tc3x05
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
EXT. BEACH - DAY
MUSIC CUE: "#1 Summer Jam" by Butch Walker
A glorious day. Beachgoers smile and frolic like they're in
an uplifting Coke commercial.
SHANE, ANDREW and BONNIE play a game of beach cricket - with
Andrew wielding the bat. Shane bowls the ball, Andrew hits it
and runs past --
-- DAVID, jogging up from the water. He wears board shorts
and carries a child's plastic bucket, sloshing water.
He joins the others. JENNA, on a lounge chair underneath a
wide-brimmed hat. She is engrossed in a thick novel.
HANNAH keeps one eye on the cricket match while she helps VI
with an elaborate sand castle. David sits next to Vi.
DAVID
It cost me two dollars and an
imaginary lightsaber but that kid
down there gave me his bucket.
VI
You got ripped off, dude.
DAVID
You try haggling with a four year
old. Not as easy as you'd think.
He brushes some sand from her hair. Vi smiles.
HANNAH
South wall is breached! I need
water!
David hands her the bucket. Hannah pours water on her side of
the sand castle and starts re-building. Vi looks to Jenna.
VI
Wanna help, Jenna? We could do with
a couple of extra hands.
JENNA
(focused on her book)
Mmm-hmm.
Vi smiles. Turning back to the castle, she catches Hannah
watching the cricket game. Watching Bonnie, especially.
VI
This is really cool of him.
HANNAH
What?
VI
Shane and what he's doing for
Bonnie. Making her feel included.
HANNAH
(not believing it)
Yeah.
DAVID
She hasn't gotten any better,
though. She's still not talking.
VI
She's been through a lot. Give her
some time.
Andrew and the others jog up. Shane and Bonnie sit beside
each other while Andrew collapses next to Jenna.
ANDREW
Who wants ice cream?
A chorus of enthusiastic "Me's!" start up.
ANDREW (CONT'D)
Awesome. Grab me one too, will you
Vi?
VI
Andrew!
ANDREW
(over dramatic)
I'm too exhausted to go!
Vi purses her lips but stands anyway and brushes off her
shorts. She holds her hand out to David and pulls him up.
VI
We'll be back.
They walk away. Shane notices Bonnie watching Vi and David.
SHANE
Hey, Bonnie. Everything okay?
She nods. Smiles. But it's hollow. As Shane turns to the
others, Bonnie looks back to Vi and David with concern.
EXT. BOARDWALK - DAY
Vi and David step up from the sand and walk along.
DAVID
Thanks for inviting me today.
VI
Weirdo. Why wouldn't I?
DAVID
Well, this is kind of new. Us, I
mean. I thought maybe you'd want to
take things slow.
They join the line at a kiosk selling ice creams and cold
drinks. A DELIVERY MAN lugs boxes out of his van nearby.
VI
(teasing)
Slower than a day at the beach? The
natural habitat of that one guy who
sleeps on the sand all day with a
newspaper over his face? Slower
than that guy?
DAVID
I'm thinking I should shut up now.
VI
Good idea.
They both turn to face the line but Vi smiles, glancing at
David out of the corner of her eye.
Bonnie appears, taking them both by surprise.
VI (CONT'D)
Bonnie!
The Delivery Man squeezes in front of them, up to the kiosk
counter. Bonnie is looking wild - eyes darting, hyper alert.
VI (CONT'D)
Is everything okay?
The Delivery Man bends down. His wallet sticks out of his
back pocket. Bonnie grabs it and shoves it into Vi's hands.
VI (CONT'D)
Hey!
The Delivery Man feels it and turns. He's confused.
DELIVERY MAN
Did you just take my wallet?
VI
W-what? No, I -- No! Here!
She thrusts it back at him. But Bonnie rolls her eyes. She
snatches the wallet from Vi and runs. Vi and David share a
brief panicked look before giving chase.
VI (CONT'D)
Bonnie! Bonnie, get back here!
Vi looks over her shoulder. The Delivery Man is running too.
EXT. CAR PARK - DAY
Bonnie runs past a row of parked cars. She stops near a car
being unloaded by an attractive WOMAN. Vi and David catch up.
DELIVERY MAN (O.S.)
Hey! You!
Bonnie purposefully drops the wallet on the ground. She grabs
the hands of Vi and David and drags them behind some hedges.
VI
Seriously, Bonnie - What the hell?!
But Bonnie only points through the hedges. They have a clear
view of the Delivery Man as he makes it to the Woman's car.
She has picked up the wallet and is looking at the ID.
DELIVERY MAN
That's mine. Some bloody kid just
nicked off with it. How much did
she take?
The Woman holds out the wallet but doesn't let go, forcing
the Delivery Man to look her in the eyes.
WOMAN
Miles?
DELIVERY MAN
I'm sorry, do I know you?
