Announcement

**Lex** · 14-07-07, 06:45 PM

ACT ONE

SUNNYDALE
DANCE FLOOR ? INT.BRONZE ? NIGHT

The colours on the screen are blurred, as is the whole image, it looks static. The camera pans around from the from the dance floor and shows the bar area at an empty Bronze. There's no one at the bar area, and the stools are turned upside down and resting on the edge of the surface. The club is devoid of decorations or anything but the bare furniture. The camera slowly rotates and eventually lands on a couple dancing slowly. The camera shows XAK'S face, he's got his eyes closed and the female has her head rested on his shoulder. As the couple turn in their dance, the camera shows it is CHARLIE who is the female resting her head on his shoulder. She smiles and laughs ever so slightly.

CHARLIE: (softly) You know there's no music, right?

He laughs as well.

XAK: Uh huh.

CHARLIE: Don't you feel kind of silly?

XAK opens his eyes now and takes a look around at the fact no one is actually there. No one but them.

XAK: Nah, no way. No one's here to see me dance.

CHARLIE: I didn't mean that.

XAK: What did you mean?

CHARLIE: Human.

XAK: Huh?

CHARLIE: (laughing again) You know what I mean. You being human.

XAK sighs and looks serious for a moment.

XAK: It's who I am.

CHARLIE: Then why is everything you do so forced?

XAK: It's not.

CHARLIE: Is that what you tell yourself, to sleep at night?

XAK: I'm doing it all for you.

CHARLIE breaks away from him. She opens her eyes and looks at him, she sighs.

CHARLIE: It's a little late for that isn't it?

She looks at him in the eyes and he goes to put his arm around her but as he does he breaks part of her. He tries grabbing her but lumps of her body fall to the floor as ash. He looks at her desperately as he tries grabbing on to her desperately but just ash being all there is to hold.

CUT TO ? L.A
BEDROOM ? INT.APARTMENT ? NIGHT

The camera quickly cuts to XAK waking up in bed startled and freaked out. The colours on the screen have returned to normal. It was just a dream. The sweat drips from his forehead on to his bare chest and he looks around the room for any indication of CHARLIE'S presence. He doesn't cry, he looks like he is incapable of crying anymore. As he looks around, the dank interior of the room is revealed. Damp walls and torn wallpaper along with a smashed window can be seen as the new home of the protagonist. He wipes his face and scrunches his eyes and gets out of bed.

CUT TO ? L.A
LOUNGE ? INT.APARTMENT ? NIGHT

The door to XAK'S bedroom opens and he walks out wearing pyjama bottoms. He rubs his face and wanders over towards the kitchen area, which seems built into the side of the lounge. As he walks, two other bedroom doors can be seen going off from the lounge. Like his bedroom, the lounge area is also rather shabby and there is barely any furniture. Although with the darkness, it is impossible to see what is on the walls?He grabs a glass from one of the broken cupboards and turns the tap into the glass. He fills the glass and drinks deep. On hearing the tap run, the doors to the two other bedrooms open. It's too dark to see who has opened the doors. XAK puts the glass down and turns his head slightly in the direction of the doors.

XAK: I'm fine?

With his words, one of the doors closes immediately. The other lingers for a moment and the sound of a sigh can be heard, then the door closes softly.

CUT TO ? SUNNYDALE
BAR ? INT.BRONZE ? NIGHT

The camera shows from behind the bar area and shows a young woman waiting for her drink. She smiles as a female hand passes her a glass of white wine from the other side of the bar.

BARMAID (O/S): There ya go.

The young woman smiles and thanks the person, and hands over some money. The camera rotates around to show it is CATE who has received the money. Her hair is curled and her dress sense looks slightly more sophisticated and classy. She no longer looks like The Clique CATE we knew. She takes the money towards the till and deposits the money, sighing slightly. The cameras focus on CATE turns soft as the camera focuses more on TOOLE who has appeared at the other end. He looks the same as he used to. He looks at CATE concerned and makes his way over to her.

TOOLE: You know, you can go home if you want?

She looks up from the till.

CATE: Hm?

TOOLE: You can go if you want?

The camera pans around the club. It's fairly empty, and it's late at night, almost cutting into the early hours of the morning.

TOOLE (O/S): ?I mean we're not busy.

The camera cuts back to CATE, who looks at the crowd, vacantly.

CATE: (distant): No it's fine. I don't want to go home.

She moves down the bar and goes to a tray of used glasses. She grabs a cloth and begins cleaning them. TOOLE watches her then follows her down the bar.

TOOLE: I'm sorry about earlier.

He places a hand on her shoulder to comfort her.

CATE: It's fine, I probably over reacted anyway.

TOOLE: No I was out of line. I shouldn't have suggested it.

She puts a glass down and picks up another one, cleaning this one vigorously.

TOOLE: We just can't keep on like this.

CATE: Like what?

TOOLE: Pretending everything's fine and keeping everything bottled up.

She turns to him sharply.

CATE: Bottled up? For two months, all I did was stay at the apartment. For two months all I did was cry and stay in bed. How can you say I'm bottling things up?

She shakes her head on the verge of tears. She slams down the glass she's been vigorously cleaning.

CATE: I'm tired of crying. I'm tired of feeling like this. Sephy's gone, who knows where Rack is, and Xak?

She looks down speaking his name. TOOLE puts an arm around her.

TOOLE: I know. I know it's difficult.

She leans into him slightly and looks up, still feeling depressed and low.

CATE: Part of me hates him. Part of me doesn't wanna believe it was him. And every part of me just misses?

TOOLE: (finishing her sentence) ?her?

She nods slightly.

TOOLE: I know, me too.

He kisses the top of her troubled head.

TOOLE: Maybe I was right earlier?maybe we should move on?

CATE: I can't say goodbye to her.

He kisses the top of her head.

TOOLE: You don't have to, I would never ask.

CUT TO ? SUNNYDALE
SOFA AREA ? INT.BRONZE ? NIGHT

The camera shows someone watching CATE and TOOLE at the bar. Whoever it is, is sitting too far in the shadows to be seen but they appear to be writing something quickly.

CUT TO ? L.A
ELEVATOR ? INT.WOLFRAM AND HART ? NIGHT

The camera opens on DANTE in the lift. He looks bored of waiting in the lift and as the elevator slows down, the camera pans around to show the doors beginning to slide open. To the side of the opening doors a large white button can be seen above the ordinary numbers.

DANTE: (sighing) Finally.

He walks out of the lift.

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

DANTE walks into the white room and looks around. His dark suit mirrors the white interior of the room.

DANTE: Wow, must be a bitch to clean huh?

He looks to his left and sees a small man walking towards him. The man is dressed in a white suit and on his shoes, there is a small silvery outline of wings. He is played by Ron Rifkin.

