sib2x16
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TEASER
FADE IN:
1 EXT. LAKE HURON - DAY 1
Glittering blue waves reflect the light of the full morning
sun high overhead, the gentle cawing of seagulls mixing with
the soft sound of the waves.
A few larger boats, cruisers and fishing vessels can be seen
in the distance, but sailing gracefully into view from the
foot of the screen is a family-sized yacht, its full sails
catching the wind and propelling it onward.
2 EXT. YACHT - DECK - NEXT 2
Standing proudly at the wheel is PHILIP, grinning from ear to
ear as he steers his ship towards the horizon, sporting a
nifty captain's hat. Over his shoulder stands SUSAN, both
parents in their early forties and sporting tanned skin.
Susan has her arms draped lovingly around her husband, her
head on his shoulder as she lets the ocean breeze flow over
them.
PHILIP
This is, without a doubt, what it
is all about, Suz.
SUSAN
So you keep saying.
PHILIP
Yeah, but this time I mean it!
SUSAN
So I shouldn't be reminding you of
the last time you decided something
was 'what it's all about'?
PHILIP
Are you going to keep bringing that
up?
SUSAN
(laughs)
As long as we still have the photos
of you on the top of that bridge,
bungee rope at the ready and
totally frozen in fear, then yes.
I'll be getting drinks off that
story for years.
He playfully nudges her, and she plants a kiss on his cheek
before turning round, shielding her eyes from her sun as she
looks back across the clean white body of the yacht.
Sitting on the roof of the cabin, engrossed in their Game Boy
Advances, are SAM and TOM, two little twin boys aged nine.
They're not sharing their father's spirit of adventure.
SUSAN (cont'd)
Boys? Don't you want to come up
front and let your father show you
how to work the wheel?
Sam shrugs, but Tom looks up - and them shrugs. Susan sighs
and turns back to Philip.
SUSAN (cont'd)
Well, we tried.
PHILIP
Give it time. The further we get
them from land, the less pull those
video games'll have on their souls.
SUSAN
I hope so...
She looks back over her shoulder at the boys as the yacht
bounces on a wave, and as Philip lets out a laugh of mid-life
crisis-evading glee, we cut to:
3 EXT. LAKE HURON - LATER 3
A few hours further into the day, and Philip pulls in the
sails of the yacht as it bobs on the waves, a few curious
gulls circling overhead.
Philip approaches the cabin and finds the boys still wrapped
up in their games, and as he swipes the Game Boys away they
both squeak in frustration.
SAM
Dad!
TOM
I was on level twenty eight!
PHILIP
Well, I've got a new game for you
both. It's called 'help Dad run the
yacht or watch both your Game Boys
get thrown overboard.'
The boys glare at their father, then glance at each other,
and with a chorus of mutters they reluctantly get to their
feet. Philip grins, patting them on the shoulders.
PHILIP (cont'd)
Now, was that so hard?
He heads back towards the stern, the boys dragging their
heels behind him as he reaches the first set of pulleys that
control the sails.
PHILIP (cont'd)
Okay, here's what we're going to
do. We have a nice quiet bit of
water out here, so we're going to
teach you boys how to get the ship
moving. Sam, you take these pulleys
right here, Tom, you stand over by
the wheel with your mother.
Sam grabs the nearest pulley as Tom slopes over to the
waiting Susan.
SAM
This is boring.
PHILIP
You're only saying that because you
haven't got to the fun stuff yet!
SAM
There is no 'fun stuff' on here!
Why couldn't we stay in today?
SUSAN
(smirks)
Your father needed to give his
testosterone some air, Sam.
Philip looks over to her as she chuckles, but his smile fades
as he turns to look out across the starboard bow, frowning.
SUSAN (cont'd)
Phil? What is it?
PHILIP
Don't you hear that?
SUSAN
Hear what?
PHILIP
That noise, it sounds like... it
sounds like somebody singing.
He turns to the others - but it's blank stares all round.
PHILIP (cont'd)
You're telling me no-one else can
hear that?
TOM
Nope.
SAM
Can't hear anything.
(to Susan)
Can we go back yet?
SUSAN
Not yet, dear, let your father-
PHILIP
I'm gonna go check it out.
SUSAN
What?
Philip quickly raises the sails again and hurries back over
to the wheel, and as a gust of wind catches the sails and
propels it forward, he turns the boat hard to the left.
SUSAN (cont'd)
Philip, there's nothing there!
Philip! Are you listening to me?
But Philip isn't listening - his eyes are locked on something
in the distance, and despite Susan's efforts to literally
shake him out of his trance, he doesn't look away.
