kennedy1x04 Script created with Final Draft by Final Draft, Inc.
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INT. TRAIN CARRIAGE - KENNEDY'S BERTH - DAY
Moira walks down the passage in the train. A few other
people can be seen also walking down. As she passes the
cars on the train, she can't help but look into them.
There's a group of vampires playing poker in one and a
family in an other.
As she passes one of the car she glances in and sees Mr.
Wallace! She blinks and looks a second time, this time only
seeing an ordinary porter standing.
The porter looks straight into Moira's eyes with a piercing
glare. Moira regards him suspiciously, but not knowing
what to do she carries on along the passage way with a
confused look on her face. She reaches the buffet car as
we:
CUT TO:
INT. TRAIN CARRIAGE - DAY
We are in a car where the porter was before. He is still
standing there looking down to the ground at something we
cannot see.
We PAN DOWN to see the same porter sprawled on the ground
dead. There is blood on the ground with bits of intestines
here and there. PAN UP to see the imposter in the form of
the porter smirk. His skin ripples.
JUMP CUT TO:
INT. TRAIN - NEXT
We're back in Kennedy's car. Moira isn't back yet so it's
just Kennedy, Wade and Bedros. Wade and Bedros are talking
to each other quietly.
Kennedy has went back to leaning her head on the window of
the train staring out into the country side. Her eyes
flicker and then close. She is just about asleep when
there's a knock at the door of the car.
Three large vamps walk in and the team all stand. Kennedy
whips out a stake and Wade follow. The vampire in the
middle of the three is the biggest. Although two stakes are
being pointed at him he seems calm. Bedros looks at them.
BEDROS
(to Wade and Kennedy)
Wait, these are the Vampire
Queen's guards.
Kennedy lowers her stake slowly and so does Wade.
KENNEDY
What do you want? You're vampires
and for all I care you're evil.
MAIN VAMP
The Vampire Queen wants to see
you.
Kennedy raises her stake back up again.
KENNEDY
Yeah, well what if I don't wanna
see her?
MAIN VAMP
Then you'll be missing out.
KENNEDY
On what?
MAIN VAMP
The deal she's willing to
propose.
Kennedy keeps her stake out and starts to walk forward.
KENNEDY
(to Bedros and Wade)
You guys wait here
(to vamps)
Lead the way.
INT. TRAIN CARRIAGE - ROYAL BERTH - DAY
The room is bathed in darkness even though dawn has broken
outside. Illumination cast only by dozens of candles,
creeping shadows cast across Kennedy's face, the two
vampires.
VAMPIRE QUEEN (O.S.)
Thank you for coming, my dear.
The VAMPIRE QUEEN steps out of the darkness, baring her fangs
with a slight hiss. She doesn't look a day older than when
she was changed a century ago, but she's twice as menacing.
KENNEDY
I'm not sure what you want from me.
VAMPIRE QUEEN
It's a game, girl, it's all a
game. A serious game, a game
for domination, a game of power,
a game of pain and a game that I
intend to win. A game that
Wolfram & Hart shall not.
KENNEDY
I thought-
VAMPIRE QUEEN
(interrupting)
You probably think a lot of things,
dearie.
KENNEDY
Angelus tried to recruit me to
assassinate you several weeks
ago, but Wolfram and Hart stopped
me and they killed me.
(beat)
And Joe told me that they turned
you, made you the Vampire Queen.
VAMPIRE QUEEN
They did, and they did. But I'm
my own woman and I have my own
aspirations which theirs do not
match. You see, they turned me
because they wanted world
domination, such that the British
Empire could only afford them so
they turned me and, in turn, I
ceded the Empire to them. The
Empire grew, we used the Gem of
Amara to endear power to all the
vampires of the world and once
they had that, they didn't need
me at all. I was, how shall we
put it? A dated piece of
symbolism from a truly bygone
era.
(beat)
I serve their purpose. They need
me, but I do not need them. I
held the world in my thrall once
before and I can do it again.
(beat)
So, I'm proposing the following.
There is a demon on this train, a
demon that someone likely intends
to use to kill me. You're not
going to let that happen, and in
turn, I'll provide you with my
everlasting allegiance.
KENNEDY
How can I be sure you're telling
the truth?
