sib3x13
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 EXT. STREETS - NIGHT 1
The scene opens on a dark night, the moon a silvery crescent
in the sky. We follow it as it casts rays through an open
window in a building marked "ELYSIUM TOWN MORTUARY."
2 INT. MORTUARY HOME - MORGUE 2
A young dark-haired woman, ELIZA, looks at the moon through
the window for a moment before turning away.
Eliza makes her way towards a work station with the metal
meat lockers filling the wall around her. She picks up a
file, opens it and flicks through it for a few moments.
ELIZA
(flicking over pages)
Done... done... done.
She drops the file and SIGHS, running a hand through her
hair.
ELIZA (cont'd)
I gotta stop being so efficient.
She leans against the lockers and fishes out her cell phone,
starting to type a text message.
ANGLE ON: ELIZA
However, young Eliza is not alone - she's being watched by
someone hiding just round the corner.
The camera approaches her, accompanied by HEAVY BREATHING,
until a HAND reaches out and clamps down on her shoulder!
ELIZA (cont'd)
Jesus!
Eliza spins round:
ON SCENE
The hand belongs to a young man, EDDIE, who grins at her as
Eliza tries to regain her composure. She glares at him.
EDDIE
Did I scare ya?
ELIZA
Yeah, sure. This is my 'helpless
with fear' face.
Eddie nudges her shoulder playfully.
EDDIE
C'mon, it was a little funny.
ELIZA
(shakes head)
One of these days, you'll make
someone here drop down dead.
EDDIE
It'll save on paperwork.
ELIZA
(changes topic)
Anyway, what are you doing here?
Aren't you and Beverley meant to be
going out?
EDDIE
(hesitates)
Actually, we, um, broke up.
ELIZA
Oh! Oh. I'm sorry.
She's not sorry at all.
ELIZA (cont'd)
How did you - I mean, um, what made
you do it -
EDDIE
Well, when I came back from soccer
practice and caught her in bed with
Coach O'Dell, it kind of cemented
it. That, and I'm pretty sure I'm
gonna need some expensive therapy
after seeing what the coach was
doing with my team flag.
Eliza gives Eddie a quick hug.
ELIZA
Wanna come round Saturday? Me and
Chloe are having a Keanu Reeves-a
thon and indulging in greasy pizza.
(beat; waggles eyebrows)
Come on. Two hot chicks, bad movies
and muchas greasy…
EDDIE
(laughs)
Alright, alright. Sounds g-
Suddenly, there is a CLANG from somewhere off screen. The two
of them turn, Eliza frowning as she tries to locate the
sound.
EDDIE (cont'd)
Did you hear...?
ELIZA
C'mon, might be a hypo.
EDDIE
A what?
ELIZA
Hypothermic.
(off his blank look)
Long story short, came in dead but
was just really, really cold. And
if we end up having the first case
of a hypothermic here, I'll buy you
a beer.
EDDIE
(grins)
And just like that, I'm sold.
The two set off and round a corner of the workstation.
3 INT. MORTUARY HOME - MORGUE - CONTINUOUS 3
The two youngsters move towards a series of lockers. The
camera stops in front of one with '013' on it - and the
locker door is AJAR.
Eddie grabs a clipboard from the wall and reads it as Eliza
looks all around for the source of the noise.
EDDIE
(reads)
Number thirteen. Mary Jane Lewis,
unknown causes.
ELIZA
Still, let's check it out. She
might be a hypo or a shocker.
EDDIE
A 'shocker'?
(before she replies)
Actually, no. I'll just leave the
actual work to you for this one.
Eliza shoots him a look, and then after a beat SWINGS the
door open, peering inside.
It's EMPTY.
ELIZA
Where the--?
She stands up and turns around - and Eddie is gone.
ELIZA (cont'd)
Eddie?
