Announcement

**QueenC** · 01-12-07, 08:36 PM

ACT I

FADE IN

OPEN TO- INT. ?MR. DUPONT'S OFFICE- THE ALLIANCE- AFTERNOON

MR. DUPONT sits at his desk. It looks like he has just got there, and he looks at his phone with curiousity. The voicemail button is blinking. He continues to look at it until curiousity gets the better of him, and he presses it.

COLLIN: (on the machine) 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? She could prove to be a powerful ally.

The message ends and MR. DUPONT is left staring at the machine, intrigued.

EMMETT: (O.S.) Sir?

MR DUPONT looks up to his open doorway. EMMETT is standing in the threshold.

MR. DUPONT: Do you knock?

EMMETT blinks.

EMMETT: The door was open.

MR. DUPONT: Your point?

EMMETT chooses to ignore the comment, moving into the office.

EMMETT: We've done tests on the?subject, and-

MR. DUPONT: Ah, yes. How did those go? Is she powerful enough?

EMMETT almost laughs at the question.

EMMETT: Is she powerful enough? I?I can't begin to describe her power, sir.

MR. DUPONT smiles at this.

MR. DUPONT: Good. We're keeping her, then. I don't care what this annoying Wolfram and Hart associate has to say.

EMMETT: Wolfram and Hart? They called about her?

MR. DUPONT: One of their lackeys. They think that we'll just hand her over. Hah.

EMMETT: Uh...what?

MR. DUPONT: They want her for themselves. We're not going to give her to them.

EMMETT: Right.

The door opens and a nervous looking woman steps inside.

WOMAN: Mr. Dupont, they need you in the lobby.

MR. DUPONT nods, and then waves slightly to EMMETT before exiting the room with the woman. EMMETT looks at MR. DUPONT'S desk.

EMMETT: This could be harder than I thought.

He proceeds to move over to his boss' desk, picking up a file, and begins to look through all of the files.

CUT TO-INT. ?ABANDONED BUILDING- AFTERNOON

Most are still asleep while MARIE sits to the side, looking at the floor. She appears to be in deep thought, though there are so many things she could be thinking about that it is hard to tell exactly what. Her eyes search the floor, as if it will have her answers. A voice is heard from behind her.

SAM: (O.S.) What's wrong?

MARIE turns, and shakes her head.

MARIE: Nothing. Or at least, nothing you would care about.

SAM frowns and steps toward MARIE, and sits down next to her.

SAM: Look, I know I really don't treat you so well-

MARIE laughs at this. SAM chooses to ignore it, and continues.

SAM: (cont'd) I?I actually don't know why.

MARIE looks at her, head tilted in curiousity.

MARIE: What do you mean? Of course you know why.

SAM: No?I mean yeah. Because you?killed?people.

MARIE: I never said I killed more than one person.

SAM gives her a look. MARIE bites her lip, and SAM continues once again.

SAM: (cont'd) But my opinion somehow changes almost every time I think about it. I don't get it. It's like?something's forcing me to think one way, and I'm not sure what I think.

MARIE looks at her almost as if in disbelief but once she sees the look on SAM'S face, her look fades away and she truly seems to believe her. A silence passes through the conversation.

ALAN: (O.S.) Do you guys sleep at all?

They look back at him and MARIE chuckles. SAM doesn't. She gives no expression or gesture. She turns her back to him, and her eyes look conflicted. ALAN doesn't seem to notice.

MARIE: No one was awake when I got up.

ALAN: When was that? Four in the morning?

MARIE: Pretty close.

ALAN looks at her as if she's insane, and then looks back to the remaining group, who are still asleep.

ALAN: Looks like we'll have to wait a while.

MARIE: Well if those demons decide to head back, I'm not waiting.

ALAN widens his eyes.

MARIE: (cont'd) Um, I'm not going to leave them. (beat) I'm going to wake them up.

ALAN looks almost relieved.

ALAN: Oh. Right.

MARIE rolls her eyes and turns around, looking at the floor. SAM is still looking ahead, as if trying to decide something. The camera's view switches to the outside of the abandoned building, where the mysterious man was just hours before. He is obviously long gone now.

CUT TO-INT. ?COLLIN'S APARTMENT- AFTERNOON

LENA is standing in the kitchen. She has a pair of headphones on, and is dancing while she makes a sandwich. She moves across the kitchen and looks like she's having fun. She knocks into the kitchen table and a bunch of utensils fall, and she takes her headphones off.

LENA: Crap.

She looks at the mess and bends down, starting to pick it up. COLLIN rushes in.

COLLIN: What happened?

LENA: Jeez, don't go all knight in shining armor on me. Your silverware fell.

COLLIN: You mean you knocked it down.

LENA looks up to him, glaring.

LENA: I'm cleaning it up, alright? What more do you want?

COLLIN: Not knocking it down in the first place would have been sufficient.

He turns to leave and LENA moves her mouth mockingly, soundlessly, while picking up the mess. Her face then gets more serious.

LENA: Hey, wait.

COLLIN turns around.

COLLIN: What?

LENA: Did those alley people get back to you?

COLLIN blinks.

COLLIN: Excuse me?

LENA: Uh?the people you call-

COLLIN: Oh, right. The Alliance. (beat) No. I don't suppose they will, either.

LENA: Well, that sucks.

COLLIN: Yes. It does?suck.

He almost cringes at the use of the word.

COLLIN: (cont'd) But I have a plan B.

LENA: What's that?

COLLIN: Plan B is something you use when-

LENA rolls her eyes.

LENA: I know the definition, dork. I mean what's your plan?

COLLIN: You're my plan.

He walks out of the kitchen, with LENA staring after him, dumbfounded. She steps toward the next room.

LENA: Say what?

CUT TO-INT. ?POLICE STATION- AFTERNOON

The policemen and women are sitting in what seems to be a lounge. They are talking, and eating.

POLICEMAN 1: Did you see that guy? I mean, c'mon, there's only so long you can run before it's hopeless. Eventually we just got in the cars and chased him down.

POLICEMAN 2: I know, I was there.

He rolls his eyes as if annoyed. Suddenly a booming voice comes from down the hall, and everyone turns. The person reaches the lounge and opens the door. It is an official looking woman.

WOMAN: Well then. I'm glad we're all snacking while I just found out a prisoner escaped.

No one says a word. The second policeman walks up to her.

POLICEMAN 2: What do you mean?

The woman crosses her arms over her chest.

WOMAN: Miss Lehane is not in her cell.

The policeman widens his eyes and rushes out of the lounge, toward the cell area. The woman follows, and the camera pans back to the first policeman. He shakes his head.

POLICEMAN 1: People just don't know when to stop running.

He goes back to the table, and picks up a bag of chips.

CUT TO- INT. ?UNDERGROUND CHAMBER- AFTERNOON

FAITH is standing next to the wall, kicking it repeatedly. With each kick the time between kicks grows longer as FAITH grows tired. ILLYRIA stands, looking at her as if curious.

