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Shadow Stalker - 3.01 - At Absent Guests

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  • Shadow Stalker - 3.01 - At Absent Guests

    Series: Shadow Stalker
    Episode: 3.01 ? At Absent Guests
    Writer: Lex
    Editor: Alex Hart
    Proof Reader: Amber Jacobson

    I do not claim credit for any of Joss Whedon's creation and the featuring of his characters and episodes in this series is simply for my pleasure and not at all for financial gain as I do all this for free! All characters not affiliated with Jossverse belong to me, as do the plot lines. Season Three starts alongside Season 5 of Angel and is in association with Rogue Redemption, (Amber); Chosen, (Heather); BtVS Seasons 8 + 9 and AtS Season 6, (Alex Hart); Broken Destiny (Joe); Wishful Thinking (Ben); and Raven (Alexander Brown).


    TEASER

    OPEN ON ? L'AZURA
    INTERROGATION ROOM ? INT.TOWER ? UNKNOWN

    The colours on the screen are blurred, as is the whole image, it looks static. It is a dank room. A single light bulb hangs in its noose from the centre of the ceiling and sways above a metal table with four chairs situated around it. Two on one side, two opposite. The camera focuses on the table and doesn't show the edges of the room. It lingers there for a moment before panning up to the door to show it opening. The prisoners enter closely followed by a L'AZUREAN GUARD; MELODY and LANCE.

    MELODY looks beaten and bruised but she looks tougher and stronger because of it. She looks around the room with a rebellious glare and then her eyes fixate on the two figures stood on the other side of the room. She stops. After her, follows LANCE who also looks bruised and beaten, no doubt after another round of protecting his pride against the Lycans of L'Azura. He looks at MELODY then to the two figures. The L'AZUREAN GUARD doesn't say a word. As soon as MELODY and LANCE are inside the room, he closes the door. There is a small pause.

    WOMAN (O/S): Take a seat?

    MELODY and LANCE obey and move to the seats at the table. They sit on the two chairs on the side nearest them. The two figures move into view and stand behind the two chairs opposite MELODY and LANCE; CHRISTIAN and LEIGH. They look younger, and are in the same outfits they were wearing in "2.02 ? The Contract (Part Two)"?almost a year ago they first met.

    CHRISTIAN: Do you know who we are?

    MELODY shakes her head.

    LEIGH: We're lawyers.

    MELODY: (scoffing) No offence lady, but I don't think this is the sort of prison where you get representation.

    LANCE: (agreeing) Yeah, we don't live in a world where those rules apply, not anymore.

    CHRISTIAN: Thanks to us, you could do.

    LANCE looks at them confused.

    LANCE: (hostile) What the hell you on about?

    MELODY: There's no way?don't you know what we've done?

    CHRISTIAN looks at them and shrugs.

    CHRISTIAN: Lance Emory and Melody Harp, summoned by The Fates of the Ancient Greek world to manipulate and kill Taylor "Toole" Emory and Cathryn "Cate" Rittle to damage and hurt Charis "Charlie" Adrastos, for her crimes of hubris? Old news.

    LANCE looks curious.

    LANCE: How do you know that?

    LEIGH: Because we work for the company that did this to you, the company who instigated your summoning.

    MELODY and LANCE lose the attitude now; These people knew them inside out?

    CHRISTIAN: They're the ones to blame for whatever has happened to you in here.

    At this point he gives a specific look to MELODY. She notices and recoils slightly.

    LANCE: So why should we trust you?

    LEIGH: Because like you, we're tired of being bossed around, it's about time people took notice of what the "little guys" can do.

    CHRISTIAN: But if you're not even interested to hear what we have to say then?

    He and LEIGH both stand now. MELODY holds out a hand.

    MELODY: Wait!

    LANCE looks at her an eyebrow raised, she turns to him.

    MELODY: (whispering to him) Well it beats getting beat up every second. All we have to do is listen?

    LEIGH and CHRISTIAN observe them closely, with deep curiosity. LANCE sighs.

    LANCE: (reluctant) Fine?

    He turns to CHRISTIAN and LEIGH, indicating that he's ready to listen.

    LEIGH: (whispering) So guess what, have I got some gossip for you guys? It turns out that, little miss hubris survived everything that was thrown at her and grew up. She's pregnant.

    MELODY and LANCE look at one another in shock; MELODY more so, considering her past involvement with CHARLIE.

    LEIGH: And this baby, is something very special indeed. Something a lot of people want and feel they have the right to own, our boss for instance.

    MELODY: Why?

    CHRISTIAN: It has the ability, already in the first trimester, of emitting powerful uncontrolled energy, something that will only mature with age.

    MELODY: (nervously) What do that mean?

    LEIGH: From what we've seen so far, it's mastered astral projection, the advanced control of physical energy, and more importantly for you two?it can rip dimensional walls.

    LANCE: Why is that important for us?

    CHRISTIAN: (resentful) Through our company's vicious experiments they've discovered that these rips in the dimensional walls have occurred between our world and this one.

    MELODY and LANCE'S eyes widen, understanding what this means.

    CHRISTIAN: (continuing) ?It won't be long until Charlie is provoked negatively in one way or another and this, combined with her mood swings, could prove particularly beneficial for you both.

    LANCE: How so?

    CHRISTIAN: (explaining, seriously) The child is young at the moment and doesn't have control of its powers. Its emotions are linked to Charlie so when she is provoked, the child will also feel threatened.

    LEIGH: Because of this, a portal to this world will undoubtedly be opened, just as it has done before when Charlie was threatened during experiments.

    CHRISTIAN: When this occurs, you need to be ready, the window to pass through to our world once again won't be open for long?

    MELODY looks intrigued, almost convinced.

    MELODY: Then what? Something tells me you guys aren't just here doing your good deed for the day.

    LEIGH: Then you do what we want, when we want, no questions asked.

    LANCE: What do you mean??

    CHRISTIAN: Its powers are something we'd be interested in developing and nurturing ourselves but not for selfish reasons. We merely want it to develop as it would naturally. Something of such potential was not meant to live in a nuclear family or on the lap of lawyers?

    MELODY looks at LANCE, both of them look confused.

    MELODY: So what exactly do you want us to do exactly? Make sure no one rocks the cradle?

    CHRISTIAN: I wish it were that simple?

    LEIGH: ?Unfortunately we're not strong enough to take on their little power group but you two could prove very useful. You'll be the fox in their hen house.

    MELODY and LANCE look at one another, to merely see one another's reactions to this news.

    LEIGH: (casually) While you're there feel free to ruffle some feathers if you want, but do not form attachments. Christian and I will do most of the work, but when the time comes, we'll need your help in taking the child from them completely?

    MELODY and LANCE look incredulous at this; any intrigue seems to have gone out the window.

    LANCE: Wait rewind. Are you serious? You want us to steal our friend's baby?

    MELODY: Why the hell would we wanna do that?

    LEIGH: (annoyed at their naivety) For the reasons we've mentioned perhaps? To get out of here? I mean what's so great about the towers of L'Azura? You're just prey to pretty much everything and anything within these walls. We're offering you a new life, a life away from here?

    MELODY: (softly) We could never hurt them

    CHRISTIAN: We're not asking you to hurt them. I understand your reluctance, but we're not the enemy, we're the future.

    LEIGH: We're all that will be standing when this child comes to being. If you don't help us, the child will most probably grow out of control and will most probably kill them one by one. We're asking you to relieve them of a pain they really shouldn't have to deal with?

    CHRISTIAN: In return you can see them, and live your life again. The one that was taken from you both too early.

    LANCE: (angrily) Except we'd have to live our lives by your rules.

    LEIGH: Well hey, if our offer is so completely unreasonable, then stay. But if there's an ounce of intelligence in you, you'll see that what we're asking is for only a fraction of your humanity.

    LANCE: And their child?

    LEIGH scoffs at this.

    LEIGH: You know what, fine, rot in here if you'd rather be sentimental than a free man. You have no idea what you're giving up?

    She reaches into her pocket and pulls out a business card, throwing it on to the table.

    LEIGH: (looking at the business card) ?Those don't come up often. And for you two? If you turn this down?I'll make sure that this opportunity never arises again?

    The camera pans down to the business card, showing what it says: "PHASE ONE - GET OUT OF JAIL, FREE?" on it. LEIGH pauses for a second and looks at MELODY and LANCE as they take the moment to look at the business card with intrigue; the once in a lifetime opportunity really is in their hands.

    LEIGH: Come on Chris?

    She stands and motions to CHRISTIAN causing him to stand too. They both move towards the door. MELODY and LANCE look at the card still continuously, clearly doubting what to do. Before CHRISTIAN reaches the door he turns back to them?

    CHRISTIAN: Oh, and one more thing. If you think you can get back to our world and think we won't know?you're wrong. We're keeping tabs on any of these portals that should arise.

    MELODY looks down, oddly hoping he wouldn't say that.

    LEIGH: So think about it. ?Cause otherwise, you'll see how wrong it is to go against us?just like everyone else will?

    LEIGH nods and then they both move towards the door once more, and open it.

    LANCE (O/S): Wait?

    The assistants turn back once more, the door still open. MELODY and LANCE are looking at them eagerly. Their minds are made up?

    MELODY: (wanting to know more) What's Phase Two?

    LEIGH and CHRISTIAN smile at one another and walk back towards the table. They walk off screen, back in the direction of MELODY and LANCE, due to the camera remaining focused on the door. It closes?

    Slam.

    Bang.


    CUT TO ? UNKNOWN
    ROOM ? INT.UNKNOWN BUILDING ? NIGHT

    Bang.

    The colours on the screen return to normal as four people jump up in four separate beds dotted around the room. They look beaten and tired as the banging they have become accustomed to over the past month can be heard loudly, resonating the halls and the room they are in. One man steps out of bed and turns on the lights causing the others to recoil angrily. In the light we can see who they are, and see where they are. MELODY, LANCE, CHRISTIAN and LEIGH, all shoved into a large dingy room with four separate single beds. They all look tired and exhausted from lack of sleep. CHRISTIAN houses a deep cut on his face and MELODY has a black eye.

    Bang.

    MELODY and CHRISTIAN sigh and lie back in bed.

    MELODY: (indicating LANCE and LEIGH) One of you two go.

    LEIGH: (incredulous) You're the one with slayer strength, you can handle it.

    MELODY: You know what, that excuse got old about a week ago. Get to it blondey.

    LEIGH: I'm a brunette.

    MELODY: (annoyed) Yeah well that's not what your roots said.

    LEIGH laughs sarcastically then lies back in bed.

    LEIGH: Lance, you go?you haven't been tonight.

    MELODY: That's true.

    CHRISTIAN: Good are we agreed? Now let's get some sleep, we have a big day tomorrow?except you Emory. You can go see what she wants.

    Bang.

    LANCE sighs and stands. MELODY looks at him from her bed and smiles weakly at him. He doesn't respond, he looks at her blankly. He passes her quickly and makes his way towards the door. He turns various keys, unlocking the door to the room they're in; they're keeping something out?a safety precaution.


