This is the fifth episode of "Haven", an original series written by me. I hope you enjoy reading it! If you have any feedback, positive or critical, please post it here, thank you 
Haven Episode 1.5 5. Access
Written and Produced by Alex Hart
Special thanks to Heather
Disclaimer: The series “Haven”, its characters, locations and ideas are all creations belonging to Alex Hart. The work is fictional and meant for entertainment purposes only. No unauthorised usage of anything in “Haven” is permitted without prior permission, thank you.
TEASER
OPEN ON:
INT. KITCHEN – DAY
The camera moves across the cupboards of the kitchen. Sunlight is caressing the walls of the room, gently filling the room. Sobbing and quick breathing can be heard. The camera moves down, but not closer to, two men. One is lying on the floor, his expression of one of pain, shock and confusion. There is a wound on his shoulder, blood seeping out. His face is very pale and clammy. He is in his early twenties. The other man next to him is also in his mid twenties and is frantically trying to stop the bleeding from the other man’s shoulder. He is holding a cloth over the wound, pressing both his hands down on it. He looks terrified as he stares down from the wound to the other man’s face.
Blood trickles down across the man’s grey top. He stares up at the man who is trying to save him. They make eye contact. The wounded man opens his mouth slightly wider, narrowing his brow a little. The other man stares down at him, unable to say anything. There is a wide shot of the two of them, alone.
FADE TO: GREY
FADE TO:
INT. SMALL ROOM
The man seen crying in the previous scene is sat in the room on one side of a small table. There is nothing else in the room apart from one other empty chair. The man looks anxious. He looks up at the corner of the room. There is a security camera pointing at him. He glances away from it. The door of the room opens. Jackie walks through. She has a pleasant smile on her face but the man looks wary.
Jackie: Mr Palmer. My name is Jackie Stevens.
The man (Mr Palmer) doesn’t look pleased by her introduction, but looks slightly fearful.
Mr Palmer: Don’t I...get a lawyer?
Jackie smiles, hesitating. She sits herself down on the chair on the opposite side of the table from him.
Jackie: I realise that this may be a difficult and confusing situation for you. I imagine you’ve gone through a lot these last few weeks.
Mr Palmer stares at her, not acknowledging this other than the fact he remains serious. Jackie smiles more genuinely.
Jackie: Unfortunately, things won’t get easier for you before they get harder. Of course, by volunteering to come here you’ve definitely chosen the less rocky of two uphill paths.
Mr Palmer narrows his brow.
Jackie: Here at Amethyst, Mr Palmer, we’re sympathetic to your case. More than a jury would be, at least. We want to help you.
Mr Palmer looks anxious.
Mr Palmer: Why?
Jackie smiles kindly.
Jackie: Because we want to rehabilitate individuals like yourself, who’ve been thrown aside by the law because of something they didn’t mean to happen. What good would putting you away really do for the world?
She gives him a sympathetic look. Mr Palmer glances away looking troubled.
Jackie: Our track record is very high. We can help you get back to your life if...you help us.
Mr Palmer looks at her.
Mr Palmer: How?
Jackie leans closer to him, criss-crossing her fingers as she puts her hands together.
Jackie: We’ve been trying to locate a group of criminals who have been attempting to undermine the justice system of this city. We’d like you to help us locate them.
Mr Palmer looks uncertain.
Mr Palmer: Aren’t...aren’t you basically undermining the system by taking me out of it?
Jackie’s smile fades slightly. She leans back a little.
Jackie: If you’d like to turn down our offer, Mr Palmer, I assure you that you will face at least twenty years, possibly less with parole, but that’s if you’re lucky. Your regret will mean very little in a courtroom, when people learn there’s a dead man involved.
Mr Palmer looks uncomfortable. Jackie attempts a softer approach, leaning back in.
Jackie: I want you to know, that I’m not going to let that happen, if you just agree to our terms. After you help us...you’ll be free.
Mr Palmer looks away, conflicted. He looks back at her.
Mr Palmer: There’s gotta be some catch to this. But I don’t really have any other choice right now but to do what you want so, tell me: what is it you want me to do?
He looks defeated, but Jackie smiles kindly.
CUT TO:
INT. JACKIE’S OFFICE
Jackie walks in on her mobile phone.
Jackie: He’ll begin tomorrow, sir...yes I’m going to check on the situation in a moment.
