Announcement

**Lex** · 23-07-07, 09:44 AM

ACT ONE

L.A
XAK AND CHARLIE'S BEDROOM ? INT.XAK'S APARTMENT ? NIGHT

CHARLIE stares in awe at RACK. Her father has returned?he looks clean, fresh, unpunished, considerably redeemed in terms of hubris. She stands, and moves towards him.

CHARLIE: Are you?

RACK: Here but not?you got it in one. Whatever ya wanna call it, I'm your guy.

She smiles at him and rolls her eyes.

CHARLIE: You never made sense at the best of times. (lost for words) How?(she pauses) How are you?

RACK: You know me princess, I get by, always bounce back on my feet, not gonna let something like death change that.

He shows off his suit, and blinks repeatedly showing off his eyes.

RACK: So check it out?got some new threads and all?

CHARLIE feels a wash of nostalgia cover her hearing her father's voice once again. She smiles.

CHARLIE: (nods, content) I noticed.

RACK: Enough about me, to over use the cliché?I don't have much time. What I need to ask you is, how are you?

She doesn't know how to reply?so much has happened since he's been gone. Where to start?

CHARLIE: (indicating the room) Well as you can see I redecorated?

RACK nods and walks towards SIN'S bed. He sighs and shakes his head slowly; his fears confirmed.

RACK: Babe?you need to get your head straight, the night is young?

CHARLIE looks confused.

CHARLIE: What do you mean?

RACK kneels down by the remnants of his granddaughter's bed and picks up a plank looking at it.

RACK: I wish this was?but?this isn't a social call. I'll never be able to just be back?

CHARLIE sits on the bed.

CHARLIE: (quietly) Why are you here?

RACK: Your mother sent me?

CHARLIE looks over at him, intrigued.

CHARLIE: Mom? Why?where is she, I've barely heard from her?

RACK: Me either?since I've been dead, she's tried to help me best she can?but recently?since Sin's birth, she's been busy.

CHARLIE: With what?

RACK tosses the plank aside now.

RACK: Family, of course.

He stands and turns towards CHARLIE once again.

RACK: Something big is going down Charlotte. Something bigger than Wolfram and Hart, bigger than those assistants, bigger than us?

CHARLIE furrows her brow, confused by what's happened to RACK since he's been dead?how did he know about Wolfram and Hart?about LEIGH and CHRISTIAN?

RACK: ?She's worried you're not ready.

CHARLIE: Not ready for what?

RACK: War?It's coming babe, and it's gonna blow this world apart?but if this continues?

He indicates the residue of SIN'S bed.

RACK: ?And if you guys can't get through tonight without falling apart, then this family will die.

He pauses and moves towards her, looking resolutely into her eyes.

RACK: You have to get Sin back tonight?You have to trust him?trust Dante Turnpike. If you don't?things will just get worse?and it could be too late?

CHARLIE stares at him incredulous.

CHARLIE: What? Trust Dante? Why?what's going on?too late for what?!

RACK: Just trust me?

She looks at him, still in shock?how could he ask her to do this.

CHARLIE: (annoyed) Why should we trust him? You know what he's done to us?to me!?

RACK: Hey, I'm just the messenger. Nothing else, not anymore. But if you did love the man I was?or if you still do?you'll trust that I'm doing what's best for you. It's all I've ever done.

He looks at her worried, and then begins to walk towards the bedroom door. CHARLIE stands and looks at him.

CHARLIE: Dad!

He turns back?they stand still for a moment and watch eachother. Of course she loves him?and she knows deep down?for whatever crazy reason?he's right.

CHARLIE: None of this makes sense?

RACK: (sighing) I know babe?I don't see why any of this should be happening either.

CHARLIE: That's not what I meant.

RACK: I know?

She pauses for a moment; a sadness filling her as she realises he can't stay.

CHARLIE: I'm sorry I didn't get there sooner?

RACK smiles warmly at there.

RACK: I was never good at goodbyes?

He smiles at turns towards the door. He walks towards it again and as he gets closer the room once again flashes a blinding white light on to the screen. As it dies down the camera moves over to the bed. CHARLIE is lying back on the bed again, staring at the ceiling. She sits up startled and she looks around the room. This time however?her father is not there?

CUT TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

CATE is sat on the kitchen counter with MELODY next to her. TOOLE is stood opposite them as they admire the engagement ring. On the other side of the room LANCE watches them from afar.

MELODY: The princess cut is flawless?

CATE: Heck yeah, that girl sure knows how to get her rocks off.

She smiles then turns to MELODY; her smile weakens, realising.

CATE: You know if this is a bit too celebratory and cheery for you?I'm sorry?we can stop.

MELODY sighs.

MELODY: No?things are dark enough at the moment; you gotta appreciate the good moments?they don't come often enough?

She smiles at them both.

CATE: You're sure?

MELODY nods.

CATE: ?Cause if you're really, really sure?you know what we should find?

MELODY'S face fills with sense of nostalgic joy.

MELODY: You still have it?

CATE: Well parts?

TOOLE: Parts of what?the ideal husband?

CATE: (rolling her eyes at TOOLE) No?that's your job.

TOOLE laughs.

CATE: No we're talking about The Bible?

TOOLE looks shocked.

TOOLE: What? Why?

CATE: No not that one?the one we made when we were younger. A bible for weddings. This one is less contradictory, and plus it's pink?

She turns to MELODY, feeling like a young schoolgirl again.

CATE: ?God do you remember my pink phase?

MELODY: Aren't you still in it?

CATE nods happily, caressing her ring. TOOLE continues to look confused.

TOOLE: Wait so what's in this wedding bible?

CATE: Oh you know plans?

MELODY: Like how we both have to have a summer wedding for a tan and highlights, fruitcake for the wedding, champagne and pancakes for the wedding breakfast?

TOOLE: Ah, so it's basically you guys planning the most important day of my life?

They nod in unison.

MELODY: Exactly.

CATE: No offence but when it comes down to planning?you kinda suck.

The front door bursts opens?XAK enters?CATE turns to look at him.

CATE: Ah now here's a man who appreciates plans.

She jumps off the counter and walks over to him, holding out her hand.

CATE: Say hello to the soon to be Mrs Cathryn "Taylor Toole" Rittle-Emory?

She stops as she sees what he is dragging through the door. DANTE. He's unconscious. In XAK'S other hand is DANTE'S shoulder bag. CATE looks at him confused. DANTE glares at him then looks to CATE. TOOLE and MELODY walk over, and LANCE stands. The reality and seriousness of this night is beginning to set in?

CATE: Or that can wait?

XAK: (bluntly) Toole get a chair and some rope?

TOOLE hurries over to the counter, CATE looks from TOOLE to XAK.

CATE: What's going on?

XAK: It's time for some answers?

He glares angrily at DANTE, and as the camera zooms in on his dormant face the screen fills with a blinding white light?

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

The colours on the screen are blurred, as is the whole image, it looks static. The lobby is bustling with people and the camera focuses on the RECEPTIONIST who is sat at the desk. She is munching on a bagel and doesn't notice the arrival of a woman at the desk. She looks up and nods.

RECEPTIONIST: You the new intern?

The woman nods nervously. The RECEPTIONIST picks up the phone and dials a number.

RECEPTIONIST: Sir?your new intern is here. (she waits for a response) Ok.

She places the phone back down on the receiver and looks back up at the woman.

RECEPTIONIST: He'll be right down?take a seat?

She indicates the sofa area nearby. The woman turns and we can see who it is. It's LEIGH SINCLAIR. She looks younger. Her short blonde hair is tied back and she's wearing a new suit. She's wearing glasses and looks incredibly nervous, young and lacking in confidence. She clutches her briefcase nervously and slowly makes her way over to the seated area and takes a seat. She isn't waiting for long before the sound of two distinct and familiar voices can be heard exiting from the nearby elevators.

MAN (O/S): This is a waste of time?

WOMAN (O/S) Shut up and just meet the girl will you. You're the one who needs yet another typist.

LEIGH turns to look at the approaching MAN and WOMAN. She stand smiling brightly at them. The MAN looks her up and down, then looks to the WOMAN. His ignorant gaze undressing her.

MAN: (disgusted) This is her?

The WOMAN turns to LEIGH.

WOMAN: (apologetically) Ignore Mr Turnpike?unfortunately this is one of his good days.

LEIGH looks at the MAN?now knowing he is DANTE TURNPIKE?the bane of her existence. She smiles weakly. The WOMAN holds out her hand, smiling.

WOMAN: My name is Sofia Rose, I'm in charge of the laboratory here at Wolfram and Hart, well when it comes to Mr Turnpike's department I am anyway?

LEIGH smiles at her warmly, relieved to hear a friendly voice, slightly confused about why a law firm would need a laboratory.

LEIGH: Nice to meet you Miss Rose?

SOFIA: Oh please, call me Sofia. (whispering to LEIGH) And it's Ms?

She winks and smiles at LEIGH who nods smiling enthusiastically, taking this on board. She turns to DANTE and holds out her hand.

LEIGH: I look forward to working for you Mr Turnpike.

DANTE smirks.

DANTE: If you say so?

With this, he walks away. LEIGH recoils her hand; unshaken. SOFIA sighs.

SOFIA: I'm so sorry about him. Not everyone is like him. I assure you.

LEIGH smiles weakly; there is a small awkward pause.

SOFIA: Anyway I'm sure you'll be eager to see where you'll be working?

LEIGH: Oh yes, I've walked past this building so many times and I've always wanted to see what goes on inside.

SOFIA laughs.

SOFIA: I'm sure you won't be disappointed, come.

