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  • Shadow Stalker - 2.03 - A.I.D.A

    Series: Shadow Stalker
    Episode: 2.03 ? A.I.D.A
    Writer: Lex
    Editor: Alex Hart

    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 Two starts alongside Season 7 of Buffy the Vampire Slayer and Season 4 of Angel and is in affiliated 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).


    SEPHY (V/O): Previously on Shadow Stalker.

    The camera shows a brief shot of XAKIEL killing CHARLIE.

    SEPHY (V/O): Secrets and lies coiled around the necks of our protagonists.

    The camera shows CATE and TOOLE in The Bronze working in the "looped" day; XAK walking out of Wolfram and Hart in his suit; CHRISTIAN and LEIGH talking on the roof of Wolfram and Hart.

    SEPHY (V/O): Until they felt the need to breathe, and break from their constriction.

    The camera shows CATE and TOOLE sitting in the lounge of the L.A apartment; XAK fighting the SHADOW DEMON/XAKIEL in his initiation; XAK punching SOFIA.

    SEPHY (V/O): But one secret they had not anticipated?

    The camera shows CHARLIE in her cell; XAK running through the lobby with her; The core four running and jumping into the van.

    SEPHY (V/O): ?Was coiled inside one of their very own?

    The camera shows quick cuts of XAK and CHARLIE kissing passionately on XAK'S bed and the scales appearing on his back; CATE eating ice cream and CHARLIE declining due to her upset stomach; XAKIEL killing CHARLIE but the camera focuses on her clutching her stomach. Finally we see the van screeching to a halt after discovering CHARLIE is pregnant?

    FADE TO BLACK


    TEASER

    SUNNYDALE
    LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

    SONG: PINK ? I'M NOT DEAD

    The camera shows the lights are off in the living room, everything looks dark. We can see someone sitting up on the sofa. It's SEPHY. (The music below plays throughout)

    "Yeah yeah yeah yeah yeah
    There's all these cracks
    Crack of sunlight
    "

    She looks around the dark room and sighs, noticing that there is no one else in the room with her. She lies back on the sofa revealing she is in bed. She pulls the duvet over her and closes her eyes. (The music below plays throughout)

    "Crack in the mirror on your lips
    It's the moment of a sunset Friday
    When our conversations twist
    "


    CUT TO ? SUNNYDALE
    CATE AND TOOLE'S BEDROOM ? INT.XAK'S APARTMENT ? NIGHT

    The camera pans around their bedroom. Although it's dark we can see that both have them seemed to have settled in from where we last saw it, and made this bedroom their own. In the bed are CATE and TOOLE. They have the covers pulled up over them. They're not asleep, they couldn't be. They're just looking at the ceiling, rather sombre. (The music below plays throughout)

    "It's the fifth day of ice on a new tattoo
    But the ice should be on our heads
    We only spun the wheel to catch ourselves
    So we weren't left for death
    "


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

    The camera shows XAK'S bedroom. Nothing has changed. Although it's dark we can see the light of the moon flooding into his room. He's lying on one side of his bed, he's lying on his side looking at the empty side of his bed, longingly. (The music below plays throughout)

    "And I was never looking for approval from anyone but you
    And though this journey is over I'll go back if you ask me to
    "


    CUT TO ? SUNNYDALE
    ROOF ? EXT.XAK'S APARTMENT ? NIGHT

    The camera cuts immediately to CHARLIE'S face. It is windy, and the wind seems to make her hair whip her face in slow motion. Her eyes are wide, and as the camera pulls back we can see her standing on the roof of the apartment staring out into the vastness of Sunnydale. (The music below plays throughout)

    "I'm not dead just floating
    Right between the ink of your tattoo
    In the belly of the beast we turned into
    "

    The camera shows her lifting up her top slightly revealing a rather healthy sized bump. She looks to be at least four or five months pregnant. She looks at the bump and caresses it softly and lovingly, sighing. She looks up again and looks at the moon. The camera closes in on the moon? (The music below plays throughout)

    "I'm not scared just changing
    Right beyond the cigarette and the devilish smile
    You're my crack of sunlight
    "


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

    ?As the music dies down, the camera shows the moon through DANTE'S office window. The camera pulls back and shows DANTE standing in his office. He's smiling. The camera then pans around to show LEIGH sitting in one of the chairs in front of his desk. She looks astounded.

    LEIGH: (incredulous) You've done what?

    DANTE turns to her.

    DANTE: Stop being dramatic Leigh, I did what I had to do. I want you to get people ready for her return. I trust you.

    LEIGH rolls her eyes.

    LEIGH: Don't you think this is a little extreme?

    DANTE: No I don't, and Sofia agrees.

    LEIGH: With all due respect, Sofia is probably looking for a little personal revenge sir.

    DANTE: I don't think Sofia is that sorta girl.

    LEIGH: (glaring) Woman.

    DANTE laughs.

    DANTE: Whatever.

    LEIGH: (angry) You don't know the first thing about her, and you certainly don't know how to run this department.

    DANTE looms in on LEIGH threateningly.

    DANTE: (whispering) You listen to me little girl. Now I've screwed up big time, and I will do anything to put that right. If that means going over the top, I'll do it.

    LEIGH shakes her head.

    LEIGH: (quietly) You're wrong.

    DANTE smirks.

    DANTE: Either way, it'll get the job done.

    The camera moves in on his face.

    DANTE: Sending A.I.D.A after Charlie is the most efficient and ruthless course of action I know, but we need Charlie back?


    CUT TO ? SUNNYDALE
    SUNNYDALE STEETS ? EXT.TRAIN STATION ? NIGHT

    The camera shows a taxi pulling up outside the Sunnydale train station. The camera shows the passenger door of the taxi opening. We can see a person's feet, from the ankles we can see they are a woman's feet. The camera pans up to show a mature woman with short brown hair. She's wearing a trouser suit, and looks rather smart and sophisticated. (She is played by Harriet Sansom Harris). She smiles sweetly and looks up and down the streets and looks satisfied.

    DANTE (V/O): ?And she's the only one who can do it.

    ?She's A.I.D.A.

    FADE TO BLACK

    END OF TEASER


    OPENING CREDITS

    SONG: MUSE - HYSTERIA

    The camera shows a full moon in the night sky with the caption "SHADOW STALKER" tattooed
    across the view. The words streak across the scene with a slight red tint as the music starts up.

    The camera then cuts to CHARLIE walking down the street in her red dress towards XAK. The camera shows several quick cuts of XAK transgressing and eventually him killing CHARLIE.

    The camera then shows XAK in a suit leaving the Wolfram and Hart building then to him in an alleyway, he looks dirty and unshaven and in dirty clothes. (The music below plays throughout)

    "It's bugging me, grating me
    And twisting me around
    "

    CAPTION: MILO VENTIMIGLIA

    The camera shows CHARLIE in her cell, scared and alone and then cuts to her standing in XAK'S apartment, and her eyes glowing a bright green.

