connor112
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN.
EXT. INTERSTATE 5 - NIGHT
A classic Dodge Charger (1967 with the 440 Magnum V8, a
single 4 barrel carburetor, and gold chrome
tipped...nevermind) races down the busy interstate, gliding
between cars like the beautiful piece of machinery it is.
Behind it, three siren blaring highway patrol cars are in hot
pursuit.
ARC around to a passenger side shot of one squad car.
PASSENGER COP
(into radio)
Suspect is in a black '66 Dodge
Charger headed north on I-5. Plate
number one three nine x-ray David
Raymond.
DRIVER COP
It's a '67, not '66.
PASSENGER COP
(turns to him)
You sure?
DRIVER COP
(yanks the steering wheel)
They didn't have the vinyl top in
'66.
(yanks the other way)
Or the mounted turn signals.
PASSENGER COP
(thinks; into radio)
Make that a '67 Charger.
ZOOM PAN to a shot looking at the front windshield of the
Charger itself. The driver squints at whatever's in front of
him.
DRIVER
(dumbfounded)
What in the world?
CUT TO a normal view of the chase as a familiar swelling dome
of blue LIGHT sweeps across every car on the interstate.
CUT TO a shot of the driver groaning and closing his eyes.
The car starts to swerve left and right.
CUT TO one of the patrol cars also swerving. Both cops inside
tense up and grit their teeth. Their eyes flash YELLOW.
The Charger smacks into a guard rail and swerves back
sideways into the road. The driver slams on the brakes,
giving the powerful engine a heart attack.
The car FLIPS over to its roof and slides, sparks flying
everywhere. It turns again, now sliding on the passenger
side.
Another car SLAMS into it, followed by another, then one of
the patrol cars.
This continues into a full on twenty some odd car pile up,
leaving a horrific scene of auto wreckage.
ON one of the patrol cars. The driver side door opens and the
driver falls out, clutching his head. A small MIST seeps from
his back and floats into the air.
He looks up towards the destroyed Charger with murder in his
eyes.
He gets to his feet and starts towards it, quickly joined by
the other cops.
The driver of the Charger is badly hurt, blood all over his
face.
One of the cops reaches into the Charger and forcibly yanks
the perp through the open window. All the cops stand over
him, looking beyond pissed.
CHARGER DRIVER
(weak)
Please...help me.
DRIVER COP
Help you? After you put me through
all that?!?
He KICKS the injured man square in the ribs, causing him to
cough up a mouthful of blood.
DRIVER COP
(seething)
How ya like that?
(stomps again)
Huh?
The other cops join in on the vicious display of police
brutality.
FLASH CUT TO:
INT. APARTMENT - KITCHEN - NIGHT
A YOUNG MAN storms into his kitchen, grabbing his hair in
frustration. A YOUNG WOMAN follows behind him, holding a
wedding magazine.
YOUNG MAN
(frustrated)
I don't care what the damn
placemats look like.
He slams his hands down on the counter.
YOUNG WOMAN
Well, I guess it's all the same to
you if we got married in a Vegas
drive through!
YOUNG MAN
(low; almost growling)
Shut up.
YOUNG WOMAN
(sarcastic)
Oh, there's an idea. Let's get in
your car and...oh wait, you don't
have one!
YOUNG MAN
Shut. Up.
He picks up a butcher knife from the table.
YOUNG WOMAN
No, no honey, let's get on your
bike and pedal to Vegas. I'll ride
on the handlebars. How about that?
YOUNG MAN
Shut up!
He turns around with a yell and swings the knife.
FADE TO WHITE.
EXT. ASTRAL PLANE - UNKNOWN TIME
Fade in on the back of FAUX CONNOR.
PAN across to show the real CONNOR standing across from him.
Faux Connor looks around the empty void, almost longingly.
CONNOR
(beat)
So...is this some kind of
Freudian...thing? I'm ego, you're
superego?
Faux Connor chuckles and it creepily ECHOES in the space.
FAUX CONNOR
No, consider this more of a-
He makes a rolling motion with his open right hand, trying to
think of the proper phrase.
FAUX CONNOR
-an intervention. Your job
performance has not been up to
snuff.
CONNOR
(eyes narrow)
Who are you?
FAUX CONNOR
My name isn't important and you
probably couldn't pronounce it
anyway. You probably remember me
as, oh what did he call me?
(looks away; thinks)
Plan B.
CONNOR
(confused)
Plan B.
