kennedy1x01 Script created with Final Draft by Final Draft, Inc.
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INT. PUBLIC HOUSE / BEDROOM - NIGHT
The room is as we just saw it - there is no immediate
realization we have even moved forward in time.
ISOBEL has moved a chair into the bedroom from elsewhere in
the building and has placed it to the right of the bed - next
to the cabinet and washbasin.
A candle has been placed on the cabinet and ISOBEL is sitting
in the chair and reading a book - she turns the page and
begins to read the next page.
KENNEDY (O.S.)
Where am I? And who are you?
ISOBEL
More's the question - who are you?
KENNEDY shifts in the bed - she looks round the room and then
rests her head again.
KENNEDY
My name is Kennedy.
ISOBEL
I'm Isobel - my betrothed found you
in the middle of his father's
cornfield, Kennedy. We don't know
where you've come from -
KENNEDY
I don't know where I've come to.
ISOBEL
This is Bridgeport.
KENNEDY
Which is where?
ISOBEL
England. You must have suffered a
blow to the head, Kennedy. How
could you not know that this was
England -
KENNEDY
And the year?
ISOBEL
2004.
KENNEDY
You must be trying to pull a fast
one on me. Who put you up to this,
Isobel? Was it Andrew - ?
ISOBEL
I know of no Andrew, m'lady. Are
you quite sure you didn't get
knocked on the head?
KENNEDY
I remember being -
(whispers)
I remember dying.
ISOBEL
M'lady?
KENNEDY
I remember finding out Dawn was
Ulithios, then Ulithios buried an
axe in my back and then - then I
died.
KENNEDY slides out of the bed - she's wearing a white
nightdress and nothing on her feet. She runs her fingers over
the covers on the bed and across the surface of the cabinet -
KENNEDY (cont'd)
I need a mirror.
ISOBEL
M'lady?
KENNEDY
A mirror - the axe went into my
back, is there a mark on my back,
Isobel? You put me in this -
(re: the nightdress)
So you must know if there's a
wound.
ISOBEL
There wasn't, M'lady.
KENNEDY
Stop with the M'lady nonsense,
Isobel. I have a name - and you'll
use it.
ISOBEL
Yes, Ma'am. I mean - Kennedy.
KENNEDY
So - no wound, weird place. And I
know I died - You know, this might
sound weird, but do you know what
vampires are?
ISOBEL
Of course, they've controlled the
world for the last two hundred
years at least. How don't you know
that?
KENNEDY
I'm not from around here - at
least, I don't think I am. Would it
be possible, if you don't mind, to
get some clothes?
ISOBEL
Yes, M'lady. I'll get right to it.
ISOBEL rises - and KENNEDY realizes she's wearing a long
black dress and a white blouse with a pair of plain black
shoes that have a single buckle on them.
KENNEDY
Trousers, boots, a shirt, some
boots. Working clothes -
ISOBEL
I beg to know why?
KENNEDY
I just feel like I've got something
I need to do round here.
ISOBEL opens the door, steps out into the corridor and closes
the door behind her.
KENNEDY sits on the edge of the bed for a second, her eyes
scan the room and she tries to take everything in but she
struggles. She picks up the axe and holds it in her hands -
SMASH CUT TO:
EXT. CORNFIELD - DAY
CLOSE UP ON KENNEDY'S FACE as her eyes snap open, her face is
smeared with mud -
REVEAL she is in a cornfield and that she is naked and that
it's raining. KENNEDY blinks her eyes - and stretches her
fingers, she brushes the tips of her fingers over the axe.
SMASH CUT TO:
INT. PUBLIC HOUSE / BEDROOM - NIGHT
KENNEDY puts the axe down onto the bed - she turns and walks
to the window, pulls aside the lace curtain and peers
outside. The weather is still bad, it is raining. There is a
thunder clap and a lightning bolt - which plays across her
face but also allows her to make out the buildings outside.
