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Rogue Redemption 2.09 "Beyond Repair"

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  • Rogue Redemption 2.09 "Beyond Repair"

    Rogue Redemption
    2.09 "Beyond Repair"

    TEASER

    FADE IN

    OPEN TO-EXT. ? APARTMENT BUILDING- EVENING

    FAITH, ROBIN, and TOMMY stand in front of the apartment building, still in shock. They have their hands up. Police officers are still pointing guns at all three of them.

    POLICE OFFICER 1: Move slowly toward the nearest police car.

    ROBIN and TOMMY glance at FAITH. FAITH doesn't move; she just continues to stare at the officer. The officer is not amused.

    POLICE OFFICER 1: (cont'd, yelling) Now!

    FAITH looks back to ROBIN and TOMMY, before looking down?and moving toward the car. She frowns, staring at the officer as she moves. The officer keeps his gun pointed at her, as he inches forward. As he gets closer, FAITH clenches her fist, and looks at ROBIN. He looks back at her. They stare at each other for one long moment, and ROBIN shakes his head. FAITH frowns, and nods. She looks at the officer, and before he can put her into the car, she opens the door and slides in by herself. The officer looks surprised. He clears his throat, and turns back to all of the other policemen and women. He makes a gesture, and their restraints of the rest of the gang loosen. A policewoman walks up to ROBIN.

    POLICEWOMAN: Considering the only evidence we have is against Faith, you and your other friends are off the hook. For now, that is. If we find that you were involved in her crimes, we will send someone to arrest and lock you up immediately. Understood?

    ROBIN stares at her, and doesn't say a word, doesn't nod or shake his head. The policewoman sighs, before walking away. Cars pull away as cops exit the scene. ROBIN looks to everyone; TOMMY, ALAN, SAM, BRIAN, and an unconscious MARIE. They all look at him. No one says a word, until?

    SAM: What do we do now?

    The silence returns?no one knows the answer.

    CUT TO- INT. ?FRED'S APARTMENT- EVENING

    FRED sits on the chair in the living room, her head resting in her head, as she looks almost bored. But she also looks like she is in thought, and about something very important. She quickly stands up, and begins to pace.

    MAN: (O/S) Miss.

    FRED turns around, and we see a man standing there. He doesn't smile.

    FRED: (sharply) What?

    The man steps forward, slowly.

    MAN: I don't mean to disturb you bu-

    FRED: Spit it out already.

    MAN: Fine. (beat) One of Asmodai's brothers is planning to make a visit.

    FRED looks at him, shocked.

    FRED: What?

    MAN: One of-

    She shakes her head.

    FRED: I heard you, but?We made a deal. He can't send anyone after me. Not after that.

    MAN: He's gone. I don't think he's playing by the rules anymore.

    FRED looks to the side and then to the floor. She looks extremely worried.

    CUT TO- EXT. ?NEW YORK CITY- EVENING

    The camera view is angled on the New York City skyline, lit up by lights in the buildings. No sound can be heard, except for the occasional car. The camera moves up to the top of the bridge crossing to New York City, and a figure is seen there, looking down on the city. We zoom up to them to see a man with a disfigured face. He gives a twisted smile.

    CUT TO BLACK

    END OF TEASER

    SONG: TIME IS RUNNING OUT- MUSE

    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
    AMY ACKER as FRED/ILLYRIA

    Guest Starring:
    SOPHIA BUSH as LENA LEHANE
    MICHAEL VARTAN as COLLIN
    GASPARD ULLIEL as EMMETT
    ZOOEY DESCHANEL as SELENE
    MISCHA BARTON as ARTEMIS
    CHRISTOPHER B. DUNCAN as ASMODAI

    "If I told you half the things I've heard about this Jabba the Hutt, you'd probably short circuit."
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  • #2
    ACT I

    FADE IN

    OPEN TO-INT. ?POLICE STATION- LATE EVENING

    The police officers from earlier are seen walking through the station, pulling FAITH along behind them, but she doesn't seem to be giving much of a fight. She is looking at her feet as she walks.

    CUT TO-INT. ?WAITING ROOM- POLICE STATION- LATE EVENING

    ROBIN is sitting in the room, off to the side, looking very aware, and worried. TOMMY is next to him, with the same behaviour. BRIAN is sitting next to MARIE, who remains unconscious. ALAN is sitting, looking bored, and SAM is sitting a few seats away from him. The view goes back to ROBIN, who looks restless, and then back to MARIE again?who is beginning to stir. She lifts her head up, and looks at the person sitting next to her; BRIAN. MARIE looks at the surroundings; and becomes confused.

    MARIE: Where are we?

    BRIAN: Police station.

    MARIE: Oh.

    A second goes by, and she looks surprised and sits up.

    MARIE: (cont'd) Wait, what?

    BRIAN: What's the last thing you remember?

    MARIE: I?

    She pauses, thinking. Her eyes water as she begins to speak again.

    MARIE: (cont'd) I saw my friends.

    BRIAN tilts his head, confused.

    BRIAN: You mean Sam, Alan, F-

    MARIE shakes her head.

    MARIE: No. I mean?my other friends. Skye, and Bree?

    BRIAN: Am I supposed to know these people?

    MARIE shakes her head once again.

    MARIE: No. I really shouldn't have seen them, either.

    BRIAN: Why?

    MARIE hesitates, before looking him in the eyes.

    MARIE: They're dead.

    BRIAN: Oh. I'm sorry.

    MARIE shakes her head.

    MARIE: Don't worry about it. It was a long time ago.

    BRIAN: Grief never completely fades. Believe me?I know.

    MARIE looks at him, sadly.

    POLICEMAN: (O/S) Excuse me?

    MARIE and BRIAN look away from each other as they see a policeman standing in front of them. ROBIN gets up to talk.

    ROBIN: Yes?

    POLICEMAN: Are you Faith Lehane's family?

    ROBIN: Might as well be.

    The policeman raises an eyebrow, but continues.

    POLICEMAN: I regret to inform you that we already know her to be guilty; You are to await a trial to know how much time she will spend in prison.

    ROBIN stands in silence, taking in the information.

