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DOLLHOUSE s01e12 - OMEGA WRITTEN BY TIM MINEAR DIRECTED BY TIM MINEAR ORIGINAL AIRDATE: Friday May 8, 2009 @ FOX TRANSCRIPT PROVIDED BY DOLLHOUSE GIRL FOR "TWIZ TV.COM - FREE TV SCRIPTS DATABASE" ========================== DISCLAIMER: ========================== The following is not a novelization or an actual script but a dry transcript of the aired episode that includes accurate word-to-word dialogues, settings descriptions, action scenes and/or camera movements where the transcriber felt they were necessary. This transcript is posted on "TWIZ TV.COM - FREE TV SCRIPTS DATABASE" IN
WORLD WIDE WEB EXCLUSIVITY courtesy of DOLLHOUSE GIRL. "DOLLHOUSE" and other related entities are owned, (TM) and © by BOSTON DIVA PRODUCTIONS and MUTANT ENEMY in association with 20th CENTURY FOX TELEVISION.This transcript is posted here without their permission, approval, authorization or endorsement. Any reproduction, duplication, distribution or display of this material in any form or by any means is expressly prohibited. It is absolutely forbidden to use it for commercial gain. For entertainment and educational purposes only. No infringement intended. ========================== TRANSCRIPT: ========================== 1 INT. DOLLHOUSE - BALCONY - NIGHT - FLASHBACK (NIGHT 1) 1 TOPHER paces by the elevator. It opens. ADELLE. Unhappy. TOPHER ADELLE TOPHER WE MOVE with them into -- 2 INT. DOLLHOUSE - TOPHER'S LAB - CONTINUOUS 2 Adelle moves to the mics at the console. Leans there. ADELLE (into mics) 3 INT. VAN #1 - MOVING - INTERCUT 3 SOPHIE ALVEREZ (Ep. #108, "Needs") in the back of the moving van. SOPHIE 4 INT. VAN #2 - MOVING - INTERCUT 4 BLEVINS, male Handler, in the back of this van. BLEVINS ADELLE BLEVINS TOPHER ADELLE (to Topher) TOPHER ADELLE TOPHER ADELLE TOPHER 5 INT. ALPHA'S LAIR - NIGHT - FLASHBACK (N1) 5 Dank, drippy, industrial. YUPPIE stripped to his underwear, battered, bruised, tied to a chair. A MERCEDES is nosed into the space via a loading dock; HEADLIGHTS ON, STEREO BLASTING. LITHE SEXY FEMALE dancing suggestively in SILHOUETTE. ALPHA, imprinted as a dangerous drifter. He's agitated, drinks, has a knife. Circles the bound and terrified Yuppie. ALPHA YUPPIE ALPHA YUPPIE ALPHA He presses the knife blade under Yuppie's eye, dimpling. YUPPIE Alpha eases off with the knife. Smiles. Progress. ALPHA YUPPIE ALPHA Yuppie stares. Breathes hard. Tries not to cry. Finally - YUPPIE ALPHA (a cock of the head) YUPPIE ALPHA (grabs him violently) YUPPIE A beat. Alpha tries to process this. Can't. Gets angrier. ALPHA YUPPIE Alpha looks back to the sight of his paramour WRITHING and GRINDING in the steaming headlights. He stares, entranced. ALPHA The FEMALE FIGURE stops dancing. Steps forward -- WHISKEY It's not Echo. It's WHISKEY. A Doll we haven't yet seen actually a Doll we didn't realize until now was a Doll. It'sDR. SAUNDERS before she was Dr. Saunders. Pre-scars. WHISKEY (CONT'D) ALPHA Alpha offers Whiskey the knife. She smiles. Takes it. Moves seductively to Yuppie. Lowers herself onto his lap. 6 INT. DOLLHOUSE - TOPHER'S LAB - NIGHT - FLASHBACK 6 WHIP PAN from FLASHING on the GPS monitor to Topher -- TOPHER 7 INT. VAN #1/VAN #2 - INTERCUT 7 SOPHIE BLEVINS Topher's gaze goes back to the VITALS monitor - TOPHER 8 INT. ALPHA'S LAIR - NIGHT - FLASHBACK 8 Whiskey is doing a kind of lap dance/torture thing, grinding on the Yuppie and drawing the knife blade down his face toward his throat. Alpha leans in, feeding on the scene - BOOM! Doors are BREACHED