Destiny-1DV02
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32 INT. TULANE UNIVERSITY HOSPITAL - CORRIDOR - CONTINUOUS 32
Dawn walks down the hallway. Tori and Suzi catch up.
TORI
You sure you're okay, Dawn?
DAWN
Never better. Hey! I have an
idea.
(looks at Suzi)
How bout we go hang at The Boot?
I don't want to think about
anything school or slayer related
right now.
A beat as Suzi sizes up Dawn.
SUZI
The Boot it is then.
Dawn stops at the nurses station and starts to sign a few forms.
33 EXT. THE BOOT BAR & GRILL - AFTERNOON 33
The boot's facade gleams in the afternoon light. A few patrons
are sitting at tables in the enclosed outdoor part of the cafe.
Some MUSIC can be heard from within.
34 INT. THE BOOT BAR & GRILL - AFTERNOON 34
It's nice and dim in here - what'd you expect? JAZZ MUSIC is
softly playing and people are playing pool, or just hanging out.
We FOLLOW a waitress, a tray of drinks in her hand, to the bar -
where Tori is busy getting a few drinks from MAC, the grumpy
bartender. She pays Mac and takes the three beverages upstairs.
CRANE UP to the SECOND FLOOR, and FOLLOW Tori out an open
doorway back outside.
35 EXT. THE BOOT BAR & GRILL - OUTDOOR BALCONY - CONTINUOUS 35
Back outside, in the small covered balcony looking out across
the street towards Tulane, sit Dawn and Suzi - chatting about
something. They look over when Tori comes though the door. Tori
hands out the drinks:
TORI
(gives Dawn her soda)
One Diet Coke for the girl who
doesn't need to watch her
weight...
(next is Suzi)
An ice tea for Suz...
(sits down herself)
And a latte for me.
DAWN
Thanks.
(takes a long drink)
That hit the spot. You have no
idea how much getting the crap
beaten out of you really drains a
person.
TORI
I think I'm glad I've never
experienced that firsthand.
SUZI
So, do you have any idea where
the Nyiss could have gone after
they fled the party.
DAWN
Nope. I was feeling kinda
unconscious when they left.
SUZI
Oh... Right.
DAWN
If only the first victim wasn't
dead...
TORI
Why's that?
DAWN
He had lots of funky occult stuff
in his dorm room. I'm thinking he
had something to do with
summoning those assassins.
PETE (O.S.)
Hey ladies. Can I provide some
sort of moral support?
The trio looks over to the doorway to see Pete, striding over
towards them. He grabs a nearby chair and turns it around,
sitting down with the back of the chair in front of him.
PETE (CONT'D)
A shoulder to cry on? I could
always beat someone up...
TORI
Thanks Pete, but we're just
wishing we could pull a Haley
Joel Osment and have a chat with
a dead person, but not Bruce
Willis...
Pete looks he's debating whether or not to speak up.
PETE
Well... I might be able to
provide some...
(coughs)
Help.
The three girls display looks of intrigue, but they say nothing.
PETE (CONT'D)
It's just that... Damnit...
(rolls his eyes)
I see dead people.
The girls still don't say anything.
PETE (CONT'D)
No... Really. I can talk to them
too. So...
SUZI
You're serious, huh?
PETE
I don't like to spread that
little bit of info around. I'm
sure you can see why. I'd be the
scary dude who, incidentally, can
talk with your dead aunt Agnes
for a fee.
DAWN
Can we talk to Paul, the dead
guy, now?
PETE
I'd need to prepare. And I'm
visiting my aunt for dinner
tonight.
DAWN
Is her name Agnes?
PETE
(nope)
Delores.
DAWN
Well, how 'bout meeting me at
Paul's dorm room tomorrow at
three?
PETE
I'm there.
Dawn glances at her watch and stands up. She looks
apologetically to her friends.
DAWN
I need to go and patrol. If I
avoid it another night, Vampires
will be the least of my worries.
I'll have to deal with a pissed
off watcher.
TORI
Umm... Don't die.
DAWN
(thanks?)
Right.
Without another word, Dawn leaves.
SUZI
Don't die?
TORI
It seemed like the appropriate
thing to say.
36 EXT. RUN-DOWN BAR - NIGHT 36
A Bar in the French Quarter, just not one of the nice ones. The
alley it sits on is run down and trash-filled. SOUNDS OF A FIGHT
come from inside the bar, ending with the sound of a GLASS
BOTTLE BREAKING.
