sib4x05 Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 INT. DARK HOUSE - UPPER FLOOR - NIGHT 1
Many pairs of FEET scamper back and forth, stamping DUST up
from the creaky floorboards and filthy carpets.
About two dozen men, women and children, their features
cloaked in shadows, scurry around the large, sparsely
furnished house.
FLASHLIGHT BEAMS sweep left and right from several angles as
the scattered individuals struggle to find one another.
MAN'S VOICE
This way! Quickly!
One tall MAN waves several CHILDREN his way, counting them
off as they duck through a small hatch in the wall.
GUNFIRE echoes through the house, freezing everyone in their
tracks.
The Man exchanges concerned looks with several of his
fellows, before he hurries towards a rickety staircase as
they continue the evacuation.
2 INT. DARK HOUSE - ROOMS - NEXT 2
SWEEP PAST a line of bedrooms, each holding a bed, cabinet
and little else, but each one has a family packing their
meagre belongings away.
Scooping up children as they join the flow of people leaving
the building, we follow one family of three:
3 INT. DARK HOUSE - CORRIDOR - NEXT 3
They hurry down the corridor amidst a sea of bodies, everyone
pushing and squirming as they fight towards a waiting door:
WHAM! The doors FLY OPEN and a group of TROOPERS barge
through, jet black body armour and gleaming MACHINE GUNS.
With a chorus of SHOUTS of alarm, the evacuating crowd spins
on its heels and runs the other way.
Undeterred, the Troopers march into the house, leaving two by
the door as others split off and into the rest of the
building.
4 INT. DARK HOUSE - STAIRCASE - NEXT 4
Two Troopers clomp up the wooden stairs, guns raised and
LASER SIGHTS active.
5 INT. DARK HOUSE - UPPER FLOOR - NEXT 5
As more Troopers join these two, they KICK OPEN every door in
their path as they work through the house.
6 INT. DARK HOUSE - ROOM - NEXT 6
BATTERING DOWN another door, the Troopers find a huddled
family, cowering in fear by the side of the bed.
A half-packed suitcase lies on the bed, which one Trooper
overturns and tips onto the floor.
TROOPER
(to colleague)
Watch them. They move, tag 'em.
He exits, leaving another faceless soldier to watch the
terrified family as we CUT TO:
7 INT. DARK HOUSE - KITCHEN - NEXT 7
It's the same scene downstairs - a group of five people are
surging towards the house's back door when it's BLASTED open
by more Troopers.
They try to retreat, but are cut off as fresh soldiers enter
the room behind them.
TROOPER
Get down! Down on the ground, now!
Keeping their weapons trained on the captives, the Troopers
push them down to their knees and yank their hands behind
their waists.
Another Trooper wraps plastic ties round their wrists to keep
them from moving as we CUT TO:
8 INT. DARK HOUSE - FRONT ROOM - NEXT 8
Several Troopers appear in the doorway, laser sights and
flashlights focused on the centre of the room.
PULL BACK to reveal the Man from earlier, sitting in a chair
with his back to the door.
He lets out a slow SIGH, not turning round as a SILHOUETTE
appears in the doorway, framed by the lights.
MAN
I know why you're here.
ON THE MAN as the new arrival paces slowly round to face him.
MAN (cont'd)
I know you've probably captured a
lot of us already, so... so I want
to make a deal.
The other man comes to a stop in front of our speaker, who
slowly lifts his head to look at:
PARKER, dressed in the same black fatigues as his Troopers,
hands behind his back. He raises an eyebrow.
PARKER
A 'deal,' you say?
The Man SWALLOWS. He's scared but trying not to show it.
MAN
You need samples, right? Blood,
tissue, DNA... all of that.
PARKER
That's correct.
MAN
So take me. Take me, and do
whatever you have to do, just...
let the others go.
PARKER
And why would I want to do that?
MAN
Because! Because... there are
children here. Children. Would you
really rather have them over me?