with FLASH GRENADES and BLACK OPS with Sophie and Blevins burst in, pull Whiskey and Alpha away. They struggle. SOPHIE WHISKEY ANGLE: BLACK OPS struggle with Alpha. Blevins approaches. BLEVINS He stops struggling. As soon as they relax their grip, Alpha tries launching at Yuppie. Ops guys SLAM him up against the wall again. Blevins gets right in Alpha's face. BLEVINS (CONT'D) A beat as Alpha shifts his focus onto Blevins. Then he relaxes for real. Smiles a little goofily. ALPHA Blevins escorts Alpha away, past Whiskey with Sophie. Whiskey looks back at panting Yuppie -- WHISKEY BLAST of a an ALARM takes us to - 9 INT. DOLLHOUSE - MAIN AREA - NIGHT (NIGHT 1) 9 PRESENT DAY. DR. SAUNDERS, blood spattered, comes around the corner from her office - DR. SAUNDERS Adelle and BOYD, plus lots of SECURITY FOLKS are approaching. DR. SAUNDERS (CONT'D) ADELLE Trained professionals on the move around them, as -- DR. SAUNDERS Adelle swallows her full reaction to that, glances toward the office. Boyd's listening to info coming over his ear wig. BOYD BOYD (CONT'D) ADELLE Adelle steadies herself as she sees EMTS carrying a stretcher with Victor; wrapped in towels, MOANING. DR. SAUNDERS OFF Adelle and Boyd's reaction -- 10 INT. DOLLHOUSE - TOPHER'S LAB - NIGHT 10 Adelle and Boyd fast walk in to find Topher, a little woozy from his tasering, as he examines the imprint chair. Some of his STAFF are helping put the lab back in order. TOPHER (before they need to ask) ADELLE BOYD (gets it instantly) TOPHER He uses a pen to pick up a BLOOD-SMEARED MAGNETIC STRIP. TOPHER (CONT'D) ADELLE TOPHER ADELLE Adelle and Boyd exit. They pass Dr. Saunders, who has appeared at the door. Topher sees her there. DR. SAUNDERS Topher just looks at her uneasily for a beat, then -- TOPHER DR. SAUNDERS A beat. She turns and goes. OFF Topher -- 11 INT./EXT. STOLEN CAR - MOVING - NIGHT 11 PRESENT DAY. Alpha drives. Echo's lightweight jewel-colored Dollhouse outfit lands on his face. He laughs. ALPHA ECHO is just pulling a new top down over her head. The front seat is cluttered with boutique bags of new clothes. ECHO They kiss. He is much pleased. As she shrugs into her new top, she winces, touches an ABRASION on the back of her neck. ECHO (CONT'D) ALPHA ECHO ALPHA ECHO ALPHA ECHO ALPHA She does a take. Alpha's got a rather cacophonous inner dialogue going on, as we will soon understand. ECHO ALPHA ECHO ALPHA ECHO ALPHA ECHO ALPHA ECHO ALPHA He twitches his head, like he's filing something to the back of his mind. Echo doesn't notice, digs in her bag of riches. ECHO ALPHA ECHO ALPHA ECHO Her face is tear streaked and she's absolutely fucking terrified. ECHO (CONT'D) Echo turns her back. OFF their hostage - 12 INT. DOLLHOUSE - ADELLE'S OFFICE - NIGHT 12 PAUL is still a prisoner, flanked by SECURITY GUYS. enters, followed by Boyd. Adelle PAUL ADELLE (to other security guys) Adelle moves to her desk, removes a FILE. As she does this, Boyd unfastens Paul's bonds. She opens the file to an 8x10 PHOTO of Alpha. ADELLE (CONT'D) Hands free now, Paul takes the file. PAUL ADELLE BOYD Paul turns the pages -- a photo of Alpha, security photos of dead bodies from the Alpha massacre -- PAUL ADELLE PAUL ADELLE PAUL ADELLE Boyd's cell RINGS. He answers it. Moves away. PAUL ADELLE PAUL ADELLE PAUL ADELLE PAUL Boyd clicks off the phone -- BOYD -- moves to the security MONITORS, is changing them to views of the exterior of the building. BOYD (CONT'D) ADELLE BOYD Paul registers recognition. On the MONITOR, among the BOMB SQUAD, LAPD and FBI he sees: AGENT