KENNEDY'S POV reveals that all of the buildings are the same
as the exterior of the PUBLIC HOUSE -
KENNEDY steps backwards, the truth begins to settle in and
she sits down on the edge of the bed again - this isn't a bad
joke, this is serious.
ISOBEL pushes the door open, she is carrying some clothes in
her arms and they are folded up neatly.
ISOBEL
I got what you asked for, M'lady.
Or, the closest I could get - you
don't mind wearing a gentleman's
clothes, do you? Not many of the
women round here wear trousers -
that's for those simple
countryfolk.
ISOBEL puts the clothes onto the bed, picks each item from
the pile and puts them separately to the others -
- KENNEDY begins to pull the nightdress over her head without
ISOBEL noticing. ISOBEL reacts in shock when she realizes
that KENNEDY is standing naked in the middle of the room.
ISOBEL (cont'd)
Cover yourself up, Madam. A lady
shouldn't have to view such things.
KENNEDY
It's not like you haven't seen a
naked body before, Isobel. Now,
hand me the trousers -
ISOBEL hands KENNEDY the trousers - and KENNEDY slips them
on, then the shirt which she pulls on. Once she has the shirt
and trousers on, she sits back down and reaches for the boots
and begins to pull them on.
ISOBEL
Did you mean to bewitch my fiancé
with your beauty, M'lady?
KENNEDY
Oh - no. Definitely not. Wherever
this is, it's not where I'm from.
And where I'm from there's someone
I'm very much in love with, and I'm
hoping to get back there very soon.
ISOBEL
I believe you have bewitched him
though.
KENNEDY
Trust me - it was unintentional.
ISOBEL
Perhaps you could explain such
things to him when you see him -
KENNEDY
Oh, I'm not going to see him. I
need to go, to find out how I got
here. You said that I was found in
the middle of a cornfield, is it
possible for you to take me to the
field?
ISOBEL
Have you seen the weather, Ma'am?
KENNEDY
I take it that's a no.
ISOBEL
But the soothsayer claims it will
be sunny tomorrow - so, if you are
willing to wait, I will be happy to
take you to the field in the
morning.
KENNEDY
As much as I'd like to -
ISOBEL
It's the least you could do for us,
to stay and regale us with tales of
whatever place you're from. After
we've tended to all your wounds -
KENNEDY sighs - she knows when someone's guilt tripping her
into doing something.
KENNEDY
Just one night - if the weather
isn't fine tomorrow, I'm leaving
anyway.
ISOBEL
Very well.
EXT. PUBLIC HOUSE - NIGHT
Night time - the moon peeks out from behind the clouds that
are stretched across the sky. The weather is calmer, there's
a light drizzle and a slight wind - over, we can hear the
sounds of a horse galloping towards us, then we realize it's
not just one horse, it's actually several.
The sound of the hooves on the mud starts to become
thunderous.
INT. PUBLIC HOUSE / BEDROOM - NEXT
KENNEDY is lying on the bed, but she is not asleep - her eyes
are open and she is in the clothes that ISOBEL brought to
her. Her hands are interlaced over her abdomen and the axe is
on the bed to her right - moonlight filters into the room and
there is a gentle staccato beat as the rain beats against the
window pane.
The sound of the hooves upon the mud begins to filter into
the room - and KENNEDY turns her head towards the window,
then rises to her feet and approaches the window as the sound
grows louder and then suddenly stops.
KENNEDY pulls the lace curtain aside and peers out of the
window to find that there are three black horses outside, two
of them have riders on their back and the third one doesn't.
The rider of the third horse is the figure walking towards
the front door of the PUBLIC HOUSE - he is carrying a torch
and the light from it casts his face partly into shadow
whilst leaving zero room to doubt he is a vampire.
KENNEDY steps backwards and grabs the axe from the bed, heads
towards the door and into:
INT. PUBLIC HOUSE / CORRIDOR - NIGHT
KENNEDY cautiously takes a few steps forward in the darkness
to the top of the stairs - some light filters upwards from a
source below, but there is no noise filtering up alongside
it.
