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Sirens - 1.01 - Out Of The Curriculum

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  • Sirens - 1.01 - Out Of The Curriculum

    Series: Sirens
    Episode: 1.01 – Out Of The Curriculum
    Writer and Creator: Alex Goddard (Lex)

    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 – UNKNOWN
    UNKNOWN – EXT.UNKNOWN – UNKNOWN

    The sound of water lapping and the sight of mist is all we are aware of. Something swoops and flies through the mist, causing it to clear.

    As the mist clears we can see that the camera is moving over water at a fast speed. It pans up from the water to show it is approaching a beach.

    Cropley Shores.

    SONG: VAMPIRE WEEKEND – A PUNK

    The song begins.

    It’s morning. The sun is shining.

    Johanna drove slowly into the city
    The Hudson River all filled with snow
    She spied the ring on his honor’s finger
    Oh oh oh.


    The camera now cuts to various scenes.

    The city hall, the high street, the suburbs, downtown. All of them bustling with men, women and children.

    The town, for the first time was alive.

    A thousand years in one piece of silver
    She took it from his lily white hand
    Showed no fear she’d seen the thing
    In the young men’s wing at Sloan-Kettering.


    Finally, we cut to the building. The building on the shore front. The building where SIN and KAIA’S alliance formed. The building where CONSTANCE was killed.

    The building that was blown up... is back. Its structure is perfectly formed, and its grounds beautifully maintained. But how?

    Look outside at the raincoats coming, say oh!

    Above the grand doorway, there is a plaque. It is covered with a sheet. The song dies down as...


    CUT TO – CROPLEY SHORES
    LOBBY – INT.BUILDING – MORNING

    The camera passes around the lobby. The devastated room is back, and better than it could have ever hoped to be. Like the outside, the interior is fully furnished with a modern, yet slightly traditional edge.

    There is a large desk at the back of the room, which is empty. There’s an empty frame on the wall behind the desk. In the middle of the room is sat ELISE. An easel is in front of her and in her arm is a palette of paints and in her hand is a paint brush. She looks at the canvas and paints in solace, smiling softly at the face beginning to stare back at her.


    CUT TO – CROPLEY SHORES
    ENTRANCE – EXT.BUILDING – MORNING

    BROGAN is stood in front of the building. He stares at it, looking at the blank white sheet covering the plaque above the door. Someone walks towards him and stands next to him.

    BROGAN: Every time I look at this place, I feel...

    TRAFFORD (O/S): Indifferent?

    BROGAN turns to see his friend stood next to him.

    BROGAN: Yeah.

    TRAFFORD: A lot went down here, it’s understandable. But my sister, for whatever unwitting reason, brought this place back for a reason.

    BROGAN: That’s what I’m hoping.

    TRAFFORD: Well, in a couple of days, I guess we’ll know for sure.

    Both of them stare at the sheet covering the plaque, before the camera turns and closes in on BROGAN’S face.

    TRAFFORD (O/S): And then that sheet can come down.

    BROGAN continues to stare.


    CUT TO – BLUE ACRES
    ROAD – EXT.STREET – MORNING

    The sound of heavy rock music plays as the camera passes over a sign:

    Welcome to Blue Acres! Have a super day!

    Next to the sign is a cut out of a family smiling in their suburban utopia.

    Blue Acres is that utopia. Freshly cut lawns, picket fences, mail boxes and polite neighbours.

    A few houses in, a car pulls up followed by a van. A smiling FEMALE BLONDE REALTOR wearing a turquoise suit and holding a clipboard greets them. The car stops.

    As the doors to the car opens a family step out.

    FEMALE BLONDE REALTOR: Welcome! It’s super great to have you here! You must be...

    She looks at her clipboard.

    FEMALE BLONDE REALTOR: The Prime family?

    WOMAN (O/S): That’s correct.

    The camera rotates to show the family.

    The children, HELEN and ARRON PRIME look upper class. They’re perfectly pruned, wearing high designer labels and extremely good looking. They’re in their late teens and look at the area, unimpressed. They’re played by Leighton Meester and Nicholas D’Agosto.

    The parents, NICOLA and EDWARD PRIME too look upper class and extremely judgemental. Like their offspring, they too are good looking and in their mid 40s. They are played by Kristin Davis and David Conrad.

    The family look around at the street, the neighbours and then out to the sea a few miles down the road. All the while, the FEMALE BLONDE REALTOR beams at them proudly.

    FEMALE BLONDE REALTOR: So, these are the keys.

    She hands EDWARD a set of keys and the gestures at the large house behind her.

    FEMALE BLONDE REALTOR: And this is your house! So, what do you think?

    The camera moves in on NICOLA’S face. A small smile forms on her face and then she smiles proudly.

    NICOLA: It’s perfect...

    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
    URSULA’S OFFICE – INT.BUILDING – MORNING

    ECHIDNA is sat in front of URSULA’S desk in her large, furnished office inside the building. URSULA observes her carefully as she’s reading through a profile in a file. ECHIDNA looks outraged.

    ECHIDNA: What on earth is this?! You can’t be serious...

    URSULA sighs.

    ECHIDNA: I will not be married.

    URSULA: I knew you’d go against this.

    ECHIDNA: With good reason. Why are we not more concerned with the more important flaws in this operation: fighting the government who will clearly oppose our opening, or actually trying to establish reasoning behind Elise’s power fluctuation? There’s a reason this building is un-dilapidated and you’re ignoring it.

    URSULA: I am looking into all of those things...

    She smiles.

    URSULA: But have you noticed, you’re talking more and more like a human every day.

    ECHIDNA sighs, incessantly.

    ECHIDNA: Do not test me Ursula Lake. I am still a goddess and will be respected as such.

    URSULA: Be that as it may, if you wish to teach these individuals as you say you do, they cannot be calling you “Echidna”. This is your Alias and from this moment forward, during office hours at least, you will be known as Idina Morgan.

    ECHIDNA closes her eyes and breathes deeply, attempting to retain composure.

    ECHIDNA: (clearly annoyed) Fine...

    She opens her eyes and looks to URSULA.

    ECHIDNA: Who is to be my husband during these office hours?

    URSULA smiles and stands, taking the file from ECHIDNA. She walks off screen towards a filing cabinet.

    URSULA: He’s coming later...


    CUT TO – CROPLEY SHORES
    LOBBY – INT.BUILDING – MORNING

    ELISE stretches her fingers, tired. SHELTER appears over the canvas. She smiles.

    SHELTER: (signing) You don’t need to do this.

    ELISE looks up at her.

    ELISE: (signing) I know, but I want to.

    SHELTER: (signing) Well at least take a break, we could get lunch. Go to the beach. Check out some of those surfers again.

    ELISE smirks.

    ELISE: (signing) That does sound fun... but, I wanna get her eyes perfect before the conference.

    SHELTER nods.

    SHELTER: (signing) I understand. Unfortunately for me, Ursula’s left me with admin. I choose surfers.

    She puts on a pair of sunglasses and moves away. ELISE laughs and watches her leave the building before turning back to the eyes.


    CUT TO – CROPLEY SHORES
    KITCHEN – INT.BUILDING – MORNING

    BROGAN is sat drinking coffee, going over some paperwork in a file. ECHIDNA storms in angry, breathing heavily. He looks up at her.

    BROGAN: You look happy.

    ECHIDNA stops and points a finger at him.

    ECHIDNA: Do not even begin with me Ea Brogan.

    BROGAN: Whoa, what’s up?

    ECHIDNA: When I sat with you at coffee in New York City I convinced you to come here and right now I’m trying to think why, when my mission is to be Idina Morgan.

    BROGAN: Ah... Ursula finally broke the news, huh?

    ECHIDNA’S eyes widen.

    ECHIDNA: You better not be telling me you all knew about this alias concept... because if you do I will rain a thousand harpies to feast on your...

    BROGAN stands.

    BROGAN: Hey!

    She stops looking at him, shocked almost.

    BROGAN: Now this is a damn good idea of Ursula’s. I know it’s hard for you to even liken yourself with us humans, but if you’re fighting on our side instead of your family’s, then you’re gonna have to get used to the fact that we can pull rank.

    ECHIDNA shakes her head.

    ECHIDNA: I’m your biggest asset Ea, without me... this war is over.

    She turns and begins walking out of the door.

    BROGAN: You might think that, but we’re already one goddess down and still surviving.

    She stops, listening to what he says.

    She carries on, missing her sister.