VAMPIRE QUEEN
I may be a vampire, dear, but I'm
also a queen, and a Queen of
England at that. My word is my
honor.
KENNEDY
Then you've got a deal.
VAMPIRE QUEEN
Very good. Will you drink with me?
The Vampire Queen pours a red liquid into a wine goblet and
holds it out to Kennedy. She takes it, sniffs it, then puts
the glass down on the nearby table.
KENNEDY
Vintage A Negative. Not my
favorite.
VAMPIRE QUEEN
(with a wicked smile)
Really? I always find it rather
fruity.
INT. TRAIN CARRIAGE - DAY
Moira walks down the carriage with a plate of meat and
cheese in her hands. She munches on a slice of ham,
carefree, then pops a chunk of cheese into her mouth.
MOIRA
This is lovely, the best meat
I've tasted since home.
Moira closes on her berth, but hears a CRASH.
She drops the plate of meat and cheese to the floor, looks
towards the source of the sound, the end of the corridor,
the door to the post carriage.
MOIRA (cont'd)
What was that?
Moira inches her way along the corridor, knocks on the door
to the post carriage, but gets no response. She opens the
door and peers into the dark.
She can't see anything. She steps into the room as her
eyes begin to adjust to the gloom.
INT. TRAIN CARRIAGE - POST CARRIAGE - CONTINUOUS
There's nothing, but a crate has shifted and fallen to the
floor. Moira goes to pick the crate up and freezes.
The bloodied CORPSES of the porter and the royal guard lie
on the floor of the compartment, surrounded by mail bags,
parcels, luggage.
Moira SCREAMS.
FADE OUT:
END ACT TWO
ACT THREE
FADE IN:
EXT. COUNTRYSIDE - DAY
The train continues through the late-morning light, hills on
either side of the train, smoke rising from the funnel and
sweeping backwards in the wind, a few clouds in the sky.
INT. TRAIN CARRIAGE - POST CARRIAGE - DAY
Kennedy kneels down by the corpses and prods them corpses
with a finger.
BEDROS (O.S.)
A shapeshifter.
KENNEDY
And how many leaps of logic did
you make to reach that
conclusion, old man?
Bedros is standing in the doorway.
BEDROS
Not as many as you might think. I
can sense the mystic energy field
in here, every time the creature
changes form.
KENNEDY
Which means...
BEDROS
I can't track the blighter?
Exactly.
KENNEDY
Well, isn't that a crying shame?
And now it's time to play Jessica
Fletcher.
BEDROS
Jessica Fletcher?
KENNEDY
I'll explain later.
(beat)
Where do we begin?
BEDROS
I hate to point out the obvious,
my dear. We look for one of
those people. That would be the
logical genesis of any proper
investigation.
KENNEDY
Right, get to it. We'll each take a
carriage.
INT. TRAIN CARRIAGE - KENNEDY'S BERTH - DAY
Kennedy, Moira, Wade and Bedros stand around in a circle.
Each of them has their palm open.
Bedros takes some objects from a pouch and drops one into
each of their hands.
BEDROS
They'll glow when they pick up
magical residue from the creature
shifting. It won't necessarily be
there, but it will have shifted
in that location.
KENNEDY
Wade, you take this carriage.
Moira the next one, Bedros and I'll
take the others.
MOIRA
Aye, aye, captain.
Kennedy grins.
KENNEDY
Your first pop culture reference,
I'm impressed.
MOIRA
(shrugs)
I'm a quick study.
KENNEDY
(nods)
Let's do this.
INT. TRAIN CARRIAGE A - DAY
Wade is at one end of the carriage. He looks to the other
end of the carriage where Moira is standing.
She nods in his direction then heads into the preceding
carriage while he begins his search through the rooms.
Wade is holding a metallic sphere in his hand, it hovers
above the palm and hums slightly.
He opens the first door. It's empty except for another
CORPSE, this one a random passenger. The metallic sphere
glows brightly. Wade grimaces ever so slightly.
INT. TRAIN CARRIAGE B - DAY
Moira has the carriage with the Vampire Queen in it. Two
guards stand by the door to the Queen's berth. She too is
holding a metallic sphere in her hand.
She opens the first door in the room and sees nothing. She
passes the door to the Queen's berth and suddenly the
metallic sphere glows brightly.
