Announcement

Collapse
1 of 2 < >

No HTML

HTML is turned off for security reasons.

Please do not use html in your posts or messages. If you are copy and pasting something from another website and you are having problems with it showing, then it may have html in it. This could be in the form of a website link or a viewable image or an emoji or a special chacter. I am not sure this is the reason we have errors posting.

Some html code can be simply swapped with our Bulletin Board code by changing the greater than/ less than signs with bracket signs. Other BB code needs to done using the buttons in the advanced post editor.
2 of 2 < >

Home Page

The home page address has changed to: http://buffyforums.net/forums/
Please update your bookmark. Otherwise, the home page does not show you are logged in and/or will not let you type into the log in box in the top right. The link at Buffyforums.net to the forums has not yet been updated. So you will experience the error when you enter the forum through that link.
See more
See less

Shadow Stalker - 4.03 - Hearts Of Stone

Collapse
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • Shadow Stalker - 4.03 - Hearts Of Stone

    Series: Shadow Stalker
    Episode: 4.03 – Hearts Of Stone
    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 – MANHATTAN
    STEPS – EXT.APARTMENT BUILDING – NIGHT

    The camera pans along the pavement.

    LANCE (V/O): Hearts are biological pumps that send blood through our body...

    The camera approaches an object. Something stone... something that isn’t the pavement.

    [I]LANCE (V/O): They make us feel alive.[I]

    The camera travels up the object. It’s LANCE. It’s a statue.


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

    LANCE is lying on the floor. The arrow protruding from his chest. His eyes are closed.

    CAPTION: SIX MONTHS AGO.

    LANCE (V/O): When it stops beating, you stop living. You’re not alive...

    Then, with all the strength he can muster, he opens them. He stares blankly at the dark sky.


    FADE TO – UNKNOWN
    A&E – INT.GENERAL HOSPITAL – AFTERNOON

    [I]LANCE (V/O): You’re still. You’re quiet. You’re stone...

    The hospital seems calm. Wherever this hospital is there are no accidents. There are no emergencies.

    Till now.

    A sudden wind blows in the room. There are no open doors or windows. Electricity begins to spark and something materialises. The doctors and nurses look worried and scared.

    Out of nowhere, CATE appears. In her arms is the dying Lycan. Her friend. Her dead fiancé’s brother...

    CATE: (shouting) I need help!

    One DOCTOR approaches. LANCE’S eyes are closed once more.

    DOCTOR: What just happened?

    CATE: It doesn’t matter. He’s been shot... I need help!

    DOCTOR: Place him down on the bed.

    CATE moves him over to the nearest empty bed. The DOCTOR looks down at the arrow.

    DOCTOR: Ok!

    He turns to look at his colleagues.

    DOCTOR: I’m gonna need some help over here!

    SONG: EMILIANA TORRINI – SERENADE

    The song begins as the doctors and nurses begin talking to one another rapidly and CATE takes a step back, biting her nails anxiously.

    New world forming
    Picturesque in its stance
    Midnight calling
    Moonlight shadows start to dance.


    Soon she can’t see him through the medical staff.

    She was losing him.

    For the dark finds ways of being
    Engraved in the light.


    CUT TO BLACK

    And the heart bears indentations
    Of yesterdays hurting child.



    OPEN ON – MANHATTAN
    LOUNGE – INT.XAK’S APARTMENT – NIGHT

    We are back in the present.

    The song begins as the camera pans around the subdued room.

    The now we will run with smiles
    The morrow will heal the night so
    Morning comes.


    XAK and DANTE are stood on opposite sides of the room. They try to avoid one another’s eyes. SIN and PETRINA are sat either end of one of the sofas and CHARLIE and CATE are under a large blanket, looking down at the floor.

    Midnight make fast with the sun
    I can hear my name be reborn
    On the cloud within the sky beneath the dawn.


    PETRINA is the first to speak, looking around the room at them all.

    Da da da da dum dum
    Da dum dum...


    The song dies down as she sighs.

    PETRINA: I know this is an impossible time for you all but we need to talk about it.

    DANTE turns to her, angry.

    DANTE: Listen Lady Grey, how about you just...

    XAK: (cutting him off) Dante...

    DANTE stops looking at him.

    XAK: She’s right. We need to find out what did this, we can’t just sit here.

    DANTE: You’re siding with her now?

    XAK: She wants to get it done, so yeah. We need to talk about this, so we can save our friends. We need to stop this from ever happening again.

    CHARLIE: (to DANTE) Don’t you know anything?

    DANTE: Apart from the fact there’s a big bad in town that has the Senior Partners pissed, no.

    CHARLIE: But it’s after us?

    CATE turns to PETRINA.

    CATE: What about the Watcher’s Council?

    PETRINA: I’ll do what I can, I’ll call them in the morning.

    XAK: Good, but it’s not good enough. We’re down a goddess, the Syndicate are gone and now Carl and Lance are stone. We need to find out what The United are, who they consist of, what they want...

    SIN: Other than us dead...

    She says this monotonously, almost calm. It unnerves the group.

    XAK: Yeah, right...

    He turns to DANTE.

    XAK: You stickin’ around for a while?

    DANTE tightens his jaw.

    DANTE: Not going anywhere.

    XAK: Good. Then find out what turned Lance and Carl to stone. I’m sure you being back in contact with the big cheeses helps just a little bit. Pull every resource you have.

    He turns now to CATE.

    XAK: Cate, I need you to...

    PETRINA (O/S): (cutting him off) Actually...

    XAK turns to the Watcher now.

    XAK: What is it?

    PETRINA: I have an idea of what Cate and I can do, to help that is.

    XAK: Spill.

    PETRINA: I want to take her on the spirit quest.

    CATE: What?! That crazy desert place near Sunnydale? Nu-uh...

    PETRINA: It doesn’t have to be a desert. The ritual can be performed anywhere, providing there are similar conditions.

    XAK: How exactly is this going to help?

    PETRINA: If The United are a foe that Cate herself is destined to face then the spirit guide will be able to give us an indication of how to fight it. It’ll help with her training and hopefully give us information about our enemy.

    XAK nods. He turns to CATE.

    XAK: You up for this?

    CATE looks unsure but then realises what’s at stake.

    CATE: (with doubt) If it helps, of course.

    XAK: Thank you.

    He looks at CHARLIE now.

    XAK: Up for a little reconnaissance?

    CHARLIE: Always. What’s the plan?

    XAK: Your mother. Something happened down in that base and there’s a reason Sephy was taken out. We’re gonna find out why. It might be able to bring her back or we might find out who’s behind this.

    She nods.

    CHARLIE: Let’s do it.

    XAK: Ok, you all have your missions, tomorrow morning we...

    SIN: What about me?

    Everyone looks at her now, some more awkwardly than others.

    SIN: How can I help?

    XAK notes CHARLIE as she looks down.

    XAK: Just... stay here for now. We’ll check in with you.

    SIN looks around the room at all the avoiding glances.

    SIN: Ok... I get it...

    She stands now and leaves the room.

    CATE sighs.

    CATE: I’m going to bed. It’s been a long day.

    CHARLIE squeezes her hand, she receives a weak smile in return.

    CATE leaves the lounge now and DANTE follows her.


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

    CATE is ascending the stairs. She looks tired and beat.

    DANTE (O/S): Cate...

    CATE turns. She looks at him, angrily.

    CATE: Don’t.

    DANTE is silent now.

    CATE: You don’t know what it was like for him, what he had to go through without you.

    DANTE looks down now.

    CATE: He loved you more than anything and now he’s gone. You did that to him...

    She turns now and continues walking upstairs. DANTE closes his eyes.

    He was gone...


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

    SIN is sat cross legged on her bed. The phone is to her ear.

    SIN: Hello? This is a message for admissions.

    She smiles to herself.

    SIN: I’d like to apply...

    The camera pans down to show a completed admissions form for NYU.

    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.

  • #2
    ACT ONE

    OPEN ON – UNKNOWN
    LANCE’S ROOM – INT.GENERAL HOSPITAL – AFTERNOON

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

    LANCE is lying in bed. He looks stable, but he is unconscious. CATE is stood nearby, talking to the DOCTOR who first admitted him. She looks tired and overwhelmed.

