kennedy1x04 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
FADE IN:
Title over: Two Weeks Ago.
EXT. MAIN STREET - DAY
We're in Manchester and with the Watchers council in all
its glory. It's exactly how we saw it in "Not In Kansas
Anymore." The streets are crowded with people are buying
and selling all sorts of things.
EXT. DARK ALLEY - CONTINUOUS
All we see is a wall and then a shadow of a woman with a
horse. The shadow starts growing as it flickers. It stops
moving as we see that it is now a shadow of a man. It jumps
on to the horse and starts to trot out of the alley.
EXT. MAIN STREET - NEXT
We're back in the main street exactly how it was before.
There's a dark alley on the right hand side and out comes
on a horse none other than MR. WALLACE! He look at the
Watchers Council building and smiles.
His skin ripples as he rides towards the building. He
crosses a stall that's stacked full of fruit and
vegetables. There's MAN standing next to it and he notices
Mr. Wallace.
MAN
Good afternoon Mr. Wallace. Will
you be buying anything today?
Mr. Wallace just rides on, not even noticing the man. After
riding a bit further, he looks at his hand. In it there is
a small package.
He then looks up to the Watchers Council building. You can
tell he has a plan. He rides to the door of the building
and gets off his horse, the package still in his hand. He
strides through the doors as if he owns the place.
INT. WATCHERS COUNCIL - RECEPTION - NEXT
We pan out from the package in Mr. Wallace's hand. He is
walking straight past the SECRETARY.
SECRETARY
Hello Mr. Wallace. Anything I
can do for you? How's Moira
coming along?
Just like he did with the man on the stall he walks
straight past the secretary as if she wasn't there.
SECRETARY (CONT'D) (cont'd)
Mr. Wallace?
Mr. Wallace carries on walking until he reaches a door.
MR. WALLACE
Is Mr. Travers not in today?
SECRETARY
He's out at the moment, if you
wanted to wait for him...
MR. WALLACE
No, that will be fine. If you
could give him this parcel,
please. It's very important,
explosive even.
EXT. WATCHERS COUNCIL - DAY
Mr. Wallace is jumping up onto his horse outside where he
left it. He looks at the building as we:
DISSOLVE TO:
EXT. ROAD - CONTINUOUS
Horses hooves are galloping and we pull up to see Mr.
Wallace riding the horse. He's riding for about twenty
seconds until he feels he's far enough away.
He turns his head round to look back to look at the
Watchers Council. His skin ripples as we see Kennedy and
Moira pass him in the background.
INT. WATCHERS COUNCIL - RECEPTION - DAY
We zoom out from the package on the desk to see the
SECRETARY staring suspiciously at it. It starts to glow,
bathing the room in blue energy.
SECRETARY
Everyone out of the building!
The secretary jumps out of her chair and heads to the door
with many other people running down the stairs. People are
trying to get out off the building but it's too late...
EXT. MANCHESTER - NEXT
ANGLE ON: THE COUNCIL BUILDING
BOOM! An explosion shatters the hustle and bustle. The
glass in the windows of the building explode outwards,
sending shards of glass flying into the crowd.
Fireballs explode out of the smashed windows, then the
flames lick the front of the building and thick black smoke
begins to pour out from the windows too.
People begin to scatter, both from the street and from
adjoining buildings. Another explosion causes the front of
the building to crack.
Kennedy and Moira are outside the building, on their
horses.
We turn back to see Mr. Wallace's face. In his eyes we see
the reflection of the building on fire. He starts to laugh
and his skin ripples once again. He turns his head back and
starts to ride away into the sunset.
BLACK OUT:
END TEASER
ACT ONE
FADE IN:
EXT. COUNTRYSIDE - DAY
Hills. Lots of hills. Green against the clear blue sky and
the warm sun. Between the hills winds a train track and along
the track moves a STEAM TRAIN. The train has ten carriages,
its funnel venting smoke that sweeps backwards in the wind.
The train moves closer to us, rushes past us and we can see
the activity within through the windows until we:
PUSH THROUGH
TO:
INT. TRAIN CARRIAGE - KENNEDY'S BERTH - DAY
Kennedy, Moira, Bedros, Wade in a comfortable room: two
upholstered seats on either side of the room, a table
between them, a window to one side and the door to the
corridor to the other.