    POLICEMAN: (cont'd) Now?We have a slight problem. (pause) Were you hiding her, knowing that she was a criminal?

    ROBIN looks back to the group with questioning eyes, and then back to the policeman.

    ROBIN: We weren't hiding her; She was living with us. (beat) And she isn't a criminal.

    POLICEMAN: I wouldn't bet on that.

    ROBIN: This isn't a gamble or a game, and we're not betting. This's what I know, and I don't care what you say?You can't make me believe otherwise.

    POLICEMAN: Sir, we have evidence.

    ROBIN: She's not a criminal.

    POLICEMAN: She's done some horrible things.

    ROBIN: When? Years ago?

    POLICEMAN: (cont'd) Well, yes-

    ROBIN: Then it shouldn't matter.

    POLICEMAN: (getting angry) She killed a man?more than one, even! She's killed so many.

    ROBIN shakes his head.

    ROBIN: That doesn't make her a criminal now.

    POLICEMAN: (yelling) Oh really? How does that not make her a criminal?

    ROBIN: Redemption. Look it up.

    ROBIN turns around and looks at the gang.

    ROBIN: (cont'd, firmly) We're leaving.

    The gang gets up and begins to walk out. ROBIN follows, and we see the policeman yelling in the background.

    POLICEMAN: Hey! You can't just walk out of here! You hid a criminal!

    ROBIN stops and looks back at him.

    ROBIN: We can, and we will. Want to come after us? Try.

    He nods to SAM, who nods back. She concentrates on something before leaving. The policeman tries going after them, but finds that he can't move.

    POLICEMAN: What did you do to me? I can't?

    ROBIN looks at him, and follows SAM'S lead. The policeman stares after them.

    POLICEMAN: (cont'd) Dammit, I can't move! What the?

    He sees a secretary sitting ahead of him.

    POLICEMAN: (cont'd) You?I need your help.

    The secretary looks up, and stares at him.

    SECRETARY: With what, exactly?

    POLICEMAN: Moving.

    SECRETARY: What?

    The policeman sighs.

    POLICEMAN: Never-

    All of a sudden, the policeman falls on the floor, flat on his face.

    POLICEMAN: (cont'd, muffled) ?mind.

    CUT TO-NEW YORK CITY- STREET- LATE EVENING

    SAM is seen walking ahead of everyone, while they lag behind. She doesn't seem to mind, but she doesn't seem to know where exactly she's headed- she's just walking. ALAN, MARIE, and BRIAN walk in a cluster, and ROBIN and TOMMY walk together.

    TOMMY: What did he mean?she's?killed people?

    ROBIN looks at him, and remains silent for a moment, before looking away.

    ROBIN: I didn't realize you didn't know.

    TOMMY: So you mean it's true?

    ROBIN nods, sadly. TOMMY looks even more shocked.

    TOMMY: (cont'd) God?I can't believe it?and I can't believe she wouldn't tell me.

    ROBIN: Maybe she didn't think you would understand.

    TOMMY: I understand a lot more than you think I do, Robin.

    ROBIN: What's that supposed?

    He pauses and shakes his head.

    ROBIN: (cont'd) Never mind. What matters is that you know now?and what you're going to do, knowing that.

    TOMMY: What am I supposed to do?

    ROBIN: Decide whether you're still willing to help her.

    TOMMY: She's my friend.

    ROBIN looks at him, his eyes remaining questioning.

    TOMMY: (cont'd) Of course I'll help her?I just don't know if things are ever gonna be the same.

    ROBIN: Things change.

    They resume walking in silence, as the view switches to MARIE, ALAN, and BRIAN. They are already in discussion.

    MARIE: So, how exactly is he gone?

    ALAN: We don't really know. We got up to the roof-

    BRIAN: You did not go.

    ALAN: Whatever. (beat) He just wasn't there.

    BRIAN: Actually-

    ALAN: Do you really need to correct me?

    MARIE chuckles to herself, and the boys continue arguing.

    BRIAN: I do, actually. (pause) He was there, he was just?dust.

    ALAN: That doesn't make him there.

    BRIAN: Yeah it does.

    ALAN: Nuh-uh.

    BRIAN: Yeah-huh.

    MARIE: My horse is bigger than your horse!

    The two look at her, giving her a strange look. She looks back, fighting back a laugh.

    MARIE: (cont'd) We back in gradeschool, kiddies?

    She turns to ALAN, and points to BRIAN as she walks.

    MARIE: (cont'd, condescendingly) Did he steal your dolly?

    She is unable to hold the laugh in any longer, and lets it out. BRIAN and ALAN look offended, but only playfully. They both smile. Silence invades the conversation, and seriousness takes over once again.

    MARIE: And why aren't we going home?

    She looks to them both, confused. ALAN and BRIAN glance at each other, grimly. The camera pans up to SAM, who is walking ahead. She looks like she's thinking, or just frustrated. We focus on her walking forward, on her face?and then, suddenly, her expression changes. It turns to one of shock. She turns around, stopping. Everyone catches up, and stops as well. ALAN looks at SAM, concerned.

    ALAN: What's going on?

    SAM doesn't respond, she just turns around, and continues walking?and turns a corner. She looks like she's leading them somewhere?so they follow. They are near the harbor of the Statue of Liberty. The gang rounds the corner and the camera focuses on their faces?which turn from intrigue, to shock.

    MARIE: What the?

    SAM: This isn't right.

    TOMMY: (sarcastically) No, really?

    The camera's view changes, and we see what they're looking at?the harbor. Normally a calm, serene port?utter chaos fills it. Ships that look to be pirate ships are sailing in it?and battling one another. There are even some "pirates", or whatever they may be, in the streets, fighting. The gang looks to their left?to see a large section of Manhattan burning. Explosions are going off, left and right.

    BRIAN: This isn't New York.

    MAN: (O/S) On the contrary?

    The gang swivel around, and we see the figure from earlier? we see that he is a man. He smiles.

    MAN: (cont'd) This is everything New York was ever meant to be.

    His smile twists into the same one from earlier, a glint of some sort triumph in his eyes.

    ROBIN: Do you want to tell us what that means?

    MAN: I do not want to?but I will.

    He continues to smile.

