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Shadow Stalker - 4.01 - Dead, Alive, Hello, Goodbye

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  • Lex
    replied
    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 always comment on the feedback! Thanks in advance!


    TRIVIA AND RANDOM FACTS FOR “4.01 – DEAD, ALIVE, HELLO, GOODBYE

    - So there you go. You know who’s alive, everyone! Even Sin. The only big death in 3.17 was Kaia’s really. So what do you think about the survivor epic-ness? Sin? Lance(wheelchair), Ursula... Melody?

    - Petrina Rae is back. She’s so important to the “new era” of SS and she rounds of the complete-ness of the final cast of Season 4. So for those who didn’t see, the main cast for Season 4 is Xak, Charlie, Cate, Dante, Lance, Petrina, Sin and Sephy! Sephy has paid her dues and now I make her a main while she’s in a coma. MWAHAHA.

    - So the plot has begun, with the poor animals of Manhattan dying and Sephy being blasted to fathoms. What’s gonna happen? Who was the woman who Carl met? What’s his fate? Is Petrina linked to this? Is Sin?!

    - So we have some health concerns to think about now. Charlie and Lance... neither is going to end well may I just add.

    - I realise it’s an odd episode for a season opener but basically i wanted to literally start half way through almost of where the season would normally begin. You will find out slowly throughout the season what happened in the six months and how certain characters got to where they are now. By the halfway point of the season, you should have an idea of what went on. But what do you think? Do you like the new style? The songs? There’s gonna be quite a few in each episode now and the episodes are gonna be written a bit differently because of the big half a year gap between seasons so will it work or have I made a huge mistake?

    - A little plug to 3.17... LONGEST EVER EPISODE.

    - Just be prepared that now I’m well into my final year at University I will need some time to complete University work. The episodes will not be released in quick succession as before, especially with Sirens to write as well.

    - Ok so now 4.01 is out, I can finally reveal some stuff about Sirens. Basically it comes down to this: The Syndicate are moving to Cropley Shores to start a new, bigger army to help Xak’s fight against what’s coming. They will be joined by two new people and it’s going to be very interrrresting. I won’t reveal too much about it but basically 1.01 is called “Out Of The Curriculum” so give it a read, it’s gonna follow directly on from 4.01 and will follow alongside SS explicitly. As will SS with Sirens. I’m gonna release a new episode of Lex-Verse, (i.e SS then Sirens then SS etc) every four weeks, well, try to at least.. So 1.01 will hopefully be released Sunday 21st December.

    - Ok, now some info about 4.02. It’s gonna be a Petrina centric episode and will explain fully as to why she’s here. Who remembers Petrina? Not everyone will. I’ll give you a clue, go back and read the bar scene in 2.01 of SS. As you will have seen there was a little voiceover from Xak in this episode that was put over a few scenes. This will happen throughout Season 4 and I will use these voiceovers to explain missing information from the 6 month gap and the voiceover will be done by the character featured on that episode’s banner. So 4.02 will be done by Petrina.

    - I hope you enjoyed my loves. Shadow Stalker is back...

    Leave a comment:


  • Lex
    replied
    ACT FOUR

    OPEN ON – MANHATTAN
    ROOF – EXT.XAK’S APARTMENT – NIGHT

    XAK looks into her eyes, keeping his jaw clenched.

    XAK: Something’s happened...

    SIN: I haven’t moved.

    XAK moves slightly closer to her as she turns and looks down at the sidewalk below her.

    SIN: I haven’t moved. I see people moving, but I can’t move with them. I was going to kill them, I shouldn’t move with them. I shouldn’t move.

    XAK: Sin... We need to talk. Sephy’s in a coma, animals are dying...

    He moves closer but she shakes her head, clutching it.

    XAK: I know this is hard but I need to know, did you have anything to do with this?

    SIN turns now and faces him.

    SIN: (shouting) I haven’t moved!

    XAK is taken aback.

    SIN: I couldn’t hurt anyone because I have no powers. I have nothing. I can’t even concentrate with them talking to me all the time.

    XAK is now close to her.

    XAK: Are they still haunting you? The people you killed.

    She begins to cry.

    SIN: (whispering) They’re with me. All of the time.

    XAK: It’s natural to repent.

    SIN: Those poor souls. They all died. They were all murdered horribly... I watched them bleed, cry and I watched them look at me. I was the last creature they saw before I pulled their light away.

    XAK embraces her now with two hands on her shoulders. She shivers and recoils.

    SIN: Don’t touch me!

    XAK: I want to help.

    SIN: You can’t.

    SONG: KINGS OF LEON – COLD DESERT

    The song begins to play as she shakes her head, adamant.

    I'm on the corner waiting for a light to come on,
    That's when I know that you're alone.


    SIN: I have to pay for what she did. I didn’t kill them, she did: the thing that Wolfram and Hart created. I just watched, and for that I’m paying...

    She looks down and lets her tears clean the roof floor.

    It's cold in the desert water never sees the ground,
    Special ones walk on without sound.


    SIN: I just watched, and for that I can’t move...

    XAK holds on to her tighter.

    XAK: I know it was horrible. But there’s a reason I couldn’t kill you. You’re my daughter, Sin and it’s not going to be easy to get you past this and for us to move on but we will do it.

    She looks to him, scared.

    Told me you love me, that I’d never die alone,
    Hand over your heart let's go on,
    Everyone knowed it everyone has seen the signs,
    I've always been known to cross lines.


    XAK: But we can’t do it from out here.

    SIN: I can’t do it anywhere.

    XAK: I know it feels like that now, trust me... I do. I killed your mother, I know darkness.

    SIN: That’s different.

    XAK: Is it?

    She doesn’t know how to answer.

    I never ever cried when I was feeling down,
    I’ve always been scared of the sound.


    XAK: I promise I’m here for you. It won’t be easy but there’s a room downstairs and you cannot move there, instead of out here. Please, work with me. I need your help...

    She nods softly.

    Jesus don't love me no-one ever carried my load,
    I’m too young to feel this old.


    SIN: Ok. I trust you...

    She begins walking and he lets his arm loose from her shoulder but she puts it back around her.

    SIN: Don’t let go, please.

    He smiles weakly at her and holds her tightly with his hands. They move towards the entrance to the building.

    Nobody knows,
    Nobody sees.


    They weren’t enemies. They weren’t friends.

    Nobody but me.

    In this moment, they were father and daughter again.


    CUT TO – MANHATTAN
    LOUNGE – INT.XAK’S APARTMENT – NIGHT

    Everyone apart from XAK and SIN are in the lounge when CHARLIE enters with CATE. TRAFFORD looks to them both.

    TRAFFORD: How is she?

    CATE moves to him, sat on the sofa, and perches on his knee, placing an arm around him.

    CATE: I think she’s comfortable, we cleaned all the cuts and she’s resting. Now we just need her to wake up...

    CHARLIE: What could do that to a goddess?

    XAK (O/S): We don’t know.

    Everyone turns to see XAK standing in the doorway.

    URSULA: Xak...

    He pauses, but she senses he’s going to continue.

    XAK: There’s a lot going on in our lives now, a lot we don’t talk about much at all. Lance is in a wheelchair, Dante’s working for god knows what somewhere and now Sephy’s in a coma, the base is gone and something’s killing the city.

    Everyone looks guilty, but they’re not entirely sure why they feel guilt.

    XAK: It’s a lot to take in and we’ll find it hard to prioritise these things above what we’re going through ourselves because for six months we’ve relished in our self indulgence. And we deserved to do that, we’ve been through enough and I wouldn’t take away the fact that for six months we could live normal lives once again. But everything that’s happened recently has just shown we can’t do that completely, not yet... we can’t ignore that our fight isn’t over. And we can’t ignore what could potentially be our biggest asset...

    He moves aside to show SIN standing behind him. She looks nervous and briefly casts an eye around the room. The people in the room are taken aback and CHARLIE looks down, finding it hard to make eye contact with her. CATE shakes her head.

    CATE: Oh hell no... you’ve got to be joking.

    XAK: I’m not. I know it’ll be hard but we’ve done it before. Dante...

    CATE: Yeah well look how that’s working out...

    XAK: What about you?

    CATE: That was different!

    XAK: Because it was something else controlling you? How is that different to this?

    She bites her tongue now and TRAFFORD caresses her arm supportively. XAK looks to the rest of the room now.

    XAK: And then there’s me. I’ve killed more people than Sin ever did.

    They can’t argue with that.

    XAK: She wasn’t herself and for six months she has been paying for something she was forced to do.

    CATE: (quietly) I just don’t trust her Xak, how can I?

    XAK: I’m not asking you to Cate. I’m not asking any of you to. I’m just asking you to accept that she is not the murderer we all encountered last year.

    He gestures to the quivering woman beside him.

    XAK: She’s the little girl who used to adore us, who’s hair you used to brush and who we used to read stories to. I’m not asking you to forget what happened, I can’t and neither will she. But I just want you to one day accept her like you accepted me...

    Everyone is silent now and their silent haunts her. She looks at them all and sees all the people she killed. All the people close to them. She turns to XAK.

    SIN: (whispering) This is too much... I can’t...

    XAK: (nodding) Ok, go to your room if you want. Just not the roof, promise me?

    SIN nods and takes one last look at her distant mother before she leaves.

    There is a pause in SIN’S departure.

    XAK: I know this is hard guys. I know you probably doubt my decision to keep her alive, but I truly believe she can do good. But we need to be together on this...

    URSULA sighs.

    XAK: (continuing) Because I think something’s coming...

    URSULA: Xak...

    XAK: What?

    URSULA: You’re right, there’s things we don’t talk about, but you’re wrong when you suggest nothing is being done to prepare for the war to come, and you’re wrong when you suggest a physical alliance once again.