Parker nods, looking behind him.
PARKER
I can see your point, lad. May I?
He motions to another chair. The Man hesitates, then nods.
Parker pulls up the chair and sits.
PARKER (cont'd)
However, I'm afraid I have a better
'deal' that I'm going to make you.
MAN
What's that?
PARKER
I'm going to take every one of you
that I can find, but I'll save you
until last.
He GRINS, and the Man tenses up as two Troopers march up to
either side of him.
MAN
No... no! You can't do this!
He starts to rise, but the soldiers hold him down.
MAN (cont'd)
Please... don't! We haven't put up
a fight, we're not hurting
anybody... why can't you just leave
us alone?
Parker nods to one Trooper, extending his hand. The Trooper
places a FLASHLIGHT in his hand.
PARKER
Because, my boy...
Parker leans forward, shining the flashlight in the Man's
face and giving us a good look at last:
And he's NOT HUMAN. Grey skin, large, exaggerated eye sockets
and crooked, yellowing teeth.
PARKER (cont'd)
... you simply don't have the same
rights as us humans do.
(to Trooper)
Put him with the others.
The man sags helplessly as he's hauled out of the chair and
dragged away, leaving Parker to gloat as we CUT TO:
9 EXT. DARK HOUSE - NEXT 9
Several BLACK VANS are parked up outside the house, the last
of the nonhumans being loaded inside.
PAN DOWN to street level and a MANHOLE COVER - which CREAKS
as it's lifted up a fraction.
A pair of EYES peers out from underneath - one of the escaped
nonhumans.
They can only watch as the Man is the last straggler to be
SHOVED into a waiting van, before the doors are SLAMMED SHUT,
and we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
10 EXT. SIDE STREET - NIGHT 10
The BLACK VAN that Chris' team stole from Parker is parked
down a narrow, empty side street, its side doors open.
VIVIAN emerges from within, turning over a bizarre-looking
piece of equipment in one hands as she pulls on a jet black
top with the other.
VIVIAN
Any ideas what this thing is?
She looks over to CHRIS, who peers at the object before
scribbling something down on a sheet of paper.
CHRIS
We'll mark that as 'miscellaneous'
and put it with the rest.
Vivian glances back into the van - there's a large pile of
similarly outlandish devices. Vivian looks back to Chris and
quirks an eyebrow.
CHRIS (cont'd)
Point taken.
He sits down on the edge of the open bay as Vivian tosses the
object to one side.
VIVIAN
This is going to take us forever.
We don't even have any clue what
half this stuff is!
CHRIS
And we're not going to find out if
we don't try to catalogue it.
Vivian sits down next to him, taking the paper and scanning
down it.
VIVIAN
So far, then, we've got... a multi
band radio unit, medical supplies,
weapons and ammo and some assorted
basic laboratory equipment.
Chris nods towards the pile behind them.
CHRIS
Plus 'miscellaneous' items.
She HUFFS, handing back the sheet of paper and leaning
against the door.
VIVIAN
You'd think I'd know more about
this stuff by now, huh?
CHRIS
Your mandate wasn't exactly to run
a careful inventory of supplies,
was it?
VIVIAN
Guess not. I used to tell myself it
was 'seek and destroy' to make it
sound cooler and less boneheaded.
Chris hops down and peers up and down the street.
CHRIS
The others should be back by now.
VIVIAN
I saw a 7-11 a few blocks back on
our way here. Twist'll be in there
buying candy.
CHRIS
Yes, I imagine she will.
VIVIAN
Danyael'll be saying 'no' but
eyeing up the booze, while Lyra...
well, I guess she'll just wander
around smiling at everything until
it's time to go.
Chris shoots her a half-stern look, and she raises a hand.
VIVIAN (cont'd)
Sorry.
CHRIS
Differences of opinion aside, I
think you're making a good effort
to fit in so far.
