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14 INT. OWEN'S PICKUP - CONTINUOUS 14
Shuffling across on the seat, Twist makes herself comfortable
as Owen pulls away, not batting an eyelid at her dishevelled
appearance.
OWEN
Name's Owen, by the way.
TWIST
Hey, Owen. I'm Twist.
OWEN
So, whereabouts you headed?
Twist thinks, then pats her jacket pockets down until she
produces a slip of paper, passing it to Owen.
TWIST
There. I'm meeting some fr-
(catches herself)
I just need to get back there.
OWEN
Okay. Your wish is my command.
Owen drives on, and Twist allows herself a moment to relax.
Owen glances across at her, looking her up and down.
OWEN (cont'd)
You been in a fight or something?
TWIST
(grins)
Something like that.
OWEN
What's with the baseball bat?
TWIST
The fight isn't finished.
OWEN
You don't strike me as the kind of
girl who'd get her hands dirty like
that.
TWIST
Well, to be fair, you have just met
me.
OWEN
(chuckles)
I guess so.
They drive on in silence for a few moments.
OWEN (cont'd)
This fight you're heading for, it
got a name?
Twist looks across at him, then with a thoughtful expression
reaches forward and snatches up a small fruit knife from the
dashboard, sitting next to a half-eaten apple.
Owen raises an eyebrow as she starts to etch something into
her bat, lifting it up to the light and examining it with a
wry grin.
OWEN (cont'd)
Well?
Twist looks at him, then back at the bat - and she's carved
the name 'MANON' into it.
TWIST
You like the French, Owen?
OWEN
Can't say as I do. Can't like any
nation that lets its capital city
get so darned dirty.
Twist's gaze is fixed on the name on her bat.
TWIST
(grins)
Me either, partner. Me either.
As Twist narrows her eyes, steely determination starting to
creep across her features, we:
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
15 INT. HOSPITAL WARD - NIGHT 15
Doctors and nurses wander past as we look in on a peaceful
wing of the local hospital, a gentle buzz of background noise
joining the steady beeps of various monitors and equipment.
A nurse finishes checking a chart at the foot of a patient's
bed, replacing it and moving off screen to reveal JULIE
asleep in the bed.
She's cut and bruised and sports a few bandages, but is
sleeping peacefully and doesn't appear to be in a serious
condition.
She stirs, her head shifting from side to side as her eyelids
flutter open, and she blinks in disorientation for a few
moments as she finishes coming round.
She starts to sit up, but winces as she pulls something,
carefully pressing a hand to three different places on her
stomach.
A little dizzy, she scans the ward around her but there's no
staff currently in sight, just other patients.
Her eyes fall on another figure sleeping in the next bed
along - it's SYREN. She seems better off than Julie, with far
fewer visible injuries.
Julie checks round again, then carefully swings her legs
round out of the bed, pausing to draw an IV drip out of her
forearm and flick off the heart rate monitor before removing
the pads on her chest.
She hobbles over to Syren, gently shaking her in an attempt
to rouse her.
JULIE
Syren? Syren! Come on, wake up,
Syren, we've got to get out of
here...
Syren murmurs something and shifts round, her eyes slowly
opening. Her face wrinkles with confusion as a sea of strange
sounds washes over her.
SYREN
Who's there? Where am I?
JULIE
(soothing)
Ssh. It's alright, honey. You're
with me. We're safe.
SYREN
Julie?
Syren turns to her, reaching a hand out, and Julie presses it
to her cheek with a smile.
JULIE
The one and only.
SYREN
Where are we?
JULIE
St. Elizabeth's, probably. That
doesn't matter - we have to get out
of here and find out what happened
to the others. Can you move around?
Syren starts to sit up, nodding as she quickly pats her arms
and legs to check she isn't injured anywhere.
SYREN
I don't remember what happened. One
minute we were at the graveyard
fighting, and then...
JULIE
You got suckerpunched. It happens.
SYREN
(not following)
Sucker... punched?
JULIE
I'll explain it later. Come on,
we'd better get you gone before the
staff here figure out you're not
exactly a hundred per cent human.