    CUT TO – CROPLEY SHORES
    TRAFFORD’S ROOM – INT.BUILDING – MORNING

    TRAFFORD is lying on the bed in his spacious room. He is staring at the ceiling with a phone to his ear.

    TRAFFORD: (on the phone) So what’s she like? Driving you hard?

    He smiles waiting for a reply.

    TRAFFORD: (on the phone) I’m sure you’ll get used to her. It’ll take some time.

    He listens to her reply.

    TRAFFORD: (on the phone) And everyone else is ok? How’s Lance doing?

    There is a hurried reply.

    TRAFFORD: (on the phone) Oh ok, no that’s fine...

    She hangs up. He sighs.

    TRAFFORD: (to the empty phone) I miss you...

    He lets the phone fall to his chest and continues to stare at the ceiling.


    CUT TO – CROPLEY SHORES
    CONFERENCE ROOM – INT.BUILDING – AFTERNOON

    The Syndicate are now sat in the large conference room, a large window looking out over the sea is situated at the back of the room. URSULA is stood at the front of the room, TRAFFORD beside her, translating for ELISE. ECHIDNA is sat looking unimpressed.

    URSULA: This will be difficult. We need the public on our side or else this turns into a vigilante mission and one that will have to be done underground. But we’re not hiding anymore, we’re taking this public, so let’s go out and fight for this. Ea...

    She looks to him.

    BROGAN: I’ve booked an appointment at City Hall in an hour, with one of the councillors. We don’t know what the officials will be like there but I think we can all agree that it won’t be easy, not a bit.

    URSULA: Our approach will be honest and up front. There’s no point in hiding anything from them, it’ll only come back to us when the media and the public become informed.

    TRAFFORD stops signing for a moment and considers something.

    TRAFFORD: Well what happens if this goes wrong? I mean we’re screwed...

    SHELTER takes over from signing as the conversation progresses.

    BROGAN: It won’t go wrong. There’s no way they can turn us down. It’s bold, but it’s needed.

    TRAFFORD: From our perspective maybe, but the public might not agree.

    URSULA: It’s a chance we have to take.

    ECHIDNA stands now.

    ECHIDNA: Then let’s proceed.

    She turns and begins walking towards the door as a MAN opens it and enters. She stops looking at him. He is young, good looking and wearing a suit. He is played by Ian Somerhalder.

    ECHIDNA looks at him appalled and then turns to URSULA.

    ECHIDNA: You’ve got to be joking?!

    Everyone looks at ECHINDA and then to URSULA. Even ELISE can tell what’s happening by the body language.

    URSULA: I’m deadly serious.

    She turns to the others.

    URSULA: Everyone I’d like you to meet Echidna, or should I say Idina Morgan’s new husband, Parker Morgan...

    ECHIDNA: Otherwise known as Pandion.

    The MAN/PANDION looks at her.

    PANDION: It’s been a long time Echidna.

    This pairing was not by chance. They had history...


    CUT TO – BLUE ACRES
    ENTRANCE HALL – INT.PRIME HOUSE – AFTERNOON

    NICOLA is stood in the middle of the entrance hall of her new house. She’s ordering the movers around.

    NICOLA: Please be careful with that lamp! It’s an antique!

    The movers abide. They’re getting good money for this. HELEN and ARRON run down the stairs and look at their mother. HELEN tries to remain calm whilst ARRON rolls his eyes, annoyed.

    HELEN: Mother...

    NICOLA looks at her daughter, infuriated.

    NICOLA: What is it?

    HELEN: Will you please tell this cretin...

    She indicates her brother.

    HELEN: That the back bedroom that looks over the coast is mine as agreed.

    NICOLA sighs.

    NICOLA: Just sort it out between yourselves, can’t you see that I’ve got enough to deal with.

    ARRON: I told her not to bother you mom, but I guess she’s just not that nice of a person to care about how stressed you are.

    HELEN scowls at him.

    HELEN: You little creep, you’re so dead.

    She turns on him and chases him up the stairs. NICOLA moves to the bottom of the stairs.

    NICOLA: (calling after them) Children, don’t test my patience!

    There is the sound of distant screams from the upstairs as the siblings fight.

    Then, there is a knock at the front door.

    NICOLA: (to herself) Give me strength... I thought twins were supposed to get on.

    She moves towards the door and opens it, looking tired.

    NICOLA: Yes?


    CUT TO - BLUE ACRES
    PORCH – EXT.PRIME HOUSE – AFTERNOON

    A WOMAN and her HUSBAND are stood there. The woman is prim and proper and a mature lady. She’s holding a basket of muffins, smiling, curiously. The man is wearing tweed and has a cigar hanging out of his mouth. They are played by Marlo Thomas and Elliott Gould.

    NICOLA: Oh, hi...

    WOMAN: Hi there neighbour!

    NICOLA puts on a fake smile.

    NICOLA: (upbeat) Oh! Hello!

    WOMAN: We’re the Hamilton’s! I’m Mary-Anne and this is Duke!

    EDWARD appears behind NICOLA.

    EDWARD: Who is it darling?

    NICOLA: It’s the Hamilton’s, Mary-Anne and Duke. They’re our new neighbours...

    They share a look which is missed by their new, nosey, boastful neighbours. EDWARD extends a hand to DUKE.

    EDWARD: Well it’s mighty good to meet you folk. My name’s Edward Prime...

    DUKE shakes his hand firmly.

    EDWARD (O/S): And this is my wife, Nicola.

    MARY-ANNE extends the basket of muffins towards NICOLA who takes it.

    MARY-ANNE: Blueberry and cranberry. I thought your kids might like them, if you have children that is?

    NICOLA tenses up slightly at the inquisitiveness of the couple.

    NICOLA: Twins, Helen and Arron.

    MARY-ANNE: How charming! Well you must all come to dinner tomorrow night, I insist!

    NICOLA laughs, politely.

    NICOLA: Oh really, it’s fine.

    EDWARD puts an arm around his wife.

    EDWARD: Honey, the Hamilton’s insist.

    NICOLA looks at her husband, her jaw clenched.

    NICOLA: Eight sound good?

    DUKE laughs.

    DUKE: Perfect.

    The Hamilton’s move away now.

    MARY-ANNE: Lovely. We’re the house with the blue picket fence.

    EDWARD: See you then, neighbours.

    MARY-ANNE and DUKE leaving, laughing heartily. NICOLA EDWARD walk back into their house.


    CUT TO – BLUE ACRES
    ENTRANCE HALL – INT.PRIME HOUSE – AFTERNOON

    NICOLA closes the door and looks to her husband.

    NICOLA: I hope you know what you’re doing.

    EDWARD: I do.

    NICOLA: Good, because I think we’ve finally found the right place.

    He kisses her on the forehead.

    EDWARD: I won’t screw it up for us, I promise.

    He walks away. NICOLA watches him leave and then looks down to the basket of muffins in her hand. She looks at them disgusted and throws them in a nearby bin.

    She walks away.

    CUT TO BLACK

    END OF ACT ONE

    Comment


    • #3
      ACT TWO

      OPEN ON – CROPLEY SHORES
      CONFERENCE ROOM – INT.BUILDING – AFTERNOON

      PANDION and ECHIDNA face off, he turns form her and looks to the group.

      PANDION/PAN: It’s an honour to work with you all, but please, call me Pan while we’re not working.

      TRAFFORD looks confused.

      TRAFFORD: Wait, you two know each other?

      ELISE: (signing to SHELTER) Who’s he?

      SHELTER signs the rest of the conversation to help her friend.

      ECHIDNA: Yes, Trafford we’ve been acquainted, hundreds of years ago.

      She turns to URSULA.

      ECHIDNA: And I am shocked at your audacity.

      BROGAN: (to PAN) You’re looking good for someone who’s celebrated their centennial, what’s your story?

      PAN hesitates, glancing at ECHIDNA before turning back to the others.

      PAN: I belong to the world that’s forgotten, but the world you all continue to fight and destroy. I was an Ancient Greek King. I ruled Greece fairly and honourably, but I was undone by my father.

      TRAFFORD: What happened?

      PAN: My father was an incredibly gifted man, but cursed nonetheless. He foresaw terrible things, great for the age of men but terrible for the Gods.

      ECHIDNA: He saw the undoing of the Gods. He saw the end of them. My father had to punish him...

      BROGAN: What do you mean, punish?

      PAN: He was banished to an island... tortured by the gods’ beasts, summoned by her...