    "Yeah i'm endlessly caving in
    And turning inside out
    "

    CAPTION: ALEXIS BLEDEL

    The camera then shows XAK and CATE both running down the streets of L.A desperately. The camera then focuses more on CATE and cuts to her in The Bronze serving drinks, and then to her armed with a sword glaring angrily. (The music below plays throughout)

    "'Cause I want it now
    I want it now
    Give me your heart and your soul
    "

    CAPTION: AMANDA SEYFRIED

    The camera shows TOOLE in a suit walking through an office block and to him pinned against a cave wall by a demon. (The music below plays throughout)

    "And i'm breaking out
    I'm breaking out
    Last chance to lose control
    "

    CAPTION: ALAN TUDYK

    The camera then shows DANTE sitting behind his desk smirking but quickly cuts to him fighting off a demon with a large axe. (The music below plays throughout)

    "And I want you now
    I want you now
    I'll feel my heart implode
    "

    CAPTION: CHRIS EVANS

    As the song comes to an end the camera shows various quick caps of CATE by a grave and SEPHY walking into the Underworld smiling, then finally to XAK walking through the graveyard at night. The camera moves up and shows a high angle shot of him walking away and the shape of the dragon streaking across the sky causing the screen to fade to black. (The music below plays throughout)

    "I'm breaking out
    Escaping now
    Feeling my faith erode
    "

    END OF OPENING CREDITS

  • #2
    ACT ONE

    SUNNYDALE
    LOUNGE ? INT.XAK'S APARTMENT ? MORNING

    The camera shows the morning glow of the sun warming the apartment. The sound of someone in the kitchen can be heard but we can't see who it is. The camera pans around to the front door as the sound of it opening resonates fairly loudly throughout the apartment. The camera shows CHARLIE walking in, she looks down and she closes the door behind her.

    VOICE (O/S): Charlie?

    CHARLIE: I'm here.

    The person from the kitchen comes into view, it's CATE. She smiles upon seeing her friend.

    CATE: There you are?

    CHARLIE: Oh sorry, I uh, just was walking.

    CATE smiles.

    CATE: It's fine hon, just worried is all.

    CHARLIE nods. CATE looks as if she's at a loss for words. She moves over to the sofa and taps on the sofa.

    CATE: Uh, wanna sit?

    CHARLIE nods again.

    They both move towards the sofa, CATE sits on it cross legged and looks at CHARLIE who sits down looking straight ahead. CATE'S eager smile fades slightly.

    CATE: Are you ok?

    CHARLIE looks at her.

    CHARLIE: Define ok.

    CATE: I know it's a shock.

    CHARLIE: It's not that.

    CATE looks at her, intrigued.

    CHARLIE: It's not knowing what happened to me, what they did. I mean the last thing I remembered was Xakiel killing me, then?waking up in that cell.

    CATE looks down.

    CATE: It must have been awful.

    CHARLIE: It was, and it hurts to try and remember. I'm just worried that they did something to?

    She rubs her stomach indicating she is talking about the baby. CATE shakes her head confused.

    CATE: I just don't get it. I mean how can you be "with child"?you?

    She looks pained to say this.

    CATE: ?died?

    CHARLIE shrugs.

    CHARLIE: I don't know, all I know is, this baby's mine?and Xak's.

    The camera shows CATE smiling.

    CHARLIE (O/S): And I won't let anyone harm it.

    CHARLIE looks at CATE smiling.

    CHARLIE: (questioning) What?

    CATE: Just the idea of you and Xak having a baby.

    She squeals causing CHARLIE to smile slightly.

    CATE: And you know the fact you don't blame him for what happened?

    CHARLIE sighs softly, and looks down. CATE'S face drops slightly.

    CATE: (worried)?You don't right?

    CHARLIE: Four months I thought about it. I clung to the thought of him and me raising this baby, I thought about us getting past The Fates, and if we could just get passed Wolfram and Hart?maybe, we could be happy. But then my memories faded?

    She looks up at CATE tearful.

    CHARLIE: ?You can't imagine what it was like, being kept in that cell and only being brought out for god knows what they'd do to me.

    CATE holds her hand tightly and pulls her close so that CHARLIE'S head is lying in her lap. CATE strokes her hair lovingly.

    CATE: Oh honey, you should talk to Xak, he feels, you know, guilty. If he knew he was your anchor type person he'd feel different.


    CUT TO ? SUNNYDALE
    SUNNYDALE STEETS ? INT.PHONE BOOTH ? MORNING

    CATE (V/O): He just wants you to be safe?

    The camera shows A.I.D.A in the phone box, she's on the phone and she doesn't look happy. In fact she looks rather tired.

    A.I.D.A: I'm not happy sweetie, I've been walking all night, I'm cold and irritable, and to make things worse, I forgot to pack my knitting?

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

    The camera shows an empty laboratory, empty except for SOFIA who is on the other end of the phone. She has a black eye and her left arm is in a sling. She's using a headset to talk to A.I.DA and she's typing with her free hand on a large computer. She looks embarrassed, listening to A.I.D.A.

    SOFIA: (worried) Oh I'm so sorry. I'm all over the place recently, did you want an address?

    She listens for a response, then nods and smiles slightly. She begins typing something on the computer.

    SOFIA: Ok A.I.D.A, patching through the address we extracted from Charlie.

    She presses enter, and we can hear the phone hang up from A.I.D.A's end.

    VOICE (O/S): Well?

    SOFIA turns startled towards the door of the laboratory. DANTE'S standing there leaning against the door frame looking at her with a weak smile. She looks at him annoyed, before turning back to the computer.

    SOFIA: Well what?

    DANTE: She get there alright?

    SOFIA: (annoyed) Yes, considering she wasn't provided with an address.

    DANTE sighs and begins walking towards her

    SOFIA: (continuing) I mean as if the last few days weren't bad enough with the Senior Partners riding us, you had to piss off A.I.D.A as well.

    DANTE perches on the desk and looks at her.

    DANTE: (sincerely) I'm sorry.

    She looks at him, staring with her bruised face.

    SOFIA: You wanted him to do this. You wanted him to take Charlie all along.

    He touches her face. She seems to relax a lot more now, and looks to be fighting against her stubborn attitude.

    DANTE: I never wanted him to hurt you.

    She sighs, shivering slightly when he touches her face.

    SOFIA: (whispering) What are we gonna do about A.I.D.A? Do you trust her?

    DANTE: (laughing) That old coot? Nah not at all, but she's good.

    SOFIA: She's psychotic, and I only say this now ?cause there's miles between us.

    DANTE: (joking) She still could hear you.

    SOFIA shakes her head.

    SOFIA: I hope she takes him out?

    DANTE: I knew you were the vengeful type.

    SOFIA looks down.

    SOFIA: Well not so much but, I am angry.

    She already feels guilty at saying these words, she looks at DANTE.

    SOFIA: That's understandable right?

    DANTE smiles and jumps off the desk.

    DANTE: Well if she brings Charlie back for us, yay us. If she doesn't succeed? We can still punish him.

    They look one another in the eye.

    SOFIA: For what he did?

    He looks at her seriously.

    DANTE: (quietly) For what he did.

    The camera shows a high angled shot of SOFIA and DANTE sharing a moment of tranquillity in their crazed lives.


    CUT TO ? SUNNYDALE
    BAR ? INT.BRONZE ? MORNING

    The camera shows someone cleaning the bar surface, zoomed in on the cloth moving in circular motions across the stone. The camera passes up the person's arm to see that it is XAK. He looks sad, but uncomfortably sad, almost as if he has no reason to be upset at all. The camera moves from XAK to the front door to show TOOLE wheeling in some beer on some crates. He doesn't really take any notice of XAK until he hears the phone ringing from behind the bar. He struggles with the crates, and looks at XAK expectantly, but XAK appears to be too engrossed with the cleaning.

    TOOLE: No it's ok I'll get it.

    XAK still doesn't respond. TOOLE rolls his eyes and eases the crates to a standing position before moving behind the bar to answer the phone. He picks up the receiver.

    TOOLE: Bronze.

    He listens.

    TOOLE: Oh hey babe, you ok? What? Oh good, so she's alright?

    XAK looks up to TOOLE now.

    TOOLE: Ok yeah I'll tell him. Love you too, bye.

