Act Two -- CyberScripts: Member Board

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Date Posted: 17:17:29 08/11/02 Sun
Author: O
Subject: Act Two
In reply to: Jonny 's message, "Ripper 02- spectacularly unedited" on 17:13:20 08/11/02 Sun

ACT TWO

Interior, Seth's Apartment, Living Room, Afternoon
ROB and SETH are still sitting in the Living Room.

SETH
You�ve really landed yourself in it this
time, haven�t you mate?

ROB stays silent. He looks down dejectedly.

SETH
Let�s see if we can dig you out of this
without unearthing our own graves.

ROB looks up.

ROB
What?

SETH
We�ll get this sorted.

ROB
How? The only way I walk out of this is
to pay them the money. I don�t have it,
and I know you may skipped McDonald�s�
recruitment by choice, by I doubt you�ve
got a spare hundred grand lying around.
And if I can�t walk out of this, my only choice
is to keep on running.

SETH
You can�t keep running forever. And we�re
not paying these people anything. This guy
that�s after you, do you know anything about
him?

ROB
A little �?

SETH
We track him down before he does you.
Find out what we can about him, and
arrange for the police to receive a tip off
on a guy shuffling crack- an anonymous
tip off.

ROB
Oh that�s a real cunning plan, Baldric!
Instead of getting my arms and legs
broken, I go down for handling! And
you�re really still just working for the local
gazette?! With genius like that?!

SETH
I said anonymous tip off, Rob! You
wouldn�t be linked to it, and shout me
down if I�m wrong, but it doesn�t look like
you�ve got many other options. Look,
you�ve got a lot less to lose by�

ROB
Alright, we�ll try this your way.

SETH
Okay. If you tell me what you know, I
can probably find out what we need to
nail this wanker, but I�ll need to use the
computer at the office. We should head
to the Echo.

ROB looks out of the window. Sunlight is streaming through the almost closed curtains.

ROB
No. No way. This guy could already be
here. I don�t want to risk going out where
someone could see me. Hell, he might
even know why I came here. He could be
on his-

There is a knock at the door.

ROB looks anxiously up at the door. He and SETH both fall silent.

There is a pause.

Another knock.

ROB stands up and looks panickedly at SETH.

ROB
I have to hide somewhere.

SETH
[pointing]
Bedroom. Go.

ROB rushes into the bedroom. SETH goes to answer the door.

SETH opens the door. As he does so, GILES barges in.

GILES
[brushing past him]
Mind if I come in?

SETH
Since you asked so� erm� I�m really
struggling for a word here.

GILES
Funny. Seems you had plenty when
you wrote that article.

SETH
Look, this isn�t really a good time to
talk about that.

GILES
It wasn�t a terribly good time when you
burst into my flat either. At least I haven�t
smashed any of your furniture. Yet.

SETH
Well that wasn�t exactly my fault, was it?
Maybe you didn�t notice, but there was
a lot of weird stuff going on yesterday that
I had nothing to do with, which you�ll notice
I didn�t include in the article.

GILES
Only because no-one would believe you!

SETH
No, I left those bits out to save you and
Emily a lot of unwanted questions, if you
must know. Look, I don�t know what your
problem is- I left out all the occult stuff,
and I didn�t mention anything about your
past, but I need to get paid. And I do that
by writing articles. Besides which, it was
a murder case, you know; if I hadn�t done
the article, someone else would have, and
they might not have been so discriminate
about what they printed! And I don�t know
why you care- from what I saw, all that
stuff seemed pretty run-of-the-mill to you!

GILES
It is, you prat. That�s why I came back
to England- to get away from the type
of things that happened yesterday! All
I wanted was a quiet, uninterrupted life,
not to have my name splashed all over
the local gazette! I saw enough odd and
disturbing things in California to last a
lifetime- I don�t want that here!

ROB comes out from the bedroom. He looks at SETH.

ROB
�Odd and disturbing things�? Looks like
you�ve been involved in some dodgy
dealings as well, mate.

