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Rogue Redemption 2.06 "Power Outage"

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    QueenC
    not an ice queen.

  • QueenC
    replied
    Trivia:
    -Now Marie knows what Cate and Melody in Shadow Stalker have known for a long time- the prophecy. But what about this other "fate"?

    -Looks like Lena is up to something bad after all. What does she want, though?

    -So, the whole Illyria/Fred thing may seem cliché right now?but oh, don't worry. It's not.

    -I'm doing a mid-season finale, so we are now two episodes away from that...There's gonna be a...well, let's say "significant" battle, before moving on to the second have of this season.

    Leave a comment:

  • QueenC
    not an ice queen.

  • QueenC
    replied
    ACT IV

    FADE IN

    OPEN TO-INT. ?HOTEL SUITE- EVENING

    The camera is set on quite a few bags of luggage. It moves over to the other side of the room, where DAWN, JANICE, ANGEL, and SPIKE are standing.

    DAWN: It's almost time to go.

    They stand by each other, looking to one another.

    ANGEL: Are we going to tell Faith?

    DAWN: Tell her what? She knows we're looking for Buffy.

    ANGEL: No, that we're leaving.

    DAWN: Oh?I just assumed she would know. (beat) Maybe we should.

    She reaches into her coat pocket, and pulls out a phone. She hands it to SPIKE. He looks at it, and then back to her.

    SPIKE: Why're you handing that to me?

    DAWN: Because I'm not one for goodbyes. You don't seem to have a problem with them.

    She looks at him, glaring. SPIKE sighs, but doesn't take the phone. ANGEL snatches it out DAWN'S hand.

    ANGEL: This is getting ridiculous, you guys.

    He shakes his head, opening the phone and dialing. He presses it to his ear as it starts to ring.

    CUT TO-INT. ?FAITH AND ROBIN'S APARTMENT- EVENING

    The camera is focused on the group in the living room still. The phone rings in the other room, and FAITH gets up.

    FAITH: I'll get it.

    LENA looks after her as she walks into the kitchen, and then looks back to the rest of the group. She looks somewhat?determined.

    CUT TO-INT. ?KITCHEN- FAITH AND ROBIN'S APARTMENT- EVENING

    FAITH walks into the room, and over to the phone, picking up the receiver and placing it on her ear.

    FAITH: Hello?

    CUT TO-INT. ?HOTEL SUITE- EVENING

    ANGEL: (on the phone) Faith?hi.

    FAITH: (O/S) Hey Angel, what's up?

    ANGEL: We're leaving.

    There is silence on the other end for a few seconds.

    FAITH: (O/S) You mean Dawn and Janice are leaving, right?

    ANGEL: No. All of us. Dawn, Janice, Spike?and me.

    FAITH: (O/S) Oh. (pause) When?

    ANGEL: We're leaving for the airport right now.

    FAITH: (O/S) Oh? (another pause) Well, good luck I guess?

    ANGEL: Yeah. You too. Just thought we'd let you know, we won't be here tomorrow.

    FAITH: (O/S) Yeah, I get it. B needs some savin'.

    ANGEL: I'm glad you understand. I hope we see you again soon.

    FAITH: (O/S) Yeah. Bye.

    ANGEL doesn't say bye, he just closes the phone. He looks to the rest of the group.

    DAWN: That was very monosyllabic of you.

    ANGEL: I'm not much for goodbyes either.

    There is a pause, before JANICE walks over to the pile of luggage and grabs what we assume is hers.

    JANICE: We should get going, then.

    Without waiting for a response, she rolls her suitcases toward the door, opens it, walks out, and closes it after her. DAWN, SPIKE, and ANGEL stand in silence for a few moments more, and then copy what JANICE did.

    CUT TO-UNKNOWN LOCATION- EVENING

    MARIE is still standing in the room, but there is more light in the room now. We can vaguely make out the FIGURE in the corner, but we cannot see who it is. MARIE is tapping her foot; she is beginning to get very impatient.

    MARIE: Is there gonna be a point where you tell me what I need to know, or should I leave?

    FIGURE: (O/S) It's not like you can leave.

    MARIE: I can find a way.

    FIGURE: (O/S) Right?

    MARIE: (annoyed) Just tell me already.

    FIGURE: (O/S) The prophecy was meant for all of you. But Bree and Skye were killed.

    MARIE looks in their direction, confused.

    MARIE: So was Melody?

    The FIGURE sighs.

    FIGURE: (O/S) Right. Anyway, when you burned their bodies?The power that would have been theirs to keep funneled its way into your body.

    MARIE looks slightly confused.

    MARIE: What're you saying, exactly? (beat) Their powers stayed with me?

    FIGURE: (O/S) Correct.

    MARIE: I have the power of four Slayers combined?

    FIGURE: (O/S) Three.

    MARIE: What? No, it's me, Bree, Skye, and Mel-

    The FIGURE sighs once again.

    FIGURE: (O/S) I suppose I have to tell you about Melody. (pause) Yes, you had her power for quite some time. But she was resurrected, and during her time in L'Azura-

    MARIE: L'Azura?

    FIGURE: (O/S) A hell dimension. (beat) As I was saying, during her time in L'Azura, her powers were funneled from you and back into her again.

    MARIE: You mean?Melody's alive?

    The FIGURE is silent.

    FIGURE: (O/S) That does not matter.

    MARIE looks in the direction of the FIGURE, angrily.

    MARIE: It matters a lot. She's my friend.

    The FIGURE laughs.

    FIGURE: (O/S) Honestly, Marie, you really think that she was your friend? She treated you like dirt, spat on you?She was not your friend. (pause) That's not important. Focus.

    MARIE: What is important? What am I supposed to focus on?!

    FIGURE: (O/S) You are a part of something much bigger now. Not only the prophecy involving the "Clique", as you call them?but a larger prophecy. One that's outcome can not foretold until it has been reached. By absorbing your friend's powers, you put yourself in a position of great power, and terrible danger.

    MARIE does not respond, and walks over to the wall. She leans against it, and slowly sits down. She runs her fingers through her hair and they reach the back of her head, and she doesn't move them further. She looks up, and appears slightly panicked.

    MARIE: I'm not sure if I can handle this?

    FIGURE: (O/S) I'm afraid you do not have a choice. Your fate is set, just as so many others were before you. Fate is something that you cannot change. No one can.

    MARIE stares in the direction which the FIGURE is standing. She glances to the side, where she sees what looks like a door to the outside of the building. She stands, slowly, and advances toward the door. She takes one last glance back at the FIGURE, determined.

    MARIE: I can try.

    She walks out the door, slamming it behind her. We close-up on the FIGURE, who is seen in a better light now. They are shaking their head?and we see that it is FREYA.

    FREYA: Poor child?she has no idea what she's getting in to?

    CUT TO-INT. ?ALLEY- EVENING

    SONG: WAKE UP AND SMELL THE COFFEE- THE CRANBERRIES

    The song starts and we see MARIE walking down the alley. Clearly determined, but also upset. She runs her fingers through her hair, and continues walking, but we can see the fear in her eyes.

    CUT TO-INT. ?AIRPORT ? EVENING

    We see DAWN, JANICE, ANGEL, and SPIKE all sitting at a specific area in blue chairs. There's a sign that says "Rome, Italy" with a door to a tunnel that connects to the airplane. They look like they've been waiting a little while.

    CUT TO-INT. ?FAITH AND ROBIN'S APARTMENT- EVENING

    The same group from before sits in the living room, and it appears that they haven't moved at all. FAITH is looking toward the window, and we can see the traffic lights in the streets below.