Moira looks at the two guards, opens the door and finds Mr.
Wallace standing in the middle of the room while the Vampire
Queen prepares to lunge for him.
He turns to face her and hisses, screeches like a banshee.
Moira gasps.
MOIRA
(screams)
Help!
The two guards rush in, but Mr. Wallace is quick and combat
ready, he swings a fist round.
It morphs into a razor sharp tool and smashes into the first
guard. He dusts and the second guard backs off, but is
pummelled by the same razor sharp tool.
Moira slams out and smashes the window, wind licks at the
shattered frame. She grabs a piece of glass and lunges
towards Mr. Wallace, managing to lodge the piece of glass in
his chest.
His skin ripples. He swings round and grabs Moira, pins her
to the floor.
The Vampire Queen smacks a heavy case into Mr. Wallace's
head, which just aggravates him even more. He grabs the case
and throws it out of the shattered window.
BEDROS (O.S.)
Sleep my child.
Bedros steps into view and waves his hand over Mr. Wallace,
who collapses to the floor.
His skin ripples revealing a contorted, hideously scared,
burned, disfigured body - the SYCORAX.
MOIRA
What?
BEDROS
Your assassin, Madam.
Kennedy and Wade appear.
VAMPIRE QUEEN
Get your wizard away from me, my
dear. I don't trust those who
wield such powerful magic.
BEDROS
I just saved your life.
VAMPIRE QUEEN
And for that I am grateful. Now,
leave us.
KENNEDY
What is it?
BEDROS
Ma'am, wouldn't you like an
answer to that question? I'm not
just capable of casting simple
sleeping spells on people, I can
probe his mind with a flick of my
wrist!
WADE
Then do it. Tell us who he is.
Bedros kneels down next to the SYCORAX and places his hand on
either side of the demon's face. Kennedy raises an eyebrow.
KENNEDY
Cool, the Vulcan nerve pinch.
MOIRA
Vulcan? Nerve pinch?
(off Bedros's irritated
look)
You can explain later.
Bedros closes his eyes.
BEDROS
He doesn't have a name, not one
that he remembers at least. All
he knows is that he has been
called The Sycorax for as long as
he can remember.
EXT. NIGHT SKY - NIGHT
A starry night sky over which we hear the sounds of a woman
in child birth. She pants. She screams.
BEDROS (V.O.)
He was born to a Human mother and
a demon father, the coupling
resulting from a deal the mother,
a witch, had brokered with the
demon for unlimited power. In
return, the woman had to provide
the demon a child but, in a cruel
twist of fate, or perhaps the way
it was planned all along, the
mother died in childbirth.
PAN DOWN to reveal a graveyard, a gravestone covered in moss
is our focus and a YOUNGER SYCORAX stands over the gravestone
with a few flimsy flowers.
BEDROS (V.O.) (cont'd)
The demon was banished by a
powerful warlock, killed, it's
powers stolen, it's child taken
and raised as if he was the
warlock's own.
EXT. WARLOCK'S CASTLE - NIGHT
An ominous castle. There is a flickering light in some of
the windows and eerie howls of pain emerging from the same
windows.
BEDROS (V.O.)
Of course, the young Sycorax was
grateful to the warlock for
giving him shelter from the cruel
world outside and so forgave the
warlock all the cruel tortures
and experiments he was subjected
to. Over time, the Sycorax was
taught to emulate peoples'
appearances, but only those poor
souls who had already died. This
being his demon father's natural
ability. And, to earn its keep,
the warlock made the Sycorax use
this ability to provide money,
performing cheap imitations for
local crowds.
INT. GARRETT'S BEDROOM - DAY
GARRETT is on the bed, surrounded by sheets made out of
animal fur, having his muscular torso torn at by the teeth of
several blue skinned female demons.
BEDROS (V.O.)
Until...
SAMANTHA bursts through the doors.
SAMANTHA
I've got something to tell you,
something that can make these
cheap floosies wait. A weapon we
can use for our own cause,
a shape shifter.
Garrett smiles, then goes full vamp face and bites into the
neck of one of the blue-skinned demon women, blue blood
splatters over the covers and across his face.
GARRETT
Delightful.