    XAK looks around the room, confused. His confusion ascends new heights when he realises that he is the only person in the room who is unaware of what URSULA is talking about...

    XAK: What’s going on?

    CHARLIE: They’re leaving...

    XAK: Who?

    CHARLIE: The Syndicate. They’re leaving tomorrow.

    He looks at them all. EA BROGAN, URSULA LAKE, ECHIDNA, TRAFFORD ARTAIR, ELISE ARTAIR and SHELTER ELM.

    XAK: Why?

    URSULA: We’re not abandoning you. We need a new start, and you need to lead without us. We assisted as we should have and now we are required elsewhere.

    XAK’S at a loss for words.

    TRAFFORD: We’re still gonna have your back man, we promise. We’re just not gonna be in Manhattan.

    XAK looks to CHARLIE and then to CATE and CARL.

    XAK: And you guys knew?

    CARL nods.

    CHARLIE: We just found out.

    CATE: It’s a good cause, Xak. If you knew more about it you’d be hard pushed to stop them.

    XAK looks to BROGAN now. His best friend.

    Everything was happening so fast.

    XAK: Where are you going?

    BROGAN looks up now, for the first time since SIN entered the room.

    BROGAN: Cropley Shores. We’re gonna be with Constance...


    CUT TO – MANHATTAN
    SIDEWALK – EXT.UPPER EAST SIDE – NIGHT

    XAK is sat once again on the steps outside the apartment complex. CARL exits the building and moves towards him. XAK looks to be contemplating the departure of his family.

    CARL: Bit of a bombshell...

    XAK: Yeah, you’re telling me.

    CARL: Is there anything I can do to help?

    XAK pauses and then realises. He turns to CARL.

    XAK: Yeah, go to Thailand.

    CARL looks confused.

    CARL: What?

    XAK: Go be with your daughter.

    CARL: I’m needed here, Tina doesn’t need me.

    XAK: I’ve got my friends, they’re my family. We’ll look into what’s happening together. Today’s been a lot to take in and if and if it’s taught me anything is that it’s the people who seem to need you the least that you have to help.

    CARL considers this.

    XAK: This isn’t your fault and I have asked enough of you. You did what no one asked and I have taken advantage of your help for too long.

    CARL: I want to help.

    XAK: I know, which is why the Syndicate are leaving. They’re trying to find people like you. But you’ve done enough. Live your life, live because your fight is over. Our fight isn’t done, but if it means that one day I can get Thailand... it’s all worth it.

    CARL smiles.

    CARL: You’re a good man Xak. I have no doubt you’ll do great things with those people.

    XAK: I hope so. They’re truly amazing.

    CARL stands now and begins walking down the steps of the apartment block.

    CARL: Better dig out that old passport then... It’s been collecting dust for too long.

    XAK: Good luck Carl.

    CARL: You too.

    XAK watches as CARL walks away into life. Envy.

    BROGAN (O/S): You ok?

    XAK doesn’t know how to answer.

    XAK: Will it help?

    BROGAN moves to sit next to XAK.

    BROGAN: The move? Yeah...

    XAK nods, accepting this.

    BROGAN: I killed her Xak. I murdered her.

    XAK hadn’t thought much about KAIA. It hurt too much.

    XAK: (pensive) She murdered herself, Brogan. She was a very hurt and destroyed woman...

    BROGAN: It doesn’t make it right.

    XAK: I know.

    BROGAN: Everyone’s so mad at Sin, but no one’s mad at me. (quietly) It’s ridiculous.

    XAK: I’m so sorry...

    BROGAN: I just believe in something again. Something good. I don’t want to fight evil, I want to fight alongside good.

    He looks at XAK now.

    BROGAN: Can you understand that?

    XAK: Of course I can... I’m just gonna miss you all, so much. You’re my family...

    BROGAN: We’ll miss you too.

    They look at one another and in that moment, the two leaders have a moment of clarity. They could do this.

    XAK: So go on, tell me what your mission is.

    BROGAN laughs weakly.

    BROGAN: You wouldn’t believe me if I told you...

    XAK: Try me.


    CUT TO – MANHATTAN
    ALLEY – EXT.UPPER WEST SIDE – NIGHT

    CARL cuts down an alley. It was the quickest way home, the quickest way to his passport. He hears a movement behind him. It sounds like a slither. He turns sharply.

    CARL: (defensive) Who’s there?

    He sees nothing and turns again. Something’s in front of him. He stops dead as he notes the figure is cloaked. The figure looks female. But not completely.

    FEMALE CLOAKED FIGURE: Mortal...

    CARL looks at her, he can’t see her face but as she moves closer he can. He gasps.

    FEMALE CLOAKED FIGURE: Stay away from the animals...

    His eyes begin to burn.

    FEMALE CLOAKED FIGURE: Or you’ll end up like that whore Persephone...

    She walks away and he struggles to breathe. He falls to his knees as he looks at his hands. They are grey. They are hard.

    They are stone.


    CUT TO - STOCK IMAGES
    SKYLINE – EXT.MANHATTAN – MORNING

    The camera shows downtown Manhattan and the sun rising over the vast heights of the skyscrapers. Morning was here.

    The morning after the night before.


    CUT TO – MANHATTAN
    DANTE AND LANCE’S ROOM – INT.XAK’S APARTMENT – MORNING

    LANCE is roused by the light that floods through the window. The curtains were already open, but it was so early. Too early. He looks around the room and to the empty space next to him.

    He’d gone, again. He was like a dream. He was like a nightmare.


    CUT TO – MANHATTAN
    SEPHY’S ROOM – INT.XAK’S APARTMENT – MORNING

    The camera cuts to SEPHY who is still lying unconscious in her bed. CHARLIE and CATE are lying either side of her.

    CHARLIE: Are you really ok with Trafford leaving?

    CATE nods.

    CATE: You know I think I am. I think we’re gonna be fine. I mean we did kinda end up living together by default, it’ll be nice to get some space I guess.

    CHARLIE looks over to her.

    CHARLIE: As long as you’re ok, and he is too, that’s all that matters.

    CATE smiles at her.

    CATE: What about you? I mean last night was a shocker...

    CHARLIE sighs.

    CHARLIE: I don’t know what to think. I trusted his decision to let her live but I guess I didn’t realise it meant dealing with her presence in our lives more permanently. (she pauses) It’s weird though, because if something is going down, I feel like I want her on our side.

    CATE looks surprised.

    CATE: Seriously?

    CHARLIE looks to her mother.

    CHARLIE: Look at what happened to my mom. What could be powerful enough to do that to her, and now this with the animals? We need allies...

    CATE: You think these things might be related?

    CHARLIE: It does seem unlikely that they happened near the same time for no reason. I’ve seen too much to be naive.

    A sense of dread washes over CATE. The Watchers Council... was it a coincidence? Or was she being naive? Could they have something to do with this?

    CATE: (quietly) Well, maybe she knew something and didn’t tell us... I mean it wouldn’t be the first time.

    CHARLIE: Maybe.

    CATE: Isn’t it scary it could be anyone from your family doing this?

    CHARLIE swallows dry fear.

    CHARLIE: Well if that’s the case, then we need Sin...

    CATE: No matter what the consequences are?

    CHARLIE: Right now... no matter what.

    CATE: I just don’t want you to be hurt like that again. Literally...

    CHARLIE: I know sweetie... I’ll be careful.

    CATE: Well I’ve got your back, you know that right?

    CHARLIE looks at her friend now. Should she tell her about what happened yesterday? When her head bled from her ears?

    CHARLIE: Of course. And you know I have yours.

    CATE looks into her friends. Should she tell her about what happened yesterday? When the letter arrived?

    CATE nods slightly.

    CATE: Of course.

    They lie back down now and stare at the ceiling, comforted by the maternal presence in between them both.


    CUT TO – MANHATTAN
    EMPTY ROOM – INT.XAK’S APARTMENT – MORNING

    SIN is sat in what appears to be her room. She sits on the edge of her bed in silence, listening to the sound of her own silence.

    There is a knock at her door. She turns, startled.

    SIN: (softly) Come in...

    The door opens and it’s XAK. He’s holding a mug of coffee.

    XAK: Hey, I thought I’d bring you some coffee.

    SIN: Thank you.

    XAK look around her room.

    XAK: Look at you, a mug of coffee and a room of your own. You’re already getting there.

    She takes the coffee from him and smiles weakly. He sits next to her.

    XAK: Did you sleep well?

    SIN: Not a bit. But at least it’s warmer.

    XAK nods. They pause, awkwardly.

    XAK: Just give them time...

    SIN shakes her head.

    SIN: I’m not sure it will help.

    XAK: You don’t know that. They will need time, all of us need time.

    He looks at her now. She looks down at her coffee.

    XAK: But things are changing, we’re going into new territory and I think everyone will agree in time that you belong there.

    SIN: I think you’re wrong... but I’ll do my best.

    XAK nods.

    XAK: You gonna come down and say goodbye?

    SIN: I don’t think so. But give them my best...

    XAK: I will do.

    He sighs and stands.

    XAK: Drink your coffee. I’ll check on you later.

    He walks to the door. SIN looks troubled about something.

    SIN: Xak...

    He shivers hearing her not call him “father”...

    XAK: (turning to face her) Yeah?

    SIN: I need to tell you something.

    He listens.

    SIN: When I told you that I was being haunted by the people who...

    She swallows.

    SIN: The people she killed. There’s one person who didn’t come to me.

    XAK looks confused.

    XAK: Who?

    SIN looks scared.

    SIN: She didn’t kill her. I made her make a deal with her and she stuck to it, I wanted her to disappear but she didn’t kill her. I think she’s still out there...

    XAK looks confused by what she’s frantically saying.

    XAK: Sin! Who are you talking about?

    She breathes softly.

    SIN: Melody... Melody’s alive.