37 INT. RUN-DOWN BAR - NIGHT 37
The bar is just as ratty looking inside as its outside would
suggest. The clientele, though, being mostly demons, doesn't
seem to mind all that much. All of them are absolutely ignoring
what's going on at the bar.
Dawn's busy beating up the bartender, TOMMY, for some
information. A broken vodka bottle lies at the end of the bar.
Dawn is holding Tommy down against the bar, the other fist held
threateningly near his bruised head.
DAWN
I'm not going to ask again,
Tommy. Where are the Nyiss?
TOMMY
(southern accent)
You mean the snake demons? I
think I remember them now - big,
scaly...
Dawn pushes Tommy's head down against the bar, making him
squeal.
TOMMY (CONT'D)
Alright, alright! I'll tell you.
Dawn lets Tommy go. He straightens himself up and makes a show
of dusting himself off.
DAWN
I don't have all night.
Tommy leans closer, conspiratorially, and talks in a low voice.
TOMMY
Last I heard - and this is just
what I heard, okay - they were
hiding in a cave in the Zoo. You
just didn't hear it from me,
okay?
DAWN
Always a pleasure doing business
with the scum of New Orleans.
Dawn turns and walks towards the door.
TOMMY
Hey! I take offense to that.
DAWN
Uh-huh.
And she leaves, slamming the door behind her.
38 EXT. AUDUBON ZOO - ENTRANCE - NIGHT 38
The entrance to the Audubon Zoo looks like a replica of a New
Orleans street circa the mid 19th century. It's gleaming white
facade reflects the moonlight brilliantly.
Dawn, moving quickly and silently, heads to the center of the
entrance where a set of large iron gates stand imposingly. Dawn
looks at the tall gates, and with her superhuman abilities
climbs over them - no problem at all.
39 EXT. AUDUBON ZOO - MAIN WALKWAY - NIGHT 39
The entrance-way opens out onto a wide, palm-tree lined walkway.
In the center of the path stands a large map of the zoo. Dawn
walks up to it and studies it.
INSERT - THE MAP
Dawn focuses on the area marked Komodo Dragons
MOVE OFF THE MAP TO FIND Dawn quickly walking off in the
direction of the Komodo Dragon exhibit.
40 EXT. AUDUBON ZOO - KOMODO DRAGON EXHIBIT - NIGHT 40
The large habitat that normally holds the Komodo Dragons has a
large sign in front of it reading 'Exhibit Closed Until Further
Notice'
Dawn scouts out the area, pulling out her mini-maglight in the
process. Nothing...
Turning around to face the other side of the exhibit, Dawn's
light falls on something near the rocky hill near which the
exhibit stands - more snakeskin.
Dawn runs over and quickly finds a fissure in the rock.
Cautiously, she walks in.
41 INT. SNAKE DEMONS' LAIR - NIGHT 41
It's dark in here. The only light coming from a hole in the
ceiling of the cave far above. Dawn's flashlight moves around
the room.
The Nyiss are gone. But suddenly, CRACK! Dawn hears the sound of
twigs breaking right behind her.
DAWN, without turning an inch, kicks straight behind her - a
perfect back kick. She connects in the assailant's midsection,
who lets out an OOMPH as he goes flying across the cave, landing
in the pool of light in the center of the cave.
It's NIKOLAI!
DAWN, still cautious, slowly moves forward towards Nikolai. He's
trying to recover from that hit - he looks up at Dawn, pissed
off.
DAWN
If it isn't our friendly
neighborhood stalker, out for a
little late-night roughhousing.
Nikolai picks himself up off the ground.
NIKOLAI
I didn't know it was you, Slayer.
DAWN
So do you generally sneak up on
perfect strangers? Wait, I forgot
who I'm talking to. It's your
M.O.
NIKOLAI
M-O?
DAWN
Modus Operandi.
Nikolai looks like he doesn't understand. Dawn makes a sound of
frustration.
DAWN (CONT'D)
The way you work. The whole
cryptic guy in black thing you've
got going.
NIKOLAI
Right. I was tracking two
assassin demons.
This is their lair - I thought I
was sneaking up on one of them.
DAWN
One note. You've really got to
work on your sneaking skills.