      He indicates ECHIDNA, but doesn’t look at her. Everyone looks slightly surprised.

      They forgot sometimes the things that ECHIDNA had done and could do. After all, they’d only seen it firsthand once.

      PAN: I died trying to save him...

      ECHIDNA: (turning) So tell me Pandion, how exactly is it that you escaped from the Underworld?

      PAN: Times have changed amongst the higher ones, they’re not as they once were. Hades is more distracted with other things rather than worrying about whether an old King is still in his flock... It wasn’t easy, but I got away.

      ECHIDNA moves closer to him.

      ECHIDNA: Well perhaps you should have stayed there.

      PAN: I don’t understand your behaviour. You wished “me” dead, and you killed my father... and now you finally want what I did and what my father saw, and you are angry?

      ECHIDNA looks away as URSULA moves closer to her.

      URSULA: (to ECHIDNA) I am sorry my dear. I did not wish to upset you but I truly believe Pan will be a wonderful addition to our fold. I spent a month searching for an ally, searching for someone with the understanding and power to fight and teach.

      ECHIDNA turns to her, angered.

      ECHIDNA: You couldn’t have found someone more suited for this fraudulent pairing than a dead King whose father I killed?

      PAN: (to ECHIDNA) If you want this to end with the Gods, then you need someone who knows their darkest secrets. My father’s journals are out there somewhere and with those scriptures we have the knowledge to stop them. Once this is done, your family will live a normal life as wished and I will go my way... This is just a mission.

      ECHIDNA: You want the gods dead, pure and simple. Do not confuse this as a heroic deed, this is vengeance.

      She looks to all of them now.

      ECHIDNA: This is ridiculous. I care a lot about the outcome of this war, but this is ridiculous. I will fight for this establishment, and I will fight alongside you mortals once more to prosper... but I will not be married to him.

      She turns now and walks out of the door. URSULA sighs.

      URSULA: Well that went as expected...

      TRAFFORD: Should we do something?

      URSULA: We have the meeting to attend to. We will have to deal with this later.

      She turns to PAN.

      URSULA: I’m very sorry about this, it’s not the welcome I would have wished you to have.

      PAN smiles.

      PAN: It’s alright Ursula, I’m under the impression this won’t be easy for anyone.

      URSULA nods.

      URSULA: Take your time and settle in, we will be back soon. I’ll fill you in on the rest of the details then.

      He nods.

      PAN: Thank you Ursula Lake. Thank you, all of you.

      URSULA smiles reassuringly and then turns to the others.

      URSULA: Come then, we will proceed.

      Everyone stands now and as they walk past they either smile nervously or nod at PAN. He watches them all leave and waits until he is left alone in the room.

      He breathes softly. This wouldn’t be easy...

      His world was dead and now one of the only remnants of that world was his ally and his enemy.


      CUT TO – CROPLEY SHORES
      STEPS – EXT.CITY HALL – AFTERNOON

      A large SUV pulls up outside of City Hall. All of the doors to the vehicle open and The Kalipso Syndicate step out, minus ECHIDNA and PAN.

      They are all dressed in suits and they all close their doors and look towards the building, slightly daunted.

      TRAFFORD: Ok, now I’m nervous.

      BROGAN: Don’t be. We were made to do this. It’s what we were before we even came to this world, and it’s what we’ll do here.

      TRAFFORD looks to him now.

      TRAFFORD: We’re not in the caves anymore, Ea.

      URSULA: No we’re not. But he’s still right. If we go in there with confidence and authority, then there’s no way they can turn us down.


      CUT TO – CROPLEY SHORES
      OFFICE – INT.CITY HALL – AFTERNOON

      WOMAN: No.

      The WOMAN is large, black and sat her desk gouging on biscuits and coffee, scanning her astonished eyes through the file that BROGAN was looking through earlier. The camera pulls back to show a plaque on her desk. It reads: “GILDA JACKSON – CITY OFFICIAL”. She is played by Loretta Devine.

      The camera rotates to show BROGAN and URSULA sat at the desk, TRAFFORD, ELISE and SHELTER stood behind them. They look down heartened.

      BROGAN: What, why?

      WOMAN/GILDA: I cannot authorise this! It’s absurd!

      BROGAN: It may seem too much, but...

      GILDA: But nothing young man, this proposal lacks credibility, funds.

      URSULA: We have the money ourselves. We recently came into a large settlement, large enough to keep this running as a charitable operation.

      TRAFFORD: And when it comes to credibility, I think you know the truth.

      GILDA raises an eyebrow at him.

      GILDA: I do not know what you mean.

      BROGAN: So just how long is the government going to ignore what happened? Like in New York City six months ago.

      GILDA looks highly uncomfortable

      GILDA: (quietly) If you’re referring to what I think you are, then that is highly classified.

      BROGAN: And you know who dealt with that situation... us.

      URSULA: So tell us now, Ms. Jackson, what is wrong with what we are doing?

      GILDA is silent now. She sighs softly and then look up to them all.

      GILDA: The government have tried to harness this kind of force before, it’s not our jurisdiction.

      BROGAN: No, but it’s ours.

      GILDA: The public won’t like this, and the media will have a field day. You’ll be shut down within a month.

      BROGAN: With all due respect Ms. Jackson, the public aren’t prepared.

      URSULA: All we care about is their safety.

      GILDA looks to be considering this closely.

      GILDA: Well, I’m afraid I cannot grant such a request.

      BROGAN sighs.

      GILDA: But I can confer with higher forces...

      TRAFFORD: But, we open in two days.

      She eyes him in particular. He shrinks in his seat slightly.

      GILDA: You open in two days depending on the decision.

      TRAFFORD looks down.

      GILDA: I am serious! Cropley Shores is a small humble town and quite frankly I’m surprised you want to do this here.

      She looks at them curiously.

      BROGAN: We have our reasons.

      She looks at them all and for the first time she looks at ELISE and SHELTER who stare deeply into her eyes. She feels a chill run down her spine. She writes something down on a piece of paper and then looks to BROGAN.

      GILDA: You’ll have our decision tomorrow.

      BROGAN: Thank you.

      He stands and everyone begins moving towards the door. BROGAN is the last one to leave.

      GILDA (O/S): Mr. Brogan...

      He stops and turns to her.

      GILDA: I’d get ready for sharpened pitch forks if I were you.

      BROGAN clenches his jaw. He nods, looks down and then leaves.


      CUT TO – CROPLEY SHORES
      STEPS – EXT.CITY HALL – AFTERNOON

      The Syndicate walk down the steps towards the SUV.

      TRAFFORD: That went well right?

      URSULA: They didn’t explicitly turn us down, but I’ve heard of how corrupt the American government can be, so we shall have to wait.

      TRAFFORD: I still don’t completely see why we went to them in the first place?

      BROGAN: We need as much support as we can get, Trafford. I’m sure they’ll make the right decision.

      ELISE taps her brother on the shoulder.

      ELISE: (signing) What if they turn us down?

      He shrugs and sighs.

      TRAFFORD: This is turning into a lot of work...

      As the others reach the SUV, TRAFFORD reaches into his pocket and retrieves his cell phone. He looks at it.

      No missed calls. No text messages. Nothing.

      He sighs and enters the car with his sister and SHELTER. BROGAN steps into the driver’s side and as URSULA goes to enter the front passenger seat her cell phone rings.

      She looks at the name on the screen and then looks up to BROGAN.

      URSULA: Hang on, Ea. I must take this.

      He nods and she walks away from the car. She answers the phone.

      URSULA: Hello. Are you ok?

      She listens to the reply.

      URSULA: Tonight? That’s brilliant.

      There’s a reply, a worried reply.

      URSULA: I know this will be hard. But it’s easier than going back to New York – just remember that.

      She listens to the hesitant reply.

      URSULA: Look, don’t worry. I’ll send someone to pick you up. Safe journey...

      She waits for the person she’s been speaking to to hang up before she does. She closes the phone and walks off screen.


      CUT TO – CROPLEY SHORES
      PIER – EXT.BEACH – SUNSET

      As the sun begins to set and tide laps serenely against the wooden posts of the pier, ECHIDNA is stood alone at the end of the pier, watching the sun disappear behind the end of the water. She’s leaning on the barrier as PAN approaches her.

      PAN: You know I had forgotten just how beautiful some parts of this world can be.

      He stands next to her and looks out at the water too.

      ECHIDNA: (quietly) What are you doing here?