(beat)
Bring this creature to me.
EXT. WARLOCKS CASTLE - NIGHT
A cage containing the Sycorax is loaded onto the back of a
wagon, the creature morphs into a middle aged woman with
raven hair, a blonde haired youth, a dark skinned woman.
BEDROS (V.O.)
So, Garrett had the Sycorax
brought to him for his own use.
It took some magical conditioning
and some time, but they used him
to blow up the Watchers Council
in Manchester.
(beat)
And, of course, planned to have
him assassinate the Vampire
Queen.
KENNEDY (V.O.)
But why stop me assassinating the
Queen and then try to do it
yourself?
INT. TRAIN CARRIAGE - DAY
VAMPIRE QUEEN
Simple, they want to do it. They
want the pleasure of knowing that
they have done it. However,
heretofore, I have not been in a
position to make a play for
dominance. Now, everything is in
my favor. I am a threat to them
now unlike I ever was before,
having consolidated my power, I
am now in a position to use that
power.
KENNEDY
You are overly fond of long winded
monologues, aren't you?
VAMPIRE QUEEN
(laughs)
I don't pretend to know why
Garrett does what he does, I just
know that he does it and that he
must be stopped at any cost. You
will save yourself much time if
you don't bother about the whys.
MOIRA
Guys, Bedros hasn't come out his
trance.
Kennedy turns to look at Bedros who still has his hands
clamped to the face of the Sycorax.
DISSOLVE
THROUGH TO:
INT. WARLOCKS CASTLE - NIGHT
The Sycorax is strapped to a table and the WARLOCK stands
over him with a needle full of a strange luminescent green
fluid, the Warlock laughs and we get a look at his face for
the first time.
BEDROS (V.O.)
Now, isn't that a coincidence?
INT. TRAIN CARRIAGE - DAY
Bedros jerks back from the Sycorax and a smile flickers
across his face. Moira and Wade help him to his feet and he
brushes his robes down as the wind from the broken window
plays with everyone's hair.
WADE
Are you okay?
BEDROS
I'm fine, more than fine in fact.
KENNEDY
We should be arriving at our
destination in no time, we can
hand the Sycorax over to your
people, Your Majesty, then we
will be on our way.
VAMPIRE QUEEN
Thank you, Kennedy. I will make
arrangements. If your wizard
friend can make sure our guest
doesn't wake up in the meantime.
BEDROS
I can, I shall...
(flicks his fingers)
... and I have.
VAMPIRE QUEEN
Oh, and Kennedy, the deal we made,
it stands as I said it would.
Moira crinkles her brow:
MOIRA
What deal?
KENNEDY
Later, Moira.
Kennedy heads along the carriage, beckoning for Wade, Bedros
and Moira to follow her. She slows down to walk beside
Bedros.
KENNEDY (cont'd)
What did you mean back there.
BEDROS
What did I mean back where?
KENNEDY
'Isn't this a coincidence?'
BEDROS
Oh, as I said. Nothing. Not a
thing you need to bother your
pretty little head about at any
rate, my friend.
EXT. TRAIN STATION - DAY
The train is idling at the station - people are getting onto
the train and disembarking. There are several policemen
gathered round a cage on a wagon, two thuggish men haul the
Sycorax from the train and put him in the cage. The
policeman on the wagon push the horses into action. They
move away from the station.
Kennedy, Moira, Wade and Bedros disembark the train and
disappear in the chaotic crowds.
EXT. CITY STREET - DAY
The wagon carrying the Sycorax in a cage moves down the
street. Some people point and laugh at the demon, some shy
away from it, and some even throw rotten fruit as it passes
by them.
The Sycorax is still unconscious, but then a single eye
opens, takes in the situation, the other eye opens and it
growls loudly and ominously.
Its skin ripples as it morphs into a huge muscular man, akin
to a professional wrestler.
It grabs the bars of the cage, pulling them apart. They
squeal under pressure and the people in the streets scream
and run.
The policemen on the wagon don't know how to react.
FADE OUT:
END ACT THREE
ACT FOUR
FADE IN:
EXT. CITY STREET - DAY
CLOSE UP on the ground as a plethora of feet pounds the
road. PULL BACK to a stampede of bystanders fleeing from
the escaped Sycorax.