ILLYRIA: Your methods are not working. To be blunt, you are being an idiot.

FAITH stops for a second, and smiles at the insult, before going back to kicking the wall. We now notice she's moving along it as she kicks it.

ILLYRIA: (cont'd) If there is a point you are trying to prove, I hope you are nearing it. We do not need all of your limbs broken. You will be of no use.

FAITH: How about you start being of some use and help me?

ILLYRIA: If I understood, I could help. I do not.

FAITH shakes her head and kicks the wall again. She notices something, this time.

FAITH: It's thinner over here.

ILLYRIA tilts her head to the side.

ILLYRIA: You are looking for the wall to be?empty. Hollow. I would not think they would make this structure weak.

FAITH: They had to get you in here somehow.

ILLYRIA: By magic.

FAITH: Maybe.

ILLYRIA: No. I am positive. There is not much they do without magic. I have taken note.

FAITH sighs.

FAITH: Great. Well if you know any magic, now's the time to-

ILLYRIA: I do not.

FAITH stops kicking the wall and leans against it, and begins to think of another plan.

CUT TO-INT. ?UNKNOWN- AFTERNOON

We're in a dark room. It looks like no one's there, but there is a slight movement against the wall, and we zoom in, and see a cloaked figure walking down the side of the room. There is a door at the end of the room, and he, or she, or whatever it may be walks through it. There is a circle with several more hooded figures. They look as though they're chanting. They are looking at the wall, which has some sort of projection on it. We see the man with the scarred face walking down the street.

CLOAKED FIGURE 1: How is his progress coming along?

CLOAKED FIGURE 2: Just fine. He hasn't found the target yet, though.

Silence takes over the room once again as they continue to watch the image on the wall.

CUT TO- INT. ?GAS STATION- AFTERNOON

There are several people paying for gas and buying drinks and snacks from the store inside the gas station. It looks normal, apart from one thing. The man from earlier is there. He is dressed completely in black, and he does not have his face covered. Most people look at him strangely, and the cashier gives him an uneasy look. An even more nervous look appears on the cashiers face when he walks up to the counter, pushing past people already in line.

CUSTOMER: Hey! I was here first!

The man looks at the customer, glaring. The customer isn't intimidated.

CUSTOMER: (cont'd) You think you're so tough? Well you've got another thi-

Before he can finish his sentence, the man from earlier grabs him by the collar and throws him across the store. He falls into a shelf containing bags of chips, candies, etc. The man looks at him, pleased that he has shut up, and turns to the cashier.

CASHIER: (trembling) You know that really wasn't necessary, -

MAN: (with no emotion) Do I look like I care?

The cashier doesn't bother to answer the question. She sizes him up and down and tries not to look scared.

CASHIER: What do you want?

MAN: I want to know where a man by the name of Thomas Grey is. His nickname is Tommy.

The camera closes in on the man's face. It's full of hatred. The cashier shakes her head, nervously.

CASHIER: I don't know who that is.

The man looks at her as if judging what she said. He then nods, and begins toward the exit. He turns back.

MAN: Then you are of no use to me.

The cashier widens her eyes at this. She doesn't know what that means, but she knows that it can't be good. The man exits the store, and heads to the middle of the parking lot. He looks at the ground. We zoom out, and see what he's looking at. There's a gas leak that leads to the gas station. There's also a gas line right next to the gas station. He reaches into his pocket, and pulls out something.

The people in the store, watch him, nervously. Time seems to slow down as we see what's in his pocket. A match. He lights it and throws it down to the ground. Before people realize what's happening, the fire heads toward the store. They run away from the entrance, where the gas line is, but they aren't fast enough. The fire reaches the front of the store, and the whole building explodes. Time returns to normal as the man walks casually down the street, no expression on his face. The sound of screams comes from both within the building and outside of it. The flames have reached the gas pumps now, and there is another explosion. The man continues to walk down the street.

CUT TO BLACK

END OF ACT I

**QueenC** · 01-12-07, 08:36 PM

ACT II

FADE IN

OPEN TO- INT. ?ABANDONED BUILDING- AFTERNOON

Everyone is awake now. They are huddled into a small circle, and they are talking in low voices.

TOMMY: Remind me why we're doing this, again?

ROBIN: If the demons are still out there, we don't want to be found, do we?

TOMMY: Well I guess not?

ROBIN: There's your answer.

MARIE: (O.S.) I don't think they're out there.

ROBIN and TOMMY turn in the direction of her voice. She's looking at the window. There's nothing there, except normal people on the street several yards away. ROBIN goes to the window with her.

ROBIN: You mean they're gone? Everything's normal?

MARIE: As normal as this city gets.

ROBIN: That's weird. Does this mean that Belial is gone, too??

BRIAN: That'd be asking a lot.

ROBIN nods.

ROBIN: You're right. I just wonder what changed?

CUT TO-INT. ?UNKNOWN- AFTERNOON

We see BELIAL walking down a long, elegant looking hallway. FRED is not with him. He walks almost to the end of the hallway, and enters a room, and that's when we see her. She's sitting on a windowsill, staring out of the window. She turns when BELIAL enters the room, and glares.

FRED: I don't see the point in bringing me to your home. If you can call it that.

BELIAL: Perhaps it will jog your memory. We did make a deal, after all.

FRED: Yeah, sure.

BELIAL: So you remember?

FRED: Um, no.

BELIAL sighs.

BELIAL: This is going to be tricky?

He pauses, and looks as if he realizes something.

BELIAL: (cont'd) Of course you don't remember. You made this deal as Fred.

FRED: I am Fred.

BELIAL: (shaking his head) No. Not the person she used to be.

FRED glares at him, almost menacingly.

FRED: You want me to be the same? After everything?How could I ever be the same? I was forced to change. To survive. I'll never be "normal" again, thanks to you and your friends.

BELIAL doesn't respond. He moves over to a cabinet, and pulls something out. It's a silver cube, and it looks like mist is inside of it. FRED glances at it, curiously.

FRED: What's that?

BELIAL: Something that might help you remember.

FRED: How?

BELIAL doesn't answer, once again. He takes the cube and walks toward FRED, who backs away slightly, but then decides to stay put. BELIAL holds out his palm for the cube and it opens up, shaping into a flat surface. He moves his hand closer to FRED, and it attaches itself to her. She makes a tiny gasp until her expression goes blank. It's as if she's not there anymore.

CUT TO- INT. ?ALTERNATE DIMENSION- EVENING

The scene is blurred, as is the whole screen, it's static. We are inside of a cave. The camera zooms deeper into it and we see writing on the walls. But it isn't ancient writing; it's modern. We see a woman standing next to the wall, writing on it. Then we see who it is- FRED. This is Pylea. FRED writes random, jumbled numbers and words. She seems to be talking to herself. The caption "SIX YEARS AGO?" comes onto the screen.