    Who had died? Who had survived? She didn’t know...

    CATE: (quietly) What can we expect?

    DOCTOR: Honestly, it’s too early to tell.

    She nods, understanding but frustrated. LANCE was her focus now. She had to have something to focus on.

    DOCTOR: The operation went well but until he wakes up we won’t know the extent of the damage caused.

    CATE: Ok.

    DOCTOR: You should know the police are interested in this. You are wanted fugitives.

    She shuffles, embarrassed.

    CATE: Yeah, we’re working on that.

    DOCTOR: I understand. I’m only telling you this because if he’s stable, then he’ll be transferred to Manhattan with the rest of you to face questioning should the law require it.

    LANCE begins stirring now. He coughs. CATE moves to his side, immediately. She smiles at him.

    CATE: You’re awake.

    LANCE: And my mouth feels like sandpaper.

    CATE: I’ll get you some water.

    She moves to the jug of water nearby and begins pouring him a glass.

    DOCTOR: I’ll give you two a moment.

    She smiles at him.

    CATE: Thank you, for everything.

    He smiles back and leaves the room.

    With the glass full of water, CATE returns to LANCE. She hands him the glass and he drinks deep.

    LANCE: What happened to me?

    CATE: You were shot, an arrow. Do you remember?

    LANCE shakes his head.

    LANCE: Guess I passed out.

    He tries to remember but can’t.

    LANCE: Did we win?

    CATE shrugs.

    CATE: I think so.

    LANCE: Sin’s dead?

    CATE: No... she’s alive. Dante made some sort of deal with Wolfram and Hart and Xak got to decide if she lived or not. Either way the battle would have ended. Xak spared her...

    LANCE looks confused.

    LANCE: Dante did this?

    She nods, tentatively.

    LANCE: Is he here?

    CATE: I’m not sure where anyone is. Sephy sent me here with you.

    He listens to her but then he realises something.

    CATE (O/S): I guess they’re nearby, or in Cropley Shores with Charlie... I’m not sure. I don’t even know who made it...

    His eyes widen now. He knows.

    LANCE: Cate...

    CATE: What?

    LANCE: I can’t feel my legs.

    A sudden rush of shivers courses through CATE’S body. For all she knew her best friend could be dead and now LANCE was changed forever.

    The camera focuses on CATE as...


    FADE TO – MANHATTAN
    CATE’S ROOM – INT.XAK’S APARTMENT - MORNING

    The scene fades to CATE in the present. The colours returning to normal.

    She’s stood in her room. She’s thinking. In front of her is a bag, which she’s been vacantly packing for an hour.

    PETRINA (O/S): Are you ready?

    CATE nods slowly.

    CATE: Sure.

    She blinks, coming back to the present.

    CATE: Any news?

    PETRINA: No. The Watchers are as stumped as us. Looks like we’re flying blind on this, unless the others can find something.

    CATE: Guess all we can do is hope.

    PETRINA: No, all you can do is zip that bag up and get downstairs.

    CATE turns to her now.

    CATE: Where are we going exactly?

    PETRINA: Not far, but we’ll be gone all night and we’ll back late tomorrow I imagine. I’ve rented a car. You should say your goodbyes.

    CATE nods, understanding.

    She understands the mission, but she isn’t ready to say goodbye.


    CUT TO – MANHATTAN
    LOUNGE – INT.SUITE – MORNING

    SEBASTIAN is in casual clothes. He knows DANTE and he knows he won’t be going anywhere for a while.

    Time to get his suit dry-cleaned.

    He has his phone to his ear.

    SEBASTIAN: (on the phone) Stop panicking, I won’t even let him know you’re involved.

    The sound of footsteps approaching catches SEBASTIAN’S ear.

    SEBASTIAN: (on the phone, quieter) I have to go, I’ll talk to you soon...

    He hangs up the phone just as the door to the suite opens and DANTE storms in.

    SEBASTIAN: Good night boss?

    DANTE glares at him, angrily.

    DANTE: Shut it.

    SEBASTIAN: No open arms I take it?

    DANTE: Lance is stone. He’s a statue.

    SEBASTIAN: Is that some sort of metaphor, taking up poetry?

    DANTE moves towards him now and grabs him. He slams SEBASTIAN into a wall.

    DANTE: I said shut it.

    SEBASTIAN is visibly shaken.

    SEBASTIAN: Ok...

    DANTE: Something turned him into stone, just like Carl Reed.

    He loosens his grip now.

    DANTE: I need to find out what did this. I need to kill it.

    SEBASTIAN: What about the Senior Partners?

    DANTE: I’ve spoken to them, but they’re pissed with me... they won’t help.

    SEBASTIAN: Well if they can’t help, what can I do?

    DANTE: Everything and anything...

    Suddenly, SEBASTIAN realises...

    DANTE: Or I will kill you.

    DANTE would kill for his love.


    CUT TO – MANHATTAN
    WATERSIDE – EXT.DOCKS – MORNING

    XAK and CHARLIE are walking by the docks, CHARLIE almost admiring the containers.

    CHARLIE: This brings back memories.

    XAK: No good ones though.

    CHARLIE: I dunno...

    She points to a spot.

    CHARLIE: Look, that was where your psycho ex-wife knocked me out before my daughter kidnapped me.

    XAK: Is it sad that that’s probably a highlight?

    She laughs and looks at him. She loves him.

    CHARLIE: We’ve come a long way together, haven’t we?

    He looks at her and smiles.

    XAK: Yeah, yeah we have.

    She couldn’t continue this conversation, it would only lead to a confession.

    CHARLIE: So uh, why are we here?

    XAK: Remember when they found your mom? The guy who found her also found some of the wreckage from the base. We might find something.

    CHARLIE looks ahead and sees a guy walking off a boat, rope over his shoulder.

    CHARLIE: Is that him?

    XAK nods. They approach him. The MAN recognises them. He looks old and worn from the world, a working man. He is played by Jim Beaver.

    MAN: I thought you’d come.

    XAK: Are you Frank?

    MAN/FRANK: Marling, yeah.

    CHARLIE: You knew we’d come?

    FRANK: Carl said you would. I have something to show you. Actually, it’s lots of somethings...

    XAK and CHARLIE look at each other.

    What had CARL known?


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

    CATE and PETRINA are walking with their supplies to the car.

    PETRINA: It’s this one here.

    She nods indicating a nearby car.

    CATE: Well I’m driving, you’ll probably kill us by driving on the wrong side of the road.

    PETRINA rolls her eyes.

    PETRINA: Fine, but I’m directing.

    With this, the girls open the car doors. They place their luggage in the back and then sit in their respective seats in the front of the car. A few seconds later, the car drives away from the sidewalk on to the main streets of Manhattan.

    Neither the Slayer or the Watcher could anticipate what would happen to them when night falls.

    CUT TO BLACK

    END OF ACT ONE

    Comment


    • #3
      ACT TWO

      OPEN ON – MANHATTAN
      ADMISSIONS OFFICE – INT.STERN COLLEGE – MORNING

      The act opens as the camera pans over a desk. We see a name plaque:

      “BELIA RIOS – ADMISSIONS OFFICER”

      The camera pans up to show a Mexican woman looking over an application in front of her. She is mature but beautiful. She is played by Lauren Vélez. She looks to be contemplating deeply. She looks up at the person opposite her.

      BELIA: Sindy A. Thorn?

      The camera rotates to show SIN sat there in a suit. Her hair is tied back and she looks sophisticated.

      SIN: That’s correct.

      BELIA: And you wanna study for a BPE here at Stern?

      SIN: Yes.

      BELIA: Listen, Sindy. It’s a long process and it’s a highly competitive course: four years of study with some of the greatest business and political minds in the world, not to mention the opportunity to study in London and Shanghai.

      SIN: I’m aware. I’ve read the material.

      BELIA: Are you sure you’re ready for that sort of commitment?

      SIN: I’m more ready than I have ever been.

      BELIA nods, observing her.

      BELIA: Well...

      Her face softens and she smiles.

      BELIA: I won’t lie - your application stands strong.

      The camera pans over the application. We can see that PETRINA’S signature is on the forms and a handwritten recommendation has been completed by the Watcher.