VIVIAN
Aside from the fact that Twist
hates me and Danyael does whatever
she says, then yeah. Me and the
team are like that.
She interlaces her fingers.
CHRIS
Twist doesn't 'hate' you. She'll
just take longer to win over thanks
to your... history.
VIVIAN
Tell me about it. I have a hard
enough time forgiving myself for
that crap.
She reaches up for something up on a shelf, WINCING as she
pulls at her wounded arm.
CHRIS
Are you alright?
He steps over, but she quickly retrieves the object and sits.
VIVIAN
Yeah, yeah. I'm good. Just a little
sore from the whole hurricane
thing, you know?
CHRIS
You're sure?
VIVIAN
Chris. Come on. When do people like
us have a problem with long-term
injuries?
Chris walks over to her as she starts examining the new piece
of equipment.
CHRIS
You're not planning on leaving us
again any time soon, are you?
VIVIAN
Wasn't planning on it. Why'd you
ask?
CHRIS
I ask because the way this team
works is a little... slow, compared
to what you must have been used to.
VIVIAN
And you don't think I wanted a
change?
CHRIS
Is that what this is?
VIVIAN
This is more me realising that five
people can do a hell of a lot more
damage than one. Even if that one
happens to be me.
CHRIS
Still, we have a habit of getting
sidetracked. We always have our
mission, but there's always
something between us and it to keep
us busy.
VIVIAN
Are you asking me to go?
CHRIS
Not at all. If it wasn't for you,
we'd all still be lab rats in
Parker's latest maze.
VIVIAN
So what are you saying?
CHRIS
I suppose I just want to be
straight with you. We do things our
way, and if there's ever a
conflict...
VIVIAN
(nods)
Then you won't stop what you're
doing for whatever I'm doing. Got
it. Not gonna be a problem.
CHRIS
Do I have your word on that?
VIVIAN
You trust my word now?
She smirks, teasing. He extends his hand, and they shake.
TWIST (O.S.)
Please tell me that was one of
those 'golden handshakes' I keep
hearing about...
Vivian quickly withdraws her hand as TWIST, DANYAEL and LYRA
walk into frame, each one loaded with grocery bags.
CHRIS
Did you get what we needed?
TWIST
I got what I needed, yeah.
CHRIS
(sighs)
Danyael?
DANYAEL
(holds up bags)
Food, water, hardware supplies...
the usual.
LYRA
I've got the blood.
(beat)
It's a little heavy.
Chris quickly takes her bags from her, checking the contents -
several jars of thick red BLOOD.
CHRIS
Thank you.
Twist steps up into the van, KICKING AWAY all the piles of
clutter to clear a space to sit.
VIVIAN
Hey!
Twist shoots her a look - and then keeps sweeping the
'miscellaneous' pile out of the way.
Vivian GRUNTS and heads for the driver's cabin, as Danyael
joins Twist and Lyra steps up to Chris.
LYRA
Are we ready to go?
CHRIS
Just about. Vivian and I've been
sorting through the contents of the
van since you left, but we haven't
found much we didn't already know
about.
Something CRACKLES from inside the van, gaining the group's
attention.
TWIST
What was that?
DANYAEL
What was what?
She NUDGES him to be quiet and listens - and the CRACKLE
sounds again, followed by a long static HISS.
CHRIS
Sounds like a radio...
He clambers into the van:
11 INT. VAN - REAR - NEXT 11
He approaches the RADIO TRANSMITTER fixed to one wall, but
it's still off and silent.
The CRACKLE sounds again, and Chris turns, following the
noise as he starts to rifle through several SUPPLY BOXES up
on one cargo-webbed shelf.
He brings down a HANDHELD RADIO, fiddling with the volume
until the team hears:
MALE VOICE
(filtered)
Mike Hotel One-Fiver, reporting in.
FEMALE VOICE
(filtered)
Go ahead.
