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Shadow Stalker - 3.02 - Exigency (Part One)

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  • Shadow Stalker - 3.02 - Exigency (Part One)

    Series: Shadow Stalker
    Episode: 3.02 ? Exigency (Part One)
    Writer: Lex
    Editor: Amber Jacobson
    Proof Reader: Amber Jacobson

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


    TEASER

    OPEN ON ? NEW YORK
    OFFICE ? INT.MERRETT INCORPORATED - NIGHT

    We open on CHARLIE, staring at SIN. She's not sure whether to move, to hug her, or to shoot her. She continues to stare as SIN smiles at her, but her smile soon fades as her eyes look CHARLIE'S body up and down.

    SIN: You are Charlotte.

    She says it as a statement, making it hard for her mother to reply?

    CHARLIE: (nervously) I?

    SIN: Your heritage is legendary, it is impressive.

    CHARLIE: Do you not know who I am? Who I am to you?

    SIN looks at CHARLIE curiously.

    SIN: (looking around the room) Hm?

    She looks down, clearly searching her damaged memory.

    SIN: It is true. I vaguely remember having met you before, I remember your form. Your height, your eyes, and your hair. I do remember.

    CHARLIE: (a pleading tone) Sin?

    SIN now moves around the room, her eyes wide and searching the walls, she looks in shock. Her head twitches slightly.

    SIN: (with a different tone) But things have changed. I have aged years while you have aged only months. It is strange.

    CHARLIE flinches, noting the hostility and knows not to take SIN'S attitude lightly.

    CHARLIE: ?Are you, ok?

    SIN glares at her, angrily.

    SIN: I do not require such feelings of normality. I have ascended beyond the concept of emotion.

    CHARLIE backs up slightly worried, she almost touches the window, which covers the entire of one wall, behind her. SIN continues to look around the room with a sense of uneasiness.

    CHARLIE: What happened to you?

    SIN: (casually, still eyeing the room) I was captured, and refrained to a room where my true potential was shown to me. Such confinements allowed me to notice the world, and my role in it.

    She smiles, closing her eyes, relaxed.

    SIN: (softly) I have been tested and shown my purpose. Now it is time I proved my worth.

    CHARLIE: And what would that be?

    SIN'S eyes snap open and her head sharply turns in CHARLIE'S direction.

    SIN: (hostile) Not applicable.

    She wanders more now, and she shakes her head again, breathing heavily. She looks around scared.

    SIN: (more humane) What is this place?

    CHARLIE looks at her confused.

    CHARLIE: (testing) Sin. Do you know who I am?

    SIN looks at her now, a small smile forms on her face.

    SIN: Charlie. I know you?I remember?only fragments. It seems years since then.

    CHARLIE wants to smile back, but she remembers what she did. She killed him.

    CHARLIE: What do you remember?

    SIN struggles to walk now, recollecting. She sits on a nearby chair and puts her head in her hands.

    SIN: I remember darkness. Miss Sinclair and Mr McArthur. They?they did things, then?nothing?

    She looks up.

    SIN: Room 19. They had me there. I was there, the door opened?

    CHARLIE edges closer now.

    CHARLIE: Leigh and Christian? What did they do to you?

    SIN: They tied me up. They, they?

    CHARLIE: And Melody, and Lance?

    SIN looks up, hearing MELODY'S name.

    SIN: (worried) What of them?

    CHARLIE: Did they? (with difficulty) Did they hurt you?

    SIN laughs now. Almost sweetly, but she can't help but sound insane. CHARLIE is close to her now.

    SIN: Merely people caught up in the wake of what is to become. More will follow, but none quite as pretty as them.

    She looks down, but when she looks up, her maniacal glare is back.

    SIN: Melody was fun to break?

    CHARLIE glares at her, barely a few feet away now, still holding. The camera moves behind CHARLIE to show her reaching for a knife, tucked into the back of her trousers.

    CHARLIE: (shakily) So you killed her too?

    SIN doesn't reply, she looks at CHARLIE intently.

    CHARLIE: You know. I would have done everything to save you. I did everything I could. But that was a long time ago?

    SIN: What have you gained by telling me this?

    CHARLIE sighs sadly, her grip on the knife now firm.

    CHARLIE: (tearful) I just wanted you to know that before I did what I'm going to do?

    Before she gives SIN a chance to reply she whips the knife out of her back pocket and lunges it at her daughter. SIN'S eyes widen and she effortlessly blocks the knife with the palm of her hand, sending it flying across the room and embedding it into the wall. CHARLIE looks shocked as SIN grabs her by her neck, and lifts her up without much effort at all.

    SIN: That was rude.

    CHARLIE begins to choke, trying to free herself from SIN'S grip.

    SIN: You know, I was just going to let you walk free. You spawned me, I owe you that much.

    She now begins to walk across the room near the window?

    SIN: You are my creator, our lives are entwined.

    CHARLIE: (choking) Then?let me?go!

    SIN: As you wish?

    With this she throws CHARLIE through the window of the building. The glass shatters and breaks as the full weight of CHARLIE smashes through it into the air, thirty stories high?

    The camera opts for slow motion progression through the scene, looking at CHARLIE'S horrified face staring at SIN'S who reciprocates with an evil glare.


    CUT TO ? NEW YORK
    STREET ? EXT.MERRETT INCORPORATED ? NIGHT

    The camera continues to progress the scene in slow motion as the glass falls to the earth thirty stories high. CHARLIE'S limbs flail, panicking as she begins to plummet towards the concrete. Twenty nine stories. Twenty eight?twenty seven?

    CUT TO BLACK

    END OF TEASER

    THERE ARE NO OPENING CREDITS FOR THIS EPISODE

  • #2
    ACT ONE

    OPEN ON - NEW YORK
    STREET ? EXT.MERRETT INCORPORATED ? NIGHT

    She is falling to her death. The camera shows a long shot of her plummeting to the ground. She panics and reaches behind her, fumbling for her backpack. A cord is hanging from it. She pulls it. A huge sheet is released from the bag and a parachute forms, allowing CHARLIE, at the twenty first floor, to sail to the ground with ease. She looks up at the window, but the parachute is blocking her view. She hits the ground hard, and rolls to get away from the falling parachute. She takes her backpack off, and looks up at the window. Now she can see?


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

    SIN stands on the edge of the shattered window sill staring at the ground where her mother stands. She breathes heavily, angry at her survival.

    XAK (O/S): (intermittent) Ch?are you?there?

    SIN looks around confused, recognizing her father's voice. There is no one else in the room. She looks down, finding the source of the voice; CHARLIE'S headset. She slowly walks towards it, a sense of longing. She picks it up, caressing the headset and listening to the white noise emitting from it. As quickly as she found it endearing, she smashes the headset under her grasp, turning it to electrical debris. She looks towards Hotel Devarro with a burning rage?her ties to this world are still here. They need to be eliminated.


    CUT TO ? NEW YORK
    STREET ? EXT.MERRETT INCORPORATED ? NIGHT

    CHARLIE'S eyes widen as she sees SIN disappear. She quickly notices her headset is gone, then she grabs her mobile phone. She notices there have been no calls from CATE. She sighs then picks up, dialling a number. She puts it to her ear waiting for a reply, it continues to ring, and finally something picks up.

    CHARLIE: (annoyed) Xak, if you get this, I'm coming in. I found her, she's not in the building?

    She goes to hang up, but then stops.

    CHARLIE: I think she might be coming back.

    She pauses once again, reflectively, wondering whether or not to say what she is about to say, and if he deserves to hear it.

    CHARLIE: Be careful?

    Now she hangs up. She looks down for a moment or two and releases herself from the parachute completely, and pockets her phone. She hurries to the front entrance of Hotel Devarro; defenceless.


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

    CATE turns the woman's face over, to see what she looks like. She is young, pretty and she died in shock, as evident by her facial expression. She is played by Amanda Noret.

    CATE: Oh my god?

    Footsteps approach.

    FARAH (O/S): Cate?

    CATE turns around shocked to see FARAH approaching. She looks at CATE curiously.

    CATE: Farah?I?

    FARAH: (smiling) What are you doing? I had to drink both glasses out of pure worry.

    CATE: (not seeing the funny side) Farah, there's?

    FARAH: (confused) What are you doing on the floor.

    CATE looks at her and sighs.

    CATE: I'm so sorry?

    She moves out of the way to show the BLONDE WOMAN'S body.

    FARAH: (to the BLONDE WOMAN) Del? What are you doing on the floor?

    She realizes, and grabs her mouth.

    FARAH: (quietly) No?

    She breathes heavily and backs into a wall.

    FARAH: (screaming) NO!


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

    FARAH'S scream and grief carries into the next scene showing LANCE, CHRISTIAN and LEIGH stood, still in shock at the death of MELODY and more importantly, the escape of SIN. A door slams in the distance bringing FARAH'S echo to a close. LEIGH'S face drops.

    LEIGH: (quietly) Oh god?they're here.

    CHRISTIAN: (contemplating) Or?she is.

    LANCE continues to stare at MELODY'S body off screen. CHRISTIAN notices.

    CHRISTIAN: Pull it together, this wasn't gonna be easy. Not everyone could survive?we knew that?so did she.

    LANCE: That's two people I loved who have died?

    CHRISTIAN: You didn't love her boy. Now take Leigh and get the guns, it's time for a showdown: we need to take a stand.

    LEIGH: Chris, the guns are scattered everywhere, I wouldn't even know where to start.

    CHRISTIAN: Just split up, some are in the basement, I think I put some in the attic too. Each to their own.

    LANCE and LEIGH don't move. They're staring at MELODY'S body.

    CHRISTIAN: (to the both of them) Go! I'll take care of the body?

    LANCE looks at LEIGH and she nods. They move cautiously around a corner and walk off screen. CHRISTIAN runs his hands through his hair breathing deeply. He pauses for a moment then moves towards MELODY'S body. He stops, his eyes widening. She's gone?


    CUT TO ? NEW YORK
    BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

    The door bursts open from outside showing DANTE enter. He looks inside the dark and empty room, listening to the noise of the old generator buzzing from within. He looks around and sees a light switch as he moves further inside. He turns it on the light flickers to life showing the layers of dust forgotten. He moves closer as he begins to hear movement across the other side of the room. He grips on to his handgun and moves closer. The sound of rummaging can be heard from within the room and he edges closer seeing the silhouette of someone, huddled over a box?

    DANTE: (not knowing who it is) Get up!

    The person turns around, it's LANCE. LANCE looks at him disgusted.

    LANCE: You've got to be kidding me?

    He doesn't take DANTE seriously, and he turns around to continue rummaging through the box he was rooting through. DANTE looks angry now.