With this, SOFIA turns and begins to walk away, back to the elevator. LEIGH looks around the lobby again with a sense of uncertainty but her curiosity gets the better of her. She eventually follows SOFIA towards the elevator.

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

SOFIA and LEIGH exit the elevator into the office which is recognisable as the office from which the workers of DANTE TURNPIKE reside. LEIGH looks shocked.

LEIGH: You're serious aren't you?

SOFIA: Deadly, and in this company, that word is not used lightly.

LEIGH looks incredulous, not actually looking at the office at all yet.

LEIGH: I mean it kinda makes sense considering you know all the weird deaths and so forth around town, so what are we like protecting the innocents and stuff?

SOFIA looks at her shocked.

SOFIA: Did they go through none of this in the interview? None of it at all?

LEIGH: The interview? Oh right?uh no not really? See my experience is mostly in typing and writing?I thought if anyone would need a typist, a law firm would. So I managed to get an interview?

SOFIA raises an eyebrow.

SOFIA: Impressive, not many people join the company through such conventional means. They must have admired your courage.

LEIGH: (smiling) I can be quite persuasive when needs be.

SOFIA: A good attribute to have, what happened next?

LEIGH: They just said I had good initiative, I had brains. They liked me.

SOFIA nods.

SOFIA: Most people here are highly intelligent, except, as you've seen some of the bosses.

She pauses.

SOFIA: (more seriously) You should know though, courage, brains and initiative are only the beginning of what working at Wolfram and Hart involves.

LEIGH looks confused.

LEIGH: What do you mean?

She looks around the room and spots CHRISTIAN nearby. He looks younger and his hair is cut shorter. He looks depressed and sad; ANNETTE DU PIRK has left recently.

SOFIA: (calling) Christian!

LEIGH looks meekly at him as he turns startled and walks over to them both. He looks at LEIGH quickly then to SOFIA.

SOFIA: Christian, this is Dante's new intern, she's a typist. Her name is Leigh Sinclair, I was wondering if you could give her a lesson in company policy?she's "new"?

He nods, understanding.

CHRISTIAN: Of course.

He turns to LEIGH, and smiles slightly. He holds out a hand and she holds hers out, shaking it. SOFIA smiles?

SOFIA: Thank you Christian?

She turns to LEIGH, and as she does?

FADE TO ? L.A
WHITE CORRIDOR ? INT.WOLFRAM AND HART ? NIGHT

The colours are normal once again and a woman in a black pantsuit is walking down the corridor. It is silent and empty, and only the sound of her high heels can be heard. The camera pans up her slender, evil body to show a pale face and her bitter sweet chocolate hair framing it. LEIGH SINCLAIR?

SOFIA (V/O): ?I think you two will get on just fine.

She stares ahead wickedly, her past self just a vague memory and evil now encompassing her as she's certainly gotten to grips with "company policy". The camera cuts around to show two guards stood by a large white door. She raises an eyebrow at them both.

LEIGH: I'm not even gonna ask?just do it?

The guards roll their eyes and simultaneously press the buttons placed on either side of the door. In one slow motion, the doors move apart. She strides aside not even thanking them, and when as she enters the room the doors close behind her.

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

LEIGH stands in the empty room that is beyond the corridor where the guards are. The room is dark but then various lasers attack her. She stands perfectly still and as soon as the lasers appeared?they stop.

ELECTRONIC VOICE (O/S): Identity confirmed?Leigh Sinclair.

With this, another door opens into a dark room. Pitch black almost. LEIGH walks forwards?

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

There is a lone light in the room. One emitting from a computer station, and the man operating that computer station is CHRISTIAN MCARTHUR. He is wearing a black suit and his hair is tied back, and oddly there is the odd black streak of hair amidst his ponytail. He's observing something on the computer screen with particular interest. LEIGH approaches him from behind.

LEIGH: (annoyed) Is there any need for those guards, we're the only ones who can get in.

CHRISTIAN: They're not stopping people from getting in, you know that.

LEIGH: (rolling her eyes) Whatever, what's going on, you said you needed something?

CHRISTIAN types something quickly on the computer and points at something.

CHRISTIAN: Surprise?

LEIGH: Hubba bubba! Hello Phase Two?

She smiles, and as she does the camera pulls back to show that the computer and the ground that LEIGH and CHRISTIAN is actually in front of a large endless abyss and that floating above it is a mystical sphere about twelve metres in diameter. Around the sphere are various lasers and wires coming from it and to it. Inside it?is a fourteen-year-old time bomb?SIN. The camera moves in on SIN'S face as her eyes are closed.

LEIGH (O/S): Our little girl's all grown up?she's ready?

SIN'S eyes open?bursting green.

CUT TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

The camera opens on DANTE'S face. His eyes are closed and his face is beaten by XAK, and bleeding slightly. He is tied tightly to one of the dining room chairs. The camera pans over to the kitchen to show CATE and TOOLE stood there. TOOLE is holding a tray while CATE is filling up multiple glasses with water.

CATE: Talk about bad timing?

TOOLE: The proposal?

CATE: God no?

TOOLE: The bible?

CATE: No idiot! (whispering) Anteday urnpiketay!

TOOLE: (sarcastically) Oh and here was me confused. How silly of me.

CATE ignores him and places two glasses of water on to the tray that he's holding.

CATE: What do ya think he wants?

TOOLE: Well I'm guessing it's not to take us out to TGI'S to forget all our worries over dinner.

CATE: (sincerely) Damn?

TOOLE raises an eyebrow.

CATE: (defensively) What? I like TGI's! (passionately) I think we should have our wedding reception there, we could totally have the speeches done whilst standing on chairs with sparklers in our drinks.

TOOLE'S eyes widen at her seriousness.

TOOLE: Sorry to be Judas, but I'm burning that bible in the morning?

She looks at him, shocked, and places two more glasses of water on the tray.

CATE: What do you mean?

TOOLE: Sorry but I want to have a say in my wedding too. It's my day not just yours, Melody's and that bible of yours.

CATE fills up another glass of water.

TOOLE: I'm sorry but I just wanna be involved for whenever we, you know, do it?

CATE places the final glass of water on the tray.

CATE: We'll talk about this later, when we're not holding a lawyer hostage and you're not holding a tray of glass?sharp?glass?

She glares childishly at him then takes the tray off of him and walks over to XAK who is stood in front of DANTE, not moving. Stood on one side of him is MELODY and LANCE, looking at DANTE, worried. TOOLE watches CATE leave sadly. He sighs, not knowing if she's serious or not then walks over to the others.

CATE: (to XAK) Here ya go! Water, and lots of it. It's tepid I hope that's ok?

XAK: It's not for drinking.

He picks up one of the glasses and throws it in DANTE'S face to wake him up. It doesn't work. CATE nods, figuring.

CATE: Ah I see?now I get it. Well if you have one left over, just pass it my way?I've got a use for one.

She passes a glance at TOOLE, his eyes widen with worry. He takes a step back. XAK takes another glass of water and throws it on DANTE. CATE sighs and places the tray on the table nearby.

MELODY: Jeez, how hard did you hit him?

XAK: Hard?repeatedly?

LANCE: Where did you find him?

XAK: He found me, in an alley, wanted to team up as if nothing had happened.

TOOLE: Why?

XAK: He said his assistants turned on him and he quit?not exactly likely, plus he's hardly a reliable source of truth.

CATE: (disgusted) Jackass?

Annoyed and instinctively she slaps DANTE across the face and he suddenly comes to. CATE looks smug, then turns to XAK.

CATE: (snapping her fingers) Water ain't got nuttin' on me yow?

XAK turns to her smirking, liking her initiative.

XAK: Yes Cate, you're one bad ass Slayer.

He turns to DANTE, who's looking at them all, struggling to free his limbs in their shackles.

XAK: That the only language you respond to? Violence?

DANTE pauses for a second, thinking of how to answer.

DANTE: Thought you were out?

XAK: Yeah well I got my uses for you yet?

He leans in and glares at DANTE who looks back blankly.

XAK: Talk?

FADE TO BLACK

END OF ACT ONE

**Lex** · 23-07-07, 09:45 AM

ACT TWO

L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

Everyone minus CHARLIE is gathered around DANTE who is still tied on the chair; awaiting his response.

DANTE: (eventually) I tried to help you out?you didn't want it, so why should I talk?

XAK: (suggesting) How about the fact that I have one Slayer who's "happy slappy", another who's boyfriend your company has killed, two brothers who you've exploited, and I won't even get started with Charlie?let alone with me?

DANTE looks at them all one by one, all of them staring deeply at him?

DANTE: They're planning an apocalypse?

TOOLE: The assistants?

DANTE nods.

DANTE: (sadly, with guilt) Christian and Leigh?

CATE: Sorry but who the hell are these two losers? Where the hell did they come from, and why are they of a sudden relevance? Did their trailer park call and say some trash was missing?

DANTE seems annoyed at this retort.

DANTE: They're a different kind of evil?misunderstood.

TOOLE: There's a new word for people causing an apocalypse.

DANTE: (defensively) They're the way they are because of me?because of Wolfram and Hart. They're my responsibility?

XAK: (testing) You mean, they were your responsibility? You've quit right?

DANTE: You can twist my words as much as you want Thorn, be my guest. While you are, they'll be ripping your daughter in two?

Everyone pauses for a second and considers this?he knows something?

XAK: Then tell me something not worth twisting?

He looks XAK dead on.

DANTE: It wasn't hard to notice what they were doing. They'd been suspicious, doubting my leadership from day one. I was harsh to them, I ruined their lives, I ruined everyone's lives?

CATE rolls her eyes.

CATE: (under her breath) Don't flatter yourself?