    CUT TO- INT. ?AIRPORT ? EVENING

    There is a customer service specialist at a desk near the entrance to the tunnel leading to the airplane, and she says something. We don't hear it, but the camera pans over to DAWN, JANICE, SPIKE, and ANGEL, who all look at each other, and stand at almost the exact same time. They continue to look at each other until DAWN looks away, leading everyone toward the entrance. They go by the customer service specialist one by one, handing her their one way tickets, and opening the door, they walk their way to the plane to board it.

    CUT TO- INT. ?AIRPLANE- EVENING

    We see the group enter the plane, and walk down the hallway. They look at the seats until they find the ones stamped on their tickets, and place their carry-on bags in the holders above, before sitting down. DAWN sits by JANICE, and ANGEL sits by SPIKE. They all appear to take a deep breath at the same time, readying themselves for the trip.

    CUT TO-INT. ?ALLEY- EVENING

    MARIE is still walking down the alley, looking very upset. Her pace quickens slightly, letting herself get closer to the exit of the alley. When she gets to it, she sees what looks like hundreds of people walking on the street. She turns and looks from left to right, before choosing right, and starts to walk down the street. But just as the music begins to quicken, she starts running.

    CUT TO- INT. ?ILLYRIA'S ROOM- FAITH AND ROBIN'S APARTMENT- EVENING

    We see ILLYRIA standing and leaning against the wall of her room. She has her hand placed against the wall, and she looks like she's using it as a means to remain standing. Her hand gives out though, time seems to slow down, and she falls to the ground.

    CUT TO-INT. ?INT. ?STREET- EVENING

    We see MARIE running down the street, pushing several people out of her way. They give her looks as if to tell her that she's rude, but she doesn't seem to care. She just keeps running. Time is still going in slow motion. (The music below plays throughout)

    "I, I went to hell
    I might as well
    Learn by my mistakes"


    CUT TO-EXT. ? AIRPORT- EVENING

    We see the airplane that DAWN, JANICE, SPIKE, and ANGEL are on begin to go down the runway, accelerating until it finally lifts off, starting to head toward its destination. (The music below plays throughout)

    "I at twenty-four
    Was insecure
    To whatever it takes"


    CUT TO- INT. ?ILLYRIA'S ROOM- FAITH AND ROBIN'S APARTMENT- EVENING

    ILLYRIA is now laying on the floor, still for a moment, before her entire body begins to shake. (The music below plays throughout)

    "Come on now
    Wake up, wake up, wake up, wake up
    Shut up, shut up, shut up, shut up
    It's time, smell the coffee, the coffee"


    CUT TO-INT. ?LIVING ROOM- FAITH AND ROBIN'S APARTMENT- EVENING

    The camera is focused on LENA, and the music has started to fade a little bit. She looks uncertain, as if she's contemplating something. (The music below plays throughout)

    "Wake up, wake up, wake up, wake up
    Shut up, shut up, shut up, shut up
    This time smell the coffee, the coffee"


    CUT TO-INT. ?DIFFERENT STREET- EVENING

    We see that MARIE has slowed down, and that this street is far less crowded. She doesn't look any less upset though, even after the exercise. (The music below plays throughout)

    "She's only got one reason to live
    Isn't your life?
    She's only got one reason to give
    Giving tonight"


    CUT TO-INT. ?FAITH AND ROBIN'S APARTMENT- EVENING

    FAITH turns her head to the direction of the hallway at the sound of someone falling, but LENA stops her. FAITH looks confused.

    FAITH: What?

    LENA pulls something out of her back pocket, and brings it up- it's a gun. FAITH widens her eyes.

    LENA: You're not going anywhere.

    She looks around the room at the various shocked faces, and smirks.

    LENA: (Cont'd) No one is. Sit back down.

    FAITH stares at her, disbelieving.

    LENA: (through clenched teeth) Sit. Down.

    She cocks the gun. (The music below plays throughout)

    "She's so gorgeous
    I'll do anything
    She's so gorgeous
    I'll do anything
    Lose everything, everyday"


    CUT TO-INT. ?ILLYRIA'S ROOM- FAITH AND ROBIN'S APARTMENT

    We are focused on the floor where ILLYRIA once was?but she isn't there now. The camera moves over to the window?where someone is standing. But they don't have blue hair?we close-up on them- it is FRED. But she doesn't look like she did before?her hair is darker, and her skin is paler. She smirks, looking out the window. (The music below plays throughout)

    "Come on now
    Wake up, wake up, wake up, wake up
    Shut up, shut up, shut up, shut up
    It's time, smell the coffee, the coffee
    Wake up, wake up, wake up, wake up
    Shut up, shut up, shut up, shut up
    It's time, smell the coffee, the coffee"


    CUT TO BLACK

    "She's only got one reason to live"

    The music stops abruptly.

    END OF EPISODE

    Leave a comment:

  • QueenC
    not an ice queen.

  • QueenC
    replied
    ACT III

    FADE IN

    OPEN TO-INT. ?STREETS- NYC ? LATE AFTERNOON

    There are hundreds of people on the streets, but the camera is focused on one person in particular. A blonde-haired woman. We follow her as she walks down the street, and into an alley. The alley is much darker than the streets. It seems as though it is night there. We move in closer to her, and we can see that she's slowing down a little, and almost comes to a halt in the middle of the alley. There is a rustling noise. She shakes her head.

    WOMAN: You guys never learn?

    She swivels around, and we see that it is MARIE. She brings up her hand, which has a stake firmly held in it. She is now facing a vampire.

    MARIE: (cont'd) You chose the wrong damsel to pick on, buddy.

    The VAMPIRE tilts his head.

    VAMPIRE: Oh yeah? Why's that?

    MARIE: (smirking) ?Cause I'm no damsel.

    Without further talking, MARIE advances on the vampire. She pulls her arm back to get ready to plunge the stake into the vampire's heart, and begins to do so as the vampire blocks her attack with his arm. The stake skims the side of it, and the vampire growls. He advances toward her and punches her. She's not quick enough to evade the punch, so she is knocked back; but not the amount a Slayer should be?further. She looks confused. The vampire uses this as an advantage, and saunters forward. He punches her again, and she's sent flying backward.

    VAMPIRE: What was that thing about?what was it?

    He scratches his chin, pretending to be in thought. He stops, and looks back down at her.

    VAMPIRE: (cont'd) Oh yeah, being a damsel? Because you sure as hell look like one to me. (beat) A very tasty damsel?

    The vampire advances toward MARIE, and she looks scared. What happened to her powers? The vampire leans over her and she goes to punch him to keep him off- nothing. She tries again?and her hand goes right through the vampire, to the other side. MARIE and the vampire both widen their eyes. MARIE quickly grabs the stake she has with her with her other hand, and plunges it into the vampire chest, where his heart is. Her eyes are still wide with shock. She looks at the dust on the ground next to her, and then to the hand which went through the vampire, which is covered in blood.

    MARIE: (under her breath) What the hell is going on?

    FIGURE: (O/S) I believe I can answer that.

    MARIE swivels around. No one is there.

    MARIE: Who's that?

    FIGURE: (O/S, almost coming from every direction) Names are not important, Miss Kaloff. In fact, I have no name to share with you. What I do have to share with you, though, is more important than any name could ever be.

    MARIE: Oh yeah? And what's that?

    FIGURE: (O/S) Not here.

    MARIE: Where then?

    There is no response. MARIE looks around, warily.

    MARIE: (cont'd) You know this would work a lot better if-

    She stops, mid-sentence. She stumbles a bit, and we see things from her line of vision. Everything is hazy, and the screen tilts from side to side.

    MARIE: (cont'd, fading) What?are you doing?to-

    Before she can finish the sentence, she falls to the ground, and everything slowly fades to black.

    CUT TO-INT. ?FAITH AND ROBIN'S APARTMENT- LATE AFTERNOON

    The screen fades back to normal, and we see FAITH, ROBIN, LENA, TOMMY, ALAN, SAM, and ILLYRIA in the room. They are all either sitting or standing.