      BELIA (O/S): You also have excellent recommendations from your professors.

      We can see a fabricated academic record, indicating that SIN came top in her classes at Ivy League schools. The camera cuts back now to BELIA.

      BELIA: I mean really, your marks are exemplary.

      SIN smiles.

      SIN: Thank you.

      BELIA: The only problem is: your application is too late.

      SIN’S face falls slightly. BELIA notices.

      BELIA: (compromising) You could apply for next fall?

      SIN: Ms. Rios, I can do this. I can catch up on anything. I will dedicate myself to this entirely if it means I can make a difference. I want this more than anything because it means I can do something good in this world. I can be useful. I can be of use.

      BELIA looks down, hiding a smile.

      BELIA: I like you. I’ve got a feeling you could do marvellous things on this course...

      SIN: (hopeful) Am I in?

      BELIA: Not quite, but I will bend the rules a bit. The Dean doesn’t always approve of this but occasionally Stern will accept late admissions, providing they prove themselves.

      SIN: How can I do that?

      BELIA begins writing down a list.

      BELIA: Take this list. You’ll find all these books in the library. Do some reading because this afternoon you’ll have an exam. If you pass it and impress me... you’re in. Ok?

      SIN smiles and breathes a sigh of relief.

      SIN: Thank you. Thank you so much.

      BELIA: Hey, don’t thank me yet! The exam won’t be easy and if you pass you’ll have a lot to catch up on.

      SIN: I can do it.

      She smiles as her future dawns on her.

      SIN: I promise.


      CUT TO – MANHATTAN
      BALCONY – EXT.SUITE - AFTERNOON

      DANTE is stood on the balcony, leaning against the railings. He breathes in the air deeply. It wasn’t dirty this high. He stares blankly ahead, thinking.


      FLASH TO – MANHATTAN
      CORRIDOR – INT.HOSPITAL – MORNING

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

      The camera pans around the corridor of the Manhattan hospital to show DANTE sharply walking down it. He eyes someone standing outside a hospital room, looking anxious. It’s XAK. DANTE tries to bypass him and go straight into the room but XAK holds him at arms length.

      DANTE: Get out of my way Xak.

      XAK: Look this isn’t about us... there’s a detective in there.

      DANTE: What, why?

      XAK: We’re facing trial, or had you forgotten?

      DANTE: I’ve been... busy...

      XAK: Look, I get that you made a deal but he needs you. He needs you so much right now and there’s only so much we can do for him without you.

      DANTE: What do you want from me Xak?

      XAK: To be the man I thought you were becoming last year... once you got out of Wolfram and Hart.

      DANTE: Yeah well I had no choice but to be this person again. Or had you forgotten that I saved the world?

      XAK looks beat now.

      XAK: Not without a cost.

      DANTE: Get out of my way.

      He pushes XAK out of the way and opens the door to LANCE’S room.


      CUT TO – MANHATTAN
      LANCE’S ROOM – INT.HOSPITAL – MORNING

      DANTE stands in the doorway, XAK behind him. DANTE looks into the room to see LANCE sat in bed with a detective stood nearby taking notes.

      DANTE: Sorry...

      The DETECTIVE looks to him and gives a half-smile.

      DETECTIVE: No problem Mr. Turnpike, we’re about done here. Thank your assistant for faxing over your statement. Very efficient.

      DANTE: What can I say, I keep a tight ship.

      DETECTIVE: Yeah, well... we’ll be in touch.

      He moves to the exit now.

      DETECTIVE: (to XAK) Mr. Thorn may I speak with you a moment.

      XAK nods.

      XAK: Of course.

      He moves out of the room, leaving DANTE and LANCE alone together. DANTE instantly softens now they are alone together.

      DANTE: Hey...

      LANCE laughs almost. While DANTE softens, LANCE hardens.

      LANCE: (with resentment) Is that how to start this conversation? I had been wondering... I had long time to think of how you would start this conversation.

      DANTE: I’m sorry.

      LANCE: So the docs say I may never walk again. How about that, huh? One little arrow... that’s all it took.

      DANTE: I don’t know what to say...

      Tears well up in LANCE’S eyes.

      LANCE: Explain to me where the hell you are all the time? Why you’re not here when I need you?!

      DANTE opens his mouth to speak...


      CUT TO – MANHATTAN
      CORRIDOR – INT.HOSPITAL – MORNING

      XAK and the DETECTIVE are talking in the corridor, near the doorway.

      DETECTIVE: We’ve spoken to everyone now, we have statements from all of you which means we can move to the next step.

      XAK: And what is that?

      DETECTIVE: Well we have a lot of work ahead of us. There’s a lot to take into consideration, the validity of the claims of the deceased Cain Teramelli, he was the one who pursued your case. Then there’s the evidence and witnesses, which we haven’t even begun to process. It will take some time.

      Raised voices are heard coming from the room. LANCE’S room. XAK tries not to be distracted by it.

      XAK: Uh, that sounds great. Just let us know if we can help at all. I’m sure this will...

      Suddenly the door opens and DANTE storms out of the room. He walks quickly down the corridor now. The DETECTIVE raises an eyebrow.

      DETECTIVE: (to XAK) Trouble?

      XAK: It’s personal.

      XAK turns now and watches as DANTE walks away.

      The camera cuts to DANTE. His fists tight and his face protruding with every tense muscle.

      The camera focuses on DANTE as...


      FADE TO - MANHATTAN
      BALCONY – EXT.SUITE - AFTERNOON

      The scene fades to DANTE in the present. The colours returning to normal.

      He closes his eyes for a few seconds and then opens them, turning to face the interior of the suite.

      DANTE: (shouting) Sebastian! I want news. Now!

      With this, he moves inside, but the camera does not. As DANTE disappears, the camera moves up...


      CUT TO – MANHATTAN
      BALCONY – EXT.PENTHOUSE SUITE – AFTERNOON

      It continues to pan up to show the balcony of the suite above. The penthouse suite. MEDUSA’S suite.

      She is stood on the balcony and ****s her head, listening to the shout below with curiosity. The Handmaids approach her now, worried.

      HANDMAID #2: My lady, what is it?

      MEDUSA turns now and moves inside the penthouse suite.



      CUT TO – MANHATTAN
      LOUNGE – INT.PENTHOUSE SUITE – AFTERNOON

      MEDUSA: Why did you not inform me?

      HANDMAID #1: To what are you referring to my lady.

      MEDUSA: (shouting, angrily) You know! Dante Turnpike is residing in the suite below us and you can’t seriously be implying that you cretins did not know?!

      The Handmaids drop to their knees.

      HANDMAID #2: I swear to you my dearest, we did not!

      HANDMAID #1: We lay our life for you, never would we jeopardise your existence.

      MEDUSA: Good...

      Suddenly the Gorgon has an epiphany.

      HANDMAID #2: Are you going to maim and destroy us, my lady?

      MEDUSA laughs.

      MEDUSA: Goodness no. I have a much better idea; I have an idea that could turn this to our advantage.

      The Handmaids look relieved.

      HANDMAID #1: Tell us, please, my lady.

      MEDUSA: Do you suppose Mr. Turnpike is angry with me?

      HANDMAID #2: I imagine he’s feeling hostile towards the perpetrator of his partner’s incarceration, yes.

      MEDUSA smiles, viciously.

      MEDUSA: Good. Then I will give him what he wants.

      HANDMAID #1: But that risks exposure!

      HANDMAID #2: You may be in danger!

      MEDUSA: Quiet! I am fully aware of the dangers and I am also aware of how strong I have become! I have performed with such adequacy that The United have rewarded me with full disclosure. Thus, I have a theory... one I need to test.

      The camera closes in on her as the snakes around her head hiss and coil around one another, constantly moving, constantly fluid.

      MEDUSA: I will kill them one by one... until there’s nothing left but me and the two that started this all.

      The Handmaids smile excitedly at one another.

      HANDMAID #1: What would you have us do?

      MEDUSA: Nothing. I alone will perform the trial.

      Her contorted smile looks almost as deadly as her glare.


      CUT TO – MANHATTAN
      ENTRANCE – EXT.WAREHOUSE – AFTERNOON

      The camera pans around a series of warehouses on the outskirts of the island. The camera pans down to show XAK and CHARLIE walking with FRANK MARLING amongst the buildings.

