sib4x18
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24 INT. VAN - CONTINUOUS 24
Danyael checks back to make sure everyone's in and belted.
DANYAEL
Alright, Operation Diversion is a
go...
He stands on the gas:
25 EXT. SANCTUARY - EXIT - CONTINUOUS 25
The van BURNS RUBBER as it hurtles up the ramp, SPARKS flying
as its chassis scrapes the stone below.
REVERSE ANGLE as the van speeds towards us, the flickering
blue shield behind them already starting to fade.
The van hangs a sharp left out of the cave, and as blossoms
of GUNFIRE and EXPLOSIONS hammer the shield, we CUT TO:
26 INT. BEDROOM - NIGHT 26
Lyra is back in her faux bedroom, curled up on the bed. She's
still wide awake, lost in her thoughts.
A soft KNOCK at the door is followed by Parker opening it and
stepping inside.
PARKER
How are you feeling?
She stays quiet. Parker wanders further into the room, hands
tracing over the furniture.
PARKER (cont'd)
I know you can't really appreciate
it, but this is an exact replica of
your old room.
Again, she says nothing. Parker sits on the edge of the bed.
PARKER (cont'd)
Lyra, please. I've given you some
time. I let you storm right out of
my office after I said -
LYRA
Since you told me I was 'home.'
PARKER
(bows head)
Aye. Are you ready now to let me
explain a few things?
LYRA
I don't want to hear it. Nothing
you could say will make me believe
you.
PARKER
That's probably true. So I've
brought somebody here to speak to
you instead.
He rises and heads for the door. STAY ON LYRA as she curls up
a little tighter. Wanting this all to end.
PARKER (O.S.) (cont'd)
She's just through here.
Lyra sits up a little as she hears a second person enter the
room - and hears a GASP of shock.
VOICE (O.S.)
(female; Scottish lilt)
Ly... Lyra? Is that you?
Frowning, Lyra sits upright - and a SHADOW falls across her.
LYRA
Who's that? Who's there?
REVERSE ANGLE to show the new arrival - silhouetted against
the light from the door.
VOICE
Don't you recognise me?
PARKER
She can't see. She's blind.
VOICE
Oh. Oh, I... I didn't -
LYRA
Your voice, it's... do I know you?
ON LYRA as the figure steps into view - it's a girl Lyra's
age, features very similar to our girl (long, curly hair,
slender frame, big blue eyes).
The young girl smiles as she takes Lyra's hands in her own,
and guides them up and over her face.
GIRL
Don't you remember me?
Lyra frowns, letting her fingers trace the girl's features,
struggling for recognition - until:
LYRA
(eyes wide)
Shona?
SHONA lets out a little SOB of relief, nodding.
SHONA
Aye. Aye, Lyra... it's me.
LYRA
But... but how... where do I... I
don't - I mean, I can't -
But Shona ignores all that and EMBRACES Lyra warmly.
SHONA
Oh, God, Lyra... I thought you were
dead!
Lyra is utterly thrown, her mind racing as she tries to
process what's happening.
SHONA (cont'd)
I thought my big stepsister was
gone...
And that sparks off the memory Lyra's been looking for. She
gently pushes Shona back, needing a moment.
LYRA
We're... sisters?
PARKER
On your mother's side.
(beat)
As I said earlier... you're home.
Shona is now crying freely, and pulls Lyra in for another hug
as we CUT TO:
27 INT. VAN - NIGHT 27
Back with the team, licking their wounds as they race on.
DANYAEL
Where to?
CHRIS
Back to Allison's lab. We need to
see if she's completed work on
anything to stop those soldiers.
MARCUS
And then we'll go and get Lyra?
CHRIS
And once she's back with us, then
we grab Sophia and keep moving.
VIVIAN
How long are we going to run?
A beat of uncomfortable silence falls across the van.
VIVIAN (cont'd)
Look, Parker wants us wiped out
just as bad as he wants the Furs
and vamps gone too. So how long are
we going to just keep running away
from him, and when are we going to
take a stand?