    CUT TO ? UNKNOWN
    CORRIDOR ? INT.UNKNOWN BUILDING ? NIGHT

    The corridor is as dingy as the room they're staying in. The corridor is decorated in fifties d?cor, and shrouded in layers of dust; it's an old building. Vintage lights flickers on the walls as LANCE slowly sidles towards the door at the far end. The source of the banging. As he passes a side table he picks up a hand gun. He holds it ready, just in case as he reaches the room door he was walking towards. He looks at it in fear and worry, knowing what is inside and what could happen if this goes wrong. He cautiously reaches for the door handle and as he does?

    CUT TO BLACK

    END OF TEASER

    THERE ARE NO OPENING CREDITS FOR THIS EPISODE

  • #2
    ACT ONE

    OPEN ON - UNKNOWN
    SIDEWALK ? EXT.BAR ? MORNING

    The camera is focused on the doorway of a bar, which is surprisingly still busy, even with the sun risen and the day started. The camera seems to be placed on the floor of the pavement as all we see are people's feet walking past. Suddenly the door bursts open and two men throw a woman on to the streets. A few people gasp shocked, but most carry on their daily business, as if used to a sight like this. The woman looks tired and her greasy dirty hair covers her face so we can't see who she is. She lies on the floor and coughs on her stomach. One of the bouncers moves back inside but the bigger BOUNCER walks towards the woman and grabs her hair. By her hair, he lifts her head up. She looks at him with weary eyes. It's CATE.

    BOUNCER: Don't ever come in here again. Understand, freak?

    She glares at him and he releases his grip on her hair. He walks back inside leaving her on the sidewalk. She doesn't move, for a moment she just lies there and lets the world pass her by.

    XAK (V/O): Why can't it be easier?


    CUT TO ? UNKNOWN
    DINGY ROOM ? INT.UNKNOWN BUILDING ? MORNING

    The camera opens on XAK. He has stubble and his hair has grown longer. He too looks tired and worn out as if he's been looking without rest or breaks. He's leaning over a table, on the table is a map, which we cannot fully see. He looks at it endlessly. He looks to be in a dark and dingy room, one that can't be too expensive to rent or live in. Some of the windows are boarded up, but that didn't matter.

    XAK: ?I mean, there isn't anywhere else left to look.

    He looks up at the person opposite him, who circles the table and comes into view. It's DANTE. DANTE looks almost the same as he was a month ago, but now he looks relaxed, more casual as if he's free.

    DANTE: (agreeing) That's ?cause there isn't. They're here somewhere. The location spell Charlie did ruled out all areas in the state but this one?

    XAK: (resolute) So she does another one?find a more specific location than just a state.

    He speaks about CHARLIE in a tone that almost says he doesn't care for her in the way he used to.

    DANTE: (sighing) Xak, you know there's no way to tell for sure?it's too hard to pin them down to one specific location?the energy we're trying to track is emanating all over the country. It's impossible to find the source. We were lucky to come this far with what we have.

    XAK sighs and walks towards one of the windows which has the curtains closed. He's heard this before?he just doesn't like listening. He pulls the curtains open viciously, revealing the citadel outside; New York City. He glares back at DANTE.

    XAK: Now listen, I let you come because you said you could find her?find them. So far we've been across every city in the state of New York and this is the last one left.

    He points out of the window. DANTE looks away, saddened by how vicious XAK has become.

    XAK: (angrily) They're out there somewhere and I want to find them. So if Charlie can't pull a rabbit out of a hat that can help us?Find another way. I don't care how bright a light we have to shine on this fog, just do it!


    CUT TO ? NEW YORK
    BEDROOM ? INT.UNKNOWN BUILDING ? MORNING

    CHARLIE is lying in bed, listening to what has just been said. Her hair looks longer and darker, but she doesn't look too different. She doesn't look sad, or emotional at all. She seems spent, she's running out of patience and they're running out of time. She waits until she hears anything else from XAK and DANTE. Slowly she slides out of her duvet and sits cross-legged on the bed. She breathes deeply.

    CHARLIE: (quietly) I call to you, mother of the earth, mother of the people, she who has been scorned.

    A wind fills the room, an a few objects begin to rise into the air, and specks of green energy spark off of CHARLIE. She has to breathe deeply to remain stable.

    CHARLIE: (slightly louder) I ask of your guidance, to shine a light at a crossroad you yourself have mourned.

    The wind grows stronger, a presence is being summoned.

    CHARLIE: Mom?please?

    As she says this, the room suddenly gets darker and a demonic roar rushes through the wind and attacks CHARLIE thrusting her into the wall. She gasps but as quickly as it arrived, it disappears?gone with the wind. CHARLIE looks around the room and falls to the ground clutching her stomach. She runs her hand through her hair, aggravated, alone, without guidance.


    CUT TO ? NEW YORK
    ROOM ? INT. UNKNOWN BUILDING ? MORNING

    The camera opens on the bedroom we saw MELODY, LANCE, CHRISTIAN and LEIGH sleeping in, in the previous night. MELODY is stood looking out the window in old dirty clothes. She looks sadly at the city below; regret in her expression. With a sudden breeze blowing through the window the image of LANCE appears behind her. He looks at her.

    LANCE: You'll never be able to walk amongst them you know.

    MELODY: Stop it?

    LANCE: Stop what?

    MELODY turns around to face him.

    MELODY: Stop looking like him?I don't buy it?

    LANCE smiles?it's not him. It's SIN. All of a sudden SIN changes from appearing as LANCE, and changes into LEIGH.

    LEIGH/SIN: How about this one? Do you like looking at Leigh more?

    MELODY shakes her head.

    MELODY: Why do you keep doing this?

    LEIGH/SIN walks towards MELODY with her arms folded.

    LEIGH/SIN: Don't mess with me Melody. You know what I could do if I get out my room. It won't be long?just like the last four places you shacked me up in?

    MELODY looks at LEIGH, feeling threatened now suddenly. She shakes her head.

    MELODY: (cutting her off) I won't do it?

    With this LEIGH/SIN moves closer and she changes once more, she now shifts her appearance and shows the image of CHRISTIAN.

    CHRISTIAN/SIN: Why not? We've been over this Melody?We had an agreement?

    MELODY: (sadly) Because I can't hurt any more people than I already have done?

    CHRISTIAN/SIN: Once you do me this favour?it all goes away. I can give you everything you ever wanted, I can change everything. All you have to do is turn the key on my door?and let me go?

    MELODY breathes heavily then turns to face CHRISTIAN/SIN.

    MELODY: (shouting) No!

    CHRISTIAN/SIN isn't there. LANCE is. This time it is really him. He's standing by the doorway, looking at her confused.

    MELODY: Lance?

    He looks at her curiously, then shakes his head.

    LANCE: You shouldn't listen to what she shows you?It's lies, all of it. You should know that by now.

    MELODY looks at him blankly for a second, pausing.

    MELODY: (quietly) I don't know what you mean?

    LANCE sighs and looks at her for a moment.

    LANCE: Chris and Leigh wanna see us. Something about tonight?

    MELODY: Right?big night.

    LANCE nods.

    LANCE: Just hang in there. We're doing fine?

    MELODY: Speak for yourself.

    She looks away from him then storms past him out into the corridor. LANCE watches her leave, and then lets his eyes gaze around the room to check for any traces of SIN'S presence?she was growing ambitious?


    CUT TO ? NEW YORK
    BENCH ? EXT.PARK ? MORNING

    Slouched on a bench in the park is CATE. She looks tired and exhausted and like earlier, lets the world pass her by, a momentarily dormant person. She looks like she's been into some fights, and she looks like she's been crying. In her hand is a bottle of vodka, which is half empty?The camera focuses on her face as she downs a large quantity of her drink. Someone sits next to her, but we can't see who it is.

    CATE: (quietly) What are you doing here?

    She says this with resentment. The person sighs, indicating it's a woman. The woman leans forward, and we can see who it is, as they try to make eye contact with her. It's CHARLIE. Her make up is dark and almost gothic looking. She has her hair tied back. She looks at CATE sadly.

    CHARLIE: I was worried about you.

    CATE: So you decided to pity me to my face? I told you guys I'm only here because I officially have nowhere to go?It doesn't mean I need you, or your guilt.

    CHARLIE: It's not like that?

    She looks down.

    CHARLIE: (softly) ?I just want to help. We all do, it doesn't have to be this way.

    CATE: There's nothing you can do to help me?not anymore.

    CHARLIE: (nervously) Well I could take that bottle out of your hand for a start?

    CATE: (seething) I wouldn't try that if I were you?

    CHARLIE: Please, Cate?

    CATE looks at her angrily.

    CATE: Don't. Do not talk to me as if we're friends?

    CHARLIE looks shocked.

    CHARLIE: We are friends Cate. In spite of everything?

    CATE: You mean in spite of your daughter turning my fianc?e into dust?

    She looks sick to even mention these words and stands beginning to walk away. She downs some more vodka, finishing the bottle and throws it into a trashcan nearby. CHARLIE stands and follows closely behind.

    CHARLIE: (unsure of what to say) Look?I know thing's have been hard for you?they've been hard for everyone since?

    CATE turns around.

    CATE: Since when? Since Melody and Lance stabbed us in the back? Since Dante become the new best friend?or since?since he died.

    She can't even say his name?

    CHARLIE: Since it all! Everything that happened destroyed us too Cate, but we have to move on?otherwise we'll blame ourselves forever about something we all agreed to embark upon.

    CATE: (incredulous) Listen to yourself! Did any of you even grieve? Huh?

    CHARLIE looks away, awkwardly.

    CATE: I thought not?you're all too busy trying to save little Miss Apocalypse to even think about what happened!

    CHARLIE: It's not like that anymore! Things have changed?too much to excuse, and forget about.

    She says this with sincerity.

    CATE: (resentful) Right?well whatever it is that you guys are doing here, count me out. I'm done moving around, playing Slayer to your plots?as soon as I find a way out, I'm gone.

    CHARLIE looks devastated, her eyes fill with tears. CATE gets further away now?The camera pans back to show a long shot of where they are?

    CATE (V/O): Goodbye?

    ?Central Park.


    CUT TO ? NEW YORK
    BAR ? INT.UNKNOWN BUILDING ? AFTERNOON

    LEIGH and CHRISTIAN are stood behind a derelict and closed bar, which appears to be inside the same 50's style building they were in earlier. The bar is old and battered and there are only a few empty bottles behind it. Some of the seats have torn covers, but dust mostly covers the entire furniture so that it almost becomes impossible to see the dated fabric. Both of them are looking over many pieces of paper with words and charts surrounding them. They talk quietly to one another, but when MELODY and LANCE enter from across the bar they look up.

    CHRISTIAN: (to MELODY and LANCE) Take your time why don't you?

    LANCE: She was playing up again.

    LEIGH: (wondering) Did you sedate her?

    MELODY: Just for a few hours, why?

    LEIGH looks at CHRISTIAN and then looks back at them.

    LEIGH: Tonight may be her night, but we won't be letting her out, not yet anyway.

    MELODY looks down, remembering SIN'S words earlier.

    LANCE: (curiously) Why? I thought when she was twenty-one, we couldn't do anything to keep her?

    CHRISTIAN: Well we shouldn't?but she hasn't exactly been of a sound mind recently. We're working on a safe release, otherwise if we release her while we're close?

