sib3x11
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TEASER
FADE IN:
1 EXT. FIELD - DUSK 1
Our vision opens on a beautiful COUNTRY FIELD, wheat blowing
in a warm, calm wind as the distant sunset frames against the
picturesque surroundings.
Slowly, we PAN across the field until we are met by the sight
of a GIRL, in the distance. Her long RED hair billows down
the back of her white summer dress.
Framed against the light, she's looking at the paradise vista
before her as we PAN IN toward her back. She picks something
below her as we continue to pan, soon standing again as we
start to PAN AROUND her.
Eventually, the view slowly turns to reveal the girl from the
front - and we can see it's none other than CHARLOTTE.
A look of calm and serenity, the like of which we've not seen
before, graces her face.
ANGLE ON:
What it was she picked earlier - a FLOWER, which she holds in
her hands as we CLOSE on it, holding the view.
Which allows us to see a pair of strong HANDS which proceed
to glide around her waist from behind, hands Charlotte
herself clasps with hers - a romantic embrace.
CHARLOTTE (O.C)
What took you so long?
MALE VOICE (O.C)
(British; familiar)
Just a loose end that needed tying
up.
And we quickly PAN UP, upon hearing the voice, to see it
belongs to CHRIS. He stands behind her, holding her tight.
Charlotte turns her head up at him, and Chris proceeds to
passionately kiss her - a totally out of character move for
the man we know.
The kiss is deep, and it lingers - the kind of intense kiss
you give to someone you deeply love, or you're never going to
see again.
Once the kiss finally ends, Chris just holds Charlotte once
more and they take in the incredible view, our focus
returning to Charlotte's serene face, at which point we CUT
TO:
2 INT. ROOM - NIGHT 2
A stark contrast - the sight of a slight facially cut and
bloodied Charlotte as she SCREAMS, almost a roar in fact,
with unbridled rage.
WIDE SHOT to see her inside a plain, sealed room made out
largely of concrete. She's sat on an old wooden chair, hands
tightly secured behind it with wire.
Charlotte continues screaming and growling, expending all the
energy in her lungs.
CHARLOTTE
You're gonna pay for this, damn
you! I'll rip each and every one of
you apart, you filthy...
She continues screaming as we PAN BACK away from her position
on the chair, moving right through the metal door that leads
into the room.
3 INT. SAFE HOUSE - NEXT 3
And we PAN BACK through into the team's newest safe house
hideout, of which the interrogation room is joined to.
The first person who enters our vision as we pan through is
TWIST - who sighs loudly while staring at the door before
turning around.
TWIST
Is she going to shut up, already?
'Cos little Miss Temper Tantrum is
really starting to bug me.
We turn and find Twist is, of course, addressing the rest of
the team who stand nearby - JULIE, SYREN, DANYAEL, DIEGO and
NAOMI.
JULIE
I doubt the fact you're irritated
is likely to be enough to silence
her, Twist.
TWIST
Okay, Plan B.
(beat)
Sedatives.
DANYAEL
We don't want to knock her out, we
want her talking. Otherwise Chris
captured her for nothing.
NAOMI
Danny's right. She's no use spark
out.
TWIST
(mocking; under her
breath)
"Danny's right"...
Naomi ignores the bitchiness.
DIEGO
Regardless, Twist is right about
one thing. We need to find some way
of communicating with Charlotte.
SYREN
What about just asking her to
cooperate?
TWIST
(scoffs)
Sure. Let's just create world peace
and make Paris Hilton the President
while we're at it!
JULIE
Twist!
TWIST
What?! I'm just sayin', that's
gonna do no good. Charlotte
needs...
The conversation continues in the background as we focus on
Chris - standing behind her away from the rest of the team -
impassively staring at the door beyond which the screaming
continues.
Finally, he stalks toward the door, intending to head inside.
TWIST (O.C) (cont'd)
Hold it right there, sheriff!
Chris stops with his hand on the door handle, turns toward
where Twist now stands - team behind her - staring at him.
TWIST (cont'd)
And what exactly are you up to?
CHRIS
(beat)
I'm going to make her talk.
Interrogate her until we know every
last scrap of information on who
the Trinity are, and what they're
planning.
TWIST
Don't you think before you go all
Silpowicz on her ass that you give
us an explanation first?
CHRIS
About?
TWIST
(mock thinks)
Ooo. What about, uh, the total
fricken' bombshell that you and the
Dark Diva used to hop on the good
foot back in the day?
A beat. It's a question the team all clearly want answered -
especially Syren. Chris steals just a hint of a glance her
way, before responding.
CHRIS
It's complicated.
(beat)
And right now, unimportant. What we
need is information. And it's time
we did all we can to get it.