She looks up and down, but he's nowhere to be found. A little
unnerved but trying not to show it, she sticks her hands in
her pockets and calls out:
ELIZA (cont'd)
Eddie, you've got two seconds to
get back out here, or the offer of
pizza is off the table?
A door SWINGS in its frame at the other end of the room.
Eliza looks over, but there's no-one there.
ELIZA (cont'd)
Hello?
(less sure)
Eddie?
She starts to pace towards the door, glancing round as if
trying to see where Eddie could be hiding.
ELIZA (cont'd)
This isn't funny, Eddie!
(beat)
Look, I know I work in a morgue,
but that doesn't mean I like people
creeping me out, so just stop it,
okay?
She hears a muffled GASP from behind the doors up ahead. She
freezes - and then hears the SCRAPING of slow, heavy
footsteps.
Eliza backs up a step, pretty freaked by now, and as she
reaches for her cell phone again she starts to turn around...
... into the face of a SNARLING CREATURE! It HOWLS at her,
rotten skin hanging from its face, and she manages a SCREAM
before we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
4 EXT. ELYSIUM – SERVICE STATION – DAY 4
The doors of a service station open and CHRIS enters the
frame, carrying an armful of food and supplies.
Glancing around the forecourt as he walks, he starts to head
towards a rusty old VAN parked by one of the fuel pumps,
where DIEGO is busy refueling the vehicle.
He knocks on the side door of the van, and as it SLIDES OPEN
he quickly clambers into:
5 INT. VAN - CONTINUOUS 5
Chris hands the supplies to DANYAEL before getting in quickly
and shutting the door so no sunlight enters.
The gang is sat around in the van - SYREN, TWIST, JULIE and
NAOMI. It's not the old van, but it'll do for now.
CHRIS
You'd have thought that a town
named Elysium would at least have a
decent food counter.
TWIST
Was that a classical reference?
CHRIS
It was.
TWIST
(nods)
That'd be why I didn't get it.
She grabs a bag of cookies and tears them open, greedily
shoving them into her mouth.
DANYAEL
God forbid we should die of lack of
Oreos.
Twist nudges him playfully, offering him a cookie. A beat,
and then he takes one, turning back to Chris.
DANYAEL (cont'd)
But seriously, this is it?
CHRIS
The clerk said that there'll be
plenty more places to stop for
supplies once we reach the city
itself.
Chris turns and looks out through the windscreen -
something's clearly on his mind.
SYREN
Can we go soon?
The gang turns to the previously silent Syren, who looks
seriously SPOOKED. Naomi puts a comforting arm round her.
NAOMI
Hey, what's wrong?
SYREN
(cocks head)
Can't you feel it?
JULIE
Feel what?
CHRIS
(sighs)
She's right. There's something
here.
TWIST
Well, we're here...
SYREN
Something evil.
A beat - and Twist shrugs.
TWIST
Same diff. So what, now we have our
own Tom-Tom for evil?
CHRIS
I picked up on something a few
miles back. Some kind of energy
surrounding this place.
Julie frowns, reaching for her laptop.
NAOMI
So what, does that mean we have to
go?
DANYAEL
As in 'leave'?
(shakes head)
We can't. We need water, food,
medical supplies...
CHRIS
(nods)
I agree.
(to Syren)
I can feel it too... but we have no
choice. We need these supplies.
SYREN
(quietly)
If we all die...
TWIST
(interrupts)
Already dead, sweetie.
SYREN
... don't say I didn't warn you.
DANYAEL
(beat)
And on that Stephen King, let's go.
The sooner we can get our stuff the
sooner we can leave.
Chris glances at Julie, who looks up from her computer with a
shake of her head - no intel yet.
Chris heads for the front seats as Diego climbs into the
passenger seat, and we cut to:
6 EXT. ELYSIUM - AFTERNOON 6
Elysium. A nice little city, with plenty of market stalls on
corners, selling trinkets and fruit, along with a TRAM going
past. There is a TOWN HALL ahead as the van drives past, but
our attention is drawn to a YOUNG MAN.