    SONG: LAURA MARLING - GHOSTS

    The song begins as XAK’S face drops. The camera pans to an establishing shot of the room with them in it.

    MELODY HARP was the space between them. MELODY HARP was the survivor.


    FADE TO – MANHATTAN
    SIDEWALK – EXT.UPPER EAST SIDE – MORNING

    Everyone, minus DANTE, LANCE and SIN are stood outside next to a large car. Everyone is saying their goodbyes. The trunk is relatively empty. They have a full tank of gas and a map.

    He walked down a busy street,
    Staring solely at his feet,
    Clutching pictures of past lovers at his side.


    CHARLIE says her goodbyes and looks tearful as she moves away. She stands near the steps with her arms folded. Considering the circumstances, it leaves only XAK and CATE to bid the Syndicate farewell.

    Stood at the table where she sat,
    And removed his hat,
    In respect of her presence.


    CATE hugs EA, URSULA, ECHIDNA and then SHELTER. She turns to ELISE and holds her closely. She whispers something in her ear. ELISE pulls away, oblivious and smiles at her before moving nearer to ECHIDNA.

    Presents her with the pictures and says,
    These are just ghosts that broke my heart before I met you,
    These are just ghosts that broke my heart before I met you.


    CATE turns to TRAFFORD. She doesn’t cry. She just allows him to put his arms around her. He kisses her head and then she breaks away to kiss him.

    Opened up his little heart,
    Unlocked the lock that kept it dark,
    And read a written warning,
    Saying I’m still mourning,
    Over ghosts,
    Over ghosts,
    Over ghosts,
    Over ghosts that broke my heart before I met you.


    She moves away, reluctantly and holds CHARLIE’S hand who puts her arm around her supportively.

    XAK moves to BROGAN and they nod at one another. BROGAN hugs him tightly. XAK closes his eyes. He was scared. He breaks away slowly and looks to the others, nodding at them respectfully. He says something to them, but it’s not heard. They smile and take turns to hug him, before moving to the car and climbing inside. He stands in front of CHARLIE and CATE as they watch the car doors close, the car starting... the car driving away.

    Goodbye.

    Lover, please do not,
    Fall to your knees,
    It’s not,
    Like I believe in,
    Everlasting love.



    FADE TO – MANHATTAN
    DANTE AND LANCE’S ROOM – INT.XAK’S APARTMENT – MORNING

    LANCE is in his wheelchair at the window again. He looks out at the car below. DANTE wasn’t there. He wasn’t there.

    He went crazy at nineteen,
    Said he’d lost all his self esteem,
    And couldn’t understand why he was crying, crying, crying.



    FADE TO – MANHATTAN
    EMPTY/SIN’S ROOM – INT.XAK’S APARTMENT – MORNING

    SIN looks around the room, her room. She wasn’t sure if she deserved it, but according to her father it was hers. She looks around her room, wondering what to do next, scared to leave.

    He would stare at empty chairs,
    Think of the ghosts who once sat there,
    The ghosts that broke his heart,
    Oh the ghosts that broke my heart,
    The ghosts that broke his heart,
    Oh the ghosts that broke my heart,
    The ghosts the ghosts the ghosts the ghosts the ghosts the ghosts,
    The ghosts that broke my heart before I met you.



    FADE TO – MANHATTAN
    HIGHWAY – EXT.ROAD – MORNING

    BROGAN is driving. He looks dead ahead and ECHIDNA, in the passenger seat, looks to him. TRAFFORD, ELISE, SHELTER and URSULA are sat in silent behind him, looking out of the windows and their departure from Manhattan.

    He says I’m so lost,
    Not at all well.


    BROGAN remains resolute and stares ahead. He spots a hitch hiker on the side of the road. It’s a blonde woman. For a moment, she looks like his blonde woman.

    Oooh,
    Oooh.



    CUT TO –

    The camera cuts to an exterior view of the car as it gets absorbed into the traffic leaving the city.

    For good.

    Do as done and there is nothing left to be,
    Turned out Id been following him and he'd been following me,
    Do as done after it was over,
    We were just two lovers crying on each other’s shoulder.



    FADE TO – MANHATTAN
    SIDEWALK – EXT.UPPER EAST SIDE – MORNING

    The music dies down as CHARLIE turns to CATE.

    CHARLIE: You ok?

    CATE nods.

    CATE: I’ll be fine. Don’t worry, I’m not gonna go all Tonic on you.

    She smiles and XAK moves past them both to go inside. As he moves he reveals that a taxi has pulled up alongside the apartment complex. A WOMAN in a suit steps out. She is seen in soft focus.

    WOMAN: (to the taxi driver) Thank you.

    XAK swears he recognises that voice. CHARLIE and CATE turn, hearing the voice and watch as she approaches them both. The camera stays focused on XAK who does not turn.

    WOMAN (O/S): Cathryn Rittle?

    CATE looks at her and nods.

    CATE (O/S): (calm) That’s me. You must be her, right?

    WOMAN (O/S): That’s right.

    CHARLIE: (O/S): Cate? Who is this woman?

    Then it clicks. XAK knows who the voice belongs to. He knows her.

    He turns. It’s her. PETRINA RAE.

    PETRINA looks at XAK. She recognises him too but then turns to CHARLIE.

    PETRINA: You must be Charlie.

    CHARLIE: And who are you?

    PETRINA extends her hand to her.

    PETRINA: My name is Petrina Rae. I’m here for Cate. I’m her Watcher.

    The music begins again as CHARLIE turns to CATE surprised. She has a look of guilt on her face, she looks down and then to her friend apologetically.

    Lover, please do not,
    Fall to your knees,
    It’s not,
    Like I believe in,
    Everlasting love.


    XAK has not taken his eyes off PETRINA and as her enchanting eyes turn to his, she reveals a glint of pleasure at seeing the dark hero once again.

    Lover, please do not,
    Fall to your knees,
    It’s not,
    Like I believe in,


    CUT TO BLACK

    Everlasting love.

    CAPTION: In loving memory of Indigo Lester Furzenpurs.

    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
    MELISSA GEORGE as PETRINA RAE
    SUMMER GLAU as SIN
    and PATRICIA ARQUETTE as SEPHY

    Special Guest Stars (in order of appearance):
    PAUL WALKER as TRAFFORD ARTAIR
    JENSEN ACKLES as EA BROGAN
    ALI LARTER as ECHIDNA
    BECKI NEWTON as ELISE ARTAIR
    GABRIELLE UNION as SHELTER
    JOHN SCHNEIDER as CARL REED
    JAY MOHR as ALEX JAMESON
    BLYTHE DANNER as URSULA LAKE

    Special Mention:
    SANTOGOLD – SAY AHA
    NATALIE MERCHANT – GOLDEN BOY
    KINGS OF LEON – COLD DESERT
    LAURA MARLING – GHOSTS

    Leave a comment:


  • Lex
    replied
    ACT THREE

    OPEN ON – MANHATTAN
    XAK AND CHARLIE’S BATHROOM – INT.XAK’S APARTMENT – AFTERNOON

    The tap is running and CHARLIE is washing the blood from her hands. She’s breathing quickly, scared. She brushes her hair behind her ears to look at her ears. The blood had stopped flowing.

    She hears a group of people entering the apartment and hurries to dry her hands and brush her hair.


    CUT TO – MANHATTAN
    GROUND FLOOR ENTRANCE ROOM – INT.XAK’S APARTMENT - AFTERNOON

    CATE is stood outside the doorway to the lounge. Her arms are crossed and she looks nervous. Behind her is the stairway to the upper levels. CHARLIE descends the stairs towards CATE who turns, hearing her get closer.

    CHARLIE: (looking worried) Hey sweetie, what’s up?

    CATE: Ursula’s back.

    CHARLIE looks surprised.

    CHARLIE: She is?

    CATE: Yeah, she disappears for like three months without a word and now she’s in there with Trafford, Elise and Shelter... talking.

    CHARLIE: What about?

    CATE: She didn’t say but it seems a bit coincidental that Echidna managed to get Ea out of his room on the same day. Or am I just being paranoid?

    CHARLIE: I don’t know, but it could be Syndicate related.

    CATE looks upset.

    CATE: I’m scared.

    CHARLIE: Hey, it’s gonna be ok.

    CATE looks into the room to see URSULA signing frantically to TRAFFORD, ELISE and SHELTER. They look shocked at what they’re being told. CATE gulps.

    CATE: No it’s not.

    She runs upstairs and as she does she pulls out the letter from her back pocket. CHARLIE watches her go, pained.

    CHARLIE: (loudly) Cate...

    URSULA looks up from her conversation to CHARLIE and the witch reciprocates. She looks at URSULA sceptically.


    CUT TO – MANHATTAN
    TABLES – EXT.CAFE – EARLY EVENING

    A waitress exits the cafe entrance with two coffees. She approaches BROGAN and ECHIDNA who are sat at a table and places them down. ECHIDNA smiles at the waitress.

    ECHIDNA: Thank you.

    BROGAN looks around awkwardly and it isn’t until the waitress leaves them that he looks up to her.

    BROGAN: You wanna tell me what you meant back there?

    ECHIDNA sips her coffee, observing him.

    BROGAN: What else is there to do?

    She places her mug down and looks at him.

    ECHIDNA: You remember the day Sin attempted to take over this world?

    BROGAN eyes her, shocked.

    BROGAN: Are you kidding me?

    ECHIDNA: No, I want to know what you remember.

    BROGAN pauses.

    ECHIDNA: Tell me...

    BROGAN: (looking down) Big fight went down, you let your pets off their leash, Dante turned up and gave the big ultimatum and the rest is history.

    He looks to her.

    BROGAN: (whispering) And we know what I did...

    ECHIDNA: Interesting.

    BROGAN: What is?