Jackie smiles as she listens to her superior on the other end of the phone.
Jackie: Thank you, sir. Yes, have a good evening.
Jackie takes the phone away from her ear and presses a button to end the call. She dials another number and then puts the phone back. She waits for a few seconds.
Jackie: It’s me. How’s it going?
CUT TO:
INT. SHADY ROOM
Bright lights shine down from the ceiling, illuminating Neil, Jackie’s co-worker from “A Little Less Than Five Star”. He is wearing a black suit with black gloves. He has his own mobile to his ear.
Neil: Just been taking a little break, actually.
CUT TO:
INT. JACKIE’S OFFICE
Jackie looks unimpressed.
Jackie: We don’t have time for breaks.
CUT TO:
INT. SHADY ROOM
Neil narrows his brow, smiling.
Neil: You were the one who told me to keep people alive. A high pressure approach wouldn’t be the best way to do that.
CUT TO:
INT. JACKIE’S OFFICE
She looks serious.
Jackie: Then you better find a good balance quickly, because both I and Mr Dalen would expect a little more than you have right now.
CUT TO:
INT. SHADY ROOM
Neil sighs.
Neil: Fine.
There is a pause as he listens.
Neil: Yeah, well, I’m sure you’ll check up even if I don’t. All right.
He puts the phone away, rolling his eyes. He then turns round. He smiles.
Neil: Ok, so, Jackie wants things to get a little more intense. Hope that’s ok with you?
The camera moves round to show Trey tied to a chair by his wrists and ankles and gagged with a bloody gag. He is naked and has various cuts and bruises across his torso and face. He stares with hatred at Neil before him. Neil does not look phased, staring at Trey as if his glare is a challenge. He looks to his left; there is a table, wrapped with Clingfilm, with various instruments on it, some splattered with Trey’s blood. Neil steps over to it and surveys it. He picks up a long black stick. He clicks a button on the side of it and flame bursts out from the top. Neil looks satisfied and turns to Trey.
Neil: Man...all you need to do is talk. Guess that might be difficult for you with the gag and all but...just grunt if you can’t take it, ok? I’ll let you know when I’m ready to hear you.
He smiles sadistically and walks towards Trey with the lighter turned on.
CUT TO: BLACK
OPENING CREDITS ROLL
THEMESONG: “Not Gonna Get Us” - Tatu
The eerie start of the song plays as we see grey smoke. “Haven” in black, torn letters fades in. It disappears as the drums start. The smoke is gone also. There are a series of quick shots: a gun being fired. A high-heeled foot stepping next to a pole. A syringe injecting someone’s arm. A knife being raised. A key turning in a lock. Coins scattering on a table. A close up of a woman’s lips as she applies lipstick. A shovel being forced into the ground. A close up of someone handcuffing another person’s wrists. A hand flicking a cigarette lighter on. A pair of pliers approaching someone’s finger. A dagger covered in blood hitting the ground. A hand grabbing on to someone’s arm. A close up of an eye opening wide.
As the song suddenly becomes more energetic, there is a montage of criminal records, each face only seen for a fraction of a second.
The camera zooms towards Juliet looking shocked.
MELISSA GEORGE
The credit flickers on to the screen. There is a shot of Juliet walking with a neutral expression on her face. There is a shot of Juliet pointing a gun looking resolute. There is a shot of Juliet turning her face, looking serious. The credit flickers away.
There is a shot of Juliet, Grace and Tegan running. There is a shot of the illuminated “Summertime General” sign.
There is a shot of Devyn reaching out for something.
JUSTIN THEROUX
The credit flickers on to the screen. There is a shot of Devyn punching someone. There is a shot of him leaning against a wall. There is a shot of him smiling, a little smugly. The credit flickers away.
There is a shot of a little girl with a knife in her hand. There is a shot of a gun being fired into the air.
There is a shot of Tegan typing on a computer.
LEISHA HAILEY
The credit flickers on to the screen. There is a shot of Tegan turning, the flash of sirens causing her to shield her eyes. There is a shot of Tegan putting her hand over mouth. There is a shot of Tegan ****ing her head slightly, smiling. The credit flickers away.
A shot of a woman walking down a corridor of Haven, purposefully. A shot of a man and a woman kissing.
There is a shot of Gael holding out a large knife.