    He hangs up the phone.

    XAK: Was that Cate?

    TOOLE: No, it was my new secret love.

    He raises an eyebrow, XAK rolls his eyes and carries on cleaning.

    TOOLE: She just wanted to let us know Charlie came back. Just went for a walk.

    XAK nods.

    XAK: Ok.

    TOOLE looks at him for a moment.

    TOOLE: What's up?

    XAK: Huh?

    TOOLE begins moving back to the crates of beer to move them.

    TOOLE: I thought you'd be happy to have Charlie back, and you know a baby on the way, that's pretty amazing.

    XAK looks at him seriously for a moment and is about to answer when?

    VOICE (O/S): I couldn't resist?

    Both XAK and TOOLE look to the door to see SEPHY standing there with a little yellow baby suit, and little blue and pink flowers are dotted all over it. TOOLE'S eyes widen.

    TOOLE: I wish you'd told me you were gonna buy that?

    He reaches behind the crate and pulls out the same yellow baby suit causing SEPHY to squeal with delight. XAK throws the cloth on the floor.

    XAK: (angry) Oh for crying out loud!

    Both SEPHY and TOOLE turn to him surprised.

    XAK: How can you be celebrating this?!

    TOOLE looks confused.

    TOOLE: Is this a "hoo" without a "woo"?

    SEPHY puts down the baby suit on the crate next to TOOLE, she elbows him softly, and walks towards XAK.

    SEPHY: I know ok, I know this is a probably a huge shock?

    XAK: Probably?

    She ignores the understatement.

    SEPHY: ?But you're going to be a father. Of my grandchild may I add, and I think this is just what we all need. Things have been so terrible recently, we need some happiness. We deserve some happiness.

    She can't help but smile, but he can't help but frown.

    XAK: You don't get it. That baby has gotta be why they wanted Charlie in the first place, they want it, they will stop at nothing to get it, I promise you.

    SEPHY frowns slightly.

    SEPHY: So, no happiness?

    XAK: Not now, not?yet.

    TOOLE looks down.

    TOOLE: Have you spoken to Charlie about this?

    XAK: (looking down, shrugging) About my worries? No, I just feel I dunno guilty. This is all my fault.

    SEPHY: We've been through this countless times?

    XAK shakes his head.

    XAK: Not the murder issue, which itself is an issue we avoid altogether, but the baby being here.

    TOOLE: Well technically that's half your fault.

    XAK rolls his eyes and continues.

    XAK: I don't even think she's slept since she's been back, I dunno if that's me or the baby, or both?

    He looks up, worried.

    XAK: ?And what if she wants to sleep, where would she sleep, I mean in my bed? ?Cause I mean are we really ready for that after?

    TOOLE silences him, noticing he's getting worked up and frantic.

    TOOLE: You should talk to her man. She's at home now, go?

    XAK sighs and looks at TOOLE who gives him a reassuring smile. XAK looks at both SEPHY and TOOLE who both seem to be supporting this plan. He nods slowly and grabs his jacket before heading towards the front door. He leaves it open after exiting. SEPHY smiles at TOOLE before grabbing they simultaneously grab the baby suits and hurry to one another to compare. In the excitement, SEPHY'S face suddenly drops as she turns her head to the front door. In slow motion we see a single rain drop fall from the sky and splash and almost instantly evaporate on the ground outside The Bronze. SEPHY sighs silently?it's time?


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

    The camera shows CATE and CHARLIE still sitting on the sofa together in the lounge. They look completely relaxed and CATE is also still stroking CHARLIE'S hair lovingly.

    CATE: You know, with this baby on the way, you're gonna have to stop this exciting lifestyle.

    CHARLIE laughs slightly.

    CHARLIE: No more dying?

    CATE: Darn tootin! No more dying, being kidnapped etcetera etcetera. From now on you may only watch strange cartoon animals on the television and eat unhealthy combinations of food.

    CHARLIE smiles.

    CHARLIE: I missed this.

    CATE: Same hon. Peace and quiet is just what we need.

    Just as she says this the front door bursts open and XAK storms in. He closes the door behind him. He looks at CATE.

    CATE: (to herself) Yep, peace and quiet?

    XAK: Cate, I need to talk to Charlie is she here?

    CHARLIE'S hand appears from behind the sofa and waves.

    XAK: (surprised) Oh good, I wanted to talk to you?

    CATE looks at them both before standing up and moving allowing XAK to sit next to CHARLIE on the sofa who has now sat up and is looking and XAK wondering. He sits next to her, and looks at her in the eyes.

    XAK: Um?

    She looks at him expectantly, but slightly cautious still.

    CHARLIE: Yeah?

    There's a knock at the door. The camera stays focused on XAK and CHARLIE but in the background we can see CATE moving towards the door without removing her eyes from XAK and CHARLIE'S conversation. XAK looks awkward at the whole conversation.

    XAK: I just wanted to check that?

    The sound of the door opening can be heard. Neither CHARLIE or XAK look at the door.

    CATE (O/S): Hey, can I help you?

    XAK: ?You know things between you and me, are not, you know?

    VOICE (O/S): Hello dear, I'm looking for Charlie, I understand she lives here?

    CHARLIE recognises the voice and her head darts from XAK to look at the person at the door. Her eyes widen. The camera shows who it is. It's A.I.D.A. She smiles warmly at CHARLIE. The camera shows CATE and XAK looking confused and then cuts back to A.I.D.A.

    A.I.D.A: Oh my dear, I've been looking everywhere for you?

    FADE TO BLACK

    END OF ACT ONE

    Comment


    • #3
      ACT TWO

      SUNNYDALE
      LOUNGE ? INT.XAK'S APARTMENT ? AFTERNOON

      The camera shows a high angled shot of CATE and A.I.D.A by the door and XAK and CHARLIE on the sofa. A.I.D.A continues to smile and keeps a watchful on CHARLIE but her acknowledgement of XAK and CATE is also very noticeable. She begins walking towards CHARLIE but CATE moves in front of her.

      CATE: Uh uh Auntie Em, she's back in Kansas now.

      She folds her arms.

      A.I.D.A: (shocked) I'm not even allowed to communicate with her?

      CATE looks her up and down.

      CATE: Not that I'm exactly worried you'd do harm, but who the hell are you?

      A.I.D.A: My name is A.I.D.A?

      The camera zooms in on CHARLIE as she finds herself remembering that name.


      CUT TO ? L.A
      LABORATORY ? INT.WOLFRAM AND HARD ? NIGHT

      The colours on the screen are blurred, as is the whole image, it looks static. The room is dark.

      A.I.D.A (V/O): ?I overlooked the welfare of Charlie while she was in the custody of Wolfram and Hart.

      The sound of a commotion in the corridor can be heard. Quickly it gets louder until the doors to the laboratory burst open. Four men are pushing a stretcher and either side of the stretcher hurry SOFIA and A.I.D.A in lab coats.

      A.I.D.A: Hurry! Sofia!

      SOFIA runs towards a cabinet.

      SOFIA: (frantic) On it!

      A.I.D.A hurries towards the stretcher and finally we see who's on there. It's CHARLIE. She's in a long black dress and she's breathing and gasping raspy breaths. Her hands and whole skin is burnt severely. Her green eyes are searching for help and aid. One of the men at the side of CHARLIE'S stretcher turns to A.I.D.A.

      MAN: Lachesis was right, she was alive.

      A.I.D.A: Thank the Lord we got to her in time.

      A.I.D.A moves from the men who are holding CHARLIE down to restrain her flails. A.I.D.A looks CHARLIE in the eyes and smiles.