MAN: I assure you I have no partaking in the sanitary conditions of this location. I am merely a messenger.

DANTE: (looking him up and down) Messenger?

He notices the MAN'S shoes, and laughs slightly.

DANTE: I get it. You must be the conduit? I'm sorry it's short notice and all.

MAN: The Senior Partners welcome all news from their children. You've earned many privileges within the company due to your status Mr Turnpike. It's admirable. They have chosen me to appear before you in regards to this matter.

DANTE raises an eyebrow.

DANTE: Uh, thanks?

MAN: There's no need for modesty. The Children of the Senior Partners are a rare breed, and they've proved unreliable in the past. But not you Mr Turnpike, you're unique. Your loyalty to the company and to your creators is overwhelming.

DANTE tightens his tie and looks around uncomfortably.

DANTE: (changing the subject) So the Senior Partners know of Xakiel Thorn?

The MAN pauses to answer for a few moments and merely observes DANTE.

MAN: They do. They are most interested in his contribution to the company.

DANTE: The partners share my interest, good. He said he wants to be part of our field team.

MAN: Hmm, he would be a powerful asset to the team, a powerful assassin especially considering the more recent occurrences with Ms Adrastos.

DANTE: He's unpredictable.

MAN: Time will tell how predictable he is.

DANTE: What do the Senior Partners say?

MAN: Usually their decision on such a subject would take a notable amount of time but they seem quick to arrange the contract for his join to the fold.

DANTE laughs slightly.

DANTE: Aren't they slightly cautious about being so ready to accept him? Who's to say he isn't a double agent?

The MAN smiles and begins pacing around DANTE.

MAN: They have anticipated this possibility. In order for us to guarantee trust, we feel he will ask for something from us in exchange for his services.

DANTE: A request?

MAN: Yes. And in order for his request to be processed, Mr Thorn will have to complete the initiation and of course sign the contract.

DANTE looks at him pacing, thinking. He begins to laugh.

DANTE: I get it; I know why the Senior Partners want him now.

The MAN stops pacing and he looks at DANTE. He looks pleased DANTE has figured it out.

MAN: Exactly.

The camera shows a high angle shot of DANTE and the MAN standing looking at one another, in complete elucidation.

CUT TO ? UNKNOWN
MEETING ROOM ? INT.UNKNOWN BUILDING ? EVENING

The colours on the screen are blurred, as is the whole image, it looks static. The camera pans around a meeting room to show TOOLE is sitting at the end of a very large table. There is a file open in front of him with no words on it, and blank paper inside. There is another one next to him, and he looks around slightly confused at his surroundings as if he's unfamiliar with it. He looks around the office, again unfamiliar and then he notices that he's wearing a suit. As he's admiring it, he sees the door at the far end open and a brunette enter. She's on the phone and she's talking fairly loudly with her back to TOOLE. He watches her and looks her up and down. Her hair is curled and is hanging around her shoulders. She puts one hand on her hip.

BRUNETTE: Uh huh yeah. Well that's what I told him.

There is a squeaky voice on the other end of the phone.

BRUNETTE: Oh don't worry, she'll be coming soon.

There is a pause on the other end of the phone before the person replies.

BRUNETTE: Yeah yeah yeah, my appointments later. Yeah no problem. I hope it all goes well too. Ok great. Bye.

She flips her phone down and turns around to face TOOLE. It's CHARLIE. She smiles at him.

CHARLIE: Sorry about that.

TOOLE looks at her astonished. He stands.

TOOLE: Oh my god. Charlie.

He moves towards her but she just walks around the table to sit at the table.

CHARLIE: (loudly) I think we should just get on with the meeting don't you. We have so much to do.

TOOLE looks at her confused and slightly hurt.

TOOLE: Wha- Charlie it's me.

She sits down at the chair with the blank folder and opens it.

CHARLIE: (muttering under breath) Sit down.

He cautiously moves back to the seat where he was sitting. He sits down and watches her.

TOOLE: (whispering) Charlie? What's going on?

She looks at the file intently and not at TOOLE.

CHARLIE: (whispering subtley) Toole they're listening, I don't have much time.

She clears her throat.

CHARLIE: (louder this time) Ok if we can move to item one on the list, the phoenix?

TOOLE watches her and copies her movements.

TOOLE: (whispering) What's going on?

CHARLIE: (whispering) I'm cheating.

She laughs slightly.

CHARLIE: (louder) And item two, doesn't everybody agree that the vending machines in the lobby just steal change?

She raises her hand and TOOLE feels compelled to raise his hand as well.

TOOLE: We miss you. Cate's a mess.

CHARLIE: I miss her too. I miss you all.

TOOLE: Even Xak?

CHARLIE: (louder) And finally item three?me?

She turns to TOOLE quickly. Her whole body is burnt and singed.

CHARLIE: (hoarse and croaky) Look at what he did!

There is a quick cut to TOOLE'S horrified face. He looks as CHARLIE disintegrates before him.

CUT TO ? UNKNOWN LOCATION
BEDROOM ? INT. UNKNOWN BUILDING ? NIGHT

The camera shows TOOLE waking up horrified in a dark bedroom. He's wearing a t-shirt and boxer shorts. He looks around and although all we can see is darkness, we can see that the colours have returned to normal. He looks to the person next to him. It's CATE. The camera closes in on her face. She looks to be sleeping peacefully.

CUT TO ? L.A
STOCK FOOTAGE ? EXT. SKYLINE - NIGHT

SONG: SHERYL CROW ? I SHALL BELIEVE

CUT TO ? L.A
BAR ? INT.D'OBLIQUE ? NIGHT

The beginning of the song plays through the club, which looks to be rather sparse in its population. The camera moves round to the bar area to show a blonde woman. She is played by Melissa George. She is wearing glasses and has her hair tied back and she's wearing a grey suit. She rattles the ice in her glass about as it is now empty and she looks around at the fact that it is only her and one other man left in the club. She looks over at him. The camera shows a high angle shot of them both sitting at the bar then cuts back to her looking at him curiously.

WOMAN: Looks like it's just us.

As she speaks it is revealed she is British. The man looks up at her, it's XAK. He sighs and looks back at his whisky glass which is shallow in capacity in front of him.

XAK: (with a gruff tone) Looks that way.

She notices his evasive behaviour and looks at her glass, sighing slightly. She looks back at him, deciding to give it another shot.

WOMAN: I'm Petrina, Petrina Rae.

She gives him a small smile.

XAK: Nice to know you Miss Rae.

He flips his head back as he finished the rest of his drink. PETRINA looks at him with a mixture of worry and concern but also as if he is an adventure.

PETRINA: (slightly flirtatiously) Do you want another?

