tc3x02
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
INT. THE COMPANY - RECEPTION - DAY
Empty. The phone rings on an endless loop.
INT. THE COMPANY - BREAK ROOM - DAY
Half-full coffee cups sit on the table - still steaming.
INT. THE COMPANY - HALLWAY - DAY
A lone mail cart rests, abandoned.
INT. THE COMPANY - CONTROL CENTRE - DAY
The eeriest sight of all. Usually a hub of bustling activity,
the control centre is deathly quiet. The computers are dark.
INT. THE COMPANY - DINING HALL - DAY
Noise and chaos. A couple hundred EMPLOYEES are crammed
inside, all clamouring to have their fears heard by --
SIDNEY, who stands on a raised platform at the back of the
room. He holds his hands out, trying to calm the crowd.
SIDNEY
Please, everyone! One at a time!
He glances offstage to BENSON, who shares his concern.
In the crowd, SHANE weaves his way through to VI and ANDREW.
He passes each an ice cream sandwich. Vi smiles gleefully.
VI
Ooh! Emergency meeting treat!
The dining room doors CRASH open. JENNA enters and freezes -
deer in headlights style - as everyone turns to look at her.
SIDNEY
Make room! Let her through!
Jenna tries to squeeze through. The voices start up again,
this time directed at her.
EMPLOYEE #1
Have your heard something?
EMPLOYEE #2
Do you know what's going on?
EMPLOYEE #3
We have a right to know what's
happening.
Jenna cranes her neck over the crowd, locking eyes with
Sidney. He nods, overwhelmed. Jenna raises her hands.
JENNA
Okay! Okay!
She clambers up onto a table.
JENNA (CONT'D)
I just got off the phone with an
executive at Head Office. It's been
confirmed. Assignments and Signs
have stopped coming. And it's not
just us.
(beat)
It's global.
Concerned CHATTER from the crowd. Sidney's face slackens.
EMPLOYEE #1
Is it the Power? Is it really gone?
JENNA
We don't know yet. But it looks
that way. Without the Power, the
control centre stops functioning,
assignments stop coming...
As the nervous MURMURING continues:
SHANE
(to Vi)
The Power is the thing that saved
you, right? When Kieran shot you,
it brought you back to life?
She nods, numb. Andrew frowns.
ANDREW
You okay?
VI
Yeah, I'm... I'm fine.
(brave smile; then)
Everything's fine.
WHOOP! WHOOP! WHOOP! WHOOP!
A SIREN sends the crowd into a terrified frenzy.
Employees rush for the door. They knock the table on which
Jenna stands - sending her tumbling to the ground!
ANDREW
Jenna!
He pushes toward her. Vi steps closer to Shane, their ice
cream sandwiches long forgotten.
Over at the stage, Sidney backs up - lost for words. Benson
steps up beside him and yanks him around.
BENSON
Sidney! Do something!
SIDNEY
I don't know what to do!
BENSON
You're the director. For God's
sake, direct!
He shoves him to the front of the stage. Sidney grimaces.
SIDNEY
Ho! Everybody stop!
Most of the crowd responds. They go quiet and turn to Sidney.
Andrew helps Jenna up. She clings to him, a bit battered.
SIDNEY (CONT'D)
Remain where you are!
SHANE
(re: siren)
What the hell is that?!
SIDNEY
The alarm is programmed to sound if
the elevator frequency from the
Breaker building is activated. We
wanted some warning in case of
another --
ANDREW
Attack?
He is sharp and accusing. Sidney's jaw tightens - implying an
affirmative answer. Vi's hand flutters to her chest.
FLASH TO:
INT. THE COMPANY - POWER ROOM - FLASHBACK
Kieran, grinning maliciously, shoots Vi!
BACK TO:
INT. THE COMPANY - DINING HALL - AS BEFORE
In a voice, small and scared:
VI
They're coming back.
And with that, she runs.
INT. THE COMPANY - COMMON AREA - CONTINUOUS
Vi emerges from the dining room and ploughs through the
crowd. Her breath comes in short, frightened gasps.
She starts up the stairs, ignoring the ongoing ALARM and
Shane, who appears below.