Dawn turns to go.
NIKOLAI
Wait. Do you think it is a
coincidence that a mummy
disappears at the same time that
a pair of Nyiss appear?
DAWN
What do you mean?
NIKOLAI
Think, Slayer. It's all right in
front of you.
DAWN
(partly to herself)
You mean that whoever summoned
the Nyiss is the same person that
stole the mummy?
(beat)
The mummy must be a component of
the spell.
NIKOLAI
Not so hard, huh?
Nikolai turns to go, his job done. Dawn calls out after him:
DAWN
I don't even know your name...
He stops and turns back around.
NIKOLAI
It's not imp...
DAWN
(interrupts)
Important. That's what you said
last time. I think it is
important. You saved my life back
in the cemetery. Can't I at least
know who to thank?
Nikolai thinks for a second.
NIKOLAI
Nikolai, slayer. My name is
Nikolai.
He goes.
DAWN
(quietly)
Thank you.
DISSOLVE TO:
42 INT. DORM HALLWAY - DAY 42
The hallway outside Paul's dorm room is nearly empty, except for
the lone FBI GUARD sitting on a chair outside Paul's room. The
double doors at the end of the hallway open, and Dawn, Pete, and
Suzi come down the hallway.
They stop, just out of earshot of the guard.
DAWN
Okay, Suzi. You're up. Just like
we talked about.
SUZI
I can't believe I'm breaking the
law...
Suzi gestures with her hands, which glow blue briefly.
SUZI (CONT'D)
(whispers)
Quiesco
The guard suddenly looks really tired. He leans his head back
against the wall and instantly falls asleep.
PETE
Definitely useful.
SUZI
(sheepishly)
Thanks.
The trio walk into Paul's room.
43 INT. PAUL'S DORM ROOM - CONTINUOUS 43
The room is pretty much the same as before. The only difference
is that the chalk outline of the body is gone and so are the
forensics tags.
Dawn peers around the room, then goes and closes the door behind
them.
DAWN
(to Suzi)
How long before he wakes up?
SUZI
Oh, don't worry. He'll be out for
hours.
DAWN
Kay. Pete, your turn.
PETE
Right.
Pete closes his eyes and concentrate.
WHITE FLASH TO:
44 INT. PAUL'S DORM ROOM - (PETE'S VIEW/BLACK AND WHITE) - DAY44
We see the room, now, as Pete sees it. The light is especially
harsh and everything is in BLACK AND WHITE.
Pete opens his eyes to see PAUL GHOST IN. He notices Pete.
PAUL
Who're you?
PETE
Pete.
PAUL
Well that's really great, Pete. I
mean what're you doing here. No
one's supposed to be here.
PETE
I need to ask you a few
questions. Is that okay?
PAUL
Well it's not as if I have
anything better to do.
Pete walks closer to Paul.
PETE
Right. You were the one who
summoned those assassins, right?
PAUL
Yeah. No sense in denying it now.
The stupid things turned on me
right after I summoned them.
PETE
Why'd you do it?
PAUL
Because Michael Evans was going
to beat me out for an independent
research grant. That grant is
mine! I'll be damned if that
goody-two-shoes gets it.
PETE
So you summoned those things to
kill him?
PAUL
Yeah. It'll serve him right if
they get to him, the ass. I stole
the mummy from the Anthro
department, took what I needed,
then hid it in the basement.
(laughs)
Then I did the god-forsaken
spell. As you can tell, things
didn't work out. Oh, if you see
Evans, give him my regards.
Paul GHOSTS OUT.
FLASH BACK TO:
45 INT. PAUL'S DORM ROOM - DAY 45
Pete snaps out of the trance he's in and falls to the floor.
Suzi helps him up.
DAWN
What happened?
PETE
I'll tell you on the way to
Professor Reynolds' house.
DAWN
I'd really rather you tell me
now.
PETE
Now is not the time for your
pissing contest with Reynolds.
Come on.
He opens the door and walks out. Resigned, Dawn follows, with
Suzi bringing up the rear.
46 INT. AMY'S HOUSE - LIVING ROOM/DINING ROOM - EVENING 46
The room is tidy as usual, but piles of books sit on the dining
room table in the b.g. Amy is addressing the Scoobies: Tori,
Suzi, Jake, and Pete, while Dawn - only half listening looks at
the titles of some books on one of the bookshelves.