He looks over at her.

XAK: Best offer I've had in a while.

PETRINA waves to the barman who brings over a bottle of whisky and a glass for PETRINA.

PETRINA: You get many offers?

She pours herself and XAK a drink. He takes the glass and looks at it for a moment.

XAK: An interesting one recently. It was less an offer, more of a?

He thinks, staring at the warm liquid inside his glass.

XAK: ?Another chance.

PETRINA nods in acknowledgement of this. XAK looks from his glass to PETRINA and notices her watching him. He looks a bit uneasy.

XAK: So what're you doing in a place like this?

PETRINA looks around at the club.

PETRINA: Getting away from it all. My days are busy at the moment. I'm a?

She pauses for a second or two.

PETRINA: ?teacher. My students can be a handful sometimes.

XAK looks at her, accepting this. She smiles slightly embarrassed and sips her drink.

PETRINA: So uh, how about you, what are you doing here?

XAK: (quietly) Getting away from it all.

He downs his drink again. PETRINA looks at him with a slightly furrowed brow.

PETRINA: Are you sure you're okay, uh?

She doesn't know his name.

XAK: Xak.

PETRINA: Right, Xak. I mean, is there anything I could do to help?

XAK laughs slightly, slightly drunk and emotionally drained.

XAK: Turn back time?

PETRINA looks at him, upset. She nods, knowingly.

PETRINA: Last time I checked I couldn't do that but uh, if you need to talk?

He looks at his glass.

XAK: I lost someone.

PETRINA frowns.

XAK: (grimly) I lost everything.

PETRINA sighs slightly.

PETRINA: It must be tough for you. Is there nothing you can do, to ease the pain I mean? Besides drinking of course.

XAK: Apparently so. I don't believe it though. It's too easy.

PETRINA: Surely if you've lost everything, you have nothing more to lose in trying?

He looks down then up to her. She's smiling warmly. Briefly the image of PETRINA guiding XAK is fractured with an image of CHARLIE helping him on the night they first met in The Bronze. XAK shakes his head. PETRINA looks at him.

PETRINA: Are you ok?

She places a hand on his and he quickly retracts it. He turns and runs out of the bar. And she turns and watches him leave. She looks slightly worried, and concerned for his wellbeing. The camera shows again the same high angle shot but this time, it is only PETRINA in the shot. (The music below plays throughout)

"Please say honestly
You won't give up on me
And I shall believe"

FADE TO BLACK

END OF ACT ONE

**Lex** · 14-07-07, 06:46 PM

ACT TWO

SUNNYDALE
PRIVATE SECTOR ? EXT.GRAVEYARD ? MORNING

The camera pans around the private and more elusive section of the Sunnydale Graveyard. The part where the important and richest people lay to rest and where the slayings and the evils of Sunnydale do not affect their resting place. The camera pans around to the large metal gates at one end of the section. A hand reaches to open the gate. The camera reveals the arm is of a woman, and that woman is CATE.

SONG: NATALIE MERCHANT ? FROZEN CHARLOTTE

She uses her hand to open the gate, and in her other hand she's holding a bunch of Lilies tied in brown string. She breathes deeply and blinks every now and again to rid her eyes of tears. The sun shines brightly as the camera shows her walking amongst many illuminated and extravagant headstones and graves. (The music below plays throughout)

"Blue like the winter snow in the full moon
Black like the silhouettes of the trees"

The camera shows CATE'S face drop as she approaches her target. The camera passes around to show a grave surrounded by Iris flowers. The stone itself is very ornate; various Greek symbols surround the words?

"Here lies the body
of
Charis Adrastos
14th October 1981 - 7th May 2002
Grace and beauty will forever swim in her soul"

The camera shows a side on view of CATE now standing opposite the grave. She kneels down in front of it. (The music below plays throughout)

"Late blooming flowers lie frozen underneath the stars
I want you to remember me that way"

She smiles through tear filled eyes at the grave before her. She rests the Lilies on the freshly laid ground and wraps her arms around her waist.

CATE: (softly) Hey hon, I bought ya some flowers.

She looks at the stone for a while. She shakes her head slightly and wipes a few tears off her face.

CATE: (whispering) I'll never not be sorry for letting you down. Not ever.

She looks down, pained.

CATE: (louder, more resolute) I have to go now, I need to move on honey. I'll always remember?

She can't be at her grave any longer. She stands quickly and turns to walk out. She hurries across the graveyard back towards the gate. (The music below plays throughout)

"Far away... I'll be gone will you wait for me here
How long... I don't know will you wait for me here"

As the camera shows CATE rushing out of the gate and closing it behind her. The camera lingers on the gate from a side shot, and shows the metal gate in the distance of the private sector. The figure of someone watching CATE can be seen.

CUT TO ? L.A
L.A STREETS ? EXT.WOLFRAM AND HART ? MORNING

SONG: ROGUE TRADERS ? WHITE LIGHTNING

The camera shows the outside of the main entrance to Wolfram and Hart. The same door we saw XAK leave from the previous day. The camera rotates to show a car pulling up to the building. The car stops and the man driving steps out of the car. He's wearing an ear piece and he opens the door to the back seat. The introduction to the song plays. While he holds the door open, the man presses his ear piece.

MAN: He's arrived.

The camera shows XAK stepping out of the car. He's wearing the same suit we saw him in yesterday and he looks the building up and down before walking towards the building. He opens the door.

CUT TO ? L.A
LOBBY ? INT.WOLFRAM AND HART ? MORNING

The camera shows XAK looking around the lobby before walking straight towards the elevators positioned around the corner from the main area. Various people see him walking through the lobby and a few people begin talking quietly, watching him. (The music below plays throughout)

"I'm looking for your face"

CUT TO ? L.A
OFFICE ? INT. WOLFRAM AND HART ? MORNING

The camera shows the elevator door opening in an office. The same people we saw when The Fates walking through the office are here but this is a bigger and more modern looking office. They all turn to the elevator door as XAK walks out. They give him a fearful look just as they did when CLOTHO, LACHESIS and ATROPOS walked through all those months ago. He looks in their direction and as he walks the words "I'm looking for your face" keep repeating as the only words from the song we hear throughout this scene. As he approaches the door to DANTE'S office the door opens and he stands in front of the doorway.

DANTE: (smirking) Mr Thorn, welcome back. Do come in.

He stands to the side as XAK doesn't even slow down. He even pushes past DANTE slightly as he enters his office causing a few of the office workers to laugh slightly. DANTE glares them and follows XAK into the office, slamming the door behind him.

CUT TO ? L.A
DANTE'S OFFICE ?INT. WOLFRAM AND HART ? MORNING

DANTE lingers by the door for a while but he turns back to XAK, his teeth gritted. XAK is now sat on one of the leather armchairs in front of the desk.