She lets go of the wallet. Smiles.
WOMAN
Miles, it's me. Alison. From...
MusicFest. Remember?
He takes a step toward her, not believing his eyes.
DELIVERY MAN
Alison, I... I can't believe it's
you. You have no idea how hard I've
tried to find you. After that
night... I thought I'd never see
you again.
WOMAN
Ten years is a long time.
A BOY (around 10) hops out of the car. Comes to stand beside
the Woman.
BOY
Mum! Hurry up! I wanna see the rock
pool!
WOMAN
In a minute, sweetie. I want you to
meet someone.
(beat; nervous)
Miles, this is Timmy.
She gives the Delivery Man a pointed look. The cogs turn in
his mind and he realises. Shocked, he holds out his hand.
DELIVERY MAN
Nice to meet you, Timmy.
Taking the Boy's hand, he smiles.
ON VI AND DAVID
They get it.
VI
(shocked)
No...
She and David look to Bonnie who is locked on the life
changing moment - a small pleased smile on her face.
CUT TO BLACK:
END OF TEASER
ACT ONE
FADE IN:
INT. THE COMPANY - HALLWAY - DAY
Bonnie stares into a vending machine. Not looking at the food
inside, but at her own reflection in the glass.
SHARPEN on the background. Hannah leans out of a doorway,
watching her. She leaves Bonnie, turning into --
INT. THE COMPANY - BREAK ROOM - CONTINUOUS
A day after their beach adventure, the gang (Vi, David,
Shane, Jenna, Andrew and now Hannah) are in normal clothes.
They are spread around the room, listening to Vi.
VI
I'm telling you. There's something
weird about her.
ANDREW
So she's not a big talker. What's
the problem?
VI
That's not what I mean. It's like
she knows things before they
happen. Or she knows what could
happen and how to make it happen!
Andrew quirks an eyebrow.
ANDREW
You're saying she's a witch?
VI
Be serious!
ANDREW
I am. You're the one who's not
making sense, Vi.
Just as concerned as Vi, David steps forward.
DAVID
You guys didn't see it. It was like
she was reading Signs or something.
Like she was doing an assignment.
JENNA
That's impossible. No one's seeing
Signs anymore. And even if we were
still getting assignments, Bonnie's
not a field agent. She's just a
receptionist.
VI
I don't think Bonnie is "just"
anything.
SHANE
You're right.
This brings everyone to silence. They turn to Shane. He's
sitting at the table, staring at his clasped hands.
SHANE (CONT'D)
She's not just a receptionist.
He looks up.
SHANE (CONT'D)
She's a survivor.
(beat)
We have no idea what those Breakers
did to her in that room but
whatever it was, it was bad enough
for her to not want to talk about
it. I don't care what you say she
did yesterday, Vi. She's hurting.
He turns to each of them. Tries to convince them.
SHANE (CONT'D)
We should be protecting her. Not
looking to burn her at the stake.
Vi throws up her arms.
VI
I didn't say she was a witch!
(calming herself; to
Shane)
Shane, I'm sorry but you just
pointed out the obvious. We don't
know what happened to her. What if
she knows something that could
explain what the Breakers were up
to? Or bring the assignments back?
(beat)
Don't you think we should try?
Not affected by her speech, Shane stands. He leans in close
to Vi, like she's the only one who needs to hear this.
SHANE
Just leave her alone, okay?
He walks to the door. Distressed, Hannah reaches out for him.
HANNAH
Shane!
He ignores her and exits.
Off Vi's troubled face, CUT TO:
INT. MORGAN RESIDENCE - PETER'S STUDY - DAY
We move through the open doorway, pulled in by the sound of
CLACKING keys. PETER works diligently at his computer.
The doorbell RINGS.
PETER
(calls)
Cam! Cam, the door!
There's no response from the youngest Morgan. The doorbell
RINGS again. Peter looks up from the screen. Brow furrowed.
PETER (CONT'D)
Cam! Ca -- Oh for God's sake.
He stands.
INT. MORGAN RESIDENCE - FRONT HALL - MOMENTS LATER
Peter opens the front door. There's nobody there. He frowns.
INT. MORGAN RESIDENCE - PETER'S STUDY - MOMENTS LATER
Sinking back into his desk chair, Peter cracks his knuckles.
Back to work. His hands are poised over the keyboard when --
DING-DONG!
Peter sighs.
EXT. MORGAN RESIDENCE - PORCH - DAY
The front door whips open. Peter steps out. Again, there's
nobody else in sight.
PETER
Hello?
In the yard, by the side of the house, some bushes RUSTLE.
BEHIND THE BUSHES
crouch two boys (12 years old). Baseball capped MATTY and his
pudgy companion CLARK are bubbling with nervous energy.
Through the leaves, they watch Peter go back inside.
MATTY
(nudging Clark)
Go.
CLARK
No way!