He walks along the sidewalk, talking into a CELL PHONE as he
ducks into:
7 EXT. ELYSIUM - SIDE STREET - NEXT 7
Leaning against the alley wall, he continues talking:
YOUNG MAN
(into phone)
No, I couldn't get them.
(beat)
Sorry honey, I'm still at the
office. I'll be at least an hour,
maybe more. It's the Linderman
account, and you know what a pain
that guy can be.
(listens)
Love you too, honey.
The man hangs up - and we PAN ROUND to see a BAR at the other
end of the side street, named "The Blue Lagoon."
YOUNG MAN (cont'd)
(smiles)
God bless Mr. Linderman.
He smiles and starts across the street.
ANGLE ON MAN'S FEET:
He passes over a MANHOLE on his way - but doesn't notice the
lid start to MOVE!
ON SCENE:
The man takes another two steps - and then TRIPS and falls
flat on his face!
Stunned, he twists round - and sees a pair of grey, gnarled
HANDS have grabbed his ankles!
The man SHOUTS in fear, trying to kick free, but he's held
fast - and starts to get DRAGGED towards the open manhole!
Fighting every inch of the way, he tries to desperately grab
hold of something, but it's no use.
A moment later and he disappears into the hole with a final
YELL. A beat - and then the same pair of hands reach up and
drag the manhole cover back into place.
8 EXT. MOTEL - EVENING 8
The brightly lit neon lights of a cheap motel shine out to us
- there isn't much in the way of bright city lights in the
surrounding streets. Small town.
9 INT. MOTEL ROOM - LATER 9
Twist is sat in a room with Syren. Syren has her headphones
plugged into the MP3 PLAYER and is clearly enjoying what
she's listening to, nodding and humming along.
Twist is trying to flick through a magazine, but is clearly
getting annoyed with Syren's humming.
She manages a few more bars of whatever song it is before she
shoots Syren a dirty look, HUFFS as she gets off the bed and
then makes her way out of the room.
10 INT. MOTEL - HALLWAY - NEXT 10
Twist shuts the door carefully and then makes her way to
another room, just as Danyael, heading down the corridor with
a plastic bag in one hand, BUMPS into Twist.
DANYAEL
Oh. Sorry.
TWIST
No, no, it's fine. I wasn't
looking.
DANYAEL
You after some more food? 'Cause,
if so, advance warning that the
vending machine downstairs is kind
of basic by your standards.
TWIST
Oh, no, I'm not hungry.
(nods towards her room)
Nelly Furtado in there was starting
to bug me. I should never have
shown her how my iPod works.
DANYAEL
I dunno, with your taste in music
I'd have thought she'd given up by
now.
TWIST
You'd think that, but I actually
think she's taken a shine to my
White Zombie back catalogue. Who
knew?
They share a chuckle, but soon both lapse back into silence.
Twist looks awkward.
TWIST (cont'd)
So, uh... how are you and Naomi?
DANYAEL
(eyes her)
Since when did you care?
TWIST
Hey, I care! I'm just...
The indignant tone drops again, and Twist's eyes fall to the
floor. Danyael still looks a little puzzled.
DANYAEL
Yeah, we're good. Still taking it
slow. She's not used to all this,
you know. What we do. I'm gonna let
her get settled with that before
anything else.
TWIST
Oh, so you two haven't... you
know...
She starts to mime something with her hands, then stops when
she realises she's got no idea how to do it.
DANYAEL
(perplexed)
Taken up sign language? Uh, no, not
yet.
(beat)
Where's Diego?
TWIST
Out with Chris, buying some more
stuff. You know, the humans among
us need some real food, and I ate
all the snacks already.
Twist shuffles from foot to foot. Danyael eyes her again - is
there something else to say, or is that it?
TWIST (cont'd)
Listen, about Naomi...