CHARLIE HUNNAM
The credit flickers on to the screen. There is a shot of Gael hugging someone. There is a shot of a tear streaming down Gael’s face. There is a shot of Gael laughing. The credit flickers away.
A shot of the main entrance opening. A shot of Mark and Aura turning looking surprised in Summertime General.
There is a shot of Grace carrying a plate of food.
SANDRA OH
The credit flickers on to the screen. There is a shot of Grace putting her head in her hands. A shot of her putting her finger over her lips. A shot of her smiling a little. The credit flickers away.
There is a shot of an explosion. A shot of Grace crying in Gael’s arms.
There is a shot of Aura sat at one of the tables in Haven’s kitchen.
DANA DAVIS
The credit flickers on to the screen. There is a shot of Aura turning looking shocked. A shot of her at the till in Summertime General. A shot of her smiling kindly. The credit flickers away.
There is a shot of a hand being placed on the identification pad. A shot of Bethany kissing someone.
There is a shot of Mark walking down the first lower corridor.
RYAN CARNES
The credits flickers on to the screen. There is a shot of Mark looking troubled. A shot of Mark diving out of the way of something. A shot of Mark stroking someone’s hair.
There is a shot of Royce punching someone. A shot of a man moving over a man’s bare stomach.
There is a shot of Jackie sitting in a chair, her index finger on her temple. She looks thoughtful.
STEPHANIE ROMANOV
The credit flickers on to the screen. There is a shot of Jackie turning, looking out of breath. A shot of her walking looking formidable. A shot of her examining a gun. The credit flickers away.
There is a shot of a corridor in Haven. The camera zooms through to the lobby, spinning around, backing through the front entrance. The doors close.
CUT TO: BLACK
DAVE ANNABLE – Eric Palmer
KELLY CARLSON – Alandra Stone
JUSTIN CHAMBERS – Trey Caylin
PERCY DAGGS - Sam Shaw
SARAH HAGAN – Kelcie Mannings
FAMKE JANSSEN – Liliana Redgrave
JASON MOMOA – Josef Porter
JAMES PICKENS JR. – Royce Appleby
JOELY RICHARSON - Marissa Jeffers
KEVIN RAHM – Neil Greys
JOELY RICHARDSON – Marissa Jeffers
AMANDA SEYFRIED – Bethany Thyme

Haven Episode 1.5 5. Access
Written and Produced by Alex Hart
Special thanks to Heather
Disclaimer: The series “Haven”, its characters, locations and ideas are all creations belonging to Alex Hart. The work is fictional and meant for entertainment purposes only. No unauthorised usage of anything in “Haven” is permitted without prior permission, thank you.
TEASER
OPEN ON:
INT. KITCHEN – DAY
The camera moves across the cupboards of the kitchen. Sunlight is caressing the walls of the room, gently filling the room. Sobbing and quick breathing can be heard. The camera moves down, but not closer to, two men. One is lying on the floor, his expression of one of pain, shock and confusion. There is a wound on his shoulder, blood seeping out. His face is very pale and clammy. He is in his early twenties. The other man next to him is also in his mid twenties and is frantically trying to stop the bleeding from the other man’s shoulder. He is holding a cloth over the wound, pressing both his hands down on it. He looks terrified as he stares down from the wound to the other man’s face.
Blood trickles down across the man’s grey top. He stares up at the man who is trying to save him. They make eye contact. The wounded man opens his mouth slightly wider, narrowing his brow a little. The other man stares down at him, unable to say anything. There is a wide shot of the two of them, alone.
FADE TO: GREY
FADE TO:
INT. SMALL ROOM
The man seen crying in the previous scene is sat in the room on one side of a small table. There is nothing else in the room apart from one other empty chair. The man looks anxious. He looks up at the corner of the room. There is a security camera pointing at him. He glances away from it. The door of the room opens. Jackie walks through. She has a pleasant smile on her face but the man looks wary.
Jackie: Mr Palmer. My name is Jackie Stevens.
The man (Mr Palmer) doesn’t look pleased by her introduction, but looks slightly fearful.
Mr Palmer: Don’t I...get a lawyer?
Jackie smiles, hesitating. She sits herself down on the chair on the opposite side of the table from him.
Jackie: I realise that this may be a difficult and confusing situation for you. I imagine you’ve gone through a lot these last few weeks.
Mr Palmer stares at her, not acknowledging this other than the fact he remains serious. Jackie smiles more genuinely.