    FAITH: What's up with Slayer Search '04?

    TOMMY: Dawn, those vampires, and her friend headed out to make plans earlier.

    FAITH: Wait, what? Spike and Angel went with her?

    TOMMY: Yeah, but I don't think they're going with her to Europe.

    FAITH: Europe? Why are they going back?

    ROBIN cuts in.

    ROBIN: I think that Dawn said she had a lead.

    FAITH: Oh?Well, it was kinda pointless to come here then wasn't it?

    TOMMY: Not really. I'm sure she needs all the help she can get.

    FAITH: Yeah? (pause) I just wish I could help more.

    There is silence for a few moments.

    SAM: Can someone please tell me what's going on?

    FAITH: Later.

    LENA gets up from the chair she is sitting on and sighs, beginning to pace back and forth. She turns back to FAITH, looking very annoyed.

    LENA: You know what? I've got an idea from now. (beat) How ?bout we deal with my problem?

    FAITH: I think you meant problems. Plural.

    LENA: Har, har. Very funny. (beat) Now, my problem is your problem. You don't want him around anymore than I do.

    SAM: Wait, what?

    FAITH and LENA pay no attention to her. FAITH is already standing, so she moves over to LENA.

    FAITH: Look, I have friends who need help. Friends, as in people I know. (beat) Friends, as in not you. Back the hell off.

    She stares at LENA, angrily, and LENA stares back, angry as well, but thinking. She bites her lip slightly, but not very noticeable to anyone else in the room.

    LENA: (trying to remain calm) Fine.

    She walks back over to the chair, sitting down.

    LENA: (cont'd) But sooner or later, we're going to have to take care of this little problem. You know it, I know it, and there's nothing you can do to change it.

    The entire room is silent once again. No one talks. There is no sound?save for a gasp from someone in the room. Everyone looks confused. This gasp isn't one of shock, or revelation; it's of pain. Everyone tries to figure out who it is, when the person it came from stands? ILLYRIA looks down at all of them, with a pained expression on her face. She looks each one of them in the eyes, one after another, before slowly backing away toward the hallway.

    ILLYRIA: I am excusing myself.

    With that, she turns around and quickly walks down the hallway. After a few moments pass, we hear a door close. The camera pans back to the group in the living room. They are glancing at each other, confused.

    TOMMY: That was?odd.

    SAM: Just a little?

    CUT TO-INT. ?ILLYRIA'S ROOM- FAITH AND ROBIN'S APARTMENT- LATE AFTERNOON

    The camera is zoomed in on the inside of the closed door, and slowly moves inside the room. We see ILLYRIA leaning against the door, breathing heavily. She pushes herself off of the door, and staggers to the middle of the room, but stops. She just stands there. Her expression is blank. Without a moment's notice, her expression goes from blank to pained. She closes her eyes, and clenches her fists.

    ILLYRIA: What is happening to me?I have never experienced this before?

    She closes her eyes, and her fists remain clenched. She opens her fists, and clenches them. Opens, clenches, opens, clenches, opens?and they stay open.

    ILLYRIA: (cont'd) Has it stopped?

    To answer her question, a painful jolt is sent through her entire body, making her hold her stomach in pain. She groans.

    VOICE: (very quietly) Just a little while longer?

    ILLYRIA doesn't appear to hear this voice, because she is too busy dealing with her pain. Her fists clench again.

    CUT TO-UNKNOWN LOCATION-EVENING

    The screen is completely black. A light slowly fades in, but it is blurry. It sways back and forth, and we appear to be looking at it from the ground. The camera moves up a bit, as if we're looking from someone else's point of view and they just sat up. It turns around to see that this is exactly right; MARIE is sitting on the floor. She squints at the light.

    MARIE: Hello?

    There is no response. She stands, slowly turning around in place, in a circle, as to survey the area. There's not much in the room aside from the light. What looks to be a desk, perhaps, but other than that- nothing.

    MARIE: (cont'd) Look I'm not really a fan of being locked up, so if you cou-

    FIGURE: (O/S) Silence.

    MARIE turns around in place again, searching for where the sound came from.

    MARIE: Who's there?

    FIGURE: (O/S) It's not a matter of who I am. It's a matter of who you are.

    MARIE: What do you mean, who I am? I'm Mar-

    FIGURE: (O/S) I do not mean your name, you foolish child. I mean who you are. Or, well? what you are.

    MARIE: W-what do you mean?

    FIGURE: (O/S) Oh, I think you know exactly what I mean, Miss Kaloff.

    MARIE stands still and takes a deep breath; she doesn't know everything, but she definitely knows something.

    CUT TO-INT. ?HOTEL SUITE ? EVENING

    A woman walks into the room, carrying a folder filled with papers, and places them down on a table on the side of the room. We pan up to see that it is DAWN. She walks over to a table where JANICE, ANGEL, and SPIKE sit.

    DAWN: Okay, I have the passports.

    JANICE nods.

    JANICE: That's good and all but did you buy the tickets?

    DAWN holds up a hand, which contain rectangle-shaped papers.

    DAWN: Right here.

    JANICE: Okay. So we're ready?

    DAWN: Pretty much.

    JANICE takes a deep breath.

    JANICE: So?we're really doing this.

    DAWN nods, and gives a hint of a smile.

    DAWN: We're really doing this.

    SPIKE: Not to rain on your parade, Bit, but do you have a plan?

    DAWN looks at SPIKE as if he's stupid.

    DAWN: Of course I have a plan. Do you think I'd buy passports and tickets if I didn't?

    SPIKE: I dunno. You go into things blind sometimes.

    DAWN raises an eyebrow.

    DAWN: Excuse me?

    SPIKE gets up and steps closer to DAWN.

    SPIKE: You know I didn't mean anything by it, just-

    DAWN: Just what? Just what, Spike?! I'm not a little girl anymore. I know what I'm doing, and I definitely don't need your advice.

    SPIKE puts his hands up in mock-surrender.

    SPIKE: Fine. No need to attack me.

    DAWN: Yeah, actually, there is a need. (pause) How do you think it's been for us? Thinking that you're dead?

    SPIKE: Dawn, I had no choice.

    DAWN: (getting angry) Yes, yes you did. (beat) You just didn't have the decency. But that's nothing new- it's not like you've ever had any decency.

    Her eyes begin to fill up with tears of anger.

    SPIKE: That's not fair.

    DAWN: (angrily) Yeah, it is fair.

    SPIKE: There's nothing I could have done?

    DAWN: Yes, there is. If you'd been there?

    She pauses, more tears rising in her eyes.

    DAWN: (cont'd, angrier) If you'd been there we wouldn't be in this mess, and I would still have Buffy.

    SPIKE: But what could I have done?

    DAWN: You could've protected her! Protected both of us.

    SPIKE: Niblet?

    DAWN: Don't call me that.

    SPIKE: (cont'd) Dawn?

    He reaches out to touch her shoulder, but she steps backward quickly, to avoi him. She looks him in the eyes, and glares.

    DAWN: And don't touch me.

    She falls silent and a few tears stream down her cheeks. She stares him in the eyes for a few moments, glaring. She then moves over to the bed, and sits. There is hostility in the room, as a few moments of complete silence.

    ANGEL: What's the plan, then?

    DAWN: Are you deficient? (beat) I've already told you the plan. We go to Europe, we get the Slayers, and we look for Buffy.

    ANGEL: Well, I knew that. But?

    DAWN: But what? It's not that complicated, so I'm sure you can understand it. What's the problem?

    ANGEL: It's not much of a plan.

    DAWN looks as angry with ANGEL now as she did with SPIKE.

    DAWN: Oh yeah? (beat) Until I see you coming up with a way to find Buffy, I really don't want to hear your criticism. So zip it.