Kennedy and Bedros are in the process of playing chess.
KENNEDY
Check.
Kennedy smiles, but Bedros waves his hand across the board
and his pieces move on their own.
BEDROS
Checkmate, my dear. You lose again.
Kennedy pouts.
KENNEDY
You used your magic to cloud my
mind so I couldn't see the logical
moves.
BEDROS
(taunting)
What an excellent idea, Kennedy. I
hadn't thought of that one, I'll
have to use it next time.
Moira shifts and adjusts her new outfit (a loose white
blouse, tight blank pants, thigh high boots - the sort of
thing you'd expect Keira Knightley to wear in 'Pirates of the
Caribbean'), garnering an amused look from Wade.
MOIRA
Don't laugh at me.
WADE
You don't like the new clothes?
MOIRA
I like them. They're just itchy.
WADE
You're such a woman.
Kennedy fires him a warning look and Moira aims a swift kick
to his ankle.
WADE
(rubbing his ankle)
Ouch!
Moira laughs.
MOIRA
You're such a woman, Wade.
Wade fires Moira a withering glare.
KENNEDY
(changing the subject)
We don't know much about you, Wade.
I saw you. You were fighting like
you'd had training. Have you?
WADE
None, none at all. At least not
lessons. I learned what I know from
books.
KENNEDY
(wry)
Really?
WADE
Yes, well...
EXT. SUNNYDALE - DAY
A pleasant day. The sun is high in the sky and there are a
few scattered clouds in the sky as YOUNGER Wade rushes down
the busy street, darts past a market stall and sidesteps down
an ally that runs between two buildings.
WADE (V.O.)
You already know my name is Wade.
You don't need to know my surname,
it doesn't matter much to me. My
family are probably all dead, not
that I'm much bothered about it.
In another street, this one quieter than the first one, he
rushes into a house and pushes the door open, only to come
flying back out onto the street, landing on his back in the
mud.
Wade holds his cheek and a line of blood runs down from his
nose and drips from his lip.
MR. DONALDSON steps out of the house. He's a big man, he
would be obese if it weren't for the muscle he carries. He's
bald, brutish, not a pretty sight, and he's fuming as he
walks over to Wade and grabs him by the collar.
MR. DONALDSON
You little piece of-
WADE
(innocent)
What have I done wrong?
MR. DONALDSON
Being born. Isn't that enough,
Wade? You've been a burden to me
since the day you were born,
since your weak mother gave up on
life and left you to handicap me.
And all I ask is that you do what
you're told. That you're here-
WADE
But I am here now.
MR. DONALDSON
You weren't here before.
WADE
But I didn't know you needed me
before. You only told me you
needed me now. How was I to know?
MR. DONALDSON
That's not my problem, is it?
WADE
With all due respect, sir -
Mr. Donaldson smashes his booted foot into Wade's ribs and
smiles as the youngster screams with pain.
He repeats the actions, the few pedestrians in the street
glance over at what is going on, but say nothing.
WADE (V.O.)
My mother died giving birth. My
father, saw me as a slave more
than his son. He believed that I
owed him subservience and, in my
view, I had no allies, no
friends, nobody to care for me.
A single curtain twitches across the street. We push towards
the window while Mr. Donaldson picks Wade up by his collar
and literally carries him into the house, slamming the door
behind him.
PUSH THROUGH
INTO:
INT. MRS. RALEIGH'S HOUSE - DAY
A small room. There is a single desk by the window but the
room is filled to its limit with bookcases, each bookcase
piled high with twice the number of books it should be
holding as well as a healthy layer of dust.
The sole occupant of the room is sat at the desk which is in
front of the window. She is a wizened, wrinkled old woman
with the look of a librarian and white hair tied in a bun.
She pulls her hand away from the curtain.
WADE (V.O.)
At least, nobody that I knew of.
This is MRS. RALEIGH. She uhms and ahhs to herself for a
second, before standing and looking across at a bookshelf.
She moves over to the bookshelf, runs her fingers along the
line of books then smiles.
MRS. RALEIGH
Yes, this should do him nicely.