      A.I.D.A: Charlie? Sweetie, you're gonna be ok. We've got you now.

      SOFIA rejoins A.I.D.A's side, and in her hand is a syringe full of an unknown clear substance. A.I.D.A smiles at SOFIA and takes the syringe before turning back to CHARLIE. She leans in smiling warmly.

      A.I.D.A: Honey, this might hurt a bit but I promise you you'll get better. I'm gonna make sure of it my little phoenix?

      We now see things from CHARLIE'S point of view, as she looks at A.I.D.A's warm expression. The screen fills with a blinding white light.


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

      As the light dies down we see the camera is still focused on CHARLIE. Meanwhile CATE is still confronting A.I.D.A and XAK has manoeuvred a hand over CHARLIE'S in a protective fashion. The camera moves from CHARLIE'S astounded face to CATE.

      CATE: Wolfram and Hart? Uh honey you should try your whole gaining trust routine ?cause it's really kinda pathetic?

      VOICE (O/S): (quietly) It's ok?

      CATE turns around a bit taken aback to see CHARLIE standing, looking at A.I.D.A.

      CHARLIE: I remember, she helped me?

      A.I.D.A nods and smiles sweetly.

      A.I.D.A: That's right dear. Now?

      She moves over to CHARLIE and takes both of CHARLIE'S hands.

      A.I.DA: We have much to talk about my little phoenix?

      The camera moves to XAK and CATE who both look at eachother, worried.


      CUT TO ? L.A
      LEIGH'S DESK ? INT.WOLFRAM AND HART ? AFTERNOON

      The camera shows the screen to LEIGH'S computer. There's an email written, which seems to be informing everyone about what's happening with A.I.D.A and CHARLIE. It seems to be written fairly casually. The camera cuts to LEIGH who's sitting at her desk filing her nails. She doesn't seem to be in a rush to be doing any work. She looks up and she sees CHRISTIAN and DANTE talking about something by the elevator doors.

      LEIGH: (to herself) Urgh men?

      Someone catches her eye. It's SOFIA, she's heading towards the stairway in order to stay away from DANTE and CHRISTIAN.

      LEIGH: (slightly louder) Oooh, girly?

      She hits enter on her keyboard sending the email, and jumps up from her seat and rushes towards the stairway after SOFIA. DANTE doesn't notice but CHRISTIAN does.


      CUT TO ? L.A
      STAIR WAY ? INT.WOLFRAM AND HART ? AFTERNOON

      The camera shows SOFIA moving down the stair way slightly more casually. LEIGH bursts through the door. SOFIA turns hearing the door and LEIGH grabs on to the banister a bit tired.

      SOFIA: Leigh?

      LEIGH: (emphatic) There you are!

      SOFIA: Did you want something?

      LEIGH thinks.

      LEIGH: Uh yeah you know, just wondered if you wanted to go for a smoke?

      SOFIA smiles weakly.

      SOFIA: No thank you, I gave up a while back.

      She turns and begins walking down the stairs again. LEIGH sighs annoyed with herself.

      LEIGH: (loudly) Ok wait!

      SOFIA turns again.

      LEIGH: Sorry I'm a crappy friend.

      SOFIA looks down.

      LEIGH; It's just with everything that's been going on recently, (to herself) jeez I'm bad at this, (slightly louder), but I'm sorry ok?I shoulda been there for you.

      She smiles at SOFIA, who smiles back.

      SOFIA: Thank you Leigh. I really appreciate it. We should catch up soon. You know, when I'm not getting my arm and face broken.

      LEIGH smiles a little awkwardly. SOFIA smiles more genuinely.

      SOFIA: Kidding. We really should.

      LEIGH: We could have dinner tonight?

      SOFIA: (thinking) Ok, sure. Can't wait.

      LEIGH smiles and watches as SOFIA leaves, her smiley face fades as she sighs, almost feeling guilty. She turns then leaves through the door she came through.


      CUT TO ? L.A
      STOCK FOOTAGE ? EXT. SKYLINE ? AFTERNOON

      The footage of the L.A skyline changes from a late afternoon to early evening as the sun fades behind the skyscrapers of the citadel.


      CUT TO ? SUNNYDALE
      ALLEY ? EXT.BRONZE ? EVENING

      The camera shows the exterior of The Bronze and the sun faded on the building.


      CUT TO ? SUNNYDALE
      BAR ? INT.BRONZE ? EVENING.

      The camera shows that the interior of The Bronze is actually fairly dark, but then the lights turn on quite quickly illuminating the club for the evening. The camera now reveals SEPHY sitting at the bar sipping on a cup of tea. She looks troubled and the camera pans around to show that at the far end of the club TOOLE appears from behind a curtain near the staged area. He checks out the light fittings by looking at the ceiling admiring. He walks back over to SEPHY.

      TOOLE: It's getting darker so much earlier recently.

      SEPHY'S face drops. TOOLE notices.

      TOOLE: What's wrong?

      SEPHY doesn't answer. TOOLE smiles and tries to cheer her up?

      TOOLE: The burden of potential grandmother-hood a bit much?

      SEPHY looks at him now.

      SEPHY: You must understand how it works?

      TOOLE looks confused, he doesn't understand what's she's talking about.

      TOOLE: How what works?

      SEPHY: My life. I've forgotten the complications of it. I've been too busy falling in love with you all, I've become accustomed to living as a mortal?I was foolish.

      TOOLE looks upset. He figures?

      TOOLE: You've got to leave, haven't you?

      She nods.

      SEPHY: When the first drop of Autumn rain burdens the earth, my time on this plane is spent?this is the way it has been for centuries?

      TOOLE: Wow?bleak?

      SEPHY smiles weakly.

      SEPHY: Such is the nature of the late seasons.

      She sighs.

      SEPHY: And I would trade the season's beauty and the heavens themselves to stay here and see my daughter and her baby's father live in bliss but I can't.

      TOOLE: How are you going to tell Charlie?

      SEPHY: I don't know, she's not exactly been expressive with her emotions since she's come back. The only person she's really communicated with is Cate so to predict her feelings about my departure would be unwise.

      TOOLE nods. He knows she's right.

      TOOLE: When do you have to leave?

      SEPHY looks down at her tea.

      SEPHY: Tonight?


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

      The camera shows A.I.D.A sitting next to CATE on the sofa opposite to XAK and CHARLIE. There's some food and some drinks on the table between them on a metal tray. CATE looks confused by A.I.D.A's whole explanation.

      CATE: So let me get this straight?

      A.I.D.A looks at CATE and chuckles warmly.

      CATE: ?One of those bitches told you Charlie was alive still, so you decided to dig up her grave and bring her to Wolfram and Hart where you treated her and the baby.

      A.I.D.A: Um, not so much.

      CATE collapses backwards on the sofa as if infuriated she will not ever understand.

      XAK: Wait a minute, if The Fates knew Charlie was alive?wouldn't they want to kill her?

      A.I.D.A: You'd think so, but their contract on Charlie and her father's life expired earlier this year. Technically Charlie and her father did both die so there's no need for concern on their behalf.

      XAK nods accepting this.

      CHARLIE: So if I died?how am I?

      She indicates her stomach by touching it. A.I.D.A looks at CHARLIE almost shivering.

      A.I.D.A: This is where it gets special.

      She smiles at CHARLIE'S stomach.

      A.I.D.A: If my calculations were correct, the baby was conceived late April?

      CHARLIE looks at XAK, who looks at her.


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

      The colours on the screen are blurred, as is the whole image, it looks static. The camera shows XAK sitting in the dark looking reclusive and staring at the floor. The door opens, CHARLIE enters. She closes the door behind her, prompting XAK to stand.