    ANGEL looks at her for a moment, but sighs. Nothing is going to get through to her.

    JANICE: When do we leave?

    DAWN looks at her, full of determination.

    DAWN: Tonight.

    CUT TO-INT. ?ILLYRIA'S ROOM- FAITH AND ROBIN'S APARTMENT- EVENING

    The whole room is dark, and we can just barely make out ILLYRIA'S figure next to the window. She's standing, but no longer looks pained. She's looking out the window, with a blank expression once again. We begin to hear bits and pieces of a conversation going on in the living room?

    FAITH: (O/S) I don't know what's going on with her?

    ROBIN: (O/S) Maybe just annoyed with us mortals?

    The camera moves outside of ILLYRIA'S room, through the hallway, and out into the living room. We see the same group from before sitting there.

    FAITH: (uncertain) Maybe?

    SAM: Hey?

    Everyone turns their heads to pay attention to what she's saying.

    SAM: (cont'd) Where's Marie?

    FAITH: I don't know?wasn't she with you, Alan?

    She looks at ALAN as she says this, who just shrugs.

    ALAN: She was. But she said she needed to go do something?she didn't say what.

    SAM: When was that?

    ALAN: After we went to see you?

    He stops, looking more concerned now. He furrows his eyebrows.

    ALAN: (cont'd) ?This morning.

    SAM: Wait, what? Shouldn't she be back by now?

    TOMMY: That is a while to be out?Do you think she's okay?

    SAM: I'm not so much worried about her. I'm worried about what she could be doing.

    There is an awkward silence. Most of the people in the room know what SAM is talking about. The few who don't just don't ask. They get the jist of it.

    FAITH: I don't think? I don't think she'd be doing anything like that. I hope she's alright?

    She looks down at the floor. Yet another friend in danger, and this one for the second time in a short period of time. FAITH was beginning to question her abilities as a leader?

    CUT TO-UNKNOWN LOCATION- EVENING

    The camera is focused on MARIE. She looks like she's confused?only not really.

    MARIE: I swear, I don't know.

    FIGURE: (O/S, firmly) No. You know about your powers.

    MARIE gulps, and hesitates slightly.

    MARIE: Y-yes?

    FIGURE: (O/S) That's what this is about.

    MARIE: Oh?What about them?

    FIGURE: (O/S) I'm sure you're wondering why what happened earlier happened. (pause) I have the answers.

    MARIE: You do??

    FIGURE: (O/S) Yes.

    There is sound of movement in one part of the room, but we cannot identify which part that is.

    FIGURE: (O/S) I take it that you remember your friends.

    MARIE: What, you mean Faith, Sam, A-

    There is a sound of chuckling, as if the FIGURE is amused.

    FIGURE: (O/S) Not them. Think farther back.

    MARIE looks confused for a moment, not realizing who they're talking about?but then it hits her.

    MARIE: The Clique?

    FIGURE: (O/S) Ah yes, there we go. So you do remember them.

    MARIE: (quietly) How could I forget?

    She looks upset, and glances to the side?

    CUT TO-EXT. ?SUNNYDALE HIGH SCHOOL-AFTERNOON

    The colours on the screen are blurred, as is the whole image, it looks static. We see MARIE, CATE, MELODY, BREE, and SKYE sitting on the lawn outside of the high school. They're talking, laughing, and appearing to have a great time.

    CUT TO-INT. ?ALLEY- SUNNYDALE ? EVENING

    The colours and the image are still the same. The camera is focused on a blonde?but it's not MARIE. It's CATE.

    VOICE: (V/O) Oh god!

    CATE snaps round, her hands covered in MELODY'S blood. MARIE is standing at the door of the warehouse. CATE glares at her angrily and walks towards her. As she does this, she puts a knife into her handbag.

    She stops opposite MARIE. They look at one another for a while.

    CATE: (looking her up and down) You're not worth killing, you're not in my way. Melody was right, you were never one of The Clique. Lucky for you Kaloff?

    MARIE: Why? They were your friends?

    CATE: Girls like those are not friends, they are distractions. You should leave town. If I see you again, I will consider you a distraction?understand?

    MARIE nods. CATE smirks and leaves the warehouse. MARIE watches her leave and then walks into the warehouse itself looking at the bodies of BREE, then SKYE and finally MELODY. She cries.

    MARIE: I'm sorry?

    She holds up her hands at the bodies and all three of the girls' corpses instantly combust into flames and burn away to nothing. No sign of their existence. She puts a hand to her mouth upset and she walks towards the warehouse door.

    CUT TO-UNKNOWN LOCATION- EVENING

    The colours and the image are back to normal, and MARIE stands there, looking upset.

    FIGURE: (O/S) Yes, unfortunate that?but this is more about two of them and you, specifically.

    MARIE looks up.

    MARIE: Which two?

    FIGURE: (O/S) Cate and Melody.

    MARIE winces at the sound of CATE'S name?but looks curious at MELODY'S.

    MARIE: Wait?what? Melody died?

    FIGURE: (O/S, almost sad) Yes, yes she did?but the prophecy is still relevant.

    MARIE: Prophecy?

    FIGURE: (O/S) Yes. (pause) There is a prophecy, involving the three of you. It's very important, because it is the means of a fight for survival.

    MARIE: What's that supposed to mean?

    FIGURE: (O/S) It means that only one of you will remain standing when it all comes down to it. And if I were you, I'd try to make sure it was myself.

    MARIE looks down. What was this person trying to ask her to do?? She looks upset, but then looks up again, in no particular direction.

    MARIE: What exactly does this prophecy say?

    FIGURE: (O/S) "And when friends turn to foes, powers will imbue unto them all, and they shall become more than false icons they will become sisters against darkness. One will prosper over the others, while the remaining will fall."

    MARIE stumbles a bit, stunned.

    MARIE: Wait?Cate and Melody are Slayers too?

    FIGURE: (O/S) Yes?and the other two were meant to be Slayers as well.

    MARIE takes note of another specific part of the prophecy, and looks hopeful.

    MARIE: Sisters against darkness?that means I'm good, right?

    Her eyes are watering; Even if it's false hope, she wants it.

    FIGURE: (O/S) If you choose to be. It's all up to you?and the Fates, of course.

    MARIE: And?Only one of us is going to survive?

    FIGURE: (O/S) That is correct.

    MARIE is silent for a few moments, taking in all of this information.

    MARIE: I'm not sure if I can handle this?

    She cradles her head in her hands, taking slow, deep breaths.

    FIGURE: (O/S) Oh?there's more.

    MARIE looks up quickly, shocked.

    MARIE: More than this?

    FIGURE: (O/S) You see, Marie?there's more to it than just that. And this part is only about you. (beat) About your "extra powers".

    MARIE'S mouth opens?these powers have even been a mystery to her?until now, it appears. She takes another breath before speaking again.

    MARIE: I'm listening.

    CUT TO BLACK

    END OF ACT III

    Leave a comment:

  • QueenC
    not an ice queen.

  • QueenC
    replied
    ACT II

    FADE IN

    OPEN TO- INT. DEAN'S OFFICE- AFTERNOON

    There is no one in the room now- it has been completely empty. An open window allows a slight breeze to drift in. The door opens, slowly, and ALAN pokes his head in- making sure no one is there. He walks in and heads toward the bookshelf, and picks up the recorder that we saw in the previous scene.

    ALAN: Please, have something?

    He sighs, and looks at the recorder, before leaving the room.

    CUT TO- INT. ?FAITH AND ROBIN'S APARTMENT- AFTERNOON

    LENA is standing in the living room, with a phone pressed to her ear. She's speaking in hushed tones, so we can't hear her at first. The camera zooms closer to her, and we begin to hear what she's saying, but it is very quiet.