On that, Chris twists the handle, opens the door handle, and
steps inside.
4 INT. ROOM - NEXT 4
The screaming blue murder stops and Charlotte grows quiet,
and still, as Chris steps through the door.
Twist follows, loitering a little behind - while the rest of
the team are visible watching through the doorway.
Calmly, Chris stands and faces Charlotte - who almost adopts
a calmness and sweetness we saw on her face in the field.
Like a chameleon, she instantly masks her rage.
CHRIS
(calmly)
Where are the Trinity? What are
they trying to accomplish?
A beat. Charlotte says nothing - and then just LAUGHS very
loudly, almost a cackle in terms of hysterics.
TWIST
(angry)
You wanna share the joke, bitch?
Chris looks at her a little, a look that suggests Twist calm
her anger. She takes it, folds her arms - stares at Charlotte
with hate as the laughter continues.
It eventually begins dying down, Chris just looking at her
without emotion almost.
CHARLOTTE
(still chuckling)
You know what's going to happen,
Chris, don't you? My sisters are
going to find this place. They're
going to release me. And then...
we're going to slaughter you and
the rest of your quaint little
fighting force in the bargain.
(beat; smiles)
And you know what? We're gonna
enjoy it.
A truly evil smile rests on Charlotte's face as she looks up
at Chris.
Twist is furious, ready to beat seven shades out of her, but
Chris doesn't share than expression. in fact, he looks sad.
CHRIS
(quietly)
What happened to you?
On that, he turns and walks out of the room. Twist waits a
beat, giving Charlotte a glare, before she follows suit -
slamming the door closed behind her.
We rest on Charlotte's face, as her evil smile ever so
slightly falters, at which point we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
5 EXT. ALLEY - NIGHT 5
And we're on FEET, running like lightning in black brogues
through the darkness, pounding along with spirit.
Said feet belong to Chris - decked out as ever in overcoat
and fedora, with the large KATANA sword strapped to his chest
ready for action. He runs with purpose, it appears in pursuit
rather than being pursued himself.
He races down what we see to be a dark ALLEYWAY, scattered
with garbage bins, litter cascading from them, and other
offal. As he runs, we hear a strange, echoing SQUEALING sound
before him.
The noise emerges from a strange, three-legged CREATURE that
scampers away at speed through the alley - only seen in
shadow, but in the simplest terms it's best described as a
hybrid of a deformed foetus and an arachnid.
This is what Chris is pursuing, and we see him race past us
after it.
6 EXT. ROADSIDE - NEXT 6
The alley leads out into an upcoming road and the
streetlights briefly illuminate it's hideous form as it
scampers across, darting down the adjoining continuing alley
across the road,
Chris continues running, about to cross the road when:
PARRRRP!!
A loud horn honks and Chris just stops himself on the
pavement, inches from being ran over - by a DOUBLE DECKER
RED BUS which races by!
CHRIS
Bloody traffic!
Once it's gone, Chris darts across the road and down the next
alley as we PAN UP from the roadside, giving us a skyline
view above.
And we see in the distance the top of Big Ben and the London
Eye poking out, instantly obvious where we are.
Legend: SEVEN YEARS EARLIER
7 EXT. ALLEY - NEXT 7
And we're back with the chase, the Creature still squealing
as it leaps over several scattered garbage bins in the alley,
Chris gaining pace as he leaps over them in pursuit.
8 EXT. ALLEY CLEARING - NEXT 8
We open up onto a spacious clearing within the alley as Chris
races into it, observing several SKIPS, burned out CARS and
garbage bins behind a string of abandoned council buildings.
Chris stops, looks around - the Creature has vanished.
Slowly, however - one by one - he starts to hear a chorus of
the squealing from all around him and we SPIRAL around Chris
as he draws his katana, turning a full 360 degrees as he
does.
As he turns, not one, not two, not three, but a near DOZEN of
the Creatures begin emerging from the abandoned buildings and
garbage, squealing and surrounding Chris in an attack
posture.
CHRIS
(sighs)
Oh, just great. A Korbb nest.
Chris raises his sword ready for action, as the 'Korbbs'
continue closing in.
CHRIS (cont'd)
Let's mop up this mess, shall we?
Off the sight of a Korbb launching towards him with a squeal,
we SMASH CUT TO:
9 INT. ALLEY - LATER 9
A slicing sound is accompanied by a dying SQUEAL within the
darkness of the clearing, after which we see Chris emerge
into the nearby alley - using a RAG to wipe his sword clean
of green blood like it's an irritating dinner stain.
MAN'S VOICE (O.C)
(upper class, semi-gruff
lilt)
Having a spot of trouble with the
natives, are we?