      FRANK: Carl told us to keep this stuff, just in case anything were to happen to him.

      He looks sombre.

      FRANK: Obviously he knew the worst...

      XAK: What sort of stuff are we talking about?

      FRANK: After the lady washed up, you guys rushed off so quickly we didn’t get to show you.

      CHARLIE: Show us what?

      FRANK: Whatever it was that exploded down there... it came to the surface.

      XAK and CHARLIE’S eyes widen.

      XAK: The base.

      FRANK: A base, huh? Right down at the bottom of the ocean. Well there ya go... learn something new every day, even with what I’ve seen.

      CHARLIE smiles at him weakly.

      FRANK: Well whatever that thing is, it was vast; it took us two days to clear the water off the stuff.

      XAK: And you held on to it ever since?

      CHARLIE: How come Carl didn’t tell us?

      FRANK: He didn’t get a chance to. That day he told us to keep all that came to the surface and by night... he was gone.

      XAK and CHARLIE look down. It hurt them to see someone damaged because of them. It had been a long time since they had witnessed it.

      FRANK: Ah... here we are...

      The three of them stop outside one of the warehouses. It is locked with padlock and chains. FRANK reaches into his pocket and retrieves a key. He places it into the lock and removes the padlock, allowing the chains to fall to the floor like a metal serpent.

      FRANK turns to them now.

      FRANK: You guys ready?

      XAK: Let’s see it.

      FRANK pulls the doors open and XAK and CHARLIE’S eyes widen in shock at what they see before them.

      CHARLIE: (quietly) Oh my god...

      The camera rotates to show the large warehouse is full with hills of metal and junk. Everything from gym equipment and furniture to books and glass. The base had been reduced to nothing and what came to the surface was in this room...


      FADE TO – MANHATTAN
      MAIN AREA – INT.WAREHOUSE – AFTERNOON

      XAK and CHARLIE are alone now. FRANK has gone.

      They are near to one another, filtering through the rubbish best they can to find anything pertaining to a clue as to what happened in that base and what happened to SEPHY.

      XAK: Can you see anything?

      CHARLIE shakes her head.

      CHARLIE: Nothing’s standing out... I won’t lie...

      XAK: There must be something. Residue of a bomb, some clothing... something.

      CHARLIE: Did my mom say where she was when she was on the phone?

      XAK: No, just that she heard something coming from one of the rooms.

      CHARLIE: The bedrooms?

      XAK: Maybe.

      CHARLIE: Ok, I think I saw some stuff from the rooms over here.

      She moves over to the pile of rubbish with furniture in it. As she does she moves nearer to him, allowing XAK to watch her closely.

      XAK: Are you ok?

      CHARLIE: (quickly) Sure, why wouldn’t I be?

      XAK: Just that since things have gone from bad to worse you’ve been...

      He pauses.

      XAK: Different.

      She laughs nervously.

      CHARLIE: Different? Different how?

      XAK: I don’t know Charlie, but am I completely wrong?

      She deliberately avoids his eyes. It’s almost as if they’ll turn her to stone.

      XAK: One minute you’re affectionate, the next you’re keeping your distance.

      CHARLIE tries to bite her tongue.

      CHARLIE: I just... I have a lot on my mind.

      XAK: We all do Charlie. (quieter) It’s started again: our friends are danger, our family is under threat once again.

      She turns to face him now.

      CHARLIE: It’s not just that!

      XAK: What then?

      CHARLIE: (desperately) Don’t you get it? We will never have an ever after, Xak. We tried and we failed.

      XAK: You don’t know that we won’t.

      She suddenly becomes very conscious of her brain. The source of her ailment...

      CHARLIE: Yes... I do...

      She shakes her head, trying to air away any tears that may be trying to form.

      CHARLIE: We tried fighting for our family and we did it: we stopped an apocalypse, we saved our daughter and sacrificed our friends’ happiness in the process. But now... now my mother and countless other lives are paying the price because we tried to be happy and live like civilians.

      XAK moves towards her now and embraces her with both hands.

      XAK: Charlie... We don’t know why this happening, or whether or not that what happened that day in Sunnydale has anything to do with what’s happening now.

      She doesn’t look convinced

      CHARLIE: Maybe not, but it doesn’t make it any easier to process. I used to believe that everything happened for a reason... and now...

      She looks away from him.

      CHARLIE: (whispering) I don’t know what I believe.

      He lowers his head to look into her eyes.

      XAK: Believe in us.

      She looks into him now. Captivated by his eyes, just like she was when they first met.

      Whether they were in an alleyway behind The Bronze or in a warehouse in Manhattan, his eyes still worked on her.

      XAK: Just like you used to. We’ll get through this...

      She pauses, trying to compose herself.

      CHARLIE: Promise?

      XAK: I promise you.

      She knows he’s lying.

      She nods.

      CHARLIE: Ok...

      He pulls her into him and holds her close. She grips tightly on to him. She closes her eyes and we can see her eyes barely visible over his shoulder.

      Slowly her eyes open and she sees.

      CHARLIE: Xak...

      XAK: Yeah?

      CHARLIE: Over there.

      She removes herself from his grip and moves quickly, seeing something. XAK turns looking at her.

      XAK: What do you see?

      CHARLIE kneels on the floor nearby, seeing something.

      CHARLIE: It’s a machine, or part of one.

      She removes some of the rubble on top of it and pulls it out. XAK moves closer to see what it is.

      CHARLIE: What is it?

      XAK: Looks like a hard drive.

      CHARLIE: Like the ones Constance had in the Intelligence Unit?

      XAK: Like the ones with the security footage on...

      They look at one another.

      CHARLIE: Xak this might show what my mother saw. Constance told me once they protected their machinery with magic, so it’s probably undamaged. If I can break it... we might be able to see what’s inside.

      XAK: And if it was in fact The United that attacked Sephy, then we might be able to finally see what or who it is...

      With this both of them are silent. They look at the machine with promise. Right now, this was their only hope.

      XAK: (shouting) Frank!

      In the distance, FRANK appears in the doorway to the warehouse.

      FRANK: (calling at them) Yeah?

      XAK: (shouting) We need a computer.

      FRANK: (replying, loudly) Got one in my office.

      XAK stands now and holds out his hand to her.

      XAK: A promise is a promise...

      She smiles at him and takes it. She clutches on to the hard drive with unusual strength, as if it was everything to her.

      Sometimes, a distraction was everything.


      CUT TO – JFK
      RUNWAY – EXT.GATE 19 – AFTERNOON

      The sound of a plane landing deafens the scene and in the distance we can see one just making contact with the ground.

      It is soon shrouded by another plane, pulling into Gate 19. The camera focuses particularly on one of the back wheels as it slowly comes to a stop.

      As the plane stops and the wheel stops turning a figure appears from within the plane. It jumps out and slides to the floor, landing with elegance. The figure is neither obviously female or male but definitely human. It is wearing jeans and a hooded sweatshirt, covering the face. A backpack on its back.

      Before it attracts attention the figure runs, heading for the nearest fence and its ultimate goal.

      Manhattan.

      CUT TO BLACK

      END OF ACT TWO

      Comment


      • #4
        ACT THREE

        OPEN ON – MANHATTAN
        LIBRARY – INT.STERN COLLEGE - AFTERNOON

        SONG: CITIZEN COPE – SIDEWAYS

        The song begins as the camera pans around the library. It’s busy. Students are all currently studying for midterms and are rushing to read up on the latest books on business, politics and the economy.

        You know it ain't easy
        For these thoughts here to leave me
        There's no words to describe it.


        But not one student. She is not studying for midterms. She’s not even studying at this college. She is Sindy A. Thorn.

        SIN.

        In French or in English
        Well, diamonds they fade
        And flowers they bloom
        And I'm telling you.


        In one corner of the library she is sat at a table. She has a pile of books on the table in front of her and no notebook. Her memory was photographic. She looks content, scanning each page as if each word allows her to forget a part of her memory she’s been trying to block out.

        These feelings won't go away
        They've been knockin' me sideways
        They've been knockin' me out lately.


        Time moves quickly. Students rush by within seconds making it look as if she is moving slowly. But she is not, she’s normal.