TANAKA. PAUL 13 EXT. DOLLHOUSE - NIGHT 13 Much official activity as the BOMB SQUAD, LAPD and FBI ready to go in to sweep the building. AGENT TANAKA oversees much of this. He is approached by another AGENT, who says something to him. He turns, reacts as he sees -- TANAKA ANGLE: PAUL emerges by himself, showing his hands -- 14 INT. DOLLHOUSE - ADELLE'S OFFICE - SAME TIME 14 Adelle and Boyd watch the security camera view. BOYD ADELLE 15 EXT. DOLLHOUSE - SAME TIME 15 Paul and Tanaka step up to each other. Private confab. PAUL TANAKA PAUL TANAKA 16 INT. DOLLHOUSE - ADELLE'S OFFICE - SAME TIME 16 They are. But they can't hear what's being said. 17 EXT. DOLLHOUSE - SAME TIME 17 Listen. PAUL Tanaka just stares for a beat, dumbstruck, realizing -- TANAKA PAUL Tanaka stares at him for a long beat, then -- TANAKA (calling back) PAUL TANAKA PAUL TANAKA (under his breath) -- and Tanaka moves off. Paul watches him, then pivots, glancing up at a SECURITY CAMERA. The hint of a smile for -- 18 INT. DOLLHOUSE - ADELLE'S OFFICE - SAME TIME 18 --Adelle. She knows he's looking right at her. She's impressed. Topher enters. TOPHER ADELLE TOPHER ADELLE TOPHER BOYD 19 INT. ALPHA'S LAIR - NIGHT (N1) 19 PRESENT DAY. LIGHTS crackle, blinking illumination into the lair. It's the same place from the earlier flashback engagement. Only now it's more lived in. Alpha's been squatting in this place. There is a mad scientist-y bank of COMPUTERS, powered by stolen energy. Alpha holds the trembling HOSTAGE to himself. Echo hefts her bag on her shoulder, takes in the place. She might be chewing gum. ALPHA And the centerpiece of all this: the MAKESHIFT IMPRINT CHAIR. A Frankenstein-ian amalgam of spare and stolen parts. She makes with a polite-ish smile. Nods. ECHO 20 INT. DOLLHOUSE - DR. SAUNDERS' OFFICE - NIGHT (N1) 20 PRESENT DAY. Dr. Saunders tends to the SLASH WOUNDS on VICTOR's face. They've already been stitched, and now Saunders is dressing them with bandages. Victor winces and pulls away from her. VICTOR DR. SAUNDERS He allows her to continue. VICTOR She says nothing, keeps working. VICTOR (CONT'D) DR. SAUNDERS VICTOR He looks to her with pleading eyes. Her own go cold. DR. SAUNDERS Victor looks up at her, clearly not used to this kind of treatment from Dr. Saunders. He's lifted his hand and gently touches her scars. VICTOR SOPHIE (V.O. PRE-LAP) 21 INT. DOLLHOUSE -DR. SAUNDERS' OFFICE -DAY -FLASHBACK 21 (FLASHBACK DAY 2) OLD DR. SAUNDERS, an avuncular older man, turns to find Sophie standing in the door with WHISKEY, who's holding an ice pack to her shoulder. OLD DR. SAUNDERS SOPHIE Old Doc Saunders offers a cup of lollipops, holds it out. OLD DR. SAUNDERS As Whiskey takes a lollipop and sits - OLD DR. SAUNDERS (CONT'D) (to Sophie) SOPHIE WHISKEY OLD DR. SAUNDERS Sophie's radio SQUAWKS - MAN ON RADIO (V.O.) SOPHIE Old Dr. Saunders nods. We FOLLOW SOPHIE into - 22 INT. DOLLHOUSE - MASSAGE AREA - CONTINUOUS (D2) 22 --and LAND on ALPHA, on a massage table. He's mid-massage, but his eyes are open. We get the sense he's been listening. OLD DR. SAUNDERS (O.S.) WHISKEY (O.S.) Alpha's attention shifts. He sits up, his eyes now drawn to - 23 INT. DOLLHOUSE - MAIN AREA - CONTINUOUS 23 -- where CAROLINE (wearing her clothes from the first scene of Ep. #101, "Ghost") crosses with Adelle and some SECURITY. Caroline takes in the place that will soon be her home. ACTIVES look at her with benign curiosity. ADELLE CAROLINE ADELLE Alpha walks toward them, stops as Caroline gets closer. CAROLINE As Adelle leads her to the stairs, Caroline's