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TEASER
FADE IN:
1 EXT. BOSTON - DOCKS - NIGHT 1
To the accompaniment if Trivium's 'The End Of Everything,' A
full on THUNDER STORM is ripping across the night sky,
lashing heavy rain down across the Boston skyline.
Coming into view is one end of a large DOCK, with storage
warehouses and other buildings dotted all around, planks and
tiles rattling in the heavy winds.
A huge, disused CRUISE LINER is moored at one end of the
pier, surrounded by other rusting and decaying ships - this
is where good ships go to die.
The lights visible within this liner mark it out as something
different, however, and as movement can be seen on the deck
below, we start to push right in, until we're on:
2 EXT. LINER - FOREDECK - CONTINUOUS 2
The rain seems even heavier down here, great rivers of the
stuff sluicing across the deck as a pair of black BOOTS
stride into view.
Tracking up as their owner heads across the deck to the
railing at its edge, the long, black coat and neatly-tied
black dreadlocked hair can only belong to one person -
VIVIAN. She's soaked through but doesn't seem to have
noticed.
Reaching the railings, she places both hands on them and
looks out across the city beyond, glancing down at the choppy
waters lapping at the boat's hull far below.
WOLSLEY (O.S.)
Not exactly sightseeing weather,
Vivian.
Vivian spins round - and strolling out towards her is
WOLSLEY, the well-groomed businessman decked out in a heavy
raincoat and umbrella against the downpour.
WOLSLEY (cont'd)
Things are moving into the final
stages downstairs, everyone's
gearing themselves up for the
activation ritual... so I find
myself asking 'why is our master's
right hand man - or woman, rather -
standing out in the rain instead of
joining the rest of us?'
Vivian looks him up and down, then turns back round.
VIVIAN
I'm not one for rituals.
WOLSLEY
That much I've gathered.
Wolsley comes to stand next to her, also looking out across
Boston. There's a beat of silence.
VIVIAN
Am I looking like I want company
right now? 'Cause, you know, I was
hoping the whole 'standing out
alone in the rain' thing was a dead
giveaway.
WOLSLEY
(ignoring her)
I was musing on what the answer to
my question could be, and then a
disturbing thought struck me. 'What
if she's having second thoughts?'
Vivian turns slowly to Wolsley, who pointedly doesn't look
back at her as he continues.
WOLSLEY (cont'd)
We're too close to the end of
things now to have any last minute
complications. If Monsieur Manon
felt for a moment that any of his
followers were starting to regret
their involvement with him, I'm
sure his reaction would be...
(turns to her)
... unpleasant.
VIVIAN
(beat)
You threatening me, silvermane?
WOLSLEY
(shrugs)
I'd prefer to class it as a
friendly warning.
With that, Wolsley turns and walks away, leaving Vivian to
the view, but she can't help watching him go.
WOLSLEY (cont'd)
We'll be waiting for you
downstairs, Vivian. Don't be too
long out here.
With that, he steps through an open doorway back into the
large cabin in the centre of the foredeck.
Vivian lowers her head for a beat, obviously mulling
something over, and as she heads for the cabin with a SIGH,
we cut to:
3 INT. LINER - CARGO BAY - NEXT 3
The cargo bay is an even busier hive of activity than on our
last visit - three huge TEMPLES have now been fully
constructed, their cramped brickwork stretching from floor to
ceiling, with dozens of black-uniformed WORKERS swarming over
them like insects.
Complicated electronic equipment is being mounted at various
points over the temples, with plenty of SPARKS flying as
power lines hooking everything together are activated.
Standing in the middle of the bay, watching the men at work
with his hands behind his back, is MANON. He has an
inscrutable smile on his face - somewhere between
satisfaction at a job well done and smugness at the victory
within his grasp.
Vivian steps into frame behind him, wringing the rain out of
her dreadlocks.
VIVIAN
Hey. I'm here.
He doesn't turn round, and she takes a moment to shake
herself dry before moving closer to him.
VIVIAN (cont'd)
I said-
MANON
I 'eard you the first time.
(beat)
Where 'ave you been?