    CUT TO-INT. ?POLICE STATION- TEMPORARY CELL- LATE EVENING

    FAITH is seen pacing back and forth in the cell. There is a bed, but it is still made. She looks nervous. All the other inmates are sleeping. FAITH lets out a groan.

    FAITH: (mumbling) This is so stupid?

    There is a guard outside her cell, and he looks in, smiling.

    GUARD: You were stupid to get yourself caught, sweetheart.

    She looks at him, with a menacing glare.

    FAITH: You don't get what you're doing?people are going to die if I'm in here.

    GUARD: People are going to die if you're out there.

    He goes over to a table, and picks up a doughnut from a carton. He begins to chew on it, obnoxiously. Powdered sugar falls from his mouth to his uniform. FAITH mumbles something incoherent, and the GUARD leans more toward her cell.

    GUARD: (cont'd) Speak up.

    FAITH: (through her teeth) I said, I hope your arteries clog faster than anyone's ever have. (beat) I mean, I know heart attacks are s'posed to be slow in the making, but you might be an exception.

    The GUARD looks down at the doughnut, and stops chewing. He swallows, and stares at her. FAITH smiles.

    FAITH: (cont'd) Oh, don't stop now!

    The GUARD looks annoyed, and sets the doughnut down, walking off. FAITH looks pleased.

    WOMAN: (O/S) Faith?

    FAITH turns around in the direction of the voice, and sees nothing.

    FAITH: Who's there?

    She continues to look around, making her way slowly around the area of the cell.

    WOMAN: (O/S) It is me. Stop this foolishness.

    FAITH: You sound?

    She stops short, noticing a glimmer in the wall. She steps toward it, and an image appears.

    FAITH: (cont'd) ?Illyria.

    The camera pans over to the image, revealing that it is indeed ILLYRIA.

    ILLYRIA: Yes. Fortunately, my being has been stored in a safe place. (beat) For now.

    FAITH: Who did this?

    ILLYRIA: (coldly) Who do you think?

    FAITH doesn't answer, but she doesn't need to; they both know the answer.

    ILLYRIA: (cont'd) I hate to admit defeat?least of all to a Slayer. But it appears that I need your services.

    FAITH: My help?

    ILLYRIA nods.

    ILLYRIA: Yes. Your help.

    FAITH looks at her, confused and interested.

    FAITH: What am I supposed to do?

    ILLYRIA stares down at her, proud, and determined.

    ILLYRIA: Assist me out of this prison?and join me in the destruction of Winifred Burkle.

    FAITH looks at ILLYRIA, scared, and unsure.

    CUT TO BLACK

    END OF ACT I

    "If I told you half the things I've heard about this Jabba the Hutt, you'd probably short circuit."
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    • #3
      ACT II

      FADE IN

      OPEN TO-INT. ?PRISON CELL- LATE EVENING

      FAITH stares at ILLYRIA'S image.

      FAITH: You can't be serious.

      ILLYRIA: I do not know if you have taken notice, but when I say words, I mean them. I think before I talk, unlike most of the human race. It's a skill that I believe they should begin picking up.

      FAITH: Yeah, yeah?(pause) But she's my friend!

      ILLYRIA stares at FAITH, cocking her head.

      ILLYRIA: That is no friend of yours.

      FAITH: You don't know who I'm friends with.

      ILLYRIA: I do share Fred's memories; I know that she was your?acquaintance. That, however, is not the Fred you know.

      FAITH: What's that supposed to mean?

      ILLYRIA: She has changed.

      FAITH: Well, yeah. People do that.

      ILLYRIA shakes her head.

      ILLYRIA: No. (beat) Must I show you?

      FAITH: Sounds like a good plan to me.

      ILLYRIA: I know a way to transfer some knowledge to others. It's quite fascinating, really. Watching them take it in?

      She smirks, pausing.

      ILLRYIA: (cont'd) Come closer to the image.

      FAITH: Uh?okay?

      FAITH steps closer to the wall. She stands there for a moment, confused as to what to do.

      FAITH: (cont'd) Now what?

      Before FAITH gets an answer from ILLYRIA, we begin to see from her point of view. Everything becomes blurry, and fades to black. When light enters the screen again, FAITH is in what looks like a chamber.

      FAITH: What's going-

      ILLYRIA: (V.O.) Watch.

      Suddenly, someone enters the room, and FAITH turns to see who it is. It is FRED. She looks like she's in a hurry, and worried. FAITH advances toward her.

      FAITH: Fred-

      FRED continues to walk?and goes right through FAITH. FAITH pivots, and looks at FRED, surprised.

      ILLYRIA: (V/O) She can not see or hear you. This is an illusion; the reality of it has passed?for most.

      FAITH says nothing, and continues to watch FRED. She has stopped and looks anxiously around the room. FAITH looks up, as if searching for someone.

      FAITH: What's she waiting for?

      There is no response. The sound of echoing footsteps can be heard down the hall, and FAITH turns to see who it is, and we recognize him to be ASMODAI. He walks toward FRED and FAITH moves out of the way. She keeps her eyes on ASMODAI and FRED, watching closely. ASMODAI keeps his back to FAITH.

      ASMODAI: It's not nice to run away.

      FRED: You really think I care about being nice right now?

      ASMODAI: You should. You wouldn't want to get on someone's bad side. Especially not mine.

      FRED doesn't respond; she just continues to stare at him. After a few moments pass, she looks at the ground.

      FRED: (quietly) What do you want?

      ASMODAI looks almost surprised that she's asking this.

      ASMODAI: I believe we both know what I want. You've known since day one, haven't you?

      FRED continues to look at the ground, and remains quiet. A few seconds pass, and she lifts her head up, trying to look calm.

      FRED: I can't do that.

      ASMODAI: You can't hide from it forever.

      FRED: I can hide for a while.

      ASMODAI shrugs.

      ASMODAI: Suit yourself. (beat) You know where I am.

      He begins to walk out of the room, and FAITH moves out of the way. He turns to look at FRED again.

      ASMODAI: I will be back when it is time, whether you're ready or not. Then it won't matter how much you want to hide.