Exterior, Train Station, Afternoon
EMILY�s taxi stops outside the station. She pays the driver and gets out.

As she approaches the main building, EMILY sees that the area is cordoned off. Police are buzzing around. She approaches further.

The police are gathered around a body� the body of the man whom ROB asked for directions the night before.

EMILY looks around as an ambulance pulls up to extract the body. As the paramedics get out, EMILY notices that one of them appears to be wearing a suit underneath his uniform. He looks at her suspiciously as he passes her. They move the body into the back of the ambulance.

The paramedics exchange some conversation in hushed tones, glancing at EMILY.

PARAMEDIC 1
Is it her?

PARAMEDIC 2
I�m not sure.

EMILY watches them from a distance. Suddenly, someone speaks to her.

PERSON
[O.S.]
Can I help you?

EMILY looks at her. It�s the detective, SAM.

EMILY
[still concentrating on the paramedics]
What? Oh, no, thank you, I was just, erm�
no�

EMILY walks distractedly away. She watches the ambulance pull away, as she reaches for her mobile and dials.

Interior, Giles� Flat, Afternoon
Camera shows GILES� phone. It rings, but no-one answers it.

Interior, Seth�s Apartment, Afternoon

SETH
Rob!

SETH had clearly forgotten ROB was still there. ROB looks to GILES.

SETH
Oh, er, this is Mr. Giles. He�s a�er, I suppose
friend would be too strong a term� He�s an
acquaintance.

GILES
[sarcastically]
I think perhaps that�s still too strong a term.

ROB
What were you just talking about? What �odd
and disturbing things�?

SETH
What? Oh, er, nothing. Just stuff I�ve seen
while investigating stuff. You know the sort
of stuff I report on.

ROB
Yeah, too right.

SETH smiles and looks slyly at GILES.

SETH
[smugly]
Mr. Giles is my biggest fan. He loves reading
my work.

GILES looks infuriated.

SETH
(continued)
When he got the chance yesterday, he just
couldn�t pass up an opportunity to meet me
in person.

GILES
[indignant]
Now wait just a-

ROB looks quizzical as to why GILES seems angry. GILES notices, and has to buy into SETH�s cover-up.

GILES
[feigning]
Yes, that�s right. I�m a great admirer of Seth�s
work.

ROB
[jokingly]
Well, I guess that makes one, eh?

Something dawns on SETH. He turns to GILES.

SETH
[to Giles]
Do you believe in fate?

GILES
Believe in it? I�ve seen it.
[suddenly suspicious]
Why?

SETH
Maybe it wasn�t just coincidence that
you both happened to show up here,
now.
[to Rob]
I think Giles might be able to help with
that problem.

GILES looks as SETH sharply.

GILES
Now hang on a minute-

ROB
How? What do you?

SETH
Oh, you know, he just �watches� things.

GILES
[to Seth, pissed off]
Did you listen to anything I just said? I
just want to be left alone, I don�t want
to know about your problems.

GILES drags SETH to one side.

GILES
(continued)
[quietly but sternly]
And what exactly gives you the right
to broadcast my personal life to everyone
you meet?

SETH
Rob�s an old friend. He�s not just �someone
I met�. And there�s something going on
with him. He�s told me a pretty extreme
story, but I think there�s even more to this
than he�s letting on.

GILES
And once again, that is not my problem.
Sticking your nose into other people�s
business is your talent, not mine. So
why don�t you deal with this yourself,
since you�re so adept. I, on the other
hand, have more important things to do;
for a start I�d like to try to get to know my
daughter without someone else�s problems
getting in the way, if it�s quite alright with you.

Interior, Ambulance [moving], Afternoon
The ambulance from the train station stops at a set of traffic lights, which we see through the windscreen. It is heavily overcast, with black clouds. The DRIVER is clearly impatient.

DRIVER
Come on, come on.

The DRIVER peers out through the windscreen, looking at the sky.

DRIVER
Bloody weather. Sun was up this morning,
looks like it�s going to piss it down now.