CHRIS
Vivian, we need the right tools to
stop his troops first.
TWIST
And once we get the Furs to safety,
they'll have our backs when we go
all-out against Parker.
VIVIAN
Hey, I want him dead as much as
anyone, but... do you guys really
think we can still do this?
Nobody chooses to respond. Vivian sits back down, the mood in
the van solemn as we CUT TO:
28 INT. PARKER'S OFFICE - NIGHT 28
Lyra is sitting by the fire, waiting as Parker takes a seat
facing her - armed with a glass of whiskey.
PARKER
Would you like me to start at the
beginning?
LYRA
(nods)
I need to hear it all.
Parker exhales, taking a swig of his drink.
PARKER
You, Lyra Morley, are the last in a
long line of clones of my deceased,
estranged stepdaughter.
Lyra is silent as Parker continues:
PARKER (cont'd)
Even before I married your mother,
your opinion of me was never
exactly a good one.
CUT TO:
29 EXT. SCIENCE PARK - DAY 29
A downtown cluster of labs and buildings - with a jeering
PICKET LINE outside, made up of placard-waving PROTESTORS.
PARKER (V.O.)
In fact, you were one of my most
vocal critics.
PAN ALONG the crowd to locate LYRA - a little younger and
scruffier, but shouting just as fiercely as those nearby.
30 INT. LAB - DAY 30
Lyra is now part of a team of black-clad youths, sneaking
their way through some kind of animal testing lab.
Various caged creatures SHRIEK and HISS at them as they pass -
monkeys, cats, birds.
PARKER (V.O.)
You dropped out of college,
abandoned your music degree and
became an activist - against me.
As her comrades get to work unlocking the cages, Lyra moves
towards a larger cage, covered by thick black drapes.
PARKER (V.O.) (cont'd)
But it was when you broke into one
of my labs and attempted to free
the test subjects that you were...
well... I'm sure you remember.
Lyra picks up a FIRE EXTINGUISHER, and uses it to BASH OPEN
the locks on the cage.
She carefully pulls the drapes back, letting the cage door
swing open...
And something FLIES out towards her - some kind of huge, jet
black INSECT, its wings BUZZING at terrific volume!
Her hands lash out, trying to beat it away, but the insect
shrugs off the blows, its long, needle-like head ZAPPING
forward, and as Lyra SCREAMS again the creature lets out a
SHRIEK to match!
31 INT. PARKER'S OFFICE - NIGHT 31
Parker is over by his desk now, staring out through the
window with its artificial sunset display.
PARKER
I rushed you to my infirmary as
fast as I could, but the creature
that stung you...
LYRA
I died, didn't I?
He looks down at his glass, draining the last drop before
heading back over as we CUT TO:
32 INT. INFIRMARY - DAY 32
Lyra lies on the table, tube in her mouth, IV in her arm -
and FLATLINING.
The attending doctors look to Parker, who steps slowly into
frame and takes Lyra's hand.
PARKER (V.O.)
Any other man would have accepted
his loss, but...
He leans over her, tears in his eyes, and KISSES her lightly
on the forehead. And he then turns to his team with a fierce,
commanding glare in his eyes as we CUT TO:
33 INT. LABORATORY - NIGHT 33
PUSH THROUGH a busy, bright lab facility, TECHNICIANS moving
around and checking various pieces of equipment.
PARKER (V.O.)
Well, I'm not 'any other man.'
The room holds about two dozen tall GLASS TUBES, filled with
a clear green fluid and hooked up to a series of monitoring
devices.
Something HUMANOID is inside each tube, floating in the fluid
and curled up into a tight ball.
PARKER (V.O.) (cont'd)
The insect that stung you was a
mutated strain, its unique
abilities based around sonic
manipulation. What I didn't realise
at the time was that when I began
the cloning program with your DNA,
some of the insect's carried over.
UP CLOSE to the first tube now - and it's LYRA who floats
within, breathing mask in place.
34 INT. LABORATORY - NIGHT 34
A long conveyor belt runs from the back of one of the tubes
as a HATCH opens in it, disgorging the GREEN FLUID.