DANYAEL
(rolls eyes)
Oh, God. This isn't an "I-think
she's-bad-for-you" speech is it?
Cos I've had enough of them. I
might even OD.
TWIST
No, it's about Kate-
The door is opened and Naomi, wearing nothing but a cotton
bathrobe as she towel dries her hair, looks at the pair of
them before turning her gaze, to Danyael.
NAOMI
Everything alright?
DANYAEL
We're good.
(to Twist)
Can we talk about this later?
TWIST
(impatient)
No, it can't--
DANYAEL
Look, I'm sure that Chris can help
with whatever it is. I'm tired,
we've been on the road the last few
days, and I really need to just
chill out.
Danyael shifts on his feet, and the contents of the bag he's
holding CLINK suspiciously.
DANYAEL (cont'd)
So... can I-
TWIST
(angry)
Do you ever listen to anything I
say? It's like talking to a goddamn
statue!
Danyael blinks, taken aback, and Naomi steps forward.
NAOMI
Look, Twist, I'm sure whatever it
is, you and Danny can talk about it
tomorrow.
TWIST
Hey, Emos 'R' Us, back off.
(to Danyael)
Please, just five minutes.
DANYAEL
(getting impatient)
Look, Twist, I may be nocturnal but
I'm still really tired. So could we
talk about this tomorrow?
TWIST
I-
DANYAEL
(not listening)
Thanks. Bye.
He enters the room quickly and shuts the door behind him.
There's a beat, then a GIGGLE is heard from Naomi.
Twist sighs in frustration and anger, leaning against a wall.
And then, after a beat, KICKS the drink dispenser nearby. A
huge DENT is made and she freezes, looking up and down the
corridor.
No-one saw that. Whew. Still tetchy, she turns and stomps
back towards her room as we cut to:
11 INT. MOTEL ROOM - NIGHT 11
Julie tosses and turns in bed, clearly having trouble
sleeping. She turns on her side and we SMASH CUT TO:
A series of FLASHES illuminate the screen:
- A destroyed city, completely gutted and flaming, with
broken bleeding bodies, SCREAMS littering the air.
- Danyael, his face streaming tears as he's STABBED in the
chest. His eyes are shocked and desperate.
- Twist, HOWLING in agony as she's STAKED.
- A creature, facing away from her.
- Syren, her throat cut and bleeding out.
- A YOUNG MOTHER and her CHILD being brutally attacked.
- Diego being attacked with an AX again and again until the
mysterious figure picks up his decapitated HEAD.
12 INT. MOTEL ROOM – SAME TIME 12
Julie writhes in seeming AGONY at the visions of death and
destruction, the familiar and malignant BRIGHT BLUE LIGHT
hovering above her.
We suddenly hear a PIERCING SCREAM and off that, we SMASH CUT
TO:
13 INT. SKYSCRAPER – STAIRCASE - NIGHT 13
A brunette woman, KATHRYN, runs up a stairwell, her high
heeled feet clattering against the stone steps.
She glances over her shoulder - SOMETHING is moving up the
stairwell after her, hidden in the shadows!
She stumbles and falls, pausing to frantically tear her shoes
off her feet.
She turns, ready to throw her shoes back down the stairwell,
then pauses, looks at the shoes (and their designer label)
and decides better of it.
Kathryn gets moving again, pounding back up the stairs as
whatever's on her trail THUDS its way after her - it's
something humanoid and well-built, but that's all we get.
Kathryn steps on a BROKEN BOTTLE and SHOUTS in pain, slowing
to reach for her injured foot.
SOMETHING'S P.O.V:
The creature looks at Kathryn, with a diluted and blurry,
almost green tint to its vision. It focuses on her as she
backs away from it, limping on her bad foot.
ON SCENE:
Kathryn backs up against the wall, the SHADOW of her pursuer
falling over her.
KATHRYN
(sobs)
Oh, God, please, no... Please...