      He turns back around and stops, not turning back around. He turns...to where FAITH is standing. She widens her eyes. He looks interested, and continues to stare at her.

      ILLYRIA: (V.O.) Do not move.

      ASMODAI continues to inspect it with his eyes, until he breaks his gaze, shakes his head, and walks out of the room. FAITH looks back to FRED who is now sitting with her back against the wall, looking fearful. FAITH frowns.

      CUT TO-INT. ?DOWNTOWN NEW YORK- LATE EVENING

      The camera is focused on what's going on in the streets- complete chaos, just as in the previous scene of the streets. Some demon/human hybrids take pieces of rubble from unknown places and throw them into the windows of stores. The view moves across the street, and into an abandoned building; one that's already been vandalized by the creatures. It zooms in, and we see that ROBIN, MARIE, SAM, ALAN, BRIAN, and TOMMY. We then see the other side of the room, and the mysterious man from earlier is standing there.

      MAN: (looking around) I think it's safe in here.

      ROBIN: Good. Now, mind telling us who you are?

      The man tilts his head, acting as if curious.

      MAN: Is that really important to you, Robin?

      ROBIN furrows his eyebrows.

      ROBIN: How do you know my name?

      The man shakes his head.

      MAN: You're asking the wrong questions.

      MARIE stands up.

      MARIE: We don't exactly know what questions to ask. How about you tell us everything we need to know. (beat) Not everything you think we need to know.

      She folds her arms over her chest. The man eyes her up and down, as if judging her.

      MAN: Sadly, I can't do that.

      MARIE: And why not?

      The man smirks.

      MAN: Because?I'm the bad guy.

      MARIE widens her eyes, backing up slightly. The man continues to smirk.

      ROBIN: Why would you be helping us then?or telling us that?

      The whole gang is now on its feet, and everyone is trying to make their way toward an exit, but steel shudders suddenly surround all of the openings.

      MAN: We need some alone time. To?talk.

      He looks at each of them, smiling. Each of the gang look nervously at each other, trying to figure out what to do.

      CUT TO-INT. ?PRISON CELL- LATE EVENING

      FAITH has reappeared in the cell, and looks surprised. ILLYRIA'S image remains on the wall.

      FAITH: But?hey! There's gotta be more, I mean?I didn't even find out what she has to do!

      ILLYRIA doesn't respond, and looks away.

      FAITH: (cont'd) You're gonna let me see it right?

      No response, still.

      FAITH: (cont'd, getting angrier) Right?

      ILLYRIA: You must understand, she is not the person you once knew. She has become infected.

      FAITH: What d'ya mean, infected?

      ILLYRIA: It is hard to explain?yet simple to understand.

      FAITH: Enough with the cryptic already.

      ILLYRIA: You want to see.

      It's a statement; not a question. FAITH waits. ILLYRIA gives in, and FAITH fades from the cell once again.

      CUT TO-INT. ?UNDERGROUND CHAMBER- LATE EVENING

      FRED is still sitting against the wall, knees to her chest. FAITH looks down to her, confused, and then turns around, looking up as if ILLYRIA is there, but she's not.

      FAITH: I don't get it, this is-

      ILLYRIA: (V.O.) Sh.

      FAITH'S confusion stays, as she turns back to FRED?but something is different. It's almost as if a black aura is clouding around her?and she doesn't realize it. She sits there, looking forward, absent-mindedly.

      FAITH: But if something's in her, we don't have to kill her?we just need to get it out of her.

      There is silence, and the black aura envelops FRED further. FAITH looks as if she wants to help, but she knows she can't. She stays in place. FRED looks undisturbed?and then the aura is gone. A few seconds pass, and she takes a deep breath, as if reveling in the scent of something. After a couple more seconds, ASMODAI walks into the room, smiling. He looks at her questioningly, not saying a word. She gets up.

      FRED: (monotone) Time to stop hiding.

      ASMODAI continues to smile as FRED walks out of them room, and he follows. FAITH looks intrigued?and follows as well.

      In the next room, the walls are red, and it appears that the room is very warm. FRED moves over to what looks like a window?and looks down. The camera follows her point of view. A city is below them. ASMODAI walks up behind FRED, walking really close behind her and leaning toward her to whisper something in her ear.

      ASMODAI: (whispering) You will have to prove yourself, of course.

      FRED furrows her eyebrows, though her eyes don't move from looking at the city.

      FRED: (monotone) How.

      ASMODAI: All those people down there?they deserve punishment. You know what that means.

      FRED: They must die.

      FAITH looks shocked at FRED'S answer. ASMODAI smiles once again.

      ASMODAI: Very good. I am sure you can think of a?fitting death for them.

      FRED tilts her head to the side. She closes her eyes, and the screen goes black. When she opens them again, we see the city?in flames. Every inch of the perimeter is burning, and the streets have turned into pandemonium. People are running anywhere, looking for safety. We pan back to ASMODAI, who looks pleased.

      ASMODAI: (cont'd) Excellent. (beat) Should we get to business, then?

      FRED looks down at the city, burning in the flames that she created, seemingly out of nowhere. She then turns to ASMODAI.

      FRED: Business. As usual.

      ASMODAI places his hand on her shoulder, leading her out of the room. FAITH walks toward the window, her face twisted in utter shock. Her eyes show pain for those suffering?and then her expression turns to that of anger.

      All of a sudden, FAITH fades from the room, and she's in the prison cell again. She is staring at ILLYRIA'S image. Her expression doesn't change.

      ILLYRIA: You agree that she should be destroyed?

      FAITH: No. (beat) The thing inside her should.

      ILLYRIA looks at FAITH, displeased.

      ILLYRIA: You humans are illogical. Do you not see?

      FAITH looks at her, puzzled, and ILLYRIA continues.

      ILLYRIA: (cont'd) The "thing" in her isn't a separate being. It is her.

      FAITH looks even more shocked to hear this.

      FAITH: What does that mean?

      ILLYRIA: It is what she was destined to be; What she is today. Nothing and no one will be able to affect that fact. It is her fate. Ours is to see that her fate is a short one.

      FAITH: But she's?Fred. She's innocent and my friend and I can't?just do that. I won't.

