f4x08
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 EXT. KELOWNA - CITY BOUNDARY - NIGHT 1
Gazing up at the pitch black sky as the stars up above
twinkle.
PAN ACROSS to see the full moon, shining particularly
brightly tonight. Continue to PAN to see a SECOND MOON, this
one only half full.
The second moon tells us something in particular: we're not
in Kansas anymore...
TILT DOWN to reveal where exactly we are.
A city, we'll call it "Kelowna," stands before us, protected
by a brick wall that extends as far as the eye can see in
either direction. The only opening is a wrought iron gate
dead ahead.
The city itself is quite the sight, not dissimilar what you'd
expect at the dawn of the twenty first century - there are
terraced houses in the distance and factories with large
smoke emitting chimneys.
There's a RUSTLING nearby, and a REVERSE ANGLE reveals a
rather forboding FOREST.
PUSH IN, through the branches and leaves, many of them
twisted and rotting, long since dead. The rustling gets
nearer and nearer until:
A LITTLE GIRL, no more than six or seven, stumbles into view.
She's covered from head to toe in dirt and mud, some of it
dried, clearly having been there for a long time.
As she walks she MUMBLES something quietly, almost like a
chant, until she reaches the edge of the forest.
She stops for a moment, taking in the view, then continues
towards the gates, still mumbling, still stumbling every few
steps.
2 EXT. CITY GATES - MOMENTS LATER 2
She reaches the gates and looks puzzled. She tilts her head
to one side and places her hand on it, seemingly confused by
its presence.
3 EXT. KELOWNA - MOMENTS LATER 3
The Little Girl now walks along a cobbled path, the gates
behind her still closed. She walks on, until something
catches her attention off screen.
TWO GUARDS approach her, looking worried. One of them kneels
down to her, takes his coat off and wraps it around her.
GUARD #1
(worried)
What are you doing out here?
(beat, off mud)
Were you out there? In the swamp?
The very idea of her being on the other side of the city wall
seems to unsettle him.
She doesn't answer, shrugging off the coat, letting it fall
to the ground, and carries on walking.
GUARD #2
Oi!
His voice is much less caring, less friendly than his
colleague. The pair are a ready made good-cop bad-cop
combination.
GUARD #2 (cont'd)
Where do you think you're going?
Who are you?
GUARD #1
Stop it, look at her.
(beat)
We should find out who she belongs
to.
GUARD #2
'Belongs to'? She's not a stray
dog. You sure she isn't...
He casts his eyes back to the closed gate. The gruff exterior
from before slipping for a moment, genuine fear now written
across his features.
GUARD #2 (cont'd)
From out there?
GUARD #1
What? No. She's just lost. Besides,
there's nothing out there, just...
rumors.
GUARD #2
(uncertain)
Yeah... of course. Rumours.
He COUGHS, regaining his tough guy composure and nods to the
girl, who's half way to the TOWN SQUARE, which we can just
about make out from here.
GUARD #2 (cont'd)
She's getting away. In case you
were wondering.
Guard #1 hurries after her, and they head off in the
direction of the Little Girl as we CUT TO:
4 EXT. TOWN SQUARE - SAME 4
TOWNSFOLK are engaged in various conversations as they go
about their business. A YOUNG WOMAN turns away from her
FRIEND, laughing at some unheard joke, and heads up the
nearby path, but quickly stops in her tracks.
Not far away from her is the Little Girl, who also comes to a
halt as she see's the villagers. Doing so allows the Guards
enough time to catch her as Guard #2 grabs her by the arm.
He's not exactly gentle about it either.
YOUNG WOMAN
(loud, horrified)
What are you doing?
One or two people hear her and turn away from their
conversations to see what all the fuss is about.
GUARD #2
Just go about your business.
Nothing to see.
YOUNG WOMAN
I'd have to disagree. What happened
to her?
More and more people are looking up now, the situation now
qualifying as a "scene."