MATTY
Clark, don't be a wuss. It's your
turn.
CLARK
What if he's waiting for me?
MATTY
He's not. Go on. I dare you.
Clark crumbles under Matty's glare. He nervously climbs over
the porch railing and tiptoes to the front door.
He hovers a finger over the bell. Glances back at Matty who
grins and gives him a thumbs up.
Clark gathers his courage, presses the button and runs. He
vaults over the railing and lands beside Matty with a thump!
CLARK
I did it! Did you see? Matty, did
you...
He trails off, noticing that Matty's attention is elsewhere.
The two boys stare up at Peter. He's right behind them.
In unison, the boys take off. As they disappear down the
street, Peter looks more confused than anything else.
INT. THE COMPANY - RECEPTION - DAY
SIDNEY heads to his office just as Jenna enters from the
hallway. She hurries to catch up with him. Stops him.
JENNA
Sidney, do you have a minute?
SIDNEY
Can it wait?
JENNA
Well, it's --
(deep breath)
It's kind of important.
ABIGAIL and BENSON appear across the room. Abigail, locking
eyes with Sidney, motions to his office. They need to talk.
SIDNEY
Later, Jenna.
He waves her off and Jenna, irritated, watches him walk away.
INT. THE COMPANY - SIDNEY'S OFFICE - MOMENTS LATER
Sidney, Abigail and Benson enter. Sidney closes the door.
ABIGAIL
We're all stamped, approved and
ready to go.
SIDNEY
That was fast.
ABIGAIL
Tearing down a building is much
less complicated here than it is
"out there". No fuss, no muss.
Sidney nods.
SIDNEY
And everybody's out? We've made
sure --
ABIGAIL
No stragglers. She's just a shell.
BENSON
It seems like such a waste.
Shrugging, Abigail flips through a file.
ABIGAIL
Head Office wants it this way. They
don't know how long the Garreton
Breaker branch will be out of
commission. Maybe forever, unless
we figure out what's going on with
the assignments.
SIDNEY
Right. Let's get this over with.
He looks to Abigail expectantly. She holds out a piece of
paper.
ABIGAIL
Here. The deactivation code.
(off Sidney's confusion)
I thought you might want to... you
know... do the deed. After what
they've put you through.
Sidney looks to Benson, who gives a little shrug. He swallows
hard and takes the paper from Abigail's outstretched hand.
INT. THE COMPANY - HALLWAY - DAY
Vi walks along, minding her own business. A figure comes
barreling at her from an adjacent doorway --
INT. THE COMPANY - WOMEN'S BATHROOM - DAY
-- And pushes her into the room. Vi slams against the sink,
then whirls on her attacker with fists raised.
VI
I will break you, mother --
Recognition in her eyes, she drops her hands.
VI (CONT'D)
Hannah?
Sheepish, folding her arms, Hannah nods. She goes to speak,
but a WOMAN enters.
As the Woman glances at them and turns on the tap, Hannah
skitters to a nearby stall. Vi enters the next stall over.
The girls sit and talk over the sound of RUNNING WATER.
VI (CONT'D)
Hannah, is everything okay?
HANNAH
Y-yeah. No. Not quite.
A beat. Vi raises her eyebrows.
VI
You wanna talk about it?
HANNAH
I think I'm... jealous.
VI
Jealous? Of who?
Hannah huffs.
HANNAH
Who do you think? Little Miss
Emotionally Traumised.
(then)
Ever since he saw her, it's like I
don't even exist.
She sniffs and pulls off a sheet of toilet paper to dab at
her nose. Vi, brow furrowed, shakes her head.
VI
Hannah, that's not true. You and
Shane are perfect for each other.
HANNAH
Why? Because our CD collections
match?!
The WATER stops. HEELS click on the floor, followed by the
door OPENING and CLOSING. Hannah sighs. Wipes away a tear.
HANNAH (CONT'D)
I'm such a girl.
Her stall door swings open, Vi on the other side. She offers
a supportive smile.
VI
Crying about a boy in a bathroom
stall doesn't exactly fight the
stereotype but it isn't the end of
the world.
HANNAH
I wouldn't be so sure about that.
A beat. Vi narrows her eyes.
VI
You didn't drag me in here to talk
about Shane, did you?
Hannah moves past her. She goes to the row of mirrors and
uses a paper towel to fix her smudged mascara.
HANNAH
I believe you. About Bonnie, about
her being... different. I think
Shane knows it, too. He's just...
VI
A guy?
HANNAH
(turns back to Vi)
Exactly.
VI
So what am I supposed to do? He
told me to drop it.
HANNAH
There has to be a reason they hid
her in that room, right?
VI
Yeah.
Hannah shrugs.
HANNAH
So ask the guy who did the hiding.