      ILLYRIA: You will not, even if it will cause the shortening of you and your loved ones suffering? Of the world's suffering? The world decided to rid of her previously. It will not agree with her presence now. (pause) Furthermore, she is anything but innocent. She is a wolf among the sheep. The sheep being your friends.

      FAITH: How does the world not agree with someone?

      ILLYRIA: Her return has affected the city of New York, greatly.

      FAITH: She's one person. How much can one person do?

      ILLYRIA: A single person has the power to change the world forever, if only they hold the ambition.

      FAITH: You mean I could get rid of shrimp?

      ILLYRIA cocks her head to the side.

      FAITH: (cont'd) Never mind. (beat) I don't see what her just being her could do, though.

      ILLYRIA: Everything.

      CUT TO-INT. ?FRED'S APARTMENT- LATE EVENING

      FRED sits in the living room, tapping her fingers on the arm of a chair. Her other hand hold her head up, and she looks almost bored. She turns to the man from earlier, who seems to be a lackey.

      FRED: I thought you said he was here.

      LACKEY: He is, ma'am.

      FRED: Well then what is he waiting for?

      LACKEY: I don't know. (cont'd) I'm confused?you want him here?

      FRED: I want to know what he wants.

      FRED stops talking for a moment, and smiles, turning to the lackey.

      FRED: (cont'd) Hey, I've got an idea?How about you go find him, and find out what he wants?

      The lackey's expression goes to that of fear.

      LACKEY: He's easily disturbed?If I go see?I might not even survive to tell you what he wants.

      FRED: Well, that's a chance worth taking.

      The lackey looks scared, and FRED continues to smile at him?but after a little while, her smile fades and she becomes annoyed.

      FRED: (cont'd) Now.

      The lackey looks at her uncertainly, but nods, leaving the room, and leaving the apartment soon after that. FRED sits there, returning to her expression of boredom; it doesn't last long though. She soon looks like she is concentrating very hard on something.

      CUT TO-INT. ? ABANDONED BUILDING ?DOWNTOWN NEW YORK- LATE EVENING

      The man stands looking at the group one by one. ROBIN is the one standing closest to him, taking the position of leader.

      MAN: There's many things you should know.

      ROBIN looks defensive.

      ROBIN: I don't think you need to tell us anything. If you're the? "bad guy", we don't need you.

      The man gestures the iron shutters, trapping them in.

      MAN: I do not see an escape for you, so it seems you have no choice.

      He smirks. MARIE steps forward.

      MARIE: Who are you?

      MAN: Ah yes. The question that always seems so vital to you humans?

      He looks as though he's amused.

      MAN: I am Asmodai's brother, Belial.

      The gang's expressions turn to those of shock.

      BELIAL: (cont'd) You know him.

      It wasn't a question. Each look at each other, nervously, before someone decides to speak up.

      BRIAN: We killed him.

      BELIAL'S face is blank for a moment?and then it turns to that of rage.

      BELIAL: (yelling as loud as he can) You did what? (calmer) Well, this certainly changes things.

      He grins maliciously at them?and pulls out a long, and seemingly powerful sword. He advances toward them.

      CUT TO BLACK

      END OF ACT II

      "If I told you half the things I've heard about this Jabba the Hutt, you'd probably short circuit."
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      • #4
        ACT III

        FADE IN

        OPEN TO-STOCK IMAGE- NEW YORK CITY- SUNRISE

        CUT TO- STOCK IMAGE- NEW YORK CITY- MORNING

        CUT TO-INT. ?PRISON CELL- MORNING

        FAITH seems to be sleeping on her bunk, but it is a restless sleep. She shifts, and settles. It is quiet for a few seconds, until there is an incredibly loud clanging sound. She jolts awake, and looks around. She gets out of bed?and heads over to where ILLYRIA'S image usually is. Instead she sees a vision of FRED, fighting off demons in the chamber FAITH visited before. The clanging noise came from that of swords. FRED finishes the last one off. As she does, music begins to play.

        SONG: THE SOUNDS- NIGHT AFTER NIGHT

        FRED stands there, clearly tired. She looks at the ground, dropping her sword. The black aura is clouding around her again?only it seems as though this isn't the same. That, or it was part that never reached her. She winces in pain as it filters into her. (The music below plays throughout)

        "It all seemed perfect
        But there are moments when I feel nothing at all"


        FAITH stares at the image, a frown on her face. All of a sudden, she's sucked into the image, and now is seeing from FRED'S point of view?but it isn't the room that she's looking at. It's somewhere else. A booming voice fills the room, and we recognize it as ASMODAI.

        ASMODAI: (V/O) This is what you have been building up to your entire life, Winifred. Your existence meant nothing?until now.

        (The music below plays throughout)

        "Same as always
        Now it's repeating itself all over again"


        ASMODAI: (V/O, cont'd) You see, you're the one that will remove the block that's been clogging the entrance to New York City from this hell dimension. Soon, it will have access to the human world. And the others will follow?bringing terror to Earth, and finalizing its destruction.

        The camera pans to FRED'S face; it gives no reaction. It is as if she has known all along that this is what she was meant to do.

        FAITH: Fred's?a key?

        There is no response from ILLYRIA, whose presence remains unknown- she may not be there.

        ASMODAI: (V/O, answering her question, unintentionally) You, my sweet, are one of the seven keys. Not like others, though. You are special. You're the only one in human form?and the most dangerous.

        FRED looks up at this. (The music below plays throughout)

        "Night after night you say you move on
        Tomorrow, tomorrow
        Now, what's holding you back?
        I don't know, I don't know"


        ASMODAI: (V/O) You will lead the army. Whatever happens to your masters?You will move forward. Our mission must be completed. Understood?

        FRED: (monotone) Yes, my liege.

        FAITH: (quietly) Mission?

        The entire screen fills with red, and FAITH can only see the blurry outline of FRED. She walks toward her, cautiously.

        FAITH: (cont'd) Fred?can you?hear me?

        FRED does not respond. She continues to look straight ahead, her eyes dull. (The music below plays throughout)

        "Night after night you say you move on
        Tomorrow, tomorrow
        Now, what's holding you back?
        I don't know, I don't know, I don't know"


        FAITH: (cont'd) Fr-

        All of a sudden, FRED'S head snaps to attention?to FAITH. Her expression softens.