    ECHIDNA: Just that whenever that day is mentioned very little is said about what happened in Cropley Shores.

    BROGAN: What do you mean?

    ECHIDNA: What Elise did.

    BROGAN: Trafford passed out and she had to step in, there’s no secret there.

    ECHIDNA: And the building?

    BROGAN: She went into overdrive, healed a bit more than the people is all.

    ECHIDNA: Well right now we know little about her powers but history has yet to boast a Healer that can reconstruct a building. She’s special.

    BROGAN listens now.

    ECHIDNA: There is a reason that happened that day. There’s a reason that building is back and there’s a reason Sin was drawn to it. Ursula’s been there, looking into it.

    BROGAN looks at her confused.

    BROGAN: What are you talking about?!

    ECHIDNA: I’m saying, The Kalipso Syndicate is an army.

    The camera moves closer, towards her face.

    ECHIDNA: And it’s time to recruit...


    CUT TO – STOCK IMAGES
    SKYLINE – EXT.MANHATTAN – NIGHT

    SONG: NATALIE MERHCHANT – GOLDEN BOY

    The song begins to play as the camera swoops over an image of Manhattan’s sparkled skyline at night.


    CUT TO - MANHATTAN
    GROUND FLOOR ENTRANCE ROOM – INT.XAK’S APARTMENT - NIGHT

    The front door opens and a man in a suit and a trench coat enters. He’s carrying a briefcase and a burden. It’s DANTE.

    Top of the fold, toast of the town, everyone stops when you come around,
    They hold their breath for you.


    He goes to call out to the apartment. It’s quiet and lifeless and he can hear hushed voices in some of the rooms. They don’t want to know he’s home. He doesn’t want them to know because then the questions begin.

    He hangs up his coat and makes his way to the stairs.

    Heroes are born, idols are made,
    We're all fools for this factory fame and you've got the brand new face,
    You've got the brand new face, golden boy.



    CUT TO – MANHATTAN
    DANTE AND LANCE’S ROOM – INT.XAK’S APARTMENT - NIGHT

    The door opens and LANCE is lying in bed. Light from the corridor sheds light on him. His eyes are closed. He might be asleep but he may be awake. It’s not certain. DANTE enters, off screen, and sits on the edge of the bed. LANCE does not stir.

    Beauty untamed, stupid and wild poster boy you're society's child,
    Cut your teeth, cut your mouth, cut it out,
    Meteor rise from obscurity.


    DANTE: (quietly) You awake?

    There’s no answer. He begins untying his tie and then he unbuttons his shirt. He stands and begins walking towards their bathroom.

    DANTE: (quietly) We can’t ignore this forever.

    The door closes and the sound of the shower running can be heard. LANCE’S eyes open. He was awake.

    All it took was a killing spree and the whole world was lying at your feet,
    Golden boy.



    CUT TO – MANHATTAN
    CATE’S ROOM – INT.XAK’S APARTMENT – NIGHT

    The song continues to show CATE sat at her dresser. She’s looking at the mirror in front of her. The letter is open in front of her. She looks confused, torn, in conflict.

    I know my place, stick to my lines, stay in your shadow,
    Don't block your light so you can shine divine.


    The door opens and TRAFFORD enters. She seems him in her peripheral vision through the reflection of the mirror. He stops, looking at her.

    So you can shine divine, golden boy.

    TRAFFORD: You opened it.

    The music begins to die down as CATE nods.

    CATE: I did.

    TRAFFORD: Why?

    She turns to look at him now.

    CATE: Because I just have this feeling that –

    She stops.

    CATE: (quietly) You’re leaving, aren’t you?

    TRAFFORD: I think so...

    She looks down.

    CATE: I knew it. I knew she was going to come back and take you away.

    TRAFFORD moves closer.

    TRAFFORD: I’m so sorry Cate... I didn’t expect this to happen.

    CATE: But you knew she’d come back.

    TRAFFORD: I thought she would one day, but I didn’t think it would have anything to do with my sister or with forming a resistance to what’s coming.

    CATE looks even more confused than before. He kneels in front of her.

    CATE: What do you mean resistance? What’s coming? And what does Elise have to do with any of this?

    TRAFFORD: I’ll tell you... I promise. But I need you to realise something...

    CATE: (quietly) What?

    TRAFFORD: You’re the only woman I’ve ever been with. The only woman I’ve fallen for. I’ve never invested in feelings like this before so do not take my leaving as an ending to us.

    CATE: Isn’t it? I mean people say that but...

    TRAFFORD: When have I said it?

    She can’t answer.

    TRAFFORD: I don’t want to leave you. But I met the Syndicate first and I made an oath that as long as there was a fight with them, I would be in that fight at their side. They’re my family, I owe it to them...

    She sighs, finding it hard to be mad at a loyal, loving man.

    CATE: I get that, it’s one of the reasons I like you so much... it’s just gonna be...

    TRAFFORD: I know, but I promise you... we will make it work.

    He leans in and kisses her. She breaks away, begrudgingly.

    CATE: You know what’s ironic about this whole thing?

    TRAFFORD: What?

    CATE: If I hadn’t opened that letter, I’d be begging you to stay or I’d be coming with you in a heartbeat.

    TRAFFORD: What do you mean? What did it say?

    CATE: Just what I knew: that I’m a Slayer. It’s my rite, my vocation, my oath and my fight.

    TRAFFORD nods understanding. She hesitates. There’s more.

    CATE: And a small group of surviving members have reformed and are trying to rebuild what’s left.

    TRAFFORD: What does that mean?

    She pauses.

    CATE: It means I’m getting a Watcher.


    CUT TO – MANHATTAN
    PATH – EXT.CENTRAL PARK ZOO – NIGHT

    CARL is lurking outside the zoo. Guards are circling the perimeter of the zoo but he knows they won’t be able to handle what’s inside. It seems quiet.

    Someone approaches him from behind. CARL turns, fists poised. He looks at the person, recognising them.


    CUT TO – MANHATTAN
    XAK AND CHARLIE’S ROOM – INT.XAK’S APARTMENT – NIGHT

    CHARLIE’S lying in bed now. She’s wrapped herself tightly in the duvet for protection. The door opens and XAK enters. She turns and looks at him.

    CHARLIE: (weakly) Hey...

    He smiles at her and walks towards the bed. He sits down near her.

    CHARLIE: What’s up? Is it Carl.

    XAK: Something’s happening in New York, and I should have told you sooner.

    CHARLIE: Well tell me now, what’s happening?

    XAK: I don’t know for sure... but something’s happening to the animals. They’re dying and they’re taking us with them.

    CHARLIE: Oh god... Do we know why?

    XAK: Carl and I have been looking into it but we’re coming up short. He’s patrolling now.

    CHARLIE: Ok well in the morning we’ll brainstorm and we’ll come up with something. Just like old times.

    He puts a hand on her face and smiles.

    CHARLIE: What is it?

    XAK: You’re always believing in me... No matter what I do, or what I choose...

    CHARLIE: Look just because the last year’s been tough doesn’t mean I’m gonna stop believing in you. Your decision saved the world, and a whole lot more. I know it wasn’t easy for you, we all do.

    XAK: (quietly) We never talk about it, though.

    CHARLIE: What’s there to talk about? The decision was made and only you could make it. There’s no point in regret or wonder. You did it.

    XAK looks down, considering her thoughts. The phone next to the bed begins to ring. She reaches over and picks up the phone.

    CHARLIE: Hello?

    She sits up, startled.

    CHARLIE: Whoa, Carl slow down. What is it?

    XAK looks up to her.

    CARL (O/S): (on the phone) You need to come, to the docks. Now!

    CHARLIE: What is it? Is it the animals?

    CARL (O/S): (on the phone) No... It’s your mom.

    CHARLIE’S eyes widen and she drops the phone.


    CUT TO – MANHATTAN
    CATE’S ROOM – INT.XAK’S APARTMENT – NIGHT

    We pan up the bed in CATE’S room. CATE is lying in the arms of TRAFFORD and he’s softly stroking her hair. She looks like she’s heard a lot of information.

    CATE: Wow... that’s huge.

    TRAFFORD: I know and it’s too good an opportunity to pass up. We lost too many in the last war, we need more help and we need people to believe this is a cause worth fighting for.

    CATE: Well it is, I mean yeah it’s brutal and you’re gonna question just about every law, but I think what you guys are doing is so admirable.

    TRAFFORD: So you’re not mad?

    She shakes her head and smiles softly.

    CATE: I couldn’t be mad at you. You’re just being good to your family. I’ll miss you though... but we’ll make the most of the time we have.

    TRAFFORD looks down.

    TRAFFORD: Tonight then.

    CATE sits up, confused.

    CATE: What?

    TRAFFORD: If Echidna can convince Ea, we leave tomorrow.

    CATE: So soon?!

    TRAFFORD: There’s a lot to do before we open, and only Ursula is up to speed on everything.

    CATE looks slightly lost.

    CATE: But it’s so soon.

    TRAFFORD: I know... I’m sorry.

    CATE laughs now, realising something.

    CATE: Could tonight be any more coincidental?

    TRAFFORD: What do you mean?

    CATE: My watcher’s coming tomorrow.

    She lies back down and rests her head in silence on his chest. She grips his torso slightly harder than before.


    CUT TO – MANHATTAN
    WATERFRONT – EXT.DOCKS – NIGHT

    There are about a dozen men swarming the docks looking at what is in the water. Behind them, mystical energy begins to swirl, creating a gust of wind which attracts the attention of the men. They watch as the energy and wind dies down leaving XAK and CHARLIE in its wake. They both hurry towards the men and CARL emerges through the men to greet them.

    CHARLIE: What happened?!

    CARL: I don’t know, one of my men found me in the park and said that something had happened at the base.

    XAK: What do you mean?