    DANTE: (louder) I said get up!

    LANCE abruptly stops looking through the box. He smirks, but we don't see why.

    LANCE: As you wish big shot?

    LANCE abruptly stands and turns. He has a gun in his hand. He aims it quickly at DANTE and shoots. He misses and DANTE rolls behind a wall. He breathes deeply keeping his back to the wall and his gun poised. LANCE laughs.

    LANCE: (confidently) Not going shy on me now are ya lawyer?


    CUT TO ? NEW YORK
    ATTIC ? INT.HOTEL DEVARRO ? NIGHT

    LEIGH, armed with a flashlight amidst the cobwebs and shadows the attic in Hotel Devarro, is also doing the same; looking for a weapon. She looks desperate and is throwing various objects behind her.

    LEIGH: (frustrated) Why the frick did I hide this thing so well?

    There is a thump. She turns around quickly scanning the room with her flashlight. There's nothing, except a hole in the roof that wasn't there before. She stares at it in fear wondering what caused it, and where that cause now is?

    The click of the safety.

    LEIGH'S eyes widen. She turns slowly to see SIN standing by the box holding a handgun. The same one she killed ASHBY with. SIN stares at it in fascination, almost not recognising that LEIGH is in the room. LEIGH breathes heavily, clearly worried and scared, knowing more than anyone what SIN could do now she is of age, and now she is released.

    SIN: (mesmerised) A Jericho 941, 734 grams, loaded with four 9mm bullets.

    LEIGH looks around for a means of escape, of defence?there is none.

    SIN: A double action, high capacity pistol weapon, manufactured in Israel over a decade ago.

    She looks up now to LEIGH, curiously.

    SIN: Which begs the question?What exactly is a young woman like you, Miss Sinclair, doing with a gun such as this?

    LEIGH: (cautiously) Sin?do you know who's in the building?

    SIN: My parents and Mr Turnpike? I am aware of their presence, I was before you were.

    LEIGH looks scared, but knows she must ask.

    LEIGH: Is that why you killed Melody?

    SIN smirks.

    SIN: It's touching how concerned people are about Melody's well being. I'm sure if she were here now she'd find it both surprising and comforting.

    She cocks her head now, walking towards LEIGH, who walks backwards instinctively.

    SIN: Or perhaps it is not concern?

    LEIGH: (quietly) What do you mean?

    SIN: Perhaps, as it is a relentless trait in you humans, it is fear. Fear that what you contemplate I have done to Melody, will be re-enacted on to you all.

    She holds the gun up to LEIGH, whose eyes widen.

    SIN: (loudly) Boom!

    LEIGH shudders, but SIN laughs.

    SIN: Relax Miss.

    She sighs happily, and passes the gun over to LEIGH. As with CHARLIE earlier, her insanity has left her, almost as quickly as it came.

    SIN: I would not harm you, or Mr McArthur. Despite harsh methods, you have shown me my path.

    She smiles at LEIGH. LEIGH reaches out to take the gun.

    LEIGH: I appreciate the kindness.

    SIN: Tough love Miss. It's the best way.

    LEIGH looks down at the gun.

    LEIGH: What about Lance?

    SIN sighs angry, but there is an elegance in her breath which makes it sound soothing.

    SIN: (resentful) His heart is not in our goal, not anymore. He is expendable. Just like Melody, and his brother.

    LEIGH nods.

    SIN: Kill him.

    LEIGH: What about Dante? He's in the building right?

    SIN looks around the room wondering, she nods.

    SIN: He is with Lance now, in the basement. Lance is angry, he will kill him.

    LEIGH: (surprised) Oh?

    SIN: But?

    She seems unsure.

    SIN: (softly) ?Deal with them in case of doubt.

    She grabs her head in pain.

    SIN: My head?

    LEIGH: Is there?um, anything I can do?

    SIN'S eyes scan the room quickly, darting from wall to wall, object to object.

    SIN: I have so much inside. So much pain that must be rectified, so many obstacles I must overcome.

    She breathes slowly.

    SIN: (whispering, echoing ethereally) I failed once?I will not again?

    LEIGH moves closer to her and looks at her, cautiously.

    LEIGH: Sin?

    SIN'S angry eyes glare at LEIGH angrily.

    SIN: (shouting) Go! There is no time?Kill the boys. I have to deal with my makers.

    LEIGH nods, and without a moments thought she turns and leaves the attic, dropping the flashlight on her way out. The light casts a light on SIN who continues to hold her head in pain?something is plaguing her, something she had not anticipated.


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

    FARAH is crying and CATE, still by the BLONDE WOMAN'S body looks panicked.

    CATE: Farah?

    FARAH: (loudly) How?how did this happen!?

    CATE: (shouting) I don't know! I just found her.

    She moves over to FARAH.

    CATE: Farah, we need to get some help. The police?

    FARAH looks up immediately to her now.

    FARAH: No not the police?Del used drugs, this place could get shut down?

    CATE: Del?

    She looks over at the body, sadly.

    CATE: That's her name?

    FARAH: Del, short for Delilah. She was?such a good friend.

    CATE: Farah I'm so sorry. But we need to do something, we can't leave her there?

    FARAH: Tucker will help, he's on the door tonight, he knows us pretty well.

    CATE hesitates, but then nods.

    CATE: I'll get you some water, see if I can find your brother on the way.

    FARAH nods faintly and CATE stands moving to the end of the corridor and the inner sanctum of Sirens, before she reaches the end she turns back.

    CATE: (awkwardly) I really am?sorry.

    With this, she disappears. The camera moves back to FARAH who is looking at DELILAH'S corpse near the cupboard, her blank eyes staring in the other direction. FARAH'S tears fade instantaneously and then she glares in the direction CATE went.

    FARAH: (seething) Trust me little girl?you will be.


    CUT TO ? NEW YORK
    COCKPIT ? INT.PLANE ? NIGHT

    We can see the interior of the cockpit of the plane holding the bomb. It's approaching the state?fast.


    CUT TO ? NEW YORK CITY
    ATTIC ? INT.HOTEL DEVARRO ? NIGHT

    SIN breathes heavily, removing her hands from her head, staring wide eyed in shock. She knows about the bomb. She can sense it. She nods knowingly.

    SIN: That's it?more mortal weapons to stop something that will transcend the concept of such notions.

    She walks towards the hole in the roof and stares at the night sky, curious.

    SIN: ?It will fall. My creators will wilt, and I shall be robbed of my initiation.

    She breathes angrily.

    SIN: (psychotically) I shall retaliate. All roots to this world will end tonight, but only by my hands.

    She glares. XAK'S worst fear was coming true, her insanity and passion for murder and evil was growing. TOOLE and MELODY were just the beginning?there would be more, but by who's hands?

    CUT TO BLACK

    END OF ACT ONE

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    • #3
      ACT TWO

      OPEN ON ? NEW YORK
      LOBBY ? INT.HOTEL DEVARRO ? NIGHT

      XAK is stood in the lobby of the hotel. He looks around, mesmerised at the grand scale of the room, and also slightly fearful of the eerie quietness. He looks at the stairs and then he looks at the bar. He walks slowly towards the entrance of the bar, flashlight and gun in hand.


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

      Cautiously and silently, XAK enters into the dated drinking hole. He notes the mess, and also the extreme lack of living presence. He looks around the room, noticing the smashed glasses, the blood on the floor, which unbeknownst to him, belongs to CHRISTIAN. He then notices the bar, and the paperwork CHRISTIAN and LEIGH were looking at earlier in the day. He sidles over to the bar carefully and quietly. His eyes begin to scan the papers.

      Amongst them are charts, monitoring SIN'S heartbeat; at the beginning of this month, her heartbeat was more regular, only yesterday?it was triple what it should be. XAK'S eyes widen.

      There are reports, one of them by SOFIA, many of them by DANTE, all of them annotated in CHRISTIAN and LEIGH'S handwriting; every report about SIN, her sanity, her powers, her emotions. XAK notices that in the more recent reports, her sanity and emotions have depleted while her powers have doubled. He particularly takes note on one of notes, the ink is fresh, and handwritten by either CHRISTIAN or LEIGH. The camera closes in on the words?

      "EXTREME CAUTION ? In recent days she has exercised new powers. They seem to be filling the void where her sanity and emotions were. Do not release. She has expressed the wish to kill without hesitation, she is not stable, but she has not met them yet."

      There is a tick next to this piece of handwriting. And then the words, "Perfect?Almost"

      The piece of paper falls out of XAK'S grasp and lands on the floor next to XAK'S feet. His mouth open and his eyes stare ahead, blankly.


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

      CHRISTIAN continues to stare in shock at the lack of a body to move. He approaches the place where the body was. No blood, no marks, no warmth, no cold. Nothing.

      It's as if the murder didn't take place.

      Footsteps approach him from behind, he turns to look; no one.

      SIN (O/S): Mr McArthur?

      He turns back again to see SIN knelt in front of him. His eyes widen in fear.

      SIN: ?We must converse.

      CHRISTIAN smiles and nods.

      CHRISTIAN: You've made a quite an entrance I see.

      SIN: I have noticed the extreme increase in drama and suspense in everyone's lives since I left my room.

      CHRISTIAN: Having fun?

      She blinks, confused.

      SIN: What is fun?

      CHRISTIAN: (to himself) Right, no emotions. Still not used to that.

      SIN has cocked her head.

      SIN: I feel strange. Like I am two entities fighting for existence. I do not comprehend.

      CHRISTIAN reaches out and touches her shoulder.

      CHRISTIAN: Just trust your instincts Sin?remember everything Leigh and I taught you.

      SIN: You have both been adequate guides. You have not once suppressed me like the others.

      CHRISTIAN smiles, like a proud father to his child.

      CHRISTIAN: Thank you.

      SIN: And now, when there are further threats to my destiny in familiar forms, parental and business types I thought I had escaped, I require you both further still.

      CHRISTIAN looks down, worried.

      CHRISTIAN: Wolfram and Hart?

      SIN nods.

      SIN: Correct. They have commandeered the skies and will arrive shortly. Combined with my parents presence, we have a problem.

      CHRISTIAN: We are yours. Whenever you need us.

      SIN: Would you die for me?

      CHRISTIAN: I would give my life to see your destiny fulfilled.

      SIN: Good.

      She stands and looks down at him with judgement.

      SIN: Miss Sinclair is fulfilling her task, and I have unfinished business with my parents. I cannot attend to both of them in the time the sky will allow?

      CHRISTIAN nods.

      SIN: So Mr McArthur?your moment has come.

      Her servant looks up faithfully, admiring her leadership and her power with a maniacal burning passion in his eyes.