GUARD #1
She's lost. We're taking her
somewhere safe until someone claims
her. It's fine.
YOUNG WOMAN
With all due respect, no, it isn't.
Look at her, she's terrified.
The Guards look down at the Little Girl, she doesn't look
particularly fussed by the situation in all honesty, but
they're not about to argue; the whole square is watching now.
The Young Woman approaches her, kneeling down and places a
hand on her filthy looking face.
YOUNG WOMAN (cont'd)
It's alright, I'll take care of you
till your mum finds you. I'm Marie,
what's your name?
The girl looks up at MARIE with the same curious look she
gave the gate. She BLINKS, and opens her mouth, but only a
tiny, hoarse GASP escapes her lips.
YOUNG WOMAN (cont'd)
Come on, let's get you something to
eat, what do you say?
She tries again, and once more, no sound escapes her lips.
With a kind smile, Maria offers the girl her hand, which she
doesn't take. The girl blinks again, and this time, in the
split second she has her eyes closed, something changes!
The innocent glint of childhood in those eyes seems to be
gone, and in their place is something dark and malevolent
with the grin to match.
As Marie recoils, seeing the evil in there, the Girl cocks
her head once more and opens her mouth, this time letting out
a high pitched, unearthly SCREAM!
The townsfolk all drop to their knees, clutching their ears
in agony, trying desperately to blank out the terrible noise
the girl lets out.
And then, she stops, and returns to the innocence we saw
before.
The people let go of their ears, looking up at the girl, but
they don't run, they don't even make a noise. They just stare
at her for a moment.
Then, one by one, they all start to chant:
TOWNSFOLK
We serve our Queen. We serve our
Queen. We serve our Queen.
And as they chant, and start to bow, a look of childish and
somewhat disturbing glee creeps across the girl's face as we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
5 EXT. NEW YORK CITY - DAY 5
A view of the city as people go about their daily business.
PUSH IN on the familiar sight of the ASYLUM.
6 INT. ASYLUM - STAFF ROOM - NEXT 6
NOA and KINCAID are relaxing on a sofa in the staff room,
giggling like school children as they catch up. Noa's chair
waits nearby.
Kincaid's gaze falls on the chair - and his laughter dies
away. Noa notices and looks worried, SNAPPING her fingers in
front of his face.
NOA
Earth to Glenn? Come in, Glenn.
He snaps out of it, smiling weakly.
NOA (cont'd)
You okay?
KINCAID
(nods; covering)
I'm fine. I'm just happy to be with
you again.
Sensing her fear, Kincaid leans in and gently kisses her.
NOA
(grins)
I've missed doing that.
KINCAID
Maybe we should do it again. Just
in case you forget any time soon.
NOA
Maybe we should. You know, as part
of our duty to continue good
diplomatic relations between our
respective worlds.
She leans in and kisses him again. This time the kiss
lingers, and slowly intensifies. Before things get a little
too much we CUT TO:
7 INT. GATEWAY - CONTROL ROOM - NEXT 7
DAWN is stood in front of a floating screen displaying the
latest damaged world. The city on the display is Kelowna.
FAITH raises her hand, a little puzzled about something.
She's accompanied by PRYOR, who looks uncharacteristically
bored as he loads his belt with explosives.
DAWN
You don't have to raise your hand.
Though I kinda like the power.
(beat)
No, bad idea. Power goes to my
head. It's not pretty. I had to
look after a friend's puppy this
one time, and even though I swear I
locked the back door, he just ran
out and -
PRYOR
(snaps)
We don't have all day, Dawn.
Dawn and Faith react to his outburst - and after a beat, so
does Pryor.
PRYOR (cont'd)
Sorry. Faith, you were saying...
Dawn HUFFS, realising her anecdote has been cut short, but
she doesn't have time to complain.
FAITH
What's the problem? That world
looks okay to me.
Dawn raises her eyebrow, pointing to the seemingly endless
forest that surrounds the city on all sides.
DAWN
See this forest?