    LENA: She's buying it alright. (pause) No, they don't suspect a thing. (beat) I'm not lying. Sheesh, you people are so paranoid sometimes. You know who should be? Me. I should be the paranoid one. What, with the reputation you guys have- (pause) Yes I understand what I have to do. Do you think I'm an idiot? (pause) Gee, thanks. I'm going to hang up now.

    She closes the phone as hard as she can, rolling her eyes.

    ROBIN: (O/S) Who was that?

    LENA swivels around. Did he hear?? She shrugs.

    LENA: Wrong number.

    ROBIN looks at her, warily.

    ROBIN: Wrong number?

    LENA nods, acting as if what she's saying is the truth.

    ROBIN: If it was a wrong number, why were you on the phone so long?

    LENA doesn't respond for a few moments, mentally slapping herself.

    LENA: I?I just couldn't get them to hang up. They were sure I sounded like this girl? Amanda or something.

    ROBIN looks at her cautiously for a few moments but then nods.

    LENA: (cont'd) You know how people can be. So damn stupid and oblivious.

    ROBIN nods again, not knowing who LENA was really describing. He turns around and walks into the kitchen. LENA looks back down to the phone and sighs?that was a close one. A door opens, and LENA glances into the kitchen. ROBIN is still there, but someone has joined him- TOMMY. LENA looks at him confused, but then widens her eyes as if realizing something, and glances away.

    LENA: (cont'd) It can't be?

    The camera moves into the kitchen, where ROBIN and TOMMY are now talking.

    TOMMY: Hey.

    ROBIN: Hi. (pause) Where've you been?

    TOMMY shrugs.

    TOMMY: Here, there?everywhere. Anywhere.

    ROBIN: (sarcastically) Thanks so much for the details.

    TOMMY gives a smug smile.

    TOMMY: Anytime!

    He continues to smile as he walks into the living room, where LENA still is. But now she's at the window, with her back away from him. TOMMY raises an eyebrow.

    TOMMY: (to himself) That's not Faith? (to ROBIN) Who's the newbie?

    LENA looks down, muttering something under her breath, but TOMMY does not take any notice.

    ROBIN: (O/S) She's?Well, I don't really know. I just know she needs help.

    TOMMY: Help as in "special help" or as in some big demon or something is after her?

    LENA swivels around.

    LENA: A bit of both.

    TOMMY looks at her for a few moments, while LENA holds her breath?

    TOMMY: Hey? I know you?

    LENA winces, and slowly lets her breath out.

    LENA: Really? I don't think we've ever met.

    TOMMY squints, and then shrugs.

    TOMMY: I think I might've mixed you up with someone then. You just?look so familiar.

    LENA: I get that a lot.

    They stand in awkward silence for a few more moments, and TOMMY still looks as if he is trying to place her. She moves before he can look at her too closely any longer.

    ROBIN: (O/S) What are you guys talking about?

    TOMMY: (still thinking) Nothing. Just small talk.

    ROBIN goes silent, and there are a few noises to indicate that he's moving in the kitchen. TOMMY turns to LENA once again, who looks uncomfortable.

    TOMMY: So?what kinda help do you need?

    LENA rolls her eyes.

    LENA: Nothing a little boy like you could handle.

    TOMMY: (smugly) You'd be surprised.

    LENA looks at him, giving a fake smile.

    LENA: I really wouldn't.

    TOMMY glares at her, not offended- just annoyed. Like she knows what he's capable of? Just then, BRIAN walks out of the hallway, looking extremely sleepy; bags under his eyes, hair messed up, etc. LENA is the first to notice him.

    LENA: You look like hell.

    BRIAN looks at her, and raises an eyebrow.

    BRIAN: ?Who are you?

    LENA: (in a low voice) I'm your conscience. You need a makeover?Stat.

    BRIAN: Right.

    He continues to walk toward the living room, ignoring both LENA and TOMMY. He plops down on one of the chairs and sighs, rubbing his eyes.

    TOMMY: Long night?

    BRIAN: The longest.

    LENA: The longest day is on-

    BRIAN: Not the point.

    LENA closes her mouth and walks over to the window again. She looks down at the street, where a thousand people must be walking, and stares at them as they pass by.

    TOMMY: (to BRIAN) So, where is everyone?

    BRIAN shrugs.

    BRIAN: Beats me. (pause) You haven't been around much lately either.

    TOMMY: Yeah, well, unlike most people that live here, I have a life.

    BRIAN: Most of us are too busy trying to save the world half the time to bother having a social life.

    TOMMY: Saving the world?

    BRIAN: Well you know about slayers, demons, and everything?So you must know about the whole "most demons want to end the world" thing.

    TOMMY blinks.

    BRIAN: (cont'd) Or not.

    DAWN: (O/S) Hey, do you guys know if Spike and Angel are back yet?

    The camera pans over to the entrance to the hallway, where DAWN is standing. BRIAN and TOMMY stare at her blankly, and LENA doesn't bother turning to her at all. No one answers.

    DAWN: (cont'd) Do I need to talk slower?

    They still do not answer.

    DAWN: (cont'd, slower) Are?Spike?and?Angel?ba-

    TOMMY puts a hand up, stopping her.

    TOMMY: Look, we're not idiots. We heard you the first time.

    DAWN crosses her arms over her chest and raises an eyebrow.

    DAWN: So why didn't you answer me? ?Cause it sure made you look idiotic.

    TOMMY: I didn't know Spike and Angel went out.

    DAWN looks around, and makes a gesture as if to show TOMMY around the room.

    DAWN: Does it look like they're here?

    TOMMY goes to open his mouth but before he can say anything, DAWN speaks again.

    DAWN: (cont'd) No. Unless you're blind, no. So don't stare at me like I have spinach in my teeth when I ask you this again- Are Spike and Angel back?

    TOMMY: Unless you're blind, you can see that they're not here.

    DAWN: It's a big apartment.

    TOMMY: Touch?.

    LENA: (O/S) Well, if you kids are done flirting-

    TOMMY laughs.

    TOMMY: Why would I flirt with her? She's a-

    DAWN: (as if daring him) I'm a what?

    LENA: Seriously, lady and gent, cool it. Stop arguing about something stupid, and move on. ?Kay? (beat) That's not a question, by the way. Just stop.

    TOMMY and DAWN fall silent.

    WOMAN: (O/S) Dawn?

    DAWN looks toward the kitchen, where the sound came from.

    DAWN: Janice?

    DAWN walks toward the kitchen, and the camera follows her. It is JANICE standing in the kitchen. DAWN smiles, and walks toward her, giving her a hug. ANGEL and SPIKE walk in the door soon after DAWN hugs JANICE. They break apart, and JANICE looks at DAWN worriedly.

    JANICE: What's going on?

    DAWN: Buffy's missing.

    JANICE: ?What? How?

    DAWN looks away, shaking her head.

    DAWN: I don't know? But I need your help.

    JANICE frowns.

    JANICE: How am I supposed to help?

    DAWN: I need you to come with me to Europe.

    JANICE: But how am I supposed to help?

    DAWN bites her lip slightly.

    DAWN: I don't know right now. We need all the power we can get though.

    JANICE: But?Dawn, I'm not powerful.

    DAWN: Anyone can be powerful if they try hard enough.

    JANICE smiles.

    JANICE: That's a nice saying.

    DAWN: Buffy taught me it.

    The room goes silent for a minute.

    DAWN: (cont'd) So?are you going to help?

    JANICE looks DAWN straight in the eyes and contemplates her answer?

    JANICE: I'm not sure?

    She takes a deep breath, but then nods.

    JANICE: Yeah?(beat) Just tell me what to do.

    DAWN smiles. JANICE smiles too, but looks worried. What if she couldn't handle this?? Too late to change her mind, though; her friend needs her?