Another MEDIC is sitting in the front of the ambulance.

MEDIC
Stop whinging. It�s just another shower.
You know what it�s like, the sun will be out
again by four.

Suddenly, the driver�s door is pulled open from the outside. A tough-looking SKINHEAD grabs the DRIVER and pulls him out of the ambulance.

The DRIVER yells as the SKINHEAD vamps out, and sinks his teeth into the guy�s neck.

The MEDIC looks on in terror, and then, fumbling to open the door, falls out of the ambulance and runs.

Another VAMPIRE emerges from the back of the ambulance. He is joined by the SKINHEAD VAMPIRE.

2nd VAMPIRE
[nods]
He�s here.

Interior, Taxi [moving], Afternooon
EMILY is staring out of the window.

The Taxi stops.

TAXI DRIVER
[irritably]
What�s this joker doing?

The TAXI DRIVER sounds his horn.

TAXI DRIVER
Come on! It�s on green!

EMILY looks up. She notices the stopped vehicle in front of them- the ambulance. She notices one of the back doors is open.

EMILY jumps out of the taxi and runs over, leaving the TAXI DRIVER stunned.

Exterior, Bath, Afternoon
EMILY sees the dead driver lying on the ground. She notices bite marks on his neck. She reaches for her mobile again, calling the only other person she can think of.

Exterior, Seth�s Apartment, Afternoon
Brief establishing shot of the apartment building.

Interior, Seth�s Apartment, Afternoon
SETH and GILES are still bickering. ROB is quietly standing watching.

GILES
[bitterly]
Are all journalists this obnoxious? Is there
some form of special training you all have to
undergo that makes you as indignant and
callous as possible? I can�t believe anyone
could be so insensitive as to-

SETH
[cutting in]
And I can�t believe that you still refuse to live
in the real world! After six years in America I�d
think you�d realise the way the western world�s
made up. If I want to get paid, then I have to
get something published.

GILES
And why does that �something� have to be
about me?

SETH
Look, I�m not the one who chases demons
and witches and leprechauns as a hobby!
If you�re mixed up in dodgy stuff, you have
to expect to be the focus of some attention.

ROB shifts uncomfortably.

GILES
[dryly]
There�s no such thing as leprechauns.

Pause.

GILES
[defensively]
And I haven�t been �chasing� anything. I didn�t
want to be caught up in any of yesterday�s
happenstance any more than you did. And I
don�t want to be involved in any of your
problems today, no matter how pressing they
are to you and your friend.

Pause.

SETH and GILES face-off against each other for a moment.

The phone rings.

SETH and GILES just continue to stare one another in the eye.

The phone rings again.

Slowly, SETH breaks the glare to answer the phone.

SETH
[to phone]
Seth Jones.

EMILY
[V.O.- phone]
Seth, It�s Emily.

SETH
[looks to GILES]
Emily?

GILES� attention piques.

EMILY
[V.O.]
Listen carefully, it�s important. Do you know
where Giles is? Have you heard from him
today?

SETH
Yeah, he�s right here.

EMILY
[V.O.]
I need to speak to him right awa-

GILES grabs the phone.

GILES
Emily? Is everything-

Exterior, Bath, Afternoon

EMILY
No, it�s not.
[looking at the dead PARAMEDIC on the ground]
I�m standing here with a dead
body.
[corrects herself]
Two dead bodies if you count the one that�s
supposed to be dead?

GILES
[V.O.]
Supposed to be dead? What are you talking
about?

EMILY
I was following an ambulance that left a murder
scene with the body. When I found it, the driver
was dead.
[hesitantly adding]
�and he�s got some kind of� bite marks on
his neck.

Interior, Seth�s Apartment, Afternoon

GILES
Bite marks?

Behind GILES, ROB looks nervous on hearing this. Camera focuses on Rob; we only vaguely hear GILES talking to EMILY in the background.

GILES
Where are you?
(continued)
Alright, hang on. I�ll be right there.

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Act Three -- N, 17:19:00 08/11/02 Sun

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