Julie starts to help Syren out of the bed, pausing as she
hears VOICES approaching them. Julie quickly helps Syren back
into the bed, whispering to her:
JULIE (cont'd)
Stay here. I'll be right back.
Syren nods, and Julie dashes back to her own bed, quickly
tucking herself back into it. Syren feigns sleep as two
nurses stroll past her, before she opens her eyes again,
listening for Julie.
16 INT. HOSPITAL - CORRIDOR - NEXT 16
The door to the ward CREAKS open as Julie peers out, checking
that the coast is clear.
She's still in her hospital gown, but spots a door marked
'Staff Only' before her and dashes over, trying the handle
and finding it unlocked.
17 INT. HOSPITAL WARD - NEXT 17
Syren is still pretending to be asleep, but as a shadow falls
across her she stirs and looks up again.
SYREN
(whispers)
Julie?
Julie leans forward - she's now dressed in a plain white
porter's uniform, badly-fitting but tucked in enough to hide
it. She takes Syren's hand and helps her to sit up.
JULIE
Just play along. We're going to go
for a little ride, and after that
we're home free. You okay?
SYREN
Yes. I just want to know that
everyone else is alright.
JULIE
Yeah, me too, honey. Me too.
Julie looks round as Syren stands, and we cut to:
18 INT. HOSPITAL - RECEPTION - NIGHT 18
The Hispanic night shift receptionist, MARGOLITA, is busy
with two phone calls at once as Julie rounds a corner into
view, pushing along a wheelchair-bound Syren as she heads for
the exit.
They're most of the way to the main entrance when Margolita
calls out to them:
MARGOLITA
Hey, wait!
Julie freezes, tensing up as Margolita hurries over to them.
She tries to look casual as she turns round.
JULIE
Uh... yeah?
MARGOLITA
(off Syren)
Are you taking her outside?
JULIE
Yeah, just a, you know, transfer.
We're waiting for our ride.
MARGOLITA
(eyes her)
What happened to you?
Julie realises she's still showing her cuts and bruises.
JULIE
Oh, these? Violent patient earlier
tonight. Got a few swings in before
security showed up. You know how it
is.
MARGOLITA
Uh-huh.
(beat)
Stay here.
Margolita heads back to her desk, and an anxious Julie's eyes
dart towards the entrance, judging how fast she can get
there.
She looks up as Margolita walks back over - and blinks in
surprise as she's handed a thick blanket.
MARGOLITA (cont'd)
You'd better make sure you wrap her
up if you're going out there,
there's a hell of a storm kicking
up!
JULIE
Right! Yes. I will. Thanks.
Margolita smiles and heads back t the desk as the phones keep
on RINGING, and a relieved Julie drapes the blanket over
Syren.
SYREN
Is everything alright?
JULIE
Soon as I figure out how we get
from here back to the safe house,
yeah, everything's going to be just
fine.
As Julie starts to push Syren towards the automatic front
doors, pondering how the heck she's going to find transport,
we cut back to:
19 INT. SAFE HOUSE - NIGHT 19
Twist pushes open the door to the main room of the safe
house, bat slung over her shoulder.
TWIST
(calls out)
Honey, I'm home!
She looks round the room, empty except for a few scattered
weapons and the heaps of research material on the table.
TWIST (cont'd)
Oh wait, I forgot. I'm not married.
She takes a breath, then heads for the assorted weapons,
sifting through the swords, axes and other items on offer,
before shaking her head and turning back to her bat.
TWIST (cont'd)
Stick with the classics, huh,
Duggan?
She glances across at the table, her eyes drawn to a few maps
lying next to each other.
Red dots and lines pepper all the maps, but the lines all
seem to converge at one point, helpfully marked by a large
red circle and a question mark.
Twist studies the map, working out the location, before
taking one final look round the room and making her way
towards the exit.
20 EXT. STREET - NEXT 20
Just outside the safe house, which is an innocuous building
surrounded by cheap apartment blocks, and AMBULANCE pulls to
a stop - with Julie at the wheel! A broken driver's side
window and missing plastic round the steering column suggests
how she got her hands on it.
Julie looks up, checking she's got the right place, as Syren
runs her hands over the vehicle's dashboard and interior.