The words she's writing make no sense, but that doesn't seem to matter to her. A crash is heard, and this is what gets her attention. She stops writing, and turns her head. Another crash. At least, a crash to her. It was a small noise, like that of someone falling. It was coming from outside of the cave. She looks at the mouth of it, scared. She begins to get down off of the rock she is standing on, when someone enters. We can't see who it is, because a cloak covers their body and face. We know that it is a man from his voice.

MAN: I have been searching for you.

FRED doesn't say anything. She looks at him nervously, and backs away slightly. The man chuckles.

MAN: (cont'd) There is no cause for panic. I have stopped the city people from finding you. I think that you should trust me.

FRED widens her eyes.

FRED: Th-they were going to find me?

She has an expression on her face as if to say that the piece of information given to her does not compute. She shakes her head.

FRED: (cont'd) They couldn't possibly know where I am, it's not in the logic. Not in the formula.

She moves back to the wall, staring at the jumble of words. The man can be seen walking closer to her.
MAN: Wow, you are crazy.

He shakes his head, and she ignores him. We close-up on FRED'S face.

MAN: (cont'd) How would you like to get out of here, Winifred?

FRED'S eyes widen, and she turns around, slowly.

FRED: Wh-what? You couldn't?

The MAN doesn't respond by using words, but by removing the hood of his cloak and smiling. It is BELIAL.

BELIAL: I could.

FRED looks at him, hopeful, but still wary.

BELIAL: (cont'd) If you do something for me.

FRED'S face falls. She looks at the ground. BELIAL stares at her.

BELIAL: (cont'd) I haven't even told you what it is yet. Who says it'll be bad?

She looks at him, and tries to judge by his appearance whether his intentions are good or bad. She continues to stare, and he begins to get impatient.

BELIAL: (cont'd) I just want you to work with me. Does that sound okay?

FRED continues to look at him. Eventually, she glances at the sides of the walls, the ones that confine her to hiding and growing more insane every day. She then looks back to BELIAL, and gives a slight nod. BELIAL smiles.

CUT TO-INT. ?BELIAL'S HOME- AFTERNOON

The glowing form slides off of FRED and into BELIAL'S hand. FRED opens her eyes, and looks at him.

BELIAL: Well?

FRED: I don't seem to remember you rescuing me.

BELIAL: I did.

FRED: No, Angel and-

BELIAL shakes his head, interrupting her.

BELIAL: Oh but I did. Who do you think led them to you?

FRED: Cordelia had a vision.

BELIAL: Yes?

FRED widens her eyes, surprised, but then her expression goes to one of confusion.

FRED: But that was from the Powers That Be, not you?

BELIAL: There are things more powerful than the "Powers That Be".

FRED: I don't think you are.

BELIAL: Oh?

He tilts his head to the side and takes a step toward her, and says something, daring her.

BELIAL: (cont'd) Do you want to test that theory?

FRED looks at him in defiance, not giving in at all. She doesn't say a word, but he can tell that if he tries to make a move, she will too. This is when he laughs.

BELIAL: (chuckling) I see what you think. You think that you are more powerful than I am. (pause) You have no idea what I'm capable of, little girl.

FRED: I am not a little girl.

BELIAL: Compared to others, you are. You have confidence, but nothing to back it up.

FRED gets more angry as each word passes out of his lips. The room begins to quiver; Not shake?just a small tremble. BELIAL smirks.

BELIAL: (cont'd) There we are.

FRED: What is that supposed to mean?

He begins to walk in a circle around her.

BELIAL: I was testing you?though, honestly, is that the best you can do?

Both FRED'S teeth and fists clench, and the room shakes more powerfully.

BELIAL: (cont'd) You'll get there yet.

He continues to smile as FRED glares at him.

CUT TO-INT. ?UNDERGROUND CHAMBER- AFTERNOON

FAITH is standing again, and pacing. ILLYRIA looks at her with no emotion. Suddenly there is a rush of wind, and someone appears in the room. They look like a servant, because their clothes are ratty, and they are holding a tray of food.

SERVANT: They told me to bring you sustenance?though I don't see why. You're both dirt.

He glares at them, about to set the tray down when FAITH looks around for something, anything?and spots it. She picks up what looks like it used to be a table leg, and grabs the servant by the arm, raising the makeshift weapon.

FAITH: You're going to get us out of here.

The servant says nothing, but looks at the slayer nervously. FAITH holds the weapon higher, and looks like she's about to hit him.

SERVANT: You think I cannot get out of here easily?

FAITH: (smiling) Not with me holding on to you.

The servant does not say anything once again, but realizes her words are true?and that's when he unexpectedly gets out of her grasp, and begins a small chant. FAITH widens her eyes, knowing that this is her only chance. She grabs his arm again quickly, and just grabs ILLYRIA'S arm in time, and they are pulled out of the room by magic.

When the pull stops, they are in front of a large door. The servant looks to his side, and sees his mistake. He looks like he's about to yell for help. but FAITH still has the table leg. She hits him on the side of the head and he falls to the ground, unconscious. She looks to ILLYRIA. ILLYRIA doesn't say anything. Instead, she steps toward the door, and opens it. She walks through, and FAITH follows.

ILLYRIA look to her left?and stops dead in her tracks. She continues to look in that direction, her whole body facing that way now. FAITH looks concerned and catches up, looking over there, too. What they see is the city that FRED destroyed. It's black with ashes and whatever survived now.

ILLYRIA: I did this?

There is a hint of innocence in ILLYRIA'S voice. FAITH almost nods, but catches herself. She looks to ILLYRIA, interested.

FAITH: What did you just say?

ILLYRIA looks to her, tilting her head.

ILLYRIA: I did not say a word.

FAITH looks at her, now very confused. ILLYRIA looks back to the ashen city.

ILLYRIA: Oh my god.

FAITH turns to her now.

FAITH: You did say something.

ILLYRIA: It is not I.

FAITH: "I" being??

ILLYRIA: Illyria. It is someone else?a piece of someone else.

FAITH: It sounds like Fred?but that can't be right ?cause her soul's gone.

ILLYRIA stares at the city, not replying. FAITH looks at her, curiously.

FAITH: (cont'd) Unless it isn't?

ILLYRIA looks at her. A touch of sadness is in her eyes, but only for a second, before fading. There is a sound of a deep rumbling from somewhere in the building, pulling them out of the conversation. FAITH starts toward the exit of the room.

FAITH: Time to get out of here.

ILLYRIA: There is no escape.

FAITH looks at her, frowning, but leaves the room anyway. ILLYRIA slowly follows.

CUT TO-INT. ?CAF?- AFTERNOON

Several people are standing in line, ordering what they want, while others are sitting down at tables, talking. The camera scans the place before going to a specific table?where ROBIN, TOMMY, SAM, ALAN, MARIE, and BRIAN sit. They have put two tables together, and are talking.

TOMMY: What do you mean, she's not there?

ROBIN: I called the police station, and they said they were checking cells this morning and she was just?gone.