      XAK: How are they? I didn't hurt them too much did I?

      CHARLIE hurries towards him, she puts her hands on his shoulders to quieten him.

      CHARLIE: (softly) Shh?they're fine. They'll be making sarcastic comments and promoting The Bronze Ball in no time?

      She smiles at him, he looks at her.

      XAK: (quietly, almost tearful) I'm sorry?I'm so?so sorry?

      She hugs him tight, she doesn't know how to respond, but she closes her eyes.

      CHARLIE: (softly) Shh?

      She kisses his shoulder. He reciprocates by slowly moving to kiss the top of her head. She moves and kisses his neck, causing him to kiss her forehead. They then both kiss one another's cheeks. They break apart and look at one another, searching one another's eyes. Despite what happened?they can only see the need to help, protect?and love. The prospect alone draws their lips together in a passionate embrace. They fall back on to the bed with CHARLIE on top. He pushes her coat and top off and rolls her over so he is on top. He kisses her neck and she rips his top off. The camera shows him writhing on top of her, and as he does so?.large black scales begin to form on his back?


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

      The colours are normal once again as the camera shows XAK and CHARLIE looking at one another. CHARLIE looks from XAK to A.I.D.A. She nods.

      CHARLIE: Yeah, that's about right.

      A.I.D.A nods, and in the background we can see XAK looking worried as he remembers clear as day that he was under the effect of ATROPOS' drugs.

      CHARLIE: So what does that mean?

      A.I.D.A: Well after some tests, we came to the conclusion that the baby was what saved you.

      CATE throws up her arms.

      CATE: Ok now I'm lost. And I mean lost, lost.

      A.I.D.A: When Charlie died, the baby fought for existence. It knew it couldn't live without its mother being alive.

      CATE rolls her eyes.

      CATE: Oooh?a whole new layer of lost?

      CHARLIE: I'm with Cate on this one.

      A.I.D.A stands she gestures at CHARLIE'S stomach.

      A.I.D.A: This child is unparagoned, an inimitable being.

      She indicates XAK with one arm.

      A.I.D.A: The child of a hybrid creature of darkness and light with unimaginable strength and power?

      She then gestures with her other arm at CHARLIE.

      A.I.D.A: ?And of a wiccan daughter of a highly powerful and respected goddess?

      She brings her hands together.

      A.I.D.A: And you're surprised this child rejuvenated its mother?

      Both CHARLIE and XAK look at one another.

      A.I.D.A (O/S): Whereas I find it a mere shallow impression of the child's capabilities?

      VOICE (O/S) So do I?

      The camera pans around from everyone in the lounge area to TOOLE and SEPHY standing by the door. TOOLE is still holding on to the door handle and he looks at XAK and CATE in confusion, whereas SEPHY glares at A.I.D.A, who merely reciprocates with a confused look. She turns to CHARLIE.

      A.I.D.A: Do you know this woman?

      SEPHY: I'm the highly powerful and respected goddess.

      A.I.D.A slowly turns around to SEPHY, a worried expression on her face, which quickly fades into a more confident posture.

      A.I.D.A: Persephone. Still here? Isn't it time you left?

      CHARLIE: Mom, what's she talking about?

      Quickly, CHARLIE is pulled to the side before she allows her mother to answer. CHARLIE looks up as she sees it is XAK who has pulled her away. He does it cautiously however and in a protective manner. He pulls her towards the bedroom leaving the sound of SEPHY confronting A.I.D.A, and CATE attempting to explain thing to TOOLE, behind.


      CUT TO ? SUNNYDALE
      XAK'S BEDROOM ? INT.XAK'S APARTMENT ? EVENING

      XAK closes the door slightly so it's just them in the room together. CHARLIE looks shocked.

      CHARLIE: Xak, what on earth? We were just in the middle of?

      XAK: (nervously, cutting her off) I'm sorry it's just.

      He takes a deep breath and looks her in the eyes as she searches for an explanation.

      XAK: ?I'm tired. I'm sick of being told how we should be doing this. The Fates, Wolfram and Hart, your mom, A.I.D.A?I'm sick of being told how take care of you.

      CHARLIE'S shocked face turns into one of deep thought. She looks down slightly. XAK looks at her. He looks upset and slightly pained.

      XAK: ?Cause without you, it's been hell. It's worse than hell, and I'm sorry.

      The camera cuts back to CHARLIE, absorbing his words.

      CHARLIE: (quietly) Xak?I uh?

      She's cut off, but not by XAK. The sound of several thumping noises can be heard from the lounge area. Almost as if some people have fallen to the floor. Both XAK and CHARLIE look at the door as A.I.D.A opens the door, and appears in the doorway. One of her eyes is constantly twitching?

      A.I.D.A: (echoing) Pleasant time's over my phoenix?

      The camera cuts back to CHARLIE and XAK, then passes back to A.I.D.A and passes over her shoulder to show the lounge. CATE, TOOLE and SEPHY are all lying on the floor with their eyes closed?

      A.I.D.A (O/S): (echoing) ?You're coming with me.

      FADE TO BLACK

      END OF ACT TWO

      Comment


      • #4
        ACT THREE

        SUNNYDALE
        XAK'S BEDROOM ? INT.XAK'S BEDROOM ? EVENING

        The scene is continued from Act Two and the camera shows A.I.D.A's eye constantly twitching again. The camera cuts back to XAK and CHARLIE who look worried and confused.

        CHARLIE: (quietly) A.I.D.A?

        A.I.D.A: (echoing) I forgot my knitting, inimitable?

        She repeats these words a few times, her head twitching constantly, but then it snaps back towards XAK and CHARLIE, she smiles sweetly, her eye has now stopped twitching.

        A.I.D.A: Oh my I'm sorry.

        She looks embarrassed and looks at CHARLIE.

        A.I.D.A: See what it's like without their drugs? It gets worse. Come on, we should leave now.

        She moves towards CHARLIE but XAK steps in front of her, defensively.

        XAK: I don't think so.

        A.I.D.A looks him up and down, then swiftly presses the palm of her hand into his chest sending him flying backwards into the wall. CHARLIE puts a hand to her mouth, gasping as he collapses to the floor.


        CUT TO ? L.A
        ENTRANCE - INT.RESTAURANT ? EVENING

        The camera shows the door to an expensive and posh restaurant open. Both SOFIA and LEIGH enter in rather beautiful dresses. SOFIA'S sling is no longer on her arm, and she has a bandage wrapped around her wrist, and she's used make up to help cover up her bruised face. SOFIA looks around slightly phased.

        SOFIA: (whispering) This is kinda fancy.

        LEIGH: Pft, for two fine ladies like ourselves? Besides, no expense spared, it's on me tonight?

        She pulls out a company credit card. SOFIA laughs.

        SOFIA: You're charging this to Wolfram and Hart.

        LEIGH reveals the name on the credit card.

        LEIGH: No, Dante is.

        She winks at SOFIA as a waiter greets them. He escorts them to their table and they both sit down looking at the menu given to them by the waiter.


        CUT TO ? L.A
        TABLE ? INT.RESTAURANT ? EVENING

        LEIGH is looking at the menu intently, torn between the delectable dishes available. SOFIA eyes however are looking at LEIGH. LEIGH eventually looks up, feeling SOFIA'S eyes washing over her.

        LEIGH: You ok hon?

        SOFIA: I was just wondering why you're really doing this?

        LEIGH: What's wrong with taking you out?

        SOFIA: I just it find it strange. I mean yeah we've lost touch recently but I mean before that, you'd never do this.

        LEIGH puts down her menu.