SYREN
Are you sure we won't get into
trouble for taking this, Julie?
JULIE
I'm sure. And I'm also sure that
the two paramedics I knocked out to
get this will forgive me in the
next life... assuming we somehow
stop Manon from destroying the
world tonight, anyway.
Julie opens her door and steps out, heading round to open
Syren's door and helping her down onto the street. The wind
and rain are still at full force, making the girls dash for
the front door.
As the girls approach the entrance, they don't bother looking
up to the roof - where Twist is just climbing out from an
access door, jogging across the rooftop and neatly JUMPING
across to the next building, already on her way back out!
21 INT. SAFE HOUSE - NIGHT 21
Julie and Syren enter the small room, Julie helping Syren
down onto the sofa before heading for the research materials,
sifting rapidly through the books and notes.
SYREN
What are you looking for?
JULIE
Anything that'll help!
Julie casts her eye over the maps, making a mental note of
the highlighted location again before the girls hear a door
OPEN somewhere off screen.
Julie glances at Syren, who rises from the sofa as Julie
scans the room for a weapon, grabbing a nearby axe.
They hear footsteps approaching the door, and Julie tenses
up, ready to face whoever walks through the door...
... and DANYAEL walks into the room! He's looking somewhat
worse for wear, but as takes another drag from his cigarette
it's clear he isn't in too much pain.
DANYAEL
(looks up)
Julie?
JULIE
(relieved)
Danyael! Thank God...
She races forward and throws her arms round him, and Danyael
grins, patting her on the back. Syren steps over, reaching
out a hand, and Danyael squeezes it.
DANYAEL
Hey, girls. Miss me?
JULIE
Are you okay? Where were you? Is
Chris with you? We saw the news, we
thought you were... well, I tried
calling you soon as we saw what had
happened, and you didn't answer, so
we thought...
SYREN
We thought you were both dead.
DANYAEL
Yeah, sorry about that. Kinda hard
to answer your phone when you're
digging your way out of a collapsed
building, you know?
JULIE
Where's Chris? Is he hurt?
DANYAEL
I don't know. We got split up, I
haven't seen him.
JULIE
Oh, no...
DANYAEL
Relax, I'm sure he's fine. You know
Chris, he's like Jason Vorhees or
something. Always with the sequels.
JULIE
Danyael, I... I don't think he's
okay.
DANYAEL
What? Why not?
There's a beat as Julie glances round at the TV and video
player on the other side of the room.
JULIE
There's something you need to see.
Danyael's expression darkens, and we cut to:
22 EXT. DOCKS - NIGHT 22
Down by Manon's cruise liner, with two GUARDS patrolling one
end of the pier it's moored to, shivering in the freezing
rain. They pause, looking up as a FLASH of lightning and a
RUMBLE of thunder rolls across the stormy sky. Linkin Park's
'1stp Klosr' accompanies the scene.
GUARD #1
Remind me again how we got saddled
with border patrol?
GUARD #2
I think it was about the time you
remarked on what a, quote unquote,
'fine piece of tail' the bosses
girlfriend was.
GUARD #1
Well, she is!
GUARD #2
Yeah, but you don't say that when
she's around, do you? She's a
vampire, dumbass! Better hearing!
Guard #2 turns away from his colleague - this argument has
clearly been going for some time.
As Guard #1 wraps his arms round himself to stay warm, #2
tries to light up a cigarette - but sees something streak
past in the shadows.
He spins round, raising his rifle and leaving the cigarette
on his lips.
GUARD #2 (cont'd)
What was that?
GUARD #1
What was what?
GUARD #2
Don't say that! Did you see
something or not?
GUARD #1
I can barely see you in this rain,
and you're standing a few feet aw-
BOOM! #1 suddenly EXPLODES in a blaze of fire, blasting #2
off his feet!
As the shocked guard pushes himself back up, and the flaming
body of his partner pitches forward into the water, a
terrifying sight marches towards him.
Chris.
FIREBALL ready in one hand, his blood red eyes burning with
fury.
GUARD #2
Hey... hey! Wait! Don't-
The guard is cut off as Chris HURLS the second fireball, and
with an agonised SCREAM the guard is enveloped in flames.
