tc2x14
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TEASER
OVER BLACK:
TEXT OVERLAY: "DENIAL"
The text fades away, leaving only black.
FADE IN:
INT. THE COMPANY - KOU AND DIANA'S APARTMENT - DAY
The front door opens to reveal a grinning, happy DIANA
CROSS, arms overflowing with shopping bags. She can barely
fit them all through the door.
DIANA
(calls out)
Kou! A little help here?
No answer. Diana frowns, but manages to push her way
through the door. She drops the bags in a heap and
collapses on the couch.
She pulls one bag closer and begins digging through it. She
pulls out a tiny, ornate purse and sets it on the table.
DIANA (CONT'D)
(still yelling)
You would not believe the sales
out there today. I mean, I got a
Gucci handbag for less than two
hundred! It might be a knockoff,
but...
She trails off, sounding a little disappointed. She looks
up and frowns.
DIANA (CONT'D)
Kou?
She stares into a bedroom doorway, her face falling - until
KOU YIMOU appears. He sees the many shopping bags.
KOU
Geez, Diana, is there a mall
left?
DIANA
Hi to you too, stranger.
Kou plops down next to her on the couch. He pulls a bag
over and rifles through it.
KOU
Diana, you have a whole bag
devoted to just black skirts.
DIANA
Yup.
(beat)
Oh! And...
She turns and reaches into another bag, then pulls out
something; a BOOK! In fact, the very same book of
quotations that Kou gave to Vi! She hands it over.
DIANA (CONT'D)
Saw this in the bargain bin,
thought it was up your alley.
KOU
(deadpan)
How thoughtful.
DIANA
(meaning it)
Plus, y'know, you inspire me.
She smiles at him, suddenly five years old, and Kou is
genuinely touched.
Kou reaches out and pulls her into a hug, resting his chin
on her head.
KOU
And here I thought I was just --
SMASH CUT TO:
INT. THE COMPANY - KOU AND DIANA'S APARTMENT - NIGHT
The lights are off in the apartment; the only light comes
from the open doorway, where Diana stands holding a stack
of cardboard boxes.
Fumbling for a moment, she extricates an arm long enough to
switch on the light.
Where Diana was glamorous before, here she looks a little
hollowed out, with no makeup and her hair clearly unwashed.
She moves through the room limply, moving towards:
INT. THE COMPANY - KOU'S BEDROOM - CONTINUOUS
Diana enters the dark room, boxes in her arms. She bumps
the light switch with her arm, and light floods over the
large room. She flinches at the change.
She puts the boxes down on the floor, and pulls one out of
the stack. She goes to the closet and opens it.
Inside are his clothes hanging up, and a few pictures. Kou
hugs another ASIAN WOMAN near his age at a park;
him and Diana on the beach, he and ANDREW in the
apartment's living room.
Diana reaches out and grabs the picture of Kou and the
woman, places it into the box. Next is the picture of him
and Andrew, dropping it into the box carelessly.
She reaches out for the last photo, but her hand stops
halfway. She stares at the picture.
She turns her gaze to the clothes, grabbing a shirt off the
rack. Dropping the box, she backs up and sits on the bed,
burying her nose in the shirt and inhaling deeply.
She falls back onto the bed. She brings the black shirt
back up to her nose, inhaling again, and chokes back a SOB.
A tear forms at her eye and rolls down along her cheek.
FADE OUT.
END OF TEASER
ACT ONE
OVER BLACK:
TEXT OVERLAY: "ANGER"
The text fades away, leaving only black.
FADE IN:
A CARTOON. BUGS BUNNY and YOSEMITE SAM onscreen, the latter
so angry that steam is coming out of his ears.
Reveal this is on a TV screen in:
INT. MORGAN RESIDENCE - LIVING ROOM - MORNING
The cartoon plays on the TV to a lost-looking VI MORGAN.
She's not looking her best by a long shot, and her eyes are
completely vacant. She's somewhere else.