AMY
I'm glad you've come. The
situation both with the FBI and
with Cairo has spiralled out of
control. This needs to end, and
it needs to end tonight. Dawn?
No response.
AMY (CONT'D)
Dawn?
Dawn, startled out of her reverie, looks over at Amy.
DAWN
What?
Amy takes a deep breath before continuing.
AMY
You need to stake out Michael
Evans' house tonight. The Nyiss
have been heading slowly in that
direction for the past few days.
It's quite possible that they'll
strike tonight.
DAWN
(sarcastically)
While you do what, exactly?
AMY
While I un-summon the demons. Or
would you like to have your
insides ripped open again?
Dawn doesn't say anything, but grabs her coat and starts to go.
Tori nudges Pete:
PETE
We'll come with.
TORI
The demons might have... you
know... gotten angry--er.
WE PULL BACK WITH THEM as they head to Amy's foyer, PANNING AWAY
at the last instant to FIND Amy, who turns back to Suzi & Jake.
AMY
That's the easy part, I'm afraid.
JAKE
That's going to be easy? Compared
to what?
AMY
What we're going to be doing.
JAKE
We? We're doing something? Please
say 'provide moral support.'
Please say 'provide moral
support.'
AMY
Not exactly, Jacob.
SUZI
(realizing)
We're going to have to get the
mummy and un-summon the Nyiss.
Jake goes very pale when he hears this.
AMY
Quite right, Susan - it's not a
one person job. Let's not waste
any time. The more we dally, the
more chance there is for Dawn to
get hurt.
Amy and Suzi start to head out of the room. After a moment, a
wigged-out Jake follows them, mumbling to himself:
JAKE
Did I mention that I hate
mummies?
BLACK OUT:
END OF ACT THREE
ACT FOUR
47 EXT. ANTHROPOLOGY BUILDING - NIGHT 47
The old building stands large and imposing - looking out over
the main quad like a sentry. WE GLIDE TOWARDS THE BUILDING,
closing in on a small basement window to one side. We...
PASS THROUGH THE WINDOW
48 INT. ANTHROPOLOGY BUILDING BASEMENT - NIGHT 48
The labyrinthine basement of the Anthropology Building is creepy
in the virtual darkness in which we find ourselves. The BEAMS of
flashlights shine around the basement, illuminating stacks of
wooden packing crates and shelves of unused textbooks.
Amy, Jake, and Suzi are the ones with the flashlights. Amy and
Suzi look determined, while Jake just looks plain frightened.
JAKE
Remind me again why I had to
come?
AMY
Well it certainly wasn't your
tendency to ask annoying
questions.
JAKE
Hey! You know I take pride in
my...
Jake knocks into something large. He lets out a frightened YELP
and jumps back, knocking into a large crate. The door of the
crate falls on Jake, who ends up on his back, covered with
Styrofoam packing material.
Amy and Suzi stop, both of whom look like they're trying very
hard not to laugh. Suzi walks back to help Jake up.
SUZI
You okay?
JAKE
Yeah. Completely wigged, but
okay.
Jake's back on his feet. Amy walks over and addresses the other
two.
AMY
Let's split up. We can cover more
ground that way.
JAKE
I was afraid you we going to say
that.
Suzi and Amy each pick a different direction and split up,
leaving Jake by himself.
JAKE (CONT'D)
Has Scooby-Doo taught us nothing
in life?
Grumbling, Jake moves off in a different direction.
49 INT. ANTHROPOLOGY BUILDING BASEMENT HALLWAY - NIGHT 49
Jake has wandered into this separate hallway, filled with creepy
looking paintings of South American tribesmen. Jake winces when
his flashlight passes over a particularly gruesome painting.
Next to the painting is a door in the wall. Jake opens it and
steps in.
50 INT. ANTHROPOLOGY BUILDING BASEMENT - SMALL ROOM - CONTINUOUS50
Jake takes two steps into the small room before he sees it in
his flashlight beam.
ANGLE: THE MUMMY
is lying on the top of its own stone sarcophagus. Jake doesn't
move any closer. Mummies freak him out. Jake puts his flashlight
down on a nearby crate and moves his hand to the nearby light
switch, calling out:
JAKE
I found the mummy!