TOMMY: What if they were lying?

ROBIN: (shaking his head) They weren't. I went and checked.

TOMMY: (confused) When?

ROBIN: When we passed by and all of you were browsing shops.

SAM: Oh! So that's where you disappeared to.

ROBIN: Yeah.

BRIAN: Are we all forgetting that there's a hell-prince roaming the streets?

MARIE raises her hand.

MARIE: I'm not.

SAM: Well there isn't exactly a way to stop someone that powerful.

MARIE looks away. Her emotions look conflicted. No one notices. The camera moves over to a TV in the corner, which TOMMY is staring at. Its volume isn't up?but it's showing the man from earlier, that blew up the gas station. It shows footage of the wreck, and a picture that was salvaged from one of the cameras in the building. His eyes are wide as the conversation at the table continues. He zones out. Eventually, SAM looks over to him.

SAM: Is something wrong?

It looks like he can't hear her, and he looks like he's going to be sick.

SAM: (cont'd) Tommy?

Hearing his name snaps him back down to Earth. He turns to her.

TOMMY: Huh? I'm fine.

SAM raises an eyebrow, and now the whole group's attention is on TOMMY.

SAM: You don't look so fine.

MARIE looks to the TV, after figuring out that was what TOMMY was staring at, but it has switched to news about stocks. However, a headline runs across the bottom, telling of the man and the incident at the gas station. She turns back to TOMMY.

MARIE: Do you know him or something?

TOMMY: Know who?

MARIE: The guy who made the gas station go?well, boom.

TOMMY puts on a confused expression, though we can tell he's acting.

TOMMY: I don't know what you're talking about?

MARIE looks at him, as if analyzing what he said, and how he said it. Eventually she shrugs, and turns back to the table. TOMMY glances at the TV once more before turning back to the table as well.

CUT TO- EXT- CAF?- AFTERNOON

The man from earlier is looking in from the window, at where TOMMY and his friends are sitting. He smirks?and backs up?runs toward the window, and smashes into the glass. People scream, and the gang looks to see what's going on.

SAM: You couldn't have used a door?

TOMMY: He likes to make an entrance.

MARIE looks at TOMMY.

MARIE: I thought you said you didn't know him?

TOMMY looks away as the man approaches them.

MAN: You're coming with me, traitor.

The whole group looks surprised, and the man grabs TOMMY by the arm. MARIE goes to hit the man, but her arm passes right through him.

MARIE: W-what?

The man smirks, and vanishes?taking TOMMY with him. BRIAN looks at the spot where they were standing just moments before.

BRIAN: The Untouchables.

ALAN: Huh?

BRIAN looks at the whole group.

BRIAN: Assassins.

FADE TO BLACK

END OF ACT II

**QueenC** · 01-12-07, 08:37 PM

ACT III

FADE IN

OPEN TO- INT. ? HELL DIMENSION- AFTERNOON

We're viewing an empty room. There are stains on both the floor and the walls, and they look to be anywhere from dark red to brown- Blood stains. The floor isn't concrete, or cement; it's just dirt. We see two people walk into the room, and we instantly recognize them as FAITH and ILLYRIA. They are not saying anything, especially as they look at the stains on the floor in the dirt and the stains on the wall. FAITH breaks the silence.

FAITH: (looking at the floor) These must be fresh.

The stains in the dirt all looked fresh; probably because if they hadn't been, they wouldn't still be there. ILLYRIA says nothing as she looks down at the floor.

FAITH: (cont'd) Which means we need to get out of here.

ILLYRIA: Was that not our initial plan?

FAITH looks at her, annoyed.

FAITH: What I meant was we need to get out of here fast.

ILLYRIA: I do not see a difference in this plan.

FAITH: (sighing) I guess you're right. We should be trying to get out of here fa-

ILLYRIA: Quiet.

FAITH looks almost offended, stopping to turn to her.

FAITH: Just because we're walking out doesn't mean I can't carry a conversation, especially since-

ILLYRIA gives her a look that shows she means business, and FAITH immediately shuts up. She listens for a noise, and suddenly realizes that there are people heading there way. They're talking but the words cannot be heard by FAITH or ILLYRIA. ILLYRIA grabs FAITH'S arm, and practically throws her across the other side of the room. FAITH stumbles and notices what ILLYRIA'S doing- pressing herself up against the farthest wall from the entrance, where it is darker.

But the people talking do not enter the room. The talking is louder for a moment, but then begins to fade again as they walk past the room. FAITH and ILLYRIA wait a few moments before relaxing. ILLYRIA turns to the Slayer.

ILLYRIA: The next time you think to speak while escaping quietly, do not.

ILLYRIA moves past her as FAITH looks after her, and then follows. She can hear ILLYRIA mutter something that included the word "insolent", but FAITH chooses to ignore it.

CUT TO-INT. BELIAL'S HOME- AFTERNOON

FRED is standing in the middle of an empty room, and we can only see a portion of it. Zooming out, we see that the entire room is destroyed, save the windows, doors, and walls. Every object that may have been preserved in there is crushed.

FRED: (yelling) Dammit!

BELIAL: (O.S.) I'd appreciate it if you kept the room intact.

FRED: I'd appreciate it if you weren't intact.

A laugh is heard. There is no way of telling where the laugh is coming from, specifically, because it seems like it's coming from everywhere all at once.

BELIAL: (O.S.) I'm afraid I must be. Our plan must go through. If it doesn't?

There is a sudden, discreet falter in his voice. FRED lifts her head as she notices. She can tell that he's unsure of himself?and afraid of someone else. But she didn't know why, or who.

FRED: What? What will happen if you leave me alone?

There is no response. FRED sighs, her defeat showing clearly in her eyes; But she was persistent. She will get answers.

CUT TO-INT. ?PUBLIC LIBRARY- AFTERNOON

The gang is spread out around the library, searching for something, anything, that might help them. So far, it looks like they haven't had much progress- All look extremely frustrated. BRIAN is sitting at a table in the center of the room, looking through books that they've already brought him.

ALAN: This is crap!

All of them turn to look at him, and he makes a gesture not unlike a sign of defeat. There are barely any other people in the library, surprisingly, so his outburst goes pretty much unnoticed.

BRIAN: What do you mean?

ALAN: What I mean is, we're not finding anything.

ROBIN: We've barely been here an hour.

ALAN: And I wouldn't be saying this if we'd found something remotely close to what we need to find. But we haven't. There's nothing here but watered down books about reality, and cheesy fiction. There's not even a mythology section. There's nothing here.

BRIAN: Fiction?

ALAN: Yeah, that's what I said.

BRIAN shakes his head, and looks at ALAN, questioningly.

BRIAN: How about urban legends?

ALAN: (blinking) Um, that guy looked pretty real to me

BRIAN rolls his eyes and moves over toward the fiction section, looking for something specific. He lets out a small "ah" when he sees it, and begin to scan the shelves under "Urban Legends".