She definitely doesn't notice CAM MORGAN, who stands
awkwardly in the doorway of the living room. He frowns, and
turns to enter:
INT. MORGAN RESIDENCE - KITCHEN - CONTINUOUS
Cam enters the kitchen where the family is congregated: at
the table are CAROLINE MORGAN, with a coffee, and PENNY
MORGAN, doing her nails, while PETER MORGAN moves around
the kitchen, filled with nervous energy.
PETER
(rambling)
First day! Haven't had a first
day in a while, not for a real
job, with writing and computers
and not having to clean grease
spots off of aprons.
He approaches the counter, throwing some things into a
briefcase.
PETER (CONT'D)
It's so exciting!
He grins at his family, who are less excited. He follows
Caroline's gaze to the practically comatose Vi in the next
room, and the corners of his grin sag a little.
PETER (CONT'D)
(sad)
Um... Maybe I should say home.
For today, I mean. Take Vi for
ice cream, see what's wrong?
Caroline waves him off, though her expression doesn't
change, and she continues her unbroken staring at Vi.
CAROLINE
You should go, Peter.
(off Vi)
I spoke to the doctors, and post
traumatic stress disorder is
common among assault victims.
Penny looks up from her nails.
PENNY
(nonchalant)
I know what it is. Cheryl Wicks,
her boyfriend cheated on her with
Meghan Danvers, and she went,
like, comatose. She wouldn't
talk, wouldn't eat.
(beat)
I mean, she didn't eat anything
anyway, but she totally stopped
talking.
Caroline gives Penny a worried, exasperated look.
CAROLINE
Vi's stronger than that.
(beat; sinking in)
Erin cheated on Vi? He always
seemed like a nice boy.
PENNY
No, but I overheard them a couple
weeks back. Vi dropped the L word
on him and Erin didn't, you know,
say it back.
CAROLINE
(confused)
Lesbian?
Penny rolls her eyes.
PENNY
No, mum. She said she loved him.
Caroline winces, but shakes her head.
CAROLINE
I think this is definitely from
what happened in the bush. I
mean, she was assaulted by a mad
man.
CAM
(out of nowhere)
But, what if it's something
bigger than that?
Everyone looks to Cam, but he's staring at Vi, a thousand
unsaid things lurking under his face.
PENNY (O.S.)
Trust me, kid. True love can
really mess a girl up.
ON VI
Whose lifeless gaze continues, unabated.
CUT TO:
INT. THE COMPANY - JENNA'S OFFICE - MORNING
JENNA COOKE sits at her desk, working furiously at her
computer. She looks like she's a bit behind on her sleep.
The door opens, and ANDREW FRIAR pops his head in.
ANDREW
Morning.
Jenna gives him a spare glance and a brief smile, then
returns her eyes to her monitor.
JENNA
Morning, Andrew.
He steps into the office, the picture of nerves. His hands
are clasped tight behind his back.
ANDREW
So, I was thinking week after
next, we could --
JENNA
(cuts him off)
Sorry, Andrew. I'm really busy,
and I don't think I can make
plans right now.
Andrew, a little put out, still steps forward and slips
into the chair in front of Jenna's desk.
ANDREW
What're you doin'?
JENNA
Sidney's still getting settled,
so I'm responsible for getting
Kou's funeral arranged. Also, I'm
in charge of arranging sessions
with Doreen Brennan for most of
the employees, especially the
Runners.
Andrew gives her a confused look.
JENNA (CONT'D)
You know, the psychiatrist.
ANDREW
Oh yeah, her. Bags of fun,
really, with the interrogation
and the notebooks and the 'How do
you feel about that?'. Fun lady.
Jenna nods abruptly.
JENNA
On that note, have you seen Vi
today?
ANDREW
She's at home, I think.
JENNA
I think you should go see her.
(smiles)
She'll need a friend right about
now.
Andrew smiles and nods, standing and moving towards the
door. Jenna frowns at herself:
JENNA (CONT'D)
(calls out)
Hey.
Andrew stops in the doorway, turning back to face her.
ANDREW
Yeah?
Jenna stops typing and focuses her attention squarely on
him.
JENNA
(concerned)
How are you holding up?
Andrew considers the question, then nods towards Jenna's
monitor.
ANDREW
Sign me up for this afternoon,
yeah?