Connor thinks on it, only remembering one instance.
FLASH CUT TO:
INT. FIRST FLOOR - ABANDONED BUILDING - FLASHBACK
KRAV MAGA pulls out a syringe.
KRAV
Well, before we get to that, stick
out your arm.
Connor obliges. Krav flicks the inside of his elbow to pop up
a vein and injects the needle.
CONNOR
What's that?
Krav pushes the contents into Connor's blood stream.
KRAV
Let's call this...
(finishes injecting
Connor)
Plan B?
He pulls out the syringe and tosses it aside.
FLASH CUT TO:
INT. WHITE VOID - UNKNOWN TIME
Connor is still looking away, making sense of it now. Faux
Connor smirks.
CONNOR
(looks to Faux Connor)
What do you want?
FAUX CONNOR
Me? I don't want anything. I'm just
following orders. You, my friend,
need some serious coaching. The
bosses ain't happy.
CONNOR
(leers)
And what if I don't want your-
(makes finger quotes)
-coaching?
Faux Connor blasts Connor with an UPPERCUT. Connor is knocked
in the air and lands a good twenty feet away.
FAUX CONNOR
(smug)
Then we'll move to Plan C.
Close in on Faux Connor as he cracks his knuckles and walks
towards Connor, his chest covering the frame and causing a:
BLACK OUT.
END OF TEASER
ACT ONE
FADE IN.
EXT. SKY - NIGHT
The SOULS of the Los Angeles populace continue to float
through the air, moving towards the LA Coliseum. We slowly
PULL BACK to:
INT. PIKE'S APARTMENT - LIVING ROOM - CONTINUOUS
KAIA is watching from the window, looking worried.
PIKE is across the room, sitting on the couch.
GABRIELLA is sitting on Pike's bed, affectionately running
her hand through the comatose Connor's hair.
Pike loudly SLAPS his knees with his hands and stands up.
PIKE
Okay, who's done feeling sorry for
themselves and is ready to do
something?
GABRIELLA
(softly)
Pike.
PIKE
(walking across the room)
What? You said we gotta get the Eye
to save Connor, so let's go get it.
Gabriella stops with Connor's hair and turns to face Pike.
GABRIELLA
It's not that simple.
Pike's at his gun case, loading up with more guns (and extra
clips), stuffing them into every place possible.
PIKE
(nodding emphatically)
Yes, it is. Chances are if that
spell's still going, Ethan's still
at the Coliseum. Get your mojo up,
kick his ass, and-
GABRIELLA
(blurting out)
He's too powerful for me! For all
of us!
She immediately clutches her injured ribs, the heavy exhale
required to yell hurting them.
She briefly buries her face in her head before running her
hands through her hair.
GABRIELLA
(sighs)
I threw some spells at him at the
docks. This-
(points to her ribs)
-is all I have to show for it.
PIKE
(walking over to
Gabriella)
And that's it? You tried once and
you're just done? Gonna sit there
and watch Connor's corpse rot?
KAIA
Pike!
PIKE
What? I don't get what the hell the
problem is. Connor's dying. We know
how to stop it. So let's go stop
it. Seems pretty cut and dry to me.
PUSH IN on Gabriella, who is looking at Connor again. Her
face completely unreadable. After a beat, she nods.
GABRIELLA
Okay.
(turns to Pike)
You're right. I'm sorry, I don't
know what-
(sighs; shakes her head)
Forget it. Let's go. We need to go
by my place first.
PIKE
Atta girl.
Kaia takes one more glance out the window before she steps
away and heads for the front door.
KAIA
(turning back)
Are we just going to leave Connor
here?
PIKE
(pushes her towards door)
You said it yourself, it's not safe
to move him in his condition.
Kaia nods and walks out the door.
Pike follows her, stopping when he gets to the door and turns
back to Gabriella. She hasn't moved an inch.
PIKE
Uh, let's go means we
actually...go.
GABRIELLA
(shaky voice)
Pike, could I just...?
She trails off, but the request is clear. She needs a minute.
Pike nods and shuts the door behind him.
INT. PIKE'S APARTMENT - HALLWAY - NEXT
Kaia is leaning against the wall across from the door. Pike
is leaning against the door.
Their eyes briefly meet before both look away in opposite
directions, Kaia crossing her arms and Pike digging his hands
in his pockets.
INT. PIKE'S APARTMENT - LIVING ROOM - NEXT
Gabriella's on her knees, resting her arms on the bed by
Connor's head.