Jackie: Unfortunately, things won’t get easier for you before they get harder. Of course, by volunteering to come here you’ve definitely chosen the less rocky of two uphill paths.
Mr Palmer narrows his brow.
Jackie: Here at Amethyst, Mr Palmer, we’re sympathetic to your case. More than a jury would be, at least. We want to help you.
Mr Palmer looks anxious.
Mr Palmer: Why?
Jackie smiles kindly.
Jackie: Because we want to rehabilitate individuals like yourself, who’ve been thrown aside by the law because of something they didn’t mean to happen. What good would putting you away really do for the world?
She gives him a sympathetic look. Mr Palmer glances away looking troubled.
Jackie: Our track record is very high. We can help you get back to your life if...you help us.
Mr Palmer looks at her.
Mr Palmer: How?
Jackie leans closer to him, criss-crossing her fingers as she puts her hands together.
Jackie: We’ve been trying to locate a group of criminals who have been attempting to undermine the justice system of this city. We’d like you to help us locate them.
Mr Palmer looks uncertain.
Mr Palmer: Aren’t...aren’t you basically undermining the system by taking me out of it?
Jackie’s smile fades slightly. She leans back a little.
Jackie: If you’d like to turn down our offer, Mr Palmer, I assure you that you will face at least twenty years, possibly less with parole, but that’s if you’re lucky. Your regret will mean very little in a courtroom, when people learn there’s a dead man involved.
Mr Palmer looks uncomfortable. Jackie attempts a softer approach, leaning back in.
Jackie: I want you to know, that I’m not going to let that happen, if you just agree to our terms. After you help us...you’ll be free.
Mr Palmer looks away, conflicted. He looks back at her.
Mr Palmer: There’s gotta be some catch to this. But I don’t really have any other choice right now but to do what you want so, tell me: what is it you want me to do?
He looks defeated, but Jackie smiles kindly.
CUT TO:
INT. JACKIE’S OFFICE
Jackie walks in on her mobile phone.
Jackie: He’ll begin tomorrow, sir...yes I’m going to check on the situation in a moment.
Jackie smiles as she listens to her superior on the other end of the phone.
Jackie: Thank you, sir. Yes, have a good evening.
Jackie takes the phone away from her ear and presses a button to end the call. She dials another number and then puts the phone back. She waits for a few seconds.
Jackie: It’s me. How’s it going?
CUT TO:
INT. SHADY ROOM
Bright lights shine down from the ceiling, illuminating Neil, Jackie’s co-worker from “A Little Less Than Five Star”. He is wearing a black suit with black gloves. He has his own mobile to his ear.
Neil: Just been taking a little break, actually.
CUT TO:
INT. JACKIE’S OFFICE
Jackie looks unimpressed.
Jackie: We don’t have time for breaks.
CUT TO:
INT. SHADY ROOM
Neil narrows his brow, smiling.
Neil: You were the one who told me to keep people alive. A high pressure approach wouldn’t be the best way to do that.
CUT TO:
INT. JACKIE’S OFFICE
She looks serious.
Jackie: Then you better find a good balance quickly, because both I and Mr Dalen would expect a little more than you have right now.
CUT TO:
INT. SHADY ROOM
Neil sighs.
Neil: Fine.
There is a pause as he listens.
Neil: Yeah, well, I’m sure you’ll check up even if I don’t. All right.
He puts the phone away, rolling his eyes. He then turns round. He smiles.
Neil: Ok, so, Jackie wants things to get a little more intense. Hope that’s ok with you?
The camera moves round to show Trey tied to a chair by his wrists and ankles and gagged with a bloody gag. He is naked and has various cuts and bruises across his torso and face. He stares with hatred at Neil before him. Neil does not look phased, staring at Trey as if his glare is a challenge. He looks to his left; there is a table, wrapped with Clingfilm, with various instruments on it, some splattered with Trey’s blood. Neil steps over to it and surveys it. He picks up a long black stick. He clicks a button on the side of it and flame bursts out from the top. Neil looks satisfied and turns to Trey.
Neil: Man...all you need to do is talk. Guess that might be difficult for you with the gag and all but...just grunt if you can’t take it, ok? I’ll let you know when I’m ready to hear you.
He smiles sadistically and walks towards Trey with the lighter turned on.