SUDDENLY we hear the front door of the PUBLIC HOUSE smash
open and we hear footsteps on the stone cladding floor - they
stop:
MALE VAMPIRE (O.S.)
Where is she? Where are you hiding
this new slayer? I know she's here -
I can smell her.
INNKEEPER (O.S.)
I don't know what you mean, Sir.
I'm just a humble innkeeper -
- there is a roar, a scream and then silence.
MALE VAMPIRE (O.S.)
And now you're a humble and dead
innkeeper, good sir.
KENNEDY vaults over the stairwell railing -
INT. PUBLIC HOUSE / MAIN AREA - CONTINUOUS
- and lands in the main area of the PUBLIC HOUSE. A simple
room with a bar on one side of the room, a roaring log fire
(which is the only source of light) and a few tables and
chairs scattered about.
The stairwell comes down to the right of the room and the
front door is directly opposite the stairs.
The MALE VAMPIRE that KENNEDY saw approaching the PUBLIC
HOUSE stands in the middle of the room, standing over the
dead body of the middle aged INNKEEPER.
The front door is open, allowing wind and rain into the room
and causing the roaring fire to flicker.
KENNEDY has landed at the bottom of the stairs and hauls her
axe in the air.
KENNEDY
I believe you're looking for me?
MALE VAMPIRE
Come, girl. Samantha has ordered me
to bring you to her - for our
master wishes to kill you with his
own hands, it's just tradition.
KENNEDY
Who's your master?
MALE VAMPIRE
Are you stupid, girl? How can you
not know who our master is? Who is
the lord of this dimension - above
the Vampire Queen herself?
KENNEDY
I'll take a 'I have no idea' for
10, Alex.
MALE VAMPIRE
I'm not in the mood for your games,
girl. I have my orders and I intend
to carry them out -
KENNEDY
Who is your master?
MALE VAMPIRE
I'm not in the mood -
KENNEDY throws her axe across the room and it impales itself
in the MALE VAMPIRES chest - he looks up at her, his face
begins to pale but he doesn't dust.
KENNEDY
Are you going to tell me who you
work for, or am I going to have to
stop playing nice and bring out a
whole load of ass whupping?
MALE VAMPIRE
Wolfram and Hart, of course, you
silly bitch.
KENNEDY
Right -
UGLY VAMPIRE and STOCKY VAMPIRE each grab one of her arms and
MALE VAMPIRE smiles because he thinks they've sneaked up on
her. KENNEDY uses her strength to swing her arms together and
smash the heads of UGLY VAMPIRE and STOCKY VAMPIRE together
with a dull thwack - they loosen their grip and she ducks as
MALE VAMPIRE charges her with the axe still stuck in his
chest.
As MALE VAMPIRE approaches, KENNEDY grabs the axe and lets
him roll over her and land on his back - she spins and slams
the axe into his neck, causing him to dust.
UGLY VAMPIRE and STOCKY VAMPIRE have regained their composure
and are sizing KENNEDY up - one of them has grabbed a chair
and the other has picked up a poker from the fire. UGLY
VAMPIRE swings the chair round - and KENNEDY ducks, the chair
smashes off STOCKY VAMPIRE and shards fall to the floor.
KENNEDY picks one of the shards up in each hand as she stands
and slams them into each vampires chest. Both UGLY VAMPIRE
and STOCKY VAMPIRE dust.
KENNEDY brushes herself down and regains her own composure.
KENNEDY (cont'd)
Time to find Wolfram and Hart then.
KENNEDY picks her axe up and walks out of the front door and
into the rain - she takes the reigns of one of the horses and
jumps onto its back and spurs it into movement.
EXT. PASTORAL COUNTRYSIDE - DAY
The sunlight reflects off KENNEDY'S raven hair - she lies
back on the grass.
