Announcement

**Lex** · 29-08-07, 10:32 AM

ACT ONE

OPEN ON ? NEW YORK
UNKNOWN ? INT.HOTEL DEVARRO ? NIGHT

Someone opens their eyes, the soft focus of the screen ? the person's vision. The person can't see much, it's dark and the dust hasn't quite settled, but the figure of a body lying opposite the person can be seen.

O'NEILL (O/S): (shouting) Hurry! Get these flames extinguished men! NOW!

With his thunderous order the person lying on the floor is startled to life. It's XAK.

He looks around, his surroundings. The lobby of Hotel Devarro barely recognisable; now only a small hollow is left of the great entrance hall. XAK tries to wipe the dust from his face, coughing; confused and dazed. He looks around the hollow he is in, it's fairly large but all around them they are trapped by rubble and debris.

As his eyes focus more, his eyesight hurts, and there's a dim ringing in his ear. He looks around more, casually letting his eyes wander. He sees nothing but the space he is in and now, the body lying near to him, arm out stretched; CHARLIE.

XAK: (croaky) Charlie?

His voice comes out with only a whisper of breath giving life to his plea. There is no answer.

He tries moving closer to her, but he can't. He looks behind him, he's pinned to the floor by rocks.

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

O'NEILL is stood in front of the building directing various firemen to remove the rubble, while the others still continue to extinguish the flames. They appear to be succeeding. He turns to a nearby OFFICER who looks out of his depth.

O'NEILL: You.

The OFFICER looks at O'NEILL. He knows him and recognises his authority instantaneously.

OFFICER: Y-yes sir?

O'NEILL: Go find another entrance into this place. If she's right then there are more people inside.

The OFFICER pauses for a moment.

O'NEILL: Go!

With this the OFFICER hurries to check for other ways inside the building.

TERAMELLI (O/S): Treating my men with a little respect wouldn't go amiss you know.

O'NEILL turns and looks to see TERAMELLI'S smug face. He grimaces at the sight of him.

O'NEILL: If they did something once in a while, I would.

TERAMELLI smirks, letting it slide.

TERAMELLI: Have you spoken to her?

O'NEILL: (annoyed) Who?

TERAMELLI: The woman who was trapped?

O'NEIILL looks down at the notepad in TERAMELLI'S hand; he's already made a few notes. He looks up to TERAMELLI.

O'NEILL: Yeah, what's it to you?

TERAMELLI: Well I couldn't help but notice what you just mentioned to my officer. She really said that there were other people inside?

O'NEILL: Look Cain if you don't have a point, I have a building to extinguish and clear. Lives are at risk here. Reports can wait?

TERAMELLI: I'm just saying, don't you think it's strange a passer by gets trapped by a lamppost and is pinned to the floor. Now though, she's sitting on the sidewalk with not a scratch on her. Oh, and to top it all off, she knows there are more people inside?

O'NEILL doesn't answer. He pauses, reflecting on TEREMELLI'S suspicions.

O'NEILL: Are those questions rhetorical? Or do you really need my help with doing your job?

With this TERAMELLI turns and walks towards a BLONDE WOMAN who is sat on the curb with a blanket around her and one of the paramedics which was seen earlier.

TERAMELLI: (with his back turned to O'NEILL) Rhetorical old man, rhetorical.

O'NEILL looks at him, angrily. TERAMELLI was a patronising man, and O'NEILL'S patience was wearing thin. TERAMELLI turns back to O'NEILL now.

TERAMELLI: Anyway, I'm gonna get me some answers. To you those questions are rhetorical?but when I ask them to her?

He doesn't have to say anymore. O'NEILL knows she's in for a tough interrogation.

O'NEILL: (concerned) Hey, go easy on her. She's been through an ordeal.

TERAMELLI smirks and turns back to walking away.

TERAMELLI: (still with his back to O'NEILL) Don't worry. I'll stick the reports; you stick to your rubble.

O'NEILL stares at the back of TERAMELLI'S head with contempt and anger. His eyes then pass down to the BLONDE WOMAN who TERAMELLI is walking towards; CATE.

CUT TO ? NEW YORK
BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

DANTE convulses in pain, and grips the pole in his shoulder for relief. He breathes heavily and deep and with one fluid motion he pulls the pole out of the floor, and out of him. He throws it to the side and grips his hollow bleeding shoulder. He gasps for breath, regaining a sense of normality and sanity once again; the initial shock and pain subsiding. He feebly tears off his second sleeve and forms a poor bandage around his shoulder to help stop the bleeding.

He looks around the hollow he has been trapped in with LANCE, and notices that there is no obvious exit. Only after a second or two does he notice his cellmate, who is trapped on the floor; his wounded leg pinned under a rock. LANCE is recoiling in pain but he doesn't seem to be in blinding agony. He looks up at DANTE through gritted teeth.

LANCE: (slowly) Are you ok?

DANTE looks around the room, hearing the creaking of the building with perfect clarity.

DANTE: (breathless) What the hell happened?

The two of them look around helpless; their boxed prison with no entrance and no exit, leaving no window to discover what truly happened to the building or their acquaintances.

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

XAK looks desperately at his legs, which disappear into the rocks and rubble. He tries to move them, but with every inch, searing pain shoots through his nervous system making him recoil and gasp in pain. Breathing heavily he looks ahead of him to CHARLIE; still lying unconscious.

XAK: Charlie?

No response.

XAK: (louder) Charlie!

Some dust falls from the top of the delicate hollow and lands as an unwelcome duvet on the pair. XAK droops his head and coughs viciously; so viciously that for a moment or so he doesn't realise he isn't the only one.

He looks up and CHARLIE is spluttering and coughing. Her hand delicately moving and wavering to life.

XAK: Charlie? It's ok, we're going to be ok, I promise?

She recognises his voice. She musters only enough strength to hold her hand out slowly and shaking in his direction. She doesn't even lift her head or look at him; she knows where to find him.

He holds out his hand too and they interlock.

CUT TO ? NEW YORK
SIDEWALK ? EXT.HOTEL DEVARRO ? NIGHT

CATE sits shivering on the sidewalk, her arms around her stomach and a blanket around her shoulders. She can't bring herself to look up at the devastation before her; despite the fact that the flames are almost out, indicating hope.

The PARAMEDIC that stopped to tell DORA and DOCTOR ARTAIR about the explosion is kneeling in front of her, comforting her.

TERAMELLI (O/S): Terrible isn't it?

CATE doesn't look up, but the PARAMEDIC does and recognises TERAMELLI immediately, who is armed with a notepad, inquisitively.

PARAMEDIC: Detective please, she's been through a lot. Questions can wait till after we've got her to the hospital and she's been checked out.

TERAMELLI turns to CATE now, completely ignoring the PARAMEDIC.

TERAMELLI: Yes I understand a street lamp fell on you? (to the PARAMEDIC) Strikes me as odd that she wasn't rushed to the emergency room straight away to check for internal damage.

PARAMEDIC: (angry) For your information detective, we tried to convince her that?

CATE: (to the PARAMEDIC, cutting off him off) It's fine?

TERAMELLI smirks, and CATE glances up, angrily, at him. She knows it would be unwise to disclose that she was a Slayer?

CATE: ?I'll talk to him.

The PARAMEDIC sighs.

PARAMEDIC: Fine, but after you're coming to the hospital for observations, I don't care how good you feel. Or?how strong you resist our help?

The camera observes TERAMELLI, who takes this last part on board specifically; he makes a note in his pad.

CATE (O/S): (to the PARAMEDIC) Ok, I promise, but I'm fine?

With this the PARAMEDIC turns and heads back towards the ambulance to prep it for patients. TERAMELLI moves in front of CATE. He pulls out his badge to show her.

TERAMELLI: My name is Detective Cain Teramelli, I'm with the NYPD. I'm sorry for the rudeness but with a situation like this, I really am required to speak with anyone who was in the proximity of the area at the time, and that?

He eyes her up and down, finding her aesthetically pleasing.

TERAMELLI: (smiling) ?Little miss. Means you.

CATE doesn't seem to fear him. In fact she finds him repulsive. She glances at his badge.

CATE: Wow, big badge, must make up for something else, huh?

TERAMELLI doesn't smile, or smirk, at this. He crouches down in front of her.

TERAMELLI: I've met hundreds of little women like you, each one with the same attitude. Trust me. You're no different, so I would think twice before answering me back with some weak retort about my girth.

With this, CATE stands. Her hair, dirty and wet hanging over her face and head like a deadly net; her eyes glaring through.

CATE: Listen to me Detective. If you were standing in front of me three years ago, you have no idea how much you'd have intimidated me. But now?

She looks him up and down, trying to find the perfect word.

CATE: ?Whatever.

And she had found it. For a moment CATE and TERAMELLI stare at one another. He acknowledges her defiance. In his mind, he conjures up a thousand possibilities in his head of how CATE fit into the investigation when?

OFFICER (O/S): (shouting) SIR!

CATE, TERAMELLI, O'NEILL and the PARAMEDIC all turn to see the OFFICER; the one O'NEILL ordered to find another way into the remnants of Hotel Devarro. The OFFICER is running around from the side of the building.

OFFICER: (unsure) There's an entrance, into the basement. You can get inside, I think. I can see someone?

CATE'S eyes widen; her night could not be more tumultuous.

CATE: Who?

TERAMELLI glares at CATE.

TERAMELLI: (seething) Stay there. I'm not done with you girl, not by a long way.

She glares back at him and is held back by the PARAMEDIC. She looks resolute at the place where the OFFICER came from; who could it be? XAK? CHARLIE?

TERAMELLI and O'NEILL move towards the OFFICER who is stood shakily near the site. CATE observes them, but she can't hear what they're saying. Then TERAMELLI looks towards CATE, he looks at her judging how eager she is to know who it is; she doesn't seem to be showing any real feelings or emotions, not on the outside. O'NEILL turns towards a few firemen and motions them over. Then he, the firemen and the OFFICER hurry towards the area behind the hotel that the OFFICER has found. CATE watches them, but out of the corner of her eye she knows more questions are on the way, now TERAMELLI is approaching her?

O'NEILL (O/S): (shouting) Let's go men!

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

O'NEILL (O/S): (shouting, muffled) Let's go men!

XAK lifts his head weakly and looks in the direction of where the door would have been, hearing O'NEILL'S voice. Little did XAK know what they were doing, and who they were about to find. XAK then turns his head towards where CHARLIE is lying.

XAK: Do you hear that? Charlie?

He squeezes her hand tightly.

XAK: They're gonna get us out?we're gonna be fine?

With even more strength than she has, she manages to lift her head slightly and open her eyes to look at him.

XAK: Charlie?

CHARLIE: (breathing heavily and quietly) We're not gonna be fine?she?

She gulps.