CUT TO: BLACK
OPENING CREDITS ROLL
THEMESONG: “Not Gonna Get Us” - Tatu
The eerie start of the song plays as we see grey smoke. “Haven” in black, torn letters fades in. It disappears as the drums start. The smoke is gone also. There are a series of quick shots: a gun being fired. A high-heeled foot stepping next to a pole. A syringe injecting someone’s arm. A knife being raised. A key turning in a lock. Coins scattering on a table. A close up of a woman’s lips as she applies lipstick. A shovel being forced into the ground. A close up of someone handcuffing another person’s wrists. A hand flicking a cigarette lighter on. A pair of pliers approaching someone’s finger. A dagger covered in blood hitting the ground. A hand grabbing on to someone’s arm. A close up of an eye opening wide.
As the song suddenly becomes more energetic, there is a montage of criminal records, each face only seen for a fraction of a second.
The camera zooms towards Juliet looking shocked.
MELISSA GEORGE
The credit flickers on to the screen. There is a shot of Juliet walking with a neutral expression on her face. There is a shot of Juliet pointing a gun looking resolute. There is a shot of Juliet turning her face, looking serious. The credit flickers away.
There is a shot of Juliet, Grace and Tegan running. There is a shot of the illuminated “Summertime General” sign.
There is a shot of Devyn reaching out for something.
JUSTIN THEROUX
The credit flickers on to the screen. There is a shot of Devyn punching someone. There is a shot of him leaning against a wall. There is a shot of him smiling, a little smugly. The credit flickers away.
There is a shot of a little girl with a knife in her hand. There is a shot of a gun being fired into the air.
There is a shot of Tegan typing on a computer.
LEISHA HAILEY
The credit flickers on to the screen. There is a shot of Tegan turning, the flash of sirens causing her to shield her eyes. There is a shot of Tegan putting her hand over mouth. There is a shot of Tegan ****ing her head slightly, smiling. The credit flickers away.
A shot of a woman walking down a corridor of Haven, purposefully. A shot of a man and a woman kissing.
There is a shot of Gael holding out a large knife.
CHARLIE HUNNAM
The credit flickers on to the screen. There is a shot of Gael hugging someone. There is a shot of a tear streaming down Gael’s face. There is a shot of Gael laughing. The credit flickers away.
A shot of the main entrance opening. A shot of Mark and Aura turning looking surprised in Summertime General.
There is a shot of Grace carrying a plate of food.
SANDRA OH
The credit flickers on to the screen. There is a shot of Grace putting her head in her hands. A shot of her putting her finger over her lips. A shot of her smiling a little. The credit flickers away.
There is a shot of an explosion. A shot of Grace crying in Gael’s arms.
There is a shot of Aura sat at one of the tables in Haven’s kitchen.
DANA DAVIS
The credit flickers on to the screen. There is a shot of Aura turning looking shocked. A shot of her at the till in Summertime General. A shot of her smiling kindly. The credit flickers away.
There is a shot of a hand being placed on the identification pad. A shot of Bethany kissing someone.
There is a shot of Mark walking down the first lower corridor.
RYAN CARNES
The credits flickers on to the screen. There is a shot of Mark looking troubled. A shot of Mark diving out of the way of something. A shot of Mark stroking someone’s hair.
There is a shot of Royce punching someone. A shot of a man moving over a man’s bare stomach.
There is a shot of Jackie sitting in a chair, her index finger on her temple. She looks thoughtful.
STEPHANIE ROMANOV
The credit flickers on to the screen. There is a shot of Jackie turning, looking out of breath. A shot of her walking looking formidable. A shot of her examining a gun. The credit flickers away.
There is a shot of a corridor in Haven. The camera zooms through to the lobby, spinning around, backing through the front entrance. The doors close.
CUT TO: BLACK
DAVE ANNABLE – Eric Palmer
KELLY CARLSON – Alandra Stone
JUSTIN CHAMBERS – Trey Caylin
PERCY DAGGS - Sam Shaw
SARAH HAGAN – Kelcie Mannings
FAMKE JANSSEN – Liliana Redgrave
JASON MOMOA – Josef Porter
JAMES PICKENS JR. – Royce Appleby
JOELY RICHARSON - Marissa Jeffers
KEVIN RAHM – Neil Greys
JOELY RICHARDSON – Marissa Jeffers
AMANDA SEYFRIED – Bethany Thyme
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