VIVIAN
(evasive)
Out. Needed some air.
Manon turns to her, fixing her with a stare that makes Vivian
visibly uncomfortable - before he GRINS broadly, extending a
hand towards her. She smiles back and takes it, and he
quickly pulls her in close for a KISS.
VIVIAN (cont'd)
So! The big night, huh?
MANON
Indeed it is, ma cherie.
VIVIAN
How long till we hit Def Con One,
anyway?
MANON
Not long. I take some comfort in
knowing there is nothing that can
be done to stop us now.
VIVIAN
Don't count Chris' crew out yet.
Even with Chris out of the game,
they're not the sort to give up
easily. They're probably working on
some kind of crazy ass last minute
plan of attack as we speak.
MANON
Oh, I 'ope they are. I need a good
field test for the first wave of my
army, when they arrive.
Manon turns round to look at something behind him, and as
Vivian follows his gaze, we turn to see:
The huge stone ARCHWAY, now CRACKLING with tendrils of
magical energy, thick power cables trailing from bulky
devices fixed to many points on its surface, leading back to
the three temples.
Manon's grin returns, and as he watches more of his workers
busy themselves with preparations for the night's work, we
cut to:
4 EXT. STREET - NIGHT 4
Fire crews are still doing their best to tackle a series of
BURNING BUILDINGS, as fire rips through an old industrial and
factory district, far from the bright downtown lights.
Focus on a manhole some distance from the action in the
background, the shouts of the fire crew and the noise of
their hoses fading out - replaced by a loud SCRAPING.
Slowly, the manhole starts to move, wisps of smoke escaping
from within it - until a pair of pale white HANDS reach up
and grab the edge of the cover.
With a GRUNT, the cover is SHOVED back out of the way, and
the hands grab onto the lip of the manhole as a figure starts
to pull themselves out.
It's CHRIS. He's bloodied, bruised and blackened with soot
and dirt, but there's fire blazing in his eyes. He's a long
way from out of this yet.
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
5 EXT. STREET - NIGHT 5
Closer to the blazing buildings now, Chris limps into frame
and takes cover behind a row of parked cars, wincing as he
sinks to his knees.
He gingerly lifts his shirt - and a large piece of SHRAPNEL
is jutting out from his gut! The wound is slick with blood,
and Chris' hands slip as they try to grab the fragment.
Setting his jaw, he wipes his hands and finally gets a hold
on the shrapnel - and with agonising slowness, he starts to
DRAG it out of his belly.
He manages to suppress a cry of pain until the bloodied chunk
of metal POPS free, and Chris GASPS before slumping to the
floor, dropping the fragment with a CLANG.
He stays on his back for a few beats, catching his breath,
before he starts to stand - but as he puts his weight on his
left leg, he stumbles and crashes to the floor.
Still fighting the waves of pain, he turns onto his side and
rolls back his trouser leg - and a hunk of his own BONE is
sticking awkwardly out of his shin!
CHRIS
(wearily)
It's never just one bloody thing,
is it?
Chris takes a moment, closing his eyes as he places his hands
on the dislodged bone - and with a loud SNAP, he suddenly
shoves the bone back into place!
This gets a YELL of pain from him, but after a few seconds'
rest he's able to slowly push himself to his feet again,
using a car for support.
He looks towards the burning buildings and the fire crews
attacking the blaze, his eyes scanning the scene for any sign
of Danyael.
His hands go to his waist - his katana is gone. Chris shakes
his head to clear the cobwebs, then pushes away from the car
and starts to stagger down the street, as we cut to:
6 EXT. QUIET ROAD - NIGHT 6
A long, empty stretch of road flanked by thick woods on both
sides, with a familiar figure making her way along it -
TWIST. She glances up and down the road, but there's nothing
else in sight. Only the moonlight for company.
She has her baseball bat slung over one shoulder, and as she
passes a sturdy looking tree she pauses to lean against it,
stretching her tired leg muscles.
TWIST
(to bat)
You'd think that we'd have seen at
least one car by now, wouldn't you?
She stands again, making another survey of the road but again
seeing nothing.