Chris watches as the voice emerges into the dim light -
SOLOMON ARCHER (60's), portly, dressed like an aged-Indiana
Jones if he was British.
SOLOMON
You never could resist a little
spring cleaning.
CHRIS
(beat; eventually smiles)
Hello, Solomon.
A gruff laugh from Solomon as he and Chris - clearly old
friends - briefly embrace.
CHRIS (cont'd)
I was just coming to pay you a
visit.
SOLOMON
Well, now you've found me.
(smiles)
What d'you say we not let any more
Korbbs distract us from the grace
of each others company?
With a nod, Chris strides off down the alley as Solomon
drapes his arm around his friend, off the sight of which we
CUT TO:
10 INT. SAFE HOUSE - NIGHT 10
The door to the interrogation room, beyond which no screaming
emerges anymore - it's all quiet.
Chris stands facing Twist, Danyael, Julie, Diego, Syren and
Naomi as they gather nearby, some sitting, some standing.
CHRIS
I think it's time we all faced
facts. Despite our past, Charlotte
is never going to willingly share
information on the Trinity with me
or anyone else.
TWIST
She will after a little repeated
coercion from yours truly.
(looks around)
Where did I put Duggan?
DIEGO
We don't have the time for extended
interrogation, Twist.
TWIST
I ain't talkin' about
'interrogation,' padre. Where's the
fun in that?
CHRIS
No, Diego's right.
(beat)
Even despite the fact the Trinity
are our primary concern and need
taking out of action, we have to
bear in mind they're also going to
be looking for Charlotte.
DANYAEL
Which means we need the upper hand,
and fast.
Chris nods in agreement.
SYREN
But how can we make her talk if
she's silent?
CHRIS
Simple. We use her own tools
against her.
(beat)
Magic.
11 INT. SAFE HOUSE - LATER 11
An old magical TOME slams down onto a table within the safe
house, Chris leafing through it as the gathered others watch.
CHRIS
There was a spell I remember
Sanctus telling me about a long
time ago, when he was trying to
coerce information. It's
essentially a truth spell, that
removes certain inhibitions from
the brain that allow someone to
withhold information.
TWIST
Oooh, like Sodium Pentathol.
(aside; to Syren)
Jack Bristow swears by it.
(remembers)
At least, he did...
(sniffs)
Rest in peace, SpyDaddy.
A beat. The others ignore her.
JULIE
It can't be a widely used spell if
the rest of us aren't familiar with
it.
DIEGO
That's because it's dark magic.
The others look at Diego with concern, before glancing back
at Chris - his expression confirms it as he finds the right
page in the tome and opens it.
On the page, we see a classic drawing of a dark aura resting
over a figure, with old fashioned writing scrawled around.
CHRIS
This spell can only be summoned by
a master of the dark arts. A mage
or practitioner with a connection
to whomever the spell is being used
on, be it blood or shared history.
NAOMI
Guess that makes it a no-go, then.
Chris' look says otherwise, and Twist detects this.
TWIST
Or not.
(off Chris' expression)
What is it, chief?
CHRIS
There is someone with such a
connection to Charlotte.
(beat)
But without resources, finding him
will be difficult.
The others look away, not sure how to proceed if Chris
doesn't.
JULIE
(beat; coughs)
And this would be where I come
in...
CUT TO:
12 INT. MONKTON'S PLACE - NIGHT 12
An apartment filled with bookcases, lines of blaring TV's,
and the magically-assisted Google computer at which now sits
its current occupant - MONKTON - who is powering it up.
Julie stands behind him with Chris, observing the
surroundings with interest.
MONKTON
(looks at Chris)
Don't remember you when Team
Kingston visited me last. You must
be the replacement for the old
guy... Sancti?
JULIE
Sanctus.
Monkton nods as he sees Chris giving him a dark look - soon
turning back to his computer.
JULIE (cont'd)
(turns to Chris)
Monkton's an old informant of mine,
we go way back. He recently
inherited, in a manner of speaking,
this computer system that allowed
us to trace the Quaero. The
artefact that summoned you back
from...
(beat; thinks)
... wherever the hell you were.
Chris nods, and watches as Julie turns back once Monkton
starts activating the computer server.
MONKTON
Okay, we're up and a-running.
(flexes fingers)
Just give me a place to start for
whatever it is you're looking for.
JULIE
Or, in this case, whoever.
She looks, as does Monkton, at Chris - a dark glint forming
in his eye.
CHRIS
(beat)
Volder Laam.
Nodding, Monkton adds it into the search engine and clicks
'enter'.
MONKTON
(leans back)
This could take a while.
As he kicks back while the computer searches, Julie turns to
Chris as he stares at the computer with intensity.
JULIE
Who's Volder Laam?