    LANCE nods, not needing to hear the gory details.

    LANCE: We got it?So, any further on figuring out why she's like that? Isolation? Anger?

    LEIGH: We have.

    CHRISTIAN: The Black Room. Removing her catalysed her behaviour, since then it's been getting worse, and will do each day.

    She looks down?worried about telling LANCE this.

    LANCE: (confused) So why do it?

    LEIGH goes to answer but CHRISTIAN stops her.

    CHRISTIAN: (continuing for LEIGH) We haven't been exactly honest with you both?

    MELODY: (worried) What do you mean?

    LEIGH: We knew how she'd behave, we knew there would be an explosion?we wanted it to happen. We just didn't quite anticipate the endangering of our own safety, not to mention the disappearing buildings or the sky falling?

    At this point MELODY looks up, shocked.

    MELODY: What? You knew?

    CHRISTIAN: We'd found a way to null her humanity, and her sanity, through various tests. Taking her from that room damaged them both so much she is now?without either of them?

    MELODY: Why the hell would you wanna do that?!

    CHRISTIAN: We thought it would be best to keep her personal emotions towards her family at bay, she was thinking about them too much and holding back. She needs to be more focused?and we just helped her.

    MELODY: Have you seen what you've created?! That thing is an animal!

    LEIGH: We didn't bring about anything in that "thing", that wasn't already inside her deep down. Sin is going to bring out a change in the world that history has only dreamt about. Ok so yeah, our methods were unorthodox, but when you see what she'll do by just listening to her instincts, with no distractions, no niggling humanity or mind troubles?

    CHRISTIAN: ?Then you'll see why we did what we did.

    LANCE: (quietly) So why need the explosion?

    CHRISTIAN and LEIGH look at him now. They pause for a few moments.

    LEIGH: We were telling the truth?we didn't want to hurt anyone.

    MELODY: Right, you didn't want to hurt anyone, but you wanted her to go nuclear on our asses?

    CHRISTIAN: We were trying to blow up the building, we thought no one would be there. We thought this would distract your friends and then we could retrieve you both, but we had no idea you'd all be there?

    MELODY: Why the hell would you wanna blow up a building?

    CHRISTIAN: Not just any building?just that one.

    LEIGH: Trust me, if you worked there?you wouldn't be asking that question.

    LANCE looks tearful.

    LANCE: Except the building didn't blow up?did it?

    LEIGH shakes her head.

    LEIGH: No?

    CHRISTIAN: ?He took the full extent of the energy, there would only have been enough to knock out the others. It wasn't supposed to be that way?

    MELODY: (confused) He? What do you mean, who?

    She stops. She realises, remembering who was last with SIN before they escaped. MELODY looks to LANCE now, shock filling up behind her eyes. LANCE is already looking down, he's figured it out.

    MELODY: (upset) Oh god?

    LANCE: (quietly) Is he...did he?survive?

    CHRISTIAN: (rolling his eyes) We wanted to blow up an entire building?what do you think?

    With this LANCE looks up glaring at CHRISTIAN. He charges towards CHRISTIAN and pulls him across the bar, slamming him into the floor. LEIGH watches in horror and backs against the wall. MELODY'S eyes widen.

    MELODY: Lance! No!

    LANCE pins CHRISTIAN down and punches him in the face repeatedly. MELODY tries to pull him off, holding back. He manages to shrug her off.

    MELODY: Lance!

    LANCE: They went back on their word Mel, so why should we play by their rules now! I'm sick of worshipping that freak.

    MELODY doesn't listen to him anymore; she pulls him off with her full strength and pushes him back. He glares at her and at CHRISTIAN who is lying on the floor his face covered in blood. LEIGH looks at him worried. MELODY looks at him sympathetically then walks towards him. He backs away.

    LANCE: Stay away from me?all of you?

    He looks at them all angrily then storms out of the bar area. A few seconds after his departure a loud slamming of the front door to the building they're in can be heard. MELODY sighs and places her head in her hands.

    LEIGH (O/S): I'll go after him?

    She appears in the frame, manoeuvring around the bar and moves herself near to MELODY, who looks at her angrily.

    LEIGH: (sighing) ?Last thing we need is for him to go off the wagon so close to the end.

    MELODY: (angrily) Can you blame him?

    LEIGH doesn't reply, she just walks towards the exit in LANCE'S wake. MELODY pauses for a moment then looks to CHRISTIAN, who looks at her angrily. He wipes some blood from his nose and stands weakly. He looks her up and down, almost disgusted.

    CHRISTIAN: (weakly) I knew it was a mistake dealing with damaged goods?

    He hobbles off towards the staircase. MELODY watches him go, seething. Even her, LANCE, CHRISTIAN and LEIGH were falling apart; no one was safe anymore. She picks up a nearby glass and screams angrily, throwing the glass across the room so it smashes against the wall.


    CUT TO ? NEW YORK
    SIDE WALK ? EXT.STREETS ? AFTERNOON

    CATE is meandering the sidewalks of New York City looking aimlessly around for something that might catch her eye, when all of a sudden something does. A BLONDE MAN breezes past her. A man who she knows?who she knew well up until about a month ago?

    CATE: (quietly) Toole??

    CUT TO BLACK

    END OF ACT ONE

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    • #3
      ACT TWO

      OPEN ON ? NEW YORK
      SIDE WALK ? EXT.STREETS ? AFTERNOON

      She stops, in shock, as the BLONDE MAN continues to walk down the street passing things to people as they walk past him. She runs to catch up with him.

      CATE: (desperately) Toole!

      She grabs his shoulder and turns him around.

      BLONDE MAN: Whoa!

      She looks at him. It's not him, he doesn't even look like him?she just wanted him to, she just wished it was him. He is played by Ryan Hansen.

      CATE: Oh?I thought you were someone else?

      BLONDE MAN: No worries, s'all good. Although maybe that someone else is at "Sirens" tonight?

      CATE looks at him confused.

      CATE: Huh?

      BLONDE MAN: This club I DJ at, you should check it out. Name's Jesse. If anyone on the door gives you grief, tell ?em I invited you.

      He hands her a flyer, then turns and walks away smiling brightly. She watches JESSE go, still bemused and dazed about her non-encounter with her dead lover. She looks down at the flyer, curiously. On one side there is a picture of an enticing night club with various drinks promotions and the words "DJ REED" plastered across in a bold font. It was obvious he had been shamelessly plugging his skills.

      Instinctively, CATE turns the flyer over. On the other side, there is a picture of a boat by a sandy shore and the words "SIRENS" plastered above the top of it. The words below read, "Because nothing is lost, it's just misplaced"?

      She looks around at the people who seem to putting the flyers in the trash cans nearest them. CATE pockets the flyer and walks ahead, wondering. She may not have found who she was looking for?but she found something else.


      CUT TO ? NEW YORK
      ROOF ? EXT.UNKNOWN BUILDING ? AFTERNOON

      XAK is seen standing atop the apartment building they were in earlier He looks around at the city below him, wondering if he missed anything; any clue of the kidnapper's whereabouts, however all the time we see him, we never see his face. The door to the inside of the building opens and CHARLIE exits on to the roof, wearing what she was wearing earlier. She walks towards him, slowly.

      CHARLIE: Hey?

      XAK pauses for a moment, hearing her voice, recognising her presence. He doesn't turn around.

      XAK: Did you find her?

      CHARLIE: She didn't wanna know. Didn't wanna help?

      He sighs, softly.

      XAK: I told you.

      CHARLIE: Yeah well I thought it was worth a try?we haven't got a lot of options. (hopeful) I was thinking of patrolling again tonight though?see if anyone's heard anything.

      XAK: (quizzically) It's pointless Charlie, shouldn't you be training instead?

      She crosses her arms at his attitude.

      CHARLIE: (not liking his tone) I did this morning. Shouldn't you?

      XAK: Just finished.

      She nods, awkwardly.

      CHARLIE: We will find them you know. I know there's not much we can do right this second but?

      XAK: (cutting her off) Actually, Dante's got a lead.

      CHARLIE looks surprised.

      CHARLIE: Oh?

      XAK: An old friend of his. Helped him out on one of his missions back at Wolfram and Hart, apparently she works around these parts of town. Just gotta get a location.

      CHARLIE: (sarcastically) Good for him. Sure she can be trusted?

      XAK: Well I don't see any other "helpful" visions of your father or any goddesses coming down to help us out now anymore, do you?

      She looks down.

      CHARLIE: (quietly) That's not fair?(louder) and things are different now Xak.

      XAK: Life's not fair Charlie?if it was, then things wouldn't be how they are.

      The camera pulls back to show the sheer distance between them both.

      CHARLIE: No?they wouldn't.

      She turns and walks back inside the building sadly. At this point the camera manoeuvres itself around to show XAK'S face and the reason why he wasn't looking at CHARLIE. Tears are running from his eyes down his face and onto the streets below. He's not happy with the way things are, but that doesn't change the fact that they still are that way?


      CUT TO ? NEW YORK
      STOCK IMAGES ? EXT.SKYLINE ? AFTERNOON

      The camera rushes over a montage of New York screens; skyscrapers, streets, cars, people, the sun?


      CUT TO ? NEW YORK
      STOCK IMAGES ? EXT.SKYLINE ? EVENING/NIGHT

      ?The sun begins to set, slowly picking up pace and showing night descending quickly on to the city.

      SONG: PEACHES - OPERATE


      CUT TO ? NEW YORK
      SIDEWALK ? EXT.CLUB ? NIGHT

      The eerie beginning of the music becomes audible as the camera shows crowds of people swarming the entrance of a club?the camera pans up to show what the club is. Sirens?


      CUT TO ? NEW YORK
      DANCE FLOOR ? INT.SIRENS ? NIGHT

      The club shows a plethora of music hungry dancers moving on a large dancefloor to the dark lyrics. The d?cor is mainly black and white. White stools, black bar. White cushions on black sofas and chairs. Black walls, white search lights. The BLONDE MAN from earlier can be seen on a pedestal mixing the music. (The music below plays throughout)

      "It seems to me so strange
      Check wallet for his name
      His face is in the muck
      I think his zippers stuck
      "

      The camera pans on a group of dancers. One of them is a BLONDE WOMAN; the other female is a BRUNETTE WOMAN. The last person is a BLACK HAIRED MAN. The three of them seem to be making their presence known, and are enjoying the music to its full extent. The BRUENTTE WOMAN holds the hand of the BLACK HAIRED MAN as they dance, either side of the BLONDE WOMAN and they wink at one another. (The music below plays throughout)

      "He is perfect for me
      To practice surgery
      One look coagulates
      Its time to operate
      Just keep it going
      Just keep it going
      Just keep it going
      "

      The camera moves over to the doorway once again and shows a few people entering. The last is a woman, with blonde hair. She's in a blue dress and she has blue eye shadow on. Her hair is tied back and she glares around the club with an evil smile of domination. She attracts a few people's attention as she descends the stairs, including that of the BRUNETTE WOMAN, BLACK HAIRED MAN and the BLONDE WOMAN. It's CATE. (The music below plays throughout)

      "He's not dead, he's gonna live
      He's not dead, he's gonna live
      I see his eyes rolling back in his head
      (Repeat x4)
      "

      She saunters down the staircase to the lower levels of Sirens and makes her way over to the bar. Before she does, she notices the BLONDE WOMAN, the BRUNETTE WOMAN and the BLACK HAIRED MAN dancing. She looks at them blankly then sits down on one of the empty bar stools and immediately attracts the attention of the BAR MAN nearby. He walks over.