GABRIELLA
(sighs)
You once asked me how to know what
the right choices are. It's been
awhile and I still don't have an
answer for you.
(beat)
I don't know if saving you is good
or bad for the world in the long
run.
(shakes her head)
I really don't care. The world
doesn't mean anything to me if
you're not here.
She leans forward and gently KISSES his forehead.
GABRIELLA
And if I can't get the Eye, well...
(pauses)
I guess either way I'll be seeing
you soon.
She grimaces as she gets up and leaves. We stay on Connor as
her footsteps echo off screen.
EXT. WHITE VOID - UNKNOWN TIME
Connor gets back to his feet as Faux Connor slows his advance
on him. Connor drops into a fighting stance.
FAUX CONNOR
(holds his hands up)
Whoa, I'm not here for a fight.
CONNOR
(icily)
Could've fooled me.
FAUX CONNOR
Just hear me out. Not like you've
got some place better to be.
CONNOR
(dropping his hands)
Where are we?
FAUX CONNOR
(points at Connor)
Inside your head.
CONNOR
(disbelieving)
My head?
Connor looks around, confused.
CONNOR
Only time I've been to a place like
this is...
He pauses, finally realizing.
CONNOR
(points at Faux Connor)
You're the little girl the Beast
sucked dry!
FAUX CONNOR
Mesektet?
(snorts)
Please. That little bitch couldn't
predict yesterday's weather. No,
think of me as the updated version.
CONNOR
But this is the White Room, right?
FAUX CONNOR
(shrugs)
Well, I felt more at home here.
Been twiddling my thumbs a few
months now. Figured I'd make myself
comfortable.
(claps)
Okay, so you're finally here. Which
means you're probably in a coma.
CONNOR
You wanna get to the point before
YOU put me in a coma?
FAUX CONNOR
Alright, alright. Geez. So
impatient. That's what's wrong with
you kids today.
Faux Connor inhales and closes his eyes. The room starts to
SLIDE away, rapidly picking up speed into a ZOOM PAN TO:
INT. CONNOR'S WAREHOUSE - UPPER DECK - NIGHT
Connor looks around at his old home. Faux Connor opens his
eyes and exhales.
CONNOR
Why are we here?
FAUX CONNOR
(coughs)
Forgive me if I forget my lines. I
get stage fright every now and
then.
(beat)
We're here because the Senior
Partners aren't exactly enthused
with your decision making of late.
CONNOR
(sarcastic)
Well tell them I'm sorry and send a
bouquet on me.
FAUX CONNOR
(ignoring him)
I put together this whole speech,
but you're a little thick in the
head just like your dad, so we
needed visual aids.
Just then, a third, YOUNG CONNOR (sporting that horrible long
hair) walks into the room, forcibly yanking a young blonde
girl behind him.
He flings her to the ground.
YOUNG GIRL
Oh God, please don't hurt me!
CONNOR
(shakes his head)
No. No, stop this.
FAUX CONNOR
Sorry, it's on autoplay and I lost
the remote.
The girl and Young Connor ignore the other two, as if they're
not even there, continuing to play everything out exactly as
it happened before.
FAUX CONNOR
Now, this? This was a fine choice.
Did you know this was the point the
Senior Partners actually got their
foot in the door with you?
CONNOR
(seething)
A fine choice? I dragged this girl
to her death!
FAUX CONNOR
For the greater good, or so you
thought. We weren't big fans of
Jasmine, but you broke an egg to
make an omelette. You weren't so
concerned about what you were
doing. You just did it.
CONNOR
(shakes his head again)
I...I shouldn't have done this.
FAUX CONNOR
And there's your problem right
there. Regret.
(points)
Why do you regret this? Give me one
good reason.
CONNOR
(deadpan)
Because it was wrong.
FAUX CONNOR
Why? Haven't you been told that
right and wrong are antiquated
concepts?
At this point, DARLA has appeared and is talking to Connor.
Their conversation is barely audible.
CONNOR
(icily)
She was lying.
FAUX CONNOR
You calling Gabriella a liar?
Connor's head whips to his doppelganger.
CONNOR
I wasn't talking about-
FAUX CONNOR
I know you meant Cordelia, but
Gabriella said it too and she
wasn't possessed by a higher being
at the time. You saying you don't
trust her?
Connor looks away, trying to come up with a good response.