        Within these walls she was Sindy. She was without baggage and she had potential.

        Whenever you come around me
        These feelings won't go away
        They've been knockin' me sideways.


        She could change the world, but for the better.

        BELIA (O/S): Sindy.

        It takes a while for SIN to recognise the alias. She soon looks up.

        BELIA: It’s time. You ready?

        SIN pauses.

        “[I]I keep thinking in a moment that
        Time will take them away
        But these feelings won't go away...[/]”

        SIN: More than anything.


        CUT TO – MANHATTAN
        FRANKS OFFICE – INT.DOCKS – AFTERNOON

        XAK and FRANK are stood by the door to his office. FRANK looks confused. He leans into XAK.

        FRANK: So what exactly is she doing?

        The camera pulls back to show CHARLIE sat cross legged on the floor of the office, the hard drive in front of her.

        XAK: The hard drive is bound by magic, to protect it from being stolen or used against the will of its owner.

        FRANK: Of course, how silly of me.

        He observes CHARLIE. She’s still.

        FRANK: So how do this work? She just closes her eyes?

        XAK smiles.

        XAK: Not quite, watch...

        The camera moves away from XAK and FRANK now to focus on CHARLIE.

        For a while, little happens. Then, the hard drive lifts from the ground and floats in front of her. It reaches eye level before her eyes open.

        They are white.

        A single glare from her eyes causes the invisible guard around the component to crackle and dissipate.

        Suddenly she blinks and the component falls to the floor. She breathes deeply. XAK moves to her side.

        XAK: You ok?

        She looks at him and nods through intermittent breaths.

        CHARLIE: Sure...

        XAK smiles at her.

        XAK: You did good.

        CHARLIE: Let’s plug it in.

        XAK nods. He reaches down and hands the hard drive to FRANK. FRANK takes the part and moves to the computer. He plugs it in and XAK and CHARLIE move to stand near to him.

        XAK: What do we have?

        FRANK: I’m not too sure, there are a lot of files.

        CHARLIE: What sort?

        FRANK: Video files. They’ve been sorted by date and then divided into different areas; we’ve got Lobby, Training Room, Mystic Labs, Meeting Room...

        XAK: What about the domestic quarters?

        FRANK: There’s corridor footage.

        XAK: Play the most recent file.

        FRANK nods and clicks on a file.

        A video begins to play.

        It shows SEPHY walking down a corridor. She has a phone to her ear. It sends shivers down XAK and CHARLIE’S spines.

        SEPHY stops, she looks at a room. She hangs up the phone and moves towards the room. She pauses. She opens the door. She says something. The screen fills with white. Then nothing.

        White noise.

        CHARLIE can’t say anything. She looks away.

        XAK: (quietly) Is there an earlier file?

        FRANK: I can rewind it...

        FRANK presses a button on the computer and the footage rewinds.

        Everything they’ve seen just turns backward, as if it never happened. SEPHY disappears from screen.

        XAK: Keep going.

        His eyes stay poised on the door. Nothing happens, until...

        The door opens and a blur disappears from the room down the corridor.

        XAK: Wait, what was that?

        FRANK: Uh, I’m not sure. Let me slow it down.

        FRANK plays the footage now and slows down the speed dramatically.

        The thing moves across the screen, down the corridor once more.

        It is white, a figure in a white cloak, making its way determined for the room. This was what SEPHY saw in the room. This is what tried to kill her...

        XAK looks for something distinguishing, but there is nothing. The face is shrouded by a hood but the figure looks like a person, not a demon. Then he sees it.

        XAK: Pause it!

        FRANK obliges. XAK points to the screen.

        XAK: There.

        FRANK peers closer.

        FRANK: What is that?

        The camera turns to look at the screen. Distinctively, there is something there.

        XAK (O/S): A shoe. A heeled shoe.

        He was right. Whoever this figure was, they were wearing women’s shoes. High heels.

        XAK turns to CHARLIE. She still looks bothered by the footage.

        XAK: If that’s The United, then we know it’s part female.

        The two look at one another, unsure if they’ve discovered something essential or something pointless.

        The United was part female.


        CUT TO – NEW YORK
        ROAD – INT.CAR – AFTERNOON

        CATE and PETRINA are driving on a road on the outskirts of the city. CATE is driving quickly but she is in complete control. PETRINA looks uneasy.

        PETRINA: I do wish you’d slow down.

        CATE: Sooner we get there, the sooner we can get back. I don’t like leaving them on their own.

        PETRINA looks at her and smiles weakly.

        PETRINA: I know. I’m sorry...

        CATE: (ignoring her) Where are we going?

        PETRINA thought they were making progress but every now and again...

        PETRINA: Coney Island?

        CATE’S face suddenly lights up.

        CATE: Sweet!

        Progress.

        PETRINA: Don’t get too excited, we’re not going for the rides or the sweets.

        CATE: (confused) Well what’s the point in going to Coney Island then?

        PETRINA: The beach is nearest equivalent to a desert. Once we’re there we’ll start a fire and I will perform the Watcher’s ritual.

        CATE: You know I’ve done this ritual thing before...

        PETRINA listens.

        CATE: The First Slayer and me? We don’t get on too well. She seems to think I’m sort of prophecy woman, or like 1/3 of a prophecy... I’m not really too sure on how it all works.

        PETRINA: You along with your High School friends form a group of Slayers and one of you will achieve greatness, while the others will die.

        CATE looks shaken. She had thought about the prophecy a lot since TRAFFORD had left and MELODY returned.

        CATE: (quietly) How do you know that?

        PETRINA: I know a lot about you, and part of the reason why I’m here is to ensure that you do not end on the six feet under end of that vision.

        CATE: What’s the other reason you’re here?

        PETRINA looks to her.

        PETRINA: I’m sure you’ll find out soon. Now, take a right here...


        CUT TO – CONEY ISLAND
        ROAD – EXT.SHORE – AFTERNOON/EVENING

        The sun is almost set and the car that CATE and PETRINA are in is approaching Coney Island.


        CUT TO – MANHATTAN
        LECTURE HALL – INT.STERN COLLEGE – EVENING

        SIN is sat at a seat in a large empty lecture hall. Her exam is in front of her. She is finished, her essay is complete.

        BELIA RIOS is sat at the front of the lecture hall in front of a desk. She looks at her watch.

        BELIA: Sindy...

        SIN was used to this name now and looks up at BELIA.

        BELIA: Your time is up.

        SIN sighs, relieved.

        There is an extreme close up of her placing the pen down on her desk.


        CUT TO – MANHATTAN
        SKYLINE – EXT.STOCK FOOTAGE – EVENING

        The sun is setting and the moon is rising over the skyscrapers of Manhattan.

        Another night. Another victim will fall to The United.


        CUT TO – MANHATTAN
        LOUNGE – INT.SUITE – EVENING

        SEBASTIAN is sat on the sofa in the suite of DANTE’S hotel room. In front of him is a table with piles of information. DANTE is pacing the room in front of him.

        SEBASTIAN: I don’t know what to tell you...

        DANTE: Something informative.

        SEBASTIAN: Look, I exhausted all our contacts and they’re just as stumped as you are. No one knows anything about this agent or The United come to that matter. All they know is that this identity is being kept tight for a reason and their presence is definitely the reason the animals go rabid.

        DANTE: I don’t care about the animals dying, I care about...

        The phone rings. SEBASTIAN and DANTE look at their mobiles but it’s not coming from their phones, it’s coming from the suite phone.

        DANTE hurries to pick it up.

        DANTE: (answering the phone) Yes?

        RECEPTIONIST (O/S): (on the other end of the phone) Mr. Turnpike? We have a message for you at the desk, it’s urgent.

        DANTE: Who left it?

        RECEPTIONIST (O/S): (on the other end of the phone) Alex Jameson. He says he needs you to go to his office as soon as possible. He has some information for you. It’s about Lance.

        DANTE’S eyes widen hearing LANCE’S name.


        CUT TO – MANHATTAN
        FRANK’S OFFICE – INT.DOCKS – EVENING

        XAK is pacing the room now. CHARLIE is stood very still, leaning against the door of the office. FRANK is gone.

        XAK: I don’t know what to think.