      PAN: Well I thought we could resolve our differences, considering we didn’t go to the meeting.

      ECHIDNA: There’s nothing to resolve here... Go away.

      PAN: Echidna, this is serious, we’re going to need to...

      ECHIDNA turns to him now, fury burning in her eyes.

      ECHIDNA: Stay away from me!

      PAN shakes his head.

      PAN: Fine. But you need to get used to the fact that I’m not going anywhere.

      He pulls her hand open and drops something into the palm.

      PAN: We’re married. You need to realise that...

      He closes her hand and then walks away. She watches him walk away and as he disappears she opens her hand. An ornate gold ring is in her hand. She sighs and closes her hand.


      CUT TO – BLUE ACRES
      DINING ROOM – INT.PRIME HOUSE – EVENING

      HELEN: You cannot be serious?!

      EDWARD: We are.

      The camera pans around the dining room in the Prime house now to show the family sat down on a large table, enjoying a large civilized meal.

      ARRON: That’s like the worst idea you guys have had.

      HELEN: I thought we were supposed to be off the radar?

      NICOLA: We are. But hiding away from the politics of suburbia is not the way. If we want our presence to go un-noticed then we must learn to live like these people.

      ARRON sighs.

      ARRON: Well you better be right about this place. I’m not moving again.

      NICOLA smiles at her son.

      NICOLA: They’re here. I promise.

      ARRON and HELEN share a look. NICOLA and EDWARD notice.

      NICOLA: (stern) Now eat your veal.


      CUT TO – CROPLEY SHORES
      ENTRANCE – EXT.BUILDING – EVENING

      The SUV pulls up outside of the building and the passengers vacate the car, except for URSULA. BROGAN goes to exit the car but URSULA holds on to his arm. He looks at her confused.

      BROGAN: You ok?

      URSULA: I need you to do something for me.

      BROGAN: What?

      URSULA: Pandion was the first of our new arrivals, and until recently he was to be the one and only. Now, we have one more, I need you to go to the airport for when she arrives.

      BROGAN: I thought there might be one more addition. Is this one gonna rustle more feathers?

      URSULA smiles weakly.

      URSULA: More so.

      BROGAN: Oh.

      URSULA: You have to understand. I know it’s difficult to accept the changes, but it’s all going to lead to a bigger and better future for us all.

      He looks slightly unsure.

      BROGAN: I know and they all trust your decision, deep down.

      URSULA: I don’t think that’s directly true.

      BROGAN: How do you mean?

      URSULA: Echidna hates me, Shelter’s contact with me has been minimal and the Artair’s...

      She looks pained.

      URSULA: They can’t even look as a person, let alone their mother.

      BROGAN sighs.

      BROGAN: Things are tough. But you said it yourself... (unconvincingly) you just have to understand that all this going to lead to a bigger and better future.

      URSULA: Yeah, you’re right.

      BROGAN: Well you said it, so technically, you are.

      She laughs slightly and smiles at him.

      URSULA: Thank you Ea. I can already tell being away from Manhattan is helping you...

      BROGAN breaks eye contact with her and nods slightly, but he doesn’t reply. She notices it is a sore subject.

      URSULA: Anyway, perhaps you best be going, it’s almost night.

      BROGAN: How will I know who she is?

      URSULA opens her car door now, steps out the car and then looks back at him.

      URSULA: You’ll just know.

      She closes the door and walks towards the building, following the others.

      SONG: KINGS OF LEON – USE SOMEBODY

      The song begins as BROGAN watches URSULA leave. He makes sure she gets home safe and then pulls away.


      CUT TO – CROPLEY SHORES
      STOCK IMAGES – EXT.AIRPORT – EVENING

      Cropley Shores Airport. Small, but big enough for flights to the big cities. Night begins to settle as a plane descends on the runway.

      I've been roaming around
      I was looking down at all I see
      Painting faces, building places I can't reach.



      CUT TO – CROPLEY SHORES
      ARRIVALS – INT.AIRPORT – EVENING

      The camera pans around the arrivals lounge. This was a big flight, lots of families and eager friends were awaiting their arrivals.

      You know that I could use somebody
      You know that I could use somebody
      Someone like you.


      Then there was BROGAN, standing alone, unsure of who was going to walk through the gate. The arrivals do as they should. They begin to arrive.

      And all you know
      And how you speak
      Countless lovers undercover of the street.


      He watches with curiosity and as the arrivals begin to depart only a few stragglers are left. Including one woman.

      You know that I could use somebody.

      She’s a brunette. An alluring figure and a woman of power. With her different hair, he almost doesn’t recognise her.

      You know that I could use somebody.

      Their eyes meet.

      Someone like you.

      It’s MELODY.

      CUT TO BLACK

      END OF ACT TWO

      Comment


      • #4
        ACT THREE

        OPEN ON – CROPLEY SHORES
        ARRIVALS – INT.AIRPORT – EVENING

        BROGAN continues to watch as MELODY is stood a few feet away from him. MELODY sighs and walks towards him.

        MELODY: You must be Ea.

        He doesn’t say anything.

        MELODY: I was kinda expecting this response.

        BROGAN: What do you expect?

        MELODY: Well I gotta say, it’s a bit strange being hated by people who don’t know me. But in today’s climate you learn to deal...

        He looks angry.

        BROGAN: Oh I know you. I know everything about you. I saw you as a ghost, as a Potential, as a Slayer and as the bitch that betrayed her friends and faked her death. Stop me if I’m saying it wrong...

        MELODY: I didn’t fake my death, Sin did. And now I’m back.

        BROGAN: Why?

        MELODY: Apparently with her humanity intact, she spilled to Xak. He told Ursula, thought it would be better for me to be here than with them. The way I left things, I don’t blame him.

        BROGAN: Well maybe it would have been better if you’d have stayed dead. Or at the very least it would have been decent if you’d just stayed gone. Just ‘cause we know you’re alive doesn’t mean we want you around you know.

        He turns and leaves now. MELODY frowns and then follows behind.

        MELODY: You all may think you know me, but I’m not a movie; you don’t get everything by watching.

        BROGAN: What the hell is that supposed to mean? Thanks to you everything went wrong.

        MELODY: No it didn’t, from what I heard a lot of other stuff factored into it. I just did the best with the hand dealt to me. Just like anyone would have; like Lance did.

        He stops, considering if he did the same.

        She takes a deep breath and then sighs. She looks at him apologetically.

        MELODY: Look I’m sorry. I am. I did some bad stuff and I hurt the few people who actually gave a damn about me, and I have to live with that. But I want to make up for what I did.

        BROGAN turns back to look at her now.

        BROGAN: Took a whole year to realise that, huh?

        She looks hurt.

        MELODY: You know what, you really don’t know me. When I left, that’s when you all stopped watching. I’m a different person now. The things I went through, the darkness I felt... not many people come back from that.

        BROGAN: And you’re a miracle, huh?

        She scoffs.

        MELODY: Just take me to Ursula Lake. I’m here for redemption and because she asked for my help, not because I’m looking for friends.

        With this, MELODY walks past him and toward the exit. He watches her walk away.


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

        ELISE is finishing off the final strokes of her painting. URSULA approaches her with a hot drink. She places it down beside ELISE who stops and looks to her.

        URSULA: (signing) I thought you might like a drink.

        ELISE: (signing) Thank you.

        She looks at her quickly and then turns back to her painting.

        URSULA moves next to ELISE and looks at the painting.

        URSULA: (signing) You’ve been working so hard.

        ELISE catches the sign in her peripheral vision.

        ELISE: (signing) It’s not finished.

        URSULA smiles, beaten but not showing it.

        URSULA: (signing) Regardless, it’s still astonishing.

        She walks away now.

        ELISE turns and watches her leave. She turns back to the painting, wishing the person in it could comfort her.


        CUT TO – CROPLEY SHORES
        TRAFFORD’S ROOM – INT.BUILDING – NIGHT

        TRAFFORD enters his bedroom and moves towards the phone next to his bed. He presses a button on the receiver.

        ANSWERING MACHINE: You have no new messages.

        He sighs and sits on the edge of his bed.

        Why hasn’t she called?


        CUT TO – CROPLEY SHORES
        ROAD – INT.SUV – NIGHT

        BROGAN is driving towards down an empty road. It’s dark, pitch black. MELODY is sat next to him in the passenger seat looking out into the darkness. He keeps looking over at her. For a moment it would appear she doesn’t know.