CHARLIE: ?She did this?this?is only the beginning.

With this final word spoken only through a forced breath, CHARLIE'S head falls to the stone floor; limp. XAK'S eyes widen.

XAK: (shouting) Charlie!

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

His voice echoes into the next scene as O'NEILL, the OFFICER and the two firemen hurry around the side of the building.

OFFICER: Here it is!

He nods in the direction of a door that is half hanging off its hinges. Most of the explosion damaged the front of the building; the outside of the back of the hotel, and the entrance to the basement seems mainly undamaged. O'NEILL inspects the area. One of the firemen looks at O'NEILL.

FIREMEN #1: Chief? Should we proceed?

O'NEILL holds up a hand to silence him.

O'NEILL: Can you hear something?

He walks towards the entrance of the basement and as he does he takes a flashlight in hand looks inside the darkness.

CUT TO ? NEW YORK
BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

DANTE: Sh?

LANCE: What?

DANTE: Don't you hear that?

They look around the room, and then on one side, they see the light.

CUT TO ? NEW YORK
BASEMENT ENTRANCE ? INT.HOTEL DEVARRO ? NIGHT

The flashlight scans the area. O'NEILL sees the caved in ceiling, and notices the delicacy of the room. He also notices the injured inside?

He turns back to the firemen.

O'NEILL: Get in here boys!

He hurries down into the basement, his flashlight pinpointed on his target; the OFFICER and the FIREMEN behind him. They disappear into the darkness.

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

The camera focuses on the doorway to the basement.. We can hear O'NEILL, the OFFICER and the two firemen from the inside the building, they seem to be working together. Their voices get louder as they approach the exit. One of the firemen and the OFFICER exits from the basement, a body in their arms. They rest the body on the floor, and step away. O'NEILL approaches.

The body is LEIGH SINCLAIR.

OFFICER: Is she alive?

O'NEILL kneels in front of her. He puts a finger to the pulse on her neck. She looks badly beaten and battle worn.

O'NEILL: She is, her pulse is strong.

He looks up at the OFFICER and the two firemen.

O'NEILL: Go get the paramedics; this woman needs some help immediately.

The OFFICER nods and he, along with the two firemen head back around to the front of the building.

O'NEILL turns back to LEIGH who still is unconscious and breathing softly. O'NEILL taps LEIGH on the cheeks lightly.

O'NEILL: Miss? Miss?

Slowly, LEIGH rouses. Her eyes open and close repeatedly, but slowly. Eventually, she looks around panicked, and her breath becomes heavy as she worries about who is rousing her. O'NEILL grips her shoulders.

O'NEILL: (softly) Miss?it's ok.

She looks at him and recognises him immediately as a fireman.

LEIGH: (worried) Wh-what? Where a-am I?

O'NEILL: Please miss, stay calm. You've been in an accident, an explosion.

Her eyes widen and she looks at the building, the basement. Who has survived? SIN? XAK? CHARLIE? DANTE? LANCE? CHRISTIAN?

O'NEILL: Paramedics are on their way so please keep still. Were you on your own?

LEIGH'S head snaps round to O'NEILL.

LEIGH: What?

O'NEILL: Was there anyone down in the basement with you?

She looks at the doorway and remembers. The ceiling caved in. Her on one side, DANTE and LANCE on the other.

O'NEILL continues to look at her, wondering.

O'NEILL: Miss?

She looks back at him.

LEIGH: No?I was on my own?

O'NEILL nods.

O'NEILL: Ok, don't worry. Like I said, the paramedics are on their way?you're safe now?

She lies her head back on the ground and sighs. She had completed her mission. Whether DANTE and LANCE were alive or not?it didn't matter.

Now, thanks to her, no one would ever find them, or their tomb?

CUT TO BLACK

END OF ACT ONE

**Lex** · 29-08-07, 10:33 AM

ACT TWO

OPEN ON ? NEW YORK
SIDEWALK ? EXT.HOTEL DEVARRO ? NIGHT

TERAMELLI once again is stood opposite CATE. He has just returned from speaking with O'NEILL and the OFFICER about the new entrance that has been discovered at the rear of the building; both of them completely unaware that the entrance is to the basement, LEIGH has been found alive, and that DANTE and LANCE are buried alive inside the building.

After a moment TERAMELLI notices that CATE still continues to stare at the building, looking for any signs of life. The flames now completely extinguished by the firemen.

TERAMELLI: How bleak?

CATE doesn't reply.

TERAMELLI: Good news is, the explosion seems to have been at the front of the building, so the back and the basement is unharmed. One of your little friends seems to be inside there.

CATE snaps her head towards him.

CATE: (without thinking) Who?

TERAMELLI smirks.

TERAMELLI: So you do know something.

She knows she's messed up, but right now, she couldn't care less. One of her friends could be out; saved.

The police, the law, and everything logical from the human world made no sense to her anymore. They'd taken precious things from her. She refuses to speak anymore, and before she is interrogated further, they are interrupted?

PARAMEDIC (O/S): Make way!

TERAMELLI turns, and looks behind him to see the paramedic team hurrying with a stretcher, LEIGH on top of it. However, due to her neck and head brace, it is hard to see who it is. O'NEILL and the OFFICER are behind the stretcher; who had retrieved the paramedics whilst TERAMELLI was interrogating CATE.

Meanwhile the other firemen continue to the front of the building for a status update, and the OFFICER is greeted by many pats on the back by other servicemen.

CATE'S eyes widen, fixated on the stretcher. She notices the shape of the body?It's a woman.

CATE: (almost silently) Charlie?

TERAMELLI doesn't hear what she says, but he knows words have been spoken.

TERAMELLI: (almost an order) What?

Behind him, the paramedics are placing the stretcher into the back of one of the ambulances. She sees an opportunity to check on the injured, and the opportunity of a lifetime; get away from the cop.

CATE: You know, I think I'll take the states complimentary health care check after all?later.

With this she storms pass TERAMELLI and heads towards the ambulance. She climbs into the back. TERAMELLI, annoyed follows her.

TERAMELLI: Wait a minute!

As he approaches the vehicle the paramedics close one of the back doors. While one heads for the drivers seat, the other, the one who was helping CATE earlier, stands inside the vehicle near the second open door. He has a hand on the handle, ready to close the door. He looks at TERAMELLI.

PARAMEDIC: Sorry Detective, these two are under the state's protection for a while, you'll have to wait till a doctor has checked them out to speak to them.

TERAMELLI glares angrily at the PARAMEDIC who smiles cheekily back. With this, the sirens blare, and he closes the door so the back of the ambulance is secure. The ambulance drives away under the discreet cover of the wailing lights and the watchful eye of TERAMELLI.

CUT TO ? NEW YORK
BACK ? INT.AMBULANCE ? NIGHT

The PARAMEDIC secures the door and turns back to the inner sanctum of the ambulance. CATE is sat on the bench opposite the stretcher; her face cannot be seen. The PARAMEDIC crosses her to check on LEIGH.

PARAMEDIC: (to CATE, relieved she accepted his help) I'm pleased you came along miss.

With this, the camera passes up to show CATE'S fist clenched, her eyes glaring deeply at LEIGH.

CATE: (seething) So am I?

LEIGH stares back, her eyes deeply worried, knowing that if it wasn't for the PARAMEDIC'S kindness and compassionate to CATE, this ambulance would have crashed within seconds, and she'd most probably be dead.

CUT TO ? NEW YORK
BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

DANTE has his face pressed up against the caved in part of the ceiling. He's looking through a small gap, through which he can just see a small hole leading into the entrance part of the caved in basement.

LANCE looks at him hopefully.

LANCE: Well?

DANTE: I can't see anything! I dunno what it was? A torch or something?

LANCE sighs, losing hope.

LANCE: (weary) Try again?

DANTE: (shouting) HELP! Someone! We're stuck in here?.

CUT TO ? NEW YORK
BASEMENT ENTRANCE ? INT.HOTEL DEVARRO ? NIGHT

The camera shows the other side of where DANTE is standing. Only a faint echo of what DANTE was shouting is resonating into this room. There was no chance of LEIGH, O'NEILL, the OFFICER or the firemen hearing him. They were trapped?silently.

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

TERAMELLI approaches O'NEILL once again who is removing large rocks from the demolished entrance of the Hotel.

TERAMELLI: I'm telling you old man?something's not right about this.

O'NEILL ignores him, and continues to work hard.

TERAMELLI: The woman under the lamppost, she knew the woman you rescued. Or if she didn't, she certainly knows someone inside?

O'NEILL sighs, infuriated.

O'NEILL: Listen?I am not your Dictaphone so go away and speculate somewhere else. In case you haven't noticed there are lives at stake here. Only one woman have been found so far but there's at least three more people inside if what she said is correct?

TERAMELLI: Who? Lamppost lady?

O'NEILL: (annoyed) Yes, now go?

With this TERAMELLI walks away from O'NEILL towards the OFFICER from earlier, who seems to be talking, or bragging, about his heroism earlier.

TERAMELLI: Where were those paramedics from? Which hospital?

The OFFICER turns to TERAMELLI, and pauses before responding?

OFFICER: Why?

TERAMELLI: What do you mean why?! Don't question me. There's been an explosion in a hotel and questions need to be asked. So just trust me when I say, I'm gonna get answers?

He knew CATE had them.

CUT TO ? NEW YORK
AMBULANCE BAY ? EXT.HOSPITAL ? NIGHT

The ambulance carrying CATE and LEIGH inside pulls into the emergency bay, masking immediately the two doctors stood nearby. The paramedic driving the ambulance hurries to the back and opens both the ambulance back doors, allowing the PARAMEDIC with CATE and LEIGH to jump out too. Both of them hurry to get LEIGH'S stretcher out of the vehicle and on to the ground. They do. They hand each doctor a file on CATE and LEIGH. The first doctor, with LEIGH'S file, hurries with the paramedics and LEIGH'S stretcher into the hospital.

Soon following them, CATE bursts out of the back of the ambulance and looks in the direction of LEIGH and where she's disappearing. She goes to follow when.

DOCTOR ARTAIR (O/S): Whoa, not so fast?

She stops and looks to see the second doctor step into view; DOCTOR ARTAIR. She's taken aback slightly, and so is he. He blushes slightly, almost as if he is nervous.

DOCTOR ARTAIR: Uh, sorry miss, I know you're probably worried about your friend but we really need to check you out.

She sighs, angrily, at the prospect of LEIGH being her "friend" and also at the idea of being held up from kicking LEIGH'S already badly beaten ass.

DOCTOR ARTAIR: Look I know you're probably fine, after all you only had?

He looks down at her file and reads it quickly. His eyes widen.

DOCTOR ARTAIR: (shocked) Whoa? and that was a whole lamppost?

He looks at her an eyebrow raised.