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

      DELILAH'S body is being placed over a large man's shoulder, presumably TUCKER. He is played by John Turk. Nearby is CATE who is stood with her arms folded, clearly bothered by the lack of respect on DELILAH'S part. Behind her, LEO and FARAH are stood. LEO has his arm around his sister, rubbing her arm reassuringly. They both look devastated; appearances can be deceiving.

      TUCKER: (looking up at them all) Y'all should all leave, you didn't see nothin'.

      FARAH and LEO look down, but CATE looks quizzical.

      CATE: What will happen to her body?

      LEO looks at FARAH, she nods. TUCKER looks from the siblings to CATE.

      TUCKER: I wouldn't worry abou' that miss. Go make sure no one bothers this area, we got a clean up to do.

      With this he turns around and walks towards a nearby fire exit, he opens it, and calmly and swiftly exits the building. CATE watches him leave with sorrow.

      LEO (O/S): I just can't believe it?

      CATE turns around. They both still look destroyed.

      CATE: I'm so sorry you guys, I know this is a bad time but?

      She sighs, wondering if what she's about to say is actually true, or a fa?ade.

      CATE: ?I can help. Can you tell me anything more about her?

      LEO looks at FARAH wondering what they could tell CATE.

      FARAH: (quietly) She was, just a girl. She came in about a week or so ago. That's when we met her. She made quite a scene, I think she went through some kinda personal stuff and was having a hard time dealing.

      CATE nods, taking this in, feeling a new found urge to discover DELILAH'S killer.

      CATE: Can you think of any reason she might have been killed?

      LEO: (quizzically) What makes you think she's been murdered?

      CATE looks at LEO wondering why he used the word "murdered", when she used the word "killed"...

      FARAH: Yeah! I mean she was always snorting something, it was probably that.

      CATE: Then what? She threw her own corpse into the broom closet?

      LEO and FARAH are dumbfounded by this and don't know how to reply. CATE runs a hand through her hair, shocked and bothered.

      CATE: I'm sorry but it's obvious something weird is going on here?

      They don't answer.

      CATE: ?Look, I'm gonna go scope the place out ok, see if anyone saw anything, or knows anymore about her. I'll be back soon, you guys should just?

      FARAH: Grieve?

      CATE looks down, reflectively.

      CATE: Yeah?sounds like a plan?

      With this she leaves and returns to the inner sanctum of the club. LEO and FARAH watch her disappear, before turning to one another.

      LEO: Nice crocodile tears sis.

      FARAH: Shut up, I didn't get a degree in drama for nothing.

      LEO: Kind of pointless now huh?

      FARAH: Has its perks.

      LEO looks in the direction CATE went.

      LEO: She's getting suspicious, she'll figure this out you know.

      FARAH: Duh, she just saw a dead body, of course she is. Let her play Nancy Drew all she wants, she won't find anything, and if she does?

      She motions her throat being cut with her finger nail. LEO turns back to his sister now and smiles wickedly at her.


      CUT TO ? NEW YORK
      LOBBY ? INT.HOTEL DEVARRO ? NIGHT

      The front door opens and CHARLIE silently moves into the lobby. She looks around, scared and in awe of the sheer size of the building. Knowing that dangerous people and the people she has loved are inside. She hears the rustling of paper from the bar to her left. She begins to move closer, cautiously and without a weapon or a method of defending herself.


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

      She peers around the corner and sees XAK at the bar, rifling through the papers, clearly searching for a way to negate what he had just seen. She breathes a slight sigh of relief in knowing it is him.

      CHARLIE: Xak?

      He turns startled, not knowing it's CHARLIE and freaked by what he has just seen. He aims his gun and fires. She gasps and moves out of the way. She's too slow. It hits her. She falls into the lobby off screen. XAK'S eyes widen in shock and disbelief.

      XAK: (quietly) Oh god?

      He looks down at the gun in his hand, disgusted.

      XAK: Charlie.

      He runs across the room and into the lobby?


      CUT TO ? NEW YORK
      LOBBY ? INT.HOTEL DEVARRO ? NIGHT

      He enters and looks at CHARLIE on the floor, she's breathing heavily in pain. The bullet grazed her shoulder, but she's still bleeding.

      XAK: Oh god?I'm so sorry. I didn't know it was you.

      CHARLIE: (through gritted teeth, in pain) It's ok?

      XAK: It kind of isn't?

      He kneels down, close to her. He holds her arm up to see the room. She recoils in pain.

      CHARLIE: Xak it's fine?It's just a scratch.

      XAK: I shot you, humour my guilt?

      She doesn't reply. His eyes search the wound, the bullet barely touched her, it's not deep. He sighs, relieved, but looks up to CHARLIE quizzically who is staring ahead blankly; without expression.

      XAK: How come you're here? What happened?

      She just looks down sombre as XAK begins to inspect the wound. Suddenly, CHARLIE breaks down into tears. She holds her spare hand over her eyes. XAK looks up, sadly.

      XAK: (softly) Sorry, did that hurt?

      CHARLIE: I'm not crying because of some stupid scrape?I get it, you didn't know it was me.

      XAK nods and looks down.

      XAK: Ok?

      CHARLIE: I'm crying because Toole's dead.

      XAK looks up at this.

      CHARLIE: Cate's off the wagon. Melody's dead?and my daughter just threw me out of a thirty story window without a moment's thought.

      His eyes widen suddenly.

      XAK: Oh god?where did she go?

      CHARLIE removes her hand from her face and glares at him; he didn't care she was mourning TOOLE and MELODY.

      CHARLIE: (ignoring him, angrily) But most of all. I'm crying because the man I have sacrificed everything for over the past two years can't even look at me, hug me, kiss me or even console me?because of what his daughter has turned into.

      XAK looks down briefly, his eyes welling up.

      CHARLIE: I look at you now and I don't see the man I fell in love with. (quietly) All I see is anger and hatred.

      XAK: Charlie I didn't mean to?

      CHARLIE snatches her arm away from him. She passes her hand over the wound. As she does, it mystically heals. He notices. She wipes the tears from her face and stands.

      CHARLIE: (interrupting) Don't. Not now?you're a month too late.

      She begins to move towards a door at the far side of the lobby. XAK stands, desperately.

      XAK: Please Charlie, can't we just talk.

      She stops and sighs. She slowly turns to him.

      CHARLIE: We will.

      She pauses for a moment, contemplating.

      CHARLIE: Just?do something for me first?

      XAK: Anything?

      CHARLIE: Stop her from killing anyone else?before I lose you to revenge forever.

      He nods. He knows she's right?it's not what he wants and it's not what TOOLE would have wanted.

      XAK: Ok?

      CHARLIE: I'll take ground floor, see if I can find some ass-istant to kick. You can find our girl.

      She smiles faintly at him. He looks at her sadly.

      CHARLIE: I'll see you soon?

      She turns, not allowing him to respond and continues walking towards the door she was approaching earlier. She opens it and leaves the lobby area. XAK looks down sadly. He breathes heavily, fuelled now more than ever to stop his daughter; but not by violence. Revenge is out of the window. CHARLIE is in the frame. No more heads will hang because of SIN. He touches his headset, ready to speak?

      XAK: (into the headset) Turnpike come in.


      CUT TO ? NEW YORK
      BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

      DANTE is still stood behind the wall gun in hand. Suddenly XAK'S voice reverberates from his headset.

      XAK (O/S): (from the headset) Turnpike? If you can hear this, change of plan. Do not kill?

      LANCE laughs and smirks, approaching DANTE slowly from around the corner.

      LANCE: Gonna do what daddy says?

      DANTE breathes slowly, processing the situation, listening to LANCE'S voice and remembering XAK'S.

      LANCE: Or are you still not used to taking orders? What's it to be Danny boy? Enjoy the kill too much?or want to reform?

      Suddenly, DANTE moves out from behind the corner and aims the gun, shooting LANCE'S leg. LANCE drops to the floor, subsequently dropping the gun he was holding. He gasps in pain, grabbing the wound. DANTE moves closer, still aiming the gun. He kicks LANCE'S gun out of reach.

      DANTE: I consider myself on the fence.

      LANCE looks up at him, then suddenly he bursts into tears. DANTE looks at him surprised; they are not tears of pain, not physical pain.

      LANCE: Just do it?please.

      DANTE looks at him confused.

      DANTE: What?

      LANCE: (shouting) Kill me! Just do it! For god's sake, just?kill me?

      He looks at DANTE desperately while DANTE merely reciprocates with a sad and quizzical pity. He holds on to the gun, unsure of whether to let it go or not?


      CUT TO ? NEW YORK
      DJ BOOTH ? INT.SIRENS ? NIGHT

      DJ JESSE REED is dominating the podium and arousing the crowd; tempting to the dancefloor and luring them with the rhythm of his mixes. Through the crowd CATE meanders towards him and the DJ box. One of the bouncers nearby stands in her way however, who is played by Jordan Marder. JESSE looks over, he smiles recognising her.

      JESSE: (shouting to the bouncer) Hey A.J!

      The BOUNCER/A.J looks over at JESSE and nods, he moves aside to let CATE move towards him. CATE smiles weakly and not convincingly at JESSE. He changes the record to a long, loud deep remix.

      CATE: Thanks?

      JESSE smiles.

      JESSE: No problem sweet thing. Glad you came. You find that guy?

      She looks down. It was a new record. She hadn't thought about him in a few hours; she did now.

      CATE: No?
      `
      He notices this is a sore subject with her and smiles reassuringly.

      JESSE: It's ok, don't worry. I'm a master at saying things when they shouldn't be said.

      CATE looks up at him.

      CATE: This is kind of weird, but I recognised you and?I was wondering if you could help me?

      JESSE: Well if it's anything to do with a play list I'm the man, otherwise I'm not so good on anything else.

      CATE: I just need some information on some of the regulars.

      JESSE: Who?

      CATE: You know Farah and Leo? Well, one of their?

      JESSE smiles.

      JESSE: (cutting her off) Of course I know them. They've been coming here for years.

      She stops what she was about to say, something clicks.

      CATE: Years? They told me they only moved here recently?

      JESSE: Those two? Nope, definitely been here longer than recently.

      CATE looks incredulous and scans the crowd quickly to see if she can see them both; they're not there. The camera scans the crowd too, darting from corner to corner. They're not there.

      JESSE (O/S): They come in nearly every week with someone new to play with, god knows what they get up to, they've got a bit of a reputation, if you know what I mean?

      CATE turns back to him. Surely he can't mean what she thinks he means.

      CATE: You mean?

      JESSE nods, knowingly.

      JESSE: Yep. I mean.

      CATE looks away, slightly disgusted. She knew FARAH and LEO weren't blood relatives but?

      ?Her train of thought is interrupted further?