DANTE: So, Mr Thorn.

XAK: (with his back to DANTE) My name is Xak.

DANTE smiles and walks towards him.

DANTE: Yes, quite.

He sits behind the desk on the opposite side to XAK.

DANTE: You caused quite a commotion yesterday you know.

XAK: I have that effect on some people.

DANTE: Oh I've heard all about your effect on people.

He smirks and reaches for a file next to him. As he does this, XAK clenches his fists in anger, and glares deeply at DANTE. The camera turns back to DANTE who nods whilst reading, eventually he looks back up to XAK.

DANTE: I gotta ask, why are you here? Why come to us?

XAK looks at him for a moment.

XAK: You know why I'm here. I'm interested in the field operations of the building.

DANTE: Well it would seem you'd be a valuable asset in that sector. But I don't know if you can be trusted.

XAK: Define trust.

DANTE laughs.

DANTE: I won't lower myself to trade definitions.

XAK: You know what I think Turnpike?you don't even have a say in what happens.

DANTE leans back in his chair and he puts his arms behind his head.

DANTE: (cocky) I do, and you know why I do?

XAK: (glaring) Humour me.

DANTE: Because recently I was involved in a very important case, one that saw the reputation of this company soar as with my reputation as an asset to this company.

He leans in.

DANTE: You know what case that was?

XAK shrugs not really caring.

DANTE: Your transgression and the murder of Charis and Ras Adrastos?Mr Thorn.

A few moments pass and XAK and DANTE merely exchange very different glances. While XAK glares menacingly, DANTE simply stares at him, cocky. After the moment passes XAK lunges across the desk and grabs DANTE by the throat. He slams him against the wall and tightens his grip on his throat.

XAK: You're very lucky I'm in a good mood. Because if you'd told me that before your drugs wore off, well let's say your cool wit wouldn't have saved you. Ok?

DANTE laughs.

DANTE: (choking) It don't matter what you say or do to me. The Senior Partners are the ones who are choosing whether you can get what you want. And in comparison to your recent actions, you haven't seen real evil until you've met these guys.

The door to his office opens and CHRISTIAN enters, he looks worried but can't help but smile at the sight before him.

CHRISTIAN: Would you like me to call security sir?

XAK loosens his grip on DANTE and walks back to his seat. He looks at CHRISTIAN.

XAK: No need.

CHRISTIAN nods looking at XAK with a sense of gratitude and then he walks out. XAK sits back down in his seat, and looks at DANTE who is straitening his tie and clearing his throat and he also returns to his seat.

DANTE: (slightly embarrassed) If you're amateur dramatics are done with, maybe we could get on with business?

XAK looks at him calmly and nods.

XAK: How did you know I'd ask for something?

DANTE: (smirking) Senior Partners, they know a lot. Almost as much as you it would seem?

XAK smirks back in retaliation to his superior knowledge.

DANTE: Now, obviously a request such as yours is quite bold and will prove difficult to control, and this is why the Senior Partners require something in return for their generosity.

XAK: Whatever it takes, it's yours.

DANTE: Good.

He smiles and pulls out a piece of paper from the file he was reading. There is a space for XAK'S signature at the bottom and just above it, DANTE has signed his name. He turns the paper round to face XAK.

DANTE: Ok, if you can sign this pre-agreement?

He hands XAK a pen.

XAK: A pre-agreement? We can't do this now?

DANTE: Unfortunately not. It'll take a day to draw up the contract. Signing this makes you eligible for the initiation.

XAK: Initiation?

DANTE: Standard procedure, a walk in the park I'm sure for a man such as yourself, but don't get cocky, these aren't fraternity pranks?

XAK looks at the pre-agreement for a while before signing.

XAK: Fine. I'll be back tomorrow.

He stands and walks towards the door, he opens it and walks out, slamming the door behind him. The camera moves back to DANTE sitting in his seat. He holds the pre-agreement up and looks at it, he shakes his head and laughs.

DANTE: Damn. We got him. We really got him.

CUT TO ? L.A
LOUNGE ? INT.APARTMENT ? AFTERNOON

The camera pans around the lounge area, and with the daylight now shining through on to the interior of the apartment, we can see what is on the walls?symbols. Black ornate, sharp symbols burned on to the walls. The camera pans around to the front door, which creaks open slowly showing XAK enter. He sighs deeply and removes his jacket and loosens his tie. He sits on a worn chair and lies back. The sound of one of the bedroom doors opens and someone walks towards him. The figure stands in front of him, but as the camera stays on XAK we cannot see who it is.

VOICE (O/S): Well?

XAK looks straight ahead as if ignoring the person.

XAK: (quietly) I'm in.

The camera pans around to show the figure is a woman as the camera pans up her body, till it reaches her face. It's SEPHY. She looks the same as she did, unchanged in her immortal state. She looks down at XAK and nods slowly.

CUT TO ? L.A
DANTE'S OFFICE ?INT. WOLFRAM AND HART ? AFTERNOON

The camera shows DANTE'S office door open and CHRISTIAN enter. He looks around the office and sees DANTE clicking on a file on his laptop. He looks slightly annoyed that DANTE has not been harmed. DANTE looks up hearing the door open.

DANTE: Ah good. Listen I want information from Sunnydale within the hour. It's time we saw where Mr Thorn's loyalties lie. I want to know specifically if any contact has been initiated between Ms Rittle and Mr Emory regarding Xakiel Thorn.

DANTE rests his chin in the palm of his hand and the camera pans around to his laptop to show him watching the security footage of XAK entering Wolfram and Hart earlier that day, repeatedly.

CUT TO ? L.A
LOUNGE ? INT.APARTMENT ? AFTERNOON

The camera shows SEPHY standing in front of XAK who is still sat, leaning back in the chair, contemplating. She begins to pace up and down in the room, and smiles slightly.

SEPHY: Everything is going according to plan.

XAK: Sure, I guess.

SEPHY looks at him as she walks.

SEPHY: I hope you're not getting cold feet.

He doesn't answer. She turns fully towards him, slightly worried.

SEPHY: You remember our agreement don't you?

The camera closes in on XAK'S face as he remembers?

CUT TO ? L.A
ALLEY ? EXT.STREETS ? NIGHT

The colours on the screen are blurred, as is the whole image, it looks static. The camera passes around a dark, dank wet alleyway. The critters and scum of Los Angeles roam these alleyways, and amongst the cockroaches and The Great Mole Rat, lays the shadow of a man. The camera closes in on his figure as he stumbles in and out of the shadows. As he walks past a rogue reflection from the moon catches his face revealing it is XAK. He looks malnourished and unshaven. His face looks tired and weary.