    CARL motions to the water. As far as they can see, small chunks of furniture and building are floating on the surface. All from the base.

    CHARLIE looks at it worried.

    CHARLIE: Where’s my mom?!

    CARL: He found her while he was fishing a couple of miles out. They’re bringing her in now.

    He motions to the small fishing boat which is docking a few stations away. CHARLIE runs to the boat and a few of the men follow.

    XAK looks to CARL.

    XAK: This is what Alex meant, wasn’t it? The seismic activity.

    CARL: I’m sure it was... I’ll get on the phone to him first thing tomorrow, but I’ll be damned if all of this happening at the same time is a coincidence.

    XAK nods, agreeing and with this they both hurry after CHARLIE and the approaching vessel.


    CUT TO – MANHATTAN
    BOAT – EXT.DOCKS – NIGHT

    CHARLIE hurries on to the boat, jumping from the dock to the boat. Immediately she identifies her mother’s body lying on the deck. She runs to her side. She is badly cut and bruised and CHARLIE is overpowered with the scent of salt water and grief for her mother’s condition. She embraces her mother.

    CHARLIE: Mom! Mom! Wake up! Come on...

    She shakes her lightly but SEPHY does not awaken. She is alive.


    CUT TO – MANHATTAN
    GROUND FLOOR ENTRANCE ROOM – INT.XAK’S APARTMENT – NIGHT

    The door opens and ECHIDNA enters, followed by EA.

    URSULA (O/S): Welcome home.

    ECHIDNA smiles at her and as EA’S eyes fall on his old friend he moves towards her.

    URSULA: Ea, it’s been too long.

    He hugs her and she pats him lightly on the back supportively.

    URSULA: Are you alright?

    BROGAN looks back to ECHIDNA, then back to URSULA.

    BROGAN: I think I will be...

    URSULA nods.

    URSULA: Echidna has told you then, I presume?

    BROGAN: She has. I know everything.

    URSULA: And what do you think?

    BROGAN hesitates to answer and in this moment the swirling energies and wind from the docks begin to materialise in the room. URSULA grabs EA and the two of them move closer to ECHIDNA. They watch as the energy and wind stops leaving in its place XAK, CHARLIE and CARL. In XAK’S arms is SEPHY.

    BROGAN, URSULA and ECHIDNA look shocked.

    URSULA: Oh my...

    XAK looks at her.

    XAK: (confused) Ursula.

    CHARLIE: Xak, there’s no time. We need to get her upstairs...

    He nods and looks from BROGAN to URSULA and then hurries upstairs. They are closely followed by the others.

    ECHIDNA: (worried, putting her arm around CHARLIE) What happened?

    CHARLIE: I don’t know, there was some sort of explosion. The base is gone...


    CUT TO – MANHATTAN
    SEPHY’S ROOM – INT.XAK’S APARTMENT – NIGHT

    XAK kicks the door opens and lies her down on the bed. The commotion has awoken and attracted the attention of CATE, TRAFFORD, ELISE and SHELTER. CHARLIE and ECHIDNA sit either side of her and begin mopping up the eternal blood from her perfect skin. CATE looks horrified.

    TRAFFORD: God, what could do this...

    CATE sighs.

    CATE: I have an idea...

    ECHIDNA looks to her.

    ECHIDNA: Cathryn, not now.

    XAK and CHARLIE look down.

    CATE: What? Like it’s completely out of the question?

    ECHIDNA: I’m just saying, it’s not the time.

    XAK: She’s right Echidna... It’s a possibility. And it’s not just this... it’s not just the explosion, something’s happening to the city.

    Everyone except CHARLIE and CARL look surprised to hear this.

    XAK: Something big is coming and it’s not just taking out the city slowly; it’s started on us, our big resource and our biggest ally...

    Everyone looks bleak and XAK stands walking towards the door. CHARLIE follows him allowing ELISE to help ECHIDNA with SEPHY.


    CUT TO - MANHATTAN
    CORRIDOR – INT.XAK’S APARTMENT – NIGHT

    XAK and CHARLIE are stood in the corridor. Her arms are folded and he’s pacing.

    CHARLIE: Say it.

    XAK: I can’t.

    CHARLIE: Ok, then I will.

    He stops pacing and looks at her.

    CHARLIE: If Cate is right, then we need to act. If she’s wrong, then we need help and I only know one person with that amount of power.

    XAK: It’s too dangerous. We’ve not tried it before.

    CHARLIE: Well maybe it’s time. Because Ursula’s back, the city is dying, the base is gone and my mom’s out of action. And this is all just in a day...

    She looks him in the eyes.

    CHARLIE: We need help.

    XAK nods.

    XAK: Ok. I’ll see to it...

    CHARLIE nods.

    CHARLIE: I won’t tell the others. Not yet.

    He doesn’t say anything else. He turns and walks away down the corridor. CHARLIE watches him leave before she turns to SEPHY’S room and she re-enters.


    CUT TO – MANHATTAN
    SEPHY’S ROOM – INT.XAK’S APARTMENT – NIGHT

    TRAFFORD looks to URSULA.

    TRAFFORD: Perhaps we shouldn’t go... this isn’t the right time.

    URSULA: There never will be, you have to realise that.

    CHARLIE (O/S): Go where?

    They turn to see CHARLIE has re-entered the room. She looks at them both and realises that it is only her and CARL that look confused.

    It’s time she knew.


    CUT TO – MANHATTAN
    DANTE AND LANCE’S ROOM – INT.XAK’S APARTMENT – NIGHT

    The bathroom door opens and DANTE exits in a towel. He goes to the bed and notes LANCE is still asleep. He lies behind him and puts an arm around him. For a moment he does nothing except allow the occasional expulsion of breath to caress the soft hairs on the back of LANCE’S neck.

    DANTE: I love you.

    LANCE is listening.

    DANTE: I know you don’t trust me. I know nobody does, and I know things have changed but it’s true. I will always love you.

    LANCE swallows hard, his body is seduced by the words but his mind is sceptical. DANTE moves even closer to LANCE.

    DANTE: (whispering) I will make you walk again...


    CUT TO – MANHATTAN
    CORRIDOR – INT.XAK’S APARTMENT – NIGHT

    XAK approaches the doorway that CHARLIE stared at awkwardly earlier. He hesitates looking at the door. He opens it, revealing a stairway to the roof. He enters and ascends.


    CUT TO – MANHATTAN
    ROOF – EXT.XAK’S APARTMENT – NIGHT

    There is a soft breeze that brushes past XAK as he exits on to the roof of the building. He looks around the roof perimeter until his eyes chill as they land on the help he needs.

    XAK: We need to talk.

    The camera rotates to show someone stood at the edge of the roof. A woman dressed in jeans and a hooded top. The hood covering a thick head of brown hair. She has her back turned to him but she turns and looks at him revealing her identity.

    It’s her.

    It’s his daughter.

    It’s SIN.

    CUT TO BLACK

    END OF ACT THREE

    Leave a comment:


  • Lex
    replied
    ACT TWO

    OPEN ON – MANHATTAN
    FIELD – EXT.CENTRAL PARK – AFTERNOON

    We open on a picnic blanket, laden with food and champagne. A couple are relishing in the afternoon sun. The woman is sipping her champagne looking pensive, whilst her mood has not gone un-noticed by her partner. It’s CATE and TRAFFORD.

    TRAFFORD: (concerned) You ok? You’ve been quiet… Is it the food?

    She smiles at him. Though weak, it is genuine.

    CATE: No, this is perfect. I don’t want to be anywhere else…

    TRAFFORD: But?

    She sighs and looks at him. She pauses for a moment and then reaches into her back pocket, pulling out the letter. TRAFFORD looks at it.

    TRAFFORD: What’s that?

    CATE: It arrived this morning.

    TRAFFORD: Who’s it from.

    CATE: The Watchers’ Council…

    TRAFFORD: The guys who look after Slayers?

    CATE: Yeah.

    TRAFFORD: I thought they were destroyed.

    CATE: They were…

    TRAFFORD: So how are they contacting you?

    CATE: (shrugging) I don’t know, I haven’t opened it.

    TRAFFORD: Could it be Marie?

    CATE: Maybe. I don’t know. I’m not sure I want to know…

    The two look at the sealed letter, haunted. It is the cloud that has darkened their lunch.


    CUT TO – MANHATTAN
    SIDEWALK – EXT.UPPER EAST SIDE - AFTERNOON

    BROGAN is skulking down the sidewalk, slightly behind ECHIDNA as she basks in the sunlight. She looks back to him and stops. She sighs softly.

    ECHIDNA: You need help. You need to get past this.

    BROGAN looks at her, almost bored with confusion.

    BROGAN: Why? Because everyone else has? I can’t forget what happened.

    ECHIDNA: No one is asking you to forget.

    BROGAN: Well you’re asking me to cope with the ever after as if what we had to do to get here meant nothing.

    ECHIDNA reaches out and puts a hand on his arm.

    ECHIDNA: This is not the ever after, Ea.

    BROGAN: What do you mean?

    ECHIDNA: There’s much more to do. Ending that war does not mean it was the only one we were fighting. There is so much more to do…

    She smiles softly at him and then she begins walking again. He is taken aback and simply watches her walk away.


    CUT TO – MANHATTAN
    ENTRANCE – EXT.CENTRAL PARK ZOO - AFTERNOON

    XAK and CARL approach the zoo, they look worried as they see the entrance swarming with press and the NYPD.

    POLICE WOMAN: (to the press) Please can you stand back! This is still a crime scene!

    FEMALE JOURNALIST: What can you tell us?!

    POLICE WOMAN: Ma’am, a press release will be made soon but we’d really appreciate it if you could stand back…

    XAK turns to CARL, sighing.

    XAK: This is gonna be harder than I thought.

    CARL: Or not.

    He motions to a wall around the corner.

