tc1x02 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
FADE TO:
INT. MORGUE - BODY STORAGE DRAWER - NIGHT
A shape covered in a white sheet.
Suddenly, it moves. There is a GASP for air. The shape
shifts restlessly.
As the camera slowly PANS ALONG the shape, it becomes more
defined as a human body.
Loud, quick BREATHING is heard.
The figure's face and shoulders are exposed. Their skin is
deathly pale, almost blue. This is VIOLET "VI" MORGAN and
only moments before this - she was dead.
She opens her mouth to shout but it comes out as nothing
more than a choked whisper. Lifting her arms, she feels
along the walls.
A sudden realisation strikes her. She knows where she is.
Vi starts to desperately BANG on the sides of the drawer -
slamming her fists onto the cold walls.
INT. MORGUE - MAIN ROOM/OFFICE - NIGHT
Over the rows of steel, sterile tables and equipment, there
is a small OFFICE. Through the glass window sits a young
male MORGUE ATTENDANT with his feet up on the desk. He
chews on a sandwich whilst absentmindedly flipping through
a text book.
BANG!
He looks up, startled. The banging CONTINUES. Louder this
time. Craning his neck to see into the main room, he tips
backwards and falls to the floor.
A beat. Silence.
He peers up over the desk. A piece of lettuce hanging from
the edge of his mouth. He hurriedly wipes it off.
BANG! BANG! BANG!
He looks around wildly.
ATTENDANT
(nervous)
Hello?
(beat)
Who's there?
Another BANG and his gaze fixes on the storage drawers
through the window. His eyes widen.
ANGLE ON LAMP
The Attendant grasps it in his hands. Walks around the
desk. The cord, still attached to the wall, tightens. He
stops, rips it from the wall and continues into the main
room.
ANGLE ON BODY STORAGE DRAWERS
As he slowly moves towards them. Unsure of which drawer holds
the culprit.
Pausing. He thinks for a moment and relaxes as he lowers his
"weapon".
ATTENDANT (CONT'D)
God, Steven. I know it's you!
Will you stop climbing into these
things? You're gonna get fired.
Or get me fired.
(beat)
Which wouldn't be such a bad
thing.
He moves to a drawer and opens the door. As he pulls the
table out...
ATTENDANT (CONT'D)
How exactly do you close it from
the inside anyway?
Vi sits upright. A sheet clutched around her body. The
Attendant wasn't exactly expecting this. Startled, he falls
backwards - hitting his head on an examination table. He's
out cold.
Vi looks around and down at the Attendant. She slides off the
table and stands unsteadily.
INT. MORGUE - OFFICE - MOMENTS LATER
ANGLE ON TELEPHONE
She lifts the receiver and starts pressing buttons. However,
her hand shakes so hard this task becomes impossible.
ANGLE ON VI
As she grabs the phone and throws it across the room. She
sinks to the floor and places her head in her hands.
After a beat, she looks up - spots a white lab coat hanging
on the coat rack. She stands and snatches it from the stand.
EXT. CITY STREET - NIGHT - MOMENTS LATER
The doors to the City Morgue are pushed open and Vi walks
out, wearing the long coat.
ANGLE ON VI'S FACE
Pale, showing no emotion.
ANGLE ON STREET
Almost empty. A couple of PEOPLE look her up and down,
stepping hurriedly out of her way.
PAN DOWN to see the toe tag still attached to her foot as
she walks determinedly down the foot path.
CUT TO BLACK:
ROLL OPENING
CREDITS:
END OF TEASER
ACT ONE
FADE TO:
INT. HOSPITAL - CORRIDOR - DAY
TRACK DOWN the bustling hospital corridor. Nurses, patients
and visitors move past, going about their business.
STOP on CAROLINE MORGAN, PETER MORGAN and the gentle DOCTOR
SUTTON (44) about half way down the corridor. The good
Doctor holds a clipboard.