      BAR MAN: What's your poison?

      CATE raises an eyebrow, almost and inappropriately in a flirtatious way.

      CATE: What ya got?

      He smirks at her, and pours her a shot of absinthe. She downs it without hesitation and slams the glass on the table smiling with satisfaction.

      After this we see various montage images of CATE downing shots of tequila, vodka, sambuca and just about anything alcoholic. Each time the glass slamming down on the bar counter and the lyrics resonating loudly in her ear.


      CUT TO ? NEW YORK
      DINGY ROOM ? INT.UNKNOWN BUILDING ? NIGHT

      DANTE is pacing the room with a phone to his ear.

      DANTE: Sophie please?I know I shouldn't be asking?

      There is an angry reply from the other end.

      DANTE: ?Please. Look I know they're cracking down now, but all I need is an address.

      There is a reply and DANTE hurries to find a pen and paper. He writes down what he hears. He smiles. The front door opens and CHARLIE enters, annoyed.

      DANTE: Thanks Sophie, I owe you one. (smiling) Ok, I owe you lots of ones. Bye?

      He hangs up the phone, and CHARLIE looks over to him.

      CHARLIE: I'm pleased to see someone's happy.

      DANTE looks at her now and sighs.

      DANTE: Seeing as I just found us the first good lead we've had since the spell I'd say yeah, that's a reason to be happy.

      CHARLIE: (annoyed) Us? Since when was there an us to be had with you? You're only doing this out of guilt?

      DANTE moves closer to her now.

      DANTE: Regardless of whatever my motive is, don't forget I'm helping you out of the goodness of my newly mortal heart. So, if I were you soccer mom, I wouldn't be picky about who you let in to your little gang. You need all the friends you can get, and by the looks of things, they're running a little thin nowadays.

      She slaps him sharply across the face. He touches his cheek and smirks.

      DANTE: Save the violence for them?

      He holds up the piece of paper showing her the address.

      DANTE: ??Cause trust me, this lady is good. She'll get you your girl back.

      She glares at him deeply.

      CHARLIE: I don't want her back?

      DANTE: Well she'll get you your revenge or justice, whatever it is you guys are looking for.

      He backs away.

      DANTE: Now I'm gonna go tell your boyfriend about this little lead.

      CHARLIE: (monosyllabic) One step closer to getting rid of you. Yay.

      DANTE: Don't break out the party popper just yet; you haven't even baked a cake.

      He smirks at CHARLIE and walks out of the room down a corridor. CHARLIE breathes deeply and tries to keep calm; trying to keep her emotions at bay?no matter how hard it may be. TOOLE'S dead, CATE'S gone, DANTE'S here, XAK'S not?it's not easy?


      CUT TO ? NEW YORK
      BAR AREA ? INT.SIRENS ? NIGHT

      CATE is now calming down her drinking race and is leisurely sipping a glass of white wine, whilst subconsciously circling her engagement ring on her finger.

      MAN (O/S): Bad day?

      CATE looks around, breaking out of her daydream. It's the BLACK HAIRED MAN who was dancing with the other two women earlier. He's a handsome young man, and looks to be only slightly younger than CATE. He is well dressed and well groomed. He smiles at CATE, and speaks with a slight accent, but it sounds a mixture of two dialects. He is played by Jackson Rathbone. She looks at him confused.

      CATE: Huh?

      BLACK HAIRED MAN: Sorry to like overkill the cliché, but it did get your attention, so that's gotta count for something.

      CATE raises her eyebrow and looks back to her glass of wine.

      CATE: If you say so.

      She takes a sip. The BLACK HAIRED MAN looks beat, but not defeated. He holds out a hand.

      BLACK HAIRED MAN: I'm Leonardo, Leonardo Espossitti?but my friends call me Leo.

      She rolls her eyes, realising he's not going to give up. She turns to him quickly.

      CATE: Ok want a tip Leo? Don't offer a handshake when you're trying to get laid, and the James Bond introduction is old beyond your years. Who taught you chat up lines, your grandfather?

      LEO recoils, looking shocked. Throughout CATE'S helpful tips the other two women look over. The BRUNETTE WOMAN air kisses the BLONDE WOMAN and walks over to CATE and LEO, leaving the BLONDE WOMAN to move off screen.

      BRUNETTE WOMAN: (to CATE) I'm sorry, is my brother annoying you? He tends to do that when he's awake.

      CATE looks the BRUNETTE WOMAN up and down with a sense of hostility. She doesn't look like LEO'S sister. Her hair is long and dyed dark red and flows elegantly behind her black dress. She looks slightly older than CATE and LEO, and more mature. She is played by Nikki Reed.

      CATE: (to the BRUNETTE WOMAN) Uh?

      LEO: (interrupting) It's ok sis, she shot me down.

      The BRUNETTE WOMAN laughs, and looks at CATE.

      BRUNETTE WOMAN: I like you already.

      LEO rolls his eyes at this, but CATE looks completely bemused as to why these people are talking to her. The BRUNETTE WOMAN flicks her hair and smiles at CATE.

      BRUNETTE WOMAN: Sorry I'm being rude, where are my lady manners?My name's Farah Flux, and totally your new friend. Believe me it's a pleasure to meet anyone who turns my little brother down! I swear sometimes he forgets where his brain is?

      LEO: At least I have one?

      FARAH laughs sarcastically at his weak retort.

      CATE: (confused) Flux? I thought you said you two were brother and sister?

      FARAH: We are?just you know, (whispering) adopted and all.

      LEO: (to FARAH, annoyed) Why did you whisper that?I do know.

      FARAH rolls her eyes, as CATE looks like she's done with talking to them both.

      CATE: (surprised) Oh?I see, (awkwardly) well it's nice to meet you both.

      She turns back to her drink and finishes her glass of wine, hoping for the dysfunctional siblings to leave. They don't, and FARAH sees that CATE'S drink is empty. She looks at LEO who nods and then turns to CATE.

      FARAH: Well hey; at least let us buy you a drink. Least I can do for you.

      CATE: (dismissing) Really it's fine?

      LEO clicks his fingers however, ignoring CATE and quickly three drinks appear from hands of the nearest BAR MAID in front of the three of them.

      LEO: You sure about that last part?

      CATE looks at them both smiling at her, and then looks down to the promising prospect of having drinks paid for her. She smiles back at them both now; this is why she came, to move on, meet new people?forget the past?


      CUT TO ? NEW YORK
      SMALL ROOM ? INT.UNKNOWN BUILDING ? NIGHT

      XAK is stood in front of a cracked mirror putting on a shirt, he begins buttoning it up looking down at the buttons; the shirt looks smart casual. He looks up from the buttons to the mirror and to who is stood behind him at the other end of the room, which looks like the bedroom CHARLIE was in earlier. It's DANTE.

      XAK: (quietly) Did she say how the patrol went?

      DANTE: No, but her attitude and her hand slapping my face said it all really. Waste of time.

      XAK looks down, a sadness builds behind his eyes.

      XAK: She needs to get her hope some how, we all do.

      DANTE: That's why my little Sugar is gonna make it all sweeter.

      XAK turns now looking confused at DANTE.

      XAK: Right, so this Sugar, where exactly is she?

      DANTE: By the sounds of it, she landed on tough times a few years back. She's working as a stripper in a downtown joint called Cherry Bomb.

      XAK: Classy.

      DANTE: Quite, but this woman?she's a stripper with a difference.


      CUT TO ? NEW YORK
      CORRIDOR ? INT.UNKNOWN BUILDING ? NIGHT

      The camera shows CHARLIE walking down the corridor past the room that XAK and DANTE are in.

      XAK (O/S): Does she put her clothes on?

      She stops hearing XAK'S voice, and puts her ear to the door to listen in to the conversation.


      CUT TO ? NEW YORK
      SMALL ROOM ? INT.UNKNOWN BUILDING - NIGHT

      DANTE: Not quite, she sees things. She can explore someone's mind and go through their memory and find the futures of whoever they've been close to.

      XAK: Sin?

      DANTE: Or the others, either way there's a strong chance she'll be able to find them. It's not a spell, so there's no way the energy Sin's emitting can block it.

      XAK: Tell me again how the hell you met a woman like that?

      DANTE: Helped out with a mission once, and man alive when her and me connected, did she see some sights?

      He nods chuffed with his past conquests. XAK looks at him, with an eyebrow raised.

      XAK: (annoyed) Just give me the address?

      DANTE passes the piece of paper to him. XAK looks at it then looks up at DANTE and walks to the door, grabbing his jacket. He looks back at DANTE now blankly.

      DANTE: Why are you so jumpy?

      XAK: Because the sooner I get to them, sooner I get rid of you.

      DANTE smirks back at him.

      DANTE: Come on, you know you'll miss me just a little bit?

      XAK once again doesn't see the funny side.

      XAK: (seriously) Quit the nice guy friend act. I heard what you said to Charlie just now.

      DANTE looks down.

      XAK: The walls of this building are like paper. I know her and I might not see eye to eye at the moment, but she's right about one thing?


      CUT TO ? NEW YORK
      CORRIDOR ? INT.UNKNOWN BUILDING - NIGHT

      XAK (O/S): ?You're not our friend.

      CHARLIE smiles slightly at this. It's not much?but it's something. Something that they can agree on for the first time in a month.

      She hears approaching footsteps to the door, and runs and hides around the corner of the corridor. The door opens and XAK exits looking sombre. He pauses for a moment, then walks in the opposite direction to where CHARLIE is hiding. As he walks away CHARLIE peers from behind the corner and watches him leave sadly. Through the open doorway we can also see DANTE. His smile fades and he sits on the edge of the bed. He sighs and rests his head in his hands?


      CUT TO ? L.A
      CONFERENCE ROOM ? INT.WOLFRAM AND HART ? NIGHT

      There are a group of mature men and women sat around a table looking worried. A couple of them are talking quietly. At the table is KNOX, and various other high in department Wolfram and Hart employees. The door opens and EVE enters. They all look to her and she walks to the edge of the table.

      EVE: Thank you all for coming, and I'd like to apologise for the late hours of these meetings. (upbeat) But we don't want our new CEO and the others getting suspicious now do we?

      The MALE LAWYER sitting next to KNOX looks annoyed and stares angrily at EVE.

      MALE LAWYER: Just tell us what we want to know Eve, what do the Senior Partners want us to do about the girl?

      EVE smiles at him.

      EVE: I'm sorry, am I keeping you from your bottle of scotch and meal for one?

      He glares at her, and a couple of the other lawyers smirk slightly, others share his annoyance.

      EVE: You'll be all pleased to know that the Senior Partners wish to thank you for co-operation but there will be no need to lie to Angel or any of the Happy Days gang anymore?

      All the lawyers look around unsure, not really understanding what to do. EVE raises an eyebrow.