Giving her a tip of the imaginary hat, he exits. Jenna
stares after him for a moment, then returns to her monitor.
ON SCREEN
She types, in a box marked 14:00, ANDREW FRIAR.
On Jenna, as she sighs sadly.
CUT TO:
INT. THE COMPANY - DOREEN'S OFFICE - LATER
A typical psychiatrist's office, familiar to us from the
psychometric testing with Vi, Andrew and Jenna last year.
In a comfortable seat is DOREEN BRENNAN.
Lying on the couch across from her, head resting on her
hands, is Diana. She's curled up in a vulnerable, open
position.
Doreen clicks on a tape recorder and places it on the table
beside her.
DOREEN
So, Diana. How are you feeling?
DIANA
Honestly? I have no idea.
Doreen crosses her legs.
DOREEN
What do you mean by that?
DIANA
Ever since Kou's death, my head's
been very fuzzy. I can't work, I
can't think. I couldn't even go
into my bedroom to sleep last
night; I couldn't walk past his
bedroom and not pop my head in to
say good night.
(beat; embarrassed)
I slept on the couch.
DOREEN
That's not surprising. I've had
patients who have had much more
volatile reactions to a death,
and after much more time than
this.
(beat)
Never forget, Kou was a very
important piece of your life for
a long time. Every way you grieve
is perfectly valid.
(smiles)
Except felonies. Those are bad.
Diana chuckles, and pulls herself into a sitting position.
She faces Doreen, warming up a little.
DIANA
He was the only one I really
loved in this world. He was like
a brother to me.
Diana stares at Doreen's face, then looks down.
DIANA (CONT'D)
I'm sure you've read my file, you
know why that mattered to me.
Doreen nods slightly, but returns Diana's gaze impartially.
DOREEN
Diana, death brings up a lot of
complex emotions, especially for
those of us at the Company who,
I've noticed working here, begin
to see themselves as immortal.
(beat)
Death sometimes forces us to face
up to things we thought we had
moved beyond. It can set us back
decades, sometimes.
Doreen grabs a file and flips through it.
DOREEN (CONT'D)
(without looking up)
Can you tell me about how you
died, Diana?
Diana stares at Doreen. She's not surprised at this topic
coming up.
SUDDENLY -- The sound of SHATTERING GLASS, a quick flash of
Diana in a seatbelt being JERKED sideways --
Back on Diana in Doreen's office. She closes her eyes and
moves to lie down more comfortably.
DIANA
It was 2003. June.
(beat)
It used to be my favourite month.
CUT TO:
INT. DIANA'S CAR - DAY (FLASHBACK)
We see a pair of hands on a steering wheel, before pulling
back to see:
Diana, four years younger. Sporting her trademark 'big shot
actress' sunglasses, she's nonetheless a little softer than
the bitch we know now. Her smile is gentler, more genuine.
We hear the sounds of a GAMEBOY, segueing us into seeing
the bright face of 13-year-old JAMES JUNIOR (J.J.), Diana's
younger brother, sitting in the passenger seat.
DIANA
Come on, J.J.; do you have to
play that in the car?
(playful)
Do I need to confiscate it? I
can, you know, being an adult and
all.
J.J. looks up at her with a grin.
J.J.
Come on, sis, we both know who
the adult is here.
Diana grins and gives him a punch on the shoulder.
DIANA
You should respect your elders.
Or else, when I'm a big movie
star, you won't get a cent.
J.J. gasps overdramatically as his older sister gives him a
wink.
DIANA (CONT'D)
Seriously, though, how was Aunt
Saffron's?
J.J.
(rolls his eyes)
You know. Lots of hugging and
squealing.
(mocking female voice)
"Oh James Junior, you've gotten
sooooo handsome, just like your
father."
DIANA
I always did think she had a
thing for dad.
J.J.
A very solemn 'ewwww'.
Diana grins and fiddles with the radio.
DIANA
Sorry that I was late, by the
way.
The audition ran a little
overtime. I think I nailed it,
though.
J.J.
(sincere)
Of course you did.
Diana chuckles, heartened by his utter certainty in her.