Caroline and Peter stand close together. Peter looks far
more relaxed than his wife.
CAROLINE
(demanding)
What do you mean, "fine"?
DOCTOR SUTTON
I mean, your daughter is
perfectly healthy.
A beat. Caroline snatches the clipboard from his hands -
flipping through the pages. He does nothing to retrieve it.
CAROLINE
You must have read something
wrong. I want you to check again.
Do more tests.
Peter takes the clipboard, hands it back to Sutton who
smiles sympathetically.
DOCTOR SUTTON
There's nothing else we can do.
CAROLINE
I want a second opinion.
She turns to Peter.
CAROLINE (CONT'D)
Let's go to another hospital.
PETER
I don't think we really need to
do that.
CAROLINE
Of course we do! Peter, she's our
daughter.
PETER
And she's fine! Didn't you hear
what the nice man in the white
coat said?
Caroline shoots a glare at Sutton. She pulls Peter a few
metres away. Looks up at him imploringly.
CAROLINE
How can she be fine? She was...
shot, Peter. Dead. For hours. And
now they're telling us to take
her home, put her in bed and act
like nothing happened?
PETER
Come on, they didn't tell us
that.
(beat)
Exactly.
(sighs)
I... I don't know how to explain
what happened to her. We heard
what the police said... What the
Doctors said. They're all as
confused as us.
CAROLINE
Then why aren't they doing
anything about it. Trying to find
out what's wrong with her!?
Peter pauses. Unsure.
VI (O.S.)
There's nothing wrong with me.
I'm fine.
They turn quickly to find Vi standing in the doorway to her
room. Fully dressed. She looks down at her feet.
VI (CONT'D)
See? Even remember how to tie my
own shoes.
Caroline hurries over.
CAROLINE
I don't think you should be
walking around. I'll get a
wheelchair for you.
VI
No, that's alright. Can we... Can
we just go home now?
A beat. Caroline and Peter share a concerned glance.
PETER
There are some people here to see
you. Before we can go.
Vi's confused. This doesn't sound good.
INT. HOSPITAL - VI'S PRIVATE ROOM - LATER
Vi sits on the edge of her unmade hospital bed. She's
nervous, playing with her hands awkwardly.
Caroline hovers in the doorway while two police officers
stand in the room.
OFFICER PARKS (40s, male, serious) holds an open note pad
while his partner OFFICER GASKELL (20s, female, pleasant)
stands nearby.
PARKS
Thank you very much for your co
operation. It's imperative we get
the facts as quickly as possible.
You're feeling up to it, I hope?
Vi nods.
PARKS (CONT'D)
Well, then. Down to business. You
were in the establishment with a...
(checks his notes)
Bianca Parry and Erin Fowler. How
are you acquainted with them?
VI
Well, I'm not really. I mean... I
guess I am. I go to school with
them and Bianca kind of...
doesn't really like me but that's
not important. I didn't go inside
with them, if that's what you
mean.
PARKS
So you entered the premises by
yourself? You do understand that
since the establishment sold
alcohol, you were breaking the
law?
VI
Yeah but I wasn't going in there
to buy anything!
(beat)
I mean, I didn't even have any
money.
GASKELL
We just need to find out what
happened. We've already taken
reports from Miss Parry and Mr
Fowler.
Now, it's just the legalities. We
think the owner was going to sell
them alcohol, and both of them
being underage...
(beat)
So, why did you go in?
VI
I was looking for...
She trails off. The Officers share a glance. Caroline moves
forward, worried.
VI (CONT'D)
Oh...
She looks up.
VI (CONT'D)
I saw a... a girl! She was...
lying there by the bridge and I
climbed out and... and ran and I
couldn't find anyone and...
(amazed)
I forgot.
Caroline turns to the officers.
CAROLINE
A girl? What is she - -
GASKELL
We did find a body,
unfortunately. While we were
looking for the shooter.
Vi flinches at the word, "shooter".