FAITH
(dry)
No. Oh, wait, yeah. Just there?
Okay. I see it.
DAWN
(scowling)
It wasn't like that two months ago.
Think tranquil, picturesque, not
all Tim Burton-y.
FAITH
So, a forest gets a little tough to
manage and we send in the troops? I
thought we were tackling the really
screwed up dimensions first?
DAWN
It's more than that. Something did
that, and that something is going
to spread to the city, soon. I can
feel it.
(beat)
Wait a second.
She stares into space, going completely blank for a second.
Pryor and Faith look at each other, neither have a clue
what's going on. And then, she's back with us.
DAWN (cont'd)
Someone's trying to use the
Gateway.
Dawn walks over to the PEDESTAL, holding her hand above it.
FAITH
Someone bad? Should we be worried.
DAWN
Nah, I got this.
Casually, she moves her fingers as though dialling a phone
number - and with a SHIMMER of light, a DOORWAY forms in the
air before the group.
FAITH
(whispers)
Can she do that?
PRYOR
Apparently, she can now.
A moment later RUTH steps through the doorway, looking
pleased to be home again.
DAWN
There you go!
RUTH
(smiles)
Hello.
FAITH
Ruth! How'd it go?
RUTH
Jaleena's with our kind. She's
safe. Thanks to all of you.
She moves over to Pryor and hugs him gently, kissing him on
the cheek. He shifts uncomfortably as we CLOSE UP on him -
and he's looking straight at her neck!
Off this slightly disturbing close up, we CUT TO:
8 EXT. FARMHOUSE - DAY 8
A modest farmhouse in the middle of a small, very dry looking
field, connected to the road not too far away via a short
dirt track.
The only thing that looks the slightest bit swanky is a car
parked outside next to a very old looking JEEP, and even the
car isn't brand new.
TITLE: HAZELHURST, MISSISSIPPI
A CAB pulls into view, driving slowly along the dirt path up
towards the farm house, before slowing to a stop. A moment
later, VI steps out of the cab, a heavy looking bag over her
shoulder.
DRIVER
That'll be -
She absent mindedly hands him a note. He takes it and checks,
not too pleased.
DRIVER (cont'd)
I don't have change for this.
Anything smaller?
VI
(not paying attention)
Keep it.
His eyes widen a little - he's not going to stick around for
her to realise her mistake, and quickly turns the car around,
driving off back down the track.
Vi, meanwhile just stairs up at the house, wondering whether
or not to approach. With a sigh, she makes her decision, and
makes her way up towards the porch.
Taking one last breath, building up her courage, she KNOCKS
lightly on the door and waits.
Through the door we hear:
WOMAN (O.S.)
I'm going to be late. Look, I don't
have time for -
The door opens, the woman on the other side sees Vi and her
jaw drops.
WOMAN (cont'd)
This.
(beat)
Vi?
VI
(meek)
Hi, mom.
She shares Vi's fiery red hair, though her dress sense is far
less casual, she wears a sharp looking suit and is clearly on
her way to work. This is ELENA BOWEN.
Elena stares at Vi, who suddenly looks very uncomfortable. A
silence lingers for what feels like forever until Elena dives
forwards, embracing her daughter in a hug.
ELENA
Vi, oh, my God! It's so good to see
you!
She squeezes tighter, and Vi looks like she's about to pop,
but she can't stop smiling, her nervousness now gone.
Elena lets go, kissing Vi on the cheek before turning back
into the house.
ELENA (cont'd)
John, come down here!
JOHN (O.S.)
Who is it?
JOHN BOWEN steps out onto the landing upstairs, peering down
towards the front door.
His soft, caring face shifts the second he sees Vi below,
he's quickly overwhelmed with joy as he races down the
stairs, joining Elena in hugging his daughter.
JOHN (cont'd)
I can't believe it... you're home!
We missed you so much!
VI
(tearing up)
I missed you both too...