      EVE: Did you hear me? You're free to, well, be free?for like seven hours at least. Go nuts!

      KNOX: I think the least you can tell us, considering the fact we've had to lie to our friends and co-workers for the last month, is why this is suddenly being dropped?

      EVE smirks at this.

      EVE: Let's just say the Senior Partners have grown tired of looking for investments that have destroyed the company. So now they're gonna destroy the investment.

      The lawyers look at one another, intrigued. They all turn back to EVE eventually, to see her smiling.

      EVE: The bomb squad are on their way to New York?they found them?

      CUT TO BLACK

      END OF ACT TWO
      Last edited by Lex; 17-08-09, 05:53 PM.

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      • #4
        ACT THREE

        OPEN ON ? NEW YORK
        BATHROOM - INT.UNKNOWN BUILDING ? NIGHT

        The bathroom in whatever building, MELODY, LANCE, CHRISTIAN and LEIGH are staying in, is slathered in dirt, and this would be an understatement. Somehow, the presence of nice smelling bath salts and a soft steam rising from the filled bath tub masks the stench and glamorises the room somewhat. Inside the bathtub is MELODY, covered from foot to toe in a sheet of bubbles. She's lying, resting her against the side of the tub. All is quiet except for her slow breathing. The camera pans around to show someone materialising by the doorway. MELODY looks over at the person, we can't see who it is.

        MELODY: (rolling her eyes) Nice try?

        CATE (O/S): Oh I dunno?

        The camera pans around to show CATE leaning against the doorframe in her funeral outfit she wore at ASHBY'S service. She smiles at her, but it's not CATE?MELODY knows that.

        MELODY: I mean it, go away, I've got nothing to say to murderers.

        CATE/SIN laughs.

        CATE/SIN: Now?that's a little personal don't you think? Especially for girls like us. I told you Mel, don't mess with me?you really don't wanna get on my bad side.

        MELODY glares angrily at CATE/SIN now.

        MELODY: (loudly) And you do not even want to begin with me?

        CATE/SIN looks at her shocked but smiles regardless and laughs.

        CATE/SIN: Ooh you're bad ass Melody! Getting all defensive on the friends you stabbed in the back, all because you're guilty you helped my escape, just after I turned one of them into a pile of ashes.

        MELODY looks down sadly, while CATE/SIN moves closer and looks down at her in the bath.

        CATE/SIN: You can see it in poetry one day can't you? The death of the Slayer's fianc?e at the hand of Sin.

        MELODY: Stop it?just stop?

        CATE/SIN: (angrily) No Melody, you stop! You think you can keep on smiling at absent guests and not worry about the consequences.

        MELODY looks up at her, confused.

        CATE/SIN: That's right you little rouged rogue you. The clocks ticking?the bomb is gonna drop, and soon. Thing is, are you gonna do the right thing and let me out? ?Cause I have a proposition for you if you'd like to hear it?

        MELODY: I think you already know where you can shove that proposal?

        CATE/SIN: Ooh bold. Especially when I'll be the one to kill you. Not me, her. She's probably mightily pissed at what you did little girl. She's gonna wanna take the crown in this little race of yours.

        MELODY: What the hell are you on about?

        CATE/SIN: The Legend?

        MELODY'S face drops, she'd forgotten?

        CATE/SIN: You see we're not that different after all. We're all out to stay on top?and I can help you do that. What dya say?

        She smiles sweetly at MELODY who doesn't reply. She just looks at her shocked, but she is definitely considering something?


        CUT TO ? NEW YORK
        SEATED AREA ? INT.SIRENS ? NIGHT

        The sight of three shot glasses slamming down on a table can be seen, and the camera pans up to show CATE sat in the middle of FARAH and LEO. She recoils slightly at the taste of the drink, laughing.

        CATE: (laughing) Oh God! What the hell was in that?you know what, don't answer.

        LEO: Yeah it's probably best; the stuff in Sirens is pretty lethal.

        CATE looks to him, now turning her drinking attention to a bottle of wine that FARAH has in her hand. She looks happier, but only because of the presence of alcohol.

        CATE: You guys come here a lot?

        LEO: (nodding) Here every weekend, love the place. You never been?

        CATE: I haven't got out much really, still checking all the good places to hang.

        FARAH: Well you've hit one of the prime city drinking holes.

        LEO: Yeah, I mean the apple is a big place but once you hit a spot where you just click, you're not gonna waste time going to check how green the grass is elsewhere.

        She nods, replying.

        LEO: You know what I mean?

        CATE: (lying) Uh?no not really.

        FARAH: (to CATE) So how come you ain't got out much?

        CATE: Well I haven't exactly been in New York long?

        FARAH: (without thinking) Ooh what you running from?

        CATE: (shocked) Excuse me?

        FARAH: Sorry, it's just people who come to these clubs on their own, usually are on their own for a reason.

        CATE looks down sadly, reality setting in. LEO shoots FARAH a glare who smiles weakly at CATE.

        FARAH: (nervously) Oh look I'm sorry, I didn't mean to pry?

        CATE: (sharply) It's fine!

        FARAH and LEO look down, realising they've touched a nerve. CATE looks at them both, then looks down at the glasses.

        CATE: (quickly) I think it's my round?

        She stands and walks towards the bar area, FARAH goes to speak but doesn't. She sighs sadly, and LEO claps slowly.

        LEO: Well done. She may have shot me down but you well and truly screwed that one up.

        FARAH: Shut up, she'll be fine?.

        FARAH looks away from him annoyed and focuses on CATE at the bar, looking at her sadly. The camera, which is looking at FARAH and LEO on the sofa pans away, as if pulling back deliberately into the corner of the room. A fly on the wall...a security camera.


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

        There are surveillance televisions on various areas of the club. The bathrooms, the bar, the store cupboards near the bathrooms, the dancefloor, the DJ box, the entrance?and FARAH and LEO at the seated area. The camera pulls back to show a SUITED MAN sat in the chair in front of the television holding a cane and watching the siblings with curiosity.


        CUT TO ? NEW YORK
        ENTRANCE ? INT.CHERRY BOMB ? NIGHT

        Bright neon lights combined with the sexual harassing retorts from balding middle-aged men helped to clarify to XAK as he entered just what kind of place this was. He looks around at the club and the various women dancing on podiums with a sense of fear he hadn't felt since he arrived in this world.

        SONG: THE RUNAWAYS ? CHERRY BOMB

        The music begins to pound the club as XAK moves further into the vicinity. A GREEN HAIRED BARMAID approaches him. She beams at him happily, looking him up and down with a judging eye.

        GREEN HAIRED BARMAID: Mmm tall dark and broody, despite the fact you're under forty, you'll fit right in here! What can I getcha?

        XAK: I'm looking for a woman, goes by the name of Sugar?

        GREEN HAIRED BARMAID: Well if you're looking for a woman, this is definitely the place to be?

        She shakes her head after this.

        GREEN HAIRED BARMAID: ?But uh, I don't know of any Sugar?sorry!

        XAK: You sure? I was told she worked here.

        The GREEN HAIRED BARMAID obviously is thinking hard about this, but she sighs.

        GREEN HAIRED BARMAID: Sorry no?

        XAK looks disappointed, but he looks as if he was expecting this response.

        XAK: Thanks anyway?

        He turns and walks away as the GREEN HAIRED BARMAID still looks like she's thinking. Suddenly something clicks.

        GREEN HAIRED BARMAID (O/S): Wait!

        XAK turns around and looks at her.

        GREEN HAIRED BARMAID: You don't mean Misty do you?

        XAK: I'm pretty sure I said Sugar.

        GREEN HAIRED BARMAID: Well duh I know! But she used to go by Sugar years back but we get a lot of alias changeover. Like just last week?

        XAK: (cutting her off) Wait, so where is this Misty?

        The GREEN HAIRED BARMAID looks at him shocked, and laughs again.

        GREEN HAIRED BARMAID: You really haven't been here before if you don't know Misty Meadows!

        He looks at her expectantly and raises an eyebrow. She motions to the largest podium in the middle of the room, the one with the biggest male attention. A woman dressed in a light blue bikini and a long silver wig is seen straddling the pole in the centre of the podium; writhing serpentine. Her eyes flutter with blue and silver glittered eye make up and eye the crowd seductively. She is played by Jennifer Garner. It's her?(The music below plays throughout)

        "Hello daddy, hello mom
        I'm your ch-ch-ch-ch-ch-ch-ch-cherry bomb!
        "


        CUT TO ? NEW YORK
        BAR ? INT.SIRENS ? NIGHT

        CATE walks up to counter and sighs. The BAR MAID from earlier approaches her.

        BAR MAID: What's your poison?

        CATE: (glumly) Anything with alcohol?(with emphasis) Please.

        The BAR MAID nods and walks away towards the back of the bar. CATE leans against the bar, waiting with her purse in her hand sighing.

        LEO (O/S): Sorry about my sister?

        CATE doesn't turn around.

        CATE: It's fine?

        LEO moves into view and leans against the counter beside her.

        LEO: You sure? She can be a bitch sometimes, but she means well.

        CATE: I'm sure she does, but who am I to judge, I hardly know you guys.

        LEO looks at her, she still looks sad. He sighs.

        LEO: Ok, let's do this?

        CATE looks at him confused.

        LEO: ?Leonardo Espossitti, twenty one years old. Born in Rome, dumped by the fountain in the city square approximately five hours after I was born.

        CATE'S face drops at this?

        LEO: I was found by a nice couple with a two year old, and they raised me in England. They then moved to NYC about four months ago, and died?

        CATE looks down, listening to his sad tale. She looks over at FARAH who is looking staring ahead blankly.

        LEO: ?I was left with their little girl who turned out to grow up into a decent woman. Just one who can occasionally get pretty drunk and say stupid things.

        CATE: (bluntly) I had no idea. Sorry.

        LEO smiles reassuringly at CATE.

        LEO: Hey, don't worry about it. The only reason I'm telling you this is, no matter how hard you think it is, chances are, there is someone out there going through exactly the same thing.

        CATE looks away from FARAH to him, realising he's right.

        CATE: Yeah, I?I guess there is.

        She looks down, wondering, as the BAR MAID places another shot of alcohol down on the bar in front of CATE. What's your poison?


        CUT TO ? NEW YORK
        ALLEY ? EXT.STREETS ? NIGHT

        LANCE storms down an alleyway, tears streaming down his face. He leans against one of the walls in the alleyway and hits it lightly, eventually his thumps become harder and chunks of his own flesh begin to tear from his fist, revealing bone. He shouts in anger but not in pain as he hears the bones in his hands break. He falls back and looks at his hands. The bone begins to heal?.the muscle?the skin?


        CUT TO ? NEW YORK
        LOBBY ? INT.UNKNOWN BUILDING ? NIGHT

        MELODY is sat on the stairs inside what looks like a large lobby. Towards the right is a large doorway peering into the bar, where LANCE discovered the news of his brother's death earlier. She's looking at a large front door sadly, her hair moist from the bath.

        CHRISTIAN (O/S): They'll be back?

        MELODY looks around to show CHRISTIAN looking at her from the top of the stairs. He doesn't look happy, but he has managed to sort out his cuts and bruises from his run in with LANCE earlier that evening. He begins to walk down the stairs.