SHANE
Vi?! Vi, come back!
VI
I can't be here! I have to get out!
SHANE
It's not safe!
But she continues on regardless.
INT. THE COMPANY - RECEPTION - MOMENTS LATER
In a blind panic, Vi rounds the corner. She is near tears.
VI
Oh God. Come on.
She jabs at the elevator button, desperate. The ALARM stops
and the elevator doors slide open to reveal --
-- KIERAN!
Vi cries out in terror and stumbles back. Kieran, his eyes
cold, twitches at her scream. A small smile.
MARCUS, the Breaker's leader, and ISAAC, the thick-necked
head of security, stand on either side of him.
Shane, Andrew and Jenna appear.
ANDREW
Vi! Get back!
Kieran, Marcus and Isaac emerge from the elevator. They are
flanked by three suit-clad SECURITY AGENTS with ear pieces.
WOMAN'S VOICE (O.S.)
Oh, there's no need.
A tall, striking woman with a crisp New Zealand accent,
ABIGAIL FORD (late 30s), steps out from behind the group.
It's now apparent that the Security Agents are with her...
ABIGAIL
Abigail Ford, Head Office.
... And Kieran, Marcus and Isaac have their hands cuffed
behind their backs. Abigail flashes Vi a winning smile.
ABIGAIL (CONT'D)
It's all under control.
Vi's terror gives way to surprise.
CUT TO BLACK:
END OF TEASER
ACT ONE
FADE IN:
INT. THE COMPANY - RECEPTION - DAY
Employees wander aimlessly, not quite sure how to return to
business as usual.
Vi and Shane are comically pressed up to Sidney's closed
office door, straining to hear.
DAVID passes by. He pauses, backtracks and joins them.
DAVID
What are you guys doing?
Vi straightens up to face him. She looks smug.
VI
Let me guess. You were too busy to
notice that some super awesome
chick from Head Office just swept
in here to save the day?
DAVID
No. I just wasn't stupid enough to
run in the direction of the alarm.
Vi is stung, but before she can retort --
SHANE
Shh! I can hear something!
She and David crouch down beside him.
INT. THE COMPANY - SIDNEY'S OFFICE - SAME TIME
Sidney hands a cup of tea to Abigail. She sits beside Benson.
ABIGAIL
'Ta.
SIDNEY
What about...
He motions questioningly to a sturdily built SECURITY AGENT
standing motionless in the corner.
ABIGAIL
Oh, he's fine.
(to the Agent)
You're fine, aren't you?
AGENT
Yes, Ma'am.
ABIGAIL
(smiles)
We train them well.
She takes a sip. Sidney sits across from them.
SIDNEY
So, Ms. Ford --
ABIGAIL
Call me Abigail. Ford is a car my
father loved so much he changed our
family name when I was twelve.
(off their looks)
True story.
She takes another sip and settles back into her chair.
ABIGAIL (CONT'D)
So, where were we?
BENSON
You were telling us why you're
here. I suspect you're a cleaner of
some sort?
She nods.
ABIGAIL
Head Office knew you had a mess on
your hands, so here I am.
Abigail places her tea cup on Sidney's desk, next to the
telephone. We focus on the speakerphone light - glowing red.
INT. THE COMPANY - JENNA'S OFFICE - DAY
Jenna and Andrew lean on either side of Jenna's desk, angled
down to her telephone. They hear the filtered conversation.
SIDNEY (O.S.)
(on speakerphone)
So you lot finally listened to
those messages I left you, yeah?
INT. THE COMPANY - SIDNEY'S OFFICE - DAY
He considers something.
SIDNEY
About that last one. You should
keep in mind that, where I come
from, those wouldn't technically be
considered swears.
Abigail laughs and Sidney awkwardly smiles along. Benson,
however, studies Abigail intensely.
BENSON
You didn't come here because of
what happened last year. You think
the Breakers have something to do
with the Power disappearing.
INT. THE COMPANY - JENNA'S OFFICE - DAY
Jenna gasps. Andrew's flings his hand over her mouth.
ABIGAIL (O.S.)
(on speakerphone)
We have proof. A Breaker came
forward and told us everything they
know about Mr. Pierson's plans.