        MELODY: For someone who clearly dislikes me, you’re spending a lot of time looking my way.

        BROGAN: Pfft.. Whatever.

        MELODY looks to him now.

        MELODY: So what’s your deal? I mean I heard you guys come from wherever the hell it was Xak flew in from.

        BROGAN raises an eyebrow.

        BROGAN: Hell being the operative word.

        MELODY: Trust me, I know a thing or two about hell.

        BROGAN: You know nothing about hell. You played pool in a turret, I grew up in a hell dimension ruled by unimaginable evil.

        MELODY: Well your rugged good looks and cunning wit clearly show repressed signs of suffering, and besides... there are different kinds of hell. The kinds you’re probably very unfamiliar with...

        BROGAN: You know what I should just turn this car around and take you back.

        MELODY: Ooh, I’m scared.

        Suddenly something crashes into the car, from the sky. A loud shrieking noise can be heard. BROGAN applies the brakes of the car, bringing it to a skidding halt.

        MELODY looks around with wide eyes.

        MELODY: What was that?!

        BROGAN peers through the windscreen with squinted eyes, looking at the empty road illuminated by the headlights.

        MELODY goes to open the car door, BROGAN grabs her arm.

        BROGAN: What are you doing?

        She looks back at him and then down to her arm.

        MELODY: I’m going to check it out, it’s what normal people do.

        BROGAN: Or stupid people, depending on your perspective...

        MELODY scowls at him.

        MELODY: Well you’re just a bundle of joy aren’t you.

        She pulls her arm away from him and gets out of the car.


        CUT TO – CROPLEY SHORES
        EMPTY ROAD – EXT.SUV – NIGHT

        MELODY steps out into the road and looks around. There’s nothing there, except for a small dent in the car.

        BROGAN (O/S): Melody?

        She looks around at the car.

        MELODY: It’s nothing, probably a deer or something.

        BROGAN (O/S): Come on then, we need to get back unless you want to find out if it’s bruised or whatever.

        MELODY: Ok.

        Something’s bothering her. She looks to the sky.

        They’d found her.


        CUT TO – BLUE ACRES
        EDWARD AND NICOLA’S BEDROOM – INT.PRIME HOUSE – NIGHT

        NICOLA and EDWARD are in bed. The lights are on and they are both reading. NICOLA smiles.

        NICOLA: I enjoyed dinner.

        EDWARD: It was nice.

        NICOLA: I like this place, it’s soothing.

        EDWARD: It is. It’s nice.

        NICOLA: And the neighbours seem really, really pleasant.

        EDWARD: They do.

        NICOLA: And I’m sure the twins will enjoy school when it starts.

        EDWARD: I’m sure they will.

        NICOLA and EDWARD pause. She looks at him.

        NICOLA: If those Hamilton’s get in our way...

        EDWARD looks to her and sighs. He touches her hand to calm her.

        EDWARD: (soothing) We’ll kill them, don’t worry.

        NICOLA smiles.

        NICOLA: You always know what to say.

        She leans in and kisses him.


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

        ELISE is still painting when her brother walks towards her, beat. She looks to him and smiles reassuringly.

        ELISE: (signing) Still not called, huh?

        He walks over and kisses her head and then puts an arm around her.

        SHELTER walks in, infuriated. ELISE turns to look at her.

        ELISE: (signing) What’s wrong?

        She rolls her eyes and motions behind her. The sound of an argument approaches.

        ECHIDNA, URSULA and PAN enter.

        ECHIDNA: I’m leaving!

        URSULA: I said I’d sort it, Echidna! There’s no need to be so dramatic.

        TRAFFORD looks up.

        TRAFFORD: What’s wrong?

        PAN: We may have a shortage of rooms.

        SHELTER laughs.

        ECHIDNA: This is not a laughing matter Shelter. I’m done.

        The sound of the front door opening can be heard.

        ECHIDNA: I’m going back to New York...

        Everyone turns now to see who has entered and sees BROGAN stood with MELODY. She looks at them all nervously while BROGAN looks at URSULA.

        MELODY: Hi.

        No one says anything.

        MELODY: It’s nice to meet you all...

        URSULA: Melody. It’s lovely to meet you my dear.

        TRAFFORD looks at ECHIDNA.

        TRAFFORD: Puts that whole room thing into perspective, huh?

        ECHIDNA glares at him and then looks to URSULA.

        ECHIDNA: Ursula, you have gone too far now.

        URSULA: No I haven’t.

        MELODY: (to URSULA, quietly) Look... I’m clearly not wanted here, maybe I should just go.

        URSULA: No. It’s not about what we want anymore. It’s about what we need, which will get us what we want. Our situation has changed, somewhat dramatically and for this to work we’re going to need everyone on board.

        BROGAN: Well, maybe you should have consulted us on decisions like this. Since Smith, we vowed to be a democracy... you’re not in charge, no one is. Stop acting superior because you’re older. You’re not an Elder anymore.

        URSULA looks shocked.

        URSULA: Ea, I thought...

        TRAFFORD looks to ELISE as silence fills the room.

        PAN: Perhaps the best option would be for everyone to get some rest.

        TRAFFORD: (quietly) I agree with the King.

        URSULA nods, in agreement.

        URSULA: Come Melody, I’ll fill you in on what’s been happening and uh... show you to your room.

        MELODY nods and picks up her bags and follows URSULA. ECHIDNA looks to PAN and walks towards her bedroom leaving him alone. One by one they all leave, leaving nothing but the canvas.


        CUT TO – CROPLEY SHORES
        STOCK IMAGES – EXT.HORIZON – NIGHT/MORNING

        The camera shows stock footage of the sun rising over the Shores.

        The sound of a phone ringing can be heard.


        CUT TO – CROPLEY SHORES
        BROGAN’S ROOM – INT.BUILDING – MORNING

        The sound is coming from the phone next to BROGAN’S bed. He is roused quickly and picks the phone up, placing it to his ear.

        BROGAN: Hello?

        GILDA (O/S): (on the other end of the phone) Mr. Brogan, I presume?

        Hearing GILDA’S voice rouses him immediately.

        BROGAN: Yes, Ms. Jackson. Thank you for getting back to us so quickly.

        GILDA (O/S): Hm, well... It would appear your request has been granted.

        BROGAN’S face drops in shock.

        It was happening.

        BROGAN: Thank you...

        GILDA (O/S): Well be prepared because today will not be a walk in the park. You’re opening tomorrow I believe?

        BROGAN: That’s correct.

        GILDA (O/S): Then the press will be outside this evening.

        BROGAN: (confused) Sorry, what?

        GILDA (O/S): You wanted public support, then I will give you that. You have until this evening to prepare something for a press conference. You’re gonna be the face of the evening news. Good luck...

        She hangs up the phone leaving BROGAN unnerved by what he’s just heard.


        CUT TO – CROPLEY SHORES
        CONFERENCE ROOM – INT.BUILDING - MORNING

        TRAFFORD: Whoa...

        Everyone, including MELODY and PAN are sat in the conference room. BROGAN is stood and has just told them what he has found out from GILDA.

        PAN: So this media presence is influential?

        ECHIDNA rolls her eyes.

        BROGAN: Big time. We want the public on board, then they’re the ones who are gonna make sure we get it.

        TRAFFORD: Ok, so we need to come up with some sort of speech, right?

        ECHIDNA: Not yet.

        Everyone turns to her.

        ECHIDNA: It’s clear there are issues between us. I think we need them rectified if we to show a united front.

        She looks at her “husband”. Then she makes eye contact with BROGAN and TRAFFORD looks down. BROGAN nods.

        BROGAN: Well, uh... who wants to go first?

        URSULA eyes ELISE, wondering if she’ll speak up. Everyone else holds back but eventually one of them stands. TRAFFORD.

        TRAFFORD: I’m sorry to say it, but I have a problem with bringing in the rogue Slayer who screwed over our side before.

        MELODY looks down.

        TRAFFORD: We don’t even know where she’s been for the past year...

        MELODY: I understand your concern.

        He looks to her.

        MELODY: Yours more than anyone.

        He knew she meant CATE.

        MELODY: But I did what I had to do to survive. I am sorry for hurting those close to you and in doing so hurting you but I am a different person and I want to help. Given my choices again I would have come up with some other solution and if you all give me a chance, I will show you that.

        TRAFFORD: I still don’t like it.

        MELODY: I’m not asking you to.

        PAN looks to ECHIDNA.

        PAN: Just as I am not asking you to like my presence.

