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Sirens - 1.07 - Family Tree

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  • Sirens - 1.07 - Family Tree

    Series: Sirens
    Episode: 1.07 – Family Tree
    Writer and Creator: Alex Goddard (Lex)
    Editor and Proof Reader: Alex Hart (Alex)

    I do not claim credit for any of Joss Whedon’s creation and the featuring of his characters and episodes in this series is simply for my pleasure and not at all for financial gain as I do all this for free! All characters not affiliated with Jossverse belong to me, as do the plot lines and all original concepts. Season One of Sirens runs strictly alongside Season Four of its brother series “Shadow Stalker”. To fully understand and appreciate Sirens, it is advisable to read Seasons 1, 2 and 3 of Shadow Stalker prior to this series, and please read the episodes in the order they are released, (i.e 4.01 of SS, followed by 1.01 of Sirens, then 4.02 of SS followed by 1.02 of Sirens etc.)


    TEASER

    OPEN ON – CROPLEY SHORES
    MEETING ROOM – INT.SCHOOL – AFTERNOON

    The camera focuses on SHELTER who is sat in the Meeting Room. She looks around at her friends, her family – The Kalipso Syndicate. They are all talking and conversing, something that she cannot participate in.

    BROGAN looks to everyone.

    PAN is absent.

    BROGAN: Ok, so please be nice everyone... she’s already fragile.

    ECHIDNA: (to MELODY) He’s talking about you.

    MELODY: (to ECHIDNA) He’s talking about you.

    ECHIDNA: Me?

    MELODY: Me?

    URSULA sighs.

    URSULA: I don’t think Ea was directing it at anyone particularly.

    BROGAN: It’s just Cherry’s had it tough. She’s the only student who knows about us and why we’re really here.

    MELODY: I don’t just get why we can’t just wipe her mind. We have two pretty amazing witches in this room.

    SHELTER looks at MELODY, unsure of whether to take this as a compliment.

    URSULA too, looks doubtful at the suggestion.

    URSULA: Uh, I don’t think memory manipulation is the way forward on this one, Melody.

    ECHIDNA looks to BROGAN.

    ECHIDNA: See, I would never suggest such a life altering method of dealing with this situation.

    BROGAN exhales, sharply frustrated.

    BROGAN: Ok! Enough...

    He looks up.

    BROGAN: She’s here.

    The Syndicate turn now to see that CHERRY is approaching the room. She clearly looks nervous and as she pushes the door open and walks in her smile confirms her reservations.

    URSULA beams at her.

    URSULA: Cherry, dear. Thank you for coming in so early.

    CHERRY shrugs.

    CHERRY: It’s cool, I’m an early bird anyway.

    URSULA: Well please take a seat.

    CHERRY nods and obliges. She looks around at everyone.

    BROGAN: Cherry...

    CHERRY: (interrupting) Before you kick me out can I just say one thing?

    The Syndicate look confused.

    TRAFFORD: What? Kick you out?

    CHERRY: I know I’m a bit of a liability but I won’t tell the others about what I know, I swear...

    BROGAN laughs.

    BROGAN: Cherry, you’ve got it all wrong. We’re not kicking you out. We just want to check you’re ok?

    CHERRY: What? Oh I’m fine... All dandy with the mythology war prospect.

    URSULA: Are you sure?

    CHERRY: Three months ago I was working in a diner part-time and living on food stamps with my blind grandmother. Don’t get me wrong, I love my grandmother and I wouldn’t change caring for her for anything...

    She smiles, oddly content.

    CHERRY: But right now I’m making this world a better place in a way I never thought I could. That’s huge...

    ECHIDNA smiles, pleased to be a part of giving CHERRY’S life a deeper sense of importance.

    ECHIDNA: Well that’s put my rather epic worries at ease.

    MELODY rolls her eyes at ECHIDNA but then turns to CHERRY.

    MELODY: Just know you can always come to us if you have any questions or concerns about anything.

    BROGAN: Yes and we will keep you updated whenever anything happens or if we need your help at all.

    CHERRY looks uncomfortable.

    CHERRY: Well, there is one thing I have been meaning to ask... and I don’t want to offend anyone.

    Everyone looks at CHERRY curiously.

    URSULA: You can speak freely here Cherry, no one will be offended.

    CHERRY looks down.

    CHERRY: Ok... I was just wondering...

    She looks up now to SHELTER.

    CHERRY: Why can’t she talk?

    Suddenly speech leaves everyone in the room and SHELTER looks down. A soft sigh escapes her troubled lips. Every breath causes them to shiver with fear, fear that it may be her last.

    SONG: GREG LASWELL – KILLING MOON

    As the songs begins, the room goes silent even more as SHELTER listens to BROGAN explaining the curse that was passed from SHELTER’S dead father to her.


    CUT TO – CROPLEY SHORES
    LOBBY – INT.SCHOOL – AFTERNOON

    SHELTER is sat in the lobby on the seating area. She has a big pile of administrative files placed near to her. She looks at them sadly as she sees her MELODY walk past with CHERRY, training with the other students. ELISE and ECHIDNA pass too, swapping ideas for lessons. She looks down and reaches for a file, knowing she’ll not get the chance to teach.

    She looks at the file but the noise from the lessons nearby reach her exile. She slams the file down and stands.

    Under blue moon I saw you
    So soon you'll take me
    Up in your arms
    Too late to beg you or cancel it
    Though I know it must be the killing time
    Unwillingly mine...


    She moves towards the kitchen.


    CUT TO – CROPLEY SHORES
    SIDEWALK – EXT.SCHOOL – AFTERNOON

    The camera shows from the perspective of someone. They are watching the school intently.

    Fate
    Up against your will
    Through the thick and thin
    He will wait until
    You give yourself to him...


    Their gaze shifts as a taxi pulls up to the school and a middle-aged black WOMAN with short hair steps out of the taxi armed with a floral battered suitcase. She pays the taxi driver with a deadpan expression. She breathes deeply and picks her suitcase up and struggles to walk towards the school. She is played by Nancy LeGuare.

    The person from whose perspective we are watching the scene is clearly intrigued by the presence of the WOMAN.

    In starlit nights I saw you
    So cruelly you kissed me
    Your lips a magic world...



    CUT TO – CROPLEY SHORES
    KITCHEN – INT.SCHOOL – AFTERNOON

    SHELTER has her back to the door. She rushes to the fridge and opens the door. Her eyes search the contents and she pulls out chicken drumsticks, chocolate cake and a stick of celery. She places it all down and begins taking a bite from the drumstick and then a bite from the celery.

    She closes her eyes, in gluttony.

    She takes a bite from the chocolate cake and then from the celery to alleviate the guilt.

    Your sky all hung with jewels
    The killing moon
    Will come too soon
    Fate
    Up against your will
    Through the thick and thin...



    CUT TO – CROPLEY SHORES
    LOBBY – INT.SCHOOL – AFTERNOON

    With everyone in class, the lobby is empty of witnesses to the entrance of the WOMAN who arrived by taxi. She opens the door cautiously and looks around.

    Seeing the room is empty she walks into the room. She waves her hand over the suitcase and it disappears.

    She moves further and her eyes fixate on the woman in the kitchen.

    She moves closer.

    He will wait until
    You give yourself to him
    Under blue moon I saw you
    So soon you'll take me
    Up in your arms
    Too late to beg you or cancel it
    Though I know it must be the killing time
    Unwillingly mine...



    CUT TO – CROPLEY SHORES
    KITCHEN – INT.SCHOOL – AFTERNOON

    The lyrics end to the song now.

    SHELTER closes her eyes with every bite of the cake, this small moment of pleasure keeping her going. She doesn’t hear the door open behind her but she hears the voice.

    WOMAN (O/S): You are Shelter Elm?

    SHELTER’S eyes open, alarmed. She turns, chocolate around her mouth. Her face drops, seeing the WOMAN.

    SHELTER: I know you...

    The WOMAN nods.

    WOMAN: My name is Neya Elm. I am your mother.

    The camera closes in on SHELTER as her mind analyses the situation and the instrumental bridge sounds.

    SHELTER’S eyes widen and her heart beat quickens, even though the fact she had just spoken words did not cross her mind.

    CUT TO BLACK

    END OF TEASER

    As the screen remains black for a moment, a lilac mist begins to develop. Through the mist we can see a creature stood on a rock in the water. Behind the creature, in the distance, the water is lapping at the edge of Cropley Shores’ beach serenely. The mist then appears to be developing into a word. One single word.

    Sirens.

    The mist fades.