Chris doesn't drop a step as he walks past the burning
corpse, his eyes fixed on a walkway up ahead leading into the
liner as we cut to:
23 EXT. ROOFTOPS - NIGHT 23
Back with Twist as she makes her way across town, wiping the
rainwater from her face as she focuses on her destination.
Hopping neatly across the various rooftops, JUMPING gaps and
clambering ladders to stay on the highest level, she pauses
as her target comes into view.
The docks are some way off, but the bulk of Manon's liner is
clearly silhouetted against the backdrop of the city lights.
Twist narrows her eyes, and with renewed determination
doubles her pace, LEAPING across from one rooftop to the next
and running from the landing as we cut to:
24 INT. LINER - CORRIDOR - NEXT 24
Chris storms boldly down a wide corridor, flanked by bulkhead
doors on both sides.
Three more guards round the corner up ahead, and there's a
beat as they stare at him with surprise.
They then click into attack mode, going for their weapons,
but Chris is already on them, his fists and feet blurring as
he CHOPS one down, KICKS a second into the wall and RAKES his
hand across the throat of the next.
The guard drops to the floor in a spray of blood, and Chris
reaches down to liberate the plain sword hanging from the
guard's belt.
Turning the weapon over in his hands, he looks back up and
carries on, stepping over the bodies and into:
25 INT. LINER - CANTEEN - NEXT 25
A wide, open area filled with long tables and an empty
serving station at one end of the room.
The room is full of about two dozen more guards, who all cut
their chatter and turn as Chris walks in.
A beat.
CHRIS
I'm looking for Manon.
Several guards quickly jump to action, levelling their rifles
at him and moving to surround him. Chris stands, calmly
waiting for them to stop moving.
GUARD #3
Don't move!
GUARD #4
You try anything, and we'll-
SLICE! Chris' sword moves faster than the guards can
comprehend, and #4's head rolls neatly from his shoulders as
he drops to the floor.
CHRIS
I really don't have time for th-
GUARD #3
Fire!!
The room descends into mayhem as rifles BLAZE with gunfire,
but Chris is already on the move - he SAILS over the heads of
the guards to land on one of the tables, KICKING two
opponents to the floor and neatly BACKFLIPPING as the barrage
of gunfire tracks him across the room.
GUARD #3 (cont'd)
Don't let him get away!
More guards move in to attack him, some drawing swords
instead of their guns, and Chris meets them head on - he
CHOPS his sword across one guard's chest, and as he CRIES OUT
and falls back, his still-firing gun rakes bullets across the
ceiling.
The overhead lighting EXPLODES in a shower of sparks,
plunging the room into flickers of darkness, punctuated by
muzzle flashes from the firing weapons.
Chris darts from side to side, cutting down more guards and
filling the room with SCREAMS.
He grabs one table and SHOVES it up into the air, using it as
battering ram and flooring another group of attackers, before
vaulting off the upturned table and launching himself into
the firing guards.
One by one, his sword blade glints in the strobing light as
he slices the men down, and in moments every guard lies dead
at his feet.
Chris turns - more guards are piling in through the far door,
alerted by the noise, and Chris wastes no time in drawing up
a huge ball of blazing red energy in his fist.
GUARD #5
There he is!
More GUNFIRE, but Chris stands his ground, turning and
throwing the energy dead at the new guards.
We follow it to its target, and as the horrified faces of the
guards rush towards us, we quickly cut to:
26 EXT. DOCKS - NIGHT 26
Dropping down from the roof of a small building and into
view, Twist looks up as a section of the liner DETONATES,
exploding outwards and hurling the bodies of dead guards out
into the night like rag dolls.
TWIST
I knew it...
Her confidence restored, she runs for the access ramp as we
cut back to:
27 INT. LINER - CHAMBER - NIGHT 27
Four guards back into view, FIRING frantically at something
off screen, but this doesn't stop Chris who marches on, not
seeming to notice the bullets tearing into his body.
He spins round, his sword knocking one rifle up into its
owner's face, before he PUNCHES one guard hard enough to
shatter his helmet's visor, turning on his heel and KICKING
one guard across the large chamber he now finds himself in.