VI
Who was she?
GASKELL
Olivia Gibson. It seems she
attended your school.
A long beat. Vi looks to Caroline.
VI
Mum, I want to go home now.
Caroline looks to the officers who nod in agreement.
INT. MORGAN CAR - DAY
Caroline drives with Peter in the passenger seat. Vi sits
behind, her elbow on the arm rest and her head propped up in
her hands.
The trees and houses fly by but she seems oblivious to
everything.
EXT. MORGAN RESIDENCE - FRONT YARD - DAY
SHANE EVANS walks up the front path towards the door just as
the car pulls into the driveway. He turns. He holds Vi's
school jumper in his hand.
Caroline and Peter climb out.
SHANE
(nervous)
Hi. I... Uh... Wanted to return
this.
(holds out the jumper)
It's... It was... Violet's and - -
Violet climbs out of the backseat.
SHANE (CONT'D)
Uh... Hi?
Vi smiles, possibly for the first time since she's woken up.
VI
Hi, Shane.
(to Caroline and Peter)
This is my friend, Shane.
CAROLINE
(stunned)
You have a friend?
VI
Oh, it's not that shocking.
She walks over to Shane and takes the jumper from him.
VI (CONT'D)
Thanks.
He just stares - still trying to figure out what the hell is
going on.
VI (CONT'D)
I think I need to explain a few
things...
He snaps out of it.
SHANE
Can we start with the part where
you're here and apparently alive?
It's just that for the past three
days, the school's been making a
big thing about you being...
not alive.
(beat)
Bianca's been telling everyone
that she saw you die and I know
she tends to exaggerate but
that's generally about where she
went for the holidays or how
expensive her birthday presents
were. This is going a little too
far. Even for her.
CAROLINE
Peter! You told me that you
called the school.
PETER
I'm sorry but I kind of had other
things on my mind. I'll go tell
the kids we're home.
He heads inside. Caroline stays behind. She's eager to get Vi
inside.
VI
Firstly, I'm not dead.
SHANE
Good to know.
VI
Secondly, I was dead. For a
little while at least. I can't
really... explain it. Stuff
happened, yadda yadda yadda - and
now I'm fine.
SHANE
Are you coming to school
tomorrow?
VI
I don't... I'm not sure.
SHANE
You might wanna think about
calling the school because
they're planning on a having a
double memorial service for you
and Olivia Gibson tomorrow.
VI
Oh.
(beat)
I guess I'll make an appearance.
(laughs)
How funny would that be if I just
walked in during the middle of it
and everyone still thought that I
was - -
CAROLINE
Alright, that's enough.
Shane's face drops. Vi stops laughing.
CAROLINE (CONT'D)
I think it's time for your friend
to go home.
VI
But can't he come inside for a
little while?
Shane digs his hands in his pockets.
SHANE
Nah, that's OK. I'd better get
home anyway.
He walks backwards, towards the footpath.
SHANE (CONT'D)
Nice meeting you, Mrs Morgan.
(smiles at Vi)
Glad you're OK.
Vi smiles and gives him a small wave. After Shane leaves, Vi
turns to Caroline.
VI
You didn't have to be so rude.
CAROLINE
I wasn't being rude.
Vi rolls her eyes.
VI
Whatever.
She heads inside.
INT. MORGAN RESIDENCE - FRONT HALL
Vi walks through the open front door. She looks up.
ANGLE ON TOP OF STAIRS
CAM MORGAN peers through the banister railings.
Vi smiles, happy to see him but he scampers out of frame.
His bedroom door is heard CLOSING. Vi frowns.
Caroline appears behind her.
CAROLINE
Are you hungry? I could make you
a sandwich or maybe - -
VI
No. I've got homework to do.
CAROLINE
I'm sure the teachers will let it
slide.
VI
I want to do it.
She hurries up the stairs. Caroline looks after her and
sighs.