Concerned, Susan turns to the boys and points towards the
cabin, glancing back at Philip.
SUSAN (cont'd)
Boys, go and wait down in the
cabin, alright?
SAM
What's the matter with dad?
SUSAN
Don't you worry. Go on!
The boys trot off and head down the steps into the cabin as
an increasingly worried Susan goes back over to Philip.
SUSAN (cont'd)
Alright, you've made your point.
The boys aren't sailors like you
are, but there's no need to scare
them like this!
No answer. Susan looks ahead - and sees a small island start
to emerge from a bank of mist up ahead. Philip is heading
straight for it, the wind giving the yacht a healthy burst of
speed.
SUSAN (cont'd)
What are you doing? Pull the sails
in! We're going to run aground!
She keeps talking, but Philip's focus is on the island, and
as Susan's voice starts to fade out, it's replaced by what
Philip is hearing - a husky, female voice, singing a
mournful, wordless melody.
SUSAN (cont'd)
(yells)
Philip!!
She lunges for the wheel to try and steer away from the
rapidly approaching rocky shore, but Philip's grip is too
tight.
They're moments from impact now, and all of Susan's frantic
shouts and efforts to wrench the wheel from her husband's
hands are having no effect, and as the island looms before
us, she SCREAMS in terror before we:
BLACK OUT:
FADE IN:
4 EXT. ISLAND - SHORE - NEXT 4
Waves massage the fine yellow sand as we pan across the
idyllic, almost tropical beach - until a chunk of the yacht's
shattered hull is washed up into frame.
As Philip's hat follows it, lodging in the wet sand next to
more fragments of the yacht, the serene singing voice can be
heard again, drifting softly over the scene before we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
5 INT. SAFE HOUSE - WARD - NIGHT 5
TITLE OVER - Osbourne Inc. Safe House, New York, April 2005.
BAM! A pair of swing doors are kicked open as a rain-soaked
CHRIS barges through them, the unconscious form of TWIST in
his arms, blood dripping from a wound across her temple.
Following close behind is an anxious looking DANYAEL,
supporting a limping JULIE and DECADWAY as the stately form
of SANCTUS follows the group in, the badly-wounded OSBOURNE
in his arms.
A young male doctor, SEAN, rushes over as the group hustle
down the long, plain corridor, part of the underground
headquarters of Osbourne Inc.
SEAN
Oh, God! What happened?
CHRIS
(woozy)
Lots of things... help her!
Chris staggers, almost stumbling to the ground, but two more
assistants run over and help Sean ease twist out of his arms
before Chris can drop.
SEAN
(to assistants)
Get a gurney and get her to the
medical centre, stat!
(to Chris)
Is somebody going to tell me what
happened out there?
JULIE
A building was collapsed on us, and
Chris ran into some... trouble.
CHRIS
(fading)
Help... they have to help her...
Chris sags, but Julie shoots out an arm to steady him, and
Chris leans against the wall for support.
He slides down into a crouch as more medical staff run into
frame, pushing two gurneys between them. Twist is loaded onto
one and Sanctus lays Osbourne on the next, and Sean runs a
quick check over both of them.
SEAN
(to assistants)
Call ahead, tell Dr. Marcone to
have the trauma room ready, and
call somebody down from the Occult
department to see to this vampire
girl here.
The gurneys are wheeled away, Danyael watching Twist go with
tears in his eyes. The gurneys are taken round a corner out
of sight, as Sean moves in to examine the wounded Chris.
SEAN (cont'd)
I'm going to need to get all of you
checked out.
(looks round)
Where's Terence?
DECADWAY
He didn't... he didn't make it.
SEAN
(beat; to Sanctus)
Who are you? I didn't catch your
name.
SANCTUS
I'm Sanctus. I'm a friend of
Christopher's.
SEAN
Alright, can you help me get
everyone into the infirmary so we
can start treating them?
Sanctus nods and steps over to Chris as Sean takes DeCadway
from Danyael. Chris looks up to see Sanctus extending his
hand towards him.
SANCTUS
Come on, old friend. Our work is
done for tonight.
Chris blinks, then reaches out and grabs Sanctus' hand, as we
cut to:
6 EXT. SERVICE STATION - DAY 6
With Chris' black van parked up at one of the gas station
pumps, the side doors are open and Twist and Danyael take
advantage of the cover the station's canopy gives against the
sunlight, sitting half out of the van.
DIEGO stands before them, stretching his legs and arms as
Chris and Sanctus head towards the kiosk.