    CUT TO-INT. ?POLICE STATION- AFTERNOON

    A receptionist is sitting at a desk about ten feet away from the entrance to the station, and she is sifting through papers. We see a hand go on the desk she has the papers on, with something in it. The RECEPTIONIST is startled. The hand pulls back- it's recorder. We pan up to see who it is- ALAN.

    RECIPTIONIST: May I help you?

    ALAN: I have evidence to prove Sam Derevco's innocence.

    The RECEPTIONIST raises an eyebrow, and picks up the recorder.

    RECEPTIONIST: Is this it?

    ALAN: It's on there, yeah.

    The RECEPTIONIST stands.

    RECEPTIONIST: Come with me, please.

    ALAN nods as the RECEPTIONIST leads the way deeper into the station. She leads him down a hallway and enters a room on the right. The entire room is full of evidence, and a corner that almost looks like an office. There's a computer on the desk in "office", and the RECEPTIONIST heads over to it. She takes a USB port and connects it to the recorder. A media player opens up on the screen, but no sound is played.

    RECEPTIONIST: There's nothing on here.

    ALAN: What? That can't be?

    He furrows his brow, worriedly. He looks away.

    RECEPTIONIST: (O/S) Aha! I had it on mute.

    She clicks a few buttons, and restarts the recording.

    SECRETARY: (on recording) Thank god. Could you have taken longer?

    DEAN: (on recording) Actually? I could have. You should be happy that I even decided to show up. We should be out of here by now. What's taking so long?

    SECRETARY: (on recording) Well that girl hasn't been said to be guilty yet, and as long as they don't know who did it, everyone is suspected.

    The RECEPTIONIST pauses the recording, and shakes her head.

    RECEPTIONIST: This doesn't proof anything.

    ALAN: No, that doesn't. Fast forward.

    The RECEPTIONIST sighs, and does what ALAN says, stopping only a little while further into the recording.

    SECRETARY: (on recording) Do I need to remind you that I'm the one that actually convinced you to kill the girl?

    The RECEPTIONIST widens her eyes, pauses the recording, rewinds it, and presses play again.

    SECRETARY: (on recording, again) Do I need to remind you that I'm the one that actually convinced you to kill the girl?

    The RECEPTIONIST stops the recording, and turns to ALAN.

    ALAN: That enough proof for you?

    She doesn't say anything. Instead, she unplugs the recording and walks out of the office, and toward the front of the station. ALAN smiles.

    CUT TO-STOCK IMAGE- NYC- AFTERNOON

    Time is moving a little faster and the sun is starting to go down.

    CUT TO-INT. ?POLICE STATION- LATE AFTERNOON

    Time is back to normal. The camera is set looking in a cell that appears empty from this angle, but when it moves, we see someone on a bunk bed- it is SAM. She's staring above her, and she looks bored. Suddenly, we hear the sliding of the cell door. She sits up, and looks over at the door.

    SAM: What's going on?

    The camera pans over to two police officers, and ALAN.

    POLICE OFFICER 1: Samantha Derevco, you're being released.

    SAM looks surprised, and looks from ALAN back to the police officers.

    SAM: What? How?

    POLICE OFFICER 2: It appears we have evidence of who the real killers are.

    SAM: Oh?wow. Good.

    She stands, and walks to the opening of the cell. The police officers move out of her way, and she walks out of it. She glances at ALAN and silently mouths "thank you" before walking away. ALAN smiles, glad that he's finally done something right in her eyes. The police officers follow her, and ALAN follows them.

    CUT TO-INT. ?FRONT OF POLICE STATION- LATE AFTERNOON

    The police officers are now leading the way, followed by SAM, and ALAN who is a little bit behind all of them. As they get closer to the doors, the doors open, and two different police officers enter, bringing two other people in?As SAM and the group around her gets closer to this other group, time seems to slow down. They pass, and SAM looks over- to see the DEAN and the SECRETARY. They both look over at her, glaring almost menacingly. SAM widens her eyes, and turns back to the door. Time goes back to normal, and SAM and ALAN walk out the door. The police officers look out to them.

    POLICE OFFICER 1: (smiling) Have a nice day.

    SAM looks like she's worried, and she doesn't respond. ALAN, on the other hand, nods to the officer.

    ALAN: Thank you, we will.

    CUT TO BLACK

    END OF ACT II

    Leave a comment:

  • QueenC
    not an ice queen.

  • QueenC
    replied
    ACT I

    OPEN TO-NYC STREET- MORNING

    Several vendors are selling all sorts of different things to people- from hot dogs to movie transcripts, from paintings to water bottles. We see two people pushing through the crowds- ALAN and MARIE.

    ALAN: Well that was useless.

    MARIE: What do you mean?

    ALAN shrugs.

    ALAN: I dunno, just Sam didn't tell us much and-

    MARIE: Uh, we didn't go there to ask Sam anything.

    ALAN: (ignoring her) ?The cops are just plain idiots.

    MARIE: ?You didn't know this before? They eat doughnuts while the rest of the city is going to chaos. Literally speaking, most of the time. A hellmouth could open up under the Statue of freakin' Liberty and they'd still be mooning over the newest flavours of coffee. It's disgusting really.

    ALAN: Sounds like you have a personal problem with them.

    She shrugs.

    MARIE: What can I say? I have issues.

    ALAN: I'm aware of that.

    MARIE looks at him, and the conversation has just gotten serious. She continues to stare at him, and then looks away. It takes ALAN a minute to realize what he's said.

    ALAN: (cont'd) Oh I didn't mean-

    MARIE looks at him, making him stop talking.

    MARIE: Yeah, you did.

    She shrugs.

    MARIE: (cont'd) I guess I should be used it by now.

    ALAN: Well it's not like we can forget.

    MARIE looks down at her feet as she walks.

    MARIE: I know.

    ALAN looks a little sorry for bringing it up, but okay with it at the same time. Why shouldn't she be made to felt guilty for what she did? MARIE suddenly stops short. It takes ALAN a few seconds to realize this before he stops and looks back at her.

    ALAN: You alright?

    MARIE doesn't answer. She sways from side to side subtly, once, but then looks up at him and smiles.

    MARIE: I'm fine.

    She begins to walk forward again, and ALAN stares after her, confused, for a few seconds before following her once again.

    CUT TO-INT. ? STORE- MORNING

    The door to the store opens and the bell above it rings. We don't see who walks in, but we here their voice.

    SPIKE: (O/S) I hate those damn things.

    The camera angles itself in a different way and we see that both SPIKE and ANGEL have walked into the store.

    SPIKE: (cont'd) It's bad enough that the Magic Box had one but every bloody shop we walk into has one.

    ANGEL: Magic Box?

    SPIKE: It was a shop in Sunnydale. It kind of collapsed though. I know I wasn't broken up about it.

    ANGEL: Everything in Sunnydale collapsed.

    SPIKE: No, this was before that.

    ANGEL: Oh.

    A few moments go by as they walk further into the store.

    SPIKE: What're we looking for again?

    ANGEL: You really do have the memory of a goldfish.

    SPIKE just glares at him, and ANGEL sighs.

    ANGEL: (cont'd) We're not looking for a what, you moron. We're looking for a who.

    SPIKE: Who then?

    ANGEL is mildly annoyed. Could SPIKE really be that dense?

    ANGEL: Dawn said her name was Janice. She thinks she can help.

    SPIKE: She knows about demons an' whatnot?

    ANGEL: ?No.

    SPIKE widens his eyes before annoyance and anger flash across them.

    SPIKE: Then how, exactly, is she supposed to help?!

    ANGEL shrugs, uncertain.

    ANGEL: I don't know, but Dawn does, and I trust her.

    SPIKE says nothing. How was a human, with no knowledge of the demon world, supposed to help them find BUFFY? DAWN must be insane. Nevertheless, they walked further into the store, searching for DAWN'S friend.