eyes stopbriefly on Alpha, who looks at her. A beat. And then she moves up the stairs. ADELLE They continue up the stairs as Whiskey appears next to Alpha. ALPHA Whiskey is interested only in her lollipop. WHISKEY She heads off. Alpha's eyes follow Caroline -- ALPHA's POV: Caroline and company moving through Topher's Lab area and disappearing into the Imprint Room. 24 INT. DOLLHOUSE - IMPRINT ROOM - NIGHT (N1) 24 PRESENT DAY. ANGLE: the CHAIR. EMPTY. PAUL (O.S.) WIDER: Paul, Adelle, Boyd and Topher. TOPHER ADELLE TOPHER BOYD Indeed, Topher does. ADELLE Adelle exits. Topher and Paul size up each other. Now TWO HANDLERS appear, escorting in SIERRA and NOVEMBER. SIERRA NOVEMBER Paul reacts to this -- PAUL Topher, who knows full well he's been sending November into Paul's bed, starts readying his chair. As he elbows past - TOPHER Sierra moves to the chair. Paul now finds himself standing next to November, who looks at him without recognition. NOVEMBER 25 INT. ALPHA'S LAIR - NIGHT 25 WENDY is strapped into Alpha's makeshift imprint chair. She struggles. SCREAMS and CRIES through her GAG as he connects wires and electrodes to her. ECHO ALPHA Alpha notices her "Wendy" name tag. He tears it off. ALPHA (CONT'D) Alpha moves to his myriad mismatched computer terminals, starts firing them up, putting things in motion. ECHO ALPHA ECHO Alpha gets very still. Turns, regards Echo with something like clinical contempt. He's a different guy. ALPHA She just reacts to the meanness. Recoils. ECHO ALPHA He moves to her, primary Alpha personality again. Her lover. ALPHA (CONT'D) ECHO ALPHA He hits enter on his computer, without even looking. The CHAIR FIRES UP. He pulls Echo to himself, starts kissing her hungrily as WENDY WRITHES and SCREAMS in the background. 26 INT. DOLLHOUSE - MAIN AREA - DAY - FLASHBACK (D2) 26 SCREAMS and FLASHING LIGHTS from the IMPRINT ROOM. Alpha Watching, waiting, until... Caroline, now ECHO, emerges onto the bridge, an untroubled Doll. Alpha tracks her with his eyes. 27 INT. DOLLHOUSE - MAIN AREA - NIGHT - FLASHBACK (NIGHT 2) 27 Echo moves through life at the Dollhouse. Alpha watches her. Shadows her. Hell, he's pretty much stalking her. 28 INT. DOLLHOUSE - ART THERAPY - DAY - FLASHBACK (DAY 3) 28 A few ACTIVES working with watercolors. Echo paints, oblivious to everything but her task. Alpha very cognizant of her. Stealing glances. Sure to not be caught by STAFF. 29 INT. DOLLHOUSE - GYM - DAY - FLASHBACK (DAY 4) 29 Echo on a treadmill. Alpha takes the machine next to her. She finishes soon after he starts. He slows to a walk. 30 INT. DOLLHOUSE - DINING AREA - DAY - FLASHBACK (DAY 5) 30 Alpha takes a seat at Echo's table. Eats. Looks at her. 31 INT. DOLLHOUSE - SHOWERS - DAY - FLASHBACK (DAY 6) 31 Echo showers... she turns off the water, emerges, wraps herself in a towel. WE MOVE with her, passing... the STEAM ROOM. Alpha there, watching - 32 INT. DOLLHOUSE - HALL/MAIN AREA - DAY - FLASHBACK (DAY 7) 32 Echo coming down the corridor. She passes some ACTIVES. Echo approaches a corner... Alpha emerges. Waiting. ALPHA ECHO He kisses her. She doesn't kiss back nor does she resist. When he disengages, she completes her "thought." ECHO (CONT'D) ALPHA ECHO ALPHA She cocks her head. Huh? He kisses her again. Blevins appears, approaches, a little stunned. BLEVINS ECHO She leaves. Blevins looks at Alpha -- Dollish smile. BLEVINS ALPHA BLEVINS ALPHA BLEVINS ALPHA Alpha moves off, looking at his feet as he goes. Alpha comes around the corner into -- -- the MAIN AREA. He raises his eyes from watching