DANTE: (continuing) ? Anyone from their point of view would want to take revenge.

XAK: Get to the point, for once.

DANTE: I am. Christian and Leigh have a master plan, a name for their revenge. They're calling it "Phase Two".

XAK: What is "Phase Two"?

DANTE: I'm not sure exactly, but I have enough information to assume accurately.

XAK: And this information would be?

DANTE: Do you remember Sofia Rose?

XAK looks confused.

DANTE: (resentful) How silly of me, it was your fist that met her face wasn't it?

XAK remembers now, he shows no remorse at the mention of her name.

XAK: What about her?

DANTE: She'd been monitoring, along with A.I.D.A?

The gang look at one another, remembering this name clearly.

DANTE: ?Charlie's progress in Wolfram and Hart. They didn't harm her, their job was to maintain her health and to make sure the baby was safe.

XAK: I bet they did?

DANTE: Throughout her time with the company, dangers arose, and last year she was killed?I think you remember mine and Leigh's anger at it, you were my punch bag that day.

XAK: (almost laughing) If I remember correctly, I think you were mine, now get to the point before the points of Cate's fingers meet your face.

CATE waves her fingers independently.

CATE: (smirking) Manicured.

DANTE: (ignoring the threat) In Sofia's reports, she made several observations and accounts of Sin's powers, even pre-birth. She made records on her abilities?

TOOLE looks curious.

TOOLE: What are her abilities?

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

The colours on the screen are blurred, as is the whole image, it looks static. CHARLIE'S eyes widen and suddenly a green glowing mist pushes DANTE, and sends him flying across the room. A.I.D.A and SOFIA watch with immense satisfaction and a small smirk appears on A.I.D.A'S fascinated, intoxicated face. CHARLIE'S eyes are now glowing a bright green.

DANTE (V/O): Advanced magical abilities and rapid healing, of origins unknown.

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

The colours on the screen are blurred, as is the whole image, it looks static. The camera pans up CHARLIE'S body?Her whole body is in some sort of straightjacket. She's strapped to the bed. Her skin is still scarred, burnt. But gradually it's disappearing, replaced by new fresh skin.

DANTE (V/O): Sofia was unable to find a source of her powers, but given her bloodline, the power she kept was understandable.

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

The colours on the screen are blurred, as is the whole image, it looks static. The camera then pans around to show XAK who looks troubled while he's sleeping. He's lying back in the chair with his head drooped slightly. Behind him someone begins massaging his shoulders. He stirs slightly breathing softly and calmly. The person who's massaging his shoulders leans down. It's CHARLIE. She laughs softly and nuzzles his ear?

DANTE (V/O): She also possessed the ability to appear places when she wasn't there, but not as herself, never as herself?anyone she'd had close contact with, she found she could project their image, their voice?a mirage?

CUT TO ? L'AZURA
SHORE ? EXT.TOWER ? UNKNOWN

The colours on the screen are blurred, as is the whole image, it looks static. XAK takes CHARLIE'S hand and begins walking towards the base of the tower. DANTE looks at TOOLE, as TOOLE picks up CATE, he puts her arms around his neck and follows XAK and CHARLIE. DANTE watches the two couples walk off towards the tower and slowly he follows them. The camera pulls back to show a far away shot of them all walking across the island, From this angle we can see the sharp top of the L'Azura opaline tower almost piercing the underneath of a small blue moon. The light of which floods the island with the warm blue glow, piercing the soft mist that plagues the island.

DANTE (V/O): Of course as we all know, Sin also possessed the rare ability of being able to walk dimensions effortlessly. If she ever had a flux in emotions or if she ever felt threatened, she was able to create portals to other worlds?

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

The colours on the screen are blurred, as is the whole image, it looks static. HERMES indicates the empty jar placed on the desk. The jar that used to contain XAK'S soul.

DANTE (V/O): And finally, the most important observation we made on her?the ability to reverse the irreversible. An immortal agreement.

CUT TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

The colours on the screen return to normal now?back to DANTE in the chair, surrounding by the gang who look intrigued and slightly shocked at the sheer extent of the small child's powers.

DANTE: It may not sound much to you, but to workers of Wolfram and Hart?it's the Holy Grail.

CATE: So what does any of this have to do with this Sofia woman?

DANTE: Sofia was very well acquainted with both Christian and Leigh, they were good friends for a long time?all of them resented me for their own personal reasons.

XAK: So Sofia was with them before she clocked out?

DANTE: (sighing) No?Sofia was never evil?she was one of the rare ones who was just trying to make her way in the world. When she died however?some of her information went missing; the information regarding Sin. With A.I.D.A dead, Sofia dead, and most of the laboratory workers?there seemed no need for the information. When I looked for it however it was gone?and I heard Christian telling Leigh they had it.

XAK: So they stole their dead friend's work?nice.

DANTE: Yeah, and dipping your pen in the company ink is frowned upon too apparently?

There is a silence for a few seconds as everyone considers the analogy differently. TOOLE rolls his eyes.

TOOLE: Back on track?this Phase Two? If there's a "two" then that implies it's the second part?there has to be a first?

DANTE nods.

DANTE: Right. In order for them to carry out Phase Two, Christian and Leigh needed to know whether or not Sin was truly capable of carrying out what they wanted?and that's why they took Sofia's work.

XAK: So what was Phase One?

DANTE: I'm not sure, my best guess? You?

XAK: (confused) Huh?

DANTE: Well the eradication of your contract proved to them her power?it proved it could work.

CATE nods, figuring.

CATE: That's what they want?their contracts erased?that's Phase Two isn't it?

DANTE nods slowly.

DANTE: As far as I can tell?it's their ultimate design.

CATE: How lame?

XAK: Yeah it is?especially as I thought you said there was supposed to be an apocalypse? Or is an assistant quitting Wolfram and Hart just hell on earth to sort out?

DANTE: The way they're doing it?yes.

The gang don't look quick to reply with a quick taunt this time?

DANTE: I'm sure you've all become known to the legend regarding Sin?

XAK nods slowly, and sadly?worried this could be the night that it comes a reality?

DANTE: Destinies suck huh? Everything that is written in that scroll is destined to happen when she reaches her optimum age?adulthood.

XAK: (curious) Is she?

DANTE: No?not that I've seen her though. She'd be about fourteen now, maybe sixteen?the rate she's growing it's difficult to tell?

XAK looks down sombre. CATE and TOOLE look at him supportively. DANTE rolls his eyes.

DANTE: ?Oh don't go girly on me Thorn?it's sickening.

XAK glares at him and then punches him across the face. He hits DANTE so hard that he cuts his lip on his tooth. DANTE spits some blood on the floor. CATE looks shocked.

CATE: (annoyed) Hey! No spitting evil lawyer blood on the carpet?

XAK takes a deep breath and looks at DANTE, who laughs.

DANTE: Tough guy?not liking the truth huh? It sucks almost as much as destiny?

XAK: Oh I like the truth?it's about time we knew it. It's just I wish I wasn't hearing it from you...

DANTE: Shall I continue, or do you wanna threaten me more with your domesticated Slayer?

CATE: (incredulous) I am not domesticated! (whispering to XAK) Although we should put some club soda on that carpet?blood stains.

XAK remains looking at DANTE and nods.

XAK: Talk, no intermissions with your half-wit comments, no anything that reminds me I'm even listening to you. Just talk.

DANTE: (robotic) As you wish?

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

The guards are stood outside the door. There is a loud sound from within the Black Room. It almost sounds like an explosion. GUARD #1 turns to the door.

GUARD #1: What the hell do you think is going on in there?

GUARD #2 turns to the door then shrugs.

GUARD #2: Hell I know. Like they tell me anything to do with?

They're both cut off by the doorway to the security room before the Black Room blasting open. They're sent flying forwards in the explosion, they shout in pain as green energy and metal barrage them?

CUT TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

DANTE looks at XAK, smug.

DANTE: So, where was I?

TOOLE: You were talking about Sin, and the legend?and you were about to not get personal.

DANTE: Thanks for reminding me?I'd almost forgotten the rules of not getting punched in the face or getting various parts of me scratched.

XAK looks on the brink of breaking point.

XAK: (slowly) Last?warning?

DANTE looks at him. He knows XAK is not joking?he's deadly serious.

DANTE: Ok so Sin's prophecy kinda seems to predict mass doom right? Well that legend only becomes relevant when her powers are at their peak?at her current age she's not capable of emanating that power.

CATE: (worried) So what does that mean?

DANTE: Well it only becomes relevant in such a scenario as this?Sin may not be capable of using that power but that doesn't mean the power isn't inside her?

XAK: (understanding) They're going to force it out of her?

DANTE: Exactly, and if they force it out of her before her body, her prophecy is ready?the world?the future will change. The world will rupture?it's not ready to face this power, it's too soon.

XAK: But if we stop Christian and Leigh?we can stop it happening altogether.

DANTE: We can try?it's impossible to predict what will happen in this scenario?there are no certain guarantees in how they'll do it, or what will become because of it?all I know is, we need to stop them. I'm not sure if what I just told you is the worst-case scenario?or the best.

XAK: Right?

He nods, and looks at CATE and TOOLE, before turning to MELODY and LANCE who look completely freaked by the whole situation. They all look at him?their leader, to know what to do. When it comes down to it?he's just as scared as they are?

XAK: (to DANTE) ?So, you know where they are?

DANTE: Not exactly. Before I left, I was kept out of the loop. Ever since the attack at the warehouse Christian and Leigh have been running the show?they're the Senior Partner's new favourites.

MELODY winces slightly.

XAK: What do you mean "not exactly"?

DANTE: The room they're in?it's called the Black Room.