She pulls a single thick leather bound book out and carries
it back to her table. She puts the book down, picks a pencil
and a piece of paper up and begins writing. We hear her speak
as she writes:
MRS. RALEIGH (V.O.) (cont'd)
My dear boy, from someone who
wishes she could help a little
more. Your guardian angel.
INT. WADE'S HOUSE - DAY
Wade has his hands bound by rope above his head. The rope in
turn is tied to the door frame so that he can't move. Mr.
Donaldson steps into view behind Wade with a leather strap
held taut in his hands. His hand moves quickly and the
leather strap smashes across his son's back, again, again,
and again. Wade is resolute. He's not going to scream in
pain, but it gets to much for him and-
WADE
Ahh!
MR. DONALDSON
Can't even take it like a man you
puny little bastard.
The strap smacks Wade across the back again, Mr. Donaldson
laughs, amused at the pain he is inflicting. A single tear
rolls across Wade's face.
EXT. SUNNYDALE - DAY
Wade walks down the street until he gets grabbed by the arm
by a YOUNG BOY who has a parcel in his hands. The parcel is
wrapped in brown paper and string. The boy offers it to Wade
who cautiously accepts it.
YOUNG BOY
Here, she told me to give it to
you. Promised to give me an apple
and some shillings if I did.
WADE
What is it?
YOUNG BOY
I don't know. I didn't ask. It's
heavy though.
WADE
It is at that.
(beat)
Tell her - tell her thank you.
With that, the boy disappears into the throng of the
marketplace and Wade is left alone, with the parcel in his
hands.
He regards it for a second, then begins to excitedly tear the
paper and string away to reveal a thick leather bound book,
embossed golden writing on the dark leather: FIGHTING STYLES
OF THE DISTANT EAST.
WADE (cont'd)
(flicking through the
pages)
Wow.
(beat; hushed)
Whoever you are, thank you.
WADE (V.O.) (cont'd)
I took care to hide the book so
that my father didn't find it.
He would've burned it if he did.
Everyday I would read a few pages
more. Everyday I would learn how
to punch, or block, or kick.
DISSOLVE
THROUGH TO:
EXT. FIELD
A grassy field. The town can be seen in the distance, smoke
rising from the chimneys as Wade stands in the middle of the
field, the book open on the grass in front of him as he
practices various moves.
MONTAGE:
- a high kick
- an upper cut
- a round house
ETC.
MOIRA (V.O.)
We're pulling into a station.
EXT. TRAIN STATION - DAY
A quaint village train station. There are a few dozen people
on the platform, but only a handful of them get on the train
and a handful get off too.
A few street venders try to get the attention of the people
on the train. There's a general murmur, commonly we hear
hushed whispers of 'she's on the train', 'her, m'lady', 'her
majesty' and such.
MOIRA (V.O.)
I think I'm going for a walk.
The train begins to build up steam. People move away from
the edge of the platform except one man who pushes his way
through the crowd towards the train. He grabs onto a door
and hauls himself through it
CONDUCTOR (V.O.)
Are you okay, Sir?
INT. TRAIN CARRIAGE - DAY
A conductor approaches the man to see if he's okay as the
train passes out of the station. The man turns his head.
It's Mr. Wallace.
He smiles and his eyes glow a sickly yellow.
MR. WALLACE
Yes, I'm fine.
Mr. Wallace dusts his suit down, then moves down along the
corridor. He moves past the doors to several compartments,
through two carriages, before closing a door behind him.
A door he has just passed opens to reveal Moira who moves in
the opposite direction to Mr. Wallace.
INT. TRAIN CARRIAGE - KENNEDY'S BERTH - DAY
The door closes behind Moira and Kennedy turns to face Wade
who has swapped positions with Bedros and is now sitting
opposite Kennedy next to the window.
KENNEDY
So, you got the book, you trained
yourself from the book.
What happened? Did you ever find
out who gave you the book?
WADE
I was just getting to that.
EXT. SUNNYDALE - DAY
Another sunny day, but there are storm clouds on the horizon.
The people in the market are packing up their stalls as Wade
walks between them on his way home.
He dodges down an alley until he's in the street he lives in.
He heads into his house and grabs an apple from the table.