INT. THE COMPANY - SIDNEY'S OFFICE - DAY
ABIGAIL
From what we can gather, it was
some sort of power play. Literally,
as the case may be.
INT. THE COMPANY - RECEPTION - DAY
On Vi, Shane and David. Still listening.
BENSON (O.S.)
And what of this employee?
INT. THE COMPANY - SIDNEY'S OFFICE - DAY
ABIGAIL
We've offered immunity for any
charges that may be laid against
Pierson and his lackeys.
(then)
But there's no doubt in my mind,
this is one of the good guys.
SIDNEY
This "good guy". Can we get a name?
Off Sidney's suspicion, CUT TO:
INT. THE COMPANY - CONFERENCE ROOM - MOMENTS LATER
Vi bursts in, quickly followed by Shane and David.
VI
You!
BIANCA places an indignant hand on her hip.
BIANCA
What?
But Vi isn't here for her. Instead, her narrowed eyes find --
-- NATHAN. He turns from the window, surprised.
VI
Is it true? They're just letting
you off the hook, just like that?
NATHAN
What do you want me to say?
Vi stalks towards him. She's tearing up, shaking with anger.
VI
I want you to say that you killed
Kou! You murdered him right in
front of me and you don't deserve
to just walk away from that!
Bianca shoots Nathan an incredulous look.
BIANCA
Are you going to just stand there
and let her harass you like that?
VI
Stay out of this, Bianca.
BIANCA
Or you'll what? Cry some more?
Trying to hold off more verbal gun-fire, David steps in.
DAVID
Hey, girls, why don't we just take
a sec and calm down, okay?
BIANCA
Shut up!
VI
Stay out of this!
David jumps back. Shane shakes his head: "Amateur". They look
back to the girls, now standing nose to nose.
BIANCA
What is your problem?
VI
(motions to Nathan)
He's a murderer!
BIANCA
Take that back.
Nathan puts a hand on her arm --
NATHAN
Bianca, come on.
-- But she jerks away. This isn't about him anymore.
BIANCA
(through gritted teeth)
I said take it back, Morgan!
VI
(mocking)
Or you'll what? Cry some more?
In a flash, Bianca's hand goes back, ready to strike. Nathan
leaps in and grabs her wrist - stopping her just in time.
SIDNEY (O.S.)
What the bloody hell is going on in
here?!
Sidney, Abigail and Benson push into the room. Shane smiles
sheepishly.
SHANE
Team building exercise?
Abigail takes stock of the situation.
ABIGAIL
I see you're all acquainted with
Nathan Percy, our Breaker ally.
VI
(under her breath)
Ally. Yeah, right.
But Abigail catches this.
ABIGAIL
As far as myself or Head Office are
concerned, his slate has been wiped
clean. Any disagreements are void.
Do I make myself clear?
Andrew strides in, his face a mask of anger.
ANDREW
Son of a bitch!
He goes for Nathan, his fist pulled back. Bianca screams.
Then, out of nowhere, the hulking Security Agent appears. He
grabs Andrew and slams him down onto the conference table.
ABIGAIL
(beat; then)
I'll send out a memo.
She motions and the Agent hauls Andrew up. Andrew shrugs him
off and fixes his shirt, still glaring at Nathan.
ABIGAIL (CONT'D)
(to Sidney)
This bunch. Are they usually
this... invested?
SIDNEY
You get used to it.
Abigail angles herself to face the room.
ABIGAIL
So, I guess you'd all like to hear
this, then?
(beat)
Marcus Pierson, Kieran James and
Isaac Gates will be housed in your
holding cells while we interrogate
them. Likewise, we'll be holding
interviews for all Breaker
employees so we can ascertain what
they know about the situation.
BIANCA
What if we don't know anything?
ABIGAIL
I'll be the judge of that.
(then)
Until that time, every Breaker will
be escorted by a Fixer employee.
BENSON
What about assignments? Breakers
can't be tagging along, it's not
procedure.
ABIGAIL
That's why I'm putting everything
on hold. No one is to attempt to
complete their current assignment
until I say so.