CAPTION: THREE MONTHS AGO

He begins walking down the alley, holding on to the wall for support.

VOICE (O/S): There you are.

XAK turns around startled and pulls out a rusty looking knife, ready to attack. His face drops when he sees who it is. It's SEPHY. She's standing at the end of the alley. She begins walking towards him hurriedly. He drops the knife, scared, and begins running down the alleyway. She runs to catch up to him.

SEPHY: (bellowing) Xakiel Thorn!

He stops, he knows if the goddess wants his head, he can't be running forever. He turns, crying.

XAK: (his bottom lip quivers) I'm so sorry. I'm so so sorry?

SEPHY walks up to him.

SEPHY: I think it would be wise if we did not converse regarding the events of that night. She is but one of the members of my family I've been mourning?

XAK looks at her as if he's sorry for RACK'S death too, almost guilty for that crime as well.

SEPHY: You're not an easy man to track down.

XAK: I had to get away, I couldn't face them.

SEPHY: Did it not occur to you that they may need you?

XAK leans back against a wall.

XAK: Cate and Toole are better off without me?all I caused them is grief.

SEPHY shakes her head.

SEPHY: I doubt that, but that's not the issue. I need your help.

He looks at her astonished.

XAK: Huh?

SEPHY: Ras is gone, I know this. It was his time and I have word from my brothers and sisters he lies in the Underworld?but my daughter?

XAK'S eyes widen.

SEPHY: (sighing) ?Xak she's not there?

He looks at her incredulous. Could it be true? Is Charlie alive?

FADE TO BLACK

END OF ACT TWO

**Lex** · 14-07-07, 06:47 PM

ACT THREE

SUNNYDALE
PICNIC AREA ? EXT.PARK ? AFTERNOON

It is sunny and the sun beams down on many Sunnydale folk who are out and enjoying the later summer warmth. The colours on the screen have returned to normal indicating that it is now the present day. The camera pans around the people and eventually lands on a few children who are playing with a football, which one of them kicks. The ball lands on a picnic blanket near the lake and the camera shows a close up of the ball on the blanket. The camera shows a male hand picking up the ball and throwing it back to the children. The camera pans up to show TOOLE smiling. Opposite him is CATE. They're having a champagne lunch, and it looks as if they've already eaten. CATE watches him, lying next to her jacket with a glass of champagne. He's also half lying down.

CATE: You like kids huh?

TOOLE: Yeah, love ?em. Dunno why, I've never been around them, except Lance when he was a kid.

He looks down thinking about him. CATE sighs and sips on some of the champagne in her glass.

CATE: Check us out. We're the definition of fun nowadays.

TOOLE looks at her.

TOOLE: Damn straight. Tomorrow I was thinking of a day trip to a retirement home.

CATE: Booking us in early?

He laughs slightly and gives her a weak smile.

TOOLE: You're right.

CATE looks confused.

CATE: About retirement homes?

TOOLE raises an eyebrow.

TOOLE: No I mean about the fun part. We can't keep living like this. It's been four months, nothing's changed since then.

CATE nods.

TOOLE: We need to just forget about what happened.

CATE looks him shocked.

CATE: Forget about it?

TOOLE realises he's put his foot in it.

TOOLE: (stammering) No, I didn't mean - I just meant?

CATE sits up and then stands.

CATE: I would rather be sad and remember all we went through this past year than be happy and have none of it ever happen! How quickly you forgot that everything that did happen just made you and I stronger Toole!

She sighs, and begins pulling on her jacket.

TOOLE: Where are you going?

CATE: Home, I'll see you at work later.

She walks off. TOOLE stands.

TOOLE: Cate!

She doesn't stop, she just carries on walking. He watches her leave and kicks the bottle of champagne into the lake annoyed with himself. The camera shows a long shot of TOOLE, from far away. It shows him running his fingers through his hair. The camera pans down to show we are looking from someone's perspective. The camera shows that whoever it is writing something about CATE and TOOLE on a notepad. The notepad is full of detailed notes about them. The person continues to write, frantically.

CUT TO ? L.A
LOUNGE ? INT.APARTMENT ? AFTERNOON

The camera shows XAK still sitting in the chair, but now he's sitting more upright and looking at SEPHY who is stood looking at him. It is continued from when they were talking previously.

XAK: Of course I haven't forgotten.

SEPHY: Good?

She moves towards him and sighs. She kneels down in front of him.

SEPHY: We're so close Xak. Everything we've done these past three months is finally coming together.

XAK gives her a small smile.

XAK: I know, I just don't see why I've been given a second chance.

She squeezes his knee.

SEPHY: Now now mister. We've been through this. We went through how it wasn't you. The Fates used terribly dangerous potions to see their plan through. They'll do anything to see things through, if it wasn't you, they would have found another way. The important thing is, she's within our grasp.

XAK looks at her.

XAK: I don't think I can do it.

SEPHY: Why?

XAK: To see her and leave her, it would destroy me?

SEPHY leans in to him and glares deeply at him.

SEPHY: And it will destroy me if you don't.

A tear forms in her eye.

SEPHY: Please Xak; I can't do this without you?I need to know she's all right?

XAK looks at her for a moment then he jumps out the seat and runs to the door.

XAK: I can't. I just can't?

He opens the front door and runs out. The camera pans back around to SEPHY looking devastated. She sits on the edge of the seat where XAK was sitting and she puts her head in her hands, sobbing.

CUT TO ? L.A
DANTE'S OFFICE ?INT. WOLFRAM AND HART ? AFTERNOON

The camera shows DANTE pacing the room thinking. The door opens and CHRISTIAN rushes in with a file in his hand. He passes it to DANTE who snatches it off him. He opens it and begins reading quickly. He smiles.

CHRISTIAN: As you can see, Ms Rittle and Mr Emory have refrained from contacting Mr Thorn. In fact they have no idea where he is, and they're attempting to bypass grief.

DANTE: Good, this is good stuff.

CHRISTIAN: Shall I call the helicopter to arrange an extraction for the surveillance team?

DANTE shakes his head.

DANTE: No?

CHRISTIAN looks confused.

CHRISTIAN: Why?

DANTE throws the file at him.

DANTE: Idiot. You honestly think looking at one day gives us an indication on whether or not Xakiel Thorn's loyalties lie with us?

CHRISTIAN: But it says here Ms Rittle specifically mentioned how she doesn't even know where he is, there has been no contact.

DANTE gets up in his face.

DANTE: Did I say this was up for negotiation?

CHRISTIAN shakes his head.

DANTE: Good, I'm glad that's clear. Now get out.

He turns and leaves the office, glaring deeply at the floor as he leaves after being viciously being undermined once again.