TWIST (cont'd)
Ah, well. We're never gonna make it
back in time at this rate, Duggan
old pal, so I guess we'd better
start praying for divine
intervention. Know any good non
denominational deities?
She glances down at the bat and chuckles.
TWIST (cont'd)
Of course you don't. You're a
baseball bat. And I'm talking to
myself.
(beat)
Again.
She starts on her way, but for once her luck is in - after a
few steps, she finally hears an approaching CAR ENGINE, and
turns to see the welcome sight of two headlights speeding up
the road towards her!
TWIST (cont'd)
Alright! Guess all those Girl Scout
cookies finally paid off...
She jerks out her thumb in classic hitcher style, watching
expectantly as the car draws nearer...
... but it doesn't stop. In fact, the sight of a young goth
chick walking down a dark road with a baseball bat in her
hands actually makes the car's driver ACCELERATE past her.
Twist's jaw drops as the car speeds away into the night,
before her lips curls in anger and frustration.
TWIST (cont'd)
Well, of all the...
(shouts after car)
I hope you die in a car crash, you
spud monkey!!
She scowls for a moment, then with a resigned sigh gets back
to her walk, as we leave her and cut to:
7 INT. APARTMENT - NIGHT 7
A grimy, low rent apartment, filled with all the touches of
modern single life - piles of empty takeaway cartons and beer
cans, stacks of unread magazines converted into furniture,
and a widescreen TV blazing away with some cheap movie.
Shuffling into view comes BRION, a middle-aged man with
pallid grey skin that seems to be spotted with flecks of
green ooze, a tray in his hands with his TV dinner steaming
away on it.
He flops into the armchair with a contented sigh, and starts
to reach for the remote control...
... when the apartment door is kicked open with a loud CRASH,
and a fierce-looking Chris marches into the apartment!
Brion YELPS in alarm, the tray flying out of his lap, and he
barely has time to whimper before Chris reaches him, grabbing
him by his food-stained cardigan.
BRION
(petrified)
W-wh-wh-wh-w-who-
CHRIS
(narrows eyes)
Are you Brion?
BRION
What?
CHRIS
(shouts)
Are you Brion?
BRION
(nods rapidly)
Yeah, yeah, that's me! That's me,
I'm Brion! Who-
CHRIS
The vampire I just killed told me
you were the best person to come to
in this part of town for
information. Was he correct, or am
I going to have to show you what I
did to him and then move on?
BRION
No, no, you've come to the right
place, Mister, er...
CHRIS
Berkeley. Chris Berkeley.
BRION
Right. Chris.
(beat; eyes widen)
Oh...
Chris lets him go, and Brion slumps back in his chair, his
fear replaced by amazement.
BRION (cont'd)
We all thought you were dead!
CHRIS
Who's 'we,' exactly?
BRION
You know, the people like me in
this city. We all knew you were in
town, so we've been trying to lay
low, but with that fire earlier, we
all heard you were-
CHRIS
Well, I'm not.
BRION
Yeah, yeah, so I can see.
(beat)
Um... how are you?
Chris eyes him, then takes a threatening step forward,
pushing Brion back towards fearful cowering.
BRION (cont'd)
Okay, okay! Bad question, Kind of
irrelevant. Sorry.
(laughs nervously)
So, uh... what can I get you?
CHRIS
I need to know if my colleague
survived the explosion at the rebel
cell safe house.
BRION
Well, you were there, right? Didn't
you see for yourself?
CHRIS
(dry)
I imagine I was a little distracted
by trying to avoid several tonnes
of falling rubble.
BRION
Right, yeah, sorry. Uh...
CHRIS
Well?
BRION
Honest answer? I don't know. Like I
just said, anybody who's anybody in
our kinds of circles heard you and
that vampire kid bought it in that
explosion. You know, just like the
others.
CHRIS
(narrows eyes)
'Others'? What 'others'?
(beat; alarmed)
You don't mean...
BRION
Didn't you hear about it? The big
fight at the graveyard out of town?