        CHARLIE: It’s not enough, we’re no closer. Knowing that it’s female cuts it down to half the human population not to mention the amount of female demons and gods that want us dead.

        He smiles.

        XAK: It’s something we didn’t know before we left the apartment today. It’s something. I asked you to believe in us Charlie, can you not do that?

        CHARLIE considers this.

        XAK: (answering the phone) Hello?

        DANTE (O/S): (on the other end of the phone) It’s me.

        XAK looks at CHARLIE.

        XAK: Dante. You have answers?

        She looks at him, intrigued.

        DANTE (O/S): (on the other end of the phone) That’s what I’m hoping. Know an Alex Jameson?

        XAK: Yeah he’s a friend of Carl’s, a Zoologist. He was looking into the animal deaths around town last I heard.

        DANTE (O/S): (on the other end of the phone) Well he just rang me, says he has some information.

        XAK raises an eyebrow.

        XAK: Alex has information?

        CHARLIE moves closer now, to hear what DANTE is saying.

        XAK: About what?

        DANTE (O/S): (on the other end of the phone) Lance...

        Hearing the name of their friend, XAK and CHARLIE look to another.


        FLASH TO – ATLANTIC OCEAN
        TRAINING ROOM – INT.KALIPSO SYNDICATE HQ – EVENING

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

        The camera shows two balance bars, evenly distributed. LANCE is at one end of the bars. His hair is growing and his beard is also. He is sat in his chair, XAK and CHARLIE stood either side of him.

        CHARLIE smiles at him.

        CHARLIE: Come on, you can do this.

        XAK: We’re both here for you.

        LANCE stares at the bars.

        LANCE: Dante’s trips are getting longer.

        XAK and CHARLIE look at one another.

        XAK: We noticed.

        CHARLIE: But he’ll probably be back soon.

        LANCE: You don’t know that. He didn’t even care enough to come back for the case.

        XAK: But that’s over with now, we got through it.

        CHARLIE kneels down.

        CHARLIE: And even if he doesn’t come back, we’re not going anywhere. I promise.

        LANCE: No offence Charlie, but everyone who makes a promise like that to me usually ends up dead or leaving town. And I kinda like you, so don’t make that promise.

        CHARLIE smiles weakly.

        CHARLIE: Promise retracted.

        XAK: Look Lance, it comes down to this. Are you doing this for him, or for you?

        LANCE: I wasn’t planning on doing anything.

        XAK: So you’re gonna sit in that chair your whole life?

        LANCE: Maybe. Until I have a reason to stand... until I have something to believe in.

        He looks at the bars one more time and then reverses his chair and wheels out of the Training Room.

        XAK and CHARLIE watch him leave desperately, wanting to give him something: something to believe in.

        The camera focuses on XAK and CHARLIE as...


        FADE TO - MANHATTAN
        FRANK’S OFICE – INT.DOCKS - EVENING

        The scene fades to XAK and CHARLIE in the present. The colours returning to normal.

        XAK still has the phone to his ear. He breathes softly. CHARLIE looks away from XAK.

        XAK: (to DANTE) We’ll meet you there.

        He hangs up the phone. He looks at her.

        XAK: (quietly) See? We’re getting somewhere...

        She turns back to him to see him smiling at her, warm and utterly true.

        He was her reason to stand up.

        In that second, the pain in her head stops.

        CHARLIE: I believe in us.

        With this, he puts his arm around her and they both leave the premises.

        Something to believe in.


        CUT TO – CONEY ISLAND
        SHORE – EXT.BEACH – NIGHT

        CATE and PETRINA are walking away from their car now. It’s night and Coney Island is winding down to a close, but the party was just beginning.

        The girls walk towards the shore and PETRINA has a large duffle bag on her shoulder.

        PETRINA: You have the Slayer strength, couldn’t you carry this?

        CATE: Hey, you’re the one dragging me out to Coney Island without even buying me some candyfloss so you can do the carrying.

        PETRINA throws down the bag.

        PETRINA: Fine, then we will do it here.

        CATE shrugs.

        CATE: Weakling. Sure this isn’t too exposed for the big Slayer ritual of doom?

        PETRINA: I don’t care, we need to get it done.

        CATE smirks.

        CATE: Ooh, check you out all hardcore.

        PETRINA ****s her head slightly, tired of CATE’S taunts.

        PETRINA: Just start a fire, I will begin the ritual.

        CATE moves to the bag where there is kindling in there. She makes a pile of it in the sand.

        CATE: How does this work again? Last time we did it, it was kind of a D.I.Y. thing.

        PETRINA: Fire, plus ritual will bring Sineya, the first of the Slayers.

        CATE: And have you met her before? Because she’s all with the dreadlocks and not so nice with what she says.

        CATE now reaches into the bag again and pulls out a lighter. She lights the kindling and instantly ignites.

        PETRINA: We must, if we are to learn more about The United.

        CATE: Fine, but if this goes wrong, it’s on your head.

        Nearby are some larger sticks and logs. She picks them up and throws them on the new fire.

        PETRINA watches her and then begins the ritual.

        CATE sits down and watches the fire burn, the light burning in the blacks of her eyes, remembering what happened last time.


        CUT TO – MANHATTAN
        OFFICE – INT.BUILDING – NIGHT

        The door bursts open, broken off its hinges. DANTE enters in its wake and walks into the office.

        There is no one there, it’s like an empty graveyard. None of the lights are on and the room is deadly dark. Anyone could be here in the midst of ALEX’S office.

        DANTE: (calling) Alex? Alex Jameson?

        There is no answer.

        He walks further into the office.

        DANTE: (calling, again) It’s Dante Turnpike, I got your message.

        Again, there is no answer.

        He walks into the office and spots a doorway to a private office.

        ALEX JAMESON.


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

        The door to the office opens and DANTE enters.

        DANTE: Jameson?

        No answer, but someone is sat in the chair, looking out of the window.

        DANTE moves further into the office and moves towards the chair.

        He reaches out.

        He touches the chair.

        He spins the chair around. He’s taken aback.

        ALEX is sat in the chair, but he is stone.

        DANTE’S eyes widen.

        MEDUSA (O/S): I’m pleased you got my message.

        DANTE turns suddenly now to see MEDUSA stood behind him.

        He doesn’t know at first who she is. Their eyes meet.

        He hears her hair hissing.

        CUT TO BLACK

        END OF ACT THREE

        Comment


        • #5
          ACT FOUR

          OPEN ON – MANHATTAN
          OFFICE – INT.BUILDING – NIGHT

          The camera focuses on the doorway to ALEX’S office. There is peace and silence in the room.

          The silence stands short, as a hole is blown through ALEX’S office; MEDUSA had thrown DANTE through it. He slides along the floor, hitting desks and chairs from the office. He blinks and coughs, winded, as he comes to a halt against a pillar.

          MEDUSA opens the door to ALEX’S office and walks back into the general office area, where DANTE was lying.

          MEDUSA: You didn’t think it would be that easy did you? One little look at me and you become an ornament like your sodomising lover?

          MEDUSA walks towards him now.

          MEDUSA: Oh no. I’m going to have some fun with you.

          DANTE: Bitch...

          MEDUSA: (angry) Now now, respect your elders. I have years on you boy but with the energy I took from little Lance Emory, I’m as spry as the day my darling serpents emerged from my scalp.

          Reaching him, she leans down and grabs his throat. He looks away.

          MEDUSA: So Mr. Turnpike, tell me what you and your friends know about me?

          DANTE: I’ll tell you nothing.

          MEDUSA: I will presume that means you know slim to nothing about the grand plan of my beloved.

          She looks back at the office and ALEX in his office.

          MEDUSA: Even less now your animal scribe is dormant.

          DANTE: It means I’ll tell you nothing because to me, you are nothing.

          She lifts him by his neck now. He begins to choke.

          MEDUSA: Well, we’ll just see about that.

          The life is being squeezed out of DANTE as...

          XAK (O/S): Hey.

          MEDUSA drops DANTE and turns to see XAK and CHARLIE stood in the doorway. CHARLIE’S face drops and she pushes XAK behind a pillar.

          CHARLIE: That’s Medusa... she’s behind this. She’s the agent of The United that got Lance and Carl...