DIANA
Thanks. I really think I'm this
close to my big break, though. I
mean, L.A. was a bust, but I'm
thinking of going back in the
fall.
J.J.
Don't worry, sis, I know you're
gonna be --
Unfortunately, J.J. is interrupted by another car, seen
through Diana's window, SMASHING directly into Diana's
side!
Diana's car SKIDS across the ground, FLIPPING over onto its
roof. Diana is JERKED to the side, before being held into
position by the seatbelt.
Silence.
Diana's eyes flutter open. She looks relatively alright,
though shaken and currently UPSIDE DOWN. She looks over --
-- at J.J., whose face is BLOODY and whose eyes are closed.
He hangs at an odd angle from the seat belt, his arms
limply hanging towards the ceiling of the upside-down car.
DIANA
Oh God, J.J. Can you hear me?
J.J., wake up!
Diana moves to help him, but winces and JERKS back. She
looks down her torso --
-- which is caught in the TWISTED metal of the car, the
jagged edge plunged deep into her abdomen.
Diana gasps, finally feeling the pain of the wound. Murmurs
of VOICES can be heard from outside the car.
She reaches out and GRASPS J.J.'s hand, eyes fluttering in
pain as she tries to stay conscious. As she holds it tight:
DIANA (CONT'D)
(whispered)
I'm sorry...
With this, her eyes close for the last time; or so she
thinks.
MATCH CUT TO:
INT. THE COMPANY - DOREEN'S OFFICE - DAY
Again on Diana's closed eyes, but she's back on the couch
recounting her story. She opens her eyes and looks at
Doreen.
DIANA
When I got here, it didn't take
me long to sign the contract.
(bitter laugh)
Even then, J.J. was gone by the
time I woke up. 'Internal
bleeding'. Died on the table
while I was sitting in an office
being read a damn sales pitch.
She looks down, shame in her eyes.
DIANA (CONT'D)
I was stupid, just a stupid kid.
I should have paid more attention
to the road. J.J. died because of
me.
Doreen stays quiet for a moment.
DOREEN
Except, really, that isn't true.
The other driver was as much at
fault as you.
(beat)
As as for Kou's death, Diana, you
can hardly blame yourself for
that. You were nowhere near the
marina that day.
Diana blinks, surprised that Doreen would assume this.
DIANA
I don't blame myself for Kou's
death.
Diana looks at Doreen, meaning it, before she comes to a
sudden realisation.
DIANA (CONT'D)
(grim)
I blame Violet Morgan.
Off this startling confession:
CUT TO:
INT. THE COMPANY - ELEVATOR - DAY
Vi stands in the elevator, alongside Andrew. She's still
not looking too great.
VI
So... What happens now?
ANDREW
Well, there's the funeral --
VI
No, I mean about the Breakers.
Andrew looks at her, confused. Vi's eyes narrow in
annoyance.
CUT TO:
INT. THE COMPANY - RECEPTION OFFICE
At the front desk, SIDNEY DOBBS stands holding GLENDA
MORRISON's hand in his, patting it comfortingly.
SIDNEY
There you go now, Glenda miss.
Don't worry yourself too much.
Glenda, however, doesn't seem to be in much need for
comforting, merely looking at Sidney as if he were a
particularly uninteresting form of insect.
GLENDA
I assure you, Director, I'm
completely fine.
SIDNEY
And I assure you, you're not. I
blubbered like a baby this
morning and I barely knew the
bloke.
Glenda nods, but before she can respond, a DING announces
an elevator's arrival --
-- And out steps a very pissed off Vi, who points directly
at Sidney.
VI
Dobbs!
Sidney looks up, a bit alarmed. He turns to face the
oncoming teenager with worry.
SIDNEY
(confused)
That's my name, don't wear it
out.
VI
(yells)
What the hell is the deal with
the Breakers?!
Her yelling catches the attention of ALISTAIR BENSON, who
steps out of the conference room.
SIDNEY
Um, well, if you'll step into my
office --
VI
I told you, Nathan Percy and
Kieran James killed Kou, and
you're standing there like a
bloody, I don't know, statue!
SIDNEY
(perplexed)
I'm a statue?
(beat; authoritative)
In my office, Morgan, now.