  • #2
    ACT ONE

    OPEN ON – CROPLEY SHORES
    LOBBY – INT.SCHOOL - AFTERNOON

    URSULA is walking with CHERRY through the bustling crowd of students as they all leave for the day. CHERRY has a guilty expression on her face.

    CHERRY: I hope I didn’t upset her?

    URSULA: Nonsense... Shelter’s curse is a sensitive subject for us all but what you did caused no harm – you merely asked a legitimate question.

    CHERRY: I know, but still...

    URSULA: Cherry, don’t worry. It’s mostly frustrating because we don’t know of any way to help her.

    CHERRY: So one day, she’ll just die... for no reason?

    URSULA pauses.

    URSULA: Like I said... don’t worry yourself about something we have no control over...

    She smiles weakly. CHERRY nods.

    CHERRY: Ok...

    CHERRY looks around at the students, she sighs.

    CHERRY: I think we should tell Nevan and Gabe.

    URSULA: About Shelter?

    CHERRY: About it all! They put their lives at risk that day too.

    URSULA: We’re not planning on telling any students of our true purpose, Cherry. They may not take it well.

    CHERRY: I did...

    URSULA opens the front door now, arriving at the exit.

    URSULA: Not at first you didn’t.

    As the door opens, a car can be seen outside. HELEN and ARRON are inside it. URSULA eyes them as they wave at CHERRY.

    URSULA: I see you’ve made some new friends, I’m glad.

    CHERRY looks out at them.

    CHERRY: Helen and Arron? Yeah they’re cool...

    URSULA: Well go and have some fun. It shouldn’t be all doom and gloom for a girl your age. Let us worry about the important things for now.

    CHERRY: Easier said than done, knowing what I know.

    URSULA: Of course it is, but try.

    She winks at her. CHERRY smiles.

    CHERRY: I hear ya, boss.

    She leaves now and heads towards the car. URSULA watches as she disappears into the crowd.


    CUT TO – CROPLEY SHORES
    ROADSIDE – EXT.SCHOOL – AFTERNOON

    CHERRY hurries to the car. HELEN smiles at her.

    HELEN: Hey girly girl.

    CHERRY: Hey.

    ARRON: Up for a road trip?

    CHERRY raises an eyebrow.

    CHERRY: Where to?

    ARRON smirks.

    ARRON: It’s a surprise...

    CHERRY: Sounds exciting.

    HELEN: With us, it always is.

    She laughs and CHERRY gets into the backseat of the car. ARRON speeds away from the roadside, heading for the highway.


    CUT TO – CROPLEY SHORES
    LOBBY – INT.SCHOOL – AFTERNOON

    Allowing the last student to leave, URSULA shuts the door and locks it tight.

    She turns and walks back towards the lobby, she stops as she sees ECHIDNA walking into the lobby, her arms around a wounded PAN.

    URSULA: Pan...

    He looks up to her.

    PAN: Hello Ursula.

    URSULA: Are you alright? It’s good to see you up and about.

    PAN goes to answer.

    ECHIDNA: (interrupting) Yes, well the students will soon notice his absence so I told him he needed to get up and start walking.

    URSULA furrows her brow.

    URSULA: How thoughtful.

    ECHIDNA smiles.

    ECHIDNA: I thought so.

    PAN rolls his eyes.

    PAN: I am alright though Ursula. It still hurts but I’m doing well. How is the school doing?

    URSULA: Fine. The students are working hard and the new lesson plans seem to be working out well. Even Cherry seems to be adjusting well to the revelation.

    PAN: Well that’s brilliant... and how is Trafford doing? After Cate...

    TRAFFORD (O/S): Are my ears burning?

    They turn to see TRAFFORD and ELISE entering the room.

    PAN looks at him.

    PAN: Oh, I was just asking if you were alright after...

    ELISE’S eyes widen, lip reading PAN. She shakes her head. PAN notices.

    PAN: Uh...

    TRAFFORD laughs and looks at ELISE.

    TRAFFORD: (signing) It’s ok. I’m fine.

    He turns back to the others.

    TRAFFORD: Guys, I’m fine.

    URSULA looks unconvinced.

    URSULA: It’s ok if you’re upset, Trafford. No-one expects you to act in any particular way.

    TRAFFORD smiles weakly at her.

    TRAFFORD: I told you, I’m fine. Now... let’s talk about something that matters.

    ECHIDNA raises an eyebrow.

    ECHIDNA: And what would that be?

    A cheeky smile spreads across TRAFFORD’S face.

    TRAFFORD: Kicking some bad guy ass! We need to take those Sirens down don’t we?

    The camera moves away from them now towards the kitchen area. The door closes on its own accord.

    URSULA (O/S): I’m not sure launching an assault is our best option.

    TRAFFORD: Oh come on! Let’s take the fight to them!

    The camera leaves the conversation now as it pans around to a corridor. Out of nowhere, SHELTER appears – a spell shrouding her from the group. In her hand is a plate with a sandwich on it.

    She looks behind her to check she was not noticed. She nervously hurries down the corridor.


    CUT TO – CROPLEY SHORES
    SHELTER’S ROOM – INT.SCHOOL – AFTERNOON

    The door to SHELTER’S room opens and she enters with the plate. She looks towards the bed.

    SHELTER: I hope this is ok.

    The camera pans to show NEYA sat on the bed, formally composed. She looks at her daughter.

    SHELTER: It’s just some cheese and salad. It was all I could get in a short time.

    NEYA smiles weakly at her.

    NEYA: I’m sure I’ve survived on worse. Just put it on the bed. I’ll eat it soon.

    SHELTER nods and moves to the bed. She places the plate down. Her eyes nervously meet her mother’s as she crosses her arms, keeping a distance.

    NEYA: You are nervous around me.

    SHELTER laughs nervously.

    SHELTER: Can you blame me?

    NEYA: You’ve already shown courage by speaking.

    SHELTER: How is it that I can? Only Sephy has heard me speak before...

    NEYA: All in good time Shelter. I’ll tell you all I know.

    SHELTER sits on the floor now and crosses her legs, looking up at her mother.

    SHELTER: Where have you been?

    NEYA: In our dimension, for many many years. Many more than have passed on this plane.

    SHELTER: How did you survive? The war?

    NEYA: The gods smiled on us and pitied the world in Glorificus’ exile. Though after your father died, I quickly resorted to hiding... our whole family died that day but I took you away.

    SHELTER shakes her head, vacant.

    SHELTER: I don’t remember.

    NEYA: I didn’t expect you would. Those were dark times for us Shelter. One day you grew curious and wandered from our hiding hole... to my peril you disappeared but were discovered by a friendly faction.

    SHELTER nods.

    SHELTER: The Syndicate.

    NEYA: If that is what they call themselves then yes.

    She looks down.

    NEYA: For years I looked for you, hiding when needed until I gave up hope. Then, hope came in the form of Smith Artair.

    SHELTER’S eyes widen.

    SHELTER: Mr. Artair? He’s alive?!

    NEYA nods.

    NEYA: When the world began to unite again he returned to our old village alone and found me in the ruins. He nursed me back to health and he gave me strength.

    She smiles, warmed.

    NEYA: He told me where you had gone and promised to one day help me return to you.

    SHELTER: I don’t understand. Why isn’t he with you?

    NEYA: He could have, but he feared the reception he would receive on arrival. He informed me of the mutiny.

    SHELTER shakes her head.

    SHELTER: We were hurting, he’d lied to us.

    NEYA: And now I understand the perpetrator of Smith’s exile was the one who betrayed you all further? Kaia Thorn?

    SHELTER looks down.

    SHELTER: She’s dead. Ea killed her...

    NEYA closes her eyes and tilts her head up.

    NEYA: It is a shame that so many young people have died because of this war, disheartening.

    SHELTER looks uncomfortable.

    SHELTER: So... that’s why you’re here? Because you wanted to see me?

    NEYA opens her eyes now and slowly looks to her.

    NEYA: That...

    She pauses.

    NEYA: And I found a way, Shelter.

    SHELTER: (confused) A way to what?

    NEYA: Stop your fate. I know a way to cull the curse that will one day end your life...

    SHELTER’S breaths cut short. Her mouth falls aghast somewhat and her eyes glisten with hope.

    CUT TO BLACK

    END OF ACT ONE

    Comment


    • #3
      ACT TWO

      OPEN ON – CROPLEY SHORES
      STOCK FOOTAGE – EXT.BEACH – NIGHT/MORNING

      The camera zooms up the beach showing the night tide receding to the glow of the morning sun.

      THE BEATLES: HERE COMES THE SUN

      The song begins to play as the scene cuts to the next.

      Here comes the sun, here comes the sun,
      and I say it's all right...