TWIST
So, tell me the story again. You
and Sanctus are what, old war
buddies or something?
DIEGO
Something like that. He helped me
out of a messy situation once, and
I owe him a great deal as a result.
DANYAEL
What kind of 'situation'?
DIEGO
(beat)
A messy one.
Twist and Danyael exchange a look, sensing that there's a
long story to be uncovered there.
TWIST
Okay, moving on. What's the plan?
DIEGO
Plan?
TWIST
Well, you know, what with Manon
somehow becoming the greatest
threat the free world has ever
known and all - and how does that
work again?
DANYAEL
Beats me.
TWIST
Anyway - we were just wondering if
you and Tall, Dark and Gothic in
there had come up with a plan on
how to take him down yet.
DIEGO
Not yet, I'm afraid. Manon has
spent several months co-ordinating
his return from whatever dimension
you sent him to-
TWIST
(interrupts)
Hey, I didn't send him anywhere!
DANYAEL
Well, you sort of did, you know,
'cause you were the one who shot
that tablet out and...
Twist's cold glare shuts him up pretty quickly.
TWIST
(to Diego)
You were saying?
DIEGO
Manon already has an impressive
network of allies and contacts
built up, some from before his
departure and some from afterwards,
and with Vivian on his side too,
we're looking at one pretty big
problem.
DANYAEL
Yeah, but, we've got, like, two of
the toughest vampires in the world
on our side now, right?
TWIST
(sweetly)
Aww, thanks, Spook!
DANYAEL
Uh, I meant Chris and Sanctus.
She punches him in the arm with a scowl, then looks over to
the kiosk as we join:
7 INT. SERVICE STATION - KIOSK - NEXT 7
Chris is grabbing a few essentials for the trip - snacks for
Twist, mainly - as Sanctus stands nearby.
SANCTUS
And you're sure this Parker
character can help us? Is he to be
trusted?
CHRIS
Ideally, no, but he's the best
equipped person I can think of to
give us some assistance.
SANCTUS
You don't sound too confident.
CHRIS
People tell me that a lot these
days.
SANCTUS
What can he do? Is his organisation
capable of dealing with a threat
like Manon?
Chris heads over to the counter, paying for his gas and the
food as he continues talking.
CHRIS
Bearing in mind I'm still taking
your word for things on how big a
'threat' Manon really is, Parker
inherited Osbourne's network from
him after David was hurt in New
York.
SANCTUS
Ah, yes. How could I forget that
night.
CHRIS
As far as I'm concerned, he's our
only option. We can't risk taking
on Manon directly by ourselves, he
may have more of those creatures
waiting to pounce.
Chris realises the kiosk attendant is eyeing him strangely,
and after a pause he decides to scoop up his shopping and
make a rapid exit.
8 EXT. SERVICE STATION - CONTINUOUS 8
Sanctus follows Chris out of the kiosk as they head back
towards the van.
SANCTUS
Alright then, let's divide our
forces.
CHRIS
Already?
SANCTUS
We need to cover a lot of ground
quickly. Manon's spent four months
planning this, and that's just in
our time, Who knows how the passage
of time flowed in the dimension he
was trapped in?
CHRIS
(mutters)
Not bloody fast enough for me...
Twist perks up as Chris tosses her a bag of sweets, and she
eagerly tears the wrapping open as Sanctus signals to Diego.
TWIST
Thanks, chief.
SANCTUS
Come on, Diego.
DIEGO
We're leaving?
SANCTUS
Chris has a lead he wants to follow
up, and so do I.
TWIST
(disappointed)
Oh. So...
DIEGO
I'm afraid this is goodbye again
for now, senora.
Diego smoothly leans forward, takes her hand and kisses it -
much to Danyael's obvious annoyance.
TWIST
Not bad for a guy who was trying to
kill me a few weeks ago.
DIEGO
Time heals all wounds, as they say.
Danyael can't help a SCOFF from escaping his lips, and as
Twist glares at him Diego steps back, over to Sanctus.
CHRIS
Something tells me we'll see each
other again soon.
SANCTUS
You have my word.
CHRIS
(sly)
I didn't say I was looking forward
to it.
A beat - then with a grin, the two men shake hands. Chris
gets into the van, and Twist gives Diego a final wave before
she pulls the van door shut, and we cut to:
9 INT. PARKER'S LAB - CAR PARK - DAY 9
The door slides back open to reveal PARKER, flanked by a new
face, a muscular black man in a dark suit.
PARKER
(grins)
I'm beginning to suspect you people
actually like it here...