Suddenly a hand grabs his own, it's his father, Mr.
Donaldson.
Wade looks up at Mr. Donaldson and gulps, but is very calm as
he takes a bite out of the apple.
Mr. Donaldson is fuming.
MR. DONALDSON
You didn't ask, boy.
WADE
(sarcastic)
I'm very sorry, sir.
MR. DONALDSON
I don't appreciate the sarcasm.
WADE
(sniffs his father's
breath)
You don't appreciate positive
oral hygiene either, but I guess
we're skipping that one in
today's lecture.
MR. DONALDSON
I don't like this cockiness,
young man, you got it from your
mother. She had the devil in
her.
WADE
Oh, do shut up!
Wade swings round. The action goes into SLOW MOTION:
WADE (V.O.)
I only intended to punch him, to
hurt him, to make him know he
couldn't push me around anymore.
But well, from what you've told
me Kennedy, you'd just died.
Wade throws the much bigger Mr. Donaldson over his shoulder,
through the air and smashes through the front door into the
street. Splinters fly and dust settles as Mr. Donaldson
brushes himself off and looks at his son incredulously.
WADE (cont'd)
Oh boy.
MR. DONALDSON
Where have you been learning that,
my son? Been planning to do your
old father in? Planning to kill me
off in my sleep and steal my
worldly fortunes?
WADE
Would I be so inclined, old man.
WADE (V.O.) (cont'd)
I don't know where the inner
strength and resolution had come
from, but it was there, coursing
through my veins like it had
never been before. I could see
his moves before he had taken
them.
KENNEDY (V.O.)
Your spidey sense was tingling.
WADE (V.O.)
My whatsit?
KENNEDY (V.O.)
I'll explain later.
WADE (V.O.)
As I was saying, I kicked his ass.
Mr. Donaldson strides into the doorway. The pedestrians on
the street look in the door cautiously as they pass, but they
quickly move on their way.
Mr. Donaldson picks up a meat cleaver as he heads into the
door.
Wade sticks his right hand out blindly, finding it grasping
at a hot fire poker which he brings up in front of him.
Mr. Donaldson raises the meat cleaver up in the air and
charges his son, but Wade brings the fire poker up in the air
and smashes his father's head with it.
Mr. Donaldson drops to the floor.
Wade drops to his knees. His grasp loosens and the hot poker
drops to the floor. It rolls across the floor and hits his
father's face. There is a hiss of singing flesh as it burns
Mr. Donaldson.
Wade takes a deep breath, a tear rolls down his cheek.
Suddenly Mr. Donaldson jumps upwards with a horrendous growl
and lunges for Wade's throat.
Wade is quicker on his feet and pulls a pan from the table
and smashes his father in the face.
Mr. Donaldson drops to the floor, finally dead.
Wade rises, walks outside:
EXT. SUNNYDALE - CONTINUOUS
Wade falls to his knees in the middle of the street as the
skies open and wash him clean with rain.
The door to the house opposite opens and Mrs. Raliegh steps
out into the street with a blanket, she quickly hurries to
Wade and wraps it around him.
KENNEDY (V.O.)
Who was she?
Mrs. Raleigh guides Wade into her house:
INT. MRS. RALEIGH'S HOUSE - CONTINUOUS
The same room we saw before, the shelves are lined with walls
and the room is illuminated with candles.
Mrs. Raleigh ushers Wade into the room and sits him down in a
leather armchair, returning a second later with a pot of
boiling water, some tea leaves and a jug of milk.
MRS. RALEIGH
Take a sip of that, my dear.
Mrs. Raleigh mixes the milk and the boiling water with the
tea leaves and hands the cup to Wade, who takes it and
gingerly sips it.
WADE (V.O.)
I'm not trying to excuse what I
did, but I didn't hurt for having
done it. It was self defense,
self preservation. Now, turns out
that nobody in Sunnydale really
gave a crap about my father.
Sure, they were scared of him,
but nobody was going to turn me
in to the authorities for doing
what I did.
So my father became one more
missing person, caught by demons
or whatever.
(beat)
And Mrs. Raleigh took me in. You
asked who she was? I didn't find
out until a few days later, until
I had recovered enough to face
the world.