        LEIGH: That's true. But I don't appreciate my friends enough. I mean I look at what Xak Thorn and the others did for Charlie, and what do I have? I don't have anyone who would do that for me.

        SOFIA sighs, feeling a bit angry with herself for judging LEIGH'S kindness.

        SOFIA: There's Christian. You two are close right?

        LEIGH looks down.

        LEIGH: Yeah, there's Chris, and he's great but it's not like sharing time with a girlfriend. I was an only child, I moved here for college, and never had close friends. You're pretty much the only female I know that gives me the time of day. Except you know?Dante.

        SOFIA laughs at LEIGH'S lame jibe.

        SOFIA: I'm sorry, I'm just cautious. I shouldn't be, I mean I trusted you with the whole?

        LEIGH: (whispering) Dante? You? Lesbian sex?

        SOFIA nods, laughing.

        SOFIA: Yeah that.

        They both laugh and continue their conversation as the camera pans away from them and pulls back through the restaurant and through the window.


        CUT TO ? L.A
        ALLEY ? EXT.STREET ? EVENING

        The camera pans around from the exterior of the restaurant and shows an alleyway on the opposite side of the street. The camera shows someone smoking and watching LEIGH and SOFIA in the alleyway. The lack of light makes it impossible to see who it is.


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

        The camera pans around the immaculately mystical room, that barely seems phased by XAK'S initiation that occurred here recently. The camera pans around to show the elevator door open but it is empty inside. As the camera moves around from the elevator we can see two people walking around the room, meandering the pillars. One of them is smaller than the first, and recognisable from his white suit and shoes as HERMES, the conduit to Wolfram and Hart and, the messenger. Next to him is a taller and younger man, who's holding in his arm the infamous contract, XAK signed. It's DANTE. The two of them are mid conversation.

        HERMES: So she arrived yesterday?

        DANTE: A.I.D.A? Yeah, last night. Sofia provided her with an address, and she should be there now.

        HERMES sighs.

        HERMES: The Senior Partners are still concerned.

        DANTE: Why?

        HERMES: A.I.D.A is a powerful asset to the company there is no denying that, but her powers are volatile. If she is sent to receive Ms Adrastos, there's no telling what state she'll return in.

        DANTE: What are you saying, you think it was a mistake sending her.

        HERMES: Precisely.

        DANTE looks down, slightly worried.

        HERMES: If A.I.D.A is successful it is by a mere fluke, but if she fails in her retrieval, the Senior Partners want the search and rescue mission on Ms Adrastos and her child to be terminated.

        DANTE looks shocked, he almost laughs out of disbelief.

        DANTE: What?! That child is essential.

        HERMES: (seething) Yes Mr Turnpike it is essential, and the reason we lost it is because of you?

        DANTE looks at him, slightly fearful.

        HERMES: You may be their child, but the Senior Partners have noticed this incompetence.

        DANTE: (quietly) What do we do?

        HERMES: Regarding Ms Adrastos?

        DANTE nods. HERMES takes a deep breath.

        HERMES: Nothing.

        He stops walking, as does DANTE and they both look at eachother.

        HERMES: But I asked you to bring the contract, for a reason.

        DANTE looks at the file and holds it out in front of him. HERMES looks at it and the leather unbinds itself, the contract opens. We can now see what the contract says...

        "I Xakiel Thorn, commit my loyalty to Dante Turnpike by partaking a role as a field agent for the Wolf, the Ram, and the Hart. As reward for my commitment I will partake in a visit under controlled conditions, to survey the wellbeing of the life of Charis Adrastos, but not to further personal means. I understand that any breach of agreement that is contained in this contract, will result in the collaborative consequence. I Xakiel Thorn bequeath my soul to the cause of evil, and may I fall to darkness should a dereliction occur in my honesty.

        Xakiel Thorn
        "

        The camera lingers on the contract for a moment.

        DANTE (O/S): Why have I bought it?

        The camera cuts back to HERMES, who snatches the contract off of him.

        HERMES: The Senior Partners requested the contract; they wish to reclaim what is rightfully theirs.

        DANTE smiles.

        DANTE: Thorn's soul?

        HERMES nods. The camera pulls back to show the two men standing in the room, the camera pulls back so far that eventually they are just dots on a white background.


        CUT TO ? SUNNYDALE
        XAK'S BEDROOM ? INT.XAK'S APARTMENT ? EVENING

        The camera shows a rather fuzzy and almost dazed view of the bedroom, everything's out of focus and shaking slightly. In the background we can hear CHARLIE'S screams and cries for help. The camera cuts quickly to show that it is from XAK'S point of view we have just been looking through. He's lying on the floor near the bed. He slowly reaches his hand to the back of his head and some blood is matting his hair. He stands and steadies himself on the wall as he makes his way towards the door.


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

        XAK appears in the doorway to his bedroom. His vision is better now but he levels himself against the door frame. The camera cuts to the floor as XAK sees CATE, TOOLE and SEPHY lying there. They're not moving, or showing any signs of consciousness.

        XAK: Oh god?

        CHARLIE (O/S): (crying) Xak!

        He looks up to the front door to see CHARLIE who is gripping on to the door desperately. Behind her is A.I.D.A who is pulling her viciously out of the door. Her face is angry and full of raw wrath. She glares at XAK.

        A.I.D.A: Stay out of this Thorn. Why do you always have to mess things up?

        XAK staggers towards them both. CHARLIE looks to him worried for her life and for the life of her unborn child.

        XAK: That's not me, and you know it. I'm tired of proving my love for this woman.

        He indicates CHARLIE.

        XAK: I don't need to anymore, she knows it.

        He looks at her and smiles warmly. The thought of CHARLIE keeps him focused. CHARLIE looks back at him and smiles as she feels A.I.D.A releasing her. A.I.D.A snarls and pulls out a knife from her belt. Both XAK and CHARLIE look at it with wide eyes.

        A.I.DA: Enough! This is unacceptable behaviour!

        She turns to CHARLIE.

        A.I.D.A: Now I'm taking that child back home with me, and I swear by the almighty lord himself I will cut it out of your body!

        She screams and raises her arm and thrusts it down towards CHARLIE'S stomach. CHARLIE flinches but doesn't feel the knife. She looks down to see XAK'S hand on A.I.D.A's wrist. The blades end, but a small gap away from her stomach.

        XAK: I think not.

        A.I.D.A snarls and knocks XAK'S grip away effortlessly. She jumps and kicks him in the stomach pushing him backwards. He stumbles and doesn't stop until he hits the sofa. A.I.D.A lunges at him with her knife but he blocks her and flips her over so she crashes into the bookstand which crumples on her impact. XAK looks to CHARLIE.

        XAK: You ok?

        CHARLIE: Yeah I think so, I feel a bit weird but ok I guess?did you mean what you said?

        XAK smiles.

        XAK: Every word.

        She smiles back, but her smile soon fades as she looks over XAK'S shoulder.

        CHARLIE: Xak! Look out!

        He turns around to see A.I.D.A above him, literally. She's on the ceiling, crawling. In her face are various large splinters from the bookstand which protrude at a number of obscure angles. Also some of the words from the books seem to have melted on to her skin, tattooing her. She laughs.

        A.I.D.A: I don't think you know what you're up against Thorn?

        She smiles sweetly and drops down on top of him. He collapses to the floor as the weight of her causes him to lose his balance.


        CUT TO ? L.A
        TABLE ? INT.RESTAURANT ? EVENING

        The camera shows two plates full of food, they're half finished and there are two glasses of wine next to them. There is laughter heard as the camera pans up to show LEIGH and SOFIA. LEIGH is holding her stomach she's laughing so much.