KENNEDY
This is all very Louis Armstrong -
The placidity of the scene is broken - by the sound of some
sort of explosion. KENNEDY shoots upright, grabs her boots
and runs to the top of a nearby hill -
A column of smoke has erupted from the nearby DERRINGER
HOMESTEAD - there are some people moving about.
KENNEDY grabs her axe - and begins running, taking numerous
deep breaths. She vaults over a dry clad stone wall and -
BLACK OUT:
END ACT TWO
ACT THREE
FADE IN:
EXT. DERRINGER HOMESTEAD - DAY
The demons begin sniffing in unison - one of them gets down
on all fours and begins sniffing the ground, moving around
the side of the house and into the courtyard where it looks
up - and spots KENNEDY.
The demon lets forth an unholy growl, and launches itself
through the air - it lands on top of MOIRA but she flips it
so that she straddles it. KENNEDY tosses her the axe and
MOIRA plants it in between the demons eyes - as two more
demons round the corner of the house and move towards KENNEDY
and MOIRA.
MOIRA pulls the axe out of the demon and holds it at the
ready whilst KENNEDY grabs a PITCHFORK that is leaning up
against the side of the house and holds that ready -
- the demons are moving slowly and it seems as if they're
about to launch themselves into the air towards the two
women:
SAMANTHA (O.S.)
Halt - didn't I tell you morons to
keep the girls for me? Go and feast
on the mother and that dull Watcher
-
SAMANTHA steps into view - sunlight reflects off the
eighteenth century equivalent of the leather cat-suit she is
wearing, her black hair tumbles down to her shoulders and
she's wearing a sadistic smile on her lips.
SAMANTHA (cont'd)
My name is Samantha, and I'll be in
charge of knocking you out, gagging
you and taking you back to My Lord
Garrett.
KENNEDY
Garrett? Who's he?
MOIRA
How can you not know who Garrett
is?
KENNEDY
I'm not from around here.
MOIRA
How -?
KENNEDY
I'll explain - now who is Garrett?
MOIRA
He's the Chief Whip of Wolfram and
Heart. They're in league with the
Vampire Queen and they control the
world -
KENNEDY
Oh. So, bad thing, right?
MOIRA
Just a bit.
KENNEDY
How about if you take the low road
while I take the high road?
SAMANTHA
Shut up -
KENNEDY uses the pitchfork as a pole and vaults over the two
demons that stand between her and SAMANTHA - she knocks
SAMANTHA to the ground and the two women wrestle for a
second.
SAMANTHA pushes KENNEDY off her - the two women stand and
back away from each other.
SAMANTHA (cont'd)
I know where you're from, freak. I
know how to get you back. Do you
really want to kill me - right now?
KENNEDY
As much as you'll hate me for
saying this at this very moment -
yes, I really do want to see you
dust before my very eyes.
SAMANTHA
Moira - she's not from this world,
think of all those other worlds,
other dimensions you read about at
school. Not so much works of
fiction - as fictionalized reality
to make all but the most perceptive
think that they didn't exist.
(beat)
Kennedy's from one of those
dimensions and as soon as she finds
her way home, she will leave you to
the vampires and demons and all
those other creatures.
Wouldn't you much rather die now at
Garrett's hands, Moira, than to
live in hope only for it to
crumble?
MOIRA
Let me think -
(beat)
No.
SAMANTHA
It's your last chance darling -
but, I will warn you this: Garrett
likes to play with his captive
slayers before he eats them and
sucks the juices from their
eyeballs. It's quite - painful.
MOIRA
Still not interested.
SAMANTHA
Fine -
(to the demons)
Let her have it boys.
The two demons that were near MOIRA rise onto their haunches
and begin to growl - and MOIRA raises the axe up in front of
her to defend herself.
The demon to the left jumps forward, MOIRA swings the axe out
and knocks the demon to the side - but the demon to the right
jumps forward to and knocks MOIRA to the ground, but she
rolls head over heels and throws herself back onto her feet.