          A shiver runs through XAK. He knew this warrior was legendary.

          XAK: How do we fight her without being turned to stone?

          CHARLIE looks scared.

          CHARLIE: I have no idea...


          CUT TO - CONEY ISLAND
          SHORE – EXT.BEACH – NIGHT

          The fire is burning bright now. CATE is sat staring deep into the yellow flames of the fire. PETRINA is circling the area, chanting the ancient incantation.

          CATE ****s her head slightly, curious as she sees the shape of a person beginning to form.


          CUT TO – MANHATTAN
          OFFICE – INT.BUILDING – NIGHT

          XAK and CHARLIE are now crawling around the desks of the office.

          MEDUSA (O/S): I find it incredulous that two heathens who have sullied my gods and goddesses are crawling away in fear from me.

          CHARLIE looks scared.

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

          XAK: (whispering) I dunno, you know how to fight her?

          CHARLIE: (whispering) No, but I bet my mom does...

          XAK: (whispering) Then I guess we know why Sephy was attacked...

          He looks around the room now and spots DANTE lying on the floor, unconscious. He considers something. He turns to CHARLIE.

          XAK: (whispering) I’ve got an idea.


          CUT TO –

          MEDUSA is majestically sweeping the office. Her stony eyes glaring at every object even though each one is inanimate.

          She turns to look in DANTE’S direction. He’s gone. She ****s her head, curious.

          The camera rotates to show XAK stood behind her, a fire hydrant in his hand. He pulls it back and swings it into her head. She is knocked to the floor and crashes through a desk.


          CUT TO –

          DANTE is lying on the floor of a different area of the office, still unconscious. CHARLIE is knelt over him, she holds her hands out and stares at him. Her eyes once again turn white...

          CHARLIE: Awaken.

          DANTE’S eyes open suddenly and he sharply intakes breath. CHARLIE instantly puts her hand over his mouth and motions to be silent.


          CUT TO –

          MEDUSA lifts herself off of the ground and looks at XAK.

          MEDUSA: Ah, the boy.

          XAK looks away from her, but is aware of her presence. MEDUSA laughs.

          MEDUSA: Well I can see this fight is going to be worth my time. You can’t even look at me.

          XAK: Maybe not...

          CHARLIE (O/S): But you can’t look at us all at the same time.

          CHARLIE appears behind MEDUSA. She looks at a table nearby and motions at it. The table flies off the floor and smashes into MEDUSA.

          MEDUSA spins to turn to CHARLIE but as she does CHARLIE looks away and DANTE, who is now behind her, grabs a hold of her hair, causing it to hiss. The snakes bite DANTE’S hands, causing him to recoil but he pulls her head back allowing XAK to punch her.

          MEDUSA does look pained but she snarls, angry. She pushes back and slams DANTE against the pillar. She kicks XAK away and then head butts DANTE to the floor. We see him collapse and become still once again.

          CHARLIE rushes at her now but MEDUSA grabs her by her neck. The Gorgon pushes CHARLIE up against the wall.

          XAK sees.

          XAK: Charlie!

          He jumps up and lunges at MEDUSA, but she knew he would. She reaches out and clutches him tightly.

          She grabs him by his neck now and pushes him next to CHARLIE, up against the wall. They scrunch their eyes. She eyes them all and every eye of her hair turns to them.

          MEDUSA: What pathetic villains you really are. I had expected better than a few lame punches and meagre levitations.

          She sighs.

          MEDUSA: It’s sad really. To think that after everything you’ve been through to live a normal human life... you’ll wilt so easily.

          She glares deeply at them now. Her eyes swirl.

          MEDUSA: Now, open your eyes children...

          In that moment, XAK and CHARLIE are beaten. If they open their eyes, they’re stone. If they don’t, they choke to death.

          But in the next moment, they’re saved.

          Someone manages to tackle MEDUSA to the floor. She loses her grip on XAK and CHARLIE. Their saver rolls away and jumps to her feet. Whoever this person is, it’s the person who vacated the plane at JFK.

          XAK and CHARLIE look up at the person.

          It’s TINA REED. CARL’S daughter.

          XAK: Tina?

          She smiles at them both.

          TINA: Hey.

          She looks down to MEDUSA, but the Gorgon has gone.

          XAK, CHARLIE and TINA look around the room. MEDUSA is nowhere to be seen. She’s disappeared.

          The camera pans down to DANTE who is lying on the floor. His eyes shut once more.


          CUT TO - CONEY ISLAND
          SHORE – EXT.BEACH – NIGHT

          CATE continues to observe the shape that forms as it stands low to the ground and stays in the mystery of the flames.

          CATE: Sineya?

          Then, the figure becomes complete. SINEYA is there.

          PETRINA stops her chanting, seeing the figure.

          PETRINA: Oh my goodness...

          SINEYA eyes PETRINA, ****ing her head.

          SINEYA: You should not be here.

          PETRINA: I know this is unorthodox. I understand your concern, but the ways of the Slayer have changed.

          SINEYA: More magicks change the Slayer line.

          CATE: It wasn’t us! But we do need your help.

          SINEYA: Help is all I do. It is all I can give from beyond the flames.

          PETRINA: Then help us. Please.

          SINEYA sighs. She looks down, then turns to the women, angrily.

          SINEYA: (shouting) No! You must leave!

          CATE: Why?

          SINEYA: Because when I look at you... I see death.

          CATE’S face drops hearing the words and despite the warmth of the flames, she shivers.


          CUT TO – MANHATTAN
          OFFICE – INT.BUILDING – NIGHT

          DANTE begins to revive. CHARLIE is sat in front of him. The camera pulls back to show DANTE now sat against a wall in the office. XAK and TINA are stood nearby.

          CHARLIE: Hey you ok?

          DANTE: Yeah that snake bitch really did a number on me.

          CHARLIE: She did one on all of us.

          TINA: You’ll be fine, you only hit your head. I doubt it did that much damage.

          DANTE narrows his eyes at her.

          DANTE: Well aren’t you a breath of a fresh air when you’re concussed...

          TINA: Hey, I saved your life.

          XAK turns to her, curious.

          XAK: Why did you exactly?

          TINA looks sombre.

          TINA: I heard about my dad. I didn’t really know what to do. I didn’t know whether to come back or just keep travelling... and then I thought of him and of you guys and all you did and I realised if you and my father can put your life on the line for war, then so can I.

          CHARLIE: But why did you come here? How did you know?

          TINA: Alex told me about my father. He told me to come by when I was in town. He had information about the animals.

          XAK: Well it looks like The United have taken care of that.

          He indicates ALEX’S statue with regret. TINA looks too.

          TINA: Poor guy. That thing really won’t stop until you’re all dead, will she?

          XAK: Or till The United reveal their plan. But for now she’s just settling for cutting off our resources: Carl, Lance and now Alex...

          CHARLIE stands now and walks towards XAK and TINA

          CHARLIE: But we have a one up, right?

          XAK: Sure I mean we know something about The United for once and we know who its agent is.

          TINA: Now we just have to figure out how to stop it.

          He looks to at CHARLIE and then to TINA.

          XAK: You can’t part of this.

          TINA looks annoyed.

          TINA: What? Why?

          CHARLIE: Your dad wanted you safe. I know it’s annoying but you have to do this for him.

          XAK: Charlie’s right, you need to lay low. You’re at risk, especially now she knows who you are.

          TINA: But I can help. I flew back to help, in fact I hitched a ride... I couldn’t afford a ticket.

          CHARLIE: And we appreciate it but there’s other ways you can help rather than hurling yourself at Ancient Greek creatures.

          TINA: Fine... I’ll call Frank or one of the others, see if I can help backstage for a bit.

          XAK: I’m sure they’ll appreciate that. And we’ll need your help again, I promise you.

          TINA nods.

          CHARLIE: You know he was proud of you, living your life.

          TINA: He was?

          XAK: He told me.

          TINA moves away now and smiles to herself.

          TINA: You losers better call, otherwise you’ll probably die without me.

          She leaves now and XAK and CHARLIE watch her leave.

          CHARLIE turns to say something to him but she stops as she sees something.

          CHARLIE: Xak...

          XAK: What?

          CHARLIE: He’s gone... Dante’s gone...