        ECHIDNA: Don’t even begin with me.

        PAN: Correct me if I’m wrong but I thought I was the reason you selfishly begun this intervention?

        ECHIDNA: Selfish?

        PAN goes to answer back.

        URSULA (O/S): You were right.

        He stops and looks at URSULA, who has looked to BROGAN.

        URSULA: I was wrong to bring both Pandion and Melody into the Syndicate without consulting you all beforehand.

        BROGAN listens closely.

        URSULA: But now they’re here would it not be best to focus more on what they could accomplish with us than on the negativities of our past involvements with them?

        BROGAN: Focusing on accomplishments doesn’t bring trust.

        URSULA: You’re right, it doesn’t, but forcing a reconciliation before we meet the public won’t either. I’m sorry Echidna...

        She eyes TRAFFORD.

        URSULA: And everyone, but this will take time.

        BROGAN: What do you propose then?

        URSULA: Space. I propose we all take some time apart for the day and do whatever it takes to compose ourselves for this evening.

        BROGAN nods.

        BROGAN: Yeah, that’s how today should be spent...

        She smiles weakly at him but he misses it as he turns to the rest of his friends.

        BROGAN: Do whatever you want, all of you. This could be our last day of freedom. I’ll figure out what to say at the conference later and the rest...

        He pauses and looks around, noting the tension.

        BROGAN: We’ll just have to figure that out as the days go on.

        They all nod and as they leave, SHELTER translates to ELISE what was just said. URSULA leaves and takes another look back at BROGAN who has now turned to look out the window, to sea.

        MELODY lingers for a moment, then also leaves.

        SONG: JAMES MORRISON – LOVE IS HARD

        BROGAN’S eyes shift from the window down to a sheet of paper in front of him, a pen next to it.

        I see lovers in the streets walking
        Without a care
        They're wearing out loud.



        CUT TO – CROPLEY SHORES
        SANDED AREA – EXT.BEACH – AFTERNOON

        SHELTER is walking across the sand in a black bikini and a white sarong. She attracts a lot of attention from some of the surfers on the beach and even some of the women sunbathing nearby. She smiles as she places a towel on the sand and smoothes it out.

        Like there's something in the air
        Ooh, and I don't care
        They're treading lightly
        No they, don't sink in.



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

        ELISE is sat in front of the canvas. It’s almost finished. There’s just one more touch left. She takes a small brush to black ink and begins writing something at the bottom. Her name.

        There's no tracks to follow
        They don't care where they going
        Hmm
        And if they're lucky and they'll
        They'll get to see and if they're
        Really really lucky they'll
        Get to feel.



        CUT TO – CROPLEY SHORES
        COUNTER – INT.BOUTIQUE – AFTERNOON

        MELODY is stood at the counter of an expensive boutique. She’s watching as the clerk is ringing through some shoes. She smiles and hands over a credit card. The name on the card isn’t hers.

        And it kicks so hard,
        It breaks your bones.
        Cuts so deep
        It hits your soul.
        Tears your skin and
        Makes your blood flow.
        It's better that you know,
        That love is hard.


        She turns, paid in full, and walks out of the boutique, a soft smile on her face.


        CUT TO – CROPLEY SHORES
        HIGH STREET – EXT.BOUTIQUE – AFTERNOON

        MELODY steps out on to the sidewalk. The sun’s beginning to fade.

        They can get her if it fades. She looks up to the sky and then walks away.


        CUT TO – CROPLEY SHORES
        ECHIDNA’S ROOM – INT.BUILDING - AFTERNOON

        ECHIDNA is sat on the edge of her bed, not sure how to spend the rest of her afternoon. On her dresser is her wedding ring. The camera pans around to show her door is open slightly. PAN is peering through.

        And if they're lucky and they'll
        They'll get to see and if they're
        Really really lucky they'll
        They'll get to feel
        And if they're, they're truly blessed
        And they're get to believe
        And if you're dammed, you'll never
        Let yourself be diseased.



        CUT TO – CROPLEY SHORES
        URSULA’S OFFICE – INT.BUILDING – AFTERNOON

        URSULA is sat at her desk, she has paperwork in front of her but she can’t complete it. She looks at her computer screen, The Kalipso Syndicate logo is her screensaver. She looks from it to outside in the lobby, her daughter sat at the easel.

        She knows why ELISE distances herself, but she also was well aware of why: because she won’t and cannot concede.

        If ELISE knew the truth, she’d distance herself more...

        And it kicks so hard
        It breaks your bones
        Cuts so deep
        It hits your soul
        Tears your skin and
        Makes your blood flow
        It's better that you know
        That love is hard
        Hmmm...



        CUT TO – CROPLEY SHORES
        TRAFFORD’S ROOM – INT.BUILDING – AFTERNOON

        TRAFFORD is looking at a picture of him and CATE at the Statue of Liberty. They look so happy. The one person he wants to be with on this day he can’t.

        His phone rings. It’s her. He smiles.

        And it kicks so hard
        It breaks your bones
        Cuts so deep
        It hits your soul
        Tears your skin and
        And makes your blood flow
        It's better that you know
        That love is hard
        Love is hard, love is hard.



        CUT TO – CROPLEY SHORES
        CONFERENCE ROOM – INT.BUILDING – DUSK

        BROGAN is still stood at the window. The paper is blank still. He looks up to the window. Outside, a podium has been erected. They’d arrived.


        CUT TO – BLUE ACRES
        SIDEWALK – EXT.PRIME HOUSE – DUSK

        The Prime family have just left their house. They are dressed in smart clothes, EDWARD and NICOLA in front, HELEN and ARRON behind.

        EDWARD admires his wife’s black dress.

        EDWARD: You look beautiful, darling.

        She smiles at him.

        NICOLA: You look handsome too dear.

        She turns to her children now.

        NICOLA: On your best behaviour. These people must think we’re normal.

        HELEN: Whatever mother, let’s just get this over with.

        ARRON: (whispering to his sister) Let’s how see how quickly she blows this time.

        HELEN: (whispering back) I got twenty saying she won’t make it through dinner.


        CUT TO –

        The Primes arrive at the front door of the Hamilton’s house. MARY-ANNE hurries to answer the door. She beams at them.

        MARY-ANNE: Hello! You all look just simply divine! Come in come in!

        EDWARD hands her a bottle of wine.

        EDWARD: Here you go, Mary-Anne.

        She inspects the bottle.

        MARY-ANNE: Oh Edward, what a sophisticated palette you have. I am impressed.

        She then goes to the door to close it.

        MARY-ANNE: Go on through, Duke’s in the kitchen!

        She smiles happily and then closes the door.


        CUT TO – CROPLEY SHORES
        LOBBY – INT.BUILDING – DUSK

        BROGAN, MELODY, TRAFFORD, ELISE, SHELTER, ECHIDNA, PAN and URSULA are all stood in the lobby.

        BROGAN: I’ll do the talking, you all just answer questions if you can.

        Everyone nods.

        BROGAN: Ok, well let’s do this....

        Everyone moves towards the door. ELISE opens it and steps outside, followed by the others. BROGAN puts a hand on URSULA’S arm. She looks to him.

        BROGAN: I just wanted to say...

        He pauses and takes a deep breath.

        BROGAN: Sorry. I should have trusted you on your decision to bring Melody and Pan into the Syndicate.

        URSULA: Ea, it’s fine...

        BROGAN: No, it’s not. Ever since... I haven’t been able to trust well at all.

        URSULA: I understand my dear. It will be difficult to trust us, you did it once and your lover destroyed it. She destroyed it for all of us. But she’s gone now.

        She gestures to the building.

        URSULA: This is our future, this is the future of the world...

        BROGAN nods. She grips his arm.

        URSULA: Go, lead this.

        He looks down, then up to her.

        BROGAN: I’ll try.

        She nods and they walk outside together.


        CUT TO – CROPLEY SHORES
        ENTRANCE – EXT.BUILDING - DUSK

        They stop immediately. The rest of the Syndicate have also stopped in shock.

        The street is filled with hundreds of members of the public and every major media establishment in the state, some from the central cities.

        Showtime.

        CUT TO BLACK

        END OF ACT THREE

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        • #5
          ACT FOUR

          OPEN ON – BLUE ACRES
          DINING ROOM – INT.HAMILTON HOUSE - EVENING

          MARY-ANNE and DUKE are entertaining. A large traditional feast is laid out in front of them and their guests, The Prime family. HELEN and ARRON are sitting quietly as suggested.