CHRIS
(beat)
Someone I should have killed a long
time ago.
Off Julie's look of curiosity and Chris' frown, we CUT TO:
13 INT. SOLOMON'S STUDY - NIGHT - FLASHBACK 13
We hear the sound of Big Ben chiming away in the distance as
we open on a GRANDFATHER CLOCK, striking midnight.
Next to it, Solomon pours two glasses of brandy from a
crystal decanter, carrying them across what we see to be a
classically designed study, full of occult and magical
objects and bookcases.
He reaches Chris, who stares at an ancient bowl-like object
encased in glass, handing him the brandy.
SOLOMON
The Hwat-doy-Sukhet. One of my
finest pieces recovered from my
numerous expeditions in the Far
East.
(thinks)
Thailand, in... '76, if memory
serves me well.
CHRIS
You really do have quite the
collection, Solomon.
SOLOMON
(chuckles)
Several of which I wouldn't have if
it hadn't been for your help over
these years. We have had quite some
adventures haven't we, you and I?
Solomon sits in a fine leather chair, inviting Chris to do
the same opposite.
CHRIS
And I hope we'll have many more.
SOLOMON
Is that why you're here now?
(off Chris' look)
Every so often, Chris, word
channels through the grapevine that
I have procured or recovered
something new of interest. And
every time, you come to me wanting
to know if this might be the one...
CHRIS
(nods)
The cure.
SOLOMON
(sips his brandy)
I'm going to have to disappoint you
once more, old friend. My latest
find isn't a trophy that can be
placed behind glass. It's a very
rare thing.
(beat)
Are you familiar with Pygmalion?
CHRIS
George Bernard Shaw. Perhaps his
finest work.
SOLOMON
Sometimes fiction has a habit of
becoming fact.
(shouts outside study
door)
My dear, will you come down for a
moment? We have ourselves a guest.
A beat. Solomon smiles and watches a curious Chris - who
looks towards the door, and observes the shadow of a figure
emerging down the staircase outside the study.
The shadow finally gives way a vision that immediately
captures Chris, and we focus on his struck down face, before
we see what he observes: a more youthful Charlotte, standing
in the doorway, looking every bit as beautiful and charming
as we saw her in the field.
SOLOMON (cont'd)
Christopher Berkeley, this is
dearest Charlotte.
(smiles)
My own Eliza Doolittle.
CHARLOTTE
Hello... Christopher.
And it's off Chris as he stares at her, quite captivated, we
CUT TO:
14 INT. SAFE HOUSE - PRESENT DAY 14
The table at which Danyael and Naomi sit playing cards
between themselves, while Syren seats nearby 'watching'.
Diego leans against the steel door holding their prisoner, as
Twist paces.
TWIST
Damn it, what's taking 'em so long?
All they gotta do is Google this
guy and we're on our way.
Twist heads up to where Diego guards.
TWIST (cont'd)
C'mon, just let me at her for a
minute. I promise I'll crush only
her spirit.
DIEGO
Twist. No.
Twist sucks her teeth loudly, pouts, and flounces off leaving
Diego to guard.
The door then opens and Chris strides through, Julie trailing
behind him.
The team immediately focus on him as he approaches the table -
slapping down a grainy, printed image of an ageing MALE
looking over his shoulder, quite shifty.
CHRIS
This is our target: Volder Laam.
(beat)
British, aged roughly sixty going
on three hundred years. He's one of
the most powerful dark mages out
there, a practicioner of arcane
magic. He's also someone Charlotte
knows intimately.
TWIST
(looks at photo)
Ewww.
DANYAEL
Don't think he means that
intimately.
(looks at Chris)
Do you?
Chris looks at him deadpan, but doesn't respond.
SYREN
So where is Laam now?
JULIE
According to Monkton's computer,
Laam is being held inside a maximum
security prison facility.
CHRIS
Though not your average US
government one. This rather is ran
by the Devas Syndicate.
NAOMI
The Devas what?
DIEGO
(steps away from the door)
The Devas Syndicate are a private
consortium of occult gangsters who
provide bounty hunter services,
imprisoning occult figures for a
price.
(beat)
If Laam is in their care, obviously
someone wanted him locked up.
CHRIS
I don't know who, and nor do I
care. But we're certainly about to
ruin their day.
NAOMI
Meaning what?
CHRIS
Meaning we're going to extract Laam
before the Trinity can find us,
recover Charlotte and destroy any
chance we may have of learning what
they're planning.
DANYAEL
So we're talking a prison break?
TWIST
(off Chris' nod)
Oooh, goodie! I love that show!
Does this mean we can have tattoos?
CUT TO:
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Script created with Final Draft by Final Draft, Inc.