As the family reunion continues PUSH IN on VI's face, tears
of joy starting to run down her cheeks, and DISSOLVE TO:
9 INT. BOWEN RESIDENCE - LATER 9
Vi, now wiping the last of her tears away as she closes the
front door, stepping into the modestly decorates hallway.
There are pictures everywhere of Vi, her parents, and various
other relatives. She walks towards one - a younger Vi is in
it with her parents, all of them laughing.
She looks sad as she takes it off the wall, getting a closer
look. A tear falls onto the frame and she wipes it away.
ELENA (O.S.)
Sit with your dad, and I'll be
right in with drinks.
VI
(looks up)
Don't you have work?
ELENA (O.S.)
They can go on without me, this is
a special occasion. It's not every
day your long lost daughter comes
home!
Though she does her best to sound cheery, there's a slight
change in her tone, almost bitter.
Not noticing, Vi places the picture back on the wall, gently
touching her photo-self's face, briefly reflecting on the
past.
CRASH! She looks up, and quickly runs into:
10 INT. BOWEN RESIDENCE - KITCHEN - CONTINUOUS 10
The kitchen, where her mother is hastily cleaning up a broken
glass whilst mopping up its contents with paper towels. She's
crying too, though these aren't tears of joy.
VI
Mom?
ELENA
It's fine, Violet. Just go sit with
your father.
She picks up a few shards of glass, one of them catching the
tip of her finger, producing a single blob of blood.
Vi kneels down, putting a caring arm around her mom and takes
Elena's hand in her own.
VI
Come on, let me help.
Elena shakes Vi off, putting the shards into the nearby bin
and opens up a cupboard, hastily sorting through the
contents.
Vi looks up at her mother, worried. She stands up and tries
to comfort her again, putting her hand on her mother's
shoulder, but again, she's shaken off.
VI (cont'd)
Mom, please. What's wrong?
It's all too much for Elena who yanks her arm out of the
cupboard, bringing half the contents with it, which spills
out across the kitchen counter and floor.
ELENA
Five years!
She's turned red, the tears are streaming down her face and
her makeup is just about ruined. She's furious, and by the
fact that Vi is looking intently at her feet, we can guess
she knows full well why.
VI
(quietly)
I'm sorry I -
ELENA
(not listening)
Five years and you didn't come back
once!
VI
(pleading)
I couldn't. It was... complicated.
ELENA
Do you think I care about
'complicated'? We didn't know where
you were, what you were doing! You
vanished, Vi!
The tears keep coming, more and more by the second. Vi starts
to cry too, five years of guilt pouring out all at once.
VI
I'm sorry...
ELENA
You're damned right you're sorry!
What the hell have you been doing?
John runs into the room, having heard the commotion at last,
he looks to his wife, and then to his daughter.
JOHN
What's going on here?
He's not angry, or if he is, he's hiding it well. He just
looks worried for them both, and steps forward, placing an
arm around each of them as they both sob.
JOHN (cont'd)
Come on, what's wrong?
ELENA
(sobs)
Vi was about to explain why she
didn't bother to tell us about
what's been going on with her for
the last five years.
Vi does a double take, suddenly finding herself in a very
difficult situation. She shakes her head, not prepared to
tell the truth, but John's kind face changes. He's very
serious all of a sudden, and he wants answers to.
JOHN
Well?
Taking a moment to sum up her option, Vi steps back, leaning
against the counter, her hand on her forehead. She wipes away
her tears and NODS.
VI
Okay.
(beat)
But you're going to want to sit
down.
John and Elena look at each other, intrigued as the worst
case scenarios possible all pop into their head at once.
Reluctantly, all three leave the slightly chaotic kitchen
behind and we CUT TO:
11 INT. ASYLUM - CORRIDOR - LATER 11
Ruth and Pryor walk along the corridor, Ruth is practically
bursting with cheer. She's so happy in fact that she doesn't
notice that Pryor's being even more reserved than usual.