          XAK turns to see an empty space filling the area where DANTE was sat.

          The camera pulls back to show the two of them on their own.

          No enemies, no saviours and no friends.


          CUT TO - CONEY ISLAND
          SHORE – EXT.BEACH – NIGHT

          CATE stands now and moves next to PETRINA. Both of them look to SINEYA, confused.

          PETRINA: Explain, please!

          SINEYA: I will not talk to you. You are death!

          CATE: Please! We need help! We need to know more!

          SINEYA begins breathing heavily.

          SINEYA: NO!

          As she says this, the fire explodes and SINEYA dissipates. The woman are thrown backwards.

          PETRINA lands in the water. She does not surface.

          CATE hits her head on a rock. She does not move, her head is bleeding.

          The flames rage around them, ready to eradicate death.


          CUT TO – MANHATTAN
          LOUNGE – INT.PENTHOUSE SUITE – AFTERNOON

          MEDUSA is stood in the middle of the lounge. She is bruised slightly and her Handmaids are attending to her injuries.

          HANDMAID #1: My lady, it pains me to see these wounds.

          MEDUSA stares blankly ahead.

          MEDUSA: They are nothing. They hurt me not.

          HANDMAID #2 looks at her sister.

          HANDMAID #2: Was the test successful?

          MEDUSA: They think they won, but they did not.

          HANDMAID #1: (smiling) Those idiots. Thinking they could hurt you.

          MEDUSA: Quite. Not only did I destroy a man whose work could ruin The United, but the test proved particularly interesting.

          HANDMAID #2: Please my lady, tell us more.

          MEDUSA: The children don’t know. They don’t know about their powers. They haven’t even begun to understand what they’re capable of and with this incapability dominant; they will never win this war.

          The camera moves in on her face as she smiles.

          MEDUSA: I’m going to win.


          CUT TO – MANHATTAN
          ENTRANCE HALL – INT.XAK’S APARTMENT – NIGHT

          XAK and CHARLIE are walking into the Entrance Hall in their apartment.

          CHARLIE: Some day, huh?

          XAK: Tina’s back, Alex is gone but at least we know who we’re facing...

          CHARLIE: That’s true, even though we don’t know how to face her. I mean it’s freakin’ Medusa, Xak.

          XAK nods, a lump in his throat – daunted.

          XAK: I know.

          CHARLIE: So where do we go from here?

          XAK sighs and puts a hand on the back of her neck.

          XAK: I don’t know. But we’ll figure it out, ok?

          She nods and looks away as they now walk into the main area.

          CHARLIE: I know we will...


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

          XAK and CHARLIE walk into the room but instantly stop when they see someone sat on their sofa.

          XAK: Who are you?

          The person stands and the camera turns around to look at them.

          It’s SEBASTIAN.

          SEBASTIAN: My name is Sebastian Callaghan. I work for Wolfram and Hart.

          XAK moves in front of CHARLIE, instantly protective and instantly hostile.

          XAK: What the hell are you doing in our home?

          SEBASTIAN: We need to talk.

          XAK: What on earth would me and Wolfram and Hart have to talk about?

          SEBASTIAN: Our friend in common, Dante.

          XAK and CHARLIE look at one another.

          SEBASTIAN: It’s time you knew the truth about him.



          FADE TO – MANHATTAN
          FRANK’S OFFICE – INT.DOCKS – NIGHT

          FRANK is in his office. He begins turning the lights off.

          LANCE (V/O): The heart. It hurts when you leave someone, or when they leave you.

          FRANK turns to the door and walks towards it when he sees her. TINA. She smiles weakly at him.

          LANCE (V/O): But it aches more, when you are re-united.

          FRANK beams at her and moves to hug her. She holds on to him tightly, wondering why she came back and wishing it was her father whose arms she hand round her.

          She closes her eyes and imagines.


          FADE TO – CONEY ISLAND
          SHORE – EXT.BEACH – NIGHT

          The fire continues to rage around the Slayer as she lies with blood on her head, facing head down in the sand.

          LANCE (V/O): The heart can burn with passion and love.

          The camera moves towards the water now as the blackness laps against the shore and the Watcher lies underneath, needing to surface.

          LANCE (V/O): And it can drown in sorrow, and woe.


          FADE TO – MANHATTAN
          LANCE’S ROOM – INT.XAK’S APARTMENT – NIGHT

          LANCE (V/O): The heart is the greatest thing we own.

          We now look to see a man in a wheelchair looking out of a window.

          LANCE (V/O): So when it stops and we stop listening to its beat... we truly aren’t human anymore.

          We can’t see his face. He goes to stand...


          FADE TO – MANHATTAN
          ROOF – EXT.BUILDING – NIGHT

          The camera opens on DANTE’S face.

          LANCE (V/O): We’re one of them...

          The camera pulls back to show black eyes. He’s on the roof of a building. His eyes search the ground below, a steady wind blowing into him.

          He looks pensive at his defeat, at his weakness. He could not save him. His eyes reflect nothing. Just deep black.

          DANTE: (whispering) I believe in you. I will bring you back...

          The camera pulls back to show he’s holding on to a large spire: the top of an infamous building.

          The Empire State Building.


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

          SEPHY is lying still on her bed as someone approaches. The person sits down on her bed. The camera rotates to show SIN sat with her. She smiles sweetly and ****s her head, looking at her grandmother.

          SIN: I don’t know why I’m here, but I don’t know who else to tell.

          She laughs to herself.

          SIN: (quietly) None of them care really.

          SIN looks down.

          SIN: I got into college today.

          She looks at her grandmother, who still remains dormant. She looks like she’s hoping for this news to awaken her.

          SIN: I don’t even know what I really want out of it, but for the first time, I felt...

          The camera closes in on her lips.

          SIN: Normal.

          The camera cuts back now.

          SIN: My destiny was to change the world and I used to think that meant destroying it. But I see now how much good I can do; I don’t know how I’m gonna do it, but I’m going to change this planet. I want to make a difference and change lives for the better, even if my family don’t want my help... I can help others. The people I hurt, I’ll make it better.

          The camera pans down to show SIN reaching out to SEPHY’S hand.

          A small charge travels from SIN’S hand to SEPHY’S. We can see it, but it’s unnoticeable by either of the women.

          The camera cuts back to SIN.

          SIN: I can make a difference.

          She releases her hand from SEPHY’S now and removes herself from the room. The camera doesn’t follow.

          It stays on SEPHY.

          The camera pans down to look at her hand. It stays on it for a long time, but nothing happens.

          Then, it does.

          Her hand twitches.

          CUT TO BLACK

          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):
          JOHN SLATTERY as SEBASTIAN CALLAGHAN
          JIM BEAVER as FRANK MARLING
          LAUREN VÉLEZ as BELIA RIOS
          IDINA MENZEL as MEDUSA
          JAY MOHR as ALEX JAMESON
          CHELAN SIMMONS as TINA REED
          SHARON FERGUSON as SINEYA THE FIRST SLAYER

          Special Mention:
          EMILIANA TORRINI – SERENADE
          CITIZEN COPE - SIDEWAYS

          Comment


          • #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 always comment on the feedback! Thanks in advance!


            TRIVIA AND RANDOM FACTS FOR “4.03 – HEARTS OF STONE

            - A huge episode and one of the biggest so far in Season 4 I think, not that there’s many to compare it to. So to sum it up: Cate and Petrina are about to burn/drown, Tina’s back, Alex is stone, Medusa has knowledge on the gang, Sebastian’s about to spill the beans to Xak and Charlie and we know The United is at least part-female. See, told you it was big!

            - So this was a Lance episode even though he was only in it in flashbacks. What did you think?

            - Stern College. Forgive me if knowledge isn’t up to scratch, but i did my best! If you can, just try and accept what I’ve written to be true within the context of the series.

            - The next episode is Dante centric and entitled “Partner”. It will explain everything about Dante and his history with Sebastian as well as seeking to explain what’s happened to him over the past six months. As well as this the episode will look at Sin beginning college and meeting some new “friends” and developments will be made with Sephy...

            - In the meantime though, turn to Sirens as I finally write the episode I’ve been waiting to write for a year. Elise’s episode.

            Comment

            Working...
            X