INT. MORGAN RESIDENCE - VI'S BEDROOM
The door OPENS and Vi enters quickly. She closes the door
and goes to her bed. Sinks down to the floor with her back
against the mattress. She hugs her knees to her chest.
She takes a deep breath. Closes her eyes as tears start to
run down her cheeks. After a beat, she starts sobbing into
her hands. This continues for a long moment before she
looks up - wipes her tears and forces herself to stop.
There is a KNOCK on the door and Vi hurriedly stands, grabs
a tissue and dabs at her eyes.
VI
(loudly)
Just a minute!
She throws the tissue away and turns towards the door.
VI (CONT'D)
Come in!
The door opens and Peter enters with her school bag and a
large brown paper bag. He places the school bag on her bed.
PETER
We collected these from the...
Uh... We picked these up for you.
Your mum says you want to go to
school tomorrow?
VI
I don't know. Maybe.
PETER
I was thinking you could stay
home.
I haven't been able to write
anything for awhile so I thought
maybe we could hang out. Catch up
on our soaps. I hear Desmond's
marrying Iris this week.
Vi smiles.
VI
I'll think about it.
PETER
No problem-o.
He turns to go.
PETER (CONT'D)
Oh! Here's some of the other things
they found...
He tips the paper bag onto her bed. Her mobile phone,
wallet and keys fall onto the bed. The TOY VAMPIRE bounces
off the blanket and hits the floor. Vi bends down to pick
it up.
As she stands...
FLASHBACK - EXT. EMPTY STREET - BRIDGE - NIGHT
Vi steps on the toy. She loses her balance and slips.
Sliding down the muddy slope, she tumbles over and sees...
The face of Olivia. Cold, pale and very, very dead.
END FLASHBACK
Peter looks at his daughter with concern as Vi stares at
the grinning toy.
PETER
Violet? You alright?
She looks up.
VI
Hmm? Oh! Yeah, totally.
Peter glances at the toy.
PETER
Ooh, creepy.
(beat)
I like it.
Vi tosses it across the room where it lands in an open
cardboard box.
VI
It's lame.
Peter shrugs.
PETER
Well, think about what I said.
I'm sure your mum would like you
to take it easy for awhile. I
would too.
Vi nods.
Peter gives her a quick smile and exits. Vi sits down on
her bed. Starts picking up her belongings but gives up -
tossing them back down again.
INT. MORGAN RESIDENCE - DINING ROOM - NIGHT
PAN AROUND the table. Caroline sips a glass of water, Peter
pushes his vegetables around his plate, Cam fiddles with
his napkin, PENNY MORGAN just looks bored. STOP ON Vi. She
coughs nervously.
ANGLE ON SCENE
PETER
So, uh...
(looks up)
What does everyone think of the
name Brendon?
A beat.
PENNY
"Kids, you're getting a baby
brother" better not be the next
sentence that comes out of your
mouth.
PETER
New character. I decided to scrap
the mystery thing. I was never
good at those anyway.
CAROLINE
That's not true.
PETER
This time, I'm thinking Sci-Fi.
Sci-Fi's really in right now.
It'll be on the best-seller list
for months.
CAROLINE
(smiling)
I can already see "Book of the
Year" nominations filling our
letter box.
PETER
And TV interviews! Oprah! They'd
love me on Oprah.
PENNY
Is anybody gonna actually talk or
are we just going to continue
this delusion?
CAROLINE
Penny, I don't - -
PENNY
Oh, come on! We can act like
there's nothing wrong but we're
just kidding ourselves.
Cam shoots a sideways glance at Vi.
PETER
Penn, I don't think this is a - -
PENNY
A good time? When is a good time
then?
(beat)
Why is she sitting here, without
a scratch, when only three days
ago she was shot in the chest? Is
anybody even going to try and
explain why there's no bullet
wound? No scar?
CAROLINE
(angry)
Penny, stop this right now.
PENNY
No. I want to know what's going
on. I want to know what happened
to her.