        LEIGH: (intermittent) Oh my god, that's the funniest thing I've heard, what did he say?

        LEIGH picks up her glass of wine, eager to hear the rest of the story. She puts the glass to her lips and takes a sip.

        SOFIA: Something like, "call me the boss, I'm you're boss ain't I?"

        LEIGH almost spits out the wine from laughing.

        LEIGH: There is no way I'm looking at him in the same light again.

        SOFIA: Yeah well I can assure you that aesthetically pleasing as Dante is, he's best viewed in a dim light on those occasions.

        LEIGH laughs again. Then realises.

        LEIGH: Ooh, I'm slightly drunk.

        SOFIA ignores this, thinking about whether what she's saying about DANTE is really true or whether or not she thinks differently?

        SOFIA: So how about you, I'm sure you have some tall tales to tell about that department.

        LEIGH: Uh, not recent ones.

        SOFIA: (gasps mockingly) The legendary Leigh Sinclair without conquests?

        LEIGH laughs weakly.

        LEIGH: I dunno really I just guess I'm getting past that stage in my life.

        The camera shows a close up of her face, she smiles.

        LEIGH: I just wanna find a guy and settle down really, the boring solution to life's end is all I want.

        SOFIA: Anyone in mind? A certain Mc-man in our office perhaps?

        She winks.

        LEIGH: (laughing) What, Christian? I don't think so?

        She looks down, awkwardly.

        SOFIA: What's wrong with him? He's good looking, sensitive, and he likes you I'm sure of it.

        LEIGH looks down, wondering, for a brief moment she feels compelled to look out of the restaurant window, but refrains from doing so. A small smile forms on her face.


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

        The camera continues from where we left off. A.I.D.A is pinning XAK to the floor. She's snarling and her head is twitching again. She has one hand wrapped round his throat causing him to gag but he looks fearful at his volatile attacker. She glares wide eyed at him, the anger almost pushing out the thick splinters from her face.

        A.I.D.A: I'm sorry but that baby is mine. It's mine!

        XAK looks her in the eyes, her crazed and obsessed eyes.

        XAK: (choking) You're?insane?

        A.I.D.A laughs.

        A.I.D.A: I'm the one who beat you Thorn. Little old me. I thought you'd be an interesting addition but apart from your strength you're useless to my collection.

        Behind her CHARLIE has manoeuvred herself and in her hand is the metal tray, which the food and drinks were on earlier. She raises it and brings it sharply down on A.I.D.A's head. A.I.D.A shakes and turns around to CHARLIE showing that her left eye has turned a metallic colour. CHARLIE looks at her with utter disgust.

        CHARLIE: What the freakin' hell are you?

        A.I.D.A uses her free hand and answers by shoving CHARLIE backwards into the wall.

        A.I.D.A: (smiling) Stay put sweetie, I promise this will be over with soon.

        CHARLIE looks at her completely freaked out and almost scared by the pure surreal element of the old woman's true side. CHARLIE looks at XAK, she has to do something?she looks down. The next moment passes in slow motion?She looks at her stomach, one of CHARLIE'S hands is drawn to hold it. She does. With her other hand she raises it towards A.I.D.A. Her eyes glow a bright green.

        CHARLIE: (ethereally) You must leave. You're not welcome in this world creature.

        A.I.D.A turns and XAK's eyes look at her also. A.I.D.A looks scared and slowly her grip on XAK'S neck wanes. She shrieks in pain as CHARLIE raises her into the air by an unknown force. A.I.D.A slowly begins to glow the same colour as CHARLIE'S eyes and her scream becomes consumed by the light itself. As the light dies down, there is nothing there?A.I.D.A has gone?The camera pans down to XAK watching the events unfold. He looks at where A.I.D.A was, then his eyes pass to CHARLIE amazed. She puts one arm down but still holds on to her stomach. She looks at her friends and her mother lying on the floor, she smiles. Slowly their eyes open. XAK stands slowly, gripping the side of the sofa for support as the effects of the fight have hurt him. He looks at his friends.

        CHARLIE (O/S): Guys?

        XAK turns back to CHARLIE, she's standing there normally. No glowing eyes, and she's not holding her stomach. She's smiling though and rushes to her friend's sides. CATE clutches on to CHARLIE for support. XAK looks at CHARLIE for a moment, wondering, and then moves to TOOLE'S side to help him up. To the side we can see SEPHY moving to rise but the camera remains focused on XAK, CHARLIE, CATE and TOOLE.

        CATE: What happened?

        Both her and TOOLE look dazed, they look at XAK and CHARLIE.

        TOOLE: A.I.D.A, that chick can hit hard?

        CHARLIE: Where did she go?

        They all look to XAK, for an answer. He looks at CHARLIE curiously.

        XAK: Uh?I dunno?

        CHARLIE looks confused by the answer.

        CHARLIE: Weird.

        CATE nods slowly. The camera cuts to XAK whose still watching CHARLIE, but pans slowly around to show SEPHY who is now sat on the floor with her back against the sofa. She doesn't look hurt like CATE and TOOLE, physically anyway. She frowns slightly at being left out and sighs softly and looks at the ground. It truly is her time?

        FADE TO BLACK

        END OF ACT THREE

        Comment


        • #5
          ACT FOUR

          L.A
          SIDEWALK ? EXT. RESTAURANT ? NIGHT

          The camera shows the door to the restaurant opening and SOFIA and LEIGH walking out. It's darker now and the night sky is clear allowing the stars to shine down on the bustling city. Both SOFIA and LEIGH look happy, they've really enjoyed their night together. SOFIA walks to the edge of the road and goes to open a taxi door.

          SOFIA: Sure you don't want a lift?

          LEIGH: Oh it's fine hon, I only live around the corner, I'll be fine.

          SOFIA: Ok, well no walking through alleyways smoking and being careless?

          LEIGH looks shocked.

          LEIGH: Do you like follow me home or something?

          SOFIA laughs.

          SOFIA: No, but I know you Leigh Sinclair?you think you're all tough as boots.

          LEIGH doesn't smile.

          LEIGH: But you know better?

          SOFIA: I do after tonight.

          She smiles at SOFIA who smiles back. Although SOFIA keeps one hand on the taxi door she reaches and hugs LEIGH with her weaker arm.

          SOFIA: (whispering) Thanks for tonight. I really needed this.

          She kisses LEIGH on the cheek and then breaks away and enters the taxi. She closes the door and the taxi drives off. LEIGH waves and watches the taxi drive away for a moment before sighing and walking across the road.


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

          LEIGH heads towards the alleyway from which we saw the person watching her and SOFIA before. She reaches inside her bag and pulls out a cigarette packet. She takes one out and lights it as she enters the alleyway and begins walking down it.

          VOICE (O/S): (quickly, whispering) Leigh?

          LEIGH splutters out some smoke, surprised by whatever is behind her. She turns. From the shadows emerges the person. It's a man, and he's smoking. It's CHRISTIAN. LEIGH rolls her eyes.

          LEIGH: What the hell Chris?

          CHRISTIAN: So?

          LEIGH looks at him annoyed and confused.

          CHRISTIAN: So, Sofia, what did she say?

          He looks at her eagerly. LEIGH looks awkward.

          CHRISTIAN: Does she trust you?

          LEIGH looks slightly upset at saying this, but tries to hide it.

          LEIGH: (quietly) Yeah?she trusts me.

          CHRISTIAN: Excellent,

          LEIGH looks at him unsure.

          LEIGH: You sure this is the right thing to do?

          CHRISTIAN looks a bit shocked.

          CHRISTIAN: Are you getting cold feet?