Bianca looks annoyed. In fact, the whole room looks pretty
put off by this news. Abigail tries to smile reassuringly.
ABIGAIL (CONT'D)
I don't want to play the bad guy. I
really am here to help...
DISSOLVE TO:
INT. THE COMPANY - JENNA'S OFFICE - SAME TIME
The room is seemingly empty. Then we find Jenna sitting on
the floor behind her desk, knees pulled up to her chest.
ABIGAIL (V.O.)
... And I want nothing more than to
make you feel safe again...
CLOSE on Jenna's face --
FLASH TO:
INT. JENNA'S APARTMENT - FLASHBACK
Quick shots. Jenna struggles with a Man in a balaclava. Jenna
is stabbed. Then, the Man without the mask - Nathan Percy.
CUT TO:
INT. MORGAN RESIDENCE - LIVING ROOM - DAY
CAROLINE shakes a plastic tarp onto the floor. All the
furniture has been pushed to the middle of the room.
CAM enters, swinging a can of paint in one hand. He drops it,
flops onto the floor and takes out his phone.
CAROLINE
Cam, put that away.
CAM
I'm texting Penny.
Caroline brightens, instantly changing her tune.
CAROLINE
Oh! What does she have to say?
CAM
(off his phone)
"L-O-L. Why are you painting, you
freaks? Didn't you do it last ear?"
(then)
I think she means "year".
Caroline's not so happy anymore. She checks her watch.
CAROLINE
Isn't she supposed to be in a
lecture right now?
Vi and PETER enter, both carrying various painting supplies -
rollers, tape, etc. Vi looks bemused as she puts hers down.
VI
And isn't the point of going away
to uni to actually go away to uni?
PETER
She misses us.
VI
I'd probably miss her too if she
didn't e-mail me every four hours.
Cam stands and puts away his phone.
CAM
Why are we painting again?
PETER
I've been wondering that myself.
Everyone turns to Caroline expectantly.
CAROLINE
Because it's time for a change.
Change is good. Change is healthy.
Vi motions to the primed wall.
VI
But it's the same colour we had
before this one.
PETER
Ooh! What if we went dark. Like a
deep red or dusty orange. Very
Mediterranean.
CAM
I like it the way it is.
VI
You're just too lazy to paint.
Cam studies the skin on his hands.
CAM
It's the residue. It creates a new
variable in my experiments and --
CAROLINE
(sharp)
No. No science. No Mediterranean.
We are doing this. And we are doing
it as a family.
A beat. They stare, caught off guard by her sudden sharpness.
The doorbell RINGS and Cam darts out of the room.
CAM
I'll get it!
Caroline huffs and starts taping down the plastic. Vi and
Peter kneel together by the paint cans, prying off the lids.
PETER
(so Caroline can't hear)
How's work?
VI
Crazy. As usual. I wish I could
quit.
Peter's face lights up.
VI (CONT'D)
I can't quit.
PETER
What's the problem?
Caroline notes their hushed conversation. She is suspicious
and a little miffed at being excluded. She looks away.
VI
After they took Andrew away as my
mentor, I figured I'd be on my own
from now on, and then --
CAM (O.S.)
Vi! Your friend is here!
Cam enters, followed by Bianca. She carries an overnight bag.
VI
-- That happened.
She and Bianca share the same unhappy expression.
CUT TO BLACK:
END OF ACT ONE
ACT TWO
FADE IN:
INT. MORGAN RESIDENCE - DINING ROOM - NIGHT
Dinner is almost over. Vi and Bianca trade glares. Cam pays
no attention, but Caroline, concerned, leans over to Peter.
CAROLINE
(whispers)
Remind me again why Vi invited her
to sleep over? They don't seem all
that close.
Vi gnaws ferociously on a lamb chop bone. Her hard eyes on
Bianca, who spears a carrot with her fork.
PETER
I, ah, I think they're trying to
work out their differences. Last
year of high school, bygones be
bygones and all that...
CAROLINE
(still suspicious)
Right.
She puts on a polite smile and turns to Bianca.
CAROLINE (CONT'D)
Your brother owns the paper,
doesn't he? That must be fun.
Bianca narrows her eyes.