        CHRISTIAN: Leigh will find him, talk him round. She's a very convincing woman?

        MELODY looks back to the front door.

        MELODY: (annoyed) What makes you think I care?

        CHRISTIAN: You've been staring at that door for about half an hour.

        MELODY: My one bleak chance of freedom.

        CHRISTIAN reaches her now, and sits next to her, but not close.

        CHRISTIAN: Then go. Lance did, technically so did Leigh. Nothing would stop you, nothing could, you're a Slayer.

        MELODY: Don't reverse psych me Chris, it's pathetic.

        He smiles at her, and she smiles back at him too. She can't be angry at him?everything he's done, despite how badly it's turned out, has been done with the best intentions.

        MELODY: You know if either of us had any sense, we'd both bolt for that door, and never look back?ever.

        CHRISTIAN: (sighing) But we won't.

        MELODY: Why?

        CHRISTIAN: Because no matter how scary upstairs is?I've got more faith in her than what's outside those doors.

        MELODY: Speak for yourself.

        CHRISTIAN: You don't?

        MELODY: I can't have faith in a murderer?

        CHRISTIAN: (resolute) Where you see murder, I see sacrifice.

        MELODY: How can you say that Chris?Toole shouldn't have died, neither should Ashby?

        She looks down sadly, reminiscing. CHRISTIAN sighs deeply.

        CHRISTIAN: You never did see the big picture Melody. The sacrifice of two men is going to bring about something quite special?I assure you.

        MELODY: You really believe in that don't you? You believe everything that has happened, has happened because it's meant to?

        CHRISTIAN: Would you rather have faith in something else? Faith that living outside those walls will bring you the happiness, the new world, the change that is going to happen under her rule.

        MELODY looks at him, wondering.

        CHRISTIAN: You haven't studied her like I have. I started off angry, vengeful at a man who broke my heart?

        MELODY looks shocked, she didn't know about him and DANTE?

        CHRISTIAN: The first time I saw her scan?all I saw was hope. She can do anything?she can make any one of your dreams come true. You just have to believe in her?

        MELODY looks away at the door, thinking hard. The hardest decision of her life?does she trust the people who saved her from hell, and the girl who murdered her best friend's fianc?e? Or her instincts?


        CUT TO ? NEW YORK
        PRIVATE BOOTH ? INT.CHERRY BOMB ? NIGHT

        XAK is pacing the small room that he's in. There's a podium in the centre of the room and soft sofas circling the wall of the room. The lighting is soft, only interrupted by XAK'S mood. A woman enters, in a translucent gown. It's MISTY, dressed in the same outfit as before. She smiles at XAK and leans against the door closing it.

        MISTY: Tall? Dark? Broody, and under forty? Looks like I found the right guy.

        XAK doesn't reply, he just looks at her silently.

        MISTY: So, Coral told me you requested a private audience? Hope you got some dough; I don't do this for smiles.

        XAK continues to not reply at her remaining sombre. MISTY rolls her eyes.

        MISTY: (to herself) Just as well really?

        At this point she pushes him back and he lands on the sofa. As he does, soft music begins to play, and MISTY slides off her gown, revealing her lingerie underneath. She begins to straddle XAK, he looks slightly uncomfortable.

        MISTY: (whispering in his ear) Reckon you can muster up enough voice to tell me what it is that gets you hot?

        XAK: Are you Sugar?

        MISTY continues to writhe on top of him.

        MISTY: (quietly and dismissing) Name's Misty, don't go by that name anymore?

        XAK: You went by Sugar in 1998 though?

        She turns around now, and leans forwards facing the door.

        MISTY: Why do you care so much?

        XAK: Dante sent me?

        MISTY stops, and looks up at the door opposite her with wide eyes, not daring to turn back to XAK.

        MISTY: (softly) What did you say?


        CUT TO ? NEW YORK
        CORRIDOR ? INT.UNKNOWN BUILDING ? NIGHT

        MELODY'S hair is dry now. She stands at the end of the corridor. The corridor. The banging at the opposite end, and all she can do is stare at it. She stands and then walks?


        CUT TO ? NEW YORK
        PRIVATE BOOTH ? INT.CHERRY BOMB ? NIGHT

        MISTY jumps off of XAK and runs towards the door?

        MISTY: You shouldn't have come here?I'm not that girl anymore?

        XAK jumps up and stops her, she looks at him scared.

        XAK: Look, I really need your help!

        MISTY: If you don't take your hands off of me I'll scream?

        XAK: And I'll keep coming back?I'll keep trying to find you?I'll do everything it takes to just find my daughter.

        MISTY looks at him, she notes his desperation.

        MISTY: Your daughter?

        XAK: She was kidnapped, a month ago?

        She crosses her arms, not convinced.

        MISTY: So how exactly do you know Dan then? If you're really looking for your daughter, why come from him?

        XAK notes she didn't know he worked for Wolfram and Hart.

        XAK: (lying, acting convincingly) He's a P.I now?been clean for a few years. He's been helping me find her. He told me about, your gift. He said you could help me.

        MISTY looks at him. She sighs.

        MISTY: Why should I believe you?

        XAK: (tearful) Because?because it hurts. You don't know what it's been like?


        CUT TO ? NEW YORK
        BAR ? INT.SIRENS ? NIGHT

        CATE is leaning against the bar looking around the club at FARAH who is talking to LEO across the dancefloor.

        XAK (V/O): We've been through hell not knowing?We don't know whether to grieve?


        CUT TO ? NEW YORK
        DINGY ROOM ? INT.UNKNOWN BUILDING ? NIGHT

        DANTE is looking at the maps on the table again trying to make sense of a pattern. CHARLIE is stood across the room, leaning against the wall. She's looking down, but she looks up eventually at him, trying to figure out just how bad he really is anymore.

        XAK (V/O): ?Whether to be angry, whether to fight?


        CUT TO ? NEW YORK
        CORRIDOR ? INT.UNKNOWN BUILDING ? NIGHT

        We can only see MELODY'S feet?walking along the corridor.

        XAK (V/O): ?Or give up?


        CUT TO ? NEW YORK
        PRIVATE BOOTH ? INT.CHERRY BOMB ? NIGHT

        MISTY is looking incredibly sad at XAK, who is indeed tearful, and no longer acting?he's telling the truth.

        XAK: And right now I'm feeling a mixture of everything, and all I wanna do is find my daughter?

        MISTY sighs.

        MISTY: Wow?

        XAK: What?

        MISTY: If my dad cared as much as you did?let's just say, I wouldn't working a pole every night at the age of thirty.

        She smiles weakly at him, he reciprocates.

        MISTY: Sit?

        XAK sits back down on the sofas. MISTY kneels in front of him and breaths heavily.

        MISTY: Ok?just, stay still.

        XAK does as he is told. MISTY breathes deeply and places her hands on the sides of XAK'S head. She closes her eyes, and so does he. For a few seconds, nothing happens?

        MISTY: Sorry?I'm a little rusty. Could take a while to?

        Before she has a chance to finish her sentence, her hands glow suddenly and a mystical wind fills the room. Slowly MISTY'S eyes open, bursting with light, and glaring at XAK'S forehead?looking into his mind?

        FLASH TO -

        MELODY walking along a corridor?

        FLASH TO ?

        CHRISTIAN at the bar?

        FLASH TO ?

        CHARLIE crushed underneath a pylon?

        FLASH TO ?

        DANTE lying on the floor with his eyes wide...

        FLASH TO ?

        LEIGH lying on the floor, a bullet wound through her head?

        FLASH TO ?

        CATE lying dead in an alleyway, vampires feasting off of her...

        FLASH TO ?

        LANCE'S decapitated corpse on some ornate stairs?

        FLASH TO ?

        XAK walking towards a building. It has a sign on it that says "HOTEL DEVARRO" across the door in a faded sign. The building explodes, killing him?

        FLASH TO ?

        A young woman walking next to the dead gang's bodies?


        CUT TO ? NEW YORK
        PRIVATE BOOTH ? INT.CHERRY BOMB ? NIGHT

        MISTY flies across the room and crashes against the wall. She falls to the floor, breathing heavily. XAK shakes his head, breathing heavily.

        MISTY: Holy?mother of?

        XAK: I'll say?

        MISTY glares at him.

        MISTY: You lying son of a?

        She stands and moves over to him quickly and slaps him.

        MISTY: (seething) I don't know what your problem is and I certainly don't care what you're problem is with your daughter, it's not mine. Whatever it is you've gotten yourself into, I've worked very hard over the past few years to forget that part of my life.

        She sighs and moves away from XAK.

        MISTY: I should have known a friend of Dan's was no one worth trusting?

        XAK glares back at her.

        XAK: He's not my friend.

        MISTY leans down and grabs her translucent gown. She starts putting it on.

        MISTY: Whatever. Come here again, and you'll find yourself eating the sidewalk?

        She turns and walks towards the door. She opens it, then turns back to him.

        MISTY: (resentfully) Good luck at the hotel?hope you enjoy your stay?

        She leaves into the main sanctum of the club, slamming the door behind her. XAK looks around at the floor, trying to recollect what he saw.

        XAK: (thinking) Hotel Devarro?

        He jumps up and bolts for the door.


        CUT TO ? NEW YORK
        ALLEY ? EXT.STREETS ? NIGHT

        XAK is hurrying down an alleyway back towards the apartment where CHARLIE and DANTE are situated. There are a few people walking around, including a few heading towards him. He has a phone to his ear.

        XAK: (to the person on the other end of the phone) Yeah it's me. It worked. I know where they are?

        He waits for a reply.

        XAK: (to the person on the other end of the phone) Do a sweep on hotels in the city under the name of Hotel Devarro. It looks derelict, almost destroyed so it's probably closed for business.

        He pauses.

        XAK: (quietly, to the person on the other end of the phone) There's something else?

        Before he gets a chance to say anything else, one of the people, a WOMAN, walking towards him accidentally bumps into him.

        WOMAN: (angrily) Watch where you're going?

        XAK: (to the WOMAN) Sorry?

        He turns to see who it is?his eyes widen, and so do hers?

        It's LEIGH.

        CUT TO BLACK

        END OF ACT THREE

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        • #5
          ACT FOUR

          OPEN ON – NEW YORK
          ALLEY – EXT.STREETS – NIGHT

          XAK glares at LEIGH, while she faces him with a smile.

          LEIGH: Well well well, small world.

          He doesn’t answer, he just stares at her. She looks around him.

          LEIGH: (confident) Don’t suppose you’ve seen Lancey boy around have you? He’s been MIA since this afternoon, and I’ve been all over this joint looking for him

          XAK: (seething) Can’t say I have…

          LEIGH: Aw shucks, well if he’s dead, at least the world is purged of all Emory-kind.

          With this, despite the people walking around, XAK grabs LEIGH by her hair and throws her into a wall. A few people look shocked, and one man even protests and goes to help LEIGH up, who’s nose is bleeding. She denies help in getting up, and wipes her nose.

          LEIGH: (to the crowd) Show’s over people! We’re gonna take a brief intermission, but trust me when I say…

          She looks at XAK.

          LEIGH: (smirking) …The next act is gonna be something quite special indeed.