Jake turns the light on. Wrong move - the mummy lets out an
inhuman groan and sits up. Jake, scared, jumps back, only to
knock over his flashlight and the crate it was on. Jake falls to
the floor.
ANGLE: JAKE'S POV
The Mummy advances slowly on the fallen Jake.
JAKE (CONT'D)
Oh crap!
51 INT. ANTHROPOLOGY BUILDING BASEMENT HALLWAY - NIGHT 51
Suzi and Amy are walking together down this hallway - to find
Jake - when they hear something O.S. They quickly look at each
other and start to run.
JAKE (O.S.)
Help! Help me!
The two get to the doorway that Jake just went in. Amy tries to
open it - but it's jammed.
SUZI
Move back.
Amy quickly steps back. A BLUE GLOW starts to surround Suzi. She
then pushes the door. It BURSTS INWARD, revealing:
52 INT. ANTHROPOLOGY BUILDING BASEMENT - SMALL ROOM - CONTINUOUS52
JAKE, still on his back, is hitting the mummy standing over him
with a metal pipe that he found. It's not doing much damage, but
it seems to be stopping the Mummy from getting any closer.
THE MUMMY
Catches the pipe on Jake's next swing and wrenches from his
grasp. Jake's frozen in place - he waits for the mummy to swing
and closes his eyes tightly.
CRACK!
Jake screams!
The Mummy is hit by Suzi's BLUE FORCE and propelled backward. It
hangs in midair - motionless.
Jake, who's eyes are still closed, is squirming as if he had
been hit. Suzi kneels down next to him and holds his flailing
arms down.
SUZI
Jake! Jake! Nothing happened. It
was just a booby-trap. You're
absolutely fine.
Jake slowly opens his eyes and looks down at himself, then at
then Mummy, then back at Suzi.
JAKE
I really hate mummies.
53 EXT. MICHAEL EVANS' HOUSE - NIGHT 53
This beautiful New Orleans house sits on one of the many tree
lined boulevards in the city. From our HIGH VANTAGE POINT, we
can see through one of the upstairs windows - in silhouette we
can see that someone is working at a desk.
CRANE DOWN
Past a large, imposing, oak tree to find Dawn, Pete, and Tori
standing underneath, staking out the house. Dawn is peering out
from behind the trunk.
TORI
Anything?
DAWN
(turns back)
Nope.
PETE
You think these demons will show?
Maybe they found some all-you-can
eat demon buffet downtown and
gave up on this guy.
DAWN
They better show. I really need
to get out some tension and I
don't want to break the gym's
punching bag again...
We hear the sound of BUSHES RUSTLING. Dawn cuts off and peers
out towards the house again.
ANGLE: DAWN'S POV
Two shapes are moving stealthily across the lawn. Dawn turns
back to Pete and Tori.
DAWN (CONT'D)
Stay here.
And she runs off.
ANGLE: THE NYISS
Hear Dawn coming. They split apart HISSING loudly at the
approaching slayer.
DAWN (CONT'D)
You know whining's not going to
do you any good.
Nyiss #1 Spits VENOM at Dawn. She dodges.
DAWN (CONT'D)
(close call)
That, however, might.
Nyiss #1 Slashes at Dawn. Dawn ducks, comes up and PUNCHES the
demon square in its face.
DAWN (CONT'D)
Where do all you demons learn how
to fight?
Nyiss #2 takes out Dawn's legs from under her. Dawn rolls,
springs to her feet, kicks the demon backwards.
DAWN (CONT'D)
Demon boot camp?
Nyiss #1 KICKS Dawn in the stomach. She goes flying into a
nearby picket fence - which is SMASHED upon impact.
ANGLE: PETE AND TORI
Are watching Dawn's losing battle from behind the relative
safety of the tree trunk. In the b.g, Dawn kips up and eyes the
approaching demons.
PETE
We gotta go in and help her.
ANGLE: DAWN
Gets an elbow (or an elbow-like appendage) to the FACE. She
staggers back, CRASHING through the door of a small shed.
ANGLE: PETE
Wincing from watching that hit - ouch!
PETE (CONT'D)
On second thought. Maybe dialing
911 would be a better option...
TORI
(sees something)
She's alright!
ANGLE: DAWN
Emerges through the hole that once was the shed door.
PUSH IN ON DAWN
Looking pissed as all hell - and she's not going to take it any
more.
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