RUTH
(animated)
It's wonderful there. My kind and
humans live in peace, it's like
nothing I've ever seen. Mountains
and fields and oceans so pure and
beautiful. And the family she's
with, so loving! Oh, and -
PRYOR
I take it you'll be going back?
His comment seems to put a downer on Ruth's mood straight
away. She was hoping the question wouldn't come up just yet.
RUTH
Yes. Eventually, at least.
PRYOR
How long are you here for?
Ruth does her best to maintain her smile, but it's becoming
increasingly false and increasingly obvious.
RUTH
About - ah!
She jumps out of her skin as JERRY steps around the corner
and quickly pulls her in for a hug, that broad smile
plastered across his face as always.
JERRY
Good to see you.
RUTH
(struggling to speak)
Good to see you too.
They break apart and Ruth looks around, noticing that Pryor
has disappeared.
PULL AWAY to a corner nearby, behind which Pryor has hidden.
He's spying on Ruth and Jerry, both of whom are clearly very
happy to see each other.
Jealousy quickly dominates Pryor's features as they continue
to talk. He clearly doesn't like what he's hearing.
With another hug, Ruth turns and heads off down the corridor,
leaving Jerry, looking very pleased with himself, standing
alone.
Pryor steps out of his hiding spot and approaches Jerry, who
sees him coming.
JERRY
Hey. Isn't it great she's back?
He's caught off guard as Pryor grabs him by the shirt and
SHOVES him into the wall!
JERRY (cont'd)
What the hell is wrong with you?
PRYOR
Leave her alone.
JERRY
What?
PRYOR
I said, leave Ruth alone.
Jerry half laughs, though he's more startled than amused
right now.
JERRY
I don't know what you're talking
about. Pryor, it's you she wants,
we're just friends. It's not like
you think!
Pryor lets him go, straightening himself up.
PRYOR
See that it stays that way.
And without another word, he turns and stalks off down the
corridor, leaving a baffled Jerry watching him go, still
catching his breath back.
12 INT. GATEWAY - CONTROL ROOM - LATER 12
The team have assembled, Faith, Pryor, Kincaid, RACHEL and
Jerry, who is staring at Pryor, still completely puzzled
after their confrontation. Dawn is stood to one side, her
arms folded.
FAITH
(to Kincaid)
You sure you want to do this?
KINCAID
I owe you all my life, it's the
least I can do.
FAITH
Good enough for me.
(to the team)
We all ready?
RACHEL
Dial the gate!
(off looks)
What?
Faith moves to the pedestal and starts to do her thing, her
hands moving over the liquid filled tubes.
Eventually, five DOORS appear before them, each with its own
unique style. Faith steps down from the pedestal, brandishing
the HANDLE.
FAITH
Like ridin' a bike. Let's go.
She moves the Handle towards one of the doors, but stops,
quickly patting her pants.
FAITH (cont'd)
Crap.
Everyone looks suddenly worried, what did she forget that's
so important?
RACHEL
What is it?
FAITH
I forgot my gum.
Everyone relaxes.
KINCAID
'Gum'?
PRYOR
Why are we stopping for gum?
FAITH
Stops my ears popping when we go
through one of these things.
(off looks)
And, you know... for luck.
Jerry reaches into his pocket, pulling out a packet of
nicotine gum.
JERRY
This do?
He tosses it over, she gives him a thankful grin.
FAITH
Hey, two birds, right?
Popping one into her mouth, she places the handle onto the
door and opens it, and leads the team into the portal.
As the doors disappear, Dawn and Jerry are left alone.
DAWN
(pointed)
'Bye, Dawn.'
(pouts)
How hard is it to be just a little
more courteous? It's not like I
expect a lot from people!
Jerry CHUCKLES, and Dawn looks around, clearly having
forgotten he was still there.
DAWN (cont'd)
Well... I don't!
Jerry shakes his head and walks off, leaving Dawn to it as
we:
BLACK OUT:
END OF ACT ONE
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Script created with Final Draft by Final Draft, Inc.