    CARL: Those kids had to get in somehow last night.

    XAK nods at him and they move around to the wall.


    CUT TO – MANHATTAN
    PATH – INT.CENTRAL PARK ZOO – AFTERNOON

    XAK and CARL jump down off the wall and look around, the coast is clear.

    XAK: (quietly) So you didn’t tell me how you found out about this?

    CARL: One of my boys is the security guard. He found them and he’s in questioning.

    XAK: So we may get more information soon.

    CARL: Hopefully.

    They begin walking, and make their way swiftly over to the

    XAK: Well let’s hope we do, because right now we know nothing.

    CARL: This is the fifth attack this week. It’s big. Animals all over the city are going crazy.

    XAK: I don’t know anything that could make this happen on such a large scale.

    CARL: Sephy know anything?

    XAK: I’ve only told Charlie what’s happening. I wanna make sure I’m on top of it before anything happens. They’re all still reeling from the last bombshell I dropped…

    CARL nods, understanding. There’s an awkward silence which is prolonged as they arrive at the crime scene.


    CUT TO – MANHATTAN
    CORRIDOR – INT.XAK’S APARTMENT – AFTERNOON

    CHARLIE has a basket of washing in one arm and a phone to her ear.

    CHARLIE: Hey mom, it’s me. Could you ring me when you get this? I kinda need you… Lance is still the same but Echidna got Ea out of his room at last.

    She hesitates.

    CHARLIE: And Xak’s kinda worried you didn’t come home last night and it’s made me all worried so if you could just…

    She stops as she comes to a door. She sighs as she looks at the door, worried. She pauses, obviously and then realises she’s on the phone still.

    CHARLIE: Anyway... if you can just call me... I’d really...

    She stops and she drops the phone. With the phone, the washing falls to the floor. A banging pounds her head and causes her to gasp, her breath taken away by the excruciating pain. She falls to the floor and curls up, grabbing the sides of her head. Then suddenly the pain is gone. She takes her hands away from her head. The palms of her hand are covered in blood. Blood from her ears.


    CUT TO – MANHATTAN
    SIDEWALK – EXT.CENTRAL PARK – AFTERNOON

    CATE and TRAFFORD are now walking through the park. Their picnic is finished and CATE’S arm is interlinking with his. They’re walking in silence.

    TRAFFORD: Sure you don’t wanna open it?

    CATE sighs.

    CATE: Trafford…

    TRAFFORD: I just want you to be ok with it. I mean it’s a shock.

    CATE: Yeah it is. But I’ve been a Slayer almost two years now and during that time I haven’t exactly noticed them rushing to my side to help me.

    TRAFFORD: Well you won’t know if they even want to help, not unless you open it.

    CATE: I’m fine without them. Xak trained me just fine and my friends helped with the rest…

    She stops as two people jump them from behind, laughing. It’s ELISE and SHELTER.

    They all laugh and the mood obviously lightens as they all begin walking together but TRAFFORD watches CATE carefully. He knew when she was putting on a front and he knew she wanted to open this letter.


    CUT TO – MANHATTAN
    OFFICE – INT.BUILDING – AFTERNOON

    XAK and CARL are walking through an office block, weaving through the plethora of cubicles.

    XAK: Who are we meeting?

    CARL: His name’s Alex Jameson. He’s an expert in Zoology. He’s a stand up guy and an old college friend. If anyone can tell us what’s going on, then it’s him.

    XAK nods and as they arrive at a door to a private office. CARL knocks.

    ALEX (O/S): Come in.

    They open the door and enter.


    CUT TO – MANHATTAN
    ALEX JAMESON’S OFFICE – INT.BUILDING – AFTERNOON

    A man is sat at a desk and he looks up when XAK and CARL enter. He is dressed in a suit and he is played by Jay Mohr. He smiles seeing CARL.

    ALEX: Carl Reed, what brings you up to archives?

    CARL: Your expertise actually.

    ALEX raises his eyebrows and casts an eye to XAK.

    ALEX: Shoulda known. Who’s your friend?

    XAK steps forward and extends a hand.

    XAK: My name’s Xak, Xak Thorn. We really need your help.

    ALEX: You and the rest of the city buddy.

    CARL: So you know then?

    ALEX nods.

    ALEX: Close the door.

    CARL does and he and XAK move to the desk and take a seat.

    ALEX: I don’t know what to tell you Carl, I’ve never seen anything like it...

    XAK: Do you know what it is causing it?

    ALEX: A number of things could cause the animals to turn like this. Radiation, a change in atmosphere but it’s not that simple.

    CARL: Why?

    ALEX: Those things would cause a wide scale attack.

    XAK: It is isn’t it? I mean the other night it was a dog attacking its owner in the Financial District but now it’s a Polar Bear in the zoo?

    ALEX: That’s not what I mean. The subjects are almost chosen, seemingly selected.

    CARL: Selected?

    ALEX: Every night it’s one attack only resulting in the death of one human being. The autopsies on the animals show no sign of any infection or affliction that could make them change in such a way.

    XAK: Wait a minute. So if there’s no natural cause is there anything else that could cause it?

    ALEX: Even if I could come up with a rational explanation as to why this could happen... I couldn’t even begin to explain the bleeding of the eyes.

    CARL: Bleeding?

    ALEX: Every animal so far, they attack, their eyes bleed and once the person’s dead, they die too.

    CARL and XAK look at one another confused. There’s a knock at the door.

    ALEX: Sorry Carl, as much as I like our ever so random meetings every few months I have work to do.

    He looks to the door.

    ALEX: Come in.

    The door opens and ALEX’S ASSISTANT enters.

    ALEX’S ASSISTANT: Sorry to disturb you Alex it’s just the seismic reports are in.

    CARL looks to ALEX.


    CARL: Seismic reports?

    ALEX: Yeah, there was a big disruption at the bottom of the ocean last night. Thought it was worth looking into.

    CARL nods.

    CARL: Well good luck, and I’m sorry I don’t come on platonic terms.

    ALEX: Just promise we’ll grab a beer one day.

    CARL smiles.

    CARL: Sure.

    ALEX smiles at him and XAK.

    ALEX: Good to meet you Xak...

    XAK nods, thankful.

    XAK: You too.


    CUT TO – MANHATTAN
    ENTRANCE – EXT.BUILDING – AFTERNOON

    CARL: Well that was a bust...

    XAK and CARL have now exited the building where ALEX JAMESON works.

    CARL: But I know it’s bad if Alex doesn’t know the deal.

    XAK: He knows his stuff, huh?

    CARL: He knows why the monkeys cough and why the cats get measles yeah. If this is something that’s got Jameson baffled then we’re looking at the super natural.

    XAK: Then there’s only one option.

    CARL: Patrol?

    XAK nods.

    XAK: Patrol.

    CARL: No.

    XAK looks at him confused.

    CARL: You’re gonna go home and you’re going to talk this out with your friends.

    XAK: I can’t.

    CARL: You used to always do it.

    XAK: “Used to” being the operative phrase.

    CARL: Work it out Xak. I know things have been tough since...

    He pauses and sighs.

    CARL: But you can sort it, you have to sort it...

    XAK: I don’t know what to say to them.

    CARL: Well you better think of something soon.

    XAK smiles weakly.

    CARL: I’ll call you if there’s anything to tell.

    XAK: Be careful.

    CARL: I always am.

    XAK watches as CARL walks away and the afternoon begins to end.


    CUT TO – MANHATTAN
    SIDEWALK – EXT.UPPER EAST SIDE – AFTERNOON

    CATE, TRAFFORD, ELISE and SHELTER are walking back towards the apartment. ELISE is trying to teach CATE sign language, which is not going well. TRAFFORD watches, touched by CATE’S determination to get closer to his sister, but as he turns to look where he’s going he’s taken aback by what’s in front of him. SHELTER sees too and stops in shock. CATE and ELISE soon notice too.

    Outside the apartment a taxi has pulled up. A woman with a suitcase has gotten out of the taxi. She looks at the apartment complex and then to them.

    It’s URSULA.

    CUT TO BLACK

    END OF ACT TWO

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  • Lex
    replied
    ACT ONE

    OPEN ON – STOCK IMAGES
    SKYLINE – EXT.MANHATTAN – MORNING

    The camera shows downtown Manhattan and the sun rising over the vast heights of the skyscrapers. Morning was here. The morning after the night before.


    CUT TO – MANHATTAN
    STEPS – EXT.APARTMENT BUILDING – MORNING

    A MAIL MAN approaches the steps to the apartment building that XAK was sat on the night before. He opens the door to the building and enters.


    CUT TO – MANHATTAN
    ENTRANCE – INT.APARTMENT BUILDING – MORNING

    The MAIL MAN is now putting the various items of mail into the respective post boxes for each of the apartments.

    WOMAN (O/S): Anything for the penthouse?

    The MAIL MAN turns to look at the woman and smiles.

    MAIL MAN: Sure is Ms. Rittle.

    The camera turns to show CATE approaching him. She looks tanned and her hair is wavy and she looks wholly natural in her dress sense and her mannerisms. He hands her a single letter.

    CATE: Thanks.

    MAIL MAN: (nodding) You’re welcome, see you tomorrow.

    She nods back and smiles as he leaves the building. She begins sifting through the mail and finds one for her. Her face drops reading the letter.

    Suddenly, someone grabs her from behind and puts his arms around her waist. It’s TRAFFORD. She gasps. He smiles.

    TRAFFORD: Guess who...

    CATE turns around now to face him and secrets the letter for her behind her back.

    CATE: Hey you.

    She leans in and kisses him. He smiles and breaks away.

    TRAFFORD: So you gonna ask me where we’re going today?

    CATE: On Part 4 of the great tour of Manhattan you mean?

    TRAFFORD nods.

    CATE: Well no, because it’s surprise right?