CUT TO ? NEW YORK
ROOM ? INT.HOSPITAL ? NIGHT

CATE is sat on a hospital bed staring blankly ahead. Opposite her is DOCTOR ARTAIR sat on a swivel stool. He is flashing a torch into both of her eyes. He sighs, not negatively or positively; clearly indifferent, and clearly confused.

DOCTOR ARTAIR: You know I haven't been a doctor for long, but I was trained for a lot?the bionic woman was not one of them.

CATE continues to stare ahead, not saying anything. He looks at her sympathetically.

DOCTOR ARTAIR: (softly) I know you're probably worried about your friend?

CATE'S eyes dart, and meet his.

CATE: (angrily) She's not my friend?

DOCTOR ARTAIR notes her hostility at the mention of LEIGH. He merely nods, and smiles.

DOCTOR ARTAIR: Ok?

There is a moment of silence.

CATE: Can I go?

DOCTOR ARTAIR: I'd love to say yes but I'm gonna need to run an x-ray, need to check and see if those bones are as tough as you seem to be. I just need to file these forms and then I'll be right back Cate.

CATE smiles weakly at him.

CATE: Ok?

He goes to leave the room but then it hits her.

CATE: Wait?how do you know my name?

DOCTOR ARTAIR looks slightly taken aback from what she had just said.

DOCTOR: (lying) Oh, uh, it was on the forms?

She looks at him quizzically, as he smiles again and turns, leaving the room. There's no way her name could be on those forms.

She'd told no one her name; and after Sirens, she wasn't sure if she could trust anyone new again. She couldn't worry about that now though, there was someone she had to see?

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

XAK is still looking at CHARLIE desperately. He clutches her hand tightly but feels nothing in return. He knows he can't wait for help. It was a while since he had heard anything outside. He only had himself to rely on; only he could save them. And did CATE know? And what of DANTE? LANCE? LEIGH? CHRISTIAN??SIN?

He had to do it.

He looks behind him, at the rocks smothering his legs. He turns as much as he can; breathing heavily and strongly through the pain. He reaches out and with all his strength he grabs the nearest rock on top of his legs. It's heavy; but he's strong. He moves the rock, managing only to roll it away from off of him. His legs seem freer now. Despite them being bruised and cut he pulls his legs; sweating in agony. Slowly, he worms them free and it isn't long until he manages to see his feet. He falls back in pain and screams; pure agony and shooting pain stabs him all through his body?

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

The sound of XAK'S screams deafen the area. Everyone is stopped in their tracks as they pause and look at the building; a sense of uneasy terror and fear fills their faces. The firemen, the police officers, even the paramedics, who have returned; are silent. O'NEILL stares at the entrance, and even TERAMELLI is speechless.

CUT TO ? NEW YORK
BASEMENT ? INT.HOTEL DEVARRO ? NIGHT.

Even DANTE and LANCE have heard, and for a moment their bleak night seems to take a positive step; strength suddenly filling them. They exchange a look.

LANCE: Was that Xak?

DANTE: (unsure) Uh?yeah? I dunno, I don't hear him scream much.

LANCE: He's alive?

DANTE suddenly realises.

DANTE: Wait a minute?how did we hear him?

LANCE: Maybe he's not outside, maybe he's still inside, maybe everyone is?

DANTE considers this for a moment.

DANTE: Wait, so how did you get in here?

LANCE nods in the direction of the wall near where he was looting for a gun earlier. While not much seems to have fallen through with the ceiling, a large amount of debris has collected as a pile of rubble at the far side of the wall, where LANCE is indicating. You wouldn't know there had been a way in through there?

LANCE: There was a door there?before whatever happened, happened.

DANTE: (shocked) Why didn't you tell me sooner?!

LANCE: I was a little busy having my legs crushed, and being imprisoned with you to notice!

With this, DANTE staggers towards the wall, and begins observing whatever is covering it. As he moves he realises he's not as strong as he feels when he is stood still, motionless. His shoulder is bleeding badly; his homemade bandage providing little seal. LANCE looks at him, confused.

LANCE: Wh-what are you doing?

DANTE: Getting the hell out of here?

LANCE looks scared, he looks at DANTE desperately.

LANCE: (incredulous) You're, you're gonna leave me here?

DANTE continues to observe the obstruction of the doorway. He begins pushing debris aside, slowly revealing the door behind it. He turns now to LANCE, breathing heavily. He tries not to look at LANCE for too long, for some reason every time he did he felt sad and made him feel regret.

DANTE: (quietly) I have to?

He then looks down and then up at the door. He kicks the door with a weak kick, then a stronger one managing to push it open, leaving a small hole through the debris for him to climb through.

LANCE looks at him desperately. DANTE looks at him once last time before disappearing through the hole, leaving LANCE in the dark, alone.

CUT TO ? NEW YORK
ROOM ? INT.HOSPITAL ? NIGHT

The camera focuses on the door to the room DOCTOR ARTAIR left CATE in earlier. It opens and he re-enters.

DOCTOR ARTAIR: Ok Cate, we're all set for?

He looks up; she's gone. He hurries out of the room.

CUT TO ? NEW YORK
WARD ? INT.HOSPITAL ? NIGHT

DORA is sat at her desk, and seems to be filling out various reports do with the incident at the hotel. She sighs and yawns, exhausted. DOCTOR ARTAIR rushes down the corridor towards her desk.

DOCTOR ARTAIR: Dora!

DORA looks up, startled.

DORA: Doctor Artair? What's wrong?

He arrives at her desk, clearly worried and slightly panicked.

DOCTOR ARTAIR: The woman I'm treating; she's gone.

DORA: What? You mean the woman who had the lamppost fall on her? How is it possible she's even standing let alone wandering around the hospital?

DOCTOR ARTAIR: I dunno?but uh, she could be bleeding internally and we wouldn't know?

By the tone of his voice he seems to be telling DORA this to convince her, but he doesn't seem worried at all?

After hearing this, DORA sighs and picks up the telephone.

DORA: I'll alert security.

She begins dialling.

DOCTOR ARTAIR'S eyes widen, and he shakes his head.

DOCTOR ARTAIR: (worried) No don't Dora?

She hangs up.

DORA: We can't just have a patient wandering around, in or out the hospital!

DOCTOR ARTAIR: I know I know?

The both of them are silent for a minute, thinking of where she could be.

DORA: Ooh, well maybe she went to check on her friend? Maybe she was worried?

DOCTOR ARTAIR'S eyes widen slightly as he realises the only place CATE could be.

CUT TO ? NEW YORK
PRIVATE ROOM ? INT.HOSPITAL ? NIGHT

We can see a pair of high-heeled shoes standing in front of a private room from within the hospital. The woman wearing the shoes pushes the door open, and as the woman enters the camera pans up her body showing the iconic blue tattered dress of CATE'S we have seen from the last three episodes. She enters and looks at the person lying in the bed with a warm smile on her face.

She stops, a few feet into the room.

CATE: (softly) Hey?

Her smile fades eerily as the camera rotates to show the person in the bed.

CATE: (seething) ?"friend".

The person is LEIGH, and she knows, her judgement day has arrived.

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

O'NEILL is working harder than before, now smashing more rubble with a sledgehammer. He turns when he sees both firemen and policemen not working to their true potential.

O'NEILL: Come on men! There are people in there who need our help.

They are spurned on by his bravery, his courage and his determination. He is older than most of them easily, and not as strong. Together though, they're getting somewhere.

They were clearing the entrance, and quickly?

In the background TERAMELLI is rushing to his car.

CUT TO ? NEW YORK
CORRIDOR ? INT.HOTEL DEVARRO ? NIGHT

The camera shows a dark and half destroyed corridor, lights flickering on and off down it. Stumbling and staggering down the corridor is DANTE. He's breathing heavily through the pain of his wound, which has sodden the sleeve bandage he had made in his newly mortal blood. He feels along the wall for support, hoping the corridor he's leading himself down will lead to the outside world.

Ahead of him, he feels the heat of a fire blocking one of the exits in front of him. He shields his face from the heat, feeling considerably weaker than he would if he were of full health. He can see a door beyond the flames, but it's no use. He notices the corridor also branches to the left. He looks down it, there is not fire. He therefore turns left, and sees some stairs?

CUT TO ? NEW YORK
UNKNOWN AREA ? INT.HOTEL DEVARRO ? NIGHT

A hatch suddenly opens, pushed open by DANTE. He climbs out on to the new floor, knowing now he is on the ground floor of what is left of the building. He breathes a slight sigh of relief as he rolls on to the ground.

It isn't long before the indescribable but obvious sounds from the emergency services outside rouses his senses and determination to escape; he was at the front of the building, somewhere. He manages to push himself up and looks around. He was in a large room, or what used to be a large room. There was a small crater in the floor and small fires dotted around the room, not to mention the hole in the ceiling that dominated the room. Nothing posed too much danger in this room.

He didn't know where he was, or what room, but he knew he had to follow the voices; so he did.

VOICE (O/S): (barely a whisper) H?help?

He knew he should follow the voices but he knew the voice, and looking around, his fears were confirmed. His eyes widen. It was CHRISTIAN; crushed underneath parts of the ceiling, only a hand exposed, which twitched to life upon hearing another presence in the room. DANTE was in the bar.

DANTE looked upon his old lover's hand, his whole being crushed underneath the carcass of the building, and he couldn't help the lone tear fall from his eye for what had happened to CHRISTIAN.

CUT TO ? NEW YORK
BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

LANCE, without choice or a wish, is still lying underneath the rubble. He'd lost feeling in his legs a moment ago but even he knew he was bleeding too much from his leg wounds.

He would die here.

CUT TO ? NEW YORK
PRIVATE ROOM ? INT.HOSPITAL ? NIGHT

CATE continues to look at LEIGH as she had looked at her in the ambulance. LEIGH does the same, as if only an intermission had occurred.

CATE: You know what I only just realised in that ambulance?

LEIGH remains silent.

CATE: You and I have never had a girly chat.

Silence. CATE edges closer.

CATE: I mean I'm not saying I wanna, ya know, have one.

Closer.

CATE: Just saying, another time, another world?

She is now at LEIGH'S bedside.

CATE: ?One where you weren't a murderous cold-hearted lonely bitch, and one where you hadn't ruined me and mine and everything we held dear?

She leans in close to LEIGH'S face.

CATE: (whispering) ?Yeah, I'm sure we'd be just peachy together.

With one swift movement CATE pulls the pillow from underneath LEIGH'S head and covers her face with it. LEIGH tries to struggle underneath CATE'S phenomenal and supernatural strength, but it was futile to even contemplate defence against her; especially tonight.

CATE stares at LEIGH'S flailing body with a maniacal glare, knowing it wouldn't be long until LEIGH'S existence would be erased from this earth, once and for all.