Chris steps back, sitting abruptly down on the dirty old
sofa, shock falling over his features. Brion takes the moment
to carefully sweep stray food out of his lap.
BRION (cont'd)
Sounded like a real party, from
what I've heard. The rest of your
crew mixed it up with that Manon
guy and a bunch of his goons.
Plenty of explosions.
CHRIS
Are they... did anyone make it
back?
BRION
What, on your side, you mean?
CHRIS
(snaps)
Yes, of course on my bloody side!
BRION
Right. Uh...
Brion trails off, and Chris lowers his head.
BRION (cont'd)
(sympathetic)
I'm sorry, man. For what it's
worth, sounds like they took plenty
of the bad guys with them, but
nobody-
Chris suddenly JUMPS forward, exploding off the sofa and
GRABBING Brion, his face twisted with anger as he SNARLS into
the informer's face, eyes blood red and FANGS bared!
CHRIS
You're lying!!
BRION
No! No, I swear! I swear! Why would
I lie?
CHRIS
You... you couldn't know, you
weren't...
BRION
Look, what would I have to gain
from lying to you about this? I'm
just telling you what I heard! It's
been all over the grapevine, some
of the vampire lackeys of that
Vivian chick boasting about taking
everybody out, burying that blonde
girl underground and stabbing the
tall, dark-haired guy with his own
sword...
Chris lets go of Brion and staggers back, drifting back into
shock as Brion warily watches him.
BRION (cont'd)
Uh... if you wanted to go check the
graveyard out, maybe that'd help...
Chris glances up at him, then turns away, looking confused as
he stumbles back towards the door. Brion watches him exit,
waiting until he hears the clatter of FOOTSTEPS descending
the staircase before he finally exhales.
BRION (cont'd)
Man. Not a good night to be one of
the good guys.
With a sympathetic expression, Brion scoops up what he can of
his dinner and reaches for the remote again, as we cut to:
8 INT. LINER - CABIN - NIGHT 8
Vivian sits in what appears to be her room - a few piles of
clothes are strewn about the small cabin, with a few personal
effects sitting on top of a table, next to Chris' KATANA,
still specked with dried blood.
Vivian is staring at the wall, hands behind her head and foot
tapping noisily against the bed frame. Looks like there's
still something on her mind.
She holds that pose for a while before suddenly sitting up,
and with a determined look on her face she stands and marches
out of the room.
9 INT. LINER - CORRIDOR - NEXT 9
Two body-armoured Skorpione guards wander past on late
patrol, chatting to themselves as they round a corner.
Moments later, Vivian leans out of the shadows, checking that
the coast is clear before tip-toeing back down the corridor.
She comes to a bulkhead door and tries to turn the handle,
but despite putting a spurt of vampire strength into it, it
stays locked. With a grunt of annoyance, she moves on to the
next, glancing over her shoulder in case the guards return.
She meets with no success on the second door she tries, but
the third CLICKS loudly, the sound making her wince as it
echoes down the corridor. She waits a beat, but when no
guards show up she pushes the door open and steps through:
10 INT. LINER - ROOM - CONTINUOUS 10
Vivian steps into a darkened room, flipping the light switch,
but as the neon strips overhead flicker to life, she sags as
she sees the room is empty, save for a few storage crates.
She starts to turn back round - and starts with alarm as she
walks straight into Wolsley!
VIVIAN
Aah! Damn it, Marcus, you gave me a
heart attack!
(beat)
Or not.
WOLSLEY
Are you lost?
VIVIAN
What? I'm just-
WOLSLEY
Because I'm fairly certain your
quarters are a long way from here.
VIVIAN
So I'm being nosey. Big deal.
WOLSLEY
You wouldn't happen to be looking
for a certain... device, would you?
VIVIAN
I don't know what you mean.
WOLSLEY
Don't get cute with me, Vivian...
She opens her mouth to reply, but Wolsley suddenly SURGES
forward, clamping a hand round her throat and SLAMMING her
against the wall!
WOLSLEY (cont'd)
... I don't have the patience for
it!
She struggles in his grip, trying to prise his hands away as
he leans in close to growl at her:
WOLSLEY (cont'd)
I knew you were trouble from the
first moment I saw you.