    TRAFFORD: You’re learning.

    CATE: Sure am.

    She smiles at him weakly. He notices, wary.

    TRAFFORD: You ok?

    The camera cuts to behind CATE’S back and shows her placing the letter in her back pocket.

    CATE (O/S): (lying) I’m fine...

    The camera cuts back to them both now.

    TRAFFORD: Ok. Well I’ll see you in an hour? Just got a few things to grab.

    CATE: Sure.

    He kisses her on the cheek and leaves out of the front door. She sighs and makes her way upstairs.


    CUT TO – MANHATTAN
    ROOM – INT.XAK’S APARTMENT – MORNING

    The curtains are closed, only a small bar of light manages to break through the top and the bottom. The man in bed is awake. He lies on his front, splayed out and stares ahead. It’s BROGAN. The door opens.

    BROGAN: Does no one knock anymore.

    ECHIDNA (O/S): Is this what you call a new start?

    She moves on to screen and shows that she’s wearing a floral dress and her hair is straightened. She looks human. BROGAN doesn’t look at her.

    BROGAN: Today doesn’t count.

    ECHIDNA: Don’t do this Ea. You promised when we moved in things would be different.

    BROGAN: I lied.

    ECHIDNA: You cannot live like this anymore.

    He doesn’t reply.

    ECHIDNA: Just get dressed.

    BROGAN: Why?

    ECHIDNA: Because I have a lot to show you in only a few hours.

    BROGAN turns to her and looks confused. She looks down at him blankly and then turns, walking out.

    ECHIDNA: I’ll meet you downstairs in half an hour...

    She closes the door behind her.

    SONG: SANTOGOLD – SAY AHA


    CUT TO – MANHATTAN
    PATH – EXT.CENTRAL PARK – MORNING

    The juxtaposition between the dank darkness of BROGAN’S room is obvious and harsh as the camera cuts to the sun filled Central Park.

    Dozens of joggers make their way around lakes, fields and tracks, completely oblivious to the bustle of the surrounding city.

    At night it's eating up your head,
    Backed against a wall,
    Got you in a tight place,
    Though you're not alone at all.


    Amongst the runners, two women journey together. Two friends, ELISE and SHELTER. They seem to be competing with one another as to how fast they can each go. They smirk and run.

    The camera cuts to various fragmented shots of them running as they reach the lake.

    Been fighting, trying to place a name on what it's called,
    Make you feel like a losing streak,
    'Cause you know but you're not involved.


    ELISE eventually flags her down laughing and SHELTER stops, breathing heavily.

    ELISE: (signing) Ok. You win...

    She breathes heavily and they begin walking slowly around the lake to cool down. SHELTER smirks, victoriously.

    Louder than they,
    Louder than they,
    Louder than they,
    Allow, allow.
    Louder than they,
    Louder than they,
    Louder than they,
    Allow, allow.
    Say Aha, Aha,
    Say Aha, Aha.


    ELISE: (signing) Although we’re not exactly fairly matched...

    SHELTER: (signing) Stop moaning, although you are doing better, every day.

    ELISE: (signing) After the whole losing my abilities thing? Yeah...

    SHELTER: (signing) Well that too but I also meant Ursula.

    ELISE looks down, beat.

    ELISE: (signing) It’s been months...

    SHELTER: It doesn’t make it any easier. I mean, she’s gone...

    ELISE: (signing) I know, but I can only beat myself up about the fact that we didn’t get to reconcile things for so long.

    SHELTER stops and looks at her.

    Say Aha, Aha,
    Say Aha, Aha.


    ELISE: (signing) She’s gone... and I have to get used to that. If Trafford can, then so can I.

    SHELTER: (signing) Well you know if you need anything, I’m here.

    ELISE smiles at her.

    ELISE: (signing) Thanks. Come on...

    SHELTER raises an eyebrow.

    ELISE: (signing) One more lap...

    She runs off and SHELTER smirks, racing after her friend.

    Say Aha, Aha,
    Say Aha, Aha.



    CUT TO – MANHATTAN
    XAK’S BEDROOM – INT.XAK’S APARTMENT – MORNING

    XAK is sat on the edge of his bed. He’s holding a cell phone which he’s tapping on the palm of his hand impatiently. The second occupant of the bed begins to rouse and sits up, putting her arms around his waist. It’s CHARLIE. She kisses him on the cheek.

    CHARLIE: (softly) Morning.

    He looks vacant.

    CHARLIE: Sleep ok?

    XAK: Your mom never came back last night.

    CHARLIE frowns slightly.

    CHARLIE: I’m sure she’s fine, she probably just had a lot on at the base...

    XAK stops tapping the phone.

    XAK: You’re probably right.

    CHARLIE: You know what she’s like, she’s strong. She’ll be back soon, I know it.

    He turns to face her and she kisses his lips reassuringly just as there’s a knock at the door.

    XAK: Come in.

    The door opens and TRAFFORD enters.

    TRAFFORD: Hey guys, sorry to disturb you.

    CHARLIE smiles at him.

    CHARLIE: It’s fine, what’s up?

    TRAFFORD: Carl’s here, he’s in the kitchen...

    XAK: I’ll be right down.

    TRAFFORD nods at them both and then leaves. XAK turns to CHARLIE.

    CHARLIE: Another mission, huh?

    XAK: No doubt, yeah. Will you check on...

    CHARLIE: Of course. I’ll try and help him... but I don’t know how much is getting through.

    XAK: We just need to keep trying.

    CHARLIE: You’re right.

    XAK: And so are you.

    They kiss again.

    CHARLIE: Mmm, think Carl will mind waiting for like ten minutes?

    XAK: Ten minutes?

    CHARLIE laughs.


    CUT TO – MANHATTAN
    KITCHEN – INT.XAK’S APARTMENT – MORNING

    CARL is stood in the kitchen, looking at the sheer size of the place, boxes are everywhere. He has a few battle scars from six months back. CATE walks into the room, beaming.

    CATE: Mr. Reed, hey!

    CARL turns to see her and smiles.

    CARL: Slayer.

    They move towards one another and they hug.

    CATE: How’s Tina?

    CARL: Travelling still, last I heard she was in Thailand.

    CATE: (smiling) That’s great!

    CARL: Yeah it is, but it don’t compare to this place...

    He looks around the large kitchen in awe.

    CATE: Deluxe two storey penthouse apartment in the Upper East side; not too shabby, huh?

    CARL: I’ll say.

    CATE: Anyone who says that nation-wide exoneration and compensation doesn’t have an upside, needs to see my en-suite.

    CARL smiles but it fades quickly, and he sighs.

    CATE: What’s up?

    CARL: It looks like it might have a down side though.

    CATE looks pensive for a moment.

    CATE: Has something found us?

    CARL: Not that it would be hard to, but I think so.

    CATE’S smile fades as she suddenly becomes very conscious of the letter in her back pocket.

    TRAFFORD (O/S): Babe...

    She turns to see TRAFFORD stood in the doorway.

    CATE: (vacant) Yeah?

    TRAFFORD: You good to go?

    CATE: Oh, right. Sure...

    He nods and she smiles weakly, departing with TRAFFORD who nods respectfully at CARL. As they leave XAK enters, the imminence of a mission sends a shiver of anticipation through him.

    XAK: What’s happened?

    CARL: It happened in the park, two dead. One human and one Vampire.

    XAK: God... now it’s getting Vampires?

    CARL: Exactly, not a friend of demon or human. This is something new.

    XAK: So what was it last night?

    CARL: Central Park Zoo, the polar bear.


    CUT TO – MANHATTAN
    SECOND FLOOR LANDING – INT.XAK’S APARTMENT – MORNING

    CHARLIE, now dressed approaches a closed door. She knocks on it.

    CHARLIE: It’s Charlie.

    There’s no answer but she opens the door anyway.


    CUT TO – MANHATTAN
    ROOM – INT.XAK’S APARTMENT – MORNING

    CHARLIE looks around the room she walks into. It’s messy but the curtains are open allowing her to see the occupant sat by the window.

    CHARLIE: Hey. You ok?

    The person has long hair but it’s not female. It’s male, and unshaven. He looks rough. It’s LANCE. He’s staring out of the window.

    CHARLIE: It’s a nice day. I know we only moved in but everyone’s out enjoying themselves.

    LANCE: I guess it’s easier for them.

    CHARLIE: We could do some sightseeing?

    LANCE turns around, infuriated. It’s almost like he’s rotating on an office chair due to the fluid motion of the turn.

    LANCE: (firm, annoyed) Charlie, I’m fine. I don’t need a babysitter.

    The camera pulls back. He’s not on an office chair. He’s in a wheelchair.

    CHARLIE: I didn’t say you did. I just hate seeing you sat here… missing him.

    LANCE looks down now at his paralyzed legs.

    LANCE: (whispering) Who says I miss him?

    CHARLIE sighs.

    CHARLIE: He’ll come back. He always does.

    And with this, she departs. There’s nothing she can say to him. There’s nothing anyone’s been able to say to him since the day he couldn’t walk anymore.

    CUT TO BLACK

    END OF ACT ONE

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  • Lex
    started a topic Shadow Stalker - 4.01 - Dead, Alive, Hello, Goodbye

    Shadow Stalker - 4.01 - Dead, Alive, Hello, Goodbye

    Series: Shadow Stalker
    Episode: 4.01 – Dead, Alive, Hello Goodbye
    Writer and Creator: Alex Goddard (Lex)
    Editor and Proof Reader: Alex Hart (Alex)

    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 and all original concepts. Season Four of Shadow Stalker runs strictly alongside Season One of its sister series “Sirens”. Please read the episodes in the order they are released, (i.e 4.01 of SS, followed by 1.01 of Sirens, then 4.02 of SS followed by 1.02 of Sirens etc.)