      CUT TO – UNKNOWN
      BACKSEAT – INT.CAR – MORNING

      The camera shows the backseat of a moving car. CHERRY is sound asleep, lying along the entirety of the backseat. As the car moves over bumpy ground, she rouses. She looks around and rubs her face, groggy. She sits up pulling the blanket around her and looks out the window at the bright morning.

      CHERRY: We drove all night?

      Little darling, it's been a long cold lonely winter
      Little darling, it feels like years since it's been here...


      The camera cuts to the front of the car to see HELEN now driving. ARRON turns around to look at her.

      ARRON: When the Prime kids do a road trip, we do it in style.

      HELEN: We stopped for food but you were out like a light.

      CHERRY shrugs.

      Here comes the sun, here comes the sun
      and I say it's all right...


      CHERRY: Not hungry.

      HELEN: Just as well, Arron ate yours.

      She laughs. CHERRY smiles.

      CHERRY: That’s ok.

      She looks out of the window to see arid landscape, countryside and the occasional sand dune.

      Little darling, the smiles returning to the faces
      Little darling, it seems like years since it's been here
      Here comes the sun, here comes the sun
      and I say it's all right...


      CHERRY: There doesn’t seem to be much to see here.

      HELEN: There’s something, trust me.

      CHERRY: Where are we going?

      ARRON: You’ll see. You’ll like it, I promise...

      CHERRY frowns, slightly apprehensive.

      Sun, sun, sun, here it comes
      Sun, sun, sun, here it comes...


      ARRON looks to his sister.

      ARRON: Is that it, up ahead?

      HELEN nods.

      HELEN: Yeah I think so.

      She looks back briefly to CHERRY and smiles.

      Sun, sun, sun, here it comes
      Sun, sun, sun, here it comes...


      HELEN: Looks like you woke up just in time.

      CHERRY looks out the window once more as they arrive at their destination. She looks confused and then she raises an eyebrow, unimpressed.

      CHERRY: This is it?

      ARRON: I know, it doesn’t look like much but trust me... it’s more than you can imagine.

      Sun, sun, sun, here it comes...

      The song ends as the engine to the car turns off. HELEN and ARRON exit the car, CHERRY follows.


      CUT TO – UNKNOWN
      DUSTY ROAD – EXT.TOWN – MORNING

      CHERRY looks around the sandy road, which juts through a desolate old ghost town. She turns to HELEN and ARRON.

      CHERRY: Why are we here? We’ve missed school today and my grandmother will wonder where I am, all for a ghost town?

      HELEN laughs.

      HELEN: Relax, it’s a road trip.

      CHERRY: But all that’s here is sand, we live near the beach.

      HELEN and ARRON turn towards her now and then they look at one another. CHERRY shakes her head.

      CHERRY: What is this really about?

      ARRON steps forward.

      ARRON: We have a slight confession to make.

      A sinking feeling suddenly dreads CHERRY.

      HELEN: It’s about your parents.

      CHERRY: (quietly) What about them?

      HELEN: It kinda struck a nerve with us... you see, we lost someone to vampires too.

      CHERRY looks surprised

      CHERRY: You did?

      ARRON: Our neighbours. The Hamiltons.

      CHERRY: What happened?

      ARRON: When we first moved in, they were so kind to us. We went to dinner at theirs every night. We really got on with their son... they were so welcoming.

      HELEN: Some might say too welcoming.

      CHERRY: They let vampires into the house?

      ARRON: They thought they were new neighbours moving in over the road. The vampires had done their homework.

      HELEN: We found them the next day... it was a massacre. But the vampires left their son...

      CHERRY: Oh god... I’m sorry.

      ARRON: Soon they’ll be the ones that are sorry.

      CHERRY: What do you mean?

      HELEN: We traced them down, they live here.

      CHERRY looks around the abandoned town – no sounds of sign of life anywhere.

      CHERRY: (whispering) They’re here?

      ARRON nods.

      HELEN: We tracked them down.

      ARRON: Turns out it’s a similar theme with these vampires.

      HELEN: They hunt down families with one child... leave the kid, take the parents.

      CHERRY looks down.

      ARRON: (quietly) I guess it’s like a sick fetish with them.

      CHERRY: Are you saying what I think you are?

      HELEN moves forward to her now and places a hand on her shoulder.

      HELEN: We don’t know for certain but it all fits.

      ARRON: We thought we’d strike when it’s daylight.

      CHERRY looks up.

      CHERRY: What weapons did you bring?

      HELEN looks to her brother who smiles.


      CUT TO – CROPLEY SHORES
      CORRIDOR – INT.SCHOOL – MORNING

      BROGAN is walking down one of the corridors, heading towards his classroom.

      TRAFFORD (O/S): Hey, Ea...

      BROGAN stops and turns to face TRAFFORD.

      BROGAN: Hey, everything ok?

      TRAFFORD: Yeah, I was just wondering if someone could take my classes today?

      BROGAN smiles.

      BROGAN: Of course – I’ll ask Shelter. You take some, uh... “you” time.

      TRAFFORD raises an eyebrow.

      TRAFFORD: What?

      BROGAN: Is that not why you want to take the day off?

      TRAFFORD: Uh, no...

      BROGAN pauses, awkward.

      BROGAN: Oh...

      TRAFFORD: I wanna do some research into that island off shore.

      BROGAN: What island?

      TRAFFORD: The one on the map that Shelter and Ursula found. The Sirens came from that direction... it’s worth checking out more about it.

      BROGAN nods, impressed.

      BROGAN: Good idea, man.

      TRAFFORD smiles.

      TRAFFORD: I’ve been thinking about it a lot and I think this could be the key.

      BROGAN’S impression changes now.

      BROGAN: That’s all you’ve been thinking about?

      TRAFFORD: What do you mean?

      MELODY (O/S): Ok boys! Let’s not loiter in the hallways.

      TRAFFORD looks back to see MELODY approaching them both.

      TRAFFORD: Right, I better dash. If you need me I’ll be on the net.

      BROGAN nods, a weak smile on his face. MELODY moves next to BROGAN and watches TRAFFORD leave.

      BROGAN: (to MELODY, quietly) Why did you do that, I had him opening up.

      MELODY: You can’t prise open a clam, Ea.

      She frowns.

      MELODY: Well, you can... but it can take a damn long time.

      BROGAN: Cate dumped him, he was falling for her. He must be beat.

      MELODY: And he clearly is but you gotta let him figure it out his own way.

      BROGAN: I just don’t like seeing someone in my family hurting...

      MELODY smiles at him. The two of them make eye contact and find it hard to break away.

      MELODY blinks, shivering.

      MELODY: So uh... you got class now?

      BROGAN: In about fifteen minutes.

      MELODY nods, emphatically.

      MELODY: Oh yeah, same. Gotta get some weapons though.

      BROGAN nods.

      MELODY: You know from the weapons cabinet.

      BROGAN nods again. She rolls her eyes.

      MELODY: You know the stuff is pretty sharp in there. I could hurt myself.

      BROGAN raises his eyebrows now, realising.

      BROGAN: Oh... You should probably be supervised.

      MELODY raises an eyebrow.

      MELODY: You think?

      BROGAN: Definitely.

      MELODY: Ok let’s go... we now only have 13 minutes.

      They quickly hurry down the corridor now, almost running into URSULA as she turns a corner.

      URSULA: (startled) Oh! Be careful you two...

      MELODY: Sorry Urs...

      BROGAN: Yeah, our bad... oh, tell Shelter to cover Trafford’s classes.

      URSULA looks highly confused.

      URSULA: A please would suffice, Ea Brogan.

      BROGAN (O/S): Thanks!

      She sighs and watches the two leave, suspiciously.

      URSULA changes her direction now and moves swiftly towards SHELTER’S room.


      CUT TO – CROPLEY SHORES
      CORRIDOR – INT.SCHOOL – MORNING

      URSULA is now stood outside SHELTER’S room. She knocks on the door. There is no answer.

      URSULA: Shelter?

      She knocks again.

      URSULA: Shelter? Are you in there?

      She knocks another time.

      URSULA: I’ve been looking for you. Trafford wants you to...

      She opens the door.


      CUT TO – CROPLEY SHORES
      SHELTER’S ROOM – INT.SCHOOL – MORNING

      URSULA: Cover his classes...

      Her words trail off as she looks around the room.

      The bed is made, not slept in. The room itself is empty and the window is open. She walks further into the room.

      URSULA: Shelter? Are you in here?

      Then her eyes settle on an object on the floor, by the bed.

      A floral suitcase.

      NEYA’S suitcase.