        FRED: I'm so sorry, Faith?

        FAITH: No. This is the past. You can stop this.

        FRED frowns.

        FRED: No.

        FAITH: What? Why not?

        FRED looks down.

        FRED: Because?you can't stop fate.

        FAITH: It's not written in stone.

        FRED: No. (beat) It's written in blood.

        (The music below plays throughout)

        "Don't feel sorry
        'Cause there's no reason for us to fight any more
        Tears are coming, and years are going
        I hope we learn something"


        The music ends, abruptly. FAITH'S expression turns to that of confusion?and all of a sudden, she's in the prison cell again. She still looks confused.

        WOMAN: (O.S.) Whoa.

        FAITH spins around, looking at the woman, who is in a different cell.

        WOMAN: (cont'd) What was-

        FAITH: It wasn't anything. You're dreaming.

        The woman looks puzzled at this.

        FAITH: Go back to sleep.

        WOMAN: But I thought you said I was-

        FAITH: Leave me alone.

        The woman looks at her for a moment, curious, but decides to leave it alone as she goes to another part of her cell, laying down.

        FAITH: (cont'd, to herself) Man, this is giving me a headache?

        ILLYRIA: (O.S.) Faith.

        FAITH turns around to where the image normally is, and sees that ILLYRIA has returned. She runs up to the wall.

        FAITH: What the hell is going on?!

        ILLYRIA: There is no time to explain. We must create an escape plan; Whatever Fred is planning, it is coming. Fast.

        FAITH: Look around. This isn't the easiest place to get out of. It's why they call it a prison.

        ILLYRIA tilts her head to the side.

        ILLYRIA: You are a Slayer, are you not?

        FAITH doesn't respond; ILLYRIA already knows the answer.

        ILLYRIA: (cont'd) You possess great strength. Find a way out.

        FAITH looks at her, and then around the room?searching.

        CUT TO-INT. ?ABANDONED BUILDING- DOWNTOWN NEW YORK- MORNING

        The abandoned building is now just that; abandoned. No one is there, but a mess of what was in the building before remains. A breeze passes through, and a random paper floats in the air, and back down.

        The screen suddenly changes; The scene is blurred, as is the whole screen, it's static. In the place of the emptiness, we see the group and BELIAL from before.

        BELIAL: I've got to say, you humans do not know much. He is my brother. Did you think that I would take his murder lightly?

        No one responds. MARIE clenches her fists. BELIAL turns to her.

        BELIAL: (cont'd) Witch, if you move so much as an inch, you are going to wish yourself dead.

        MARIE continues to clench her fists, and glare angrily at BELIAL. All of a sudden, there's a banging on the steel shudders surrounding the building. BELIAL looks at the wall, annoyed. He lets one part down, and we see FRED'S lackey.

        BELIAL: (cont'd) I'm busy. What do you want?

        The lackey looks scared.

        LACKEY: (trembling) My boss wants to know?what you want.

        BELIAL looks confused at this question.

        BELIAL: What I want? (pause) Who is this "boss" you speak of?

        LACKEY: She?is?She's?

        BELIAL seems to get the idea, and smiles.

        BELIAL: This is perfect. I have another question for you, though.

        He steps closer to the lackey, who in turn moves into the building.

        BELIAL: (cont'd) Who are you more afraid of- Her?or me?

        The lackey doesn't look him in the eyes, but is tense. He doesn't respond. BELIAL smiles.

        BELIAL: (cont'd) I see. So I suppose you wouldn't mind doing me a favour?Though I don't particularly care if you do mind.

        LACKEY: Wh-what?

        BELIAL: (cont'd) You see those lovely people over there?

        The lackey looks to the side, where BELIAL is indicating, but furrows his eyebrows in confusion.

        LACKEY: What people?

        BELIAL looks confused, and then looks to the side as well, his eyes widening with anger as he sees- they aren't there.

        BELIAL: Well now I have a different job for you.

        He glares menacingly at the empty space.

        CUT TO-INT. ?STREET- NEW YORK CITY- MORNING

        The screen and colours have returned to normal. ROBIN, MARIE, BRIAN, ALAN, SAM, and TOMMY are seen walking down the street.

        TOMMY: It doesn't look like our Caribbean friends are roaming the streets anymore.

        BRIAN: For right now.

        TOMMY: You think they're gonna come back?

        MARIE: As long as Belial is here, I don't think they're going to be gone very long.

        TOMMY: Right. So?what do we do?

        ROBIN: (O/S) We break Faith out of prison.

        The group turns toward him, surprised.

        SAM: That's kind of, um, illegal.

        MARIE: (under her breath) Goody-goody.

        SAM turns to her.

        SAM: Excuse me?

        MARIE looks up, with innocent eyes.

        MARIE: What?

        SAM doesn't respond and ROBIN stops. Soon after, the entire group does. They're following his lead, for the time being.

        ROBIN: At this point, it doesn't matter what's legal and what's not. We need her.

        BRIAN: Are you sure you're not just saying that because you two are lovey-dovey?

        ROBIN looks at him, glaring.

        ROBIN: This isn't about relationships. This is because she's a Slayer.

        ALAN: No offense, but Marie's a Slayer too.

        ROBIN: She's not nearly experienced enough.

        MARIE looks at him, and it is her turn to glare. She takes offense.

        TOMMY: I'm with Robin on this one.

        SAM: You're Faith's best friend, of course you are. (beat) I'm not saying that I want her to rot in jail, but we can get through this, for now, without breaking the law.

        TOMMY: For the record, I'm her ex-best fr-

        SAM: Whatever. Can't we just wait until they set up a bail amount for her?

        ROBIN shakes his head.

        ROBIN: No.

        SAM: And why not?

        ROBIN: Because they're not going to set a bail amount.

        SAM looks at this, confused. ROBIN continues to explain.

        ROBIN: (cont'd) She killed people, Sam. She's going to get life?or worse.

        SAM: Oh. Right.

        There is silence among the group; no one knows what to say. There is a sudden large crash, and heads turn in the direction of the noise?The demons from earlier are back, down the street. They advance toward people, and the screaming starts.