Meanwhile, KENNEDY sweeps the pitchfork out and tries to
knock SAMANTHA over but she jumps and the pitchfork just
sweeps under her feet -
SMASH CUT TO:
BLACK
CAPTION: ONE MONTH EARLIER
EXT. DESERT LANDSCAPE - DAY
A never ending expanse of sand, replete with cloudless blue
skies and a massive sandstone pyramid rising out of the sand.
There are several horses at the base of the pyramid and one
of the stones at the base has been pushed aside - the horses
are being held by one demon whilst another demon feeds on the
carcass of a white horse.
CREEPY VOICE (V.O.)
Run, run, as fast as you can,
little girl. You'll never get away
from me -
INT. PYRAMID / CORRIDOR - NEXT
A darkened sandstone corridor - the walls are plastered in
places and on those places we can make our intricate
hieroglyphics. The corridor is empty until - a pair of eyes
glowing in the dark are the first thing we see, followed by a
jutting crocodile like face connected to a humanoid body.
CREEPY VOICE
I know you're in here, Mirilia.
A teenager of EGYPTIAN HERITAGE appears behind CREEPY VOICE
and smashes him round the head with a flaming torch - he
spins when he gets hit and knocks the torch out of her hand,
it lands on the sandy floor and the flames diminish slightly.
This teenage girl is MIRILIA - a vampire slayer.
CREEPY VOICE swings his fist up, connecting with MIRILIA'S
jaw and knocking her backwards - he hisses in delight as she
collides with the sandstone wall and slides down to the
ground.
He takes a step closer - but MIRILIA moves as fast as
lightning and slams a previously concealed dagger into the
soft space under his chin.
CREEPY VOICE (cont'd)
You bitch -
CREEPY VOICE pulls the dagger out, licks his own yellow blood
off it and then thrusts at MIRILIA with it - she ducks and
weaves and avoids the dagger, but makes one bad move and ends
up with it lodged in her abdomen.
MIRILIA screams at the top of her voice - which appears to
cause CREEPY VOICE some pain. As she screams, she pulls the
dagger out of her abdomen, allowing blood to well up from the
wound and she smashes it into CREEPY VOICE'S stomach -
CREEPY VOICE (cont'd)
That hurt.
- as she grabs the flaming torch and touches the dying embers
to her bloody wound, the wound itself sizzles and cauterizes.
CREEPY VOICE pulls the dagger from his stomach and tosses it
away from himself - it skitters across the sandy floor.
CREEPY VOICE (cont'd)
(in Egyptian, subtitled in
English)
You're interfering with their plan,
Mirilia. They have a great destiny
intended for our world - and the
slayers aren't part of it.
MIRILIA
(in Egyptian, subtitled in
English)
I don't believe their great destiny
should be about throwing mankind
into a permanent slave nation. I
believe in freedom -
CREEPY VOICE
(in Egyptian, subtitled in
English)
Such foolish words - especially for
one of the fairer sex. Freedom?
You've yet to know the meaning of
the word, little girl.
(beat, in English)
Now, let's say we finish this?
MIRILIA nods - gestures with her hands as if to say 'Bring It
On' and then sends a powerful punch into CREEPY VOICE'S eye -
he howls in pain and recoils, she tries to turn this to her
advantage but he lashes out blindly and she slides down the
corridor.
MIRILIA ends at the edge of a deep pit that severs the
corridor into two sections - she cannot see anything inside
the pit due to the darkness.
CREEPY VOICE approaches - and MIRILIA realizes the dagger is
near her. MIRILIA reaches for the dagger - just as CREEPY
VOICE kicks her and sends her plunging into the darkened pit.
We hear a sickening crunch - and then someone howling in
pain.
CREEPY VOICE picks up the nearby torch which has almost gone
out and tosses it down the pit - there is a series of massive
spikes sticking up out of the ground and MIRILIA is impaled
upon one of these.