      CUT TO – CROPLEY SHORES
      BEACH – EXT.CAVES – AFTERNOON

      We are now watching the scene from the perspective of someone. The same someone who watched NEYA exit the taxi cab and enter the school. This is a different scene.

      The person is watching as two people enter a cave, further down on the beach.

      The two people are SHELTER and NEYA.

      SHELTER looks over her shoulder to check that no-one is watching, before following her mother deep into the darkness.


      CUT TO – CROPLEY SHORES
      TUNNELS – INT.CAVE – AFTERNOON

      NEYA moves instinctively through the tunnels, stepping lightly and carefully.

      SHELTER: Mother...

      NEYA ignores her.

      SHELTER: (louder) Mother! Talk to me.

      NEYA stops now and turns back.

      NEYA: We must hurry. I don’t want to be late.

      SHELTER: Late? For what?

      NEYA: We must reach your saviours before the setting sun sleeps.

      SHELTER looks troubled.

      SHELTER: Just stop for a second and talk to me!

      NEYA: I’m trying to help you. I don’t want you to die.

      SHELTER: I know! And I appreciate all you’re doing but I’m finding this a bit overwhelming.

      NEYA breathes softly and looks down, then up to her daughter.

      NEYA: Fine. What is it you wish to know?

      SHELTER hesitates, unsure of where to begin.

      SHELTER: Why is it I can only talk to you and Sephy?

      NEYA: It is not just us, Shelter. There are millions walking this world and others that you can converse with without fear of death.

      SHELTER’S mouth falls open.

      SHELTER: Really? How? How did I not know about this?

      NEYA nods.

      NEYA: Smith and I researched your curse and it would seem that only one person is fated to hear you speak. It is to that person, and that person only, that you will tell the eulogy of civilization.

      SHELTER considers this.

      SHELTER: But how do I know who that person will be?

      NEYA: I’m afraid we did not find a way of locating this person but in the past it would appear that fate will draw you to this person – such is the way of the curse.

      SHELTER: So this person... is already in my life?

      NEYA: Quite possibly. You are nearing your father’s age. He was the eldest to survive.

      SHELTER looks down tearful.

      SHELTER: But if it is one of my friends and they hear me... they will die too.

      NEYA: Which is why we must hurry...

      NEYA turns now and continues walking.

      NEYA: The mouth of the cave is just up ahead.

      NEYA walks off screen now and SHELTER slowly moves after her.

      As she continues walking, she looks up to see her mother approaching a small exit. Daylight is shining through on the other side.


      CUT TO – CROPLEY SHORES
      EXIT – EXT.CAVE – AFTERNOON

      SHELTER exits the cave now and squints as the low bright sun reflects off the surface of the calm sea into her eyes. She locates her mother who is stood on a sole rock, jutting out of the water. Next to her is a rowing boat.

      NEYA looks back to SHELTER and smiles.

      NEYA: We are so close now, my darling Shelter.

      SHELTER: So close to where?

      NEYA points out to sea.

      NEYA: There. That is your cure.

      SHELTER looks up and she sees about a mile away is a small island.

      The island from the map.

      CUT TO BLACK

      END OF ACT TWO

      Comment


      • #4
        ACT THREE

        OPEN ON – CROPLEY SHORES
        CORRIDOR – INT.SCHOOL – AFTERNOON

        URSULA is walking, troubled down a corridor in the school. She frowns, staring at the floor. The camera focuses on a door and as URSULA passes it and moves off screen she hears a woman laughing from behind the door.

        URSULA moves back on screen and looks at the door, curiously. She listens and hears the laughing again. She clears her throat, distinctively.

        The movement from behind the door stops. The door opens.

        A semi-naked BROGAN emerges, tucking in his shirt to his trousers and frantically buttoning his fly. Blushing, he looks at URSULA.

        URSULA: Ea? Is everything alright?

        BROGAN nods, emphatically.

        BROGAN: Yep, brilliant.

        URSULA raises an eyebrow.

        URSULA: Well, I’m glad I’ve found you... Shelter’s missing.

        BROGAN frowns, confused.

        BROGAN: Shelter’s missing?

        URSULA: I went to ask her to cover Trafford’s classes and she was not in her room, nor is she around the school anywhere.

        BROGAN: That’s uh, odd...

        URSULA: It gets stranger. There was an old suitcase in her room. I remember distinctly when we left Manhattan that Shelter’s suitcase was the same as the rest of ours.

        BROGAN suddenly looks more serious.

        BROGAN: We need to find her.

        URSULA: You’re right...

        URSULA looks over BROGAN’S shoulder now to the semi-open door.

        URSULA: (calling) Melody?

        There is a pause.

        MELODY (O/S): (from behind the door, within the room) Yeah?

        BROGAN looks down, embarrassed.

        URSULA: Could you please re-attach your clothing to your body and dismiss the students.

        MELODY (O/S): (from behind the door, within the room) Of course... no problem.

        URSULA smiles at BROGAN.

        URSULA: (replying) Thank you dear.

        BROGAN looks up at URSULA now.

        BROGAN: (quietly) Ursula...

        URSULA: Get the other Syndicate members, Cherry if you can find her.

        BROGAN concedes and nods.

        URSULA: Thank you.

        She leaves now and BROGAN watches her leaves as MELODY leaves the room and enters the corridor. MELODY watches URSULA leave and then looks to BROGAN.

        MELODY: Phew, that was close. Think she knew?

        BROGAN: I think the cats out of the bag on this one, Melody.

        MELODY smiles weakly at him.

        MELODY: Sorry.

        BROGAN smiles back.

        BROGAN: Just make sure the students leave. If something goes down, the last thing I want is them hurt – they’re not ready yet.

        MELODY looks at him surprised.

        MELODY: Are we really not going to talk about this?

        BROGAN: Do you really think this is the right time?

        MELODY nods, beat.

        MELODY: No... I guess it isn’t.

        She shakes her head and then leaves. BROGAN backs against the wall and slides down it, placing his head in his hands.


        CUT TO – UNKNOWN
        DUSTY ROAD – EXT.TAVERN – AFTERNOON

        HELEN is sat on the bonnet of the car, watching as CHERRY wanders down the street of the desolate town, observing the buildings. She looks sad.

        Her brother approaches her.

        ARRON: What’s got you all moody?

        HELEN looks at him.

        HELEN shrugs.

        HELEN: I dunno.

        ARRON: You’re lying to me.

        HELEN hesitates and continues looking at him.

        HELEN: Are you sure this is a good idea? Doing this to Cherry?

        ARRON pauses, confused.

        ARRON: We give her the revenge she wants, she has to do something for us in return. Mom and dad are working on the other outcast in the group and we’re working on this one.

        HELEN: But this is personal stuff. We’re messing with people’s parents now...

        ARRON looks at her, incredulous. His expression hardens. He moves closer.

        ARRON: You need to really shut up Helen Prime and remember where the hell you come from.

        HELEN looks down.

        HELEN: I’m sorry.

        ARRON: I don’t give a damn about this mortal coil and anyone in it and neither should you. We’ve been your family since before the sun was born and we’ve done nothing but try to support you and love you unconditionally.

        HELEN: I know that!

        ARRON: And now you want to turn your back on that?

        HELEN: I’m just not too sure I want to destroy the race that worshipped us for thousands of years.

        ARRON: You mean the race that want to kill us? The race that is building an army to extinguish us? Or have you forgotten?

        HELEN: Of course not...

        ARRON: It’s not just about us Helen. All the other mythologies are trembling, it only takes one rebellion to spark the beginning of the end. We are quelling this not just for the safety of our survival but for the survival of the world.

        He looks to CHERRY.

        ARRON: She would try to kill us if she knew who we really were. Don’t you wanna tear them apart before they do us?

        HELEN tightens her jaw and shakes her head.

        HELEN: I know what you want me to say...

        HELEN looks briefly at CHERRY and then back to her brother.

        HELEN: But I’m not sure I can lie just to massage your ego.

        ARRON breathes heavily, frustrated. He points his finger at her.

        ARRON: This is the last time I will have this conversation with you sister. Do not just presume because we are siblings that I won’t report this to the corporation or to our parents.

        HELEN: You’d do that to me?

        ARRON: Sacrifices have to be made in war, Helen.

        The two of them look at one another as CHERRY approaches nearby.

        CHERRY: Hey guys...

        ARRON turns to face her, his expression changes instantly to a more friendly accommodating one. Fake.

        ARRON: Yeah?

        CHERRY: I can hear music in the basement of the tavern. That must be where they are.

        ARRON: Awesome, let’s suit up. It’ll get dark soon and we want to take them by surprise.