VIVIAN
Since when... did you... give a
crap?
WOLSLEY
My loyalty lies with Manon. Any
threat to his plans has to be
eliminated.
(leans closer)
Are you a threat, Vivian?
She finally breaks free of his grip, angrily SHOVING him away
from her.
VIVIAN
(seethes)
No, I'm not! I just want some kind
of guarantee that I'm gonna get
what's coming to me, that's all!
Wolsley eyes her as she rubs her neck.
WOLSLEY
You've had your assurances. You
have a job to do now. If any of
Christopher's team survived the
battle at the cemetery and come
here looking for revenge, it'll be
up to you to take care of that
situation.
VIVIAN
Yeah, see, I'm not remembering a
conversation where you became my
boss.
WOLSLEY
Just do as you're told, vampire.
With a last, scolding glare at her, he turns and leaves the
room. A frustrated Vivian stands in defeat for a second,
before KICKING the wall with a loud YELL.
11 INT. BLACK VAN - NIGHT 11
DIEGO drives Chris' van, concern etched into his face as he
glances back over his shoulder - and sitting up against the
wall of the passenger compartment is SANCTUS, stripped to the
waist as he finishes dressing a wound on his abdomen.
DIEGO
Are you sure you don't want me to
stop? We could get some fresh
supplies, maybe-
SANCTUS
(firm)
No. There's no time for that now.
We have to...
He tries to stand but grimaces and sits back down, clearly
still in plenty of pain.
SANCTUS (cont'd)
We have to get back to central
Boston and try to stop Manon before
it's too late.
Diego is obviously unhappy with this plan, but keeps his foot
down as Sanctus turns to stare out through the van's tinted
rear windows.
SANCTUS (cont'd)
(quietly)
I hope I don't let you down, old
friend. You deserved better.
He turns back - and his gaze falls on a finely-crafted SWORD
in front of him. He lifts it up, the keen blade glinting
under what little light there is, and we cut to:
12 EXT. HEPBURN CEMETERY - NIGHT 12
The former cemetery still resembles a battlefield - broken
and smashed gravestones and crypts, police crime scene tape
cordoning off large areas of the plots and many chalk
outlines etched onto the grass to mark the fallen - with
accompanying blood spatter.
Chris lifts up one loosely flapping section of tape and walks
into the wreckage, casting a disbelieving eye over what's
left of the cemetery.
He comes to a halt, closing his eyes and tilting his head
back, before INHALING deeply, searching for something...
... and his eyes snap open. Chris' head turns to the left,
and he hurries off, literally following his nose.
He comes to the rubble that used to be the crypt that Julie
and Syren were buried beneath, and Chris pulls up to a stop.
He sees dried blood on the ground and starts to dig through
the rubble, growing more agitated as though homing in on
something.
He stops suddenly, reaching a hand into the debris - and
withdrawing Julie's handgun. He stares down at it, before
closing his eyes and bowing his head.
He looks round and sees a patch of blood, pressing his hand
against it reverently.
CHRIS
I'm sorry, Julie...
(beat)
And I don't blame you.
Chris stays there for a moment before standing, looking round
the trashed cemetery again, the gun still in his hand.
He suddenly throws his head back and cries out at the top of
his voice:
CHRIS (cont'd)
(roars)
Manon!!
And as Chris' booming voice echoes around the graveyard, we
cut over to:
13 INT. ROAD - NIGHT 13
Twist, visibly more tired, is still trudging along the side
of the road, the bright city lights never seeming to get any
closer.
She hears a stuttering old car approaching and turns round,
hopefully sticking her thumb out again as a new set of
headlights fall on her.
To her surprise, the vehicle comes to a stop, and Twist sees
that a beaten up old pickup truck has come to her rescue.
Peering out at her from within is OWEN, the grizzled old
driver.
OWEN
The hell are you doing this far out
by yourself, girl?
TWIST
Looking for a ride back to the
city.
OWEN
Guess you'd better hop in then, eh?
With a relieved smile, Twist opens the door and climbs into:
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