Vi stands. Her chair is knocked back, hitting the floor.
VI
Nothing happened to me!
A stunned silence takes the room.
VI (CONT'D)
(less confident; to
Penny)
And don't talk about me like I'm
not here.
Vi, unsure, hesitates but then turns and swiftly hurries out
of the room and up the stairs. She leaves her family stunned,
worried and confused.
CUT TO BLACK:
END OF ACT ONE
ACT TWO
FADE IN:
EXT. MORGAN RESIDENCE - NIGHT
Establishing shot.
INT. MORGAN RESIDENCE - VI'S BEDROOM - NIGHT
Vi enters. Slams the door. She paces the room angrily.
After a beat. She stops and looks to the closed window.
Grabbing a jacket from the back of the door, she crosses to
the window, opens it and climbs out.
EXT. MORGAN RESIDENCE - FRONT YARD - NIGHT
Vi climbs easily down the tree in the front yard. Landing
deftly on her feet, she straightens and hurries down the
street.
EXT. SUBURBAN STREET - NIGHT
ANGLE ON VI'S FEET
Walking slowly. Without purpose.
ANGLE ON VI
She pulls her jacket tighter around her as she walks past
the brightly lit houses. She has no idea where she's going.
The soft HUM of an ENGINE draws closer. Vi expects the car
to pass her but it doesn't.
She walks a little faster. The car speeds up, following her
closely.
ANGLE ON TIRES
Hugging the ground, moving slowly.
ANGLE ON VI
As she quickens her pace once again. She takes a shaky
breath. The car engine ROARS as it speeds up.
MALE VOICE (O.S)
I thought it was you!
Vi whirls around to find ANDREW FRIAR hanging out of the
drivers side window as the car moves slowly along side her.
Vi looks almost relieved until her common sense takes over.
She keeps walking.
VI
Go away.
Andrew keeps up easily with her pace. He's confused.
ANDREW
I thought you'd be happy to see
me.
VI
You thought wrong.
(beat)
How can you... How can you even
exist? You don't. You don't
exist, I'm sorry. It's not
possible.
ANDREW
(hurt)
Oh, thanks. You've really boosted
my self esteem.
(beat)
Are we going to have to go
through the whole denial thing or
will you just hurry up and get in
the car?
Vi stops. Andrew momentarily keeps driving. Realises.
Reverses the car and stops back at Vi.
VI
(shocked)
What?
ANDREW
We have a meeting. I was told to
come and get you because we all
knew you wouldn't come along
willingly.
VI
Are you going to... kidnap me?
Andrew laughs.
ANDREW
Yeah, sure. As long as it doesn't
take very long. I've got stuff to
do.
(beat)
Or TV to watch. Same thing.
Vi starts walking again.
VI
I'm not getting in your car.
ANDREW
Why? You don't like it?
He looks over his car as if to see some blemish that would
repel her.
VI
No. It's very nice but the thing
is, I don't know you. I don't get
into cars with people I don't
know. Rule of one being, y'know,
sane.
ANDREW
I'm Andrew Friar. Twenty-four
years old. Youngest child of
three. I only like red and orange
Skittles, I had braces until I
was seventeen, my celebrity crush
is Scarlett Johansen and we have
a meeting with the Company
whether you like it or not.
VI
Still not getting in.
ANDREW
Fine then. This'll do.
He turns sharply to the side, cutting Vi off. He pulls into
a nearly deserted car park and stops the car.
ANGLE ON OPEN AIR SHOPPING COMPLEX
Two stories high and with many shops on both levels still
open. A small silver elevator rests next to the stairs
leading up to the second level.
ANGLE ON ANDREW
He climbs out of the car. Walks towards the complex.
Without looking back, he speaks.
ANDREW (CONT'D)
You coming?
Vi pauses but then begins to follow him, intrigued.
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Script created with Final Draft by Final Draft, Inc.