FAUX CONNOR
All your regret has left you is a
slew of nightmares and conflicted
emotions. Point of fact, when's the
last time you got a good night's
sleep?
YOUNG CONNOR
(to Darla)
You are not my mother!
He starts to drag the young girl away. Our Connor starts
towards him.
FAUX CONNOR
Don't bother. You can't interfere.
What's done is done. If you could
do me a favor though, just look at
your eyes there.
CLOSE UP on Young Connor's eyes as he drags the girl in SLOW
MOTION.
FAUX CONNOR (V.O.)
No emotion. No thought. Just
natural instinct. It's beautiful.
CONNOR (V.O.)
Shut up.
FAUX CONNOR (V.O.)
You ever wonder why there are so
many more quote unquote bad guys
than good? It's like a friggin'
safari. One predator for every
fifteen prey. For everyone of you,
there's fifteen of us. And I'm
being nice with that estimate. Used
to be higher before that damn
Slayer spell.
(beat)
Conflict, that's why. Not within
the world, but within yourselves.
BACK TO the other two Connors. Faux Connor looks to his other
half.
CONNOR
What's your point?
FAUX CONNOR
My point is our side actually
believes in what we're doing. You
can't say that. Any of you.
(sighs)
It's our world, Connor. One tailor
made for those with conviction and
power, not honesty and morality.
It's about time you realized that
and came over to the winning side.
One without guilt, torment,
conflict...
CUT TO a huge BUTCHER'S KNIFE swinging into through the
frame.
CUT TO Young Connor's face as blood splatters on it.
BACK TO the other two.
FAUX CONNOR
Or regret.
PUSH IN on Connor's face, full of guilt. CUT TO Young Connor
with the exact same expression.
EXT. DOWNTOWN LOS ANGELES - NIGHT
PAN across a scene of absolute carnage. There are random car
fires and shops being looted.
FEMALE REPORTER (V.O.)
The governor of California has
declared a state of emergency in
Los Angeles, which is besieged by
rioting not seen since the Rodney
King verdict in 1992.
CUT TO a shot looking down an alley. One man is holding a
young girl from behind. Two others are ripping her clothes
off.
FEMALE REPORTER (V.O.)
This continues a bizarre string of
occurrences in the city that
started with the seven day eclipse
two years ago.
CUT TO a police officer laying a brutal beating on a
handcuffed civilian.
FEMALE REPORTER (V.O.)
State, federal, and military aid
are expected to be deployed in a
matter of hours to help restore
order to the city, but perhaps the
most unsettling story is the
peculiar behavior of local law
enforcement.
CUT TO another incident of excessive force by law
enforcement.
FEMALE REPORTER (V.O.)
While some LAPD officers are flat
out refusing to respond to
emergency calls, we've gotten
several disturbing accounts of
unheard of levels of police
brutality.
CUT TO one street locked in a logjam of traffic.
Many blaring HORNS drown out the yelling drivers. PUSH IN on
the traffic jam to Kaia's car, right in the middle of it.
INT. KAIA'S CAR - NEXT
Kaia's driving. Rather, she's behind the wheel futilely
blowing her horn. The shot looks in from the front windshield
at the girls.
Pike's on his bike behind the car, viewable through the back
windshield.
KAIA
(sighs)
I never thought traffic in this
city could get worse.
(beat)
This is unreal.
GABRIELLA
(shakes her head)
No, it's real. That's what makes it
more scary.
A random guy tries to push Pike off his bike. Pike decks him
with a punch.
KAIA
People can't be this violent by
nature can they?
GABRIELLA
Without souls, anything's possible.
Pike is grabbed from behind by another guy. He head butts him
and spins to face him, connecting with a backfist as he does.
GABRIELLA
Imagine you're driving and some
prick cuts you off. Or you're
waiting for a parking space and
someone jumps into it before you
can turn.
KAIA
(thinks)
Okay?
Pike pulls out a GUN and swings it left and right, daring
anyone else to mess with him.
GABRIELLA
Now take away that voice in your
head that stops you from kicking
that person's ass. Or worse.
Pike puts his gun away and gets back on his bike. The jam
begins to move.
KAIA
(awe struck)
Jesus.
(beat)
Wouldn't think it'd be much of a
change for LA though.
GABRIELLA
(scoffs)
Yeah, you'd think.
One guy tries to sneak up on Pike and gets pistol whipped for
his efforts.
DISSOLVE TO:
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Script created with Final Draft by Final Draft, Inc.