MARIE: (O.S.) I've got nothing.

ALAN turns to her, and shakes his head.

ALAN: Neither do we.

BRIAN: (O.S.) Yes we do!

ALAN: You're looking for legends!

SAM: (O.S.) That actually makes sense.

SAM appears much like MARIE did, but with a book in her hands.

ALAN: It?does? (beat; looking at the book) What's that?

SAM: Sure it does. I mean, people don't think demons or anything like them are real, so they might be under legends. (pause, looking down at the book too) What, this? Just something for me.

ALAN tries to glance at the title, but SAM holds it closer to her.

MARIE: Is anyone else worried about Faith?

No one answers for a few moments.

ROBIN: Of course I am. We all are.

SAM: We just kinda have a lot to worry about right now. Tommy, Belial, Faith-

BRIAN: (O.S.) The assassins!

SAM looks at the others.

SAM: What does he have now, bat hearing?

The rest of them look equally confused. before BRIAN walks over to them, holding a book.

BRIAN: I found something.

SAM: Oh. So less with the sonar.

He looks at her, confused, and turns back to the book.

BRIAN: (reading aloud) With no official name, these predators stalk their prey much like a cat in the jungle. They're relentless, and won't stop until they get what they want. They go by many names, but are most commonly referred to as Unreachables.

He stops and looks up at the group, with pride in his eyes. ALAN looks confused.

ALAN: Uh, aren't we looking for the "Untouchables"?

The entire group gives him a "duh" look, but he still doesn't get it.

BRIAN: They're basically the same thing. Tommy just called them something different.

ALAN: How are they the same thing?

SAM reaches her palm to her face, smacking it lightly. ALAN gives her a glare.

BRIAN: (ignoring this display) They're both incorporeal. They're both assassins. Just put two and two together.

SAM: (mumbling) You really think he can count that high?

ROBIN and MARIE chuckle, and ALAN doesn't seem to hear anything. BRIAN only gives her a look as if to stop insulting him, but he smiles too.

ALAN: Okay, right. You found out what they are. But how is that going to help us find them?

SAM: You really think they're called "Unreachable" without a reason?

ALAN: Hey! I thought-

BRIAN: Forget it. (beat) We can't find them-

ALAN: Great. So we spent an hour here for nothing.

BRIAN: (glaring) Will you just let me finish? (pause) We can't find them?but we can make them come to us.

MARIE: Uh, how? Unless we're a-

Her eyes widen as she realizes.

MARIE: (cont'd) You can't possibly be thinking that we could?could?

BRIAN nods. The rest of them look confused as BRIAN starts to lead them elsewhere.

BRIAN: Follow me.

CUT TO- INT. ?UNKNOWN LOCATION- AFTERNOON

The area is dark, and damp. A distant dripping can be heard from the spot we are seeing. It's slow, each drip separated by at least five seconds. There is murmuring coming from deep within the cave-like spot, and the camera follows the voices. Eventually we come to two figures in deep brown, flowing cloaks. What they're saying is unintelligible, because it sounds as if it's in a different language. We continue down the makeshift hallway. Finally something being said in English is heard, and we move closer to hear it more clearly, until we see a room empty except for two people. One hits the other, making him fall down on the ground. The person standing looks at the man on the ground.

FIGURE: You would do this to your brethren?

We cannot see the man on the ground yet. We can only hear that he is coughing from the hit. He attempts to get up, but fails. The figure, who we can also tell is a man, continue to look down on him, both literally and figuratively. The man on the ground chooses to speak up, and his voice distinguishes who he is.

TOMMY: You're no?brethren?of mine.

He looks up at his captor, and glares. The man does not react to the glare, but chooses to spit on TOMMY.

MAN: You sicken me.

TOMMY looks at the spit on his shoulder, and gives it a disgusted look.

TOMMY: Look who's talking. No one likes your saliva on them, buddy.

He shrugs his shoulders as if to get it off, but it doesn't move. He sighs.

TOMMY: (cont'd) You could go for something a little less disgusting.

The man's face remains expressionless.

MAN: You've betrayed us. You will pay.

TOMMY: How did I betray you? I didn't do anything.

The man almost hisses.

MAN: That's the point Thomas! You did nothing. You remember our agreement, and you didn't follow through with it. Instead, you allowed one of our benefactors to be killed, and you're acting like a lapdog to that filthy Slayer.

TOMMY: She's my friend!

MAN: No, no, no! She's not your friend at all! You two are no longer close. She is one of the targets, and you missed the mark. For this, you're in our debt.

TOMMY has no remark for this. Instead he stares down at the ground.

MAN: (cont'd) As our leader, I will decide on your punishment. Who knows?maybe you'll be our next target. (beat) In the meantime, I will send another to kill the Slayer.

TOMMY'S eyes widen, and he gets up off the ground, throwing a punch at the man. It goes right through him, as he knew it would. The man looks at him.

MAN: You are pathetic.

He shoves him down to the ground, and TOMMY looks defeated, staring as the man walks out of the room. He sighs.

CUT TO-INT. ?RUNDOWN BUILDING- MORNING

The scene is blurred, as is the whole screen, it's static. It's not clear if the house is still occupied, as it is a complete mess. There is a rustling noise, so if someone doesn't live here, someone decided to pay a little visit. The camera follows the noise and finds TOMMY. He is looking through a pile of papers, sitting down at a table. Soon he throws them across the table, and some fall on the floor. He rubs his face with his hands, and he looks extremely tired, and worried. He mutters something to himself, but it's unintelligible. Another set of footsteps is heard, and TOMMY looks up, and freezes.

TOMMY: Who-

He doesn't finish his sentence because whoever it is continues to move toward the room where he's sitting. He's silent, while moving toward a cabinet. He opens it, pulling out a short, double-sided knife, and looks around, warily.

MAN: That won't be necessary.

TOMMY looked to his right, where the assassin from the previous scene stands. He's leaning against the wall, casually. TOMMY puts his defenses up.

MAN: (cont'd) I said, that's not needed.

TOMMY just watches him, cautiously.

TOMMY: Who are you?

The man looks at him, tilting his head.

MAN: My name is Leon. I am part of a?special organization. (pause) And we need your help.

TOMMY looks at him, uncomprehending.

TOMMY: ?My help? What could I do for some "special organization"? I'm just a guy.

LEON: (shaking his head) In this instance, you aren't. You're critical in completing our task.

TOMMY: How?

LEON: It concerns a certain?someone.

He looks at TOMMY, as if judging him.

LEON: (cont'd) I'm reluctant to ask you for help, but I was ordered to. And orders are orders, as you might know.

TOMMY: How would I-

LEON: The point is, you have no choice.

TOMMY begins to look angry.

TOMMY: The hell I don't. I don't even know-

LEON: It concerns Faith.

TOMMY stops, widening his eyes. He looks at the intruder with shock, and his throat goes dry. He opens his mouth to speak, but no words come out.