    They came up to the cash registers and surveyed them. There were several female cashiers, but none matching the description that DAWN gave ANGEL.

    ANGEL: That's not right?Dawn said she'd be working. Where is she??

    They looked through the crowd once again- no sign of JANICE.

    ANGEL: (cont'd) Let's go check with customer service- see if she's actually working.

    He begins to walk over there as SPIKE looks around one last time. Still no sign of JANICE. He follows ANGEL. When he gets over there, ANGEL is already talking to the customer service specialist.

    ANGEL: (finishing a sentence) ?if Janice is working today?

    CUSTOMER SERVICE SPECIALIST (CSS): Do you know her last name?

    ANGEL: (hesitantly) No.

    CSS: Then, I'm sorry, I can't give out that information about employees, other than to family and close friends.

    ANGEL: (quickly) We're family.

    The CSS raises an eyebrow.

    CSS: So why don't you know her last name?

    Oops. ANGEL closes his eyes, mentally slapping himself for his mistake. Why hadn't he thought to ask DAWN for her last name? He opens his eyes and sighs. Time to try again.

    ANGEL: Look, it's not like we're asking for her address. Just if she's working today.

    CSS: I can't-

    WOMAN: (O/S) Sorry I'm late. Traffic was ridiculous, and the cab driver?

    She sets a purse down on the desk, and puts her hands up there, folded. Her hands are all we see.

    WOMAN: (O/S) You don't wanna know.

    ANGEL and SPIKE look to their right, where the WOMAN is- she fits the description.

    SPIKE: Janice?

    The WOMAN- JANICE turns her head toward him.

    JANICE: Yeah? (beat) Wait, don't I know you from somewhere?

    SPIKE looks confused, but the realization soon dawns on him.

    SPIKE: Oh yeah! Halloween. Run into any more vam-

    ANGEL elbows him in the side.

    SPIKE: Ow! What- (pause) Oh.

    JANICE: Any more what?

    SPIKE: Uh?Vam?Vantriliquists?

    JANICE: (confused) Can't say I've ever run into one.

    ANGEL: Anyway?we came here for a reason. We need your help.

    JANICE: Help with what, exactly? I don't even know you.

    SPIKE: It's not so much us needing help, it's Niblet.

    JANICE blinks.

    JANICE: Niblet?

    SPIKE stares at her as if she's dumb for a moment before realizing that she has no clue what he's talking about.

    SPIKE: Dawn.

    JANICE: Not even gonna ask?

    CUSTOMER: (O/S) Excuse me?

    They all turn their heads at the CUSTOMER. He looks very annoyed.

    CUSTOMER: (cont'd) ?But you're in the way, and some of us actually have lives and need to get going. Move.

    JANICE: I work here, I'm allowed to stand wherever the hell I want.

    CUSTOMER: No, you're supposed to service us. And you can do that by getting out of the way.

    JANICE glares at him, but walks off. ANGEL and SPIKE quickly follow, not wanting to lose her. JANICE quickens her pace and exits the store, and they continue to follow her.

    CUT TO-EXT. ?STORE- MORNING

    JANICE continues to walk away from both ANGEL and SPIKE.

    SPIKE: Hey!

    She ignores his yell and continues walking away.

    ANGEL: Your friend needs your help.

    She stops?hesitant. She knows her friend needs her help?or she thinks she does. How can she trust these people? She turns around.

    JANICE: How do I know you're telling the truth?

    ANGEL: Can't you just trust us?

    JANICE: This is New York. No one can be trusted.

    ANGEL: How are we supposed to prove it?

    JANICE: I don't know?but I'm not following some random strangers just to have ?em lead me to an alleyway or something.

    SPIKE: Do we really look like we'd do that?

    JANICE looks him up and down.

    JANICE: Now that you mention it? Yeah.

    SPIKE: I've helped you before, in Sunnydale.

    JANICE: I have no way of knowing if that was you.

    SPIKE sighs. Suddenly, a ringing is heard. They stand their for a moment, silent. JANICE and SPIKE stare at ANGEL.

    ANGEL: ?What?

    JANICE: It's yours.

    ANGEL looks down at his pocket.

    ANGEL: Oh?(beat) I hate the damn thing?

    He reaches down in his pocket and quickly hands it to JANICE.

    ANGEL: (cont'd) You answer it.

    JANICE: Like I'm gonna know who's calling.

    ANGEL: Just answer.

    JANICE sighs and opens the cell phone up, pressing it to her ear.

    JANICE: Hello? (pause) Yeah who's this? (pause) Oh, hi Dawn? (pause) Yeah I'm with them?. (pause) Okay, bye.

    She pulls the phone away from her ear and hands it to ANGEL.

    JANICE: (cont'd) Lead the way.

    CUT TO-INT. ? DEAN'S OFFICE- CAMPUS ? LATE MORNING

    The SECRETARY is leaning against the desk that's in the middle of the room. She's tapping her fingers on the desk impatiently. She glances at the clock on the wall. The door to the room opens and she looks at it, relieved as the DEAN walks in.

    SECRETARY: Thank god. Could you have taken longer?

    DEAN: Actually? I could have. You should be happy that I even decided to show up. We should be out of here by now. What's taking so long?

    SECRETARY: Well that girl hasn't been said to be guilty yet, and as long as they don't know who did it, everyone is suspected.

    DEAN: So shouldn't we be getting out of here now, then?

    The SECRETARY looks at him as if he's stupid- in fact, maybe he is.

    SECRETARY: Because?If we left when a student had just been murdered, and the "real killer" hadn't been found, it would draw an awful lot of unwanted suspicion to us, don't you think?

    DEAN: Unless we say we're leaving because it-

    SECRETARY: (firmly) No. It'll only get us in trouble. Is that what you want?

    DEAN: Of course not.

    He looks at her, getting angry.

    DEAN: (cont'd) Since when are you in charge of our little operation? I'm the one that started the whole thing. You should be taking orders from me, not vice versa.

    SECRETARY: Do I need to remind you that I'm the one that actually convinced you to kill the girl?

    DEAN: I was going to do that if you convinced me to or not.

    SECRETARY: No, you weren't. You were more hesitant everyday.

    DEAN: I just didn't see the point of killing her, is all.

    The SECRETARY rolls her eyes, mildly annoyed.

    SECRETARY: How many times do I have to explain it to you? We follow orders. We don't need to know the why about them. We just need the what and the where.

    DEAN: Don't you ever think about questioning-

    SECRETARY: No. Do you know how much trouble that can get you into?

    There is a knock on the door. The SECRETARY widens her eyes. What if?

    SECRETARY: (cont'd) You don't think they heard??

    The DEAN looks at her, worried, before walking to the door. He opens it, cautiously- not opening it all the way.

    WOMAN: (O/S) Open this door right now or I'll-

    The DEAN opens the door fully, being careful because of her warning tone. We see that it is EVE standing there. She smiles.

    EVE: (cont'd) Break it down myself. (pause) Hello.

    She walks into the office and the DEAN looks at her, as if surprised by her being there. She walks over to where the SECRETARY is leaning against the desk.

    EVE: (cont'd) Is it done?

    SECRETARY: Of course it is. Do you think I'm a fool?

    EVE: I'd rather not comment. (beat) Good job. We still need the girl's soul, though. Did you collect it?

    DEAN: She's not as stupid as she looks.

    The SECRETARY looks at him, offended.

    EVE: Is that a yes?

    DEAN: Yes, we have her soul.

    EVE: Good. We're running out of time to set things in motion.

    SECRETARY: When exactly is that happening, anyway?

    EVE raises an eyebrow, looking at her as if she's from an entirely different planet.

    EVE: You really think I would disclose that information with you, of all people?

    SECRETARY: (angrily) We killed the girl. We collected her soul.