        CHERRY smiles, her solace close.

        CHERRY: We’re really going to do this?

        ARRON nods.

        ARRON: Guess so... eh sis?

        He looks to HELEN, so does CHERRY. She considers her answer carefully but then she remembers the repercussions.

        She smiles.

        HELEN: Stakes are in the trunk. Let’s suit up.

        CHERRY hurries to the boot of the car and ARRON turns to his sister.

        ARRON: (whispers) You’re doing the right thing.

        HELEN doesn’t respond. She jumps off of the car and moves to help CHERRY, her mortal comrade.


        CUT TO –

        At the boot of the car, CHERRY reaches inside and pulls out something. HELEN stands next to her.

        HELEN: Sure you’re ready for this?

        CHERRY lifts the object up – a sharpened stake.

        CHERRY: The second my parents took their last breath I was ready.

        She slams the boot down. As she does...


        CUT TO – CROPLEY SHORES
        LAWN – EXT.SCHOOL – AFTERNOON

        The person who watched NEYA exit the cab and the person who watched her enter the cave with SHELTER is now watching the school lobby through the window at the front of the building.

        The person is watching as the Syndicate hurry around.

        SHELTER ELM, the top of their priorities.


        CUT TO – CROPLEY SHORES
        LOBBY – INT.SCHOOL – AFTERNOON

        ELISE and PAN are sat in front of a laptop, looking through old security footage of the building while TRAFFORD and ECHIDNA continue to look through old books on the island. BROGAN hurries into the room, armed with weapons. URSULA and MELODY look to him.

        BROGAN: I brought weapons, wasn’t sure what we’re up against.

        URSULA: Neither are we.

        MELODY: The students are all gone, I gave them next week’s homework. They seemed oddly pleased.

        He looks at her briefly.

        BROGAN: Good. What’s the plan?

        MELODY sighs under her breath, un-noticeable.

        URSULA: Trafford’s looking up stuff on the island, Echidna’s helping with the archaic text.

        BROGAN: Why?

        TRAFFORD looks up to BROGAN.

        TRAFFORD: It would seem that back in the day the island was seen by certain pagan factions as a door to the underworld.

        BROGAN: The underworld?

        TRAFFORD: As in where the dead would rise.

        ECHIDNA shakes her head.

        ECHIDNA: There’s nothing in these texts to indicate that these rumours are true. Indeed these pagan groups did practice advanced levels of necromancy to channel communication with the dead but there’s nothing distinct that suggests the island inhabits one of the rare doorways into the underworld.

        TRAFFORD looks at her with an eyebrow raised.

        TRAFFORD: Except for a flock of Sirens nesting in its bosom?

        ECHIDNA: You don’t know that to be true.

        URSULA: Well hang on a minute Echidna. Shelter and I saw the Sirens coming from that direction. There’s nothing out at sea except for that island.

        BROGAN: So whoever is pulling the Sirens’ strings is somehow related to the underworld?

        ECHIDNA: Perhaps, but these are all suppositions. Right now our concern is to ensure Shelter’s safety. This is all irrelevant...

        PAN suddenly looks up from the screen, ELISE’S eyes widen.

        PAN: Guys! We have something...

        BROGAN looks confused and moves over to the screen.

        BROGAN: What’s this?

        PAN: Security footage from yesterday. The last time we saw Shelter was in the meeting with Cherry... but the security cameras picked up this from the kitchen later that day.

        The camera cuts to the screen which is showing a black and white clear version of the scene in the kitchen where NEYA introduces herself to SHELTER.

        The camera cuts to BROGAN who looks confused.

        BROGAN: Who is that woman? I don’t remember seeing her in the school.

        URSULA now moves round to look at the screen and is taken aback upon seeing NEYA.

        URSULA: (distressed) By Suspiria’s mercy...

        BROGAN looks to her.

        BROGAN: Ursula, what’s wrong?

        Everyone looks at URSULA now, worried.

        URSULA: There’s no way she can be here.

        BROGAN: Why? Who is she?

        URSULA: That’s Neya Elm, Shelter’s mother!

        ELISE looks at her, surprised.

        ELISE: (signing) Mother?!

        URSULA: You all don’t understand the severity of this woman’s presence. We must find Shelter now.

        URSULA hurries away towards her classroom.

        ECHIDNA: Ursula, where are you going?

        URSULA: To find a locator spell to perform. There’s no possible way Neya Elm can be here...

        Everyone is left reeling from URSULA’S outburst and upon leaving, the people who have yet to lay their eyes on NEYA move to the screen to see.


        CUT TO – ISLAND
        SHORE – EXT.FOREST – AFTERNOON

        The small rowing boat now approaches the shore of the island. All is peaceful and not a sound can be heard, except for the soft mooring of the boat against the sand. NEYA gracefully steps out of the boat and places her feet on the sand. She closes her eyes.

        NEYA: We are close.

        SHELTER looks nervous and steps out on to the sand. She looks around at the island.

        A forest thickens the island and a small mountain adds altitude to the area.

        SHELTER: (quietly) Where do we go now?

        NEYA begins walking towards the trees.

        NEYA: It is not far, Shelter. The base of the mountain holds all you need.

        SHELTER: Mom...

        NEYA stops and turns back.

        SHELTER: I’m scared.

        NEYA smiles at her.

        NEYA: I am too, but I won’t be once this is over.

        SHELTER looks unconvinced.

        NEYA: You can finally live as you always should. Talk to your friends, live a full and normal life.

        SHELTER looks down.

        NEYA: Don’t you want that?

        SHELTER: Yes.

        NEYA smiles once again and then turns and begins walking into the forest, towards the mountain.

        SHELTER watches her disappear. She turns and looks at the boat, the sea and Cropley Shores in the distance.

        She sighs.

        She turns and follows her mother.


        CUT TO – CROPLEY SHORES
        LOBBY – INT.SCHOOL – AFTERNOON

        MELODY is looking through the assortment of weapons that BROGAN brought in, while the others are in the background, talking.

        BROGAN approaches her.

        BROGAN: Hey...

        MELODY looks at him briefly.

        MELODY: Hey.

        BROGAN looks at the weapons.

        BROGAN: Think this will be enough if anything goes down?

        MELODY: If we’re up against the Sirens, then no. If we up against the thing that can control those psychotic creatures then I’d say we’re well and truly screwed.

        BROGAN nods.

        BROGAN: Good to know.

        He turns now, to walk back to the group.

        MELODY: You know we’re gonna have to face this now.

        He turns back to her.

        BROGAN: What are you talking about?

        MELODY: I know this isn’t exactly the most perfect time to talk about this but Ursula knows. She saw us together.

        BROGAN sighs.

        BROGAN: I know.

        MELODY: Questions are gonna be asked Ea, I’m just saying. It’s something we’re gonna have to face.

        He doesn’t respond.

        MELODY: Whatever this is, they’re gonna want an explanation, an answer.

        She moves past him now to the others.

        MELODY (O/S): And so am I...

        BROGAN looks down as she passes him and looks as she rejoins the group.


        CUT TO – ISLAND
        ENTRANCE – INT.CAVE – AFTERNOON

        SHELTER and NEYA now enter a cave. It is dark but the tunnels are lit with rustic torches. SHELTER looks around, uneasy at the walls, laden with ancient iconography.

        They walk deeper into the tunnel until they approach a large cavern.


        CUT TO – ISLAND
        CAVERN – INT.MOUNTAIN – AFTERNOON

        SHELTER is taken aback by the cavern. She stops as her mother moves further in.

        The cavern is inhabited by a large flock of Sirens. They all shuffle where they sit, perched on rocks and ledges. They **** their head at the women as they enter.

        SHELTER: (scared) The Sirens...

        NEYA turns to look at her.

        NEYA: (whispering) They will not harm you, I promise.

        SHELTER: They’ve killed people, they tried killing me.

        NEYA: The Sirens are a peaceful race but will sometimes bargain to kill for the highest bidder – should the price be high enough.

        SHELTER: And what’s this price?

        RED MARKED SIREN (O/S): Your curse, girl.

        SHELTER looks past her mother to see the RED MARKED SIREN soar down from the ceiling and land in front of the women. The chief acolyte of the Prime family.

        SHELTER steps back and readies a ball of energy efficiently in her hand.

        RED MARKED SIREN: Heed your spell, it will not work on me. I am protected by my masters.

        SHELTER looks around her. She is outnumbered. She stops her spell.

        NEYA nods.

        NEYA: I told you, Shelter. They will not hurt you. They only wish to help.

        SHELTER: (angry) How can these things help me?