LEON: (cont'd) I thought that would get your attention.

There is a long pause. TOMMY is trying to figure out what FAITH would have to do with anything. He doesn't look LEON in the eyes for a while.

TOMMY: But?Faith? What about her?

LEON: I'm afraid this won't be an easy mission to complete, but you are definitely the man for the job.

TOMMY: What job, exactly?

LEON: We want you to kill her.

TOMMY'S mouth opens again, but not to talk- in shock. His eyes stare ahead, not taking everything in at once.

LEON: (cont'd) As I said, it's going to be ha-

TOMMY: No, it's not going to be hard.

LEON looks at him, surprised but pleased.

LEON: So you're up for it. Excel-

TOMMY: No. You didn't let me finish. It's not going to be hard. (pause) Because I'm not going to do it. There's no way.

LEON frowns, disappointed.

LEON: Were you not listening, Thomas?

TOMMY: Don't call me that.

LEON: (ignoring him) You don't have a choice.

TOMMY: Yes, I do. You can't force me to kill my best friend.

LEON: I think I can.

He snaps his fingers, and a bigger man steps into the room, holding someone struggling against his leg. Muffled screams can be heard, and TOMMY looks down to who he's holding. It's a little girl (played by Rhiannon Leigh Wryn).

TOMMY: Megan!

The little girl sobs and tries to run to TOMMY, but is pulled back by the big man. He pulls out a knife and points it at her throat. TOMMY stiffens, and looks from MEGAN, to the man holding her, and then to LEON.

TOMMY: (cont'd, firm) Tell him to let her go.

LEON shakes his head.

LEON: Tsk, tsk. You don't seem to understand. (beat) Either you help us, or your sister over there?well, let's just say the last image you see of her will be her blood flowing down her neck, and onto the floor.

The man pushes the knife closer to her throat. TOMMY balls his fists, and looks like he's going to attack the man, but the man just stares at him, smiling, and moving the knife side to side, threateningly. TOMMY looks to LEON again?and nods.

TOMMY: (holding back tears) Okay. I'll do it. (pause) But if you hurt her at all, I'll break the deal and make sure Faith knows about what's going on. And she'll kick your ass.

LEON chuckles.

LEON: I doubt that she could-

TOMMY: (menacingly) Oh, she could. And when she's done, and you're barely breathing?let's just say the last image you'll see of me is my hands on your neck until your breathing stops. Got it?

LEON doesn't look threatened, but amused.

LEON: Whatever keeps you happy.

He nods to the large man, and he lets go of MEGAN, who runs to her brother, hugging his legs tightly, and sobbing into them. LEON looks at them.

LEON: (monotone) How sweet. (pause) We'll be in the living room. (beat) Don't think about escaping because we'll know you're going to try before you even think it.

TOMMY just looks at him, until he walks into the living room with his accomplice. He looks down to the crying girl, trying to shush her.

TOMMY: Sh, Megan, it's going to be fine?

He continues to watch her cry into his pant leg.

TOMMY: (cont'd, tearfully) Everything's going to turn out okay, kid. Don't worry?

He looks away from her purposely, not able to watch her despair any longer, and gets lost in his own?

FADE TO BLACK

END OF ACT III

**QueenC** · 01-12-07, 08:38 PM

ACT IV

FADE IN

OPEN TO-LAB- THE ALLIANCE- EVENING

EMMETT is staring at something ahead of him, though we can't see what it is yet. Our point of view swivels around slowly, and we see a thick layer of glass, a glare coming off of it. Past the glass barrier is ARTEMIS, standing alone in a padded room, looking around for an escape. EMMETT looks bemused at the thought of escape from here. No scientists, or other people, are in the room. It's just EMMETT and ARTEMIS. She looks at him, with a curious expression on her face.

ARTEMIS: What are you doing here?

EMMETT smiles.

EMMETT: Hm?visiting.

ARTEMIS gives him a confused look, as if she didn't hear him. EMMETT soon realizes that he can hear her, but she can't hear him unless he presses the speaker button. He sits down in the head scientist's chair, and does so.

EMMETT: (cont'd) Visiting.

ARTEMIS continues to look at him confused.

EMMETT: You didn't hear me that time, either??

ARTEMIS shakes her head.

ARTEMIS: Of course I heard you?visiting? Why? Don't you want to treat me like a lab rat like everyone else in this freaking place?

The look in her eyes is almost desperate. He gives her a look of sympathy, which is quickly replaced by a crooked smile.

EMMETT: Why treat our strongest patient like a rat, when she should be treated like royalty?

ARTEMIS: (scoffing) Yeah, right. Strongest patient?if I were the "strongest" I would be able to get out of here.

EMMETT: No, no one can get out of here. The walls of that room, and of the entire building, were enchanted by some of our greatest sorcerers, and then some. They're to make sure that subjects, and only subjects, can't use their powers. Especially against us.

ARTEMIS: But?when they do?whatever?to me, they're letting my powers out then.

EMMETT: You can only use them at certain times- (pause) I probably shouldn't have said that.

ARTEMIS: Probably not. But I've tried using my powers when they're doing the experiments, something to stop it, because it just hurts so much?

She cuts herself off, wiping her eyes.

ARTEMIS: (cont'd) It never works.

EMMETT: (shaking his head) It wouldn't. Because-

He stops himself.

EMMETT: (cont'd) I don't know why I'm telling you this.

ARTEMIS looks at him, interested. He looks very confused.

ARTEMIS: Well, I don't-

Before she can finish, someone walks into the room. EMMETT turns to see that it's SELENE. She's frowning at him. He releases the speaker button.

SELENE: What are you doing down here?

ARTEMIS walks over to the farthest wall of the room, and sits against the wall, on her side, so her head is resting on the wall. She doesn't watch EMMETT and SELENE.

EMMETT: I was just checking on our most interesting patient.

SELENE: Checking on? Why would you have to do that, when we have scientists?

EMMETT: Well, you know scientists.

SELENE considers this for a moment, and nods.

SELENE: Very true. (pause) But you've seemed more than a little interested in her since the moment we went to get her.

EMMETT: Of course I've been. She is?

His voice fades out as the camera seems to pass through the glass, and we can no longer hear the conversation going on, just as ARTEMIS can't. She stares ahead of her, concentrating hard, as if trying to break the wall down. After a few moments, she sighs loudly, giving up.

ARTEMIS: What did I do to deserve this?

VOICE: I think you know.

ARTEMIS looks up. She doesn't see anyone in the room with her. She looks over to where EMMETT and SELENE are standing in the next room- they're still talking to each other, no where near the button. Besides, the voice was childlike, and female.

VOICE: (cont'd) You have to pay, Missy.

ARTEMIS: Missy?

The voice giggles.

VOICE: Just a little nickname. Do you like it?

ARTEMIS doesn't respond.

VOICE: (cont'd) There's gotta be some justice in the world. You killed a lot of people. No one's gonna forget that. Especially not us.