CUT TO BLACK

END OF ACT TWO

**Lex** · 29-08-07, 10:34 AM

ACT THREE

OPEN ON ? NEW YORK
PRIVATE ROOM ? INT.HOSPITAL ? NIGHT

The act opens on the scene the previous one closed on. CATE continues to hold the pillow down tightly. The sound of the door opening can be heard?

DOCTOR ARTAIR (O/S): Cate! No!

CATE doesn't turn but she senses his presence in the room. He hurries to the bed and comes into view. He tries pulling on her arm, and almost expects her strength to be extortionate as he pulls with all his strength. He pulls hard and manages to loosen her grip somehow and he removes the pillow from her hands. Hearing LEIGH gasping for breath spurns DOCTOR ARTAIR'S strength even more and he manages to over power CATE slightly; pushing her back. CATE backs off but she refuses to break eye contact with LEIGH who is coughing and gasping on the bed. DOCTOR ARTAIR looks at them both, incredulous and shaken.

DOCTOR ARTAIR: (to CATE) What the hell was that?

CATE finally breaks from looking at her, to him, but her anger doesn't falter. She hurries and bursts from the room. DOCTOR ARTAIR hurries after her.

The camera pans over to LEIGH who is clutching her stomach and breathing heavily on her side. Her eyes welling up.

CUT TO ? NEW YORK
CORRIDOR ? INT.HOSPITAL - NIGHT

CATE breezes out of LEIGH'S room and into the corridor outside; DOCTOR ARTAIR following after her, revealing the number 303 on LEIGH'S door. They pass a nurse; DOCTOR ARTAIR stops her.

DOCTOR ARTAIR: Could you check on the lady in Room 303 please?

She nods.

DOCTOR ARTAIR: Thanks nurse.

The nurse now walks towards LEIGH'S room, leaving CATE and DOCTOR ARTAIR alone in the corridor, CATE still walking defiantly.

DOCTOR ARTAIR: (quietly) Ok, seriously, what the hell was that back there?

She doesn't answer and turns a corridor.

DOCTOR ARTAIR: You know I should call security, or the police, you just tried to kill someone?

CATE: Then do it.

He doesn't want to.

DOCTOR ARTAIR: Just talk to me Cate. I can help?

She stops and looks at him.

CATE: Look, you shouldn't have seen that, and you shouldn't get involved in my world because believe me when I say that your perfect pristine world isn't ready for what is going to happen. Tonight? That explosion was just the beginning and it's not terrorists, it's not accidental, it's not even humane. It's a threat that only me and my friends can stop, and that woman in that bed?she's what I need to stop. And for all I know my friends could be dead so?

She's been saying it for a month but now the reality of it becoming true hits home.

CATE: (quietly) ?I'm on my own. I know it was wrong but I don't care anymore?

DOCTOR ARTAIR looks at her confused as if what she's told him is incomprehensible, but there appears to be an element of falseness behind his eyes.

DOCTOR ARTAIR: I don't understand?

With this she continues walking, and he doesn't follow this time, he still is contemplating what she just said.

CATE: I don't want you to understand. It's better no one did?

As she approaches one of the crossroads in the corridor up ahead someone turns the corner and heads towards her and DOCTOR ARTAIR; it's TERAMELLI.

He looks at CATE happily.

TERAMELLI: (to CATE) Got a minute?

CATE stops dead in her tracks, wondering if he'd been lingering behind the corner, or if he was literally just turning it. She looks behind her to DOCTOR ARTAIR; he looks back at her, and they look at one another for a few moments before he turns to TERAMELLI. DOCTOR ARTAIR looks slightly hesitant but then?

DOCTOR ARTAIR: Five minutes, she's booked for an x-ray?

TERAMELLI smirks at CATE. Interrogation.

CUT TO ? NEW YORK
BAR ? INT.HOTEL DEVARRO ? NIGHT

DANTE stares at the rubble where CHRISTIAN lies underneath. He moves closer.

DANTE: It's me?

CHRISTIAN doesn't reply, and DANTE cries another tear. He reaches out and holds CHRISTIAN'S hand tightly, knowing what is going to happen.

He looks back at the hatch he came through, back at where LANCE lies, almost as helpless as CHRISTIAN is now. He turns again to CHRISTIAN'S hand and looks at it. He pulls away, knowing what he must do. He stands and looks around the room. He sees an archway, which is blocked heavily with rubble; the doorway.

He approaches it slowly and breathes deeply, summoning every ounce of strength he has left. He begins to remove the debris from the doorway.

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

The layer of rocks that have fallen from the building is thinning. The barrier between the street and the inner building has almost disappeared and O'NEILL, and his sledgehammer, are making sure of that.

OFFICER (O/S): Uh?sir?

O'NEILL looks around to see the OFFICER from earlier. He soon turns back to the demolition, bored of his presence.

O'NEILL: What is it officer?

The OFFICER looks shifty and nervous.

OFFICER: I'm sorry to disturb you sir it's just?the press are getting anxious.

O'NEILL: (shocked) What?

OFFICER: The press sir, five news teams have turned up?

He nods his head in the direction of the barriers the police have erected along the streets where the few civilians were stood earlier. Now, five news vans and reporters are all silently motionless, looking at the building with a sense of morbid fascination.

O'NEILL stops the hammering and looks to the OFFICER.

O'NEILL: (with sarcasm) Isn't this Teramelli's area of expertise, fluttering his eyelashes on camera to his adoring public he just loves to protect.

OFFICER: Detective Teramelli has left sir.

O'NEILL: (angrily) What do you mean he's left?!

OFFICER: He went to the hospital to talk to the women about what happened.

O'NEILL: And how did he find out which hospital it was they were taken to?

The OFFICER looks down. O'NEILL throws the sledgehammer to floor and sighs, walking over to the press.

CUT TO ? NEW YORK
STREETS ? EXT.NEWS VANS ? NIGHT

The press soon realise O'NEILL is approaching them and begin to talk to their respective cameraman and begin touching up make up. They all soon hurry over to the police barrier where O'NEILL is now only a few feet away. He looks confident, as if he's done similar reports before, however he's clearly anxious to return to the aiding of the people inside.

O'NEILL: (loudly to the members of the press) Hello, I'm sorry to have kept you waiting, but the maintaining of the incident is our number one priority?

REPORTER #1: What can you tell us about the incident?

O'NEILL: At approximately 2am this morning a call was made to the emergency services concerning an explosion that had occurred at Hotel Devarro.

REPORTER #2: And who made this call?

O'NEILL hesitates, and makes a decision on disclosing the caller's identity.

O'NEILL: I'm afraid revealing the identity of this person is a police matter and is not up to me, I'm sorry.

REPORTER #3: And where are the police at this crucial time?

O'NEILL: (with resent) They're currently investigating the various causes of the explosion and the people who may have been involved. My priority however is to help the people who are trapped inside.

REPORTER #2: So there are people trapped inside? Why were they in an abandoned hotel?

O'NEILL: If I knew the answer I would inform you I assure you, however I do not. As I said, my main priority is to assist their evacuation and their safety; that, is my concern.

REPORTER #1: Has anyone been found yet?

O'NEILL: We have managed to find one woman yes, and in regards to her identity, I'm afraid I cannot disclose this information, but as soon as there is police authentication, I'm sure the press and the public will be the first to know.

There's an element of sarcasm in his voice regarding this matter, almost as if he sounds bitter at the prospect.

REPORTER #4: Chief, is there any reason to alert the public?

O'NEILL: Certainly not, events such as this are rare but when they do occur they do cause a social panic. I would like to stress to the public that as far as we can tell this is an isolated incident and a terrible accident, not an attack or arson.

REPORTER #4: You can't deny though Chief that this explosion is remarkably similar to the events that occurred at the Hotel Devarro back in the 1950s, is it not?

O'NEILL stops here. He has lost his patience with the press and fails to see why he should humour them or their curiosity any longer.

O'NEILL: (quietly) No comment?

And with this he walks away, back towards the site. He looks angry. He didn't want to be questioned about that night, and he hoped that the reporter's suspicions would not be true.

The camera now zooms towards the entrance of the hotel and through the tiniest cracks in the rocks blocking the doorway?

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

?And as the camera reaches the other side of the doorway, through the cracks and nooks in the debris, it arrives at XAK.

He is breathing heavily still in a lot of pain. His legs are badly cut and bruised. He looks down to still see CHARLIE on the floor. From a higher angle he can see that she is only pinned down by one large rock. Despite the pain, he is urged on to save her, and reaches down to the rock. He breathes heavily, gaining strength with each breath. He grips the rock and pulls with every fibre of his being. The veins in his neck and arms strain under the weight of the rock and it isn't long before he realises, the attempt is hopeless. He collapses to the floor and looks at CHARLIE with sorrow. He had to save her. He had to?

The sound of crumbling interrupts his thoughts and he turns to the wall where the crumbling can be seen. Dust and smaller debris begins to fall through into the lobby and a figure begins to form in the opening behind the caved in wall. XAK looks shocked and surprised and doesn't smile, but is far from frowning. The figure looks at him, breathless and exhausted in every sense of the word.

It's DANTE.

CUT TO ? NEW YORK
OFFICE ? INT.HOSPITAL ? NIGHT

CATE and TERAMELLI are sat inside what seems to be a consultant's office; he is sat behind the desk, and her in front of it. CATE looks at him, awaiting his questions.

TERAMELLI: You know, you were very rude to me earlier.

CATE: I know. And, if that was your first question, it wasn't a question?just so you know. Don't want you wasting valuable interview time now, do we?

TERAMELLI: It was just a statement. Oh and, I'd also like to remind you that I don't, as of yet, have any reason to suspect you or your friends for anything that happened tonight. For all I know you guys thought it would be "cool" to check out a haunted hotel for kicks, and the explosion occurred by other means. A gas leak or something?

CATE: Who said my friends were inside?

TERAMELLI: Well seeing as you've given me nothing but attitude, I've had to rely on presumptions. Which have got me pretty far over the years, believe me.

She is silent now.

TERAMELLI: So, why don't you tell me what happened.

CATE sighs. TERAMELLI looks at her keenly, a pen in his hand and a notepad on the desk. She doesn't fear him, but if she continues to defy him he could make things difficult for her, and the others, if they were found alive.

CATE: I received a phone message from my friend telling me they were there, and that I should meet them there as soon as possible?I arrived, and then, boom.

TERAMELLI: Why were they there?

CATE: I dunno?for all I know they thought it would be cool to check out a haunted hotel for kicks?

TERAMELLI sighs, infuriated and tired of his attitude.

TERAMELLI: And the woman who was found in the basement? Did you know her?

CATE: You'd have to ask her that.

TERAMELLI: Oh I will, don't worry, but for now?