CUT TO ? UNKNOWN LOCATION
BEDROOM ? INT.UNKNOWN BUILDING ? EVENING

The camera cuts to CATE sitting on a bed. She's in her nightclothes and the camera only shows CATE sitting cross-legged on the bed. Due to the sun recently setting it is impossible to see much of the room at all. The camera shows there is something in front of CATE. She reaches for it, she looks upset at holding this object. As she picks it up the camera shows it to be an envelope, she looks at what is written on it. It says "Charlie" on the front of it. She breathes deeply then turns over the envelope. It's already been opened. As she pulls out what is inside?

CUT TO ? SUNNYDALE
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

The colours on the screen are blurred, as is the whole image, it looks static. The camera pans around the living room and eventually the front door opening. CATE enters in a black dress and a black hat, TOOLE follows her from behind in a suit.

CAPTION: THREE MONTHS AGO

They both look depressed and they both go to sit on the sofa, slumping down into it, synchronised. CATE stares at the floor and TOOLE does the same. After a small pause TOOLE looks to her.

TOOLE: It was a?a lovely service.

CATE: Hmm.

He rests a hand on hers.

TOOLE: They did a good job on the gravestone.

CATE: (distant) Worth every penny.

TOOLE smiles and kisses her head.

TOOLE: Sure was.

She turns to him.

CATE: Thanks again for that by the way.

TOOLE: Anytime.

They sit for a while.

CATE: I wish Sephy had come, or Rack. Why didn't they?

He sighs and shakes his head.

TOOLE: I dunno babe. We haven't seen them since that day, they may not even know.

CATE: She'll know.

She nods knowing, resolute.

CATE: They both will.

He squeezes her hand and gives a small smile.

TOOLE: And Xak?

CATE: (after a pause) What about him?

TOOLE: Do you wish he'd come too?

CATE: I don't know.

He looks at her, he knows it probably wasn't the best question to ask. He sits up and shuffles to the end of the sofa.

TOOLE: I'll get us a drink. What do you want, coffee, tea?

CATE: (quickly) Vodka and coke. Make that a double.

TOOLE smiles and laughs slightly.

TOOLE: You got it.

He gets up and walks into the kitchen; the sound of him making their drinks can be heard in the background. The camera pans back to CATE who looks around the apartment. She looks at the door to XAK'S room, which is open. She looks intrigued. She stands and walks towards it slowly. She looks briefly at the kitchen and she can hear TOOLE still making the drinks. She pushes the door open and looks inside.

CUT TO ? SUNNYDALE
BEDROOM ? INT.XAK'S APARTMENT - NIGHT

Everything is how it was left. The candles are still surrounding the room, all of them were never lit. On the bed still lies the envelope, unopened. The camera shows CATE slowly walking towards the bed, transfixed on the letter. She sits on the edge of the bed and reaches for the envelope. She simply holds it for a while and contemplates what she should do. After sighing slightly she tears open the envelope and pulls out the letter that is inside. She begins to read it.

CATE: (reading) "Dearest Charlie, I hope that this comes as a surprise to you, and if it doesn't then Toole either told you or told Cate who in turn told you?"

The camera pans around to show TOOLE passing by the doorway to the bedroom with the drinks, he notices that CATE is inside reading the letter. He moves to the doorway. The camera pans back to CATE, reading.

CATE: (continuing) "?I know that the reconciliation with your father has made you happy, and I can only hope that I can help maintain this happiness."

CATE pauses as tears form in her eyes?

CUT TO ? UNKNOWN LOCATION
BEDROOM ? INT.UNKNOWN BUILDING ? EVENING

The camera cuts back to CATE in her nightclothes re-reading the letter. The colours on the screen are normal once again indicating that it is now the present day. She looks more serious when reading it this time.

CATE: (reading) "I hope this because you make me more happy than I ever thought I deserved?"

CUT TO ? L.A
ALLEYWAY ? EXT.STREETS ? NIGHT

It is night. The sky is clouded and it's raining, the rain beats down ferociously on the side alleys of the streets of Los Angeles. XAK still in his suit, but with his tie loosened and a cigarette intertwined in his fingers, is walking down one of the alleys.

CATE (V/O): (reading) "You make me feel like a man babe. You make me, me. I'm nothing without you."

He holds the cigarette up to his lips but as the torrential rain beats down, it annihilates the flame and the filter. He watches the flame dissipate slowly, with a blank and empty expression.

CATE (V/O): (reading) "All my love?Xak?

A scream. From down the alley. He looks in the direction of the voice. It sounds like a woman pleading for help. XAK runs, letting the cigarette fall to the ground. He turns a corner in the alleyway and at the far end he sees the shadows of two people struggling. He rushes to the end of the alley to see the body of a dead woman. She looks to be early twenties and she has two puncture marks in her neck. XAK looks up to see a male vampire holding a blonde woman by the throat against a wall. It's PETRINA. She looks at XAK desperately.

PETRINA: (choking) Xak! H-help?

The vampire turns to him and looks at him, he growls.

VAMPIRE: Get out of here kid, this girl is mine. Go save another girl.

The next few moments pass in slow motion. The camera shows XAK'S face contemplating, breathing softly. The camera then cuts to the vampire glaring at XAK, his teeth bared ready to kill. The camera then cuts to PETRINA who is still pinned to the wall. Her tears of pain and fear falling with the rain. The speed of the scene then quickens to a normal pace. XAK looks at PETRINA, he looks down and turns and leaves around the corner.

XAK: (as he leaves) I'm sorry?

He leaves out of sight. The camera shows PETRINA looking completely horrified and she watches him leave. The sound of the vampire growling causes her to turn back around to look at him.

VAMPIRE: (laughing) It's good he walked away, look how scared it made you.

She scrunches up her face and closes her eyes hoping it will be quick. We now can only see darkness as we see things from PETRINA'S perspective. She opens her eyes and still sees the vampire there, causing her to quickly close them again.

VAMPIRE: Your blood is just pumping now and I'm gonna?

PETRINA opens her eyes and sees not the vampire there anymore, but XAK. In his hand is a broken piece of wood and a pile of dust can be seen dissolving slowly into the puddles on the floor. PETRINA gasps for breath and looks at him. He smiles at her.

XAK: You ok?

PETRINA: (rubbing her throat) Yeah, I guess.

She looks at him cautiously then her gaze turns to the woman lying dead on the floor. XAK turns also. The rain beating her corpse without remorse. He turns back to her.

XAK: I'm sorry about your friend.

PETRINA: (she looks down, still trying to catch her breath) It's all right?

She looks up to him.

PETRINA: Why did you do that, save me?

The camera turns back to XAK who looks slightly more serious.