          DUKE: More wine Edward?

          EDWARD: Well why don’t we crack open that bottle of merlot?

          MARY-ANNE: Oh do Duke, it looks lovely.

          DUKE stands, opening the bottle and then pours NICOLA a glass. She smiles, thankful.

          NICOLA: So Duke, what business are you into?

          DUKE: I was in the Army for thirty years, retired couple of years back now and moved here with my Mary-Anne.

          EDWARD: And your children?

          MARY-ANNE: Our son is in England, travelling.

          DUKE: So it’s just us.

          EDWARD and NICOLA share a glance.

          MARY-ANNE: How about you Edward? What trade are you into?

          The twins look at one another, uneasy.

          EDWARD: Uh, I’m kind of in between businesses at the moment.

          DUKE: Ah, I see... between what and what?

          EDWARD: Uh, it’s kind of private, if you don’t mind.

          MARY-ANNE: Oh Duke leave them be, their private life is their private life.

          DUKE: We told them all about us, Mary-Anne... just being neighbourly.

          EDWARD and NICOLA suddenly go silent.

          Curiosity...


          CUT TO – CROPLEY SHORES
          PODIUM – EXT.BUILDING – EVENING

          TRAFFORD: Whoa...

          BROGAN: I got it... just, follow my lead.

          With this he walks towards the podium and the others follow, standing behind him. He looks at the people, looking at him expectantly. Pictures are taken, microphones poised.

          BROGAN: Uh... thank you for coming and thank you to the officials at the Town Hall for organising this. I guess you’re all wondering why you’re here.

          Everyone still looks at him blankly.

          BROGAN: We don’t live in a normal world. No matter how hard it is to deny it I think the members of the press will agree they’ve covered events that make no sense and I think at least one person here will admit that they’ve lost someone they love to something they can’t explain.

          A few members of the press look at one another, as do some of the public. His words are hitting home with them.

          BROGAN: But I...

          He stops and looks at the Syndicate behind him.

          BROGAN: We... want to change that. No longer will what’s in the shadows be a private issue, we want to prepare you all for how to stop them. It’s time to go public, like never before...

          Everyone looks confused and he nods to SHELTER who moves towards the banner covering the plaque above the door. She motions and magically the banner falls. The public gasp at the motion and at the words revealed.

          The Constance Kyll Memorial School for Justice and Safety

          BROGAN: Tomorrow, we will be opening a school. The Constance Kyll Memorial School for Justice and Safety, Constance for short. Constance’s will act not as a curriculum based school but for anyone who wants to learn more about the various forms of darkness that haunt this world and how we can protect you from it.

          The camera cuts to URSULA.

          BROGAN (O/S): Witchcraft.

          The camera cuts to MELODY.

          BROGAN (O/S): Self defence.

          The camera cuts to TRAFFORD.

          BROGAN (O/S): First aid.

          The camera cuts to ECHIDNA.

          BROGAN (O/S): Demonology.

          The camera cuts to PAN.

          BROGAN (O/S): War.

          The camera cuts to ELISE.

          BROGAN (O/S): Communications.

          Finally the camera cuts back to BROGAN.

          BROGAN: And anything and everything we know will become your knowledge. It won’t be easy but this is something we know we can do. We have the experience, the power and the skill to be here for you all. We don’t know what’s coming next, but we can stop it and so can you.

          The public look shocked at what they’ve heard.

          BROGAN: We open tomorrow, if it’s just information you want or if you want to attend... whatever it is, we’re here for you. Constance’s is here for you.

          He looks around, there’s silence.

          BROGAN: Uh, I’ll be happy to answer any questions you may have...

          There is a long silence, then suddenly the press erupt. A loud torrent of voices bombard him and the rest of the Syndicate. Questions are fired from all over the street. BROGAN is shocked.

          He had been warned. It had begun.


          CUT TO – BLUE ACRES
          DINING ROOM – INT.HAMILTON HOUSE – EVENING

          MARY-ANNE brings out the dessert, one of her home baked pies.

          MARY-ANNE: Who’s ready for some pie?

          DUKE eyes EDWARD and NICOLA carefully who remain silent and composed. He knows something’s up.

          MARY-ANNE turns to ARRON and HELEN.

          MARY-ANNE: How about you kids? Bet you’d like some...

          DUKE: I don’t buy it.

          Everyone is silent. EDWARD and NICOLA look at him.

          DUKE: I met and broken up a lot of conspiracies in my time. You two... I don’t buy it.

          EDWARD: Is that so?

          DUKE: Indeed it is.

          MARY-ANNE: (firm) Duke that’s enough.

          DUKE: I could do a search on you two you know.

          MARY-ANNE: Duke Hamilton!

          ARRON and HELEN look at one another.

          HELEN smirks.

          HELEN: Looks like you owe me twenty bucks.

          ARRON sneers at her. NICOLA snaps her head at them both.

          NICOLA: Shut up!

          MARY-ANNE looks shocked.

          MARY-ANNE: Nicola! Is everything alright? Duke doesn’t mean it... he’s just...

          NICOLA turns to MARY-ANNE now.

          NICOLA: (calm) It’s ok Mary-Anne.

          She looks at EDWARD and then to DUKE.

          NICOLA: You wanna know who we really are?

          DUKE: You’re in my house little lady. I’d like to know.

          NICOLA sighs.

          NICOLA: The question is... who are you?

          DUKE: I beg your pardon?

          NICOLA: You’re the cat, Duke.

          DUKE and MARY-ANNE look at one another, confused.

          NICOLA: And we all know what happened when he got curious...

          The room begins to shake, the lights flicker...


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

          TRAFFORD: You were awesome man.

          Everyone, minus MELODY is in the lobby. They look exhausted.

          BROGAN smiles weakly.

          BROGAN: Thanks, it went well... you think?

          PAN: This was my first experience of this media presence, but their response on the whole seemed positive.

          URSULA: I agree.

          ECHIDNA raises her eyebrows.

          ECHIDNA: I guess we’ll just have to wait to find out tomorrow.

          PAN looks at her.

          PAN: Does that mean you’re staying?

          ECHIDNA looks at him too.

          ECHIDNA: (quietly) I’m staying.

          The sound of clicking fingers can be heard and everyone turns to look at ELISE stood near the easel.

          TRAFFORD: (signing) Is it time?

          She nods happily. She turns the easel to face them and reveal for the first time what she’s been painting.

          It’s a portrait of CONSTANCE. A small smile on her face and her eyes look peaceful as she stares at her family. A tear wells up in BROGAN’S eye. He moves over to ELISE and kisses her on the forehead. She smiles at him.

          BROGAN: Thank you.

          MELODY (O/S): It’s beautiful...

          BROGAN turns to look at her. She’s dressed in her pyjamas.

          MELODY: Oh uh...

          She looks awkward.

          MELODY: Sorry to disturb, I’m just gonna get some water and go to bed.

          She walks across to the kitchen. Everyone is silent as she walks across the room. BROGAN looks to URSULA. She nods to him.


          CUT TO – CROPLEY SHORES
          KITCHEN – INT.SCHOOL - NIGHT

          MELODY holds an empty glass underneath a tap she lets the water run.

          BROGAN (O/S): Melody...

          She stops the water and then turns.

          MELODY: Yeah?

          BROGAN: I’m sorry if I was harsh to you today. I don’t know you, but you don’t know me either... what I’ve been through.

          He looks away biting his bottom lip to stop himself from talking.

          MELODY: I know. I’m not asking for anything in this gig. I want to do this because... there are things worth fighting for.

          He listens.

          MELODY: Those people who came to listen to you today, they’re worth fighting for.

          BROGAN: I don’t doubt that you wish that, but I’m sorry... I don’t believe for a second that’s your only motive.

          MELODY looks at him. He looks at her, intimidating...

          MELODY: Goodnight Ea...

          She takes her glass of water and leaves the kitchen. He watches her go.


          CUT TO – BLUE ACRES
          DINING ROOM – INT.HAMILTON HOUSE – NIGHT

          The room is shaking and MARY-ANNE and DUKE look scared.

          EDWARD stares at them deeply while ARRON and HELEN hold one another’s hands, almost embarrassed.

          DUKE: What in blazes...

          NICOLA looks at them deeply, her eyes turn dark and they become almost hollow.

          NICOLA: (demonic) You wish to know of our source? You could not survive the knowledge of it...