BIANCA
How?
CAROLINE
I don't know... Er, he lets you
sneak a peek at the new crosswords?
Bianca gives her a tight, not-so-friendly smile.
Peter clears his throat, trying to cut the awkwardness, and
starts to clear the table. Vi grabs the last lamb chop.
CAROLINE (CONT'D)
Vi, don't you want to offer the
last chop to your guest?
Vi's eyes flick to Bianca. A beat. She takes a huge bite.
VI
(mouth full)
Sorry.
Caroline purses her lips, annoyed. Bianca studies her, like
it's finally dawning on her how hard Caroline is trying.
BIANCA
That's okay, Mrs. Morgan. And, no,
Walter doesn't really share his
perks from the paper with me.
(sad beat)
We're not particularly close.
Vi rolls her eyes.
CAROLINE
Oh, that's a shame. You seem like a
lovely person to get to know.
VI
(still eating)
Oh my God!
CAROLINE
Vi! Manners!
Peter enters with a mouth-watering apple pie.
PETER
Who's up for dessert?
Cam shoots his arm into the air. Peter goes to serve a slice
onto Cam's plate, but pulls it back.
PETER (CONT'D)
What's the square root of two
hundred and... twenty five?
CAM
(immediately)
Fifteen.
Peter looks surprised.
PETER
Really? No decimal points?
CAM
(making it up)
Point eight?
PETER
(beat; then)
That sounds about right.
Peter gives him the piece of pie. Cam happily digs in.
Bianca finds herself smiling at the moment. She notices Vi's
eyes on her and she quickly looks away, dropping the smile.
INT. THE COMPANY - SIDNEY'S OFFICE - NIGHT
Sidney sits, staring down at something with hollow eyes.
REVERSE ANGLE
A stain on the carpet. Too deep to scrub out.
FLASH TO:
INT. THE COMPANY - SIDNEY'S OFFICE - FLASHBACK
The events of the previous year. Sidney barges in to see
Diana, face stricken with fear, and Jaxon, a Breaker.
Without hesitating, Sidney raises a gun and shoots Jaxon. The
GUN SHOT echoes back into --
INT. THE COMPANY - SIDNEY'S OFFICE - PRESENT
Sidney snaps back. Benson stands across from him.
SIDNEY
(blinks; dazed)
Y-yeah?
BENSON
I said I'll see you tomorrow.
SIDNEY
Oh, right. See you then.
He looks back to the stain, still distracted. Benson nods.
BENSON
It's Abigail, isn't it?
A confused beat, then Sidney decides to go with it.
SIDNEY
Yes. Abigail. Grr. Frustration.
BENSON
I thought you'd be happy. She seems
to have everything under control.
SIDNEY
Of course. I just... I would've
liked Head Office to send her when
we requested it. Not when a Breaker
decided to grow a conscience.
Benson sits. Sidney gets worked up, continues to vent.
SIDNEY (CONT'D)
We're no closer to figuring out how
Pierson did whatever it is that he
did - or why he needed Doc.
(then)
Speaking of, they didn't even find
Doc when they raided the Breaker
building. Where the hell is he?
BENSON
I wish I knew.
SIDNEY
And then there's Abigail. She just
sweeps in like she owns the place
and I'm expected to take a backseat
- even though I'm the director...
He trails off. Awkward eyes flick to Benson.
SIDNEY (CONT'D)
... And I'm suddenly getting the
subtext of this whole situation.
BENSON
There's no subtext, Sidney.
SIDNEY
You're right. Not subtext. Irony.
(then)
This is exactly what I did to you!
Benson shifts uncomfortably.
BENSON
It really isn't the same. For one,
Abigail Ford is not --
SIDNEY
A great big dunderheaded prick who
thinks it's his way or the highway?
BENSON
(almost smiling)
Are you apologising to me, Sidney?
Sidney thinks. Then stands and slips on his jacket.
SIDNEY
I think so.
(cheerful grin)
See you tomorrow, Benny.
He exits. Benson remains seated.
Turning back to the desk, the golden name plaque glints at
him. "Sidney Dobbs, Director".
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Script created with Final Draft by Final Draft, Inc.