          XAK continues to glare at her, and knows in this crowd, he can’t attack her. A lot of the crowd look at him shaking their head, others look scared. He looks at each one of them, and after he does he looks back to LEIGH. But now…

          …She is gone.


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

          The sound of someone approaching the corridor where MELODY was stood earlier can be heard.

          LANCE (O/S): Mel? Melody…

          His footsteps approach, louder now.

          LANCE: (O/S): (sadly) Sorry about earlier…I just needed some space…

          He begins to turn the corner, coming into frame. He’s healed.

          LANCE: Melody where are you? I need to talk to…

          He stops. Nothing is said to cut him off. It’s what he sees that makes him stop…


          CUT TO – NEW YORK
          SEATED AREA – INT.SIRENS – NIGHT

          FARAH and LEO are sat on the sofas talking about something. CATE approaches with two glasses of wine, and LEO sees. She stands in front of them both and they eventually notice.

          LEO: I’ll leave you two girls to it…

          He stands, smiling at CATE and walks over to talk to someone off screen. CATE sits down with the glasses of wine.

          CATE: Peace offering…

          FARAH smiles weakly.

          FARAH: Look I’m sorry about earlier, I had no right saying what I did.

          CATE: I don’t care. I’m just glad you said it…

          FARAH looks at her, confused.

          FARAH: What do you mean?

          CATE looks down.

          CATE: A month ago…my fianc?e was murdered. I didn’t get to say goodbye, and if I hadn’t have left him on his own for those two seconds…he’d be alive today, and I’m here with my friends trying to move on, but I’m not, I can’t. I’m on my own. I’m alone because I want to be…I don’t want anyone, I don’t want anything that can destroy me again.

          FARAH looks sad at this.

          CATE: And hearing you say what you did, made me realise…I am alone.

          FARAH pauses for a few moments to reflect on what CATE has just said. She sighs, then turns to her fully.

          FARAH: You know, I have a theory.

          CATE looks up at her now.

          FARAH: You have to die a little, emotionally mentally in whatever way, to live, to know what life is, and know why you’re here.

          CATE considers this.

          FARAH: It won’t seem like it now…but it will. One day.

          CATE smiles faintly at her.

          CATE: Thank you…

          FARAH: (smiling) No problem!

          CATE: (embarrassed) Look at us, you’d think we’d have known eachother for ages.

          FARAH: There’s some things you can only tell a random drunk.

          CATE laughs, a tear falling down her cheek, smudging her eye make up.

          CATE: (noticing) I’ll be back in a minute…gotta put a face on.

          FARAH smiles.

          FARAH: That’s the spirit.

          CATE nods and stands, walking towards the bathrooms. FARAH looks over at LEO, who looks back at her.


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

          LEIGH desperately runs to the front of the building we saw in XAK and MISTY’S visions. Her confidence has been shattered somewhat. She looks worried, and is completely unaware of what is going on inside. She opens the door…entering…slamming it behind her.


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

          CHRISTIAN is sat at the bar, downing liqueur from a large ornate bottle.

          LEIGH (O/S): Christian!

          He turns to face her. She enters the lobby from outside panicked

          CHRISTIAN: In here…

          LEIGH spots him immediately and hurries towards him from the lobby area. He looks at her confused.

          CHRISTIAN: What is it? Could you not find him?

          LEIGH: Screw Lance Emory….

          She moves closer.

          LEIGH: …Xak’s here. There’s no time for gift-wrapping.

          CHRISTIAN nods, and looks at the ceiling.

          CHRISTIAN: Well it’s past midnight…let’s wish her happy birthday. Suit up…

          LEIGH nods and is already making her way towards the staircase in the lobby.

          LEIGH: (shouting to CHRISTIAN) Hurry! There’s not much time!


          CUT TO – NEW YORK
          DINGY ROOM – INT.UNKNOWN BUILDING – NIGHT

          XAK enters the apartment the gang have been living in. He looks around the room desperately.

          XAK: Guys…

          They appear in the room, dressed in black swat uniforms, small rucksacks on their back.

          CHARLIE: You ok?

          XAK: Had a little run in with Ms Sinclair not too far from here.

          CHARLIE looks angry at the hearing of LEIGH’S name.

          CHARLIE: You let her go?

          XAK: I had to, there were people there. Their pitchforks didn’t exactly like me throwing her into a wall…

          DANTE: Yikes. Well on the plus side, Hotel Devarro? We found it.

          XAK: Good, you got the weapons? We need to move now…

          CHARLIE: We’ll ready them while you’re getting changed.

          XAK nods and heads towards the bedroom. DANTE turns to CHARLIE. She looks down thinking and walks towards the table where there is a cell phone. She sighs, hesitating. She eventually picks it up and dials a number.


          CUT TO – NEW YORK
          CORRIDOR – INT.SIRENS – NIGHT

          The camera shows CATE leaving the bathrooms, her make up fixed. There’s a ringing sound. She reaches into her purse and looks at her cell phone. The word “CHARLIE” is on the screen. CATE sighs looking at the screen, contemplating. She ignores the call, letting the voicemail pick up the call. She’s not ready; it’s not that day yet.

          Suddenly to her left, she sees a storeroom door creak open, and she hears something fall to the floor inside. She looks around to the right, where the inner sanctum of the club continues to rave, no one is near her. She is alone. Slowly she walks towards the storeroom door and opens it further. As she does, her eyes widen and she gasps in shock…a female hand slumps to the side out of the doorway, a corpse. She recognises the woman…The screen fills with a white light…


          FLASH TO – NEW YORK
          UPSTAIRS – INT.SIRENS – NIGHT

          The light on the screen dies down to show a large corridor styled room encircling the top of the dancefloor inside Sirens. The tinted windows make it only possible to look out on the dancefloor, but not in on the room and what it contains.

          A child runs past the camera, then another, and four more run after those two. Older adults begin to follow the children, laughing. A family. The camera pans around to show someone entering the room. It’s LEO. He walks across the room, smiling at the children and the many adults in the room. Altogether there appear to be nearly thirty people in the room. LEO doesn’t stop to play, or to talk however; he continues to walk towards the door at the far end. On the door is a plaque saying, “LORD CHANCELLOR BLACK”. He knocks on the door.


          CUT TO – NEW YORK
          BLACK’S OFFICE – INT.SIRENS – NIGHT

          We can see that this room is in fact the surveillance room from which the SUITED MAN was watching FARAH and LEO through earlier. He is still sat, looking at one of the screens in particular. He hears the knock at the door.

          SUITED MAN (O/S): Enter.

          The door opens and we can see LEO enter. He nods his head.

          LEO: My lord.

          The SUITED MAN/LORD CHANCELLOR BLACK turns now to see LEO. He is an old man, but well groomed, and looks extremely smart. He is played by Malcolm McDowell. He smiles seeing LEO.

          LORD CHANCELLOR BLACK: Leonardo, what a pleasant surprise. I trust you have enjoyed your evening with Ms Flux.

          As he speaks more, we can hear he is well spoken, and apparently British.

          LEO: Yeah man, it’s always rocking.

          LORD CHANCELLOR BLACK: (laughing slightly) Marvellous. Now I presume you’re here because of the girl?

          LEO nods.

          LORD CHANCELLOR BLACK: Pray tell.

          LEO: Her name is Cathryn Rittle, mid twenties, here with her friends but doesn’t speak to them much anymore by the sounds of things.

          LORD CHANCELLOR BLACK: Anything else?

          LEO: (smiling) Her fianc?e died last month.

          LORD CHANCELLOR BLACK: Oh my…how dreadfully awful for her. She must be so alone.

          LEO nods, smiling still. LORD CHANCELLOR BLACK smiles back.

          LORD CHANCELLOR BLACK: Inform your sister…

          LEO nods, and turns, leaving the room, shutting the door behind him. Alone in the room, LORD CHANCELLOR BLACK turns his chair back to face the surveillance screen he was watching earlier. Now, we can see what he is looking at. CCTV footage of CATE standing by the storeroom with the woman’s body…

          LORD CHANCELLOR BLACK: (sadistically) …I think she’d be a rather beautiful piece in my collection.

          He smiles maniacally, staring at the screen.


          CUT TO – NEW YORK
          DINGY ROOM – INT.UNKNOWN BUILDING – NIGHT

          DANTE is sat at a table in front of a laptop and CHARLIE is stood in the background with the phone to her ear.

          CHARLIE: (to CATE’S voicemail) …Just meet us there if you can. I love you, take care…

          She closes the phone, and sighs.

          DANTE looks over at her.

          DANTE: Progression? She only cut you to answer phone after three rings this time?

          CHARLIE glares at him, pocketing the cell phone.

          CHARLIE: Shut up…are the weapons all ready?

          DANTE: Suited and booted.

          XAK appears from off screen now, dressed in the same black uniform as the others.

          XAK: Good…

          He walks towards the computer screen now, walking past CHARLIE. She sighs slightly, pocketing her phone and following him.

          XAK: (to DANTE) …Show me.

          DANTE points at the screen, showing an aerial map of the streets surrounding Hotel Devarro.

          DANTE: It was closed in the nineteen fifties. A lot of the people who stayed their reported demonic possession, hauntings etc, so they closed it. No one goes near it anymore. It makes sense they’d hide out there.

          XAK nods.

          XAK: Anything else?

          DANTE: There’s a building opposite, a block of offices under the name of Merrett Incorporated. Its security is pretty lack, not many people break in to steal spreadsheets…

          He looks to CHARLIE now.

          DANTE: …It’s got about thirty stories, should be high enough for you.

          CHARLIE nods, taking this on board. DANTE turns to XAK now.

          DANTE: There’s only two entrances to the Hotel. Front and back.

          XAK: (nodding) Ok, you take the rear.

          DANTE: And you didn’t even buy me dinner first.

          XAK glares at him.

          DANTE: Sorry but I have had about two lifetimes of being sarcastic, old habits die hard!

          XAK: Well they’ll die a lot quicker if we don’t get there sooner.

          He moves off screen now.

          DANTE: (to XAK) Well then just remember all the training. You’ve worked too hard to mess this up, and I worked too hard getting the goddamn equipment.

          CHARLIE rolls her eyes.

          DANTE: (continuing, to XAK) Now, if you saw Leigh, we won’t have the element of surprise…we should leave now.

          The sound of a shotgun pumping can be heard. CHARLIE and DANTE turn to see XAK standing there holding the weapon.

          XAK: Let’s go.

          DANTE nods and picks up a duffel bag full of weapons. He walks towards the front door, opens it and leaves. CHARLIE looks at the floor, nervously.

          CHARLIE: (when DANTE has left) Are sure we’re ready for this?

          XAK: Ready for what?

          CHARLIE looks up at him now.

          CHARLIE: Killing her.

          XAK: Did you ever think that that might be why we’ve been divided this month? You’ve got your doubts…I don’t.

          He thinks about MISTY this evening, what he saw, what has happened, what is going to happen….

          XAK: Not anymore…She may have looked like our little girl once upon a time Charlie, but this isn’t a fairy tale. It’s not gonna have a happy ending. People have died, good people, and more will if we don’t stop her…

          CHARLIE looks sadly away from him now.