The creature takes a clumsy SWING at her with its grey
skinned arms, and with a YELP she drops to the floor.
Seeing an opening, Kathryn scrambles forward, passing under
the thing's outstretched arm and back up the staircase.
The creature's head turns to watch her, and we PUSH IN on
part of its face visible in the light as one baleful RED EYE
glares at her.
14 EXT. SKYSCRAPER - ROOF 14
A FIRE DOOR bursts open as Kathryn rushes through, but her
running speed's non-existent thanks to the glass in her foot.
She looks around the rooftop for some way down and spots a
FIRE ESCAPE, turning and darting towards it.
As she passes the fire door again, the creature LUNGES from
within, TACKLING her and knocking her to the floor.
She SCREAMS, swatting desperately at the creature's pallid
skin, before spotting a pile of BRICKS sitting by a half
finished air vent.
Stretching as far as she can, she manages to grab hold of one
of the bricks, turning and BASHING her attacker with it.
The creature GRUNTS in pain and Kathryn attacks again,
smashing the brick down over and over until it finally
CRUMBLES in her hands.
She pushes the creature's dead weight away, dragging herself
out from beneath it and scrabbling backwards.
Breathing rapidly, she stares at the body - but whatever it
was, it's not moving any more.
She gets to her feet, keeping her eyes on the fallen creature
as she backs up towards the fire escape.
She finally breaks and runs, skidding to a halt as she
reaches for the ladder, leaning over to check the distance to
the ground.
And with an inhuman ROAR, another of the creatures LUNGES up
from below, GRABBING her by the throat!
Kathryn SHRIEKS again as she's PULLED OVER the roof in one
quick motion!
And then, silence.
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
15 EXT. MOTEL – MORNING 15
Three figures, draped in dark cloaks shielding them from the
sun, run towards the van and jump in through the open side
door:
16 INT. VAN - CONTINUOUS 16
Twist, Danyael and Naomi shrug off their cloaks, a light
cloud of SMOKE drifting from them. Julie is waiting inside to
quickly slide the door closed again.
NAOMI
There's got to be an easier way of
doing that.
DANYAEL
(grins)
Where's the fun in that?
Naomi wrinkles her nose, SNIFFING at her arm.
NAOMI
The 'fun' would come from not
smelling like cooked meat all day!
TWIST
(beat)
I could kill for a burger.
DANYAEL
Is that all you think about, food?
TWIST
No.
(beat)
Sex, too.
DIEGO (O.S)
Guys?
They turn to see Diego in the passenger's seat. He has a
NEWSPAPER in his hands and looks mildly shocked at the front
page. He turns the paper around and we see the headline
'SERIES OF OVERNIGHT MURDERS.'
TWIST
(sighs)
I don't suppose there's such a
thing as 'a quiet day'?
Chris is next to Diego, turning round to address the
vampires.
CHRIS
That's three more since we arrived
on Tuesday.
Julie looks up from her laptop, glasses perched on her nose.
She turns the screen round to show the others - she's in the
local newspaper archives.
JULIE
And that makes seven in the past
week and thirteen all together.
NAOMI
I don't suppose this could all be a
coincidence?
SYREN (O.S.)
Too many.
They turn - Syren is huddled in the corner of the van,
rubbing her arms as though she was cold.
SYREN (cont'd)
I can feel it. So much destruction
and so much death. Blood and bones.
The others exchange puzzled looks as Chris climbs into the
back of the van, moving over to her.
He crouches down before her, and as she SHIVERS again he
reaches out and takes her hands.
CHRIS
It's alright. When did this happen,
Syren? What can you tell us?
SYREN
It hasn't happened yet.
A beat.
TWIST
And off that Nostradamus moment,
let's be moving on.
DIEGO
Where are we going to start?
JULIE
Start at the top and work our way
down?
CHRIS
Let's go.
Chris heads back into the drivers' seat as we CUT TO:
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Script created with Final Draft by Final Draft, Inc.