Her dead eyes stare upwards and CREEPY VOICE grins
sadistically.
SMASH CUT TO:
BLACK
EXT. DERRINGER HOMESTEAD - DAY
The building rises up in front of us, with the grain tower to
the left and the courtyard to the rear accessed to the right -
we can see the stables and a larger barn through the gap to
the right.
The hills nearby are pockmarked with sheep, there are a few
cows too. A man wearing a hat is leading a brown horse down
the muddy lane towards the house - he adjusts his hat, partly
turns to look at his horse and we reveal that it's MR.
WALLACE.
MR. WALLACE walks up to the front door of the house and
knocks on the front door:
MRS. DERRINGER (O.S.)
The door's open - come in.
MR. WALLACE pushes the heavy wooden front door open, it
creaks as it opens and reveals a dim corridor, there is a
door leading to the left, a door directly ahead and a
stairwell with under stair cupboard to the right.
MR. WALLACE steps into the house -
INT. DERRINGER FARMHOUSE / CORRIDOR - CONTINUOUS
MR. WALLACE walks along the corridor to the only open door -
the kitchen door. He passes through into -
INT. DERRINGER FARMHOUSE / KITCHEN - CONTINUOUS
MRS. DERRINGER is sharpening her knives - she is currently
working on sharpening the butchers knife against a stone,
there's a harsh grating noise as she scrapes the two against
each other.
MRS. DERRINGER looks up and sees MR. WALLACE standing by the
door. He is holding his hat under his arm and has a book in
his other hand -
MR. WALLACE
I'm Mr. Wallace of the Watchers
Council. Maybe you've heard of us
-
MRS. DERRINGER shows no emotion - simply nods.
MRS. DERRINGER
You're the last best hope for us to
destroy the vampires, the demons
and the overseers. Word on the
street says you're a myth - but
some of us still believe in you.
MR. WALLACE
It's the way we like it, I'm
afraid. Now I expect you know why
I'm here -
MRS. DERRINGER
Moira.
(beat)
Faster, stronger - more sarcastic.
The girl changed overnight, Mr.
Wallace. And you're here to train
her -
MR. WALLACE
To help her use her abilities to
the best of her -
(sheepishly)
Abilities.
MRS. DERRINGER
Sit down - I'm just about to make a
cup of tea. Would you like one?
MR. WALLACE
Please -
MRS. DERRINGER puts the butchers knife down and picks up the
iron kettle - fills it with water from a pail in the corner
and puts it on the hob that's in the chimney breast.
She produces two cups from the cupboard, a jug of milk from
the pantry - and a little container of honey.
MRS. DERRINGER
So, what do you propose to do with
her?
MR. WALLACE
I'll come by every other day to
tutor her in the arts of defense
and demonology - if she's enrolled
in any local school, then I'm going
to have to ask you to withdraw her.
I expect she'll be able to handle
herself within a month -
MRS. DERRINGER
And how long until she dies?
MR. WALLACE shifts uncomfortably - and fixes MRS. DERRINGER
with a serious look. He knows that he can't feed her bullshit
on this, he knows he needs to tell the truth.
MR. WALLACE
The lifespan of an average slayer
is two months - a year at the most.
Some don't even make it past basic
training - and the numbers of
Watchers are dwindling too. There
are only two dozen of us left - and
that includes myself.
MRS. DERRINGER
If there was any way to stop her
being a slayer, then I would take
it. But, there is not - so I must
submit to her fate, no matter how
dark. But, please, I beg you -
don't tell her she may only live
for two more months.
MR. WALLACE
If that's your wish, so be it.
MRS. DERRINGER
Thank you.
(beat)
So, when do you wish to begin?
MR. WALLACE
Now - if you permit. I'm assuming
there is somewhere that we can
train.
MRS. DERRINGER indicates the yard with her head:
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