        RED MARKED SIREN: We have recently acquired an assortment of archaic spells. One of which was used to curse the Elm family by the hands of a mortal witch centuries ago.

        SHELTER: You know the spell that cursed me?

        RED MARKED SIREN: And we know its cure.

        SHELTER suddenly relaxes somewhat, unthreatened. She had not heard reason from the Sirens before.

        SHELTER: Why would you want to help me?

        The RED MARKED SIREN pauses.

        RED MARKED SIREN: We do ask of one thing in return for your freedom.

        SHELTER looks at her mother who is looking at the RED MARKED SIREN intently. SHELTER turns back to it too.

        SHELTER: And that would be?

        NEYA: Your affiliation to their masters.

        SHELTER turns to her mother in shock.

        SHELTER: What!?

        NEYA looks at her, entreatingly.

        NEYA: (desperately) Shelter, it’s the only way.

        SHELTER looks upset, tears in her eyes.

        SHELTER: You knew about this.

        NEYA: A war is coming Shelter and we’ve all had to pick sides.

        SHELTER: You want me to turn my back on the people who raised me, the people who took care of me all of my life?!

        NEYA: For a life that has a future.

        She looks at her desperately.

        NEYA: I lost you once and I will not allow you to suffer and die horrifically like your father did.

        SHELTER looks away, upset.

        NEYA: You deserve to live, Shelter. I know that the Syndicate have taken care of you but they have never sought to free you from your curse. Not me. Not your mother. You’re all I left...

        SHELTER: Don’t say things like that.

        NEYA moves closer to her, so close they’re almost touching.

        NEYA: Please, Shelter. You can have your life. With me.

        SHELTER looks away from her.

        NEYA: Just say yes...


        CUT TO – CROPLEY SHORES
        LOBBY – INT.SCHOOL – AFTERNOON

        URSULA is knelt on the floor of the lobby. The Syndicate are all stood around her with lit candles. In front of her is a map of Cropley Shores and its surrounding area.

        URSULA closes her eyes and hovers her hands over the map.

        URSULA: Accendo lux lucis, addo, eligo expiscor invenio Shelter Elm...

        Suddenly some of the light from the flames of the candles extinguishes leaving a small white dot on the island on the map. Surrounding it is a red haze.

        URSULA opens her eyes and looks at the map.

        URSULA: Oh no...

        BROGAN looks at URSULA.

        BROGAN: She’s on the island.

        MELODY: What’s the red misty crap all around her?

        URSULA: That’s anything that’s a threat to her.

        PAN: But that mist is all over the island.

        URSULA nods.

        URSULA: Exactly.

        TRAFFORD: The Sirens.

        URSULA looks at ECHIDNA.

        URSULA: You need to get us to that island straight away.

        ECHIDNA: I don’t understand. What is going on?

        URSULA: I’ll explain on the way... but it would seem that what you found out about the island is most relevant.

        The Syndicate look around suddenly more confused than ever.

        URSULA however, looks intensely worried. She stands and looks at them all.

        URSULA: Grab anything you can to defend yourself. Going into the Sirens’ nest is a suicide mission. Get Shelter and get out, no heroics... we have to get her away from Neya.

        BROGAN: Ursula, I don’t understand. Why?

        URSULA sighs.

        URSULA: Neya Elm died over 15 years ago.

        ECHIDNA: Oh my goodness...

        TRAFFORD: So all that stuff about the island being necromantic, I guess it’s true.

        URSULA: It’s probable the Sirens summoned Neya from the underworld to get Shelter, yes.

        MELODY: Does Shelter know?

        URSULA: I doubt it. She knew nothing of her mother. But the Sirens are controlling Neya Elm’s spirit and using it to twist Shelter. They could be getting her to do anything.

        BROGAN looks at ECHIDNA.

        BROGAN: Get us there, now!


        CUT TO – ISLAND
        CAVERN – INT.MOUNTAIN – AFTERNOON

        SHELTER looks weak with emotion. She looks around the Sirens feebly. NEYA continues to look at her, as does the RED MARKED SIREN.

        RED MARKED SIREN: Tell me young girl. What will your answer be? Will you concede and join us for freedom?

        SHELTER looks at her mother. NEYA looks at her desperately.

        SHELTER opens her mouth and turns to the RED MARKED SIREN.

        SHELTER: (quietly) Yes...

        CUT TO BLACK

        END OF ACT THREE

        Comment


        • #5
          ACT FOUR

          OPEN ON – UNKNOWN
          BASEMENT – INT.TAVERN – AFTERNOON

          A group of five vampires are walking around the old basement of the tavern in the old abandoned town. On the floor are old stuffed animals and the walls are covered with pictures of families – all of them a mother, a father and their only child.

          One of the vampires moves now to the old stereo in the corner and hits it to make it play.

          SONG: DELPHIC – THIS MOMENTARY

          He smirks as the song starts. All the vampires look at one another. Two female, three male.

          The camera then cuts to one of the pictures that falls to the ground. The picture is of a small Asian girl and her parents.

          Suddenly, one of the small windows smash open and the afternoon light floods in with shards of blackened glass.

          We, you and me what is said wasn't never meant to hurt
          Real stories always come off worse
          Can we make the time to leave it behind and reshape
          Remake our faith in what we see, how you feel so unsteady...


          One of the male vampires lying on the sofa instantly catches on fire. He screams and burns quickly, leaving a pile of singed ash in his wake.

          The other vampires look around the room in panic and as the hatch to the street level opens, they back away from the light, fearing the same fate as their friend.

          CHERRY, ARRON and HELEN all drop into the basement, armed with stakes. They look around at the vampires. A dark smirk spreads across CHERRY’S face.

          CHERRY: Hello guys. Where’s the party?

          They snarl at the three students. One of the female vampires presses a button and a set of blinds cover the smashed windows, leaving only the hatch as a window to the outside world.

          I'm already out of reach, remember finding your feet
          In a fine time, take the time to find me
          I'll be ready waiting let’s do something real
          Let’s do something real...


          CHERRY jumps forward on to the female vampire, her female friend rushes to her aid. In a flurry of punches, CHERRY incapacitates the female vampire, even before the other reaches her and pulls her off, throwing her into a table.

          ARRON rushes to this female vampire and places his hand on her chest. She looks at him with widened eyes.

          ARRON: That’s right.

          An intense glow burns under his hand and the female vampire turns to dust. He quickly holds the stake up so that when CHERRY looks up it looks as if he staked her.

          ARRON: Got one.

          We, you and me what is said wasn't ever meant to hurt
          Real stories always come off worse
          Can we make the time to leave it behind and reshape
          Remake our faith in what we see, how you feel so unsteady...


          CHERRY smiles at him.

          CHERRY: Save some for me.

          HELEN looks at ARRON horrified. He looks at her, seriously. HELEN is quickly distracted as two of the male vampires attack her. Her reflexes are sharp, dodging each of the attacks they throw at her with distinct precision and ease.

          She kicks one of the vampires in the chest, throwing him across the room with the force and then focuses on the other. He throws a punch which misses, but hers do not.

          After a quick flurry of punches, the vampire is stunned. She drives the stake deep into his chest, dusting him.

          I'm already out of reach, remember finding your feet
          In a fine time, take the time to find me
          I'll be ready waiting let’s do something real
          Let’s do something real...


          HELEN turns to her brother.

          HELEN: The old fashioned way works just fine.

          With three vampires remaining, CHERRY, HELEN and ARRON focus on them singularly.

          CHERRY jumps to her feet and attacks the vampire that HELEN threw aside. ARRON, the last female and HELEN, the final male.

          ARRON ignores his sister and holds the female vampire still. He turns so that his back is to CHERRY and then holds his hand on her chest. She screams as the light from his hand burns her chest.

          ARRON: Return to the ether, dark one.

          She burns under his grasp and is reduced to ash in the matter of seconds.

          Let’s do something real
          Let’s do something real
          Real something
          Real something
          Real something
          Real something...


          HELEN continues to rage against the male vampire, taking her time on him. She allows him to land a few blows, some weak low kicks and a few punches.

          HELEN looks at him un-impressed, she sweeps him off his feet and knocks him to the floor with a quick motion of her foot. She pins him down by her neck.

          HELEN: (whispering) How is it something so weak could destroy a good woman’s life?

          VAMPIRE: (choking) You are not human... what do you care?

          HELEN hesitates.

          HELEN: Perhaps not... but in a few seconds, you’re only care will be fighting a gust of wind.

          She quickly brings the stake on to his chest and pushes down effortlessly. The vampire looks her deep in the eyes and his physical form fades to grain.