      JESSE: ?But no one dares call ?em up on it. Not with them being buddies with the boss.

      CATE looks confused.

      CATE: How do you mean?

      JESSE: Us lackeys always see them going upstairs. Must be friendly or something.

      He motions to the circular hole in the ceiling, and the tinted glass that is shielding what is behind it; BLACK'S office. She follows his eye line and looks at the area quizzically.

      JESSE: Can't question it though or comment on it inside these walls, pays too good.

      CATE: What's your boss called?

      JESSE: I dunno, never had the pleasure. All I know is, he's up there, watching.

      CATE looks up again at the tinted glass, straining her eyes to see the room behind; what was he watching?. JESSE looks at her wondering.

      JESSE: Why all the questions anyway?

      She sighs and looks away thinking.

      CATE: (quietly) That's what I was trying to tell you?A girl died tonight, in the broom closet by the bathrooms.

      JESSE'S eyes widen.

      JESSE: (shocked) What? Who?

      CATE: Her name was Delilah Moore, she was Farah and Leo's flavour of the week.

      JESSE: Wait a minute, are you saying the sibs are involved?

      CATE: I'm saying I find it suspicious that they lie to me and act shifty when I ask them questions.

      JESSE: Come on, no offence lady, but they just met you. They're bound to be funky around someone they just met, especially when their friend just died?heck they probably think it's you who did it.

      CATE: Then why was their first instinct to ask the door man for help instead of the police? And I bet there's a pretty strict drugs policy on this place too? Nothing gets in?

      JESSE: So? A lot of places are like that in case you haven't noticed. Look lady, they trust the people here, you go to people you trust when someone dies. Don't be creating trouble where needn't be any.

      She considers this for a moment.

      CATE: (annoyed) You don't cover up a death unless you know something behind it or know something others don't?

      JESSE runs a hand through his hair.

      JESSE: Man, this is messed, I can't believe I'm hearing you contemplate. Heck, it's making me think.

      She looks infuriated at his naivety.

      CATE: Wake up call?this world is messed. Nothing's as it seems. Things you think look innocent?

      She thinks reflectively about SIN?about TOOLE?She doesn't finish her sentence.

      Pause.

      JESSE: What are you gonna do? Go to the police?

      She thinks for a moment

      CATE: No, not yet at least. I just have to know what happened. I can't just let her death go un-noticed.

      She looks down.

      CATE: (to herself) ?I have to know that not everyone I open my heart to will destroy me.

      JESSE raises an eyebrow.

      JESSE: Uh?ok? And how do you plan about doing that?

      She looks up at him now, more determined. The similarities between what happened with her friends and what just happened in this club were blinding to her. She had to stop it; stop it happening again, stop the grief, even if it was for one more night.

      CATE: If something is being covered up, or if there isn't, there's something that can't lie?

      JESSE: (confused) What's that?

      CATE doesn't answer him, she just looks directly at the security camera; the tapes?there's a camera directed right at the broom closet?


      CUT TO ? NEW YORK
      BLACK'S OFFICE ? INT.SIRENS ? NIGHT

      We can see CATE and JESSE on the monitor in BLACK'S office. She's staring right at the camera, and eventually JESSE turns too. The camera pulls back to show BLACK sat in his chair, observing intently. He sighs.

      BLACK: (quietly) 199?

      FARAH (O/S): Sir?

      The camera pulls back further to show FARAH and LEO stood behind him. They both look confused.

      BLACK (angrily): 199 people I've saved?and you bring me this? She's my 200th? Some common tramp who wants to destroy everything I have created.

      LEO: Sir, with all due respects?

      With this he stands abruptly.

      BLACK: (shouting) You will both address me as Lord!

      They look down, nervously.

      BLACK: It is a long time since I ascended knighthood I assure you?

      He notices their fear, and his body language shifts.

      BLACK: Come now?I apologise. That outburst was melodramatic and out of character.

      LEO nods and smiles slightly, appreciating

      LEO: My Lord. It is us who should apologise.

      FARAH nods, and steps forwards slightly.

      FARAH: Cathryn Rittle is our mistake. We will not allow her to pose a threat to you, or our family.

      BLACK nods, appreciatively.

      BLACK: I don't deserve you two you know. You've been so loyal to me over the years.

      FARAH: You saved us, it's the least we can do.

      BLACK: Yes Miss Flux, I did. Now, however, the fate of this family relies on the both of you.

      FARAH gives LEO a look. They both nod.

      BLACK: Dispose of them?

      He turns back to the screen; CATE and JESSE are gone.


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

      There is an empty corridor. CATE peers around the corner, it's still empty. She walks around the corner, and confidently begins striding towards a door at the end. Hurrying around the corner behind her, is JESSE.

      JESSE: Whoa whoa lady!

      CATE: Beyond reasoning right now.

      JESSE: Hey come on look, if something's going on, this could be dangerous, who knows what the sibs are hiding?

      CATE looks annoyed again and turns around.

      CATE: Just stop, ok? I do not need protecting, I have never needed protecting, and I'm not gonna start now.

      JESSE: (apologetically) Ok.

      CATE: (resolute) I'm a woman with nothing to lose. Breaking into some office to see some security footage isn't exactly life threatening.

      JESSE sighs and nods.

      JESSE: I'm still waiting outside.

      CATE: Fine?

      JESSE: Besides, my sets finished and it beats getting drunk and going home alone again, might as well delay that for another ten minutes.

      She's heard lines like that before.

      CATE: Am I supposed to feel sorry for you?

      JESSE looks hurt.

      JESSE: (annoyed) Look I dunno what you've been through?

      CATE: That's right, you don't. And trust me, for your own good it should stay that way?

      She arrives at the door, and punches a hole through it effortlessly.

      JESSE: (giving up) Ok?if you say so.

      She reaches behind through the door and opens it. A staircase presents itself. She goes to enter it, but then stops. She knows she's been too harsh. She looks down, but then turns back slightly.

      CATE: (quietly) Sorry?

      JESSE looks at her, as she turns fully.

      CATE: ?I'm Cate.

      He continues to look at her confused. What had happened to her? What was happening to her? With this she turns and looks at the staircase before her. She walks towards it and ascends.


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

      The room is empty. What was full of children and young people earlier this evening is now empty and seemingly desolate?except for one; CATE. She enters the large room cautiously and confused. She walks further in and walks towards the tinted window, looking at the lively club below, unable to hear any of the music through the glass and unable to share their joy. She stares at them for a moment, longingly but a nearby crying distracts her. She turns around to see a BOY, aged around six or seven, standing behind her, crying. She looks at him incredulous; what was a child doing in a night club?more importantly, what was a child doing in a night club on his own?


      CUT TO ? NEW YORK
      BANQUET HALL ? INT.HOTEL DEVARRO ? NIGHT

      The camera pans around a grand banquet hall. Cobwebs and decades of dust lacing the furniture and dated d?cor. A door opens at the back of the room. A woman enters; LEIGH. She has only one hand gun in her hand. She walks casually through the room, hearing the groans of the walls and the creaking from the building. Every time a foreign and unknown noise reaches her ears, she turns to the source; always nothing to see. She takes a deep breath and continues walking towards a door; a whisper, a female whisper.

      LEIGH stops and looks around the room.

      LEIGH: Sin?

      Before she can wander further, a sudden burst of green energy sends her soaring across the room. The handgun comes loose in her hand unwittingly and she smashes into the wall and lands on some old damp furniture; thick splinters protruding from her arm. She screams in agony. The sound of footsteps approaching her can be heard. A woman enters the frame, a brunette, magic sparkling from her hands; CHARLIE. She looks down at LEIGH.

      CHARLIE: (softly) Hey?

      LEIGH looks at her in anger, she doesn't answer. CHARLIE lowers herself so she is eye level with the assistant, the lackey.

      CHARLIE: You know it's funny?

      LEIGH doesn't understand, she reciprocates with no answer again.

      CHARLIE: ?You mistaking me for my daughter. Must be some inherent gene.

      LEIGH laughs, incredulous. CHARLIE glares at her angrily.

      CHARLIE: What's so funny?

      LEIGH: Please don't tell me you're comparing a half bred junkie like yourself to the greatest saviour the human race will ever kno since the birth of the gods themselves?

      With this CHARLIE punches LEIGH in the face, causing her nose to bleed. LEIGH barely flinches despite most of her face and body being damaged. CHARLIE looks at LEIGH disgusted.

      CHARLIE: You just don't know when to shut up do you? Do you even care about what you've done?

      LEIGH looks down for a moment; thinking.

      LEIGH: (quietly) Even if I did, it doesn't matter. Not anymore, don't you guys get that? Whatever I do will be forgiven when she becomes?

      CHARLIE: Becomes what?

      LEIGH: You're so keen to stop it, why do you care?

      CHARLIE: (seething) I care that people I love are dying and fading away.

      She eyes LEIGH; a crumpled mess on the floor.

      CHARLIE: I guess you don't have to worry about that do you?

      She had LEIGH there and forces LEIGH to silence for once.

      CHARLIE: So you're going to shut up for once in your pathetic existence. The only thing I want to hear come out of your mouth is where to find Sin, and how to stop her?

      She stares LEIGH who continues to remain silent.

      CHARLIE: ?And if you don't? Well I'm not gonna kill you, but there's a hell of a lot of things I've learned over the years that are a lot worse. Kind of fitting for the way you've left our lives?

      LEIGH sharply turns to her.

      LEIGH: (bluntly) You can't hurt me.

      CHARLIE looks at her for a moment, considering what she's just heard. She doesn't reply. She stands and walks away slightly. She holds arms out wide and closes her eyes. LEIGH watches, confused. Suddenly the windows surrounding the banquet hall smash and shatter. The shards of glass of different size and sharpness float towards CHARLIE magically. LEIGH looks at them worried. With this, CHARLIE turns and the glass floats around her; faithful and loyal weapons of war. LEIGH looks at every jagged edge, every fractured reflection, and she knows CHARLIE'S serious. CHARLIE doesn't smile, she doesn't smirk. She stares at LEIGH with judgement.


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

      XAK, now without his handgun, has a shotgun in his hands, which was attached to his back. He walks cautiously down a familiar corridor. The corridor where MELODY disappeared. The doors to the bedrooms are locked and only one door remains open at the far end; Room 19. XAK eyes it cautiously and with curiosity as he sees and hears the door banging in the wind.


      CUT TO ? NEW YORK
      ROOM 19 ? INT.HOTEL DEVARRO ? NIGHT

      We can see the door, it banging in the wind, and the sound of a rushing breeze jetting through the room with an elegant motion. There are no lights, and apart from the wind all that can be heard is XAK'S approaching footsteps to the room. He moves into frame; the door frame. He looks around the room, his eyes widen in horror.