Chris steps out of the van as Twist and Danyael hop out of
the back behind him.
CHRIS
Purely business.
PARKER
Aye, so I've heard.
TWIST
Heard what?
PARKER
Julie's team have managed to piece
together a large amount of intel on
what happened up in the hills past
Fraserdale, and I imagine you're
here to tell me the rest?
CHRIS
I'm afraid it's far from good news.
PARKER
Is there any other kind, lad? Come
on, follow me.
He heads back over to the lift that leads from the basement
car park up into the lab itself, Chris following.
TWIST
(to Danyael)
Hear that? Julie has a 'team'
already! We've been gone, what, a
few days?
DANYAEL
Guess she really did want to stay
here after all...
Danyael casts a suspicious eye over the burly black man
watching them, before he joins Chris and the others in the
lift, and as the doors close we cut to:
10 INT. PARKER'S LAB - BRIEFING ROOM - NEXT 10
A large video screen on one wall of the white, classroom
sized briefing centre displays a map of the nearby region,
with dozens of coloured dots moving across it.
Twist peers at the screen as the others take seats around a
circular table behind her. She turns to Parker, jerking a
thumb back towards the map.
TWIST
What's all this?
PARKER
Real time threat assessment. Keeps
track of all the underworld
entities we've managed to tag and
identify, different colours for
different levels of danger.
CHRIS
It's too much to hope that Manon's
on there, isn't it?
PARKER
Manon, no, but some of his
associates, yes. Your vampire
friend Vivian hasn't-
CHRIS
(sharply)
She's not my 'friend.'
PARKER
Slip of the tongue. 'Mortal enemy'
felt a little cliched.
DANYAEL
Uh, can we keep moving, please?
Parker nods, lifting a remote control and aiming it at the
screen. The map switches to a selection of photographs,
satellite images of a large body of water.
CHRIS
What's this?
PARKER
This is my one condition for
helping you out.
CHRIS
I'm sorry - there's a 'condition'?
Perhaps I didn't stress how serious
this situation is!
PARKER
I'm not denying that, Chris, but
I'm going to need some time to
verify what you've told me and make
sure it ties in with what my own
people have found out. I'd like to
trust your information right off
the bat, you understand, but...
DANYAEL
... but you'd rather make sure for
yourself, right?
PARKER
Exactly.
(off map)
What you're looking at is an aerial
view of Lake Huron, north of
Detroit. There have been several
unexplained shipwrecks in that area
over recent months, and we believe
some kind of creature may be
responsible for them.
TWIST
'Creature'?
CHRIS
We really don't have time to run
errands for you, Doctor, so why
don't you-
PARKER
D'ye want my help or not?
A beat. Chris chews his lip - then settles back down. He
doesn't look at all happy about this, but goes with it.
PARKER (cont'd)
Right. I was just thinking it'd
save you people twiddling your
thumbs while you wait for me, give
you something useful to do to pass
the time.
TWIST
(dry)
How thoughtful of you. You didn't
think a coupla new magazines and a
Playstation'd do the job just as
well?
PARKER
What can I say - I appreciate the
unique talents your team has.
Her ego massaged, Twist allows herself a small nod for Parker
to continue.
PARKER (cont'd)
I did have a team ready to go out
and investigate, but now that
you're all here I'd prefer some
people with more field experience
took the challenge. Most of my
security teams are still quite new
to the business.
CHRIS
Alright. I'll go.
TWIST
Cool, what about-
CHRIS
I'll go. You two stay here, help
Parker's team with anything they
need to know.
TWIST
Why? Why not all three of us go out
there?
CHRIS
Because if anything goes wrong with
this mission, I don't want it to
take all of us out of the fight.
PARKER
Are you sure?
CHRIS
I've made my decision.
TWIST
(bitterly)
And I guess we just have to ask
'how high,' making sure the first
and last things out of our mouths
are 'sir,' right?
Chris turns to her, the mood of the room darkening.
CHRIS
After your recent exploits, you're
not really in any position to argue
my choices, are you?
Twist hesitates - then lowers her head and backs down.
CHRIS (cont'd)
Besides, you might have a
breakthrough while I'm gone and
need to move without me. I trust
you both enough to do the right
thing without having to wait for my
lead.
DANYAEL
Well, if you say so...
TWIST
You've got a real funny way of
giving a compliment, Chris.
CHRIS
I'm known for that.
(to Parker)
Tell me everything I need to know.
Parker nods and flicks the screen to a fresh set of images,
as we cut to:
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Script created with Final Draft by Final Draft, Inc.