ARTEMIS: (dazed) Us?

VOICE: You'll learn soon enough.

It fades away, and ARTEMIS is left alone again. She stares ahead of her again, this time thinking back?

CUT TO-INT. ?EMPIRE STATE BUILDING- AFTERNOON

The scene is blurred, as is the whole screen, it's static. The camera is focused on a desk, where the man from earlier is standing and on the phone. We hear words, but cannot make out what they are. We suddenly hear a crash and the man looks up worriedly. All he sees are people walking in and out of the front door of the building, so he goes back to what he's doing and shrugs.

MAN: (to the phone) Yes, I completely-

A scream is heard. The MAN looks horrified and drops the phone. He looks in the direction of the scream, and widens his eyes. We see what he is looking at- the dead body of a woman, a knife through her heart. We hear more crashes before we see ARTEMIS walking into the lobby, smiling. The MAN ducks down behind the desk, his breathing heavy. Several more screams are heard. The MAN looks around from the desk to see ARTEMIS killing people in the lobby many ways- snapping their neck, slitting their throat with a sword she's carrying, etc. The MAN looks horrified once again. He then sees ASMODAI emerging from the hallway that ARTEMIS came from, heading toward the door. We focus on the phone, which is next to the desk on the floor.

VOICE ON PHONE: Hello? What's going on? Oh God.

A few drops of blood fall onto the phone and we pan up to see that ARTEMIS has stabbed a GUARD through the chest with it. ARTEMIS smiles, and the GUARD falls onto the floor and on the phone. The MAN behind the desk sees this and tries to keep himself from vomiting- he doesn't want ARTEMIS to see him. She stands there for a moment before moving back into the crowd.

CUT TO-INT. ?CELL- THE ALLIANCE- EVENING

The colours are back to normal again, and ARTEMIS sits there, lost in her thoughts. We move back to the room where EMMETT and SELENE are talking.

EMMETT: I understand that you think I'm getting too attached, but there's no reason not to be.

SELENE: Yeah, yeah, whatever. You think you have to be attached to her just because she is....who she is.

EMMETT: (amused) She can't hear us, you know. You can say it.

SELENE shakes her head.

SELENE: It's better to be cautious. After all, you never know. (beat) I'm going to go. You can stay in here and bond with the rat or you can come with me. Your choice.

EMMETT looks back to ARTEMIS, and then to SELENE again. He nods, and she begins to walk out of the room. He follows her as she opens the door and walks out.

EMMETT: (mumbling) She's not a rat.

He closes the door.

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

LENA is in the kitchen, holding a knife and tapping it on her palm as she walks back and forth.

LENA: So let me get this straight.

COLLIN, who is leaning against a corner, sighs.

COLLIN: Again?

She looks over to him, glaring, but continues.

LENA: You want me to bust this gal out of this prison-type room. And then out of a big building, with armed men guarding it, and back here.

COLLIN: It sounds better when I explain it.

LENA: That's because I don't sugarcoat things, and I don't plan on starting soon. (beat) So when we get her here, we're supposed to do?what?

COLLIN: Take her somewhere far away.

LENA stares at him.

LENA: What, is this your love and you're planning on a romantic getaway?

COLLIN: (laughing) No. God, no. She's just?important.

LENA: Important as in want-to-bang-her important or important as in someone's-gonna-die-if-we-don't important?

COLLIN: The latter.

LENA: Right. (beat) Somehow, I don't think this is going to be easy.

COLLIN: Somehow, you're right.

LENA: Okay. (beat) Wait, hey! That's rude.

COLLIN just shrugs, and pushes himself off the wall.

COLLIN: (mockingly) I don't sugarcoat things.

LENA: (rolling her eyes) Oh, please. You're the sugarcoat king.

COLLIN just looks at her, and then dismisses the comment.

COLLIN: I never said it was going to be easy. We're talking about some pretty strong people, here.

LENA: Uh-huh. But once we get to this chick, she'll be able to knock ?em all down, right?

COLLIN: Not?exactly.

LENA: What do you mean? You said she's powerful.

COLLIN: She is, but her powers are disabled inside the building?

LENA throws her hands up in the air.

LENA: Great. Just great. So we have to rely on my lack of strength.

COLLIN: I'll help you in whatever way you can, but?

LENA: But you're going to stand back and let me do it on my own.

He gives no response.

LENA: (cont'd) Fabulous.

CUT TO-UNKNOWN-EVENING

The area is almost pitch-black dark. Only the lightest shadows of people's movements can be seen, and they look crowded together.

SAM: (O.S.) So what are we doing here again?

MARIE: (O.S.) We're- Hey! That was my foot!

ALAN: (O.S.) Sorry. I can't see well in the dark.

BRIAN: (O.S.) Hasn't your vision adapted yet?

SAM: (O.S.) He's not a bat.

BRIAN: (O.S.) Huh?

SAM: (O.S.) Never mind.

ROBIN: (O.S.) Guys, back on-

BRIAN: (O.S.) Ouch! Coordination. Now.

A light switches on, and ROBIN is seen standing at the switch. They are all crowded together, and in a room with a lot of TV's, computers, and a sign above them, but the words can't be seen because it's not turned on, and the sign is electronic. MARIE moves to one of the computers, turning it on. She works on hacking into the password as the rest of the group continues to talk.

SAM: Someone tell me the plan again.

BRIAN: Alright. (beat) What we're going to do is make ourselves a target for the assassins.

ALAN: (muttering, sarcastic) Because that's not dangerous.

BRIAN: (ignoring him) That way, they'll leave Tommy alone and come to get us. When they do that, Marie and myself will figure out where Tommy is, and go to him.

SAM: Why can't you just go to him now?

BRIAN: Well, two reasons. One, it'd be hard to get through all of the men that they have. And two, while the assassins are there, they can't be tracked. Once they've all left, it should be very easy.

ROBIN: Okay, so the assassins are going to come here, and we're going to do?what? It's not like we want ourselves to get killed, either.

BRIAN looks to SAM.

BRIAN: That's where you come in. You have to throw them off your trail, using magic.

SAM: I don't know?

BRIAN: You don't exactly get a say in it. We're here now, and we're not going to be cowards and give up.

ALAN: Why are we even trying so hard to get him back? Especially since he knew one of them, and he's probably been tricking us all along? Maybe they have something planned for us.

BRIAN: That's another reason to find him. We have to know what's going on, and he's the only one to tell us. (pause) He might even know where Faith is.

ROBIN looks up at this.

ROBIN: You think?

BRIAN: (nodding) I do. He's been acting weird recently?then Faith gets arrested, and goes missing? I don't think it's a coincidence.

ROBIN: You're probably right. (pause) How are we doing this?

BRIAN indicates MARIE, who is typing away at the computer.

BRIAN: She's going to get the news channel up and running, live, so we can threaten to expose the assassins. That will get their attention, and I'm thinking that they'll send everyone.

ALAN: Are you sure you can get them off our trail, Sam?