his step to watching ECHO going up into the Imprint Room. OFF that -- 33 INT. DOLLHOUSE -TOPHER'S LAB/IMPRINT ROOM -NIGHT (N1) 33 PRESENT DAY. Paul watches from Topher's Lab as November writhes in the chair. He's repulsed and fascinated. Boyd's next to him. BOYD Sierra is there too, impatiently fidgeting. She's already outfitted in her urban bounty huntress gear. SIERRA Paul can only stare. Now November appears, all business. NOVEMBER So if you're done molesting the furniture, can we get these guys? (pushing past Paul) 'Scuse me. Sierra follows her out, to where their HANDLERS await. SIERRA Paul looks to Boyd. Boyd shrugs. Yep. Topher leans in the door of the Imprint Room, enjoying Paul's discomfort. TOPHER 34 INT. ALPHA'S LAIR - NIGHT (N1) 34 The work of the chair is complete. "Wendy" has been reduced to a zombie. A slight MOAN, maybe some drool. Blank stare. ECHO ALPHA (brain freeze headache) ECHO ALPHA (a casual observation) He ejects a MEMORY WEDGE from the system. Gives it a little shake, holds it to his ear, listens. ALPHA (CONT'D) He puts it to Echo's ear. A beat. ECHO ALPHA (don't be an idiot) He yanks it away, moves back to his computers, tosses the wedge onto the counter. Clicks at keyboards. ECHO ALPHA None of this makes Echo any less confused. ECHO ALPHA He's holding a different IMPRINT WEDGE. ALPHA (CONT'D) 35 INT. DOLLHOUSE - TOPHER'S LAB/IMPRINT ROOM - NIGHT 35 Paul examines the Imprint Room. The place where Alpha became Alpha. The place where he snapped. PAUL TOPHER PAUL TOPHER PAUL BOYD PAUL TOPHER PAUL TOPHER PAUL Topher starts to sigh -- stops. Now that you mention it TOPHER A beat as the weight of this hangs there. Paul's thinking. PAUL TOPHER PAUL Gulp. Topher scans the stored wedges, reaches in... and comes out with one that's SMASHED and MUTILATED. BOYD TOPHER PAUL TOPHER INT. ALPHA'S LAIR - NIGHT 36 "Wendy" WRITHES in the MAKESHIFT IMPRINT CHAIR. The CRACKLE LIGHTS STOP. She sags. Alpha appears in front of her. Her eyes FLUTTER OPEN. Alpha smiles. ALPHA "Wendy," now CAROLINE, blinks -- WENDY/CAROLINE She looks from the unfamiliar face before her to: ECHO staring. Caroline reacts to the sight of her own face -- WENDY/CAROLINE (CONT'D) 37 INT. ALPHA'S LAIR - NIGHT (N1) 37 Caroline, now animated in the body of Alpha's hostage, takes in her circumstance with horror. WENDY/CAROLINE ALPHA (to Echo) ECHO WENDY/CAROLINE ALPHA WENDY/CAROLINE ECHO ALPHA WENDY/CAROLINE ALPHA ALPHA (CONT'D) ALPHA (CONT'D) ECHO WENDY/CAROLINE ECHO WENDY/CAROLINE ALPHA ECHO ALPHA ECHO ALPHA Caroline is stung by that. Way more than the slap. WENDY/CAROLINE ALPHA WENDY/CAROLINE ECHO ALPHA 38 INT. DOLLHOUSE - ART THERAPY - DAY - FLASHBACK (DAY 8) 38 Echo, Alpha and Whiskey among the ACTIVES carefully shaping BONSAI TREES with SCISSORS and small blades. An ART ATTENDANT supervises. Alpha watches Echo work. ECHO Sophie approaches. Echo perks up with anticipation. ECHO (CONT'D) SOPHIE WHISKEY ART ATTENDANT Whiskey excitedly starts cleaning up her station. Alpha observes her cheer. Echo is working on her tree, not being chosen already forgotten. Behind Alpha - ART ATTENDANT (CONT'D) SOPHIE CLOSE: happy WHISKEY finishing tidying up. She looks up -- ALPHA -- ALPHA is there, looking at her with a Dollish smile. ALPHA (CONT'D) His hand goes up... he's clutching his scissors... his hand comes down. At her face. SLASHING like a child scribbling on a wall. Everything goes to SLOW MOTION as Sophie and the Art Attendant see what's happening. The other Actives look on with benign curiosity. Whiskey's on the