XAK: Sounds ominous?If you know the room, how can you not know where they are?

DANTE: You remember the White Room? The room for your initiation?

XAK: How could I forget?do you have to strip to go in this room too?

CATE raises her eyebrows.

DANTE: Not quite?but in a sense yes. The White Room serves as a conduit to the various realms linked to Wolfram and Hart, it brims with energy from other worlds other than ours, various beliefs from the corners of time itself. The Black Room is quite different?It's nothing. That's why it's hard to define where it is?it's a void. It holds within it absolutely no energy, no life. The Senior Partners placed the room in the building to balance the White Room and its energy.

XAK: And that's where they're keeping Sin?why?

DANTE: They could be doing a number of things to her in there?tests, all sorts.

XAK winces slightly at the thought?

DANTE: ?And tearing her from that room suddenly, it could be catastrophic, it could catalyse Phase Two?and bring about whatever it is that could come out of her?

TOOLE and CATE look at eachother worried then TOOLE turns to XAK.

TOOLE: Xak we have to get her out of there?

XAK sighs and turns to TOOLE.

XAK: I know?but it's too easy. It can't be this simple?

DANTE: None of this is going to be simple?now I've quit we have to get into Wolfram and Hart without access, they have security, and getting to the Black Room is not going to be easy?

XAK, annoyed, turns suddenly to DANTE.

XAK: "We"? What's in this for you?

DANTE sighs and looks down.

DANTE: I don't want them harmed?

XAK: You've got to be kidding, they killed Ashby, and kidnapped my daughter?

DANTE: I know! But they've been through hell as it is?it's my fault they're the way they are. I don't have to be part of that company to take responsibility for their actions.

XAK looks away shaking his head.

DANTE: (looking at them all) I can get us in?It won't be easy but I can. I can get you to Sin, but let me take care of Christian and Leigh?we'll go our separate ways and you'll never see us again. I promise?

XAK: There's just one problem with that?

He leans in, and as he does the sound of a door opening can be heard faintly in the background.

XAK: ?I still don't trust you?

WOMAN (O/S): Xak?

XAK and the gang, plus DANTE, turn to the source of the voice. CHARLIE has changed, her hair is tied up and she's wearing more civilian looking clothes now. She glares deeply at DANTE but breathes deeply to maintain composed.

XAK: Charlie?

CHARLIE: As much as it pains me to say it?we can trust him?

CATE and TOOLE look at one another confused, as do MELODY and LANCE.

XAK: What do you mean?

DANTE looks at CHARLIE curiously.

CHARLIE: (resolute) We can trust him. End of?there's no discussion.

XAK: I'd say there's a discussion behind trusting he that should not be trusted.

CHARLIE: Look I know you think that right now I'll probably jump into any solution right now to get her back but I know that this will work?

XAK: (sceptical) How can you be so certain?

CHARLIE: Because my father told me?

The gang looked shocked and CATE'S mouth opens slightly. The camera turns to DANTE who looks confused as to why they're all shocked.

DANTE: What??Oh right, he's dead. I get it now.

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

The debris from the exploded door covers GUARD #1 and GUARD #2 as they lie dead, their eyes bloodshot and wide. Shock filled their last moments. The camera stays at ground level and as the camera observes their heads we see someone stepping over them. It's a man's shoe; CHRISTIAN. He moves off screen and then next to step over the guards is a female boot; LEIGH. She then moves off screen like CHRISTIAN does. Not a word spoken between the two of them. After a long pause another set of footsteps crosses the screen?young, bare feet cross the screen. Each step seems to resonate a faint screaming sound whispering a faint word?SIN?

FADE TO BLACK

END OF ACT TWO

**Lex** · 23-07-07, 09:45 AM

ACT THREE

L.A
CATE AND TOOLE'S BEDROOM ? INT.XAK'S APARTMENT ? NIGHT

CATE and TOOLE are getting changed. CATE is just pulling a top over her head as the scene opens. The camera moves to the side to show TOOLE standing on the other side of the room unbuttoning the shirt he was wearing earlier. He looks back to CATE after their moment of silence.

TOOLE: What a day huh?

CATE: (quietly) Funeral, proposal, dead dads being not so dead, evil helping us?yeah, I guess it's one of those days.

He sighs.

TOOLE: I'm sorry it's not what you would have wanted.

She pulls her hair out of her top and turns to him.

CATE: What do you mean?

He unbuttons the last button on his shirt and slides it off.

TOOLE: I know you had your heart set on whatever proposal was in that bible?

She looks at him sadly.

TOOLE: ?I'm sorry I couldn't deliver.

CATE smiles and walks towards him.

CATE: Don't be?I should be the one who's sorry. And I am.

TOOLE: Why?

CATE: It just?it just takes a while getting used to this stuff you know?

She's close to him.

TOOLE: Engagement?

CATE shakes her head.

CATE: (softly) Growing up?

He smiles.

CATE: ?When Melody came back?things changed. I felt young, and foolish again, and I don't blame Melody, I don't, it's just?things changed for us?so fast. We grew up so fast, we had to, we're Slayers. But now?now you and I are moving too?we're moving on, past everything that's happened this year and it's scary.

She pauses.

CATE: So, sometimes?just occasionally, I hold on to stupid things like a wedding bible that we made when we were younger?because it scares me how fast we're growing?and how fast we're moving.

He looks at her warmly, she looks at him embarrassed.

CATE: You think I'm dumb don't you.

He pulls her close and kisses her. She looks shocked but reciprocates. He breaks away slowly.

TOOLE: You're not dumb?you're the brightest person I've ever met. It's natural to have these feelings, I'm scared too Cate, but I know that if we can get past what we have and be standing here together today, we can do anything. Even marriage. Why? Because I love you.

She smiles, shivering with emotions.

CATE: I love you too?

She grabs him and holds him close. He puts his arms around her and holds her closely, tightly.

CUT TO ? L.A
XAK AND CHARLIE'S BEDROOM ? INT.XAK'S APARTMENT ? NIGHT

XAK is sat on the bed; a wash of confusion covers him. He's looking at CHARLIE who is standing in front of him.

XAK: You're gonna have to break it down for me?

CHARLIE: It's not difficult. I was lying on the bed, boom big light, dad in the corner.

He still looks confused.

XAK: Did he say anything else?

CHARLIE: (lying) No?just that mom sent him?

XAK nods, wondering where SEPHY is?

XAK: Why would they want us to trust him?

CHARLIE: I don't know. If I did, we wouldn't be having this conversation.

XAK sighs and runs a hand through his hair.

XAK: I don't know?I don't know if I can. Not with this.

CHARLIE: Are you saying you don't trust my parents?

XAK: I'm saying I don't trust messages from your mysteriously disappeared mother through someone who may or may not have been Rack about trusting someone who has destroyed our lives.

CHARLIE looks down.

XAK: I'm just thinking we should come at this from another angle?

CHARLIE: (resentful) An angle where you're in charge you mean? The leader?

XAK: That's not fair.

CHARLIE: Isn't it? ?Cause I'm honestly starting to think you don't want her back at all?all this stuff about prophecies and evil assistants?it's not how you planned it was it?

XAK looks up at her incredulous.

XAK: What?

CHARLIE: (almost angry at his naivety) You wanted the happy ever after straight away?you think last year was the worst we had to get through to live happily. It's not. You've been in this world long enough to see that we have to fight and we have to lose to win?we have to fight for this family Xak, and take some losses in whatever shape they come?because if we don't, we're never gonna get it?

XAK continues to look down, hearing what she's saying.

CHARLIE: ?I'm not happy about trusting him either, but we're not playing by any sort of rules anymore. Rules don't apply to us. So like it or not?we're going to Wolfram and Hart tonight, and we're getting our daughter back?

XAK nods.

XAK: Ok.

She looks at him and nods, replying but they are interrupted by a knock at the door.

CHARLIE: Come in.

The door opens, and it's TOOLE. He's wearing normal clothes now, and he looks into the room warily.

TOOLE: Lance said he's got the Winnebago up and running, Cate's got weapons?are you ready?

CHARLIE looks over to XAK, expectantly. He pauses but then turns to TOOLE confidently.

XAK: You bet. Will you give me a hand with the lawyer?

TOOLE: Uh sure?I'll catch you up in a bit.

XAK stands, and nods confused, before walking out into the lounge. As he passes her, CHARLIE looks away. A sense of resentment. He leaves the room. TOOLE remains and looks at CHARLIE quizzically.

TOOLE: (regarding XAK) Is everything ok, because the words tension and knife come to mind.

CHARLIE turns around now.

CHARLIE: It's fine?nothing. Did you want something?

TOOLE: Uh yeah?

He closes the door slightly so it's just him and CHARLIE in the room.

TOOLE: I'm sorry?

CHARLIE: What for?

TOOLE: The engagement. I know it was bad timing, and I should have spoken to you sooner but?

She smiles.

CHARLIE: It's fine Toole, there wasn't exactly a sooner to be had. (she smiles) Seriously. I'm happy for you both.

He nods, smiling back.

TOOLE: And are you happy for Charlie?

She considers this.

CHARLIE: After tonight?I've got a feeling I will.

TOOLE: Got your game face on huh?

He smirks. She glares.

CHARLIE: Like you wouldn't believe.

He looks worried.

TOOLE: You keeping it together though, right?

CHARLIE: Guess we'll have to wait and see?