The naked, slimy Lyra clone slides out of the tube, GASPING
for breath and shuddering like a new born.
Attending technicians quickly wrap her in blankets and sit
her up as she RETCHES, coughing and spluttering.
PARKER (V.O.)
It didn't all run smoothly. There
were many failed attempts -
LYRA (V.O.)
I know. I found them. You had a
facility underneath a town called
Elysium, didn't you?
PARKER (V.O.)
Aye, I heard about that. I'm sorry
you had to find out that way.
The clone Lyra sits up groggily as a technician shines a pen
light into her eyes - but her pupils don't respond.
Shivering and afraid, she pulls the blanket tightly around
her as she's helped off the conveyor.
PARKER (V.O.) (cont'd)
And I'm also sorry I couldn't find
a way to fix the blindness that the
process gave you.
CUT TO:
35 INT. FACILITY - ROOM - NIGHT 35
Lyra, dressed now in a plain white gown, sits in a sterile
room with a large VIEWING WINDOW on one wall.
PARKER (V.O.)
It was when the insect's DNA
manifested as your powers that I
had to admit defeat.
Lyra turns her head slowly to face the window - and then
starts to HUM softly.
She rises to her feet as the noise builds in volume, her lips
starting to curl as she approaches the glass.
She POUNDS her fists against the screen and lets out a full
throated SCREAM:
CRACKS start to snake across the window, and as she throws
her head back and SCREAMS ever louder, the window finally
SHATTERS!
PARKER (V.O.) (cont'd)
I had no choice. I had to isolate
you until I could find some way to
perfect the process, to delete the
insect DNA from your own and
restore you to who you were.
36 The door flies open and several SOLDIERS rush into the room,36
hands clamped over their ears as they try to get close.
37 EXT. FACILITY - NIGHT 37
With plenty of ARMED GUARDS on standby, a SEARCHLIGHT tracks
one team who carry the sedated Lyra between them.
A large CRATE waits on the back of a truck, which the men
bundle Lyra into.
INSIDE THE CRATE as the back panel is lifted into place and
sealed - plunging us into darkness.
38 EXT. LAKE HURON - DAY 38
And a freighter chugs along in the middle of one of the Great
Lakes, nothing on the horizon for miles.
Until the crate is pushed over the side - where it lands with
a THUMP on a patch of rock only a few metres across.
PARKER (V.O.)
Of course, when you freed yourself
and began to cause disappearances,
I had to send Chris along to... to
clean things up. I had hoped he
could do what I couldn't and
finally put an end to the pain I'd
put you through...
As the freighter sails away, leaving the crate behind, we
DISSOLVE TO:
39 INT. PARKER'S OFFICE - NIGHT 39
Parker is back in his chair, rubbing his head. He seems
genuinely filled with sorrow.
PARKER
... but he's too decent a man for
that. He saved you, took you in,
and now here we sit once again. Me
to face my demons and try to make
amends for them, and you... you to
help me.
LYRA
'Help' you? How could I possibly
help you?
Parker leans forward, placing his empty glass down.
PARKER
Lyra.. I'm dying.
Lyra's mouth opens in surprise as we:
BLACK OUT:
END OF ACT THREE
ACT FOUR
FADE IN:
40 INT. PARKER'S OFFICE - NIGHT 40
Resume, with a speechless Lyra sitting opposite Parker.
LYRA
But - I don't understand, how can
I...
Parker reaches out and takes her hands. For the first time,
she doesn't resist.
PARKER
Do you believe everything I've told
you? About who you are?
LYRA
(beat)
I... I remembered a lot of it last
year, when I went to see this man
called Sueno. He helped me
remember. He said there was some
kind of... lock on my memories.
PARKER
That was my doing, I'm afraid. At
the time, I felt it was for the
best. I didn't want you knowing who
you were before I was ready to fix
what I'd done to you.
LYRA
A lot of things make sense now,
like...
She takes a breath, trying to calm her racing emotions.