TIME DISSOLVE
THROUGH TO:
Mrs. Raleigh at the desk, flicking her way through the pages
of a book, muttering to herself.
MRS. RALEIGH
(whispered)
And so it would come in the times
that a woman from the other place
would walk our lands, that the
bastion would fall, that hope
would be restored and things that
could not be would be born of the
loins of things that could not
be.
Wade steps into frame. He's cleaned up, wearing the clothes
we saw him wearing in the last episode, looking practically
as we saw him in the last episode.
WADE
What does that mean?
MRS. RALEIGH
Oh, that? It's nothing. Just
some old nonsense, it's a book I
took from my old job for safe
keeping, now it's one of the few
remaining tomes left in the
collection.
WADE
What did you do?
MRS. RALEIGH
Me? Nothing. I'm a harmless old
lady, just an old Watcher.
INT. TRAIN CARRIAGE - KENNEDY'S BERTH - DAY
Kennedy reacts in surprise:
KENNEDY
Raleigh was a Watcher?
WADE
I had no idea what it meant until I
met you.
KENNEDY
And she died.
WADE
Yes, one of the first vampires
that came to my village took her.
They torched her house. The
books are gone, so I didn't think
it was important to mention them
to you.
KENNEDY
Oh, don't worry, it wasn't.
What's important now is that we
get to Scotland and find this
warlock Bedros claims may be able
to help us.
(quizzical)
How can he help us?
BEDROS
All in good time, young lady. All
in good time.
EXT. TRAIN CARRIAGE - DAY
Mr. Wallace walks down the corridor. He approaches a PORTER
backing out of a berth, and a smile crosses his face.
MR. WALLACE
If you'd be so kind as to help me
out.
PORTER
Of course, sir. I'll be right with
you.
The porter closes the door and follows Mr. Wallace down the
corridor.
They pass from one carriage to the next before arriving at
the rear compartment. Mr. Wallace opens it and the two men
pass through.
We stay in the carriage. The frosted glass door shields the
two men from our view, but we do hear a hideous scream.
The door opens and the porter steps out, straightens his
uniform and heads down the corridor.
The porter passes Moira and as he does, he smiles and we see
his eyes glow and his skin ripple almost imperceptibly.
EXT. COUNTRYSIDE - DAY
The train continues through the countryside as night
approaches, the sun has set and the moonlight flickers across
the painted carriages, silhouetting the smoke as it rises
ominously into the sky.
FADE OUT:
END ACT ONE
ACT TWO
FADE IN:
INT. TRAIN CARRIAGE - KENNEDY'S BERTH - DAY
We're in a small cabin in the train. Out of the window is
the countryside with the moonlight shining. Everything's
illuminated by the silvery light.
Wade's asleep and the rest look shattered. Kennedy is next
to the window and is staring out of it. She's obviously
daydreaming.
Wade suddenly jolts up, awake from his sleep. The rest of
the gang look up except Kennedy who carries on staring out
of the window.
MOIRA
What's wrong?
WADE
Bad dream
(beat)
Slayer dream I think.
Kennedy looks up at Wade.
KENNEDY
Get used to them. They'll get
worse!
Wade looks grim as Moira sighs.
MOIRA
How long have we got left?
She rubs her eyes and stretches her arms and legs.
MOIRA (cont'd)
We must of been on the train a
dozen hours already.
KENNEDY
We've still got a few more hours
to go.
Moira groans.
MOIRA
Right, well I'm hungry.
(beat)
Anyone want anything from the
buffet car?
They all shake there heads and Moira opens the door of the
car and steps out. Bedros sits up and faces everyone.
BEDROS
I think it's time that I tell you
about this wizard we're going to
see. He's one of the most
powerful in the world. I think he
would be able to help me,
Kennedy, and you too.
(to Kennedy)
He may be able to get you back to
your own world.
KENNEDY
What catches are there?
Bedros shrugs his shoulders.
BEDROS
I don't know, but you'd give
anything to get back, wouldn't
you?
Kennedy doesn't answer this.
KENNEDY
Alright we'll go, but any funny
business and we're out of there.
Clear?
Bedros smiles.
BEDROS
Crystal.
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