MALE VOICE
Nonhuman subjects subdued and
retrieved without any resistance.
Currently en route to base Jade-FX
with new test subjects in
captivity. ETA one hour.
FEMALE VOICE
Copy that, Mike Hotel One-Fiver.
See you in an hour.
The radio goes silent, but Chris looks up to find Vivian is
already rooting through the various discarded items.
CHRIS
What is it?
VIVIAN
I recognise that call sign...
She produces a thick DIRECTORY from the pile, laying it on a
counter and quickly leafing through it.
TWIST
Should we all be looking this
urgent, or just her?
VIVIAN
There.
She stabs a finger on a page as Chris and the others look.
VIVIAN (cont'd)
Mike Hotel One-Fiver is a
specialised unit. Their MO is the
capture and recovery of nonhumans.
DANYAEL
That's what the guy on the radio
said. What else can you tell us?
VIVIAN
That these 'subjects' they've got?
They're on a one-way trip to the
nearest genetics lab, so Parker's
boys in white can cut 'em open
while they're still alive to see
what makes them go tick-tock.
LYRA
That's awful!
TWIST
Yeah, awfully convenient.
CHRIS
Twist...
TWIST
I mean it! I'm still not a hundred
per cent on trusting this wannabe
goth idol, remember?
LYRA
Even though she's helped us all
several times now?
TWIST
Exactly. What better way to win our
trust than by actually winning it?
Chris throws Danyael a weary look, then turns to Vivian.
CHRIS
Is there any way of tracking this
convoy? Perhaps we can intercept
them?
VIVIAN
(shakes head)
I don't think so. At least, I
haven't found the controls for
anything like that.
She steps past him, opening a PANEL on the wall to reveal a
small screen and keypad beneath.
VIVIAN (cont'd)
What we can do is bounce a signal
back to show us where they came
from. If we start where they did,
maybe we can figure out where they
headed.
CHRIS
Alright, let's go.
Vivian gets to work, booting up the small screen as Chris
heads back into the driver's compartment, clambering over the
backs of the chairs.
Twist leans in close, glancing back at Vivian as she speaks:
TWIST
I don't like this, chief.
CHRIS
No-one's asking you to.
TWIST
Why are you being so damn quick to
defend her?
CHRIS
She's given me no reason not to.
TWIST
Aside from being, oh, I don't know,
one of the fricken bad guys?
CHRIS
People change, Twist. I'm sure you
can appreciate that.
She pouts, turning away from him and taking her seat with a
scowl.
CHRIS (cont'd)
(calls back)
Anything yet?
VIVIAN
Just start driving. It'll take a
minute to get a bounce back from
the GPS, so we need to be moving
first.
Chris starts the van up, Lyra slipping into the passenger
seat as Danyael slides the door shut, and we CUT TO:
12 EXT. DARK HOUSE - NIGHT 12
The van rolls to a halt outside the nonhumans' home - but
it's no longer in the state it was.
The house has been TORCHED, nothing but a blackened, smoking
shell of its former self.
The team disembark, weapons to hand although they're not
expecting a fight.
DANYAEL
Looks like somebody covered their
tracks.
VIVIAN
Now I know this was something
major. They don't go to this much
effort for anyone.
The team start to head indoors - but Lyra pauses, looking
back across the street.
TWIST
What?
LYRA
I thought I heard something.
Twist joins her, scanning the darkness.
TWIST
Nothing there. Come on.
She takes Lyra's arm and leads her away - as we PAN DOWN to
the street, where the manhole cover SLIDES a few inches back
into place.
13 INT. DARK HOUSE - CORRIDOR - NEXT 13
Treading carefully across the scorched, fragile floorboards,
the team spread out to survey the house's remains.
CHRIS
Be careful, everyone. Parker's men
may have laid traps to discourage
people like us.
TWIST
Clearly, they don't know us that
well. We're undiscourageable.