    She crosses her arms over her chest, smiling smugly.

    SECRETARY: (cont'd) And we still have it.

    EVE: Okay, one? You wouldn't have a soul for yourself, let alone the girl's, had it not been for me. Two? (smiling) You don't still have it.

    The SECRETARY furrows her eyebrow, obviously confused, when a FIGURE steps out from behind her, holding a wooden box that looks ceremonial. The FIGURE is dressed in all black, and doesn't say a word before walking out of the room.

    SECRETARY: (weaker) You can't do this?

    EVE: Oh, but I can.

    She smirks, and begins to head toward the exit of the room.

    DEAN: (O/S) Wait.

    EVE turns around, curious as to what he wants from her. She raises an eyebrow, as if to say "Yes?"

    DEAN: (cont'd) How are we supposed to get out of this? You people were supposed to help us, hide anything that could link us to the murder. Now if, or probably when, they find that Sam girl not guilty, they're going to start pointing fingers. At us.

    EVE stands there for a moment, contemplating what her answer should be. Finally it enters her head, and she smiles, shrugging.

    EVE: Figure it out.

    She swivels around, opening the door and exiting gracefully. The DEAN looks at the SECRETARY worriedly. What should they do??

    The camera moves over to a book shelf, and we see a dark corner of it that's not really visible to anyone looking at it. There's something there?something silver?

    A recorder.

    CUT TO BLACK

    END OF ACT I

    Leave a comment:

  • QueenC
    not an ice queen.

  • QueenC
    started a topic Rogue Redemption 2.06 "Power Outage"

    Rogue Redemption 2.06 "Power Outage"

    2.06 "Power Outage"

    TEASER

    FADE IN

    OPEN TO-INT. ?JAIL CELL-MORNING

    We see SAM laying down on the bottom part of a bunk bed, on her back. She looks as if she's staring at the bottom of the bed that's above her- either bored out of her mind or thinking very hard.

    MAN: (O/S) Having fun?

    SAM looks to the side, past the bars of her cell. ALAN and MARIE are standing there.

    SAM: As a matter of fact?

    She smiles.

    MARIE: Are you someone's bitch already?

    SAM turns to her and glares.

    SAM: No. (beat) I might have a few bitches of my own though.

    She smiles again.

    ALAN: You seem oddly?cheerful?about being locked up.

    SAM shrugs.

    SAM: I know that I'm innocent, what's there to worry about?

    ALAN looks at her, troubled.

    ALAN: A lot, actually. Someone's trying to frame you.

    SAM sits up, now looking as worried as ALAN does.

    SAM: What? How do you know that?

    ALAN looks hesitant.

    ALAN: Well, I stole the girl's information folder from the dean's office-

    SAM: You stole it? Why not just ask for it?

    ALAN: When I'm done telling you what happened you'll understand. (beat) Anyway, I took it, trying to find something- anything. I'm not really sure what. (pause) But when I went to put it back, I heard people talking, so I waited outside?and I overheard the dean saying that he'd killed her.

    SAM looks shocked.

    SAM: Oh?wow?

    She looks down.

    SAM: (cont'd) I can't believe that, he seemed like such a nice person.

    ALAN: Nice people do stupid things.

    SAM brings up her gaze and her and ALAN'S eyes lock, but for a fleeting second.

    SAM: But?why would he try to frame me?

    ALAN: They, actually.

    SAM looks confused at this.

    ALAN: (cont'd) It sounded like he was working with his secretary. He was talking about it with her, anyway.

    SAM: People must hate me.

    ALAN: No. I think that they just picked a random person from the database.

    SAM: Or they've got it out for me.

    ALAN: But why?

    SAM shrugs.

    SAM: Maybe because I tell teachers off too much.

    MARIE: So they're framing you for murder?

    She rolls her eyes.

    MARIE: (cont'd) For some reason, I really doubt that.

    SAM: What else could it be? I've never done anything to them.

    ALAN: Hello, did we listen to me? Random, remember?

    MARIE shakes her head.

    MARIE: If you're going to frame someone for murder you need to know the person, at least a little bit. It's kind of hard if you don't.

    ALAN raises an eyebrow.

    ALAN: And you know this?why?

    MARIE: Television.

    ALAN: (not convinced) Riiight?

    MARIE glares at him, but then turns back to SAM.

    SAM: Oddly enough, I agree with you.

    ALAN: Whoa, pause button, rewind?you just agreed with Marie.

    SAM: Don't be so dramatic.

    She rolls her eyes. ALAN looks like he hears something.

    ALAN: You hear that crackling? That's the sound of hell freezing over.

    MARIE pushes his shoulder making him stumble back a little and SAM chuckles. MARIE begins to walk out of the jail. ALAN looks to SAM.

    ALAN: So what should we do?

    SAM: You're not really that dumb, are you?

    ALAN looks annoyed.

    SAM: (cont'd) You prove that I didn't do it.

    He nods and walks out as MARIE did. SAM sits back down and sighs.

    CUT TO-INT. ?FAITH AND ROBIN'S APARTMENT- MORNING

    FAITH is sitting at the table, absent-mindedly stirring cream in a cup of coffee. It is already mixed, but she doesn't seem to notice.

    LENA: (O/S) Okay I know you're thinking but seriously, it looks like all that you ever do is sit.

    FAITH looks over in the living room, and glares at LENA sitting on the chair.

    FAITH: You don't get to criticize me. This is my house, and I'll do whatever the hell I want.

    LENA puts her hands up in mock-surrender.

    LENA: Fine, fine?jeez.

    She gets up off the chair and heads toward the kitchen.

    LENA: (cont'd) You know, you don't need to, like, attack me. I'm here for your help, not your sarcasm.

    FAITH: Uh huh. And tell me exactly why you're in my house?

    LENA: Because you let me stay here?? (beat) Are you getting that one disease? That one where you lose your memory?

    FAITH: Alzheimer's?

    LENA: Yeah! That. Are you?

    FAITH: Only old people get that.

    LENA: Yeah, well?are you?

    FAITH scoffs.

    FAITH: Is the only reason you're hear to bug me? Because it's working. It really is.

    LENA: You know why I'm here! Or, at least, you should. If you don't have-

    FAITH: (annoyed) I don't have it! I'm not old.

    LENA looks her up and down and raises an eyebrow. She rolls her eyes.

    LENA: Whatever.

    FAITH: I know it's because you need our help. But?

    FAITH did not let herself utter the words. She was wondering why she had let LENA stay overnight there so easily and without judgment. FAITH was carefree, but not that carefree?

    LENA: What?

    FAITH shakes her head.

    FAITH: Nothing. (pause) You didn't tell us what your probably actually is last night.

    LENA: Oh, sorry?I was just tired and-

    FAITH: That's alright.

    No, it wasn't. Why was she accepting LENA so easily? She furrowed her brow.

    LENA: The problem isn't really a what? (beat) It's a who.

    FAITH: Who is it?

    LENA: Clark Rutherford.

    FAITH widens her eyes. That is the one thing in this situation that she has understood so far.

    Starring:
    ELIZA DUSHKU as FAITH LEHANE
    D.B. WOODSIDE as ROBIN WOOD
    JAMES CALLIS as BRIAN EDWARDS
    CALLUM BLUE as ALAN ROSS
    MICHELLE WILLIAMS as MARIE KALOFF
    TINA MAJORINO as SAMANTHA DEREVCO
    JASON DOHRING as TOMMY

    Guest Starring:
    SOPHIA BUSH as LENA
    RICHARD DEAN ANDERSON as CLARK RUTHERFORD

    Special Guest Starring:
    AMY ACKER as ILLYRIA
    DAVID BOREANAZ as ANGEL
    JAMES MARSTERS as SPIKE
    MICHELLE TRATCHENBERG as DAWN SUMMERS
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