CUT TO ? L.A
ALLEY ? EXT.XAK'S APARTMENT ? NIGHT

Everyone is piling into the Winnebago which is still parked outside the apartment in the alleyway. CATE goes in first, then CHARLIE who is followed by DANTE. He doesn't have his bag with him anymore. Behind DANTE is XAK and TOOLE, keeping and eye on him, but DANTE doesn't seem to hesitate in getting into the vehicle; there is no struggle. MELODY and LANCE are already in the Winnebago, readying for the departure. MELODY with CATE, LANCE in the driver's seat.

CUT TO ? L.A
ALLEY ? INT.WINNEBAGO ? NIGHT

LANCE turns around to the others.

LANCE: We ready?

CATE clutches her sword and MELODY does the same with her axe. They look at one another and nod.

CATE: Totally ready.

He looks at TOOLE who smiles at him.

TOOLE: Let's do this.

The camera moves to CHARLIE who is unarmed, she doesn't answer, she just nods, as does XAK.

LANCE: (breathing deeply, to himself) Ok?here goes nothing?

The camera closes in on him turning the key in the ignition then?

CUT TO ? L.A
ALLEY ? EXT.XAK'S APARTMENT ? NIGHT

The Winnebago splutters to life and LANCE reverses it out of the alleyway on to the street, it drives away.

CUT TO ? L.A
STREET ? INT.WINNEBAGO ? NIGHT

The camera shows XAK and CHARLIE sat near the back of the Winnebago, with DANTE sat in between them. XAK is watching DANTE cautiously. DANTE sighs.

DANTE: You don't have to watch me you know?

XAK ignores him and continues to watch.

DANTE: (rolling his eyes) I could so easily insert some witty remark right now about the total homo-erotic tension going on between us but I currently live in fear of decapitation and loss of other limbs.

XAK smirks.

XAK: You wish, and I'll watch you all I like. We may be suddenly in on your little plan, but I'm not turning my back on you for one second.

CHARLIE looks at XAK then to DANTE.

CHARLIE: How are you planning to get us in anyway?

DANTE: I have a friend.

CHARLIE: (wide eyes) Seriously? I mean I'm genuinely shocked.

DANTE: For your information, despite everything, despite what you may think of me?I've never killed a human.

XAK: What about Ashby?

DANTE: That was Leigh.

CUT TO ? L.A
MAIN AREA ? INT.WAREHOUSE ? NIGHT

The colours on the screen are blurred, as is the whole image, it looks static. The night of ASHBY'S murder. DANTE and LEIGH are still grappling with the gun. They're in a power struggle, and the gun is flailing around the room. One of their fingers is around the trigger?before we couldn't see who it was who shot the gun that murdered ASHBY. This time?we see DANTE'S finger wrapped around the trigger?then suddenly LEIGH'S finger forces his out of the way?she pulls the trigger and fires?

CUT TO ? L.A
STREET ? INT.WINNEBAGO ? NIGHT

DANTE looks at XAK. The colours on the screen return to normal.

DANTE: I may have been a power crazy megalomaniac Thorn?but I'm not a murderer.

XAK: (resentful) Some things are worse than death?

DANTE: I know, I have that philosophy too.

He pauses for a moment, then looks out of the window.

DANTE: Tell him to stop here. We don't want to be seen, and in this thing we might as well walk in wearing neon signs.

XAK reluctantly nods; starting to believe that although he may be a power crazy megalomaniac?DANTE knows what he is doing. XAK looks to LANCE who is driving.

XAK: Pull in here Lance.

With this command, the Winnebago slows down and as LANCE pulls it into the nearest alleyway the vehicle finally stops. He pulls the keys out of the ignition and pockets them before exiting the vehicle.

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

LANCE pulls open the door and one by one the gang step out. They're not far from Wolfram and Hart. When they're out they all look to DANTE.

DANTE: We should move quickly?it'll be daylight soon, people will be arriving to work. Security could be a problem?

He looks around at the angry group of friends, ready to hack and slash their way through the building.

DANTE: ?Or not. Once we're inside, I'll show you where to go?finding the Black Room won't be easy though.

XAK: How do we find it?

DANTE: We go to the top?we talk to the conduit?he'll tell us where the Black Room is whether he likes it or not.

CHARLIE: You don't know where it is?

DANTE: (quietly) They move it, keep it hidden for security reasons. In case of a situation, pretty much like this. Now, I need to make a call?

XAK: Who to?

DANTE: (smirking) A friend?

He pulls out a cell phone from his pocket and dials a number, after he does he puts the phone to his ear. The others watch him cautiously.

DANTE: Sophie? Hi?you know you said if I needed anything??

He waits for a reply, then smiles to what he hears.

DANTE: ?You read my mind.

He closes the cell and pockets it. He turns to the gang.

DANTE: We have fifteen minutes to get in?we have to be quick. This way.

The others follow DANTE but XAK pulls him to one side letting the others pass and begin their approach to the building.

XAK: Just to be clear?while we're in there, I will be on your side, I will do what needs to be done to make her happy again, I will take a loss to have my daughter in my arms again.

DANTE looks at him.

DANTE: I understand.

XAK: But the minute I do have her in my arms, I'll only be holding her with one hand?the other will be holding a gun to your head?

DANTE looks worried, knowing he deserves to die for what he's done in the past.

XAK: ?Whatever plot you've got brewing, whatever you want to do with Christian and Leigh I don't care. I want you all gone?leave town and never show your face around me and mine again?you got it?

DANTE nods.

DANTE: Crystal?

XAK looks him up and down then follows the gang towards where DANTE directed them. DANTE waits back for a moment before breathing deeply and walking forwards after the others. Their own personal and very different goals in sight.

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

The camera scans around the office outside DANTE'S old office to show SOPHIE'S dormant desk. All the computers are off, but out of nowhere, without any particular or obvious reason her monitor flickers to life. Various unreadable script floods the screen and suddenly the words "ACCESS GRANTED?.LOCKDOWN INITIATED" blares onto the screen in flashing letters. All of a sudden, all the lights shut off and emergency lighting artificially floods the room.

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

LEIGH and CHRISTIAN are walking down a corridor. It's deeper into the complex now, further to the bottom floor. They walk without talking for a few moments before all the lights shut off quickly and the emergency lighting blares through the corridor. They both look around confused.

LEIGH: A lockdown?

CHRISTIAN: An intruder?and I bet I can guess who.

LEIGH: Urgh, how heroic. Get the girl?she's ready. We do this now.

CHRISTIAN nods and turns around to where SIN would be?but as he does?

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

HERMES wanders the room, as even the lights in the White Room flicker on and off. As it does, he's walked further and appears in a different area of the room. He sighs.

HERMES: This can't be good?

The lights flicker off again?

MAN (O/S): No it can't?

The lights flicker on. Surrounding HERMES is XAK?CHARLIE?CATE?TOOLE?DANTE?MELODY?AND LANCE. They encircle him with their weapons poised. DANTE is stood forwards slightly. HERMES looks at them all, then looks to DANTE.

HERMES: I take it this is all your doing? Attempting to overthrow the company, very ambitious.

DANTE: Sorry bird boots, I don't give a damn about how you guys shuffle your papers?no no, this is shall we say?personal?

CHARLIE hears this and takes the opportunity to look at HERMES closely. She notes his shoes?she remembers something. Her eyes narrow in anger?

HERMES: You're here to kill me Dante?

DANTE: Typical, you really think your so special fluttering around up here with the big guns?

HERMES: Then tell me, what is your business?

DANTE: My assistants? Where are they?

HERMES: You mean your old assistants. You don't work here anymore and for a long time they haven't been working for you.

XAK looks to TOOLE, feeling a sense of validation behind DANTE'S story.

DANTE: Just tell me where they are.

HERMES looks around them all, he knows he can't win?he knows he can't leave. Lockdown.

HERMES: What is this about?

DANTE: You do realise, this whole time you thought they were playing me?they've been playing Wolfram and Hart too.

HERMES doesn't answer, he just looks intrigued as to what they're saying.

DANTE: They've been using Sofia's and A.I.D.A'S information all this time and covering up with the big cheese, acting as if they've been trying to get back at me?when really? What they want is Sin?they're gonna tear their contracts in two and they're gonna waltz out of here and could quite possibly leave the world a crumpled mess?so if you don't tell us where they are, you, Wolfram and Hart, and everyone one of their little clients will end.

HERMES listens intently, he knows what could happen if SIN is released half-baked?

DANTE: So for the last time?

HERMES: (instantly) The Black Room.

DANTE: (slowly) Where is the Black Room?

HERMES: Fourth floor, the west corridor?

He smiles.

HERMES: ?But I'm guessing since the fourth floor west corridor had an explosion that?

The gang look worried.

XAK: (cutting off HERMES) An explosion?

HERMES looks over at XAK, smirking.

A brief struggle can be heard faintly?

HERMES: Looks like you're too late Xakiel. Your daughter has finally shown her true colours?

CATE (O/S): No!

He's cut off. The gang's eyes widen as they see why. He groans in pain and winces, but he can't move. A sword is stick through his chest. The camera moves behind HERMES to show that CHARLIE has managed to take CATE'S sword from her in a faint struggle and has driven the sword through his back and it is now protruding out of his chest. CATE looks worried to and from HERMES and CHARLIE. CHARLIE'S expression looks filled with anger and wrath.

CHARLIE: (resentful, answering HERMES) She's not the only one?

In a rapid motion she pulls the sword from his chest and he slumps to the ground dead. His eyes open, and a small stream of blood seeps out of the corner of his mouth. DANTE stares in shock at HERMES' body. TOOLE and LANCE look at one another in shock. MELODY clasps her mouth with her hand, and XAK stares at CHARLIE the entire time.

DANTE: (almost laughing) Well hello soccer mom! Looks like all that earth moving earlier wasn't just an act.