(off Danyael's look)
It's a word if I say it's a word.
Twist and Danyael veer off into the kitchen, while Vivian
steps into the front room. Chris and Lyra edge towards the
staircase.
Chris peers up towards the next floor, SMOKE still rising
from the walls.
14 INT. DARK HOUSE - UPPER FLOOR - NEXT 14
Climbing the staircase and supporting Lyra with one hand, the
duo reach the next floor to look around.
Chris pushes open the first door with his sword, but finds it
empty.
LYRA (O.S.)
In here.
He looks up - Lyra is outside the last door on the corridor.
LYRA (cont'd)
There's a funny kind of energy in
here.
Chris joins her, peering inside.
LYRA (cont'd)
It's like the kind of vibrations I
get off normal people, only... not.
CHRIS
Can you get a specific kind of
'not'?
He spots the SUITCASE, turning it over with his sword. Chris
frowns, scanning over the half-packed clothes.
CHRIS (cont'd)
These people were trying to leave
when they were taken.
VIVIAN (O.S.)
Uh... guys?
Chris quickly rises, exiting the room as we CUT TO:
15 INT. DARK HOUSE - FRONT ROOM - NEXT 15
Chris and the others step through the charred doorway to find
Vivian staring at something off screen - and the team all
draw their WEAPONS.
Facing them is a pack of six of the NONHUMANS, bodies tensed
and ready for a fight.
CHRIS
(frowns)
You're akercocke. What are you
doing this far South?
WOMAN
How do you know what we are?
MAN
Who cares? Get out of here!
TWIST
Hey, friesacher, we're here to
help!
MAN
Oh, like those soldiers were here
to 'help'?
The suspicious AKERCOCKE notice the Parker-regulation outfit
Vivian is wearing, baring their teeth and SNARLING.
WOMAN
You did come back for us!
LYRA
No! We -
Vivian looks down at herself and realises, quickly raising a
hand and lowering her sword.
VIVIAN
No, look, you've got it all wrong,
we're not -
But with a GROWL, the group SURGE FORWARD and ATTACK the
team!
Vivian DUCKS a punch, twisting and SHOVING her opponent
towards the chair.
They trip across it and STUMBLE, as two more LEAP across the
room and pounce on Twist and Danyael!
TWIST
Ack! Damn it - get off me!
She CRACKS her elbow across one's chin - and YELPS in pain as
she hops back.
TWIST (cont'd)
Son of a... watch out, guys!
They're made of concrete or
something!
POW! Danyael FLIES backwards as one lands a punch right in
the kisser.
Chris gets his katana up as another attacks him with a length
of RUSTY PIPE, the weapons CLANGING together.
Lyra is left alone, urgently looking left and right as she
tries to identify friend from foe.
Twist lands a heavy THWACK with her baseball bat - and is
immediately TACKLED by another attacker.
Vivian tries to pin one woman down - and is GRAPPLED from
behind by another, her first target rising to land several
heavy BLOWS to her gut!
Lyra backs up to the doorway, forgotten in the melee as the
team try to battle the akercocke without harming them:
LYRA
(screams; louder)
Stop it!!
Her voice rises to a shrill, piercing SHRIEK that sends
everyone staggering, hands clamped over their ears.
She releases the note, giving the two sides a moment to
regroup.
CHRIS
We're not here to fight you! We
want to help find the others!
MALE AKERCOCKE
How can we trust you?
TWIST
Because we coulda used a lot more
lethal force just then.
The two sides remain on high alert, but it's Vivian who steps
forward, offering her sword to one of the females.
VIVIAN
If you think we're lying, go ahead.
She waits, calm, as the woman looks to her comrades, then the
sword in her hands, and then Vivian.
Finally, she lowers the weapon, the room's mood easing
several degrees as the two sides step down, and we:
BLACK OUT:
END OF ACT ONE
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Script created with Final Draft by Final Draft, Inc.