She tosses the paper towel into the trash. Off Vi, the
figurative light bulb going off over her head, CUT TO:
INT. THE COMPANY - HOLDING CELLS - DAY
MARCUS sits at a little metal table, facing away from the
clear cell wall and the hallway beyond.
Though he doesn't see Vi, he senses her as she nervously
steps up to the other side.
MARCUS
You're early.
VI
Uh... I'm sorry?
Marcus frowns and gets up. He looks her up and down.
MARCUS
You're not the lunch girl.
VI
Nope. I'm not.
MARCUS
I just assumed. You people are
sticklers for a time table. Every
day it's been breakfast at seven,
lunch at twelve, dinner at five. No
surprises.
VI
I don't think incarceration is a
breeding ground for spontaneity.
Marcus laughs heartily.
MARCUS
What's your name?
Vi takes a step closer, her confidence growing.
VI
Violet Morgan. We've met a couple
of times. Non-officially.
MARCUS
Then let's make it official.
He bows to her.
MARCUS (CONT'D)
I am Marcus Pierson. It's a
pleasure to meet you, Miss Morgan.
(then)
I presume that Abigail Ford doesn't
know you're down here?
Vi doesn't answer. She bites her lip as she studies him.
MARCUS (CONT'D)
Is everything alright?
VI
I just... I didn't expect you to be
so...
MARCUS
So what?
She shakes her head. Down to business.
VI
I want to talk to you about Bonnie.
Marcus twitches with recognition.
VI (CONT'D)
You know they found her. Pretty
sure they've already asked you
about it.
MARCUS
They have, yes. Do you want to ask
me about it?
VI
What was she doing locked up in
that room? Why was she all cut up?
Did Kieran do that? Why would you
let him?
MARCUS
No.
VI
(beat; surprised)
No?
Marcus draws himself up, moves powerfully towards the glass.
MARCUS
You're not here because of some
sisterly bond. Some righteous
crusade to protect Snow White.
Right in front of her with their eyes locked:
MARCUS (CONT'D)
What do you really want to know,
Violet? What is the question your
superiors should be asking?
A beat. Vi's breath catches in her throat. She chokes out:
VI
Who is she?
Marcus smiles.
MARCUS
The Breaker offices. That's where
you'll find your answer.
He turns, moving back to the table.
VI
But they've already looked there.
MARCUS
(facing away from her)
Might I suggest looking harder?
Vi remains at the glass, daunted by the proposition.
INT. MORGAN RESIDENCE - KITCHEN - DAY
Caroline reads the paper at the kitchen table. She sniffs the
air as, off screen, something SIZZLES and CRACKLES.
CAROLINE
Peter.
At the stove, Peter stares out the front window, mindlessly
stirring something in a pan. Smoke wafts from the pan.
CAROLINE (CONT'D)
Peter, the stove!
He snaps back to reality and pulls the burning food away.
PETER
Damnit!
Peter turns off the stove and dumps the pan in the sink with
a frustrated CLANG. Cam enters.
CAROLINE
Cam, help your dad, will you?
He points towards the front hall.
CAM
You guys know there are smashed
eggs all over the porch, right?
Peter's face darkens.
PETER
They're dead.
He rushes out. Cam looks to Caroline.
CAM
Who's dead?
As quickly as he left, Peter returns. He grabs the phone.
PETER
They're dead!
CAROLINE
Peter, what's wrong? What are you
doing?
PETER
I'm calling the police.
Caroline reaches over and snatches the phone away.
CAROLINE
Over some dropped eggs?
PETER
Not dropped, Caroline. Thrown.
CAM
Someone egged our house?
(beat)
Cool.
PETER
It's those kids.
CAROLINE
What kids?
Peter begins to pace, unable to take it anymore.
PETER
I don't know. They've been doing
this all day. Ringing the bell,
trampling the garden, stealing the
newspaper.
CAROLINE
You mean this newspaper?
Stopping, looking to the paper on the table, Peter drops his
head sheepishly.
CAROLINE (CONT'D)
Why would they do this?
Cam clears his throat. He slowly raises his hand.
CAM
I think I might have a good idea.
(then; off their expectant
faces)
You know how people used to think
Vi was kind of weird? After she...
After she came back? Well, no one
really cares about her anymore.
He gives Peter a meaningful look.
PETER
Me?
CAM
I've heard some of the neighborhood
kids talking. They've asked me...
(rushed; awkward)
... whether it's true that you
snapped and killed a bunch of
people and that's why we moved
here.
A beat. Off their shocked faces:
CAM (CONT'D)
I told them it wasn't true.
PETER
(flabbergasted)
So, now I'm what - Garreton's Boo
Radley?
Caroline snickers as she gets back to her paper.
CAROLINE
Better fire up that stove again,
Boo. I'm getting hungry.
Peter is astonished at her lack of sympathy.
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Script created with Final Draft by Final Draft, Inc.