CUT TO ? L.A
ALLEY ? EXT.STREETS ? NIGHT

The colours on the screen are blurred, as is the whole image, it looks static. The camera shows XAK sitting on a crate near the end of one alley, with SEPHY opposite him. The whole scene looks familiar to that of the last flashback we saw indicating this is the second part of the flashback we saw earlier. XAK looks at the floor, thinking. He attempts to talk many times but can't seem to find the words.

XAK: What? How?

SEPHY: (smiling) She's not there, which means she can't be dead.

XAK looks down; he doesn't know whether or not to be happy or sad.

XAK: But I saw her die?I killed her?

SEPHY: You didn't Xak, she's alive. She has to be.

SEPHY smiles at him and touches his face.

SEPHY: Didn't you wonder why I didn't bring down heaven and earth on you.

XAK looks at her, still cautious.

SEPHY: I lost one from my family; I will not lose the other. I have hope, and with that I have the strength to see each day through, and use those days to find her.

XAK: How do you know all this, about Charlie?

SEPHY moves closer.

SEPHY: (whispering) I spoke to some of the other goddesses, apparently Lachesis had been seen entering a building. A building with quite a reputation throughout all worlds and walks of life: Wolfram and Hart. That very building is in this city.

XAK: Wolfram and Hart?

SEPHY: Indeed. A demonic establishment, that deals with the laws of the universe, evil and corrupt but powerful none the less. Within that law firm, The Fates were using the companies resources to find and eliminate Ras and Charis.

XAK: And when they succeeded?

SEPHY: I think the contract they had with Wolfram and Hart meant that Charis herself was collateral damage, her body I mean...

XAK looks horrified.

XAK: They have her?

SEPHY nods.

SEPHY: Cate and Toole had buried her and it was a decent burial but I don't think she was in that grave for long. I predict she now is in the custody of the wolf, the ram and the hart.

XAK now smiles.

XAK: So she's here in this city?

SEPHY: Indeed, and if her soul does not lie in the Underworld?they must have found a way to bring her back.

XAK: Why would they do this?

SEPHY shakes her head.

SEPHY: I don't know. Xak you have to realise this is all an optimistic theory of a mourning goddess. It just seems to make sense does it not?

A moment passes, XAK doesn't know what to say. He doesn't know what makes sense to him anymore.

XAK: You want her back?

SEPHY shakes her head.

SEPHY: To meddle in such a business would be unwise and unlike behaviour for a woman of my stature. I merely want to know she is ok, alive and well?then I can return to the Underworld?with my husband.

She smiles softly knowing that still half her time can be spent with RACK.

SEPHY: I need your help Xak, now is the time to repent. Help me and right the wrongs done to us.

XAK looks full of thought and emotion. He looks down and breathes heavily, then looks back up to SEPHY, with his answer. The screen fills with a blinding white light before we know his answer.

CUT TO ? L.A
ALLEYWAY ? EXT.STREETS ? NIGHT

As the light dies down the colours on the screen return to normal and the camera shows a very different XAK. Clean shaven, in a wet suit standing opposite PETRINA RAE, the girl he just rescued. He looks down remembering, and then he looks up?realising.

XAK: (softly) Because I always save the girl.

PETRINA looks at him curiously, as he looks as if his mind has wandered off. With his mind now thinking new things and taking him to places he hadn't originally thought of, he wanders too. He turns and leaves the alleyway and PETRINA. As the camera pans up to show a high angle shot of XAK leaving PETRINA we also see her walking over to her friend's side and kneeling down next to her body. One girl, who couldn't be saved.

FADE TO BLACK

END OF ACT THREE

**Lex** · 14-07-07, 06:49 PM

ACT FOUR

SUNNYDALE
BAR ? INT.BRONZE ? NIGHT

The camera shows from behind the bar area and shows a young woman waiting for her drink. She smiles as a female hand passes her a glass of white wine from the other side of the bar.

BARMAID (O/S): There ya go.

The young woman smiles and thanks the person, and hands over some money. The camera rotates around to show it is CATE who has received the money. Her hair is curled and her dress sense looks slightly more sophisticated and classy. She no longer looks like The Clique CATE we knew. She takes the money towards the till and deposits the money, sighing slightly. The cameras focus on CATE turns soft as the camera focuses more on TOOLE who has appeared at the other end. He looks the same as he used to. He looks at CATE concerned and makes his way over to her.

TOOLE: You know, you can go home if you want?

She looks up from the till.

CATE: Hm?

TOOLE: You can go if you want?

The camera pans around the club. It's fairly empty, and it's late at night, almost cutting into the early hours of the morning.

TOOLE (O/S): ?I mean we're not busy.

The camera cuts back to CATE, who looks at the crowd, vacantly.

CATE: (distant): No it's fine. I don't want to go home.

She moves down the bar and goes to a tray of used glasses. She grabs a cloth and begins cleaning them. TOOLE watches her then follows her down the bar.

TOOLE: I'm sorry about earlier.

He places a hand on her shoulder to comfort her.

CATE: It's fine. I probably over reacted anyway.

TOOLE: No I was out of line. I shouldn't have suggested it.

She puts a glass down and picks up another one, cleaning this one vigorously.

TOOLE: We just can't keep on like this.

CATE: Like what?

TOOLE: Pretending everything's fine and keeping everything bottled up.

She turns to him sharply.

CATE: Bottled up? For two months, all I did was stay at the apartment. For two months all I did was cry and stay in bed. How can you say I'm bottling things up?

She shakes her head on the verge of tears. She slams down the glass she's been vigorously cleaning.

CATE: I'm tired of crying. I'm tired of feeling like this. Sephy's gone, who knows where Rack is, and Xak?

She looks down speaking his name. TOOLE puts an arm around her.

TOOLE: I know. I know it's difficult.

She leans into him slightly and looks up, still feeling depressed and low.

CATE: Part of me hates him. Part of me doesn't wanna believe it was him. And every part of me just misses?

TOOLE: (finishing her sentence) ?her?

She nods slightly.

TOOLE: I know, me too.

He kisses the top of her troubled head.

TOOLE: Maybe I was right earlier?maybe we should move on?

CATE: I can't say goodbye to her.

He kisses the top of her head.

TOOLE: You don't have to, I would never ask.

CUT TO ? SUNNYDALE
SOFA AREA ? INT.BRONZE ? NIGHT

The camera shows someone watching CATE and TOOLE at the bar. Whoever it is, is sitting too far in the shadows to be seen but they appear to be writing something quickly. He looks at CATE and TOOLE at the bar. Something occurs to him. He looks at his notepad and looks at the notes he's been making. He flicks through the pages back to yesterday. The previous evening's notes were exactly the same as the ones made this evening. Word to word. He rummages through his jacket pocket and pulls out a mobile phone and dials a number.