        MARIE: Looks like we'll have to wait on the escape plan?

        She pulls a long double-sided knife out of a bag she's carrying, and runs into the chaos.

        CUT TO-INT. ?UNKNOWN COMPANY- MORNING

        The inside of an office. The office where MR. DUPONT was last episode; his office. He's not in it, though, and the phone is ringing. It goes straight to voicemail.

        VOICEMAIL: (Mr. Dupont's voice) I'm not here right now. You know what to do.

        There is a beep and a voice comes out of the speaker. We recognize it as COLLIN'S.

        COLLIN: Mr. Dupont, I feel that we need to talk. You have someone that is of?some importance?to us locked away. I'd like to arrange an agreement so we could get her from you?

        CUT TO-INT. ?UNDERGROUND- UNKNOWN COMPANY- MORNING

        COLLIN'S message continues as we see a cage?with ARTEMIS locked in it, looking warily around.

        COLLIN: (V/O, cont'd) She could prove to be a powerful ally.

        SPEAKER IN CELL: (voice unknown) Test number 11.

        The room lights up and ARTEMIS winces. A light illuminates from her as well?and she appears to be feeding the walls, in a way.

        CUT TO-INT. ?TECH ROOM- UNDERGROUND- UNKNOWN COMPANY- MORNING

        A computer monitor shows ARTEMIS sitting in the room, power coming off of her. A lab technician stares at the image, studying it and writing notes off to the side. Behind the lab tech is EMMETT and SELENE. They too stare at the image, no emotion crossing their face.

        EMMETT: This is too interesting?

        He looks as though in deep though. SELENE smiles.

        SELENE: Pretty damn funny to watch, too.

        EMMETT looks at her with a serious face.

        EMMETT: Only because you enjoy her pain.

        SELENE: What can I say, I don't like her.

        EMMETT: I have noticed.

        LAB TECH: I don't mean to interrupt this?important conversation?but silence is necessary for this experiment.

        EMMETT: She's not an experiment.

        The LAB TECH stares at him, before looking back at the monitor. SELENE looks at EMMETT, annoyed.

        SELENE: That's your problem; you get too involved.

        EMMETT: You do not get involved enough.

        SELENE: We're not supposed to make attachments.

        They stop talking and look back at the monitor at the same time, both now with completely different expressions?and no longer void of emotion.

        FADE TO BLACK

        END OF ACT III

        "If I told you half the things I've heard about this Jabba the Hutt, you'd probably short circuit."
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        • #5
          ACT IV

          FADE IN

          OPEN TO-INT. ?COLLIN'S APARTMENT- LATE MORNING

          COLLIN hangs up the phone, and sighs. He looks frustrated and annoyed.

          LENA: (O.S.) You know, if you call her that much, she's just gonna ignore you.

          The camera shifts over to LENA, who is leaning against the wall, looking extremely bored. She taps her foot in annoyance. COLLIN rolls his eyes at her, and moves away from the phone.

          COLLIN: It's not a girl.

          LENA raises her eyebrows.

          LENA: Wow, I wouldn't have guessed that you rolled that way?but hey. I'm all for freedom of speech. (pause) Well, freedom of sexuality. Whatever.

          COLLIN rolls his eyes once again. How stupid, or, seeing as this on purpose, annoying?could one person be?

          COLLIN: It's a company.

          LENA looks interested at this.

          LENA: Not Wolfram and Hart?

          COLLIN shakes his head.

          COLLIN: No. Quite the opposite, in fact.

          LENA: But you work for Wolfram and Hart. Why are you calling their polar opposite?

          COLLIN: Correction- I work for the Senior Partners. I'm not a lawyer, and I don't plan on becoming one any time soon. It's different.

          LENA: Well then excuse me. But the Senior Partners own Wolfram and Hart, not this random factory or whatever it is.

          COLLIN: How do you know these things?

          LENA: You could say that Fallyn and me get along well.

          COLLIN: Fallyn and I.

          LENA furrows her eyebrows.

          LENA: No?me.

          She points to herself. COLLIN shakes his head in disappointment; Was everyone dropping out of high school these days?

          COLLIN: I'm doing the Senior Partners a favour by calling this company.

          LENA: How?

          COLLIN: You ask too many questions.

          LENA: And you don't answer enough. (beat) What's this "company" even called?

          COLLIN: If you must know?it's called the Alliance. They're known to work for good causes?supposedly. Where their real loyalty lies is the big question.

          LENA: What do they have the Senior Partners would want?

          COLLIN: A weapon. A very dangerous, powerful weapon?

          CUT TO- INT. ?UNDERGROUND- THE ALLIANCE- LATE MORNING

          ARTEMIS is in her cage, lying on the floor. She looks exhausted. All the life has left her eyes, and her will to remain conscious has vanished. Her eyes slowly close as the room begins to light up again.

          COLLIN: (V/O, cont'd) ?And they could be destroying her.

          The lights move toward ARTEMIS, and she begins to writhe in pain, closing her eyes tight.

          CUT TO-INT. ?NEW YORK CITY STREETS- LATE MORNING

          Many demon bodies lay on the ground, wounded. We see our heroes, and heroines, leaning against the building. ROBIN is taking a shard of glass out of his leg. He winces as he pulls it all the way out.

          ROBIN: I'm definitely not cut out for this.

          TOMMY: Another reason to get Faith.

          SAM: We have other sources of power.

          TOMMY looks to her, crossing his arms over his chest.

          TOMMY: What exactly is your problem with getting Faith back?

          SAM: I have a big problem with murderers. Heavy emphasis on the murder part. Why should we go get her?

          ALAN winces at SAM'S statement, and begins to rethink his opinion on the situation.

          TOMMY: You can't say that she's a murderer. She hasn't done that in?what? Years? She's not that girl. Not anymore.

          SAM: Just because she grew up and realized she'd rather not have the cops go after her?That doesn't change anything.

          TOMMY: You really think that's why she changed? Because she didn't want to be caught and killed? You need a reality check, Samantha. She's doing the best she can.

          SAM: Maybe her best isn't enough.

