through them, sending shards of glass
scattering across the room.
Manon throws his arms up and dives backwards, but Chris
springs to his feet, instantly alert.
The figure that jumped into the room stands, shrugging off
some stray flecks of glass - it's humanoid, but its dark
green skin, thick, muscular arms and wickedly taloned hands
tell us it's far from human, as does its lizard-like head.
It hunches down slightly, ready to attack, and GROWLS at
Chris as Manon recovers to his feet, registering the creature
at last.
Manon sighs and gestures towards the creature.
MANON (cont'd)
That.
The creatures HISSES - and then SPRINGS FORWARD to attack,
and we quickly:
BLACK OUT:
END OF ACT ONE
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Script created with Final Draft by Final Draft, Inc.