CATE: (cutting him off) Look, I appreciate that you're trying to get to the bottom of this, and if I knew anything that I thought could assist "you", I would tell you.

She sighs softly, thinking.

CATE: But everything I know, you know. So please, let me just do this x-ray so I can get out and be there for my friends?

Tears begin to well up under her eyes, and she does her best not to show them. TERAMELLI notes her sincerity in her worry.

TERAMELLI: Ok. But I may require to speak to you again pending further inquiries into the incident.

With this, the door opens and DOCTOR ARTAIR stands in the frame.

DOCTOR ARTAIR: Are we done here?

TERAMELLI nods.

TERAMELLI: For now, yes, but I'll be needing the co-operation of the hospital over the next few weeks. This is a very serious incident, one that the state will not ignore lightly.

CATE turns, and looks at DOCTOR ARTAIR, he reciprocates with a blank face. CATE stands, and turns. She walks out of the office with DOCTOR ARTAIR, leaving TERAMELLI in the office by himself.

TERAMELLI sits there, angrily, glaring at the door. No one beat him, least of all a blonde bimbo or a rookie doctor. This night has sparked awareness of something dark to the authorities. It was a darkness that would be hard to turn a blind eye to, and tonight, TERAMELLI'S eyes were wide open.

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

XAK looks at DANTE confused and shocked. Not expecting to see him.

XAK: Hi?

DANTE looks at XAK on the floor.

DANTE: Jeez?taking a rest. Lazy much.

XAK: You know you don't have to be an ass all the time. Especially now?

DANTE: Sorry, it's hard not to be one around you. Even in these circumstances.

DANTE now squeezes through the hole he created to the bar; he's now in the lobby with XAK and CHARLIE.

DANTE: What the hell happened?

XAK: Wolfram and Hart.

A sinking feeling corrupts DANTE.

DANTE: They did this?

XAK: Bombed it, guess they don't like being kicked in that special place.

DANTE: Guess not. Did you find Sin?

XAK looks glum at this.

XAK: No. You?

DANTE: Only Lance and Leigh?

XAK: Are they?

DANTE: Dead? No. Leigh got out; I swear she's like a cockroach or something.

XAK: And Lance?

DANTE: I uh?dunno.

He chooses not to tell XAK about either LANCE or CHRISTIAN. He didn't know what to do about them?one wanted to die, the other deserves to.

DANTE: (to distract XAK from the prospect of LANCE and CHRISTIAN'S whereabouts) Where's Charlie?

XAK looks down at where CHARLIE lies, and DANTE'S eyes follow his.

DANTE: Oh God?she's not?

XAK shakes his head and looks at the rock covering her.

XAK: No?but I can't?I can't move it.

DANTE: Not on your own you can't, come on?

DANTE kneels down next to XAK to help him move it. It is then that XAK notices DANTE'S wound.

XAK: You're hurt.

DANTE: Stop being a girl, anyone would think you're warming to me.

XAK: (with an eyebrow raised) Yeah, right.

With this they both turn to the rock, and place both their hands on it.

XAK: Ok, on three. One, two?

Three. With all their might, the rock begins to shift. They lift it, barely an inch above CHARLIE.

DANTE: (stiffly) Towards me?

They shuffle towards DANTE and drop the rock on one of the parts of spare floor inside the hollow. They're breathless, but triumphant.

XAK: (concerned) Charlie?

He hobbles over to her and picks her up in his arms, ignoring all pain. Her body lies limp but she is still breathing. He holds her tightly and lovingly, kissing the top of her head.

XAK: (whispering) I'm so sorry?I'm so sorry it took so long?

After a moment with her, he looks up at DANTE, who is looking at her with worry also.

XAK: Thank you?

DANTE: I said stop being a girl?

CUT TO ? NEW YORK
X-RAY ROOM ? INT.HOSPITAL ? NIGHT

CATE is lying on a hospital bed, an x-ray machine looming over her. She looks to be deep in thought as DOCTOR ARTAIR approaches her.

DOCTOR ARTAIR: Ok, I'm just going to do a scan of your stomach, see if any bones took a beating. From the tests I did earlier, I think it's safe to say you're not bleeding internally.

CATE nods, vacantly.

DOCTOR: Which?is a good thing?

CATE: Ok?

DOCTOR ARTAIR notes her change.

DOCTOR ARTAIR: You ok?

CATE: Three hours, three hours and nothing. They could be dead.

DOCTOR ARTAIR: (curious) You mean your friends? The people inside the building?

He knew who she meant. She doesn't reply.

DOCTOR ARTAIR: Well if your friends are as strong as you've been, they'll be fine.

CATE: They're stronger, so much stronger than me. Everything we've been through, we've got through it together?and I, I was so selfish, I just couldn't bear for them to see me how I was, and now all I want to do is see them?and tell them I'm sorry.

She looks tearful, and slightly uncomfortable at having disclosed so much to a stranger for the second time tonight, but it was becoming more and more difficult as the night progresses for her to keep everything that has happened inside.

DOCTOR ARTAIR: Well I don't think I'll ever truly understand what you've been through, or what has driven you to do what you did earlier, but I know that everything happens for a reason. I don't believe for a second you did what you did out of pure malice. I've seen murder, and I've seen murderers?you're not one of them. You're just hurting.

She looks up at him now, heeding his words, but not completely. She'd heard similar words inside Sirens. He looks at her warmly.

DOCTOR ARTAIR: Ok?

She doesn't reply but she breathes softly and relaxes more on the bed. He smiles and walks towards the door, but turns back just as he reaches it.

DOCTOR ARTAIR: Oh, and about your friends. Just keep faith in them, and I'm sure they'll do the same.

CATE closes her eyes, still breathing softly.

CATE: (whispering, to herself) Always?

He lingers a moment at the door, watching her, almost enraptured and completely taken by her. Then, he leaves.

CUT TO ? NEW YORK
OBSERVATION ROOM ? INT.HOSPITAL ? NIGHT

DOCTOR ARTAIR takes a seat in the observation room, a monitor in front of him. He puts a finger on the tannoy button.

DOCTOR ARTAIR: Ok Cate?I'm going to start now.

She still remains motionless, her eyes closed, peacefully. He begins to operate the x-ray machine and the machine scans CATE'S body. He waits for a few moments as an image begins to print off next to the monitor. He presses the tannoy button again.

DOCTOR ARTAIR: That was great Cate, just getting the image now?

His voice trails off as the image prints out. He holds it up to a natural light, shocked, but we don't see what it says about her bones?

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

DANTE kneels down next to XAK and looks at CHARLIE.

DANTE: Is she ok?

XAK: She has to be.

DANTE sighs and stands looking around the hollow they're in.

DANTE: Where are we?

XAK: The lobby?

DANTE: So we're at the front of the building?

XAK nods.

XAK: The doorway should be just over there?well, it was?

He nods in the direction of a caved in wall. The doorway shape seems to be there still but debris from inside and outside the building have formed a stone barrier from the outside world. DANTE observes it, and stands. He staggers over to the stones and begins moving some of the smaller ones, then some of the larger ones. XAK observes.

XAK: You can't shift that on your own?

DANTE: Then put your girl down and help.

XAK looks down at CHARLIE, who despite being obviously damaged, seems stable.

XAK: I'll be right back?I promise.

He almost half expects a response from her.

XAK: I'm gonna get us out of here. I'm gonna take care of you?of all of us. Much more than I have done recently?

DANTE watches, then he looks down.

XAK: ?I promise.

He lies CHARLIE on the ground and then takes his outer top off. DANTE breathes heavily, breathless and almost out of energy.

DANTE: Making the boys blush too.

XAK: Shut up?

He folds his outer top and places it underneath CHARLIE'S head. He then stands, his face straining slightly through the pain.

XAK: ?And let's get to work, I'm so over this hotel?

DANTE looks back at the bar; LANCE and CHRISTIAN.

DANTE: You betcha boss?

SONG: CHERRY GHOST ? PEOPLE HELP THE PEOPLE

The music commences as both XAK and DANTE, previously sworn enemies, work together to help their nearest and dearest. Occasionally they help one another move a particular piece of debris; support. (The music below plays throughout)

"God knows what is hiding in that weak and drunken heart
I guess you kissed the girls and made them cry
Those hard-faced queens of misadventure?"

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

XAK and DANTE aren't the only ones hammering away at the depleting barrier. O'NEILL and his army of firemen are hammering away, sweat pouring from their brows, as they're more determined than ever to reach the inside of the building. (The music below plays throughout)

"God knows what is hiding in those weak and sunken eyes
A fiery throng of muted angels
Giving love and getting nothing back?"

CUT TO ? NEW YORK
LOBBY ? INT.HOTEL DEVARRO ? NIGHT

And then as both XAK and DANTE manage to remove one of the larger rocks, they scrape away some of the dirt, dust and small rocks, and their eyes widen at what is reveal. Their eyes stare through at what is through the hole?(The music below plays throughout)

"People help the people
And if you're homesick, give me your hand and I'll hold it?"

CUT TO ? NEW YORK
STREET ? EXT.HOTEL DEVARRO ? NIGHT

?And O'NEILL'S eyes stare back at them. His wrinkled and old face smiles heartily. He looks back at his men and even though we can't hear what he says he knows it is a victory cheer.

He personally pulls away all the remaining stones revealing a generously sized hole. Through it firemen and policemen all stare at the bruised, cut and damaged XAK and DANTE. He holds a hand out and helps DANTE out who's eyes squint at the artificial lights of the street lamps, torches and car headlights. Two firemen then help him across the uneasy ground and over to the ambulance. He looks almost tearful and in deep thought. He couldn't leave him behind? (The music below plays throughout)

"People help the people
And nothing will drag you down
Oh and if I had a brain, Oh and if I had a brain
I'd be cold as a stone and rich as the fool
That turned, all those good hearts away?"

The camera moves back to O'NEILL who is expecting XAK to take his hand next, but he is wrong. He looks slightly shocked as XAK'S frame fills the hole, in his arms is CHARLIE'S battered and limp body. He staggers through the hole, weak, but determined to save her. O'NEILL approaches him now he is on the street. He smiles admirably at him and offers to take CHARLIE from him. XAK knows he must, so he puts her in the arms of their saviour.

With CHARLIE in his arms, O'NEILL makes his way towards the ambulance, another fireman helps XAK towards the ambulance also. But then, one of the firemen that was with DANTE hurries up to O'NEILL and whispers something in his ear. O'NEILL'S eyes widens, and he looks over at DANTE who is looking at him eagerly. O'NEILL immediately places CHARLIE in the arms of another firemen and along with three other firemen he hurries towards the hole and climbs through into the hotel ruins.

XAK turns, intrigued as to why they're running into the building. He turns back to DANTE, curiously. What had he told them?