          TOMMY'S eyes narrow, and he gets angrier.

          TOMMY: Oh, yeah, I forgot. Saving thousands and thousands of lives doesn't redeem her at all.

          SAM: It doesn't bring the people she killed back!

          TOMMY: (yelling) She could be killing people right now! And guess what! She isn't.

          SAM looks started at TOMMY raising his voice, and looks like she's going to decide to keep quiet.

          ROBIN: I don't really care what any of you think.

          He directs this statement more toward SAM.

          ROBIN: (cont'd) We're going to get Faith back. Whether you like it or not.

          He puts on a resolve face on, and no one in the group argues; As much as someone might want to.

          CUT TO- INT. ?PRISON CELL- LATE MORNING

          FAITH sits on her hopefully temporary bed, her head in her hands.

          FAITH: (to no one in particular) I tried. I can't find a way out.

          ILLYRIA: (O.S.) You must think positively.

          FAITH jumps. Clearly, ILLYRIA'S image hasn't shown itself for a while.

          FAITH: Where were you?

          ILLRYIA: Trying my best to aide you. (beat) My best is not entirely helpful.

          She looks down, slightly. Her image begins to shake, and her surroundings also. She looks confused, and so does FAITH. Neither know what's happening.

          ILLRYIA: Something is-

          Before she can finish, FAITH is pulled in the image. This time, it is really her. Her body, not only a makeshift image of her. Before she knows it, she's standing by ILLYRIA. She looks at her with wide eyes.

          FAITH: Where am I? Where is this?

          ILLRYIA: This is Asmodai's dimension of hell.

          FAITH: I thought you said this was a safe place. I don't get it. Why are you here?

          ILLRYIA: It's away from monsters. It is a safer place than others. This is where Fred was. She and I traded locations. I would rather be on the surface.

          FAITH: I hear that.

          ILLRYIA: I am glad you are not deaf.

          FAITH: But wait, I still don't know what Fred wants.

          ILLRYIA does not respond; instead, she reaches her hand to touch it lightly to the side of FAITH'S head.

          FAITH: (cont'd) I thought you said you didn't-

          Before she can finish her sentence, she is somewhere else. Somewhere familiar.

          Her old apartment. She looks around, confused.

          FAITH: But why-

          FRED walks into the room, and FAITH looks startled?but FRED cannot see her. FRED moves over to a chair, slinking down in it, like a cat. She begins to tap her fingers on the armrest. Music begins to play.

          SONG: NIGHT AFTER NIGHT (ALTERNATE VERSION) ? THE SOUNDS

          Music fills the scene as FAITH moves closer to FRED. A voice is in the back of her head tells her something?

          ILLYRIA: (V/O) Make contact with her. You will be able to see what she intends on.

          FAITH shivers as she walks closer to FRED, and her hand moves toward FRED'S arm. It gets dangerously close, and she hesitates.

          ILLYRIA: (V/O, cont'd) Now.

          (The music below plays throughout)

          "It all seemed perfect, but there are moments
          When I feel nothing at all"


          FAITH'S hand makes contact with FRED'S skin, and the screen goes entirely black, for a moment. Light begins to fill the room, and FAITH is standing on top of a building. She is unsure of which building it is, but FRED is standing very close to her, smiling down at the city. FAITH begins to turn to look at the city as well. (The music below plays throughout)

          "Same as always
          Now it's repeating itself all over again"


          FAITH'S eyes widen in shock at what she sees- The entire city, burning. People's screams are deafening, and FAITH winces at the sound of them. She scans the city and the fire is not the only thing she sees. A seemingly endless voice is causing a high wind, and buildings are being knocked down because of its force. FAITH stares at the site, speechless. (The music below plays throughout)

          "Night after night you say you move on
          Tomorrow, tomorrow
          Now, what's holding you back?
          I don't know, I don't know, I don't know"


          FAITH'S gaze then shifts to FRED, who is doing the oddest of things, at least for the person she used to be?She is smiling. Not smiling in way that anyone would think, not in succession. But in pleasure, as if she was looking at a beautiful sunrise. Except this was more like a sunset- the ending of light. (The music below plays throughout)

          "Don't feel sorry
          'Cause there's no reason for us to fight any more"


          FAITH frowns, in sadness, remembering FRED'S once good personality?and then her expression changes to rage. FRED, or whoever she was now, was happy about this. FAITH looks like she is ready to attack FRED at any moment?and that's when she advances toward her. (The music below plays throughout)

          "Tears are coming and years are going
          I hope we learn something"


          FAITH reaches her hand back to harm FRED, and then tries to punch her across the face?but her arm slides right through FRED. She tries again, and again?the same thing happens. FAITH'S face is almost as red as the city, and water fills her eyes. The image goes entirely black again. (The music below plays throughout)

          "Night after night you say you move on
          Tomorrow, tomorrow
          Now, what's holding you back?
          I don't know, I don't know, I don't know"


          The music ends abruptly, as it did earlier. The image fades in once again, and FAITH'S back in the chamber, with ILLYRIA, who looks interested.

          ILLRYIA: What did you see?

          FAITH doesn't respond. She looks around the room for doors- there is none. She looks angry, and tears are about to flow from her eyes. She rushes over to the wall and begins to slam her fist against it.

          ILLYRIA: That is not productive.

          FAITH doesn't say anything. She yells in rage and continues to punch the wall, as her fists bleed.

          CUT TO-INT. ?FRED'S APARTMENT- LATE MORNING

          FRED is sitting in the living room, in the chair she was sitting in moments earlier?smiling.

          FADE TO BLACK

          END OF EPISODE

          "If I told you half the things I've heard about this Jabba the Hutt, you'd probably short circuit."
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          • #6
            Thank you for reading Rogue Redemption. If you would like to feedback, please post it here. If there are spoilers in your feedback, please put them in spoiler tags.

            Trivia:

            ? Fred's quite badass at the moment, no? And we know why. Do you think she's overreacting, or that she has every right to be this way because of what happened to her?
            ? Belial, Asmodai's brother, has entered the picture. How many more of them are there, if any?

            "If I told you half the things I've heard about this Jabba the Hutt, you'd probably short circuit."
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