          CHERRY is against the last.

          Lets do something
          Real something
          Real something
          Real something
          Lets do something
          Real something
          Real something
          Real something
          Lets do something real...


          CHERRY has the upper hand. She knows she is against the final one. She knows she cannot lose. The vampire knows as well.

          He concedes.

          She draws blood with punches and maniacally lays all her strength into inflicting pain on him. Her tears spit viciously from her eyes.

          CHERRY: Do you know what you did to me?!

          She punches him.

          CHERRY: You took them from me!

          She punches him.

          CHERRY: You ruined everything!

          She punches him. He falls to the floor, a lifeless heap.

          HELEN and ARRON watch. HELEN looks away.

          CHERRY jumps on top of the vampire.

          CHERRY: I wish you could feel the pain that you caused me and all those children you left alone.

          He splutters up blood, coughing. She looks at him in disgust.

          CHERRY: But I guess I’ll just have to settle with this...

          She quickly drives the stake into his chest. He willingly succumbs, not moving or crying in pain. CHERRY falls off of him into a pile of dust. She closes her eyes and breathes deeply.

          HELEN looks up and walks over to her.

          HELEN: (softly) Cherry... are you ok?

          CHERRY keeps her head low, she opens her eyes to acknowledge the dust. She releases her grip on the stake

          CHERRY: (quietly) Its over... it’s over...

          HELEN nods.

          HELEN: It is. It’s really over, Cherry.

          HELEN looks back at her brother who’s jaw is tight.

          ARRON: We should go. It’s done.

          The camera closes in on CHERRY whose breaths suddenly become slower and calmer.

          We, you and me what is said wasn't ever meant to hurt
          Real stories always come off worse
          Can we make the time to leave it behind and reshape
          Remake our faith in what we...


          The song comes to an end as the camera finally cuts to the stake, resting on the mixture of blood, tears and ash on the old floor of the tavern basement.


          CUT TO - ISLAND
          CAVERN – INT.MOUNTAIN - EVENING

          SHELTER is stood in the middle of the cavern as all of the Sirens begin surrounding her. NEYA backs away and looks at the RED MARKED SIREN.

          NEYA: You had better fulfil your promise to me, creature.

          RED MARKED SIREN: My masters sought the powers of their superiors in order to open the door to the underworld once again – a risk they do not often pursue. They did it all to bring you back for this task. You have performed well deceased woman and your daughter’s curse will indeed be lifted.

          NEYA: And they will not hurt her? Your masters.

          RED MARKED SIREN: They wish to merely enhance her abilities for their gain.

          NEYA looks unsure about this response.

          NEYA: You did not answer my question.

          RED MARKED SIREN: I responded. I will not apologise if it was not what you wished to hear.

          It moves away from NEYA now as she watches a swarm of Sirens move around SHELTER, each of them chanting in an archaic tongue. A glow begins surrounding her. She opens her eyes and feels every single burden loosening from her and beginning to leave.

          NEYA watches, scared.

          Then... the spell begins to end. NEYA and SHELTER look at one another.

          NEYA: What is the meaning of this?

          URSULA (O/S): I am, Neya.

          SHELTER, NEYA and the Sirens all look in the direction of the voice.

          BROGAN, MELODY, TRAFFORD, ELISE, ECHIDNA, PAN and URSULA are all stood in the entrance to the cave. URSULA has her arms outstretched at SHELTER, a faint white dispelling mist surrounding her hands.

          SHELTER looks at them all in shock.

          BROGAN looks to MELODY and ECHIDNA.

          BROGAN: Get Shelter out of here, now.

          NEYA: No, Shelter!

          SHELTER turns to her mother as she sees the RED MARKED SIREN flying NEYA away, deeper into the cave.

          The camera closes in on SHELTER. Everything moves in slow motion.

          ECHIDNA rushes forward, blasting away Sirens with powerful energy. Her movements are so precise. She is clearing the way for MELODY who runs with exceptional speed towards SHELTER. ECHIDNA hot on her trail, freeing anything evil in her path.

          SHELTER opens her mouth to shout after NEYA.

          Just before the sound leaves her body, MELODY grabs her and places a hand over her mouth. Time resumes to normal.

          MELODY: (whispering) Shelter, no... don’t speak. Please...

          Tears fall from her eyes once again and MELODY begins to pull her away, ECHIDNA protecting both of them.

          The camera cuts to the others.

          BROGAN and ELISE are back to back, fighting and beating off the Sirens. ELISE cries out as one of them cuts her arm, wounding her deeply. TRAFFORD jumps in front of her and defends her, mindlessly attacking the Siren. URSULA sees and panics.

          URSULA: Trafford, no!

          She holds out her hand and a barrier appears between her children and the creature attacking them.

          The camera moves to PAN, who is stood near the cave entrance in the shadows, staying out of harm’s way with his injuries still prominent. He looks away from the mayhem to see MELODY, SHELTER and ECHIDNA making their way towards him and the others.

          PAN turns to BROGAN.

          PAN: Ea, they have her. Come on!

          He turns and he begins hurrying back towards the entrance. BROGAN looks to him and then to URSULA.

          BROGAN: Ursula, get Trafford and Elise, go!

          URSULA nods and grabs the arms of her children, letting the barrier fall. BROGAN moves in front of them and fights off the Sirens as best he can. One of them pushes him to the floor. He looks up angrily but as he does, MELODY passes him. She pulls him to his feet.

          MELODY: No heroics... come on...

          They run out of the cave, closely followed by ECHIDNA and SHELTER. SHELTER looks back into the cavern, desperately. ECHIDNA notices, and as the Sirens begin pouring into the tunnels, ECHIDNA motions at the ceiling and a deep rumbling can be heard as the entrance to the cavern caves in, crushing some of the Sirens and blocking the remainder into their cavern. The sound of muffled shrieks and cries can be heard from behind the rocks. SHELTER’S short panicked breaths can be heard once again. ECHIDNA looks at her concerned and tightens her grip, supportively.

          ECHIDNA: It’s ok. We’ve got you, Shelter. You’re safe now...


          CUT TO – ISLAND
          SHORE – EXT.FOREST – EVENING

          As SHELTER and ECHIDNA emerge from the forest to see the shore once again, the Syndicate are there to greet them. URSULA has torn off some of the sleeve to her top to tie around ELISE’S wound. She’s dressing it as SHELTER and ECHIDNA arrive. ELISE instantly looks up, sensing her friend close by. URSULA releases her daughter’s arm now and ELISE moves forward. SHELTER looks down as she approaches. ELISE puts her arms around her and hugs her. SHELTER softly sobs into her friends shoulder, holding on to her tightly.

          ELISE: (whispering) Shh... it’s ok. I love you. You’re gonna be fine...

          SHELTER breaks away from ELISE now and looks at her desperately.

          SHELTER: (signing) They took her... we have to help! She’s my mother.

          ELISE looks at her, pained. She shakes her head, slowly.

          ELISE: (signing) No... Shelter, I’m sorry. Your mother died when you were young.

          SHELTER’S breath stops.

          ELISE: (signing) The Sirens brought her back to get you to join them...

          SHELTER: (signing) They promised me they’d save me if I did... but...

          ELISE: (signing) Shelter. It doesn’t matter, you’re safe now. You’re with your family.

          SHELTER pauses, tears clouding muddling her vision of ELISE.

          SHELTER: (signing) I wanted it, Elise. I told them to save me...

          ELISE almost gasps seeing this.

          ELISE: (signing) I had no idea how miserable you are. I’m so sorry.

          She reaches out again and holds her friend close.


          FADE TO – CROPLEY SHORES
          STOCK FOOTAGE – EXT.BEACH – EVENING/NIGHT

          The sound of the shore heightens as its visibility in the emerging night depletes.

          The town was sleeping again.


          CUT TO – CROPLEY SHORES
          LOBBY – INT.SCHOOL – NIGHT

          MELODY enters from the kitchen with several bottles of beer tucked under her arm. She frowns slightly as she hands them out to BROGAN, TRAFFORD, ELISE and URSULA, keeping one for herself. ECHIDNA and PAN sit nearby, not drinking. SHELTER is not present.

          MELODY: Is it weird that we have crates of beer on a school premises?

          ECHIDNA: I’m against alcohol but at this time, I think it’s appropriate.

          PAN looks at her with a raised eyebrow.

          PAN: You against alcohol, don’t you remember...

          ECHIDNA: (cutting him off) Yes, thank you...

          She looks embarrassed.

          MELODY sits down, she sighs.

          MELODY: Do you think she knew?

          URSULA: Shelter? No...