The final guard's weapon clicks to empty and he turns and
runs, but Chris quickly takes aim and THROWS his sword.
It spears into the guard's back, and with a YELL he clatters
to the floor, falling still with a final WHEEZE.
Chris walks forward, already covered with wounds but not
looking like slowing down any time soon, WRENCHING his sword
back out of the guard.
He looks up - and his jaw drops at the horrifying sight laid
out before him.
He's in a smaller cargo area, but instead of supply crates
and boxes, the room is filled with human-sized COCOONS.
Looking like huge insect egg sacs, dozens of the grotesque
objects are suspended from the ceiling, dripping with slime
and swaying gently with the liner's motions.
Lightning FLASHES through windows up ahead, and Chris sees
many, many more plastered to the walls. There's got to be
well over a hundred of the things in here.
Chris walks towards one, his mission forgotten for a moment
as natural curiosity takes over. He lifts his sword and
SLICES down the nearest sac, standing back as something
humanoid is disgorged from within in a glop of yellow slime.
It's a young WOMAN.
Naked and shivering, she's curled up in the foetal position,
and Chris drops to one knee, laying a hand on her shoulder.
CHRIS
Can... can you hear me?
She lifts her head, eyes trying to focus as she whispers one
word with a ragged voice:
WOMAN
H-h-help... me...
Chris sighs, closing his eyes and standing. He looks up at
the horde of other cocoons. There's nothing he can do here,
and he knows it. He looks back down at the woman.
CHRIS
(softly)
I'm sorry.
She stares up at him with wide, questioning eyes as he lifts
his sword, ready to put her out of her misery...
WOLSLEY (O.S.)
Now that's certainly not the Chris
I know about!
Chris spins round - Wolsley has entered the chamber, flanked
by a pack of snarling VAMPIRES.
WOLSLEY (cont'd)
There was a time you'd risk
anything just to save one innocent
life, Christopher. Of course, there
was also a time you'd just walk
away, but you've had a lot of good
influences on your conscience since
then, haven't you?
Chris glances back at the cocoons, and Wolsley grins as he
pushes the guilt home.
WOLSLEY (cont'd)
It must be true what's been said
about you, then. Your priorities
have changed.
CHRIS
Why don't you come a little closer,
Marcus? You'll find that's not all
that's changed.
Wolsley steps forward, the vampires following as Chris
conjures up a fresh globe of energy in his hand, and we:
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
28 INT. LINER - CABIN - NIGHT 28
As the liner is rocked by a muffled BOOM, Vivian rushes out
of her room to see several squads of Skorpione guards rushing
down the corridor, and as she tries to figure out what's
going on another EXPLOSION shakes the entire boat.
VIVIAN
Hey! Stop! Wait a second!
Nobody listens to her, so with a grunt of annoyance she
CLOTHESLINES one of the passing guards, dragging the stunned
soldier up from the floor.
VIVIAN (cont'd)
And now that I have your
attention...
MANON (O.S.)
Vivian! Leave 'im.
She looks up to see Manon heading towards her, pulling on a
long, scarlet jacket, his huge sword strapped across his
back. She registers his dark expression and drops the guard.
VIVIAN
They're here, aren't they?
MANON
Someone is 'ere, oui. I 'ave yet to
find out who.
He starts to step past her, but she cuts him off, placing a
hand against his chest.
VIVIAN
Let me handle this.
He eyes her, but she flashes him a grin - fangs bared.
VIVIAN (cont'd)
Come on, lover. You know I'm your
girl.
A beat - and Manon grins, nodding.
MANON
Alright. I will be in the main
chamber, preparing for the ritual.
Do not let me down.
He leans forward and gives her a quick kiss, before turning
and striding back down the corridor.
A smirking Vivian pops back into her room, re-emerging with
Chris' katana. She makes a few experimental sweeps through
the air with it.
VIVIAN
(impressed)
Oh, yeah...
The liner SHUDDERS again, the lights flickering, and Vivian
snaps out of it, hurrying down the corridor as we rejoin:
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Script created with Final Draft by Final Draft, Inc.