      XAK: Oh god?

      The camera rotates with a fast velocity to show chains covering the room. Chains from wall to wall, wall to ceiling, wall to floor, floor to ceiling; an intricate web of metallic contraptions, all of them needed to restrain such a creature. All of them covered in blood. He walks inside looking at each of the chains in disgust and a twisted awe. There is a hole in the wall on the other side, the window torn out leaving a ragged hole and debris of bricks and torn wallpaper.

      CHRISTIAN (O/S): It's really something isn't it?

      XAK turns surprised to see CHRISTIAN leaning against the door frame. CHRISTIAN eyes the chains, the hole in the wall with admiration. XAK looks at him disgusted.

      XAK: Do you and your girlfriend have a death wish or something? I thought I made myself perfectly clear about how I feel about you two when I smashed her head into a wall.

      CHRISTIAN: I understand why you would act violently towards us, I do, really.

      XAK: (sarcastically) Thanks. Your understanding of what I'm going through will really help me sleep at night.

      CHRISTIAN: Why can't you just accept what is happening Xak? Do you honestly think that what we have chosen to believe in is out of anger and malice?

      XAK: No, it's out of ignorance. Sin is a naturally powerful woman who you have manipulated into believing that she can act out that ridiculous prophecy!

      CHRISTIAN enters the room now.

      CHRISTIAN: To completely disregard the prophecy is almost as ignorant as to blindly believe it.

      XAK smirks wickedly at him.

      XAK: Guess we're stuck in a stalemate then?

      CHRISTIAN: I've seen life without your daughter, trust me, my actions are not backed by ignorance, they're backed purely by hope.

      XAK'S fist begins to clench with anger at what he's hearing.

      XAK: So tell me Christian, just how many more bodies are you going to have to sweep under the carpet in order for you to truly believe that?

      CHRISTIAN pauses, and looks behind him, through the open door, to where MELODY'S body lay, and mysteriously disappeared. He smirks and reaches into his back pocket; a knife.

      CHRISTIAN: According to your daughter?

      He turns back, knife concealed still. XAK eyes him cautiously.

      CHRISTIAN: Just one more?

      With this threat of death CHRISTIAN hurls the knife at XAK. He hasn't long to react and he knows it. He grabs the nearest chain and blocks the knife. He glares at CHRISTIAN, and CHRISTIAN smirks back.

      Slow motion. No sound.

      They move towards eachother.


      CUT TO ? NEW YORK
      GRAND STAIRCASE ? INT.HOTEL DEVARRO ? NIGHT

      Soft breathing can be heard from a young woman. SIN. She descends the stairs hurriedly, breathless and almost out of time.


      CUT TO ? NEW YORK
      BANQUET HALL ? INT.HOTEL DEVARRO ? NIGHT

      CHARLIE and the hundreds of shards of glass begin to advance on to LEIGH.

      Slow motion. No sound.

      CHARLIE versus LEIGH.


      CUT TO ? NEW YORK
      ROOM 19 ? INT.HOTEL DEVARRO ? NIGHT

      The men continue to move towards eachother in slow motion. It's been a long time coming. There's still no sound.

      XAK versus CHRISTIAN.


      CUT TO ? UNKNOWN
      CARGO HOLD ? INT.PLANE ? NIGHT

      The camera closes in on the bomb?


      CUT TO ? NEW YORK
      GRAND STAIRCASE ? INT.HOTEL DEVARRO ? NIGHT

      SIN stops halfway down the stairs. She looks up towards Room 19; XAK and CHRISTIAN. She then looks down to the banquet hall; CHARLIE and LEIGH. Finally she looks up at the sky; the bomb.

      SIN: If I do not intervene my plan could fade, and yet I haven't time?

      She looks at the walls as if seeking an answer from the building itself. Asking the ghosts in the walls what she should do. She gets her response?

      CUT TO BLACK

      END OF ACT TWO

      Comment


      • #4
        ACT THREE

        OPEN ON ? NEW YORK
        BANQUET HALL ? INT.HOTEL DEVARRO ? NIGHT

        LEIGH stares at CHARLIE who reciprocates. Neither one of them says anything. CHARLIE looks either side of her to the shards of glass and nods her head slightly. In an instant, the glass soars towards LEIGH. As it approaches, LEIGH doesn't close her eyes; she watches her torture. However, what she doesn't see, is the glass has stopped. Inches from her body. She looks through the glass confused at CHARLIE who also looks confused as to why the glass has stopped. For a moment both of them do nothing, but then CHARLIE attempts push further with all her mystical might. Instead of pushing it further, the glass disintegrates and falls to the floor as sand. A woman's laughter can be heard off screen.

        CHARLIE and LEIGH turn towards the door, it's SIN. Her arm is out stretched. She stopped the glass, she turned it into sand?she saved LEIGH'S life.

        SIN: Wow?

        CHARLIE looks at her nervously, remember their meeting earlier this evening. SIN looks from CHARLIE to LEIGH.

        SIN: Miss Sinclair, don't you have somewhere to be?

        LEIGH looks at SIN, who stares at her expectantly. She briefly looks at CHARLIE and smirks happily. She jumps up and runs towards SIN. CHARLIE doesn't notice, keeping her eyes transfixed on SIN. Before leaving the hall, LEIGH turns back to CHARLIE.

        LEIGH: Catch ya soon chick, it's been fun?

        With this she leaves the hall leaving SIN with her mother. CHARLIE gulps slightly, but remains confident.

        CHARLIE: It doesn't have to be this way Sin. What happened earlier can be forgotten. I can help.

        SIN begins to walk slowly towards her.

        SIN: (ignoring her) You've made this so difficult. All of you.

        CHARLIE looks confused.

        SIN: I thought it would be so simple. Such a small world would not be hard to conquer, many have done so before, many without the powers I possess, but things are not going according to plan.

        CHARLIE: That's the things with plans?they can never be guaranteed. Nothing's set in stone.

        SIN: I agree. But should that change the belief people have in certain restraints? Religion, hope, dreams?they're plagued with doubt and inconsistencies and yet they remain prominent in people's lives. I will not wane because of your doubt?

        CHARLIE shakes her head in disbelief.

        CHARLIE: There's nothing I can do to save you is there?

        SIN: And I see now?there's nothing I can do to save you.

        They look one another up and down for a moment, pausing. They know how this is going to go down.

        CHARLIE: I'm not going to kill you?I refuse.

        SIN: Then you have already lost this battle, and this war.

        With this SIN pulls her hands and thrusts them towards CHARLIE emitting a powerful continuous flow of black energy. CHARLIE'S eyes widen and holds her hands up to create a shield. She cowers as SIN stares at her maniacally, advancing towards her mother's shield, watching it slowly wilt into thin air.


        CUT TO ? NEW YORK
        ROOM 19 ? INT.HOTEL DEVARRO ? NIGHT

        With it being revealed that SIN has intervened with her mother once more, the fight between XAK and CHRISTIAN is about to commence in full force. XAK and CHRISTIAN approach each other, enraged and fists raised; slow motion.

        Time resumes.

        They hit one another with equal force. CHRISTIAN soars back out of the room into the corridor, hitting and the wall. XAK however stumbles back and falls backwards. He looks behind him, realising that the hole in the wall is but an inch away from him. He tries to steady himself, but he almost topples backwards?out of the building?

        CHRISTIAN notices and stands.


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

        CATE looks around confused, then looks at the BOY who continues to cry.

        CATE: Kid?

        He looks at her, and backs up further into the wall, sliding down it scared. CATE puts her hands out peacefully.

        CATE: Woah?ok I'm not gonna hurt you.

        He continues to sniffle and not reply to her, however his breathing and panic slows down. She takes this as a sign that she can move closer. She steps slightly closer.

        CATE: I just need to ask you a few questions?

        The BOY doesn't respond, he looks up slightly; he knows he's alone with her.

        CATE: Is that ok?

        He looks up at her slowly. He looks into her eyes and notes her soothing aura. He breathes slowly, and as he does, he nods. CATE edges closer now.

        CATE: Where is everyone?

        The BOY looks up at her, scared.

        BOY: My family?

        She looks confused.

        CATE: Uh, sure?

        BOY: They left. They were worried you'd be coming, coming to ruin it all?but I didn't see where they went?

        She kneels in front of him.

        CATE: And now you're all alone?

        The BOY nods in response. CATE breathes deeply.

        CATE: I need answers?I need to know what's happening in this club?

        BOY: I can't, I'll get in trouble?

        She looks at him determined. She was right to trust her instincts; something was up in Sirens. DELILAH'S death was not innocent, and it certainly wasn't a mistake.

        CATE: (softly) A girl is dead, and for all I know she could be the first of many. You don't want more people to be hurt do you?

        The BOY doesn't respond, he just looks at the floor.

        CATE: I just want to help?I have to ? I (with emphasis) have to help.

        With these words she stops. She looks at him expectantly, but he doesn't look at her. He looks to his right?to the door.

        BLACK'S office.


        CUT TO ? NEW YORK
        LOBBY ? INT.HOTEL DEVARRO ? NIGHT

        LEIGH hurries into the lobby, entering from the door that CHARLIE went through earlier after her encounter with XAK. LEIGH looks around panicked slightly, she couldn't deny the fear she felt. She looks around worried then looks towards the bar; the gun on the floor, the documents, maps of the building. She hurries towards the bar.


        CUT TO ? NEW YORK
        BASEMENT ? INT.HOTEL DEVARRO ? NIGHT

        LANCE is sat leaning against the wall, sweat pouring down his face, mixing with the tears he cried, breathing deeply in pain. DANTE is inspecting the wound.

        DANTE: Don't worry, I'm good?you'll be fine.

        LANCE doesn't reply, he continues to just look ahead. DANTE notices, and decides to help further. He rips one of the sleeves off his uniform and begins to fashion a bandage out of it, and begins to tie it around LANCE'S leg.

        DANTE: That should do ya?

        LANCE: (quickly, interrupting) Do you think he suffered?

        DANTE looks at LANCE, surprised and not expecting a response. He knows who LANCE means. He doesn't know how to reply.

        DANTE: (awkwardly) Uh?I doubt it, it all happened so fast.

        LANCE nods.

        LANCE: (optimistically) I hope so?

        There is another pause now.

        LANCE: Is she ok?

        DANTE: Not so much on all accounts, not that I'm kept in the loop much about anything.

        LANCE: Then why are you here? Guilt?

        DANTE laughs slightly.

        DANTE: Couldn't tell ya even if I knew. It's just one of those things I had to do.

        LANCE: Yeah, well, I suppose most of this is your fault.

        He turns to DANTE, who sighs deeply, and regretfully.