The camera opts for a high angled shot of the site, as if being viewed by someone stood on the rooftops. We can see DANTE nearing the ambulances, the firemen holding CHARLIE also getting closer, and XAK bringing up the rear. We can also see the eager press teams who are still being held back by the police, and the huge extinguished crater at front of the building. (The music below plays throughout)

"People help the people
And if your homesick, give me your hand and I'll hold it
People help the people
And nothing will drag you down
Oh and if I had a brain, Oh and if I had a brain
I'd be cold as a stone and rich as the fool
That turned, all those good hearts away?"

And as O'NEILL and the firemen disappear into the new front entrance of Hotel Devarro, the music quietens to an end.

CUT TO ? NEW YORK
BAR ? INT.HOTEL DEVARRO ? NIGHT

Armed with torches, O'NEILL bursts into the bar, via the hole DANTE had made earlier. He scans the room with his torch.

O'NEILL: (to the other firemen) Can you see where he meant?

One FIREMAN scans the room again with the torch. He points to something.

FIREMAN: Over there sir!

O'NEILL looks in the direction; the hatch to the corridor, the basement, and LANCE. DANTE had told them where he was, he couldn't leave him behind. The FIREMAN then begins searching the area in the background.

He hadn't told them about CHRISTIAN.

O'NEILL: Men, get down there now! We need to help him immediately?

FIREMAN (O/S): Sir!

O'NEILL: What is it?

He turns around to the FIREMAN. He is crouching by a pile of rubble.

FIREMAN: There's another one sir?

O'NEILL'S eyes widen, he looks at the other two FIREMAN.

O'NEILL: I told you to get down there, now!

He now hurries over to the rubble and the FIREMAN. He looks down at the rubble and he sees what his colleague means. CHRISTIAN'S hand is lying limp.

O'NEILL crouches down and puts a finger on CHRISTIAN'S wrist. He waits a moment then sighs. He looks up at the FIREMAN.

O'NEILL: He's dead?

The camera closes in on CHRISTIAN'S hand. It didn't matter whether DANTE had told them about CHRISTIAN or not. DANTE knew he was dead to this world, and he deserved to be?he deserved such a fate. CHRISTIAN MCARTHUR would serve as a perfect example to the many more, who would soon become "assistants" to SIN.

CUT TO BLACK

END OF ACT THREE

**Lex** · 29-08-07, 10:35 AM

ACT FOUR

OPEN ON ? NEW YORK
CORRIDOR ? INT.HOSPITAL ? NIGHT

The corridor is empty, but then one of the doors to one of the wards opens and out walks CATE and DOCTOR ARTAIR. They begin walking down the corridor.

CATE: So I'm fine then?

She knows she is; she had gotten used to her Slayer healing by now but she had to humour him. He looks slightly uneasy however.

DOCTOR ARTAIR: Uh yeah. I dunno how but I'm not one to question the miracle of health.

CATE: I'm sorry about earlier. I shouldn't have told you those things. I don't know you and?

She looks down.

CATE: (quietly) ?I don't really trust you.

DOCTOR ARTAIR: Don't worry. It's fine. I'm not offended and I won't say a word. Doctor patient confidentiality and all?

He smiles as they continue walking for a bit, in silence, neither one of them not really knowing what to say. CATE looks slightly awkward.

CATE: (quietly) So what happens now?

DOCTOR ARTAIR: Well ideally I'd like you to come back in a week or so for a check up, but something tells me you won't need it.

She stops walking and turns her back. Behind her is the pit and then the door to the ambulance bay. She looks at DOCTOR ARTAIR.

CATE: No, I mean, right now?

DOCTOR ARTAIR: Oh?I see, well?

His voice trails off as he notices something behind her; flashing lights.

DOCTOR: ?Something tells me, you might wanna stick around?

She looks at him confused, then turns to look at what he is looking at?

CUT TO ? NEW YORK
HOSPITAL ENTRANCE ? INT.HOSPITAL ? NIGHT

The door bursts open and a stretcher is rolled in. On it is CHARLIE. She is lying unconscious and beaten. She has an oxygen mask on her face. CATE'S eyes widen as to her, the whole scene moves in slow motion, and she is the only one moving in real time. She watches as DOCTOR ARTAIR rushes past her to the stretcher, speaking to the paramedics either side of CHARLIE'S stretcher. They all look slightly worried, and a tear falls from one of CATE'S eyes and falls to the ground as she notices their worry.

As DOCTOR ARTAIR moves CHARLIE'S stretcher out of the way CATE can see behind it. XAK is staggering after them, holding on to one of the doctors who was waiting outside for support.

Behind him, DANTE follows. He however is in a wheelchair, a nurse pushing him, and hurrying him into the pit to assist with his wounds.

CHARLIE'S stretcher bursts past CATE with the two paramedics and DOCTOR ARTAIR. CATE feels almost frozen to the spot as her friend is wheeled past; watching in horror. XAK approaches CATE. He puts a hand on her shoulder, and looks at her warmly. Her tear filled eyes reciprocate. She grabs him and hugs him tightly. He holds his friend close.

CUT TO ? NEW YORK
PRIVATE ROOM ? INT.HOSPITAL ? NIGHT

LEIGH is lying in bed. She's feeling stronger. She looks blankly ahead not knowing what to do. Whether to wait for SIN'S call, or for CHRISTIAN to find her?

She hears voices. Two nurses approach her room.

NURSE #1 (O/S): Did you hear? They found five more people in that hotel explosion.

NURSE #2 (O/S): Five? Jesus. And they all survived?

The nurses come into view as they stroll pass LEIGH'S room window. She turns, hearing their conversation regarding the explosion. Five people were found, and all she wanted to hear was the answer to the last question?

NURSE #1 (O/S): No, a body bag came in the back?poor soul.

Her eyes widen, intrigued, but hopeful. She throws her bed linen off of her and sits up?

CUT TO ? NEW YORK
CORRIDOR ? INT.HOSPITAL ? NIGHT

The camera shows TERAMELLI walking out of the office that he was in earlier. He continues to look angry and determined. If CATE didn't want to talk, there was LEIGH. He closes his notepad and hurries off in one direction.

CUT TO ? NEW YORK
WARD ? INT.HOSPITAL - NIGHT

DORA is sat at her desk still; still working hard on the paperwork in front of her. TERAMELLI rushes towards her from the corridor.

TERAMELLI: I need the room number of the woman who was found in the basement of the hotel.

DORA looks up from her paperwork, pursed lips, and eyebrows raised. TERAMELLI looks at her determined.

TERAMELLI: It's urgent?

DORA continues to look at him; pursed lips, eyebrows raised.

TERAMELLI: (beat) I appreciate that you have a lot of work to do?

He reads her nametag.

TERAMELLI: (smiling) ?Dora. But this is a very serious matter. The woman in that room could be the key to unlocking what happened tonight. She could tell us where the other people in that hotel are?so please?

With this, DORA, oblivious to the fact they had already found everyone in the hotel, pulls a file concerning LEIGH'S notes close to her, and looks down at it. He smirks at his miniature victory, but of course he was also oblivious to the fact that the hospital now housed every victim of the hotel explosion?

CUT TO ? NEW YORK
ROOM ? INT.HOSPITAL ? NIGHT

CHARLIE is lying flat on the bed, one of the nurses is assisting her breathing, another is monitoring her quite literally with the monitors near to her. DOCTOR ARTAIR seems to be preparing an injection to improve her health. He doesn't look relaxed however, not like how he was with CATE earlier, and occasionally he keeps looking over his shoulder at the people looking through the window. While there was something clearly mysterious in the way DOCTOR ARTAIR had been behaving on this night, his odd behaviour had reached new heights with CHARLIE on the table, and CATE watching?

The camera rolls to the side to show who is looking through the window at him and CHARLIE. CATE is stood, watching eagerly; her eyes transfixed on the status of her best friend.

CUT TO ? NEW YORK
CORRIDOR ? INT.HOSPITAL ? NIGHT

The camera cuts to the outside of the room CHARLIE is in, and focuses on CATE'S worry.

CATE: She's gonna be ok?

She looks up at the person next to her.

CATE: ?Isn't she?

The camera pans up to the person next to her. XAK. He's watching CHARLIE too, but he can't help but notice DOCTOR ARTAIR'S shifty behaviour. Why had his behaviour suddenly shifted? What had changed from earlier? Was it XAK?

CATE (O/S): Xak?

XAK looks at CATE.

XAK: Of course she is?

He puts an arm around her reassuringly.

The camera looks through the glass at CHARLIE. DOCTOR ARTAIR turns to a nurse and says something, he then nods at her. She smiles back at him. CATE looks confused.

CATE: Wait, what's going on?

XAK looks almost as confused as she does.

XAK: I don't know?

Before they have time to contemplate anything, DOCTOR ARTAIR approaches the door and exits into the corridor. He approaches them both but looks at CATE, and not XAK.

DOCTOR ARTAIR: (to CATE) She's gonna be fine?she's lost some blood and she's got a concussion, but nothing too serious. They'll uh, move her into recovery soon?

CATE sighs, relieved.

CATE: Thank you doc?.

Before she can finish what she was going to say he smiles awkwardly and begins walking down the corridor. CATE looks at him confused.

CATE: What's his deal?

XAK looks confused too, but then a sense of realisation hits him.

XAK: (quietly) I have no idea, but?I think I know him from somewhere?

The camera follows DOCTOR ARTAIR now. He clearly looks worried and as he turns the corner, he bumps into someone.

DOCTOR ARTAIR: Oh sorry?

He looks at who it is. O'NEILL.

DOCTOR ARTAIR: Chief O'Neill. What an honour.

O'NEILL: Thanks doc, could I have a word with you?

DOCTOR ARTAIR: Sure, how can I help you?

O'NEILL: I'm almost certain we've got a common problem?

DOCTOR ARTAIR: And what would that be?

O'NEILL sighs.

CUT TO ? NEW YORK
PIT ? INT.HOSPITAL ? NIGHT

DANTE is lying on a hospital bed in the pit of the hospital. Dozens of other beds surrounding him but only a few are occupied. He is shirtless and the wound on his shoulder is exposed.

NURSE: Hm, it looks clean. All we can do is suture it up and give you some antibiotics and painkillers.

He seems distant.

DANTE: Ok.

NURSE: I'll be right back.

She moves away to the cabinet nearby where the supplies are. He looks around the room, glum, which is soon interrupted by the flashing blue and red lights from outside. The sounds of firemen and paramedics working together can be heard. He looks to the door of the ambulance bay curiously. Soon they open and a stretcher is brought in with firemen and paramedics in tow. It's LANCE. His whole body strapped to the stretcher, his head and neck in a brace. He has an oxygen mask on, and it's hard to see in what condition he's in. It was obvious though, that he was alive. DANTE just watches him pass through weirdly hoping that LANCE would look back at him.