          CHARLIE: (quietly) I know, and not once since we’ve been here have I said I don’t want that…I just can’t help but feel…

          XAK: What?

          CHARLIE: This is all revenge for Toole.

          XAK doesn’t reply.

          CHARLIE: Can you tell me that it’s not, because I know there’s at least a small part of you that wants it, and I don’t…that’s why isn’t it? You’re mad because I don’t do revenge?

          He looks away now…he doesn’t answer.

          CHARLIE: I thought so. You know Xak. I’d follow you to the end of the earth. I love you…and I’m gonna stick by you. Just don’t push me away because of this…

          She breathes deeply and stands. She looks at him briefly and he reciprocates. After a few seconds she picks up a large suitcase, which was situated near to DANTE’S duffel bag. She follows DANTE out, and as she leaves the room…

          SONG: NELLY FURTADO FEAT. ATTITUDE – AFRAID

          XAK watches her go, his resolute face fades as she shies into the hallway, disappearing from sight. He wasn’t just losing friends; he was losing love as a leader, a boyfriend, and as a father. (The music below plays throughout)

          What they say what they say what they say


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

          In slow motion, LEIGH and CHRISTIAN hurry through the corridors of the hotel. They haven’t got much time. Someone is at the end of the corridor they’re running down, the person moves out of frame. (The music below plays throughout)

          You speak out all you feel is defiance
          All you need is some self-reliance
          Cuz this world is gonna always try us



          CUT TO – NEW YORK
          CORRIDOR – INT.SIRENS – NIGHT

          CATE is sitting opposite the corpse in shock. She can’t escape death. It’s following her. The camera pans over to show who the dead woman is…It’s the BLONDE WOMAN; FARAH and LEO’S friend from earlier. (The music below plays throughout)

          And all you wanted was to run for cover
          Well here's looking to yourself and no other
          We're all searching for that special something
          And we keep on running



          CUT TO – NEW YORK
          ALLEY – EXT.STREETS – NIGHT

          XAK, CHARLIE and DANTE are all walking down a deserted alleyway, each of them wearing a headset. They don’t talk to one another; they continue to look ahead as they emerge on the empty, and dead street before them. Opposite them is the dormant building, Hotel Devarro. A sense of fear and nervousness fills their glare at the building as it becomes obvious that tonight is going to shape their lives in a lot of ways. Some lives will end. (The music below plays throughout)

          We all have the choice to take the lead or follow
          I want to feel the light shine on me


          XAK looks at DANTE. DANTE nods and moves to the side of the alleyway and begins equipping himself with the weapons. XAK then looks to the other side to look at CHARLIE, but she’s already gone…(The music below plays throughout)

          You're so afraid of what people might say
          But that's okay cuz you're only human
          You're so afraid of what people might say
          But that's okay you'll soon get strong enough



          CUT TO – NEW YORK
          OFFICE – INT.MERRETT INCORPORATED – NIGHT

          A magical blast of green energy forces a security guard flying through a door, forcing it open. In his wake, CHARLIE storms into the room and walks towards the window, looking at Hotel Devarro across the street. She sighs and kneels in front of the window; opening the suitcase she was holding. (The music below plays throughout)

          You're so afraid of what people might say
          But that's okay cuz you're only human
          You're so afraid of what people might say
          You're going to break
          So please don't do it



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

          XAK and DANTE cautiously approach the building, both holding guns in their hands, and larger guns strapped to their back. XAK signals to DANTE for him to move to the back of the building. DANTE nods in reply and hurries stealthily to the rear via an alleyway to the side. XAK looks at the building determined and moves towards the front entrance. He opens the door, peers inside…then enters. (The music below plays throughout)

          You wanna spread your wings but you're not sure
          Don't wanna leave your comforts
          Wanna find a cure
          We're afraid of who we see in the mirror
          We wanna let got but it feels too pure



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

          The camera focuses at first on LEIGH and CHRISTIAN at floor level, as they turn the corner, running after the figure that moved on screen earlier. As they turn the corner, they stop. The camera continues to run down the corridor in reverse, and as it does they fade into soft focus allowing the person who moved off screen to become very much in the foreground. It’s LANCE, and he’s almost arrived at what he’s seen. He continues to stare at it as the camera moves past him and reverses back to show the door to Room 19 open, and swinging in a breeze. Lying on the corridor floor near the open door is a body. It’s MELODY. Her face and skin is savaged with claw marks, and she looks stricken with horror. It happened quickly, she didn’t stand a chance…(The music below plays throughout)

          Who wants to be alone in this world
          You look around and all you see is hurt
          But the light it always guides us
          If we move with a little trust…


          The word “trust” fades and echoes as the image of MELODY fades into the next scene…


          CUT TO – NEW YORK
          OFFICE – INT.MERRETT INCORPORATED – NIGHT

          …As the image of CHARLIE assembling something can be heard, the music ends. There is no sound, except for CHARLIE’S breath, and the metal clanking from her task.

          XAK (O/S): (from her headset) I’m in…

          CHARLIE: (replying, quietly) Ok…

          She sighs, knowing he’s inside. He needs her help, and as she thinks this the camera pans down to show how exactly she’ll be helping him. A sniper rifle…


          CUT TO – UNKNOWN
          COCKPIT – INT.PLANE – NIGHT

          It is dark outside the window and it’s hard to see where the plane is flying over but it appears to be a military plane of sorts. We can see the PILOT.

          PILOT: We’re approaching the border…

          The camera pulls back to show another MAN in dark clothes. He nods and walks into the inner sanctum of the plane to show a few men stood around a large object.

          MAN: (to the others) We’re near, won’t be long.

          They nod at him and the camera pans down to show that the object is in fact a large bomb…


          CUT TO – NEW YORK
          OFFICE – INT.MERRETT INCORPORATED - NIGHT

          CHARLIE sets up the gun, and aims it at the window, scanning Hotel Devarro for any sign. She continues to look through the lens, unaware of what is happening behind her.

          CHARLIE: (to herself) Come on…where are you…

          WOMAN (O/S): Right here.

          CHARLIE turns suddenly to see who it is. The camera pans from CHARLIE’S horrified face along the floor to show the WOMAN’S feet. They’re soft, and new, almost as if they’ve barely been walked upon. The camera pans up to show a blood splattered light blue dress, which has been tattered and torn, and clings to the WOMAN’s slim figure with vanity. She has long brown hair, and her face is beautifully maniacal, smiling at CHARLIE. She is played by Summer Glau.

          She can now be described as a WOMAN, but a month ago, a week ago, she’d have been but a child. Now…she is something different. She is new. She is SIN.

          CUT TO BLACK

          SIN (V/O): Hello…

          END OF EPISODE


          Cast:
          MILO VENTIMIGLIA as XAK THORN
          ALEXIS BLEDEL as CHARLIE ADRASTOS
          AMANDA SEYFRIED as CATE RITTLE
          CHRIS EVANS as DANTE TURNPIKE

          ROSE MCGOWAN as MELODY HARP

          Special Guest Stars:
          CHAD MICHAEL MURRAY as LANCE EMORY
          JULIAN RHIND-TUTT as CHRISTIAN MCARTHUR
          RACHEL MCADAMS as LEIGH SINCLAIR
          RYAN HANSEN as JESSE REED
          JACKSON RATHBONE as LEONARDO ESPOSSITTI
          NIKKI REED as FARAH FLUX
          JONATHAN WOODWARD as KNOX
          SARAH THOMPSON as EVE
          JENNIFER GARNER as MISTY MEADOWS
          MALCOLM MCDOWELL as LORD CHANCELLOR BLACK
          SUMMER GLAU as SIN

          Special Mention:
          PEACHES – OPERATE
          THE RUNAWAYS – CHERRY BOMB
          NELLY FURTADO FEAT. ATTITUDE - AFRAID
          Last edited by Lex; 17-08-09, 05:55 PM.

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          • #6
            If you would like to give me feedback on Shadow Stalker, visit my thread here! I'm always happy to hear from you and I usually comment on the feedback as well!


            TRIVIA AND RANDOM FACTS FOR “3.01 – AT ABSENT GUESTS

            - This is the first episode to Season Three!

            - Its name derives a poem with this line in it, and if I remember correctly it related to mourning and I felt that it fit well with this episode and the general feel of the opening of Season 3.

            - This episode, combined with 3.02 and 3.03 were completely re-arranged and re-thought out as in 3.01 the only thing that would have remained the same was all the events surrounding Cate, the other characters and events were completely different. I decided to change it however as I really wanted the impact of what was happening to hit home and make the season opener the best it could be. Interestingly, cutting FOUR episodes down to THREE meant I had an extra episode, which I’ve decided to do some very interesting things with later in the series.

            - The characters Leo and Farah were originally cast up until August 2009 with different people but due to personal reasons I've decided to recast them with Jackson Rathbone and Nikki Reed, aka Jasper and Rosalie from Twilight in honour of me finishing the book series!

            - Melody’s death was crucial and is extremely key to the universe in which Shadow Stalker is set in. One of these reasons is that in Rogue Redemption, the sister series to Shadow Stalker, Melody appears to Marie Kaloff as a “ghost”, and therefore something pivotal had to happen and Melody had to come out of the race in the The First Legend, as the only known living people able to fulfil the prophecy now are Cate and Marie.

            - I decided to cast Summer Glau as Sin as I think she looks like a realistic possibility of Xak and Charlie’s child. In saying this I did consider Famke, aka “Jean Grey/The Phoenix” from the X Men series as I liked the way she acted the evil anti-hero. I know Summer Glau has featured in AtS as the ballerina in “Waiting in the Wings” but the actors playing Rack and Knox have both played two characters in Jossverse, and as both Knox and Rack have now featured in Shadow Stalker, I deem it ok to cast Summer Glau!!

            - The character Misty Meadows is actually the protagonist in a short ficlet I wrote recently about a black ops CIA agent who had to use the alias of a stripper. I knew I wanted to use her in Shadow Stalker and who better to play her than Jennifer “Sydney Bristow” Garner. Also using her is payback for Heather using Milo Ventimiglia in Chosen! Stick that in your pipe Heather…go on…

            - The character Lord Chancellor Black was originally going to be played by Isaiah who plays Burke in Grey’s Anatomy. However I thought people might think I was making a racist remark by calling him “Black”. I know it’s farfetched but I just wanted to be cautious…plus, Malcolm McDowell is so perfect for the role!

            - The club, Sirens, is very important. The name of it is the name of the spin off there will be to Shadow Stalker, and the business card Cate is given by the DJ is an actual promo for the spin off. I won’t be writing it or releasing Sirens until Shadow Stalker is completely finished but I wanted to include this slight shameless plug for the hell of it. I can however confirm the series is on the drawing board and I’m very excited about writing it!

            - That’s all there is to say about this episode. I’ll be writing a lot more in depth Trivia/Random Facts about each episode from now on, and all the episodes are now without any page limit so expect the episodes to be about this length. The length of this episode is 41 pages, the same as 2.16, making it one of the longest episodes to date! Woo! Also, as from now, Amber (Rogue Redemption) will be the Proof Reader of all Shadow Stalker episodes! She's an excellent addition to the team!
            Last edited by Lex; 17-08-09, 06:00 PM.

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