LYRA (cont'd)
Like Shona. I never even remembered
her until she was right there in
front of me, and suddenly it was
like years of my life just... leapt
back into my mind.
Lyra rises, her hands slipping from Parker's.
LYRA (cont'd)
How we used to go fishing out on
the lake behind grandma's house...
how she could never play 'Moonlight
Sonata' properly so I had to help
her with the high notes...
She paces across the room, lost in the memories.
LYRA (cont'd)
(smiling)
Or how people never expected us to
be as close as we were, because
they'd never seen two girls -
SHONA (O.S.)
(over her)
... who looked so alike from two
different fathers.
Lyra turns - Shona is standing in the doorway. Lyra lets out
a happy LAUGH, and Shona rushes over to embrace her again.
SHONA (cont'd)
This is all too much... I mean, I
mourned you, Lyra. I went t your
memorial. I cried myself to sleep
for weeks, and now...
She looks up - Parker has joined them.
PARKER
And now we're together again.
Lyra turns to face him.
LYRA
Why didn't you tell me? Why did you
have to keep things secret for so
long?
PARKER
Would you have listened.
A beat. Lyra concedes the point.
PARKER (cont'd)
Shona, are you not... angry with
me? For what I did? Bringing her
back?
SHONA
My big sister's alive and standing
right here before me.
She strokes Lyra's hair affectionately.
SHONA (cont'd)
Right now, I'm too busy being glad
for that to worry about the how and
the why of it.
She turns to Parker - suddenly stern and commanding.
SHONA (cont'd)
But you are going to tell me
everything you did to her.
Parker bows his head, walking away and leaving the two girls
together.
PARKER
I don't suppose there's any chance
I can -
ALARM BELLS start to ring, starting the girls. Parker rushes
for his desk and snatches up his PHONE.
PARKER (cont'd)
(into phone)
What the hell is going on?
He listens - then shoots an urgent look towards the girls
before he hangs up.
SHONA
What is it? What's happening?
PARKER
We need to get you two out of here,
now.
SHONA
But why? What's wrong? Is it -
LYRA
It's Chris.
A half-smile forms on her lips as we CUT TO:
41 EXT. FACILITY - NIGHT 41
PUSH TOWARDS a high wall to one side of the facility - an
open complex set out like a military barracks.
Chris stands before the wall as Twist and the others battle
SECURITY TEAMS on either side of him.
Chris has one hand raised - a globe of BLACK ENERGY snarling
and crackling in the air before him.
And a HOLE is starting to scorch itself out of the wall
facing him as Chris directs his energies.
TWIST
(mid-fight)
How much longer?
Chris doesn't reply - doesn't need to, rather, as with a loud
FOOM the hole he's been burning into the wall is complete.
He wastes no time, racing for the entrance and DIVING through
it, leaving the others to catch up.
42 INT. FACILITY - CORRIDOR - NEXT 42
Parker strides along as Shona and Lyra follow, the ALARMS
still sounding urgently overhead.
Base personnel and SECURITY hurry past in both directions -
Parker stops one to ask:
PARKER
Is it him?
GUARD
Sir. He's breached the outer wall.
PARKER
What about the anti-magic fields?
GUARD
Holding for now, but they're under
a lot of strain. Whatever energy
he's putting out, he's pushing them
to their limits.
Behind them, Lyra's smile starts to drop - she knows what
that must mean.
PARKER
Prepare my shuttle for the beta
site. Send every bio-squad we have
to face them.
GUARD
Sir.
He hurries off, and Parker turns to usher the girls along.
SHONA
'Bio-squads'? Dad, what's -
PARKER
It doesn't matter. What matters is
getting you two to safety.
He stops by a security door, swipes a keycard to unlock it
and guides the girls inside as we CUT TO:
43 INT. FACILITY - GARAGE - NEXT 43
In a long, high-ceilinged room lined with all manner of base
vehicles, Chris leads the team on.
VIVIAN
This way.
She hurries a few steps ahead - just as SLIDING DOORS at the
far end open to reveal a team of SUPER SOLDIERS!