CHARLIE looks at HERMES' body and throws the sword on the floor.

XAK: Charlie?

CHARLIE: He was my family?he was one of the Greeks, and he did this to me. He deserves to suffer for that?

She looks up at XAK.

CHARLIE: Let Hades have him for all I care.

CATE looks down at this. XAK doesn't know how to answer.

CHARLIE: (quietly) Come on?they can't have gotten far?

She walks towards the elevator?leaving HERMES' corpse behind and her friends. Slowly CATE follows, and in her wake, TOOLE, MELODY and LANCE slowly follow. XAK looks horrified at HERMES' body. DANTE turns to him.

DANTE: She had to do what she had to do?

XAK looks at him angrily.

DANTE: (more seriously) Come on?they'll be close still.

DANTE walks towards the elevator, XAK hesitates for a moment, the realisation of what must be sacrificed to survive, to merely exist for them is starting to set in?He walks towards the elevator?

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

They're all in the elevator. The light for the ground floor is lit.

DANTE: We'll head them off in the lobby?if they try and leave we'll cut them off before they get a chance.

CHARLIE looks around the elevator.

CHARLIE: She's close?I can feel her.

CATE looks to TOOLE worried, and places her hand in his, he holds it tightly.

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

The elevator comes to a dramatic halt, and the door opens immediately. The gang look around the exit and warily leave the elevator. They all stare wide-eyed at what they see.

CATE: Holy crap?

The walls are running with energy. Green energy is sparking off the ceiling, the walls, the floor?everything is emanating energy?raw, undiluted sin.

CATE (O/S): It's gonna take more than clicking our heels to get out of this one.

TOOLE: (O/S) I'll say?

He's cut off. The sound of a teenage girl laughing can be heard. The gang look around the area cautiously.

MELODY: (to LANCE) Do you see anything?

LANCE: No nothing?

TOOLE: Where is that coming from?

CATE: Uh guys?

Everyone looks at CATE to see her staring ahead. Behind the stair case, which shields the main lobby area is a teenage girl. She has long black hair and is wearing a floral dress. She peeks behind the stairway to look at them. SIN. XAK and CHARLIE look at her hopefully.

XAK: Sin?

CHARLIE goes to move towards her but she recoils behind the stairway. She looks at them all desperately. Then back to where Sin was.

CHARLIE: No! Come back?Sin!

She runs forwards after her.

XAK: (desperately, fearing) No! Charlie!

He hurries after her and in return so do the others. CHARLIE turns a corner to face the main lobby area and stops. When the gang catch up with her?they see why.

MAN and WOMAN (O/S): Hello.

The camera pans around to show LEIGH and CHRISTIAN stood in the very centre of the lobby. SIN is stood in between the two of them, holding their hands. The three of them smile wickedly as it can now be seen that the green energy flooding the lobby is coming from them. It pours off of them like green dynamite in vaporous effervescence. The gang stare in awe and horror as it soon becomes clearly obvious that Phase Two is here?

FADE TO BLACK

END OF ACT THREE

**Lex** · 23-07-07, 09:46 AM

ACT FOUR

L.A
LOBBY ? INT.WOLFRAM AND HART ? NIGHT

SIN?CHRISTIAN and LEIGH stand motionless staring at the gang. They look at one another, unsure of what to do. Cautiously, CHARLIE takes another step forward.

CHARLIE: Sin?

With her step forwards, there appears to be a flux in energy and the whole room shakes. CHARLIE looks around nervously.

CHRISTIAN: Now now?manners.

CHARLIE looks back at XAK and the others who stand fearful, their grips on their remaining weapons weak and feeble. Weapons will not win this battle. XAK shakes his head at her.

DANTE: Don't?they'll do it.

LEIGH snaps her head to face DANTE, immediately.

LEIGH: You know?I'm kinda surprised at you Dante. Did you honestly think teaming up with the enemy and initiating a lockdown on the building would stop us? I mean, I thought I knew you, but I didn't think even you were that stupid.

DANTE shakes his head.

DANTE: You mean stopping you guys? That's not stupidity; it's just long overdue.

The ground shakes again and a blast of green energy from the three of them blasts into DANTE and he flies back into the reception desk. CATE and MELODY gasp, even they are fearful of what could happen.

CHRISTIAN: You shouldn't answer back. This is our show?we're running things now.

XAK: Why?

The three of them turn to XAK now.

XAK: ?Because you want to get rid of your contracts? Had enough of the tough love?

LEIGH: Is that want you think this is about?

LEIGH turns to CHRISTIAN and they both laugh. DANTE looks up from the reception desk now, surprised. He was wrong?what is Phase Two?

XAK: What other reason would there be for stealing my daughter?

SIN begins to shake, but not physically. The image of her being in the room blurs and distorts slightly?only slightly.

CHRISTIAN: You think we'd go to all this high profile trouble, just to rid us of our contracts? You have no idea do you? You think you conceived a daughter. You're not capable of it. This isn't a girl?

LEIGH: ?She's so much more than that. She is the second coming?she will bring this world to justice?they will bow to her?everyone will.

CHRISTIAN: Contracts won't matter once she's through with this world?and we'll have front row seats?we're here to make it happen. A new balance will arrive. Evil will be erased, every kind?

DANTE looks down?this is what they meant when they said he'd die?this would be his judgement day.

CHRISTIAN: (continuing) ?A new world will begin. She is the second coming?

LEIGH: ?She is Phase Two.

The gang's faces drop hearing this?the codename for SIN suddenly seems a reality as their world around them seems to be tearing at the seams. XAK shakes his head.

XAK: No?you're wrong. She's not that.

LEIGH smirks.

LEIGH: Would you like us to demonstrate?

Throughout this, the image of SIN seems to have distorted and blurred so much that she is barely recognisable as a single image. The same motion happens to CHRISTIAN and LEIGH in the same way. In an instant the blurring stops?and the ground shakes?separating the blurs?over a hundred SIN, CHRISTIAN and LEIGH'S appear in the lobby. Each of them surrounding the gang staring in their direction. Not one of them acting differently. All staring motionlessly. The ground shakes violently, and parts of the lobby begin to break and fall apart.

CUT TO ? L.A
SKYLINE ? EXT.LOS ANGELES ? NIGHT

The night is beginning to cease?it is almost morning. The clouds in the sky are beginning to circulate around Wolfram and Hart and green energy is seeping out of the building, out of every orifice?sweeping its way across the streets?across the world.

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

The sound of high heels approaches the body in the White Room which has now been plunged into darkness. The camera pans down to show HERMES lying on the ground.

WOMAN (O/S): What the hell is going on?

HERMES' eyes open suddenly. Not dead?not yet. It's EVE. She's looking around the White Room in shock. She looks down at HERMES, expectantly.

HERMES: (quietly) Sin's parents?and Dante.

EVE: They did this?

HERMES: They initiated a lockdown?you were right.

She kneels down, sighing and turns him over. He grunts in pain and looks at her. The blood from his wound still weeping.

EVE: About what?

HERMES: The assistants?they betrayed us. They're going to use Sin to end it all.

EVE: Well that's depressing?what should I do?

HERMES: (weakly) Nothing?

EVE: (incredulous) What?! I'm the child?it's my duty to serve my parents.

HERMES: On this occasion, it's not. I'm afraid?my time on this plane has come to an end. It is time for a new conduit to take my place. But I carry one final message?

EVE looks worried.

HERMES: Is Angel here?

EVE: No?none of them are.

HERMES: (resolute) You must never let him and his friends find out about Sin. His faith in Wolfram and Hart has always been shakey?we must do our best to affirm his belief in us. Do not worry about Sin. She will not be a problem for much longer, and she will not be a task for you to complete. Let your parents deal with her?

She nods. He breathes heavily, trying to keep it together. He slowly begins to glow?

HERMES: (slowly) ?You have bigger things to worry about than Sin and Angel?you must fulfil your?

With these words he stops. His glow consumes his body and the glow flutters into the air as if on wings. EVE watches in awe and confusion, and soon the image of HERMES fades into thin air.

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

The gang move to dodge some of the falling cement and parts of the building. As quickly as it started?it stops. The gang stare at the numerous multiples of SIN, CHRISTIAN and LEIGH.

LANCE: Whoa?

MELODY: Should we do something?

XAK looks at them all.

XAK: (doubting) We should?but I'm not sure we can stop this?

CATE looks at him incredulous.

CATE: What don't say that?we totally can.

DANTE: Uh how?

The gang turn to DANTE who is in the background by the reception desk. Slowly, staggers to his feet and walks over to them. He looks groggy, and as he walks he accidentally knocks into one of the images of SIN, CHRISTIAN and LEIGH. As he touches them the image dissipates. It's not them. He stops immediately in his tracks, his eyes widen.

DANTE: Uh?whoops?

XAK looks at him, then realises that touching the images doesn't actually cause anything worse to happen. He turns from DANTE to the others, his doubt leaving him.

XAK: (whispering) Find her?one of them is Sin?Get her away from Christian and Leigh?

CHARLIE nods and immediately begins to move through the crowd carefully observing the three groups of people. XAK turns to the others.

XAK: Two of you stay here; keep an eye out for anything suspicious?If one of them moves in anyway differently?get her.

CATE: (indicating her and TOOLE) We're on it.

TOOLE nods, agreeing. With this, DANTE follows CHARLIE'S initiative and moves in another direction. XAK moves in another. The three of them begin to meander the crowds. DANTE touches one of the images again and, like before, the image disappears.

LEIGH: (echoing, laughing) Not quite?

With this MELODY and LANCE begin to move through the crowd, cautiously and slower than the other three. CATE and TOOLE remain together, still holding on to one another. CHARLIE and XAK simultaneously touch the same image; it's not them.