        DANTE: It is, which is why I gotta make it right.

        He now turns to LANCE, looking at him seriously.

        DANTE: Which is why I can't kill you, I'm sorry. Too much blood has been spilt already?

        For a moment they make eye contact, in understanding of one another; the need to fade away, no category to fit into. LANCE breaks the look and looks to the floor.

        DANTE: ?Besides, I don't shoot to kill.

        He smiles at LANCE reassuringly. LANCE looks up, and smiles back slightly.


        CUT TO ? NEW YORK
        BANQUET HALL ? INT.HOTEL DEVARRO ? NIGHT

        CHARLIE tries to maintain her barrier as best she can. She clearly is in pain trying to maintain it however. SIN advances closer, effortlessly demolishing her mother's spell.

        SIN: Enough?

        With one final push and surge of magic towards CHARLIE, the barrier between SIN'S spell and CHARLIE dissipates, and the spell hits CHARLIE with full force, she is forced in an unwitting spin towards the back of the room. She slams into the wall, and hits her head on a sconce. She collapses to the floor, a deep cut on her forehead. The blood pours over the left side of her face and she is in clear pain. SIN looks upon her curiously, as CHARLIE, dazed, looks up towards her.

        CHARLIE: (weakly) I won't give up on you?

        SIN: You should, I do not require saving. You do.

        With this she flicks one of her fingers up wards and CHARLIE stands up. She then begins to float off of the ground, she seems to be struggling to breathe, and she grabs her throat. SIN walks closer and looks her in the eyes.

        SIN: Accept me for what I am.

        CHARLIE: I can't?

        SIN: Then this is where we shall part paths, and this time?

        She tightens her mystical grasp on CHARLIE'S neck.

        SIN: ?I shall succeed.


        CUT TO ? NEW YORK
        ROOM 19 ? INT.HOTEL DEVARRO ? NIGHT

        XAK continues to struggle maintaining his balance. He looks at CHRISTIAN who is now stood, and hurrying towards him. He knows he only has a few seconds before CHRISTIAN can knock him off his feet, pummelling to the outside below. He notes a loose chain hanging nearby. He grabs it and pulls himself forwards. He flips over CHRISTIAN and kicks him square in the back, so it is in fact CHRISTIAN who falls through the hole. XAK quickly turns around, and instinctively grabs him by the back of his shirt. He looks up at XAK holding on to him, who reciprocates clearly confused whether or not to let go or hold on.

        CHRISTIAN: What's it gonna be Xak? Kill or be killed?trust me?

        XAK: What do you mean?

        CHRISTIAN: Wolfram and Hart are gonna bomb the building?any second now Hotel Devarro will be blown to hell.

        XAK'S face drops, a mixture of emotions filling him.

        CHRISTIAN: So you can either fight with me?or let me go and save your friends?

        XAK looks at CHRISTIAN then at his own hand holding on to CHRISTIAN; should he commit murder just to save his friends?


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

        CATE continues to stare at the door to BLACK'S office. Her answers lie in there.

        CATE: (while still looking at the door, to the BOY) In there?

        She turns back to the BOY. He is gone. She looks around incredulous, but he is no where to be seen. She stands slowly and nervously walks towards the door to BLACK'S office, taking note of the name on the door.

        CATE: Lord Chancellor?


        CUT TO ? NEW YORK
        BLACK'S OFFICE ? INT.SIRENS ? NIGHT

        She pushes the door open, the light is off as always. She reaches for a light switch and finds one. A dull artificial light fills the room with a warm glow. She looks around at how small the room actually is, it only has two things in it; a security panel, and a chair. The room is empty of any life, and anything else. She looks behind once more to check she isn't being followed or watched; she isn't. She sits at the chair.

        She begins to observe the monitors and notes that they're all looking at different areas of the club. The dancefloor, the bar, the entrance, even a camera on the door CATE entered by, which is currently showing JESSE stood by himself near the door looking nervous. She then casts her eye over to the monitor showing the camera pointed at the door where DELILAH'S body was found. She looks at the operational panel and selects the monitor number associated with that camera. She presses rewind.

        Various women socialising. FARAH and LEO stood in the corridor talking, FARAH smiles. CATE talking to them. TUCKER taking DELILAH'S body. CATE finding the body. Then nothing. The door is closed for a long time, then it happens?we see how DELILAH MOORE was murdered.

        CATE stops rewinding, she presses play.

        Vampires. Two of them feasting off of her body. Her face distorted in pain, gasping for breath. The vampires then bite their own lips to make them bleed. It is then that they both take it in turn to kiss DELILAH on her lips?turning her. The vampires break away, letting their identities be revealed?

        CATE breathes heavily; horrified.

        CATE: Oh my god?

        The vampires, the ones who murdered DELILAH in cold blood;

        FARAH FLUX and LEONARDO ESPOSSITTI.

        CUT TO BLACK

        END OF ACT THREE

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        • #5
          ACT FOUR

          OPEN ON – NEW YORK
          ROOM 19 – INT.HOTEL DEVARRO – NIGHT

          XAK, despite knowing that what CHRISTIAN has told him means he’s in a state of exigency, holds on to the assistant.

          XAK: (shouting) What do you mean?! What bomb?

          CHRISTIAN: As in the big bad booming metal kind?

          XAK: (infuriated, roaring) Why?!

          CHRISTIAN: Oh come on. Everyone in this building has screwed them over at one point. We’re just sitting ducks and they’ve got the rifle. We’re toast.

          XAK: You might be…

          With one burst of strength and adrenaline, XAK heaves CHRISTIAN back through the hole and hurls him against the room. He hits many of the chains and injures himself, but eventually slumps to the floor, a feeble mess. XAK doesn’t waste a moment more with him.

          CHRISTIAN: (weakly) You should have killed me…

          XAK: You may have resigned yourself to death, but I haven’t.

          With this XAK hurries towards the door. CHRISTIAN looks up at him.

          CHRISTIAN: Wait…

          XAK stops and looks back.

          CHRISTIAN: …You can’t stop the bomb, but you can stop her…she’s going to kill you all.

          He’s not sure why he felt the need to say this to XAK, and he’s not sure why XAK listened, but in that brief pause before XAK fled the room he wanted to tell him.


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

          XAK sprints through the corridors of the old hotel, ignoring the woeful taunts of the ghosts hidden in the walls, heading for the doors on the ground floor lobby he saw CHARLIE exit through…


          CUT TO – NEW YORK
          BASEMENT – INT.HOTEL DEVARRO - NIGHT

          DANTE is now leaning against the wall of the basement, sat next to LANCE. They both look to be deep in thought and to be coming to no conclusions.

          LANCE: What happens now?

          DANTE: I honestly don’t know.

          He breathes softly and looks up at the ceiling.

          DANTE: Guess it all depends on what’s going on up there.

          LANCE nods, agreeing.

          LANCE: Yeah, I guess it does.

          DANTE: It’ll be ok…One day, it’ll be ok.

          There is another pause while DANTE and LANCE repeat these words in their heads, affirming the vague hope behind them.

          LEIGH (O/S): I wouldn’t be so sure of that…

          Both DANTE and LANCE turn suddenly to see LEIGH stood their holding another gun. She looks at them both shakily. Her nerves, confidence and courage shaken by her encounter with CHARLIE. The men widen their eyes in shock, not expecting her presence, let alone being held at gun point.

          DANTE: (starting to stand) Leigh…

          Her hand begins to shake and she holds it towards DANTE.

          LEIGH: Don’t!

          He stops dead in his tracks. She looks maniacal, desperate.

          LEIGH: No one’s leaving here alive. No one…no one can leave here.

          Horror washes over the men as the reality of the danger they’re in fills them. The hope that they could live a normal life, which they had let themselves blindly believe for the past few minutes, was torn away, and all that was left was the gun.


          CUT TO – NEW YORK
          BANQUET HALL – INT.HOTEL DEVARRO – NIGHT

          Choking. She can’t breathe and her daughter won’t let her go. Her very life being pulled from her, just like SIN’S life had been pulled from hers all those months ago. However it is not without pain, a sense of undeniable regret and restraint seems to be forming on the young woman’s face and through the reddened face of her mother, it does not go unnoticed.

          CHARLIE: (with the last of her energy) Remember…please…

          And with this final plea, SIN stares into her mother’s eyes…the camera moves into CHARLIE’S gaze…


          FLASH TO – SUNNYDALE
          CROSSROAD – EXT.SUNNYDALE STREETS – NIGHT

          The colours on the screen are blurred, as is the whole image, it looks static. XAKIEL is forming in front of CHARLIE; the night of The Bronze Ball, and the night that SIN saved her life.

          CHARLIE: Xak…baby?

          He roars at her. She loses her breath, the force is so strong. He glares deeply at her, and then he growls deeply, a message of doom. CHARLIE closes her eyes.

          CHARLIE: (whispering) I love you…

          She clutches her stomach. The camera cuts to XAKIEL, his neck leans back and then shoots forward causing a giant funnel of fire to emit from deep within his throat. The flame thrower of heat consumes CHARLIE and the camera shows her screaming in thick black smoke. The same image GLORY showed XAK all those months ago. Another woman’s scream can be heard.

          All is quiet.


          FADE TO – SUNNYDALE
          BATHROOM – INT.XAK’S APARTMENT - AFTERNOON

          The colours on the screen are blurred, as is the whole image, it looks static. The silence from the streets of Sunnydale, and that fateful night is replaced by the sound of heavy breathing can be heard as the camera comes into focus with CHARLIE leaning against the sink. One hand bracing herself on the basin itself, gripping tightly. The other has one finger pointed, touching the mirror. Her eyes begin to regain focus and she notices her finger touching the mirror. She looks at the mirror, and in shock she gasps. She recoils, putting her hand to her mouth.

          CHARLIE: Oh my god…

          The camera pans around to the mirror. In her breath on the mirror, a message is written…

          I’m sorry. I didn’t want to scare you, I just wanted you to know. There are bad people, and I won’t let them hurt you. See you soon.


          FLASH TO – NEW YORK
          BANQUET HALL – INT.HOTEL DEVARRO – NIGHT

          As the camera pulls away, but this time not from CHARLIE’S eyes, but from SIN’S, the colours return to normal. Both mother and daughter united by the bond they shared which can be severed. SIN looks in shock. She releases the mystical grip on CHARLIE, allowing her to collapse to the floor, incredulous. She breathes almost as heavily as CHARLIE does; both gasping for air.

          SIN: (furious) What dark magicks is this?

          CHARLIE: (breathless) No…magic…just…memories.

          SIN: (screaming, infuriated) I cannot feel such mortal restraints!

          CHARLIE looks at her resolute.