ANGLE ON the Sycorax, still in the muscular man guise,
HURLING one of the policemen out of its way.
The other policemen CHARGE at the beast. The Sycorax picks
up the stem of the wagon and SWINGS it effortlessly like a
baseball bat, knocking out all of its opposition at once.
It morphs back into its true form and looks around at the
bodies strewn around the area. With a huff of what could
be described as satisfaction, it exits.
FADE TO:
EXT. CITY STREET - DAY
Elsewhere in the city, Bedros leads the rest of the group.
He's striding through the city with purpose. The rest lag
behind, unsure of where they're going.
WADE
Anyone notice he walks with a
certain...
He trails off, the proper word escaping him.
KENNEDY
Flamboyance?
WADE
Well I wasn't going to say that.
MOIRA
I have to say I'm a trifle
disappointed.
KENNEDY
Huh?
MOIRA
Well, Mr. Wallace told me the
legend of how the Slayer was
created.
(beat)
I guess I expected a shaman of
such powerful ability to be a
little less...
(beat; points to Bedros)
... well, less that.
WADE
I concur.
KENNEDY
This from a group of girls who
can beat up larger men and
demons.
WADE
Ahem.
KENNEDY
What?
WADE
Not a girl here.
KENNEDY
(points off screen)
Hey, a rat!
Wade jumps about a mile, frantically looking around for the
rodent sized spawn of Satan.
WADE
(scared)
Where? Where?
He stops as Kennedy and Moira fight to stifle their
laughter.
KENNEDY
(grinning)
I rest my case.
BEDROS
Children, please!
Our three slayers turned to Bedros, who is sweeping his
staff back and forth in the air.
BEDROS
I'm trying to follow this
warlock's magical aura and you
three are mucking up my
concentration.
KENNEDY
What? We've been walking around
for a good two hours and you
don't know where we're going?
(beat)
I suddenly feel the urge to do
something violent.
BEDROS
I picked up on his aura when I
read that foul beast's memories,
but it was faint. I know he's in
this town, but I'm not sure
where. Thus my efforts to track
him.
KENNEDY
So the hell is this taking so
long?
BEDROS
That beast has changed form
several times since we got off
the train. Its energy is
interfering.
Bedros spreads his arms out and closes his eyes. The rest
of the group looks at him, still not sure what to make of
this guy.
BEDROS (cont'd)
Now if the three of you would
just keep your bantering to
yourselves, I can focus my energy
and find this man.
Kennedy's eyes stop on something off screen.
KENNEDY
Well, Lassie, you could do that.
Or we could just try there.
She points to a hill on the outskirts of town. A CASTLE
sits on the apex of the hill.
BEDROS
(embarrassed)
Yes, well... that could be a
possible avenue.
MOIRA
How are you so certain he's
there?
KENNEDY
It's a creepy castle in the mist
outside of town. How can it not
be the place?
WADE
Well, I... I can't argue with
that logic.
MOIRA
I'm not sure.
KENNEDY
Look at it this way. If the guy
we're looking for ain't there,
there's probably something evil
inside we can beat up.
BEDROS
Must it always come back to
violence?
WADE
It's the Slayer way, as I
understand it.
BEDROS
We did not create the Slayer to
be a brute.
KENNEDY
No, you forced a girl to do all
your fighting for you while you
bunch of pansies ran and hid, but
hey, that's cool because
you're...
(splays her arms out)
Bedros!
Moira snickers. Bedros looks like someone stole his teddy
bear.
KENNEDY
Show of hands. Who wants to
check out the castle?
Moira and Wade raise their hands.
KENNEDY
Now, who wants to walk around in
circles following Gandalf here.
Bedros raises his hands. Kennedy looks around like she
doesn't see him.
KENNEDY
Anyone? Anyone? No objections?
Good.
Kennedy starts towards the castle, Moira and Wade falling
into step behind her.
Bedros stands there with his hand still raised, beet red in
the face.
BEDROS
No respect for their elders.
KENNEDY
(calling back)
Respect is something you earn,
not something you're entitled to.
You coming or not?
With an indignant huff, Bedros follows.
MOIRA (O.S.)
Gandalf?
CUT TO:
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Script created with Final Draft by Final Draft, Inc.