CUT TO ? L.A
CHRISTIAN'S DESK ? INT.WOLFRAM AND HART ? NIGHT

The camera shows the phone ringing on his desk and then pans up to show that he's typing on the computer. He continues to look at the computer screen but picks up the phone.

CHRISTIAN: (resting the receiver between his shoulder and his face) Hello?

He listens to what is being said at the other end. He becomes intrigued by what is being said.

CHRISTIAN: (now paying more attention and holding the receiver) I'm not sure I understand are you implying this is what, a-a glamour?

He listens again, and then begins writing down the information on a pad of paper.

CHRISTIAN: Right ok. I'll tell Mr Turnpike don't worry. Keep an eye on things, see if your theory is correct.

He hangs up the phone and looks at the notepad and the information he's just written down. He taps his fingers on the desk and he picks up the pad looking at the information he's written. He tears off the page he wrote on and throws it in the bin. He looks at the bin and smirks slightly, then goes back to typing away on the computer.

CUT TO ? L.A
DANTE'S OFFICE ? INT.WOLFRAM AND HART ? NIGHT

The camera shows a pitch-black office, the lights are off and only the light wash of the moon slightly brightens the room. The camera pans around to the door to show it open and DANTE enter holding a leather bound file. As he turns on the lights and closes the door he looks at the rain beating down the window. He notices the floor is wet and looks up from the floor to see one of the windows is open. He sighs.

DANTE: How'd you get in?

The camera pans around to show XAK sitting behind DANTE'S desk in his wet suit with his feet on the table, causing his desk to be covered in muck and dirt.

XAK: Lack security much?

DANTE walks towards him smiling.

DANTE: Well next time we'll see.

He knocks XAK'S feet off the desk.

DANTE: So care to tell me why you're here, we arranged to meet tomorrow?

XAK looks at him.

XAK: What can I say, I'm just dying to get my members only card and gym pass.

DANTE laughs.

DANTE: I was the same; anyway that's no problem?

He taps the leather bound folder, and smiles.

DANTE: ...Got the contract right here.

He throws the folder in front of XAK. The camera just shows XAK looking at it.

DANTE (O/S): Just got finished. You should read it through, it's extreme.

XAK looks up at him then opens the contract. It's written in a calligraphic font and the paper looks old and torn. Almost as if it is centuries old. The camera zooms in on certain words?

"I Xakiel Thorn bequeath my?", "loyalty", "[I]Dante Turnpike[I]", "to partake in a visit?", "controlled conditions", "breach of agreement", "Charis Adrastos", "role as a field agent for the Wolf, the Ram, and the Hart"

?The camera then shows XAK'S gaze lingering on the words "I Xakiel Thorn bequeath my?" before cutting back to DANTE who watches him intrigued. He pulls out a pen and holds it towards XAK.

DANTE: (casually) Well? I trust everything is in order.

XAK looks at the pen for a moment, and then looks up to DANTE.

XAK: Of course.

He takes the pen and signs his name at the bottom of the contract. With every movement of the pen, the pen burns brightly and looks permanently embossed into the aged paper. With the last letter XAK feels his breath being taken away momentarily. He shakes it off and blinks. The camera cuts back to DANTE.

DANTE: Excellent. I'll see you tomorrow for the initiations.

He smiles and takes the contract, putting it back in its leather bound folder. As the contract is placed back, the edges of the folder join together magically as if there is no way of opening it. The image of a dragon is lacerated mystically into the front of the folder. The camera closes in on the image of the dragon, and then fades into the next scene.

CUT TO ? L.A
LOUNGE ? INT.APARTMENT ? NIGHT

The door opens and XAK enters. His suit looks dried now indicating it has stopped raining outside. The camera pans around to show SEPHY at the far left side of the screen. We only really see half of her looking at XAK entering.

SEPHY: (desperately) Xak, listen we've been talking?

He holds up a hand to silence her, he looks at something to the left of SEPHY. He smiles slightly.

XAK: Everything I said, about finding Charlie, seeing her. To find out how she is? I can't do that. That doesn't satisfy me. I'm responsible for what happened to her and I can't leave her in Wolfram and Hart. I don't know why they want her, or why she's alive or how?all I know is she's there. Somewhere in that building she lives and she's alone?and I'm not content with just seeing her.

The camera cuts back to SEPHY, again only showing half her face.

SEPHY: What do you mean?

The camera turns back to XAK as the camera moves in on his face.

XAK: (seriously) I'm gonna get our girl back?

The camera pans very slowly around to show SEPHY touching her chest smiling, taken aback by what XAK'S new plan is. The camera doesn't stop however and as it moves past SEPHY it shows the second bedroom door is open and that sitting next to SEPHY are two more people. They sit next to one another, they both look slightly worried and they are not sure whether to smile or not. It's CATE and TOOLE.

FADE TO BLACK

CAPTION: TO BE CONTINUED?

END OF EPISODE

Cast:
MILO VENTIMIGLIA as XAK THORN
AMANDA SEYFRIED as CATE RITTLE
ALAN TUDYK as TOOLE EMORY
CHRIS EVANS as DANTE TURNPIKE

Special Guest Stars:
JULIAN RHIND-TUTT as CHRISTIAN MCARTHUR
ALEXIS BLEDEL as CHARLIE ADRASTOS
RON RIFKIN as HERMES
MELISSA GEORGE as PETRINA RAE
PATRICIA ARQUETTE as SEPHY

Special Mention:
SHERYL CROW ? I SHALL BELIEVE
NATALIE MERCHANT ? FROZEN CHARLOTTE
ROGUE TRADERS ? WHITE LIGHTNING

**Lex** · 14-07-07, 06:51 PM

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

- The character Christian McArthur was inspired after Julian's role in Tomb Raider. They're very similar and I wanted Dante's assistant to be very similar to that role.

- I used two actors, Ron and Melissa from Alias in this season opener! I love them both, they're great at being evil and I think there's a lot of ambiguity about them in Shadow Stalker too!

- The way Xak greets Petrina was inspired by Jack and Ennis' meeting in Brokeback Mountain.

- Cate puts Lilies on Charlie's grave. I did this because of Amanda's character Lilly Kane in Veronica Mars.

- Charlie's birthday is also mine! And since Cate's born on the same day as Charlie?the three of us share the same birthday! Woo!

- I had to use the song Frozen Charlotte, the name itself is completely ironic to her death and the song is really good for matching Cate's mood at that time.

- I would like to apologise to anyone who does have a fear of The Great Mole Rat but to the MSN BW crew?we just find it hilarious that this creature exists and that people out there fear it?hide your frogs people?it's in L.A!

- So Charlie's alive?huh?

Announcement

Shadow Stalker - 2.01 - The Contract (Part One)

Shadow Stalker - 2.01 - The Contract (Part One)

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