          SIN: So this is it. The bond. I will find a method to defy it. No such noose is forever…

          With this, SIN looks up, hearing the approaching plane. She panics, robbed of her mother and father’s murders and throws herself through a nearby window on to the streets of New York. CHARLIE looks at her fleeing; stunned.

          XAK (O/S): (shouting) CHARLIE!

          She looks to the door from which XAK’S voice echoed. She stands, now regaining her breath more, and sensing the urgency. She hurries towards the door.


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

          XAK is running from the top of the stairs in the lobby of the hotel.

          CHARLIE enters from the door she left through earlier, the door XAK was running to. They catch each other’s presence with their eyes almost instantaneously. They run to eachother, but are too late.

          And that’s when it happened…


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

          CATE stares at the screen horrified, the screen paused elucidating the blood dripping from FARAH and LEO’S lips. She panics. She fumbles through her bag for her phone and finds it. She opens it and dials CHARLIE’S number. She’s just about to hit “call” when something catches out of the corner of her eye.

          The monitor showing JESSE guarding the door. He’s gone, and all that’s left is a blood stained hand print on the wall…

          She looks at her phone, where her friends can help her. She closes it, resolute and breathing heavily a mixture of rage and desire to be on her own. She pockets her phone into her bag and runs out of the room.


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

          The sound of rushing high heel shoes descending the stairs to BLACK’S office and inner sanctum can be heard. CATE re-enters the corridor. She looks at the blood stained hand print and then looks down the empty corridor. No other sign of a struggle, and no other clue to what happened; except one. The fire exit on the opposite side of the corridor is open, and swinging in the breeze.

          Instinctively CATE hurries towards the fire exit and rushes into the alleyway, blissfully unaware that the music has stopped.


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

          CATE stops in the darkness. She looks around the alley to see a longing emptiness, begging her to join. She hears a nearby groan.

          CATE: (cautiously, quietly) Jesse?

          The groan turns into a more powerful, meaningful moan in answer to what she has just said.

          She looks back at the fire exit, realising she could easily seek her solace elsewhere; but it’s not what she wants, it’s not what she needs. She needs justice. She needs revenge.

          She walks slowly further into the alley and turns a corner to where the moan came from. She stops as she turns, immediately seeing what she feared.

          CATE: Oh no…

          JESSE is slumped against the alley wall, on the floor, blood pouring from two puncture marks from his neck. He looks up at her weakly; fading.

          JESSE: (almost silently) Hi…

          She hurries towards him and puts a hand over his neck, placing her bag down next to him.

          CATE: (certain) You’re gonna be ok, ok? I’m gonna get you to a hospital.

          His head slumps slightly, as his life force seeps through CATE’S tight seal; it’s hopeless, they took too much. She looks helplessly at him.

          CATE: Jesse! Jesse, stay with me…(determined) you’re gonna be ok…

          FARAH (O/S): I dunno…

          CATE’S eyes widen as she hears the voice of the vampire coming from behind her. She doesn’t turn around but she does raise her head. The camera rotates to show the figure of FARAH in soft focus standing, lurking, in the shadows.

          FARAH: …I mean, I’m not one to analyze but it looks a lot like you’re trying to substitute your guilt for your fianc?e’s death by channelling all your strength into saving young Jesse here. It’s cute.

          CATE: (muttering, under her breath) Shut up…

          FARAH: Not sure how much good it’s gonna do him though, guess you just can’t save them all…

          With this CATE removes her hand from JESSE’S neck and stands up, enraged, turning to face FARAH.

          CATE: (shouting) I said, shut up!

          LEO (O/S): Now now…

          CATE pauses, breathing heavily, hearing LEO’S voice coming from behind her. Like his sister, he moves into the screen, but in the shadows and in soft focus.

          LEO: (firm) …There will be no raised voices. The children are sleeping nearby.

          FARAH: Yeah that and, it hurts my feelings.

          She laughs.

          LEO: Well of course, we can’t be having that.

          There is a small pause. In that moment, the atmosphere shifts, a darker more sinister presence fills the air in the alley.

          LEO: (shifting his tone in accordance to the atmosphere) Tell us what you know Cate.

          CATE looks down.

          CATE: (quietly) I don’t know anything.

          FARAH: (almost singing, melodic) She’s lying…

          There is another pause; to CATE, it lasts forever.

          LEO: (repeating in the same tone) Tell us what you know Cate.

          CATE pauses now deliberately, considering her options. What would it matter if she lied? What would it matter if she told the truth? As of last month, she has nothing to lose…

          CATE: I know you killed Delilah.

          FARAH: Bingo. So you know what we are?

          CATE: Scum of the earth? Yes.

          LEO: Take that tone with my sister one more time and I will mess with you in ways women wish they never could be.

          Again another pause causing CATE to breathe erratically.

          LEO: You know what we are?

          CATE: Yes…

          LEO: And how do you feel about that?

          CATE: Sick.

          FARAH sighs.

          FARAH: (to LEO) Black was right, she doesn’t understand.

          That name, CATE registers it; the door. LORD CHANCELLOR BLACK. Who was he?

          LEO: You know, that’s a shame. It may shock and dismay you Cate, but we’re not evil.

          CATE: You’re right, I’m shocked. And dismayed.

          FARAH: No seriously! We’re saving people…but not everyone.

          LEO: Only the lonely ones. The ones with no one to go home to. The ones who need our help.

          FARAH: The ones who need a family.

          LEO: Black can give them that. Just as he gave us that. A family to live, and love for eternity.

          CATE cannot believe what she’s hearing. Sirens wasn’t a club; it was an orphanage.

          FARAH: We wanted to help you too Cate. Your loneliness was calling to us. Your grief, screaming to come out. For a release, for freedom.

          LEO: But then you had to screw it up.

          FARAH: Curiosity killed the Cate…

          CATE: Well if you’d hidden Delilah’s body better, we wouldn’t be here, would we?

          There’s a small pause.

          LEO: Be that as it may, you rummaged and scrutinised every part of our lives and the running of Sirens. You’ve worked very hard to ruin everything…

          CATE: Shame on me…

          She knew she was testing their patience. It was thin.

          FARAH: (clearly annoyed) Did you tell anyone else other than Jesse?

          CATE: No.

          FARAH: Cate, now you know how my brother feels about lying. I’m just as intolerant. Please just…

          CATE: (sincerely) No one else knows. Jesse didn’t even know everything.

          LEO: Hey now, let’s not get testy. We’ll take your word for now. However…

          The camera opts for a bird’s eye view of the alley, showing FARAH and LEO slowly sauntering towards CATE from either side.

          LEO: …All threats to our family are expendable, regardless of how much they know. So unless you want more people die…

          CATE: (repeating) No one else knows…

          FARAH: Well then. Guess that just leaves you. All on your own…to die.

          As the siblings move out of the shadows, closer to CATE we can see their true faces, and so can CATE. Complete with bumpy forehead, razor sharp incisors, yellowed eyes; they advance. Throughout…CATE looks down, knowing what they are, what they will do, how bleak this looks for her.

          FARAH: It’s a shame as well. I really liked you Cate…we shared…so much.

          LEO: She’s right Cate. You would have been a perfect sister for us.

          FARAH: But you see the thing is, we save people who have been forced into loneliness, like us, and Del. It was like a disease that rotted us from the inside out until all that was left was a shell.

          LEO: (with disgust) But you…you rotted yourself out. You want to be lonely because all you see around your friends is grief and you can’t bear going through the motions yourself…

          CATE: (quietly) You’re right…I do want to be on my own. I am lonely.

          The camera cuts to her hand. She’s fondling something, rubbing one of her fingers. Her ring finger, and the engagement ring that is encircling it endlessly.

          Then…the image came to her.


          FLASH TO – SUNNYDALE
          TABLE – INT.BRONZE - EVENING

          The colours on the screen are blurred, as is the whole image, it looks static. The camera pans around the club, which is thriving for a weekday, lots of people are wandering around the club laughing and enjoying themselves.

          Eventually the camera passes to a smiling CATE. She’s with XAK, CHARLIE and TOOLE. They have various drinks on the table in front of them and they are smiling, enjoying one another’s company. TOOLE is wearing a smaller bandage on his head.

          The scene echoes the opening scene of “1.07 – Clique”, when things were normal, when they were together, and when they were happy.


          FLASH TO – NEW YORK
          ALLEY – EXT.SIRENS – NIGHT

          The colours return to normal as CATE looks up at FARAH in front of her.

          CATE: (quietly, continuing) But I’ll never be alone.

          FARAH smirks.

          FARAH: We’ll see…

          With this, the siblings advance towards CATE, but she smirks, ready. The finger and hand fondling her ring now clenched into a fist. FARAH is the first to approach her, and CATE punches her in the face. FARAH is stunned not expecting CATE’S strength to be so high. FARAH flies back into some trash cans.

          LEO advances now and CATE grabs him and flips him over so he lands on top of his sister. He shares FARAH’S stunned gaze.

          FARAH: You freak, how dare you…

          LEO stares at CATE, feeling a sense of fear slightly.

          LEO: She’s one of them…

          FARAH’S realises.

          FARAH: A Slayer?

          CATE smirks looking at them.

          CATE: Did I forget to mention? Bad on me.

          LEO: No big deal…so was Del.

          FARAH laughs.

          FARAH: And we had no problem with her, even got a little trophy to remember our first Slayer! Funny how your kind are feeling so lonely recently? Must be something in the water…

          CATE’S courage and strength does not waver. In fact her determination rose, and she had already seen LEO’S fear, his sister was no different.

          CATE: Is this how you killed Delilah? Weak retorts?

          Infuriated and enraged at CATE’S lack of respect to his sister and their cause, LEO jumps to his feet

          LEO: You saw the footage darlin’. So now we’ve shown you ours, (whispering) you show us yours…

          Before he allows CATE to answer, he lunges at CATE with a left hook, but she leans back avoiding the punch. He spins around and punches her with his other fist. This time his punch lands on CATE’S face, causing her to fall to the ground sideways. FARAH laughs, and LEO goes to kick her in the face, but she rolls out of the way and pushes herself up to her feet.

          LEO: You know the funny thing about Slayers? A part of them wants it. To feel the teeth sinking into their skin, the release it gives them.

          CATE: Thought you weren’t evil?

          LEO: I’m not, but I’m still into all sorts of nasty things sweetness.

          CATE: So I’ve heard.

          He growls angrily at this and advances towards her. He tries to land a punch once again, but she recognises his move and she grabs on to his arm and smashes it over her knee, snapping his arm backwards, causing him to roar in pain, she lets him fall to the floor as he writhes in pain.