He looks at Benson and gives him 'the nod', then leads Vi
into:
INT. THE COMPANY - SIDNEY'S OFFICE - DAY
Sidney moves to sit at his desk, offering Vi to sit across
from him. Vi slams down into her chair, arms crossed. Pure
angry teenager in every way.
VI
I want to know why nothing's
happening.
Sidney narrows his eyes at Vi, not responding well to her
attitude.
SIDNEY
(calm)
Why nothing is happening, Miss
Morgan, is because nothing is
going to happen. Kou Yimou's
death was ruled an accident by
Head Office. I submitted the
initial complaint myself.
(beat)
Well, through Glenda but that
isn't important.
(beat)
What is important is that you
realise those two men weren't
even there.
Vi stares at Sidney, baffled. Sidney sifts through some
papers on his desk.
SIDNEY (CONT'D)
After you gave us your statement
of events, I submitted the
complaint to Head Office. They
investigated and...
He finds the correct paper.
SIDNEY (CONT'D)
(looks over paper)
... It seems a Miss Carlyle
confirmed Nathan's alibi. He was
working on an assignment with
her, him being her mentor. And as
for Kieran, well, Director
Pierson vouched for his
whereabouts.
VI
I saw them kill him.
SIDNEY
Unfortunately, Ms. Morgan, your
testimony at the time wasn't
exactly credible. Or do we need
to revisit the beetroot fish?
VI
But... Kieran's a serial killer!
Doesn't that mean anything to you
people?
SIDNEY
Kieran's actions at the Garreton
National Park were unfortunate,
but it was concluded by Head
Office that he legitimately
thought he was doing his job.
VI
(sarcastic)
All this talk about them 'doing
their jobs'; was he just 'doing
his job' when he shot Michael
Winchester?
A confused beat, as Benson and Sidney share a baffled
glance.
VI (CONT'D)
Come on, guys. Big scary
standoff, me hiding in the
closet, Kieran with a gun.
Doesn't ring a bell?
SIDNEY
(honest)
Nope.
VI
It was in Kou's assignment
report.
Benson steps forward.
BENSON
Violet, I've read every
assignment report since I became
Director, up until I was...
(sideways glace at
Sidney)
Kou has never mentioned Kieran
James or any other Breaker.
VI
But... Kou said he'd take care of
it.
Vi's face falls, but she stands.
VI (CONT'D)
This makes no sense.
SIDNEY
(annoyed)
Yes, the fact that you decided to
waste my time on a hugely
important day like this does make
no sense. The next time you want
attention, try setting something
on fire.
(beat; harsh)
Worked for your mentor back in
the day, didn't it?
Benson throws a glare at Sidney, but Sid keeps his gaze
soundly on Vi.
SIDNEY (CONT'D)
Out. Now. Before I get Dautry
down here.
Vi, tearing up, turns to the door - but the door SLAMS open
to reveal Diana!
SIDNEY (CONT'D)
Diana?
She crosses the room in a stride and BACKHANDS Vi across
the face!
Shocked and surprised, Vi presses a hand to her stinging
cheek. She steps backwards.
Diana turns to Sidney, nonplussed.
DIANA
I'd like to file a formal
complaint to about Violet Morgan,
requesting immediate
repositioning or, ideally,
termination.
Sidney just stares at her, completely blown away.
SIDNEY
What's that now?
DIANA
Not only have her indiscretions
involving Shane Evans and Peter
Morgan been glossed over by
previous incompetent management --
(to Benson)
Sorry, Alistair.
(back to Sidney)
-- But I also believe her actions
to have contributed significantly
to the death of Kou Yimou,
Garreton Fixer.
As she begins to shake in fury, she looks at Vi.
DIANA (CONT'D)
This little bitch has caused this
branch nothing but trouble. I,
for one, would be happy to never
see her ugly little face again.
Diana stares at Vi, utter hatred in her eyes as Vi's world
falls apart.
She turns and exits, SLAMMING the door behind her and
leaving Vi, Sidney and Benson completely shocked.
FADE OUT.
END OF ACT ONE
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Script created with Final Draft by Final Draft, Inc.