CUT TO ? NEW YORK
CORRIDOR ? INT.HOSPITAL ? NIGHT

From one end of the corridor, about twenty-five feet or so away, someone is watching XAK and CATE. They seem to be deep in conversation about something. The camera rotates to show it is LEIGH who is watching them. Her eyes widen as she sees CHARLIE being wheeled out on a stretcher. It wasn't them that died; they survived?

CUT TO ? NEW YORK
CORRIDOR ? INT.HOSPITAL ? NIGHT

TERAMELLI is on his way to LEIGH'S room following details given to him from DORA. He turns a corner and stops dead in his tracks. He can see LEIGH ahead of him. As he had managed to see who was lying on the stretcher at the hotel, even though CATE hadn't immediately identified her, he recognised her immediately. She is peering around a corner at the far end. The spy and become the spied.

He smiles, pleased. He moves towards her, when a hand from within an office drags him inside and shuts the door. LEIGH turns around, hearing the door slam, but she sees no one there. She hurries along down the corridor towards the camera and disappears from sight around another corner, which branches off halfway.

CUT TO ? NEW YORK
OFFICE ? INT.HOSPITAL ? NIGHT

TERAMELLI pushes his attacker off him, but refrains from taking further violent action when he sees who it is.

TERAMELLI: Chief?

The camera rotates to show O'NEILL standing nearby. He looks angry.

TERAMELLI: What the hell are you playing at old man?

O'NEILL: Sorry Cain, just wanted a quick word?

He looks to the other side of the office.

O'NEILL: ?Didn't we?

TERAMELLI turns to see that they aren't the only ones in the office. DOCTOR ARTAIR is there too.

TERAMELLI: Well look at us. What is this? An intervention?

DOCTOR ARTAIR isn't as bold as O'NEILL. His presence merely acts as a silent agreement, on the side of O'NEILL.

O'NEILL: I'm just telling you to watch yourself. Running halfway across town, abandoning your men and the site, not to mention the press.

TERAMELLI: It is my job to investigate, old man. If you don't like the way that I'm running this then tough. I get results, I always get results and I honestly don't care how I get them?

O'NEILL: Just a warning?one serviceman to another. Just drop it, for tonight at least. Those kids have been through enough for one night, the last thing they need is you asking them questions.

TERAMELLI looks at them both one last time before heading for the door, and leaving. Once he is gone, O'NEILL sighs.

O'NEILL: Think we got through?

DOCTOR ARTAIR: (vacant) What? Oh uh, I have no idea?look I've gotta head off?

He clearly looks concerned with something. XAK. He heads towards the door in a similar fashion to TERAMELLI. O'NEILL looks slightly shocked.

O'NEILL: Oh, ok doc?thanks for your help.

And with this, the troubled DOCTOR ARTAIR exits the office, leaving O'NEILL alone inside. He looks beat, but more tired of trying to create a good impression on the younger servicemen. He sighs and moves towards the door.

O'NEILL: Well?that's that. Another day?

He opens the door and walks through it.

O'NEILL: ?Another dollar.

The door closes behind him. An empty office.

CUT TO ? NEW YORK
ROOM ? INT.HOSPITAL ? NIGHT

LANCE is lying in bed, asleep. He is fragile and both his legs are wrapped tightly in bandages, as well as his head. A nurse is tucking the sheets in around him. DANTE appears in the door frame, his shoulder bandaged.

DANTE: Is he?ok?

She turns to look at him.

NURSE: He should be fine. It's gonna take some time for him to get back to normal though, the damage to his legs is extensive.

DANTE nods. He walks slowly into the room.

DANTE: Is it ok if I sit with him?

NURSE: Sure, just take it easy. He's really been through something.

She smiles and leaves the room, closing the door behind her, walking off screen. DANTE stands awkwardly near the bed, not sitting. Behind him, through the window, the faint image of LEIGH watching them both can be seen.

In her eyes you can see the horror filling her face; they were all right too. That left one person.

CUT TO ? NEW YORK
ROOM ? INT HOSPITAL ? NIGHT

CHARLIE, like LANCE, is lying in her own room and has an oxygen mask on her face to assist with her breathing. She is asleep and looks peaceful, but clearly has a long way to go till recovery. Sat next to her is CATE, who is watching her intently, still transfixed. XAK staggers into the doorway, still in pain. In his hand, two coffees.

XAK: Here you go?

He passes her one of them. She takes it, barely looking away from CHARLIE. He then, grimacing from the aches and pains in his legs, sits down on the second chair nearby.

CATE: Did you manage to figure out where you knew the doc from?

XAK: No. But I've definitely seen him before?I know it. It's just every time I try to remember him, my mind goes blank.

While he talks her mind drifts, the nights events merely a bad dream half remembered to her at this point.

Sirens. FARAH. LEO. DELILAH. JESSE. SIN. LEIGH. TERAMELLI. DOCTOR ARTAIR. CHARLIE?and now XAK. She couldn't deal, she had shut down.

CATE: (distant) I'm sure it'll come to you?

XAK: Yeah I'm sure it will.

XAK looks at her. She remains silent now.

XAK: Are you okay?

CATE: Sure?

He is not convinced. He's not aware of the full extent of what happened to her tonight, but he didn't have to. He just had to be there for her.

XAK: When are you gonna realise you don't have to lie with us?

CATE: I don't know what you?

XAK: (cutting her off) Cate?it's me. If you can't tell me, who can you tell? I'm your friend and I know you've been through something devastating. I went through it too. But cutting yourself off from us, adopting this schizophrenic attitude and doing god knows what all over town?it's just gonna cut you up inside. It's not going to help you.

He looks beat, and he's not sure if she's listening.

XAK: But us? Your friends? We can, we're worried about you. We want you back?we need you back. Just look at tonight. We need you with us in this war. We can't fight Sin and defend this world from her without you?we just can't.

She breathes in softly.

CATE: I'll uh?I'll make you a deal then.

He looks slightly hesitant.

XAK: Ok.

She turns to him.

CATE: I'll talk?if you go get yourself seen by a doctor.

He smiles at her; appreciating her concern.

XAK: Ok. I'll be right back.

With this he stands and he moves towards the door. The camera moves back to CATE. She reaches out and holds CHARLIE'S hand, tightly.

CUT TO ? NEW YORK
PARKING LOT ? EXT.HOSPITAL ? NIGHT

DOCTOR ARTAIR walks out of the hospital. He's changed. He's in casual civilian clothes now and he has a rucksack on his back. He passes two doctors who bid him goodnight. He walks slowly through the shadowy parking lot; the glimmer and faint outline of someone following him can be seen.

The camera now follows him from behind, and something swiftly moves behind him; again the faint outline and a glimmer of some form. He stops. He sighs.

DOCTOR ARTAIR: I know you're there Constance?

With this, the glimmer and the faint outline of a human figure swims in front of him. It hovers in front of him, then roots itself to the earth. Eventually the glimmer takes the shape of what looks to be a human woman. The woman, CONSTANCE, is wearing black trousers and a black top that seem to blend into one another effortlessly. Her black hair hangs around her shoulders with bounce, and her dark eyes dart around the empty parking lot nervously. She is played by Selma Blair.

CONSTANCE: I should not have to remind you Trafford that I answer only to Ms Kyll on this plane. My given name must remain hidden to those who are not in our faction.

DOCTOR ARTAIR/TRAFFORD looks annoyed at this.

TRAFFORD: And might I remind you "Ms Kyll", that every night you show up here, you jeopardise my position in this hospital. We already talked earlier just after the bomb hit? What more could we need to talk about?

CONSTANCE: You made contact tonight.

He was hoping to be more prepared for answering this question.

TRAFFORD: Oh, yes. I did.

CONSTANCE: Was any information disclosed unto you?

He shakes his head, relaxing slightly in her presence. They clearly have a past.

TRAFFORD: Most of my interaction with their group was with Cate. She was mostly upset about Toole, and her encounter with the vampires at Sirens I think, she's got a long way to go. I just wish I could have helped her more.

CONSTANCE raises an eyebrow at this.

TRAFFORD: (awkwardly) Did you manage to find anything additional about Sirens yet?

CONSTANCE: No, don't worry though; we're currently working on how they fit into this war. We'll find out sooner or later. Everyone in this war has a side, and it won't be long until they reveal which side it is they belong to.

TRAFFORD nods at this, agreeing.

TRAFFORD: Oh, and I have these, I need them to be given to "The Sponsor" straight away. I think it's obvious why.

He takes his rucksack off, and reaches inside. He pulls out an object and hands it to CONSTANCE. It's CATE'S x-rays. CONSTANCE takes them. She opens them and looks at them, holding them up to some artificial light in the parking lot. We can see what is on them, but CONSTANCE'S eyes widen.

CONSTANCE: All right, consider it a confirmed request.

She notices that he looks worried.

CONSTANCE: What is it?

TRAFFORD: I almost blew my cover?

CONSTANCE: (worried) How?

TRAFFORD: I let it slip I knew Cate's name before she'd told me?

CONSTANCE: You did what?! Trafford, we have been working this for over three years now and not once has our cover been blown.

TRAFFORD: That's not the worst part.

CONSTANCE eyes him, judging.

TRAFFORD: I ran into Xakiel too.

CONSTANCE: (shaking her head, disappointed) By Suspiria's wrath? (slightly calmer) Honestly, you're a bigger fool than your father was.

He looks hurt at this.

TRAFFORD: I was treating Charlie?he was stood outside with Cate. There was nothing I could do! I don't think he recognised me though.

CONSTANCE: (sighing) You were lucky. Honestly Trafford, your sister would have been better suited for this job.

He clearly is offended at CONSTANCE talking about his sister in such a way, much more than he was when his father was mentioned.

TRAFFORD: That's not fair, I'm doing the best I can.

CONSTANCE: Just don't forget why we placed you in the hospital. Your best may not be good enough anymore Trafford, not if it means jeopardising our patron and her cause. I know you're on edge. Everyone is. But Sin has escaped and we may be too late to help them this time. We need to remain united. We may have failed on our missions before, but at least we were strong then. We need to be as strong as we once were, because more mistakes like tonight and everything we stand for shall crumble.

TRAFFORD: (boldly) Well maybe we should tell him.

CONSTANCE looks in shock.

CONSTANCE: What?

TRAFFORD: We should tell Xakiel everything. He has a right to know that we're here, and a right to know what we're doing. What our patron and the "The Sponsor" don't realise is that Sin is making our lives impossible to live separately anymore. Sooner or later we're going to meet him again; we can't live apart from them anymore, it's too hard. We do need to remain united, you're right. But with them?

CONSTANCE considers this.

CONSTANCE: Maybe you're right. But that Trafford, is not a choice that you and I can make?