          TRAFFORD: I knew she wanted out of the curse, I mean who wouldn’t... but I had no idea just to the extent of how far she’d go.

          MELODY: Should someone be with her?

          BROGAN: I think she should be on her own right now, she almost made a deal with the devil and found her mother died... all in one day.

          URSULA: What confuses me is why the Sirens’ masters feel the need to hurt us in this way. If they wanted us dead... then why not just have done with it and kill us?

          BROGAN: Because they don’t quite understand how we fit into everything yet, neither do we. We’re a part of this war voluntarily – they’re curious.

          ECHIDNA: This is becoming very serious indeed. These Sirens know us completely. Soon they’ll have enough information on The Kalipso Syndicate and when they are full there’ll be no use for us anymore.

          MELODY: And we’ll be dead. Yay us.

          BROGAN: And on that note... I’m going to bed. We’ll rebuild the empire in the morning.

          Everyone gestures goodnight to him. URSULA stands and follows him.

          URSULA: Ea?

          He stops and turns around to look at her.

          URSULA: This really isn’t my place to say this but I wanted to talk to you about Melody.

          BROGAN: I thought you might.

          URSULA: I’m not going to lecture you, I’m not one to lecture on the trials of the heart but I just wanted you to know that I won’t tell the others.

          She smiles at him.

          BROGAN: Thank you, Ursula.

          URSULA: It’s good to see you happy again.

          BROGAN: It’s good to be happy.

          URSULA nods, understanding.

          URSULA: Get some sleep.

          She touches his arm and then turns and returns to the group.

          GREG LASWELL – THIS WOMAN’S WORK

          BROGAN’S eye turns to MELODY as the song begins. He turns slowly and leaves.


          CUT TO – CROPLEY SHORES
          SHELTER’S ROOM – INT.SCHOOL – NIGHT

          SHELTER is in bed, staring to the side. The lights are off and the window is closed. Her eyes strewn with tears that still linger. She feels a presence in the room. The camera pulls back to reveal that she is not alone. NEYA is there.

          Pray God
          You can cope
          I stand outside this woman's work
          This woman's world
          Ooh...


          SHELTER: Why are you here?

          NEYA just stands there. She looks down.

          NEYA: I am allowed to see you one last time.

          SHELTER: I’m not going to look at you, you’re not really here so I have nothing to look at...

          NEYA: I am always with you.

          It's hard on the man
          Now his part is over
          Now starts the craft of the father
          I know you have a little life in you yet
          I know you have a lot of strength left...


          SHELTER: I never thought about you until yesterday. You’ve never been in my mind.

          NEYA: I understand you are hurting.

          SHELTER: Ursula told me everything. Your sad story of your search for your daughter was all a lie.

          NEYA: I had to get you to see reason.

          SHELTER: You died in the war. You lied to me and you tried to get me to betray everyone I cared about and I did. I almost sold my soul for a woman I don’t even know.

          NEYA: I wanted to help you.

          SHELTER: You wanted to live. It had nothing to do with me.

          NEYA: That’s not true.

          SHELTER: No mother would do what you did tonight.

          I know you have a little life in you yet
          I know you have a lot of strength left...


          NEYA: A mother who wants her child to live would.

          SHELTER pauses she closes her eyes, scared.

          SHELTER: Just tell me one thing.

          NEYA: I will tell you anything you wish. I promise.

          SHELTER swallows difficultly.

          SHELTER: (whispering) Who is it? Who hears me die?

          A soft breeze suddenly washes over SHELTER as she waits for her mother’s reply. After a few seconds SHELTER turns and sits up.

          NEYA is gone.

          I should be crying but I just can't let it show
          I should be hoping but I can't stop thinking
          Of all the things I should've said that I never said
          All the things we should've done that we never did
          All the things I should've given but I didn't...


          The camera pulls back to show SHELTER in the dark, on her own.


          FADE TO – CROPLEY SHORES
          TRAFFORD’S ROOM – INT.SCHOOL – NIGHT

          TRAFFORD is in bed too. He breathes deeply and quickly as he fights back tears welling up fast behind his eyes. He clenches his jaw and closes his eyes as her name drums repetitively through his head.

          CATE. CATE. CATE...

          Oh
          My darling make it go
          Make it go away
          Give me these moments back
          Give them back to me...



          FADE TO – CROPLEY SHORES
          BROGAN’S ROOM – INT.SCHOOL – NIGHT

          There is a knock at the door. BROGAN walks towards the door. He opens it. MELODY is stood there. She smiles weakly.

          BROGAN: (softly) Hey...

          MELODY: I didn’t want to be alone tonight.

          Give me that little kiss
          Give me your hand
          I know you have a little life in you yet
          I know you have a lot of strength left
          I know you have a little life in you yet
          I know you have a lot of strength left...


          He smiles and stands aside. She walks into the room and he closes the door.

          CUT TO – HIGHWAY
          FRONT SEAT – INT.CAR – NIGHT

          ARRON is driving the car, driving home to Cropley Shores. He stares ahead and looks at his sister who is sitting in the front passenger seat. HELEN is resting her head against the window, staring at the darkness outside and her own reflection.

          I should be crying but I just can't let it show
          I should be hoping but I can't stop thinking
          Ooh...


          The camera moves back and shows CHERRY sleeping peacefully on the backseat, lying down. Her mouth is poised in a soft smile.

          Of all the things we should've said that were never said
          All the things we should've done that we never did
          All the things that you needed from me
          All the things that you wanted for me
          All the things that I should've given but I didn't...



          FADE TO – CROPLEY SHORES
          LAWN – EXT.SCHOOL – MORNING

          Dawn is now breaking and the camera is focused on the school. We are seeing the scene from the perspective of the person who watched NEYA arrive at the school, the person who watched her and SHELTER enter the cave and the person who watched URSULA’S spell through the window.

          Oh
          Darling make it go
          Make it go away now
          Oh...


          The song ends as the camera rotates to show who the person is.

          KALIPSO.

          She looks at the building with an indifferent expression.

          She walks towards the building. She approaches the door. She knocks

          The door opens.

          CUT TO BLACK

          END OF EPISODE


          Cast:
          JENSEN ACKLES as EA BROGAN
          ROSE MCGOWAN as MELODY HARP
          PAUL WALKER as TRAFFORD ARTAIR
          BECKI NEWTON as ELISE ARTAIR
          GABRIELLE UNION as SHELTER ELM
          ALI LARTER as IDINA “ECHIDNA” MORGAN
          IAN SOMERHALDER as PARKER “PAN” MORGAN
          and BLYTHE DANNER as URSULA LAKE

          Special Guest Stars (in order of appearance):
          DEVON AOKI as CHERRY LI
          NANCY LEGUARE as NEYA ELM
          LEIGHTON MEESTER as HELEN PRIME
          NICHOLAS D’AGOSTO as ARRON PRIME
          COURTNEY COX ARQUETTE as KALIPSO

          Special Mention:
          GREG LASWELL – KILLING MOON
          THE BEATLES – HERE COMES THE SUN
          DELPHIC – THIS MOMENTARY
          GREG LASWELL – THIS WOMAN’S WORK

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          • #6
            If you would like to give me feedback on Sirens, visit my thread here! I'm always happy to hear from you and I always comment on the feedback! Thanks in advance!


            TRIVIA AND RANDOM FACTS FOR “1.07 – FAMILY TREE

            - Shelter’s episode is done! It’s a sad episode in many respects and I think Shelter is actually one of my most tragic characters. She’s doomed and the minute she gets some hope it’s shattered. But what do you think – will Shelter finally be free one day of her curse?

            - What else happened in this episode? Oh yes... Brogan and Melody revealed (in many senses), Cherry’s become a little puppet to the Primes and Helen’s not feeling the whole bad-ass vibe so much any more and of course dear Trafford’s hiding his feelings about Cate. Generally a bleak episode bar the Brolody stuff.

            - I used a lot of my favourite songs this episode. I’m loving Greg Laswell’s covers at the moment. I used one of them in 1.05 and two more in this episode, I just think they’re fantastic. Big Delphic fan at the moment and well The Beatles? Who’s not a fan.

            - So what’s next? Oh that’s right... the FINALE. Kalipso’s in town and it’s time to whip the Syndicate into shape for a right royal showdown. Expect to finally find out what the true identity of The Prime family is in “Our Patron Saint”... before we begin The Final Chapters and see how it all will end.

            - But first, it’s time to find out who The United is in the absolutely huge finale “United We Stand”. Be prepared... there are no more filler episodes with my series. All of what will be released is highly integral important and will no longer shape what is to come. It’s time to find out how it will end.

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