          LEIGH: No it's just, do we have to make it personal, you know with Sofia and such.

          CHRISTIAN: We are gonna bring Dante down Leigh, and this was all your idea. Having Sofia on our side just brings us that bit closer to our goal.

          He smiles slightly, slightly darkly. The camera closes in on CHRISTIAN'S scheming face but slowly moves around to LEIGH whose not paying him any attention. She's focusing on the ash of her cigarette, which is something, that's prime burns out as quick as it ignites.


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

          The camera shows DANTE sitting at his desk. He's thinking.

          CHRISTIAN (V/O): He's going down?

          DANTE looks deep in thought and he goes to pick up the phone but hesitates. Eventually he picks up the phone and presses a few numbers on the keypad. He waits for an answer.

          DANTE: Hello, is this Foreign Operations? Good, yes, this is Dante Turnpike.

          He looks out the window at the night sky.

          DANTE: I'm requesting a transfer. To Sunnydale.

          He listens to the voice at the other end of the phone.

          DANTE: Two people?

          He looks surprised.

          DANTE: Uh, Yeah ok. I'll get back to you in the morning. Ok thank you.

          He hangs up the phone and thinks again for a moment before opening a file on his computer. Company profile pictures appear on the screen of three workers. The first, CHRISTIAN MCARTHUR, the second, LEIGH SINCLAIR and the third, SOFIA ROSE. Two people?but who?


          CUT TO ? SUNNYDALE
          SIDEWALK ? EXT. STREET ? NIGHT

          The camera cuts to the feet of two women walking down a sidewalk. The roads are empty and there's no one else walking. The camera pans up the women's legs to reveal CHARLIE and SEPHY walking. While CHARLIE is in the same outfit as before, SEPHY is wearing the same green dress she arrived in. They both look upset and awkward. SEPHY looks at her.

          SEPHY: I'm sorry we didn't have more time.

          CHARLIE: It's ok, it's not your fault. It's the way it works. I get it.

          CHARLIE sighs.

          CHARLIE: I'm the one who should be apologising.

          SEPHY: Why?

          CHARLIE: Since I've been back, I've been isolated.

          SEPHY: Don't be ridiculous, to be standing after what you went through, and to be that much stronger?I have nothing but admiration for the woman you've become my dear.

          CHARLIE looks down, feeling embarrassed almost at her mother being proud.

          SEPHY: (quietly) I just hate leaving you.

          CHARLIE stops and smiles slightly.

          CHARLIE: At least you found me this time.

          SEPHY turns to her.

          SEPHY: Are you going to be ok?

          CHARLIE sighs and looks in the direction of the apartment. She looks the other way and sees the crossroad. Where she died. She looks at the location blankly, then she rubs her stomach softly.

          CHARLIE: Yeah, I'm gonna be fine. I've got my friends, and something tells me?

          She indicates her stomach.

          CHARLIE: ?This one will keep me busy.

          SEPHY smiles slightly before hugging her tightly. Softly the music starts?

          SONG: PINK ? I'M NOT DEAD

          She breaks the hug but only slightly so she can whisper in CHARLIE'S ear.

          SEPHY: You're going to be an amazing mother Charlie. I love you very much, and I promise?I'll be back?

          CHARLIE shivers slightly at hearing her mother say "Charlie", she smiles. (The music below plays throughout quietly)

          "You can do the math a thousand ways but you can't erase the facts
          That others come and others go but you always come back
          "

          SEPHY breaks away from CHARLIE smiling before turning to the streets. She closes her eyes and the street fills with water rapidly. It doesn't seem to touch CHARLIE or SEPHY'S feet however and merely stops in front of SEPHY. CHARLIE looks in awe at the river of water in front of her. Something catches her eye. It's CHARON. His boat majestically arrives at the bank in front of SEPHY. SEPHY takes a final look at her daughter. She smiles then steps on to the boat. (The music below plays throughout)

          "I'm a winter flower underground always thirsty for summer rain
          And just like the change of seasons
          I know you'll be back again
          "

          CHARON says something to SEPHY which makes her smile and they sail off. Although it would appear they're moving slowly, they disappear quickly The camera shows CHARLIE watching her mother leave. She sighs slightly as the water recedes as quickly as it rose. Slowly CHARLIE turns and leaves heading back to the apartment. The camera lingers on her and watches her slowly walk away. (The music below plays throughout)

          "I'm not dead just floating
          Underneath the ink of my tattoo
          I've tried to hide my scars from you
          I'm not scared just changing
          Right beyond the cigarette and the devilish smile
          You're my crack of sunlight oh?
          "


          CUT TO ? UNDERWORLD
          RIVER BANK ? EXT.CAVE ? NIGHT

          The camera shows SEPHY arriving at the bank of The Underworld. She's smiling at something. She reaches out and a male hand touches hers. The camera cuts around to show RACK is holding out the hand. He smiles at her. She takes his hand as he helps her to ground. For a moment they look at one another before walking hand in hand towards the cave entrance near the waters edge. The camera lingers on them, like it did with CHARLIE and watches them walk away together, finally together. (The music below plays throughout)

          "?I'm not dead just yet
          I'm not dead I'm just floating
          Doesn't matter where I'm going
          I'll find you
          I'm not scared at all
          Underneath the cuts and bruises
          Finally gained what no one loses
          I'll find you
          "


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

          The camera shows XAK lying in his bed. He turns as he hears the door creak open. The camera reveals it to be CHARLIE. She smiles at him and slowly walks towards the bed. She sits on the bed and then lies down on top of the covers with him underneath them. She doesn't do anything, and neither does he, they just look at one another?(The music below plays throughout)

          "I will find you
          I'm not dead just floating
          I'm not scared just changing
          You're my crack of sunlight yeah
          "

          FADE TO BLACK

          END OF EPISODE


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


          Special Guest Stars:
          RACHEL MCADAMS as LEIGH SINCLAIR
          HARRIET SANSOM HARRIS as A.I.D.A
          MORENA BACCARIN as SOFIA ROSE
          PATRICIA ARQUETTE as SEPHY
          JULIAN RHIND-TUTT as CHRISTIAN MCARTHUR
          RON RIFKIN as HERMES
          JEFF KOBER as RACK ADRASTOS


          Special Mention:
          PINK ? I'M NOT DEAD

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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

            - For A.I.D.A I wanted to cast someone that has that sweetly psychotic look about them, and being a huge fan of Felitia in Desperate Housewives I knew Harriet would be perfect for the role.

            - The way I came up with A.I.D.A's name was that I thought of calling her Ada, as that's a sweet old ladies name, but thought I would add the A.I.D.A to it to give a sense of her being something different, almost robotic like. Also the word sounds like "aid her", which is what everyone did to Charlie in this episode.

            - On the subject of A.I.D.A?what the freakin' hell is/was she?

            - I used another Pink song didn't I? I just found the lyrics of the ending of the song too perfect not to use for Sephy leaving.

            - So Sephy's gone?so when will those two last main cast members join?

            - Which pair do you think Dante will take with him to Sunnydale?

            - Charlie's a bit freaky isn't she??nuff said?

            - I was debating as to whether or not Sofia's taxi would crash or not just to bring the nice-ness of the episode and the Leigh/Sofia scenes to a crashing end. Why? Because I was in a car crash recently and Joe (Broken Destiny) said I should channel it into my writing. (I told you I'd give ya a special mention JoeJoe!) No but seriously, you'll find out why I was debating with this crash and why I didn't choose to do it in due course?

            - I wrote this episode fairly quickly, purely because I've been freaking out about my A Level results and I wanted to take my mind off of things!

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