ground now, Alpha on top of her, slashing. ATTENDANTS and HANDLERS rushing in, pulling Alpha away from the writhing figure on the floor. ALPHA (CONT'D) CLOSE: ECHO, uncomprehending. BLOOD SPATTERS on her cheek. SMASH CUT TO: 39 INT. DOLLHOUSE - IMPRINT ROOM - DAY - FLASHBACK (D8) 39 TOPHER's CREW and few HANDLERS, including Blevins, are restraining Alpha in the chair. Blood stains his jewel colored shirt. Topher types feverishly at his computer, trying to ignore the commotion behind him. Adelle is there with Topher. ADELLE TOPHER (frazzled) TOPHER (CONT'D) Topher is watching the SCREEN as all the imprints fly by. Adelle looks over his shoulder. TOPHER (CONT'D) ADELLE TOPHER Topher glances up at the continually loading imprints - TOPHER (CONT'D) ADELLE Adelle leaves Topher. Alpha struggles in the chair. ALPHA BLEVINS The word treatment seems to calm him down. He eases his ALPHA Blevins glances at the other Handlers - BLEVINS They nod, exit. Now it's just some of Topher's staff and Blevins. ALPHA BLEVINS ALPHA TOPHER Alpha's been eyeing Blevins, who has eased off. Alpha BOLTS up in the chair. The fear in his eyes is gone. Blevins and Topher's staff push him back in the chair, but Alpha lands a sharp KICK square in Blevins' chest, sending him flying back toward Topher's computer. He lands on the CPU, which causes the imprint chair to FIRE up. CLOSE ON: the IMPRINT COMPUTER as we see it cycling through dozens of Alpha's previous imprints. Alpha SCREAMS and arches his back in the chair. It's going into overdrive. The blue light FLASHES erratically. TOPHER (CONT'D) Blevins gets to his feet. Runs over to Alpha, grabs him at the shoulders, trying to pry him loose. Alpha's eyes lock on Blevins'. His hands clamps on Blevins' skull. His THUMBS go in Blevins' eyes - ALPHA Topher runs over to the wall with all the tech on it and pulls a large circuit breaker. The chair hums to a quiet STOP. Blevins' lifeless BODY drops to the floor. Alpha goes still in the chair for an eerie moment. Is he dead? Topher is just frozen with shock. Now Old Dr. Saunders runs into the room, with an emergency medic kit in his hand. OLD DR. SAUNDERS TOPHER (shell-shocked) Suddenly Alpha comes out of the chair like Nosferatu. He's standing right in front of the surprised Old Doc. He plucks the wire-rim glasses from his face -- draws them back as a CUT TO: 40 INT. ALPHA'S LAIR - NIGHT (N1) 40 PRESENT DAY. Wendy/Caroline is still bound, but she's no longer in the makeshift imprint chair. She's tied up in a corner, looking at something happening off-screen -- WENDY/CAROLINE WIDER: what Alpha is doing at the moment is attaching electrodes to Echo, who is now the one in the imprint chair. ALPHA WENDY/CAROLINE ALPHA (to Echo) WENDY/CAROLINE ECHO WENDY/CAROLINE ECHO WENDY/CAROLINE ECHO WENDY/CAROLINE ECHO WENDY/CAROLINE ECHO WENDY/CAROLINE ALPHA He's done wiring Echo up. He turns to trussed up Caroline. ALPHA (CONT'D) WENDY/CAROLINE ALPHA ALPHA (CONT'D) He hits ENTER and the chair starts CRACKLING to LIFE -- WENDY/CAROLINE ANGLE: ECHO in the chair. SCREAMS and WRITHES. WE SEE a similar computerized dumping of multiple imprints on the computer screens here to what we saw in Alpha's flashback. We go INTO ECHO's HEAD. It's like a memory wipe --but in REVERSE. We're seeing all of the different personality imprints from all season being dropped into her consciousness, until it's just a CACOPHONY. WWWFFFFFTTTTT! DEAD STOP. Silence. A few CRACKLES, maybe. Echo lies in the chair, lifeless. Small trickle of blood from the corner of her mouth