          CATE looks at him, feeling accomplished but before she has time to finish LEO, she is tackled by FARAH, who pins her to the ground. FARAH punches her repeatedly in the face.

          FARAH: You bitch, how dare you!!

          FARAH continues to punch her in the face, but CATE soon retaliates and holds FARAH’S fist in a tight grip. In one swift movement CATE headbutts FARAH in the forehead and then kicks her off, so she flies back into the wall opposite her.

          LEO (O/S): That’s one good thing about being human-esque.

          CATE turns around and sees LEO standing behind her.

          LEO: You get two arms…

          He clenches his fist with his good arm and uppercuts CATE’S chin, sending her crashing into a nearby metal door. She recoils in pain. This wasn’t easy. Two experienced vampires, against her, she needed some hope, some sign that she could win this. And that’s when she saw it.

          Where LEO was lying, something had fallen out of his pocket, the trophy FARAH referred to earlier; a trophy from the deceased DELILAH. It was her stake, engraved with the initials, “D.M.” – DELILAH MOORE. CATE saw her goal, and seized the opportunity. Ignoring the pain and the bloody tears on her dress, she leaps to her feet. FARAH and LEO were now both stood up and facing her, looking smug.

          LEO: Don’t you get it Cate? You can’t win…you have the possibility of beating us sure, but you cannot win.

          FARAH: We’re family, and that lasts forever…

          This was the only thing the three of them had in common; the hope that when something or someone died, it is in fact just born into another level of being. For a moment, CATE pauses, then…

          CATE: I hope it does…

          The next instant happened in a blur. She flips over the siblings and seizes DELILAH’S stake. With one rapid movement, before they have a chance to respond, CATE stakes FARAH in the back, and then spins around and stakes LEO in exactly the same spot as his sister. Both of them gasp, but they don’t cry. They look at one another, and smile. Even though they have been beaten, and their family could die, they will fade together. The reach to hold each other’s hands, but as they do, their skin transfigures into dust, and they leave this world, an eerie fragmented echo of the people they used to be.

          CATE stands before the mounds of dust, victorious, but not happy or pleased in any way. She looks down and torrents of silent tears begin to fall down her face, mixing with the ashes of FARAH and LEO below.

          CATE: (whispering, echoing) I really hope it does…

          She had got her revenge, she had got her justice; she was unfulfilled.

          Realising she has gone to far in her sorrow this time; further than she had done in the past month, she stops herself abruptly, wiping away her salted grief from her eyelids and cheeks. She looks down at DELILAH’S stake, wondering what to do with it.

          Instinctively she moves over to where JESSE is lying. His head drooped over his torso, his blood has stopped flowing. He has passed. She does not cry for him, but she prises his fingers open and places DELILAH’S stake into his hands.

          She sighs softly and looks at her bag placed next to JESSE’S body. Inside her phone is flashing; the voicemail CHARLIE left her, set on a ten minute loop to remind her it was still there; unheard. She reaches inside and opens the phone, activating her voicemail. She listens to what CHARLIE’S saying, her eyes widen. After the voicemail is finished, she closes her phone and looks down, wondering what to do.

          Killing LEO and FARAH left her emptier than before, she had let them kill two others that night. And now her friends were in mortal danger as they sought out the girl who murdered her fianc?e…

          She glares deeply and then stands, running in the directions CHARLIE had given her over the voicemail; the direction of Hotel Devarro.


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

          LORD CHANCELLOR BLACK is stood in the doorway to his office, he is breathing heavily, infuriated and almost incredulous that someone would disrespect him by breaking into his office and violating his privacy. The sound of approaching footsteps causes him to now turn around to see that it is the bouncers, A.J and TUCKER, walking up to him. They look nervously and bow in honour. BLACK looks at them curiously.

          BLACK (to A.J) Mr Nelson… (to TUCKER) Mr Wanes… (to them both) Tell me of Ms Rittle’s demise…

          A.J and TUCKER exchange a glance, and then A.J turns back to BLACK.

          A.J: My Lord…I’m afraid Farah and Leo did not succeed.

          BLACK: Meaning?

          A.J pauses before he replies.

          A.J: They’re dead.

          BLACK grinds his jaw, but doesn’t seem to change his emotions.

          BLACK: Retrieve their ashes, I wish to keep them.

          A.J: Of course.

          With this TUCKER bows once again and turns, walking towards the exit. A.J is about to follow when he is stopped by BLACK.

          BLACK: Rouse Ms Moore, and I will need validation on the status of Mr Reed. I will need all I can for this family to rise victorious in the upcoming wars. I have chosen our side…


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

          BLACK (V/O): (echoing) We must await the call.

          The camera shows the exterior of Hotel Devarro. In tact, to its fullest.

          CATE runs on to the scene. She looks at the building, and breathes deeply wondering what is going on inside the building. As she begins walking towards the building she hears a familiar shout; XAK’S voice, calling to CHARLIE. CATE looks confused, but then she sees a woman jumping through a window; SIN. The young woman rolls across the ground, ignoring the glass piercing her skin and stands. Without looking at CATE, she runs away down an alley next to the Merrett Inc. building. CATE knows who this woman is, and glares at her disappearing figure with a vigorous rage.

          Instead of walking towards the building, she now runs after SIN. However…

          As she begins to move, the sky erupts above her, causing her to look up. A plane has passed the building, and the sound of an object falling can be heard.

          Before she has time to cover her eyes, before she can move out of the way, before she can stop SIN, and before she can protect anyone and discover her solace…the bomb hits Hotel Devarro.

          SONG: MIKA – ANY OTHER WORLD

          The music begins as soon as the bomb impacts, causing the building to explode partially; a crater forming in the roof. Large chunks of the roof fall down on to the ground, and one of the chunks barrages a lamp post causing it to smash CATE across the floor, and pinning her to the sidewalk. She coughs and gasps for breath, unable to move; her only option to watch the many floors of the building collapse on to one another. (The music below plays throughout)

          'Cause it's all in the hands of a bitter, bitter man
          Say goodbye to the world you thought you lived in…



          CUT TO – NEW YORK
          ROOM 19 – INT.HOTEL DEVARRO – NIGHT

          CHRISTIAN lies on the ground staring blankly at the ceiling. As the bomb hits he closes his eyes and breathes deeply. The room reverberates and he finds himself and the chains plunging through the building silently as he makes no sound.


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

          CHRISTIAN crashes through the ceiling of the bar, and lands on the ground, as the ceiling and various furniture lands on top of him, layers and years of construction and decoration covering him until all that can be seen is a weak hand protruding from the debris. (The music below plays throughout)

          Take a bow, play the part of a lonely lonely heart
          Say goodbye to the world you thought you lived in…



          CUT TO – NEW YORK
          BASEMENT – INT.HOTEL DEVARRO - NIGHT

          Now the gun didn’t matter. The ceiling falls in on them, in two large hollows as the ceiling splits in two. LEIGH is forced nearer to the door, hitting her head on the stairs and the gun flies out of her hand, crushed and destroyed under the rubble. DANTE and LANCE are forced in the other direction and LANCE’S leg is trapped under one of the rocks, and he screams in agony. While DANTE is thrown to the wall and his shoulder is skewered by a pole which falls through the ceiling and he is stapled to the floor. Their screams are loud, but they might as well have been silent; through the destruction they are not heard. (The music below plays throughout)

          To the world you thought you lived in
          To the world you thought you lived in…



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

          XAK and CHARLIE hurry towards each other as the building falls in slow motion around them. The staircase collapses as XAK rushes down it, out of the corner of his eye he sees CHRISTIAN crashing through the bar ceiling; he does not care. His goal is CHARLIE, but she is too far.

          CHARLIE rushes to the staircase, feeling his desperation and reciprocating. She needs to get to him, she needs to find out what he wanted to tell her. What she wanted to hear. But he is too far.

          Only a few feet from one another…darkness corrupts the room. (The music below plays throughout)

          Say goodbye to the world you thought you lived in
          Say goodbye to the world you thought you lived in
          Say goodbye…



          CUT TO – NEW YORK
          ROOF – EXT.MERRETT INCORPORATED – NIGHT

          And above them all SIN stands. Her dress flowing in the echo of the demolition. She leans forwards, looking down curiously at her roots below.

          She had to make sure. She had to watch. The lights had just gone out in all the disappearing windows. There were no screams, there was only relief. She smiles. (The music below plays throughout)

          In any other world…

          FADE TO BLACK

          …You could tell the difference.

          END OF EPISODE


          Cast:
          MILO VENTIMIGLIA as XAK THORN
          ALEXIS BLEDEL as CHARLIE ADRASTOS
          AMANDA SEYFRIED as CATE RITTLE
          CHRIS EVANS as DANTE TURNPIKE
          CHAD MICHAEL MURRAY as LANCE EMORY
          and SUMMER GLAU as SIN

          Special Guest Stars:
          AMANDA NORET as DELILAH MOORE
          NIKKI REED as FARAH FLUX
          RACHEL MCADAMS as LEIGH SINCLAIR
          JULIAN RHIND-TUTT as CHRISTIAN MCARTHUR
          JOHN TURK as TUCKER WANES
          JACKSON RATHBONE as LEONARDO ESPOSSITTI
          RYAN HANSEN as JESSE REED
          JORDAN MARDER as A.J NELSON
          MALCOLM MCDOWELL as LORD CHANCELLOR BLACK

          Special Mention:
          MIKA – ANY OTHER WORLD
          Last edited by Lex; 17-08-09, 07:03 PM.

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


            TRIVIA AND RANDOM FACTS FOR "3.02 ? EXIGENCY (PART ONE)"

            - Well what an episode! Basically this episode is a combination of two episodes. When I originally planned Season Three, I had originally planned everything that happened in this episode to be in 3.02 and 3.03.

            - The episode name comes from basically one single idea, an idea of panic and everything happening at once, which basically means the word exigency. I tried to in this episode to create this crescendo and build up effect, whether I was successful or not I cannot tell!

            - Quite a few deaths in this episode! Jesse, Farah and Leo, and also the possibility of many others in the demolition of Hotel Devarro!

            - I originally wasn't going to cast or make a character out of Jesse, but it's always fun to have a new character, oh and there's always the twist of whether Farah and Leo actually turned him into a vampire or not. And don't forget?Delilah is not dead anymore, she is the undead!

            - On the subject of Black, what is he the "Lord Chancellor" of? And what is his family fighting for? What is "the call" that they must wait for?

            - Ha, only noticed when re-reading the episode through, but Xak actually isn't in the whole of Act One. How strange, I never even thought about that! Probably the first time he wasn't in an act, not sure!

            - There is a piece of text in bold?it's VERY important.
            Last edited by Lex; 13-08-07, 06:13 PM.

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