And with this, she, and CATE'S x-rays dissipate into the shadows and thin air, leaving TRAFFORD standing on his own in the parking lot. He sighs, and looks around; no one is there, not anymore. He walks slowly away, until he disappears off screen.

CUT TO ? NEW YORK
CORRIDOR ? INT.HOSPITAL ? NIGHT

The camera shows a corridor, which is sealed off with a locked door. Through the glass of the door, two doctors approach, after coming out of one of the rooms off the corridor. They approach the door, unlock it, open it and walk through. They then disappear off screen. A hand comes into view and stops the door from closing again. The person who's hand it is, comes into view. LEIGH. She looks around to check she is alone. She is. She hurries through the door and down the corridor, hurrying into the room the two doctors just came out of. The camera pans down to just below the glass on the door, which is now locked again. There is a plaque saying what the corridor leads to. "MORGUE"?

CUT TO ? NEW YORK
MORGUE ? INT.HOSPITAL ? NIGHT

The door opens, and LEIGH enters. She feels a chill as she enters, and looks scared. The room is empty to life, other than hers. She looks around the room, the steel cabinets surround her with death, but for some reason, her instincts tell her to walk straight ahead to the body lying on the table. A blanket covering it.

She approaches the table, gingerly. She looks down at the body underneath it, fearing the worst. She reaches out, and touches the blanket. She pulls it back and as the identity of the body is confirmed to her, she drops the sheet. She grabs her mouth devastated.

SONG: KELLY CLARKSON ? SOBER

The soft guitars from the music begin as the camera pans down to the body of CHRISTIAN. His beaten body lying peacefully below LEIGH; helpless and alone. (The music below plays throughout)

"And I don't know
This could break my heart or save me?"

The camera cuts back to LEIGH now, her tears streaming down her face uncontrollably. Finally, the reality of what her and CHRISTIAN had done had hit her. The pain they caused, the damage to the world they had caused; things they could never take back. SIN would never find LEIGH, they were foolish to think she would regard them high disciples, they were expendable, just like everyone else. Just like ASHBY, just like MELODY?and just like TOOLE. (The music below plays throughout)

"Nothing's real
Until you let go completely?"

CUT TO ? NEW YORK
ROOM ? INT.HOSPITAL ? NIGHT

XAK re-enters CHARLIE'S room. His legs are both bandaged now and he is walking with one crutch for support. He clearly looks more comfortable, physically. But as he enters the room he notices. CATE has disappeared. Her coffee still full, placed on CHARLIE'S bedside table, but she is nowhere to be seen. He would have to wait, once again for a heart to heart with his friend, but he felt an odd moment of content, as he knew he was getting through to her. Just not today. Not completely.

He sighs sadly and moves towards the seat near CHARLIE. As he sits down, he looks down, in thought about the nights events. Unaware that CHARLIE'S eyes had flickered open for a second. In that second, she had seen XAK and she knew. She was safe. (The music below plays throughout)

"So here I go with all my thoughts I've been saving
So here I go with all my fears weighing on me
Three months and I'm still sober
Picked all my weeds but kept the flowers?"

CUT TO ? NEW YORK
TERAMELLI'S OFFICE ? INT.NYPD ? NIGHT

TERAMELLI is sat at his desk. He has various coffee mugs on his desk and he looks hard at work on the Hotel Devarro case. He'd only been given a seed and no earth to plant it in, no water to douse it with and no sun to shine on it. No case could grow with what he had?he needed more information. He didn't care about the hospital, about the fire department, about warnings or about life and death situations. He was the boss. He had the instincts. He would get the truth? (The music below plays throughout)

"And I don't know
I could crash and burn but maybe
At the end of this road I might catch a glimpse of me?"

CUT TO ? NEW YORK
ROOM ? INT.HOSPITAL ? NIGHT

DANTE, hovering at the foot of LANCE'S bed, makes a decision. Breathing heavily and not quite sure why, he moves towards the chair at LANCE'S bed. He hovers again for a moment, looking at LANCE sleeping, then he sits down on the chair and leans his head back, watching LANCE sleep. (The music below plays throughout)

"Three months and I'm still breathing
Been a long road since those hands I left my tears in but I know
It's never really over, no?"

CUT TO ? NEW YORK
STREETS ? INT.DELIVERY VAN ? NIGHT

The camera shows the interior of a delivery van. Boxes everywhere, but amongst the delivery, the mess and the noise, someone had managed to hitch a ride. LEIGH SINCLAIR, the assistant, the murderer, the nobody. She had no one. Everyone she knew and loved were either dead or dead to her. Her eyes were red from crying, and her wounds were still in bad shape. It would take time for them to heal, but then time was all she had: to grieve, to repent, and to pray for forgiveness. (The music below plays throughout)

"Wake up
Three months and I'm still standing here
Three months and I'm getting better yeah?"

CUT TO ? NEW YORK
BRIDGE ? EXT.DELIVERY VAN - NIGHT

We can see the delivery van that LEIGH has hitched a ride on driving out of New York City via one of the bridges. Behind the sky scrapers, the sun is rising?(The music below plays throughout)

"Three months and I still am?"

CUT TO ? NEW YORK
BATHROOM ? INT.XAK'S APARTMENT ? EARLY MORNING

CATE, cut and bruised, her blue dress and heels still on, is stood in the bathroom of XAK'S apartment in New York City. The shower is running in the background but CATE is looking in the cracked mirror at herself. She only looks for a second and then begins to take her earrings off. Then, she reaches down and takes her heels off. (The music below plays throughout)

"Three months and it's still harder now
Three months I've been living here without you?"

Then, she slips the dress off from around her shoulders and the camera focuses on the floor as it falls to a mound of bloody, dirty, torn fabric. She then moves towards the shower. She steps inside, and closes the door. (The music below plays throughout)

"Three months yeah, three months?"

CUT TO ? NEW YORK
SHOWER ? INT.XAK'S APARTMENT ? EARLY MORNING

The light from the early sun beams warmly through the window at her and washes her in a glow as the shower washes her in cold water. She stands there for a minute, breathing with her mouth wide due to the temperature of the water. She didn't care though, she just wanted to feel something. All the dirt, and dried blood slips from her skin and hair and as she eventually becomes consumed in the water, she closes her eyes and just stands there. (The music below plays throughout)

"Three months and I'm still breathing
Three months and I still remember it
Three months and I wake up?"

Water rushes down her face and darkens her hair. It is hard to see whether the water on her face is tears or just water from the shower. She knows she promised XAK, but there was no time limit on that promise. She knew everyone was all right. She knew they'd survived, they all had; even her. Together. But she couldn't deal with what they had all survived through, and what they had to still overcome.

It was too much. All of it. She couldn't deal with it. Not right now. Not yet? (The music below plays throughout)

"Three months and I'm still sober
Picked all my weeds but kept the flowers?"

?Maybe tomorrow.

FADE TO BLACK

END OF EPISODE

Cast:
MILO VENTIMIGLIA as XAK THORN
ALEXIS BLEDEL as CHARLIE ADRASTOS
AMANDA SEYFRIED as CATE RITTLE
CHRIS EVANS as DANTE TURNPIKE
CHAD MICHAEL MURRAY as LANCE EMORY
and SUMMER GLAU as SIN

JULIAN RHIND-TUTT as CHRISTIAN MCARTHUR

Special Guest Stars:
GALE HAROLD as DETECTIVE CAIN TERAMELLI
TOM SKERRITT as CHIEF O'NEILL
PAUL WALKER as DOCTOR TRAFFORD ARTAIR
PATRICIA BELCHER as DORA
RACHEL MCADAMS as LEIGH SINCLAIR
SELMA BLAIR as CONSTANCE KYLL

Special Mention:
CHERRY GHOST ? PEOPLE HELP THE PEOPLE
KELLY CLARKSON ? SOBER

**Lex** · 29-08-07, 10:37 AM

If you would like to give me feedback on Shadow Stalker, visit my thread here! I'm always happy to hear from you and I usually comment on the feedback as well!

TRIVIA AND RANDOM FACTS FOR "3.03 ? EXIGENCY (PART TWO)"

- So there we go! What a HUGE episode. I loved writing this one, in fact I enjoyed it much more than 3.01 or 3.02! Dunno why!

- I had originally planned on having Leigh redeem herself. Originally I would not have had Dante escape the basement and have left it with Leigh being the only one who knew where they were. It would then be known to her that Christian had died and she would disclose this information to the gang and leave. However, I somehow just didn't think it fit, so I changed it, as it will be very important to upcoming episodes that Dante did what he did.

- The role of Dora was a last minute addition just to add that extra little touch. She was inspired by Patricia Belcher's role in Jeepers Creepers!

- The role of Cain Teramelli and Trafford Artair were originally planned. Teramelli however wasn't going to make an appearance till 3.04 though, and Trafford wasn't going to come into it until 3.06! O'Neill again was a last minute addition but I thought it really added to the episode to have all three emergency services sort of working together to save the gang. Also thanks to Amber for helping me with Teramelli's name!

- I was originally only going to have Sober as the dominant song in this episode but I really think adding Cherry Ghost into it has made this episode just that little bit more special. I love that song and really wanted to use it eventually so it made sense to use it!

- Oh and if you were wondering about how all the characters fitted in to what was mentioned in the summary. Here is the answer: "One of them will die (Christian)." "One of them will leave (Leigh)." "One of them will wake up (Xak, realising Charlie and the gang are important; not revenge)." "One may have moved on (Charlie. She could have died and she may have lost faith in Xak)." "One of them will not move on (Cate, she's not quite there yet?)." "Two of them will find solace (Dante and Lance)."

- This is the LONGEST episode of Shadow Stalker to date. 44 pages in size ten font! Woop woop!

(And probably the longest "Trivia and Random Facts" too!

- So this episode has left many questions hasn't it! What exactly happened to Hotel Devarro fifty years ago? Why's it got Teramelli and O'Neill on edge?

- Also, what the frack was up with Cate's x-ray, what was on it? What was wrong with it? And why did Trafford hand it over!

- Also, it's completely unimportant but I just wondered who you thought made the phone call? It's generally implied that it was Cate, and the emergency services thought it was her. But it could have been Leigh?couldn't it?

- On the subject of Trafford, who is he? Who's Constance? Who do they work for? Who is "The Sponsor"? Who or what is "Suspiria" that Constance swore by? And how does Trafford know Xak and Xak know him?!

- What will Xak and the others say about Lance?! He's back, he's in the main cast?so how will he fit in exactly.

- Well that's it for now, because if your brain isn't frazzled, mine certainly is. I hope you look forward to 3.04. It's gonna be a goodun, and a lot of the questions from this episode will be answered in it! That's right, SS is no Lost!

Announcement

Shadow Stalker - 3.03 - Exigency (Part Two)

Shadow Stalker - 3.03 - Exigency (Part Two)

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