Nightbreed Script.pdf

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NIGHTBREED
Written by
Clive Barker
Fade In:
Scene 1. TITLE SEQUENCE
Darkness. Then, a burst of sparks from a bowl held in a scaly hand.
The light shows us a mural. We start to move along the wall. First we
see stars and planets, painted in a primitive, stylized fashion on
bare rock. A voice on the track speaks softly to us.
VOICE: We did not always live in hiding.
We have come to the image of a huge family tree, which springs from
a single seed but divides into two separate halves. On the left,
ruled by the moon, the branches blossom into extraordinary creatures.
On the right, by sunlight, the branches end in ordinary human beings.
Upon the word Nightbreed the title comes up on the screen, against
the image of a moon painted on the wall.
SCENES 2-2K Deleted
2L. EXT. REEDS NIGHT
Cut to a real moon. Then cut wide to a moonlit landscape, through
which the camera careens madly. The soundtrack, which was lush and
almost sacred in the mural chamber, erupts into a tribal rhythm. We
glimpse creatures in the darkness, moving through the reeds. They are
barely more than silhouettes. We see teeth, and gleaming eyes;
glimpses of naked, patterned flesh. Only glimpses.
2M. INT. MURAL CHAMBER
Cut back to the mural chamber. Now we have moved away from the tree
to a more brutal scene. A symbolic representation of a great
apocalyptic war between Naturals and Breed. Terrible scenes of
destruction.
VOICE: But the Naturals made war on us. They feared us for our
strength. They envied our powers. They called us monsters, killing us
by whatever means their malice could invent, finding in each of us
our particular vulnerability.
We are scanning scenes of that war. A breed being staked like a
vampire. Another being shot like a werewolf. Another exposed to
sunlight.
VOICE: None of us was safe. The tribes of the moon dwindled. Our
gods were slaughtered, our homes destroyed. It was the Apocalypse.
2N. EXT. NECROPOLIS WALL AND GATES
Cut back to the landscape. The clouds roil above the heads of the
creatures heading through the reeds. We see their destination now. A
huge wall, with gates.
2P. INT. MURAL CHAMBER
And back to the mural chamber, and a final scene. The gates we've
just seen are in the painting. Looking over them, calling the Breed
in, is a vast indistinct form: that of Baphomet. His eyes burn; his
arms are open in welcome.
VOICE: Only one of our Gods survived the holocaust. Baphomet.
Wounded and near death, he summoned us, the last of the last, into
hiding. Into Midian, where we wait now. The battle is over but not
the war. There will come a saviour.
Now we've moved beyond the image of the gate into a new patch of
wall on which the pictures are only vague sketches. We can interpret
some of the images nevertheless: a man with a bloody hole in the
middle of his chest. A man wearing a mask like a skull. We linger on
a faceless figure.
VOICE: His name is Cabal. He will lead and give us back the Night.
We are the tribes of the moon. We are the Nightbreed.
The titles end.
2Q. EXT. NECROPOLIS WALL AND GATES
Cut back to the landscape. Now we are at the gates, and the
creatures slip through and away into the mist. Only one, a beautiful,
ferocious female called Shuna Sassi remains, turning to look at us.
She beckons.
SHUNA: Come...
The camera retreats from her.
SHUNA: Will you not come?
Now the last of the creatures, the Drummer, takes her by the arm,
snatching her away through the gates. As she disappears, the camera
follows again, stopping at the gates themselves, which close with an
unearthly din.
CUT TO:
2R. INT. LORI'S APARTMENT NIGHT
C.U. on Boone, closed eyes. He is dreaming. His gaze roves beneath
his lids.
Lori's lips come into shot kissing first his eyes and then traveling
down his face to his mouth.
LORI: Boone...wake up.
Boone's eyes flicker open.
LORI: Hi. You OK?
Boone: Yep.
Now Boone's eyes are fully open. He sits up. Looks towards the open
window. Night beyond. She kisses him, distracting him from the sight
of the window.
LORI: You want something to eat?
BOONE: Sure. What time is it?
LORI: Nine-thirty. I was letting you doze.
BOONE: Thought you'd worn me out, huh?
Lori smiles, and kisses him, then crosses the room to the kitchen
area, picks up some fruit, and a knife, carrying both back to where
Boone is lying on the bed. It is unmade. Both Lori and Boone are
lightly dressed, clothes casually thrown on after an afternoon
lovemaking.
Lori: You know what?
BOONE: What?
LORI: We should get out of Calgary for a few days. Just take off.
BOONE: Anywhere special?
LORI: Somewhere we can be alone together.
BOONE: More alone than this?
LORI: Yeah. Just you and me. No work. No telephone calls. No...
BOONE: Bad dreams.
LORI: No bad dreams.
BOONE: How did you know?
LORI: I know. I always know. It's no big deal.
BOONE: I'm going around in some crazy loop in my head.
LORI: You're not crazy.
BOONE: No.
LORI: Say it like you mean it.
BOONE: I believe it. I'm not crazy. But I want this damn dream out
of my head.
He gets up and goes to the window.
BOONE: Decker's started calling me again.
LORI: When?
BOONE: All last week. Every day.
LORI: What does he want?
BOONE: I don't know. I haven't called him back.
LORI: If he can help, see him. Tell him it's all gone but the bad
dreams.
BOONE: They're not bad. That's what's weird. The more I have them
the more I like them. Now I do sound like a crazy, right?
LORI: No. You sound like the man I love. A little haunted, maybe,
but the sanest man I ever met.
BOONE: Keep going.
LORI: Will you see Decker?
BOONE: You think I should?
LORI: Where's the harm? You tell him from me, I'm the only thing you
should be dreaming about.
BOONE: I don't think he'd get it. He never had a wet dream in his
life.
LORI: I don't want to be competing with things I can't see, Boone.
Can't share I don't want to be always feeling that something's
pulling at you.
BOONE: I'm not going anywhere, Lori. Except with you.
LORI: I can't hear that often enough.
BOONE: I'll never leave you. Not ever. I swear.
He kisses her, passionately.
BOONE: Can't remember a time when I didn't love you.
LORI: How about before we met?
BOONE: Even then.

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