          MARY-ANNE: (crying, scared) Nicola! Please!

          NICOLA: (demonic) Sorry Mary-Anne... dinner’s over.

          She clicks her fingers and a black portal appears behind the Hamilton’s. They both scream as they are sucked into it.

          As soon as DUKE and MARY-ANNE disappear, the screaming stops and the portal closes.

          NICOLA’S eyes return to normal and she sits down. She smiles at her family.

          NICOLA: Now, who would a like a slice of pie...

          EDWARD smiles at her.

          EDWARD: I would dear...

          NICOLA looks to her children.

          NICOLA: How about you two.

          HELEN glares at her.

          HELEN: I’ve lost my appetite, Mother.

          NICOLA: Suit yourself. Arron?

          ARRON just shakes his head at his mother.

          ARRON: Way to keep under the radar? How are we gonna explain this?

          NICOLA looks around.

          NICOLA: I don’t care.

          EDWARD: Kids, don’t test your mother. Nothing can get in our way. There’s no time to be polite...

          NICOLA: This is the apocalypse my dears. So take your little bets all you want and deny pie for pudding. Your father and I are gonna remind this world just how powerful we can be.

          ARRON and HELEN look at one another. They didn’t know whether to fear or respect their parents.


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

          ECHIDNA is stood at her window, watching the podium being dismantled.

          Some of the press are still interviewing the public in the area who watched BROGAN’S address.

          Her fist is clenched tightly.

          There is a knock at the door.

          ECHIDNA: Come in...

          She turns to see PAN at the doorway.

          ECHIDNA: What do you want?

          PAN: The school opens tomorrow.

          ECHIDNA: I am aware.

          PAN: I know we haven’t had long to adjust but we have to teach, together.

          She looks down.

          ECHIDNA: I know.

          PAN: Then you know we have to be convincing as a couple.

          ECHIDNA: I can convince, perfectly so.

          PAN: Good, because we’re going to have to put our personal differences aside if we’re gonna pull this off. The government, the media will be watching us closely.

          ECHIDNA: You’re right.

          He looks shocked that they are in agreement.

          ECHIDNA: But in case you hadn’t noticed... office hours are nine to five. It’s past five.

          He looks beat.

          ECHIDNA: Close the door on your way out.

          PAN nods, respectfully.

          PAN: As you wish...

          He leaves and closes the door behind him. She looks at the door and then down to her closed fist. She opens it. Her wedding ring enclosed in her palm.

          SONG: VANESSA CARLTON – WHERE THE STREETS HAVE NO NAME

          Her world was dying and now one of the only remnants of that world was her ally and her enemy.

          The song begins to play as...


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

          MELODY is changed. She’s not in her pyjamas. She’s in black jeans and a black hooded sweatshirt. She straps a knife to her thigh and pulls a stake out from under her pillow. She moves to the window and opens it. She looks back to the room before climbing out of it.

          Throughout the scene, the instrumental beginning of the song plays.


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

          BROGAN is lying in bed. He’s staring at the ceiling, blankly. He can’t sleep.

          Everyone was talking about her.

          Her name was hung on the door. Her portrait now hung in the lobby and currently her name was circulating throughout the press and the public across the state.

          I want to run
          I want to hide
          I want to tear down the walls
          That hold me inside.


          But no one had been to see her. He throws the duvet off of him. He climbs out of bed...

          I want to reach out
          And touch the flame
          Where the streets have no name.



          CUT TO – CROPLEY SHORES
          PRIVATE SECTOR – EXT.GRAVEYARD – DAWN

          He’d walked all night, just to get to the outskirts of town where the sea can’t be seen and the press won’t find her. He looks down at the stone memorial in front of him.

          Where the streets have no name
          Where the streets have no name
          We’re still building
          Then burning down love, burning down love
          And when I go there
          I go there with you
          It’s all I can do.


          CONSTANCE KYLL
          ~
          BELOVED COUSIN AND FRIEND
          TAKEN TOO SOON

          He kneels down.

          BROGAN: Hey...

          He reaches out and touches the stone.

          BROGAN: You were such a loser when you were here, you wouldn’t believe how popular you are now you’re dead.

          He smiles, weakly.

          The city’s a flood
          And our love turns to rust
          Were beaten and blown by the wind
          Trampled into dust
          I’ll show you a place
          High on a desert plain
          Where the streets have no name.


          BROGAN: Joking aside though cous... I miss you.

          He looks down.

          BROGAN: It’s so much harder without you here. I don’t know how I’m gonna get through the next stage at all without you. I don’t even know if it’s gonna be worth it...

          He pauses.

          BROGAN: I know I haven’t visited in a while. I suck... But I’ve not forgotten you.

          He’s suddenly very aware that he is alone.

          BROGAN: You’re probably wondering about the others. They miss you, you know. I’m sure they’ll all come out when they can. I just...

          The sun begins to wash over his face.

          BROGAN: I just want you to know... We’ll never forget you. Ever.

          He stands.

          Where the streets have no name
          Where the streets have no name
          Still building
          Then burning down love.


          BROGAN: I love you Constance.

          He begins walking away now and the music dies down.


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

          It’s now morning. BROGAN is walking along the coast-side sidewalk towards the school. As he approaches, the sound of voices catches his attention. He looks up and is taken aback. As he looks up...

          Where the streets have no name
          Where the streets have no name
          Still building
          Then burning down love.


          A huge queue has formed outside the school. They didn’t open for another hour and although they looked nervous, the public were ready.

          Burning down love
          And when I go there
          I go there with you.


          They were ready to take a stand, out of the curriculum...

          It was worth it.

          CUT TO BLACK

          It’s all I can do.

          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):
          LEIGHTON MEESTER as HELEN PRIME
          NICHOLAS D’AGOSTO as ARRON PRIME
          KRISTIN DAVIS as NICOLA PRIME
          DAVID CONRAD as EDWARD PRIME
          MARLO THOMAS as MARY-ANNE HAMILTON
          ELLIOT GOULD as DUKE HAMILTON
          LORETTA DEVINE as GILDA JACKSON

          Special Mention:
          VAMPIRE WEEKED – A PUNK
          KINGS OF LEON – USE SOMEBODY
          JAMES MORRISON – LOVE IS HARD
          VANESSA CARLTON – WHERE THE STREETS HAVE NO NAME

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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 “1.01 – OUT OF THE CURRICULUM

            - I won’t be doing a previously on, I have written Sirens as less of a spin off and a closely linked series that interweaves with SS on many occasions. I think it will be fairly hard to read Sirens without knowing the history of Melody and The Kalipso Syndicate in Shadow Stalker, especially in Season 3. I’ve written the series with no introduction to places and characters that I have established in SS as they/these should already be known by readers. However, if there are questions, just PM me or ask me in my feedback thread

            - So Melody Harp and Parker “Pan” Morgan make up the final two members of the cast, along with the original Syndicate members. They’re really gonna mix it up as they’re very controversial additions to the group, Melody in particular. The next episode is Melody and Pan centric and will deal with their integration into the group during a pivotal moment for the school.

            - The Prime family. I won’t be saying too much about them for now but they’re about to life hard for the whole town, not just their pie-making neighbours.

            - Bit of a random fact, in keeping with true style, but both my season openers boast songs from Kings of Leon’s new album!

            - What can you expect from the first five episodes? 1.03 will be Elise centric and will be about her hearing, 1.04 will be a test for Echidna and Pan’s marriage and 1.05 will see the return of an old enemy.

            - I hope you will enjoy Sirens as much as I am going to enjoy writing it. It’s been a pipe dream for so long and to actually finally get stuck in is unreal. I think it’s going to be good and I hope you all like it. Please leave me feedback so I can know how I’m doing and thank you so much for reading, means the world to me.

            - Just wanted to apologise for spelling mistakes/grammar inconsistencies in this episode! Alex was unable to edit and as I was moving houses it’s all been a bit insane my end and I was not able to thoroughly scour it. However, I hope Alex will be able to edit in future, but I do apologise if there are any annoying niggles and mistakes. Had I been given more notice I would have worked around it, and I feel a bit ashamed for the pilot of a series I couldn’t properly edit as I would have hoped!

            - Next episode you can enjoy the beginning of classes as the Syndicate adapt to life as teachers and mentors for the public defence. But until then, turn back to Shadow Stalker for 4.02, the Petrina centric episode where you’ll find out why it’s been so difficult for Cate to ring Trafford and the group’s reaction to Melody’s survival...

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