SAM looks at him, uncertainly, but nods.

SAM: I'm pretty sure?

ALAN looks at her, unconvinced, but doesn't press.

MARIE: (O.S.) We're on.

BRIAN: Okay. We only have a few minutes. Marie and I will handle this. Sam, get ready to transport you, Alan, and Robin out of here. Fast.

SAM nods and moves over close to ROBIN and ALAN.

MARIE points the camera at herself and the spot next to her, as BRIAN sits down there. The sign lights up and it reads "ON AIR".

MARIE: Hello New York City. We have some?interesting news to b-be broadcasted in just a few minutes.

BRIAN: Yes. As you might have noticed, some people have recently been killed. More than usual in New York, and you might want to know why. While you think the answer might be unreachable?

He pauses, really stretching the word.

BRIAN: (cont'd) ?we have some answers for you. The killers are assassins. They're real, and they're dangerous?.and we have the full story.

MARIE: We'll be back in a few minutes. Soon, you'll know the whole story, too.

She turns the camera off, and the sign blinks off.

MARIE: Do you think it-

In a blur, what looks like ten or more armed men appear instantly in the room. MARIE and BRIAN run into the next room. The assassins look to SAM, ROBIN, and ALAN?just as they fade away. They follow where MARIE and BRIAN ran to?but they have disappeared as well. The assassins look around, confused, and begin to search the building.

CUT TO-INT. ?UNKNOWN LOCATION- EVENING

TOMMY is still leaning against the wall, but notices that the place has gone quiet. He lifts his head up, and listens harder. Nothing. He gets up, and presses his ear against the entrance to the room. Still nothing.

MARIE: (O.S.) Huh. That was easier than expected.

TOMMY turns around, and grins.

TOMMY: You guys! You came. Thank you so much?

He goes to walk up and embrace them, but MARIE holds up a hand.

MARIE: Not so fast. You have a lot to explain. First, we have to get out of here, before they get back.

TOMMY looks at her, frowning. He almost walks toward her?but stops.

TOMMY: Not yet.

MARIE looks confused, and so does BRIAN, who is standing next to her.

MARIE: What?

TOMMY: We have to save Faith, first.

BRIAN: (whispering) I knew it?

MARIE gives him a look that says "not now" and turns to TOMMY.

MARIE: Where is she?

TOMMY: Uh?can you blast that door down?

MARIE looks to the door, and back to TOMMY.

MARIE: Can't we just open it?

A "duh" look is sent her way.

MARIE: (cont'd) Right.

She concentrates on the door for a few seconds, and the bottom half is blasted to pieces, just big enough a space to crawl under.

BRIAN: Why not the whole door?

MARIE: I don't know?but it doesn't matter. Let's go.

CUT TO-INT. ?HELL DIMENSION- AFTERNOON

FAITH and ILLYRIA are in what looks like a grand hall. It's completely empty, and chandeliers hang from the ceilings. Other small orbs of light swirl around the ceiling, and FAITH stares at them in awe.

FAITH: What are those?

ILLRYIA glances up to see what she's talking about, and then looks straight ahead again.

ILLYRIA: They are souls, trying to find a way to a higher place. To ascend. They do not have a chance.

FAITH: Oh c'mon, they must? I mean, we have a chance of getting out of here, right?

ILLRYIA does not look at her, or respond. The sound of a strong breeze is heard, and FAITH looks to the right.

FAITH: What's that??

She's looking at the wall. There's a flowing image. Looking through it we see an empty cave, at first?but then TOMMY appears.

TOMMY: Faith?

FAITH: Tommy!

TOMMY grins.

FAITH: (cont'd) Finally, we can get out of here!

FAITH rushes up to the wall, and looks at the image. She's about to step into it, assuming she should, when she looks back at ILLYRIA.

FAITH: (cont'd, confused) Aren't you coming?

ILLRYIA shakes her head slowly. FAITH takes a step back toward her, but ILLYRIA steps back as she steps forward.

ILLYRIA: I cannot.

FAITH looks at her, confused.

ILLYRIA: (cont'd) It is not my destiny to return.

FAITH: That's crap, and you know it. Just?come with me.

ILLYRIA: I cannot.

FAITH: You're starting to sound like a broken record.

ILLYRIA walks toward the wall, where the image is. TOMMY is frowning. ILLYRIA tries to put a hand through the connection?and it only hits the wall. She tries the other hand, and it does the same thing. She looks back at FAITH.

ILLYRIA: I must stay here.

FAITH frowns, and looks at ILLYRIA as she walks toward the image?the last thing she sees before going back is ILLYRIA'S face?with a tear rolling down her cheek.

CUT TO-INT. -LAIR- EVENING

FAITH appears next to TOMMY. She sees MARIE and BRIAN standing near him, but only looks to him.

FAITH: What's going on? Where are we?

TOMMY'S pleased expression falters.

TOMMY: We'll save the story for later. Let's just get out of here, for now.

They all nod, and MARIE clasps FAITH and BRIAN'S hand. FAITH clasps TOMMY'S and looks at him, relieved. He looks back at her?not so relieved. They begin to fade.

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

FRED looks frustrated.

FRED: I keep having these?feelings. This shouldn't be happening. Not after?

Her voice trails off. BELIAL is looking at her.

BELIAL: They'll disappear for good soon enough, Winifred. (pause) In the meantime?we must get to work.

He pauses, looking defiant.

BELIAL: We'll bring Hell to Earth, if it's the last thing we accomplish.

CUT TO-INT. ?LAIR- LATE EVENING

All of the assassins are back. They're confused, and in a circle around a person pacing in the middle of them. It's LEON.

LEON: We should not have been so stupid as to letting our guard down. We should have checked them out before targeting them. We won't make the same mistake again, though.

They all grunt, or nod in agreement.

LEON: (cont'd) While we work on perfecting those skills?we still need Faith dead, and we need Tommy to kill her. (pause) And we'll have to resort to our old method?

He looks to the side, where a light is shown. There is a cage-looking room in the wall?with a child holding the bars, looking crazed- MEGAN.

LEON: (O.S.) We'll just have to attack his heart.

CUT TO BLACK

END OF EPISODE

**QueenC** · 01-12-07, 08:39 PM

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:

? I didn't plan on bringing the character of Megan in until later, but realized that the best time for her would be now. I chose Rhiannon Leigh Wryn because I saw the Last Mimzy recently, and I loved her acting. She'll be a recurring character.
? So, a lot of people want Faith dead, or gone. Why? What's so different about her that makes her stand out from all the other Slayers?
? Hell on Earth. Whether Belial meant it figuratively, or literally, he meant it. He needs Fred to do it. Will she go through with it? Will she be able to?
? The episode took almost two months to finish. The gaps between the episodes in this season are ridiculously long, and I'm hoping to change that.

Announcement

Rogue Redemption 2.10 "Escape Route"

Rogue Redemption 2.10 "Escape Route"

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