    TEASER

    OPEN ON – SUNNYDALE RUINS
    ROOF – INT.SUNNYDALE HIGH RUINS – ECLIPSED AFTERNOON

    Everything moves in slow motion. SIN looks up at her father, a soft breath expelling from her lips.

    He looks at her also.

    XAK (V/O): In a second, one single decision can be made.

    The sword is strong in his hand. Lifted.

    XAK (V/O): Everything you’ve built, everything you’ve fought for can change...

    We now cut to DANTE who watches the scene. He had made his deal, but what was it?

    XAK (V/O): Because of that decision, because of one person.


    CUT TO – SUNNYDALE RUINS
    BROKEN ROAD – EXT.STREETS – ECLIPSED AFTERNOON

    We cut to a bird’s eye view of LANCE lying in the battlefield, the arrow sticking out of his chest. CATE is at his side but she looks at a loss of what to do or how to save him.

    XAK (V/O): And when that moment changes everything... when you realise things will never be the same again...

    He just stares at the sky, blankly.


    CUT TO – SUNNYDALE RUINS
    DISTORTED DANCE FLOOR – INT.BRONZE – ECLIPSED AFTERNOON

    We cut now to KAIA’S dead face. ECHIDNA passes her hand over the dead woman’s face and then removes them. As if she’s still alive, KAIA’S eyelids close. But that’s just a motion and in that motion, BROGAN realises. He’ll never look into her eyes again and know she was the one for him.

    XAK (V/O): When the dust should have settled, but it continues to cloud your view, where does that leave you?


    CUT TO – SUNNYDALE RUINS
    ROOF – INT.SUNNYDALE HIGH RUINS – ECLIPSED AFTERNOON

    XAK looks into his daughter’s eyes. He grips the sword.

    XAK (V/O): What path is there to take when all around you is the future...

    He brings it down.

    XAK (V/O): And you’re blind...

    CUT TO BLACK


    OPEN ON – MANHATTAN
    ENTRANCE – EXT.CENTRAL PARK ZOO – NIGHT

    The camera pans around the entrance to the zoo. It is closed as evident by the sign and locks on the doors. Two hooded people rush past in the shadows...

    CAPTION: SIX MONTHS LATER.


    CUT TO – MANHATTAN
    WALL – EXT.CENTRAL PARK ZOO – NIGHT

    They get to a wall and one of them helps the other one over it. They speak in hushed whispers. With one of them over, the other climbs solely over the barricade.


    CUT TO – MANHATTAN
    WALL – INT.CENTRAL PARK ZOO – NIGHT

    On the other side, inside the zoo, they land. One of them takes off their hood. It’s a TEENAGE GIRL, she looks nervous.

    TEENAGE GIRL: We shouldn’t be here...

    The other person also takes off their hood and reveals a ****y TEENAGE BOY underneath. He smirks at her.

    TEENAGE BOY: Oh come on, you say this after we’ve climbed over the wall?

    He looks around, there are no guards.

    TEENAGE GIRL: You know this place isn’t closed just because it’s night, right?

    TEENAGE BOY: Yeah, it’s all over the news.

    He grabs her hand.

    TEENAGE BOY: Which is why we’re gonna check it out for ourselves...

    She looks reluctant as he begins moving forward.


    CUT TO – MANHATTAN
    PATH – INT.CENTRAL PARK ZOO – NIGHT

    The two teenagers skulk down one of the paths, keeping to the side. She holds on to his hand tightly.

    TEENAGE BOY: Think the penguins will go skitz like last night?

    TEENAGE GIRL: Yeah can we go with scary penguins, I don’t mind being flapped at.

    The TEENAGE BOY stops, seeing something.

    TEENAGE BOY: Or better yet...

    She turns to see what he’s looking at. She shakes her head, scared.

    TEENAGE GIRL: (fearful) No way...

    The camera cuts round to show the Polar Bear enclosure. It then cuts back to the TEENAGE GIRL who punches him in the arm, annoyed.

    TEENAGE GIRL: Are you frickin’ kidding me. We can’t go in there?

    TEENAGE BOY: (mocking) Why because it’s wrong?

    She pauses, annoyed and crosses her arms.

    TEENAGE GIRL: Fine... Let’s just get this over with.

    They begin walking forward.


    CUT TO – MANHATTAN
    POLAR BEAR ENCLOSURE – INT.CENTRAL PARK ZOO – NIGHT

    The two teenagers approach the Polar Bear enclosure, their eyes startled by what they see. The TEENAGE GIRL stops but the TEENAGE BOY steps forward. The camera moves away from her to follow his face as fear begins to develop on it...

    TEENAGE BOY: Whoa...

    The camera turns to show the glass is shattered; a large hole is in the glass and white fur, mixed with thick blood, clots the shards.

    TEENAGE BOY: I can’t believe it. I guess the news wasn’t wrong...

    A growl. He looks around the enclosure, nervously.

    TEENAGE BOY: (to the girl) Did you hear that?

    The camera looks over his shoulder to show the girl smirking. Her forehead bumpy and her teeth sharp. She’s a Vampire. She looks at the TEENAGE BOY, eyeing up her next meal.

    TEENAGE GIRL: I sure do...

    She steps forward ready to kill but as she does she is thrown to the side by something. She screams as whatever it was that pushed her begins mauling her with its paws, growling incessantly. The TEENAGE BOY turns around. His eyes widen and he screams as he sees what is destroying her. It’s the Polar Bear.

    The beast turns to the TEENAGE BOY hearing his scream. It’s eyes are bleeding. It snarls and then pounces at him.

    The camera cuts away to the disembowelled Vampire who manages to turn her eyes just in time to watch the TEENAGE BOY die and hear his blood curdling screams curdle with blood.


    CUT TO – MANHATTAN
    SIDEWALK – EXT.UPPER EAST SIDE – NIGHT

    The camera rushes down the sidewalk, zooming past lampposts, trash cans and civilians until it stops abruptly at steps leading up to a large, expensive apartment complex. It scans up it to see someone sat on the steps, watching the bustling traffic and people pass him by. It’s XAK. His hair is shorter, he looks neater but still nonetheless troubled. His cell phone begins ringing. He reaches into his pocket and looks at the caller ID. He answers it.

    He sighs.

    XAK: (to the person on the other end of the phone) Hi...


    CUT TO – ATLANTIC OCEAN
    CORRIDOR – INT.KALIPSO SYNDICATE HQ – NIGHT

    The sound of high heel shoes walking down the corridor can be heard as the camera passes up a woman in a pristine white suit, her hair is tied back. It’s SEPHY. She has a phone to her ear. XAK is on the line.

    SEPHY: (to XAK) Are you ok?

    XAK (O/S): (on the phone) I think so.

    SEPHY: (to XAK) Are we all moved in?

    XAK (O/S): (on the phone) Yeah, we finished about an hour ago.

    SEPHY sighs, relieved.

    SEPHY: (to XAK) Good, finally a place to call home.


    CUT TO – MANHATTAN
    STEPS – EXT.APARTMENT BUILDING – NIGHT

    XAK breaks a weak smile.

    XAK: (to SEPHY) Is that what we’re calling it now?

    SEPHY (O/S): (on the phone) It’s as close to home as we’re gonna get.

    She pauses.

    SEPHY (O/S): (on the phone) So where is everyone?

    XAK: (to SEPHY) Sleeping, it’s been a busy day.

    SEPHY (O/S): Poor souls. Well, I’ll be with you within the hour, I think we’re about wrapped up here. There’s nothing more...

    She stops, but a noise is heard at the other end. XAK furrows his brow.


    CUT TO – ATLANTIC OCEAN
    CORRIDOR – INT.KALIPSO SYNDICATE HQ – NIGHT

    SEPHY looks around troubled at the noise. She can see no one.

    XAK (O/S): (on the phone) Is everything ok? What was that?

    SEPHY: (to XAK) We’re below the ocean, no doubt it’s something in the water.

    XAK (O/S): (on the phone) Ok... Well I’ll see you soon.

    SEPHY smiles.

    SEPHY: (to XAK) Don’t forget to leave the light on.

    XAK (O/S): (on the phone) I won’t. Safe journey...

    He hangs up the phone. Her smile fades as she closes her phone and the noise resonates once again. She looks up and down the corridor.

    SEPHY: (almost with a nervous tone) Hello?

    It happens again. She moves down the corridor, noting the source. It’s coming from one of the rooms nearby. She pauses as she reaches the door to the room; within it is the source of the noise. She goes to reach for the handle. She blinks and grabs it, pulling the door open.


    CUT TO – ATLANTIC OCEAN
    UN-SPECIFIED ROOM – INT.KALIPSO SYNDICATE HQ – NIGHT

    The door opens and in one quick motion SEPHY stands in the doorway. Her face drops seeing that the noise has been caused by a person. A person she knows well.

    SEPHY: You...

    Her eyes are cast to something else.


    CUT TO – ATLANTIC OCEAN
    OCEAN FLOOR – EXT.WATER – NIGHT

    The camera shows an underwater view of the base. It’s enormous but shrouded well by the endless fathoms of the dark water. Only SEPHY and the person are inside.

    Suddenly, the base explodes. Endless bubbles and energy crackle as the building implodes from the pressure and from another catalyst the person inside the room had put into place. As quickly as the explosion and the destruction of the HQ had occurred, it ended, leaving what was left of the structure to either sink to the ocean floor or rise slowly to the surface. There are no signs of survivors, no screams for help.

    The base had gone, and so had the people inside.

    CUT TO BLACK

    END OF TEASER

    As the screen remains black for a moment, a purple sky begins to show itself, shrouded with dark clouds and lit only by the light of the moon. The scene begins to fade out of view as the words...

    SHADOW STALKER

    ...burn on to the screen. They fade with the scene as quickly as they appeared. All that is left is black.
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