DANYAEL
Down!
The team duck for cover behind the parked vehicles as BULLETS
and ROCKETS fly their way.
Several vehicles are hit, DETONATING in blazing fireballs and
spraying white-hot debris.
Which is when Vivian realises Chris hasn't taken cover - she
looks up to see he's still advancing!
VIVIAN
Chris! Get your ass down!
The soldiers are reloading for another barrage, but Chris
just raises a hand.
CHRIS
Desarmar.
The soldiers' weapons all begin to MELT in their hands!
Chris keeps coming, katana at the ready as the troops march
forward to meet him hand-to-hand.
Moving with blinding speed, he HACKS left and SLICES right,
detaching limbs and cutting the soldiers down.
Even as they hit the ground, some are starting to push
themselves back up - their wounds HEALING as the flesh knits
back together!
That's when Chris reaches into his jacket and takes out a
thin, GRENADE-shaped object.
He takes a few steps back and tosses it onto the ground in
the midst of the recovering soldiers.
A cloud of GAS quickly sprays from it, engulfing the soldiers
- who quickly start to SCREAM and HOWL in pain!
Twist and the others emerge from cover, cautiously advancing
as Chris watches the carnage.
The soldiers are flapping wetly on the ground, their bodies
literally DISSOLVING around them.
Vivian looks away, sickened, and Twist covers her mouth in
disgust.
MARCUS
Damn...
DANYAEL
I guess we can call that a
successful field test, right?
CHRIS
(cold)
Let's keep moving.
He walks on, striding over the quivering bodies of the
soldiers as we CUT TO:
44 INT. FACILITY - SHUTTLE BAY - NEXT 44
Parker clatters down a metal staircase into a long tunnel,
which has RAILS running down the centre.
Standing at the end of the tracks is a SHUTTLE BUS, a bullet
train-shaped vehicle with room for six.
PARKER
We're here. Quickly, girls.
He starts to gently push Shona and Lyra towards the bus, but
Lyra stands her ground.
LYRA
No. Let me speak to him.
PARKER
There isn't time!
On cue, a distant EXPLOSION rattles the entire room.
SHONA
Lyra...
LYRA
He'll listen to me. I can get him
to stop.
PARKER
And if he doesn't?
LYRA
(firm)
He'll listen to me.
Parker looks desperately round the room - which RUMBLES again
- before he takes Shona's hand.
PARKER
Will you come back to us?
LYRA
I will.
SHONA
Lyra, be careful!
LYRA
Don't worry. He's not here to hurt
me. He's here to rescue me.
SHONA
Who's 'he'? What's going on? Is
anybody going to tell me?
PARKER
On the way, sweetheart, I promise.
He bundles her into the shuttle, turning back to Lyra.
PARKER (cont'd)
You don't have to do this.
LYRA
Yes, I do. There's so much...
(beat)
We're not finished yet.
And with that, she turns away, feeling her way back up the
staircase. Parker can only watch as we CUT TO:
45 INT. FACILITY - LABORATORY - NEXT 45
The doors to a long, glass window-lined lab section BLOW
OPEN, sending the bodies of several soldiers HURTLING through
the air in flames!
As the smoke clears, it's Chris who steps into the lab first,
an aura of BLACK ENERGY crackling in the air around him.
The scientists within are already packing up and leaving, but
at the sight of Chris they drop their things and flee.
Vivian passes Chris, the team moving on through the smoke
filled lab.
VIVIAN
All of Parker's bases follow the
same basic layout. Through these
doors we'll hit another main access
corridor, and at the end of that is
the shuttle garage.
TWIST
He has his own space shuttle?
DANYAEL
Shuttle train.
(to Vivian)
Right?
VIVIAN
It'll blast him to the next site
faster than anything Tokyo's got.
MARCUS
So we stop it from leaving. Cut the
power.
VIVIAN
(shakes head)
Triple failsafe. It's one of the
most secure power lines in the
entire complex.
TWIST
Gotta admire a man with such a
foolproof exit strategy.
The team burst through the doors:
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