CHRISTIAN: (echoing) Nice parenting.

XAK turns trying to find a source for the sound but the echo fools him into thinking it's coming from a specific location.

LANCE: (whispering to MELODY) Can you see them?

She shakes her head worried, and continues to search, touching two images which as like the others disappear. She looks worried at the thinning crowd.

LEIGH: (echoing) You haven't got long you know?time is running out. The clock is totally ticking?

CATE glares at the various images of LEIGH. She then turns to TOOLE.

CATE: That's it?that bottle brunette is going down.

TOOLE: Shouldn't we stay?

CATE: There's no need for two of us to do this

He nods. She smiles at him.

CATE: I'll be fine.

She kisses him and tears her hand from his grip and begins to look around the crowd and spots a populated area near CHARLIE where no one is searching. TOOLE begins to scan the crowd once again, but nothing looks out of the ordinary?every image of SIN, CHRISTIAN and LEIGH looks the same?CHARLIE looks around desperately.

CHARLIE: Sin?get away from them?

XAK: They're evil Sin, they don't have a choice, you do?you don't have to do this.

CHRISTIAN: (echoing) She doesn't. It's her destiny.

XAK: (angrily) What would you two know about destiny, you don't have any importance?

LEIGH: (echoing) We don't want importance, or fame. We want justice?

DANTE: Then target me?Xak was wrong?

XAK looks over to DANTE, surprised.

DANTE: You do have a choice. Don't use her to kill this world just to get to me?

CHRISTIAN: (echoing) How typical of you.

LEIGH: (echoing) You're not important Dante. Get used to it.

DANTE: Oh so none of this is some repressed revenge you guys have thought up?

CHRISTIAN: (echoing) We won't deny it. Plotting your death was the catalyst for this development. But then we realised?

LEIGH: (echoing) ?Killing you?that would have been too easy, we'd have been letting you off. As you taught us well Dante?there are some things worse than death.

DANTE nods, figuring. Meanwhile, CHARLIE and MELODY touch four more of the images, all fake. LANCE cautiously touches one and CATE pushes one also; fake. TOOLE continues to scan the crowd, taking particular notice of the ones furthest from the gang's search.

DANTE: So that's why?you tried destroying my career at Wolfram and Hart. That was how it started.

CHRISTIAN: (echoing) And it worked?but it wasn't enough.

LEIGH: (echoing) It served as a believable public front?enough to even fool the Senior Partners.

CHRISTIAN: (echoing) But it wasn't enough?destroying you would just bring the next child?the next problem, the next face of the company to blame.

LEIGH: (echoing) We had to go deeper?further into the belly of the beast?and we've done it. In a matter of minutes Sin's powers will release and everything Wolfram and Hart stands for will be nothing more than rubble?and you'll all see just what sort of woman she will become?

DANTE shakes his head as he tries grabbing the nearest image of LEIGH. It's not her.

DANTE: She's not old enough?you don't know what could happen?

LEIGH: (echoing) Hm true?well I guess we'll all find out together huh?

With this the ground shakes violently and the gang fall into various images of SIN, CHRISTIAN and LEIGH wiping out almost twenty more images of the three of them?only a few remain.

CUT TO ? L.A
SKYLINE ? EXT.LOS ANGELES ? EARLY MORNING

The sun is starting to rise in the distance and as it does, the early morning risers begin to see what is happening in the sky. The clouds are beginning to fall to earth. The sky itself is falling. Some cars swerve out of the way of a crashing cloud, unsure of what it is. The green energy strikes nearby buildings and many of them disappear instantaneously once touched by the energy. As the sun leaks into the sky?the world itself is awakening to SIN.

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

Throughout the earth's tremble, CATE and DANTE fall to the floor. XAK, CHARLIE, MELODY and LANCE manage to remain on their feet and look at the few remaining images of SIN, CHRISTIAN and LEIGH?they haven't got much time?any minute now, SIN'S powers will unleash?

CHARLIE: (to XAK, tearful) What do we do?

The camera moves over to TOOLE who has held on to a wall to remain standing. He looks around the room at the gang and looks desperately at CATE on the floor. She's conscious and but she looks scared. He goes to walk over to her but something catches his eye. He checks his peripheral vision and sees that one of the images is different to the other ones. CHRISTIAN and LEIGH look exactly the same, but SIN doesn't. Instead she's staring right at TOOLE. He looks shocked, and checks that the other images are not doing the same, they're not.

TOOLE: (whispering) Sin?

The others don't hear?they continue their search, not noticing TOOLE. DANTE stands and continues looking. CATE doesn't. She stays on the floor and looks around the room. The camera moves back to TOOLE. He knows there isn't much time, and alerting the others could make things worse. It's up to him to save SIN. He moves closer?He watches CHRISTIAN and LEIGH and as he slowly edges closer to SIN, he notices they aren't moving?still staring ahead.

TOOLE: (whispering) Sin?come here?

SIN shakes her head innocently, as if she's unaware what is happening. He's only a few feet away from her.

TOOLE: (warily) Sin?please?

This time he speaks louder and he attracts the attention of CATE nearby. She looks over and notices what is happening. She gasps. CHARLIE and XAK notice too?DANTE eventually turns.

DANTE: (shaking his head, quietly) No?

TOOLE finally is near SIN. He reaches out, but before he can touch her she grabs his hand and glares at him. Her body suddenly becomes consumed by a humming glow?CHRISTIAN and LEIGH move to the side?all the images all evaporate at once finally revealing that the image in front of TOOLE is the true trio. CHRISTIAN and LEIGH smile at her as her grip on TOOLE'S hand remains strong. He tries to struggle and he looks at her desperately.

SIN: (smirking) Boom?

XAK'S eyes widen and CHARLIE clasps her mouth with her hand. CATE'S face fills with horror and she stands and runs towards them?at the same time XAK and CHARLIE run towards TOOLE and SIN as well. DANTE looks around, only just noticing?he doesn't run. He knows?they're too late?

CATE: (screaming) NO!

As CATE runs towards her fianc?e, the glow that consumes SIN suddenly explodes into a deafening spectrum of white and ultraviolet. The screen fills with white, and the screams of TOOLE, CATE, CHARLIE and XAK blare ethereally and echo throughout?then?

?Silence.

FADE TO BLACK

CUT TO ? UNKNOWN
UNKNOWN ? INT.UNKNOWN - UNKNOWN

It is dark. Only sound begins to be known unto the scene. Crying?wailing and woe. We're seeing the scene from someone's point of view. The person breathes deeply in pain, suffering. Slowly they open their eyes. Ceiling. Lawyers staring down at them. They look around the room. The lobby of Wolfram and Hart, fully intact. There are a group of lawyers and others, but in the person's hazy vision, it's hard to see who these people are. As the person glances towards the front of the lobby, it can be seen that the sun has now fully risen in the sky?the earth is still here. They won?

The person stands and looks around, pushing the lawyers surrounding him away. The persons sees there are a few lawyers gathered around a body, and the crying and wailing can now be heard from a woman nearby. The person walks towards the group of lawyers, and listens to what they're saying.

LAWYER #1: He's alive.

LAWYER #2: He's got a pulse. He's breathing?

The person pushes them out of the way?It's DANTE lying on the floor. He's unconscious?the explosion knocked him out, but he's alive.

WOMAN (O/S): (crying) No?please! Please help me!

The person turns around now to face the crying woman and as this is done the camera snaps from first person to third person?we've been seeing things from the point of view of XAK. He looks at the crying woman, breathing heavily. It's CATE. She's kneeling by where TOOLE and SIN where?but now there's no one there?only a pile of dust where TOOLE was situated and no SIN. She's looking down at the dust in shock, crying. She turns to XAK.

CATE: She killed him! He's dead, Xak?

XAK looks at her helplessly and walks towards her?

WOMAN (O/S): They're gone?

XAK looks to the side?it's CHARLIE. She's sat against the doorframe looking outside. Tears streaming down her face. Her bottom lip quivering?

CHARLIE: It's too late?we should have seen it coming?

XAK looks at her confused?what does she mean? Then he looks around the room?and he realises who's missing.

He knows what happened?how it happened?why it was so easy?why they were too late?why they were never going to win this fight?

FLASH TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

The colours on the screen are blurred, as is the whole image, it looks static. The whole gang is gathered in the lounge listening to XAK talking.

XAK: (echoing) There are two traitors?Two people are either working against us or against Dante?

Unlike before?we see this time that MELODY and LANCE look nervous.

FLASH TO ? SUNNYDALE
ALLEY ? EXT.STREET ? MORNING

LEIGH and CHRISTIAN are stood in an alleyway.

LEIGH: (echoing) True, and Phase One is still in operation?

CHRISTIAN: (echoing) It is, providing the information you got from Sofia's computer about Charlie's condition is accurate?

FLASH TO ? SUNNYDALE
UPPER LEVEL ? INT.SUNNYDALE MALL ? NIGHT

The camera shows a placid and calm closed Sunnydale Mall. Instantly the portal opens exactly where it opened before. First DANTE falls to the ground, then XAK who cushions the blow for CHARLIE. They smile at one another. Then CATE and TOOLE are next, landing side by side to one another. A few seconds after them, MELODY and LANCE land a few feet from them on their feet, instinctively. They both smile. MELODY looks around and she notices they're in the mall.

MELODY: (echoing) Home sweet home?

FLASH TO - SUNNYDALE
DANTE'S OFFICE ? INT.UNKNOWN BUILDING ? MORNING

Either side of the room, two doors open. On one side of the screen CHRISTIAN appears in one of the open doors, and on the other side of the screen, LEIGH appears in the other. They both look at one another, confused.

LEIGH: (echoing) Did uh, Phase One like just happen?

MELODY and LANCE?

FLASH TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

XAK and DANTE are talking in the apartment, DANTE tied to the chair.

DANTE: (echoing)?In order for them to carry out Phase Two, Christian and Leigh needed to know whether or not Sin was truly capable of carrying out what they wanted?and that's why they took Sofia's work.

XAK: (echoing) So what was Phase One?

DANTE: (echoing) I'm not sure?

FLASH TO ? L.A
LOUNGE ? INT.XAK'S APARTMENT ? NIGHT

MELODY and LANCE are sat on the sofa.

LANCE: (echoing) Do not forget who you are?

MELODY: (echoing) Who I am?

LANCE: (echoing) I mean it?don't let grief get the better of you. Don't forget who you are, who you were, who you're supposed to be?

FLASH TO ? L.A
CATE AND MELODY'S BEDROOM ? INT.XAK'S APARTMENT ? EVENING

ASHBY smiles, and MELODY does too. They kiss one another, embracing lovingly.

LANCE (V/O): (echoing) Because they're always gonna be the same?

FLASH TO - L.A
MAIN AREA ? INT.WAREHOUSE ? NIGHT

LEIGH fires the gun?the scene we all know but now we know why she shot ASHBY?he was a distraction.

LANCE (V/O): (echoing) ?And they won't have forgotten, I promise you?

FLASH TO ? L.A
ROAD ? EXT.HIGH STREET ? NIGHT

MELODY breaks down.

MELODY: (echoing) ?Everything that's happened, everything that's gonna happen, it's all my fault?and now he's dead?because of me?

FLASH TO ? L.A
PRIVATE SECTOR ? EXT.GRAVEYARD ? NIGHT

MELODY lies on ASHBY'S grave tenderly.

MELODY: (echoing) Ash?

She waits, almost for a reply.

MELODY: (echoing) I have something to tell you?something not even Cate knows.

The camera opts for a bird's eye view and hovers over MELODY lying on the grass amidst confession with her dead lover.

MELODY: (whispering?echoing?) I have a secret?

The screen fills with a blinding white light.

FLASH TO ? UNKNOWN
ROAD ? INT.WINNEBAGO ? MORNING

The camera pulls back to show CHRISTIAN, clad in civilian, casual clothes, driving the Winnebago that the gang use. He's driving fast, it's too hard to see where he is.

WOMAN (O/S): Gorgeous day?

He looks at her, it's LEIGH. She's dressed casually and smiling. He turns to her, and smiles.

CHRISTIAN: It is?

She leans in and smiles, kissing him. He kisses her too for a second but then keeps her eyes on the road.

WOMAN (O/S): Urgh?can you not.

LEIGH turns around to face the woman. It's MELODY. Next to her is LANCE. They were the traitors?the two who would betray the gang. They were Phase One?

LEIGH: (scoffing) Jealous? Now your little barman is dead and all.

MELODY winces.

MELODY: Shut up?you don't know anything about him and I.

LEIGH: You broke the rules of our agreement. No attachments remember?

MELODY glares deeply at LEIGH, resenting her for ASHBY'S death.

LANCE: Look we kept up our end of the bargain?if you've broken yours?

CHRISTIAN: (interrupting) Relax?they weren't harmed. A bump on the head is about the extent of their injuries.

LANCE looks down, worried about TOOLE?

LEIGH: Bah, humbug. Enough of doom and gloom?we did it! I for one think it worked perfectly. They have no idea what we're about to do, what's going to happen or where we're going. So relax?

She turns on the radio.

SONG: THE RONETTES ? BE MY BABY

The song splutters to a distorted start on the old radio. CHRISTIAN and LEIGH laugh slightly as the music begins to play.

MELODY: Could we listen to something a little less ironic?

LEIGH turns around to face the MELODY.

LEIGH: You love it?you know you do.

MELODY rolls her eyes.

LANCE: Where are we going?

CHRISTIAN glances back at him.

CHRISTIAN: Well I gather you took the prophecy?

LANCE indicates it on the table to LEIGH who can see more clearly. LEIGH nods to CHRISTIAN.

CHRISTIAN: Well then, we'll see just how powerful she is when we do exactly what we did back there, in the place specified on that scroll?and then, boom boom.

(The music below plays throughout)

"The night we met I knew I needed you so
And if I had the chance I'd never let you go
So won't you say you love me
I'll make you so proud of me"

LEIGH: That's if we can decipher it?

She turns to look at MELODY and LANCE.

LEIGH: ?Did you manage to find out what it all meant throughout your little award winning performances?

MELODY and LANCE shake their heads. (The music below plays throughout)

"We'll make 'em turn their heads every place we go?"

LEIGH: Urgh, so not only did you break the rules, but you didn't even exploit their trust in you?

LANCE: (to LEIGH, ignoring her) Do you really think they're all ok? I mean we don't know what she can do really?you saw the clouds thing right?

LEIGH glares at LANCE.

LEIGH: (scoffing) I knew you'd get you attached?don't forget, we gave you your lives again.

MELODY looks down, feeling this is a pointed comment about her and ASHBY.

CHRISTIAN: Relax guys?they'll be fine. From what we know, she can't do any big damage yet?but we gave her a jump-start. Give it a month or two though, then ask that question again?I'm sure my answer will be different.

MELODY and LANCE don't look convinced about the safety of XAK and the others?to CHRISTIAN and LEIGH, TOOLE'S death won't have been "big damage"?

CHRISTIAN: The knife is in their backs?we're just gonna twist it a bit more.

LEIGH nods to them

LEIGH: The end is in sight?the one we've all been waiting for?the one we've worked so long and hard for. They're in the past now?she's our future.

MELODY and LANCE nod, nervously, and turn around towards the bedroom at the back of the vehicle. Regardless of whether LEIGH and CHRISTIAN are right or not?they can't go back to how thing's were?

CUT TO ? UNKNOWN
BEDROOM ? INT.WINNEBAGO - MORNING

SIN is tied to the bed, a melee of ropes and chains holding her to the bed. She's unconscious?charging? (The music below plays throughout)

"So won't you, please?
Be my, be my baby
(Be my little baby)
My one and only baby
(Say you'll be my darlin')
Be my, be my baby
(Be my baby now)
Wha-oh-oh-oh?"

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

The music plays louder now as we begin to search the lobby once again and it sounds a lot clearer now we are not hearing it through the radio. We focus on CATE, sobbing at TOOLE'S demise?her fianc?e dead, and no trace of him, no semblance of his being for her to bid him farewell. Dust on her ring?(The music below plays throughout)

"I'll make you happy, baby, just wait and see
For every kiss you give me I'll give you three"

The camera now pans over to CHARLIE resting by the door, all hope of her family reunited lost. There are no fluctuations in her magic, she's just numb. All she's fought for since she died?slipped through her fingers. She's lost. (The music below plays throughout)

"Oh, since the day I saw you
I have been waiting for you
You know I will adore you 'til eternity"

The camera now moves over to DANTE. He's lying on the floor with various lawyers looking over him. Slowly his eyes flicker open, oblivious to what he is about to see, to what he has prevented stopping. On the staircase in the distance sits EVE, looking through the banister at everything that is happening, or more importantly, looking at the aftermath of everything that has happened. Ready for the clean up, and the biggest cover up known?(The music below plays throughout)

"So come on and, please,
Be my, be my baby
(Be my little baby)
My one and only baby
(Say you'll be my darlin')"

Finally we look at XAK?a tear falling down his face, in shock and disbelief at how he couldn't have seen it coming. He stands in between the mourning widow?and the numb mother?taking the role of the helpless leader. (The music below plays throughout)

"Be my, be my baby
(Be my baby now)
Wha-oh-oh-oh?"

CUT TO - MOJAVE DESERT
DIRT ROAD ? EXT.WINNEBAGO ? AFTERNOON

We now see the Winnebago jetting through the desert, leaving the gang and their hope and victory in the dust. The vehicle slithers through the desert and mirrors that of the image with the gang fleeing after they rescued CHARLIE from the clutches of Wolfram and Hart. In a year?so much has changed?and although they may be driving towards the sun, there is not light at the end of their tunnel, despite what they may think. They have no idea what is going to happen to them?there is no hope. There is only darkness. (The music below plays throughout)

"Be my, be my baby
(Be my little baby)
My one and only baby
(Oh?)"

There is only sin.

FADE TO BLACK

"Be my, be my baby
(Oh?)"

END OF EPISODE

END OF SEASON TWO

Cast:
MILO VENTIMIGLIA as XAK THORN
ALEXIS BLEDEL as CHARLIE ADRASTOS
AMANDA SEYFRIED as CATE RITTLE
CHRIS EVANS as DANTE TURNPIKE
ROSE MCGOWAN as MELODY HARP
CHAD MICHAEL MURRAY as LANCE EMORY

ALAN TUDYK as TOOLE EMORY
RON RIFKIN as HERMES

Special Guest Stars:
JEFF KOBER as RACK ADRASTOS
RACHEL MCADAMS as LEIGH SINCLAIR
MORENA BACCARIN as SOFIA ROSE
JULIAN RHIND-TUTT as CHRISTIAN MCARTHUR
SARAH THOMPSON as EVE

Special Mention:
THE RONETTES ? BE MY BABY

**Lex** · 23-07-07, 09:46 AM

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!

Announcement

Shadow Stalker - 2.16 - Phase Two (Season Finale)

Shadow Stalker - 2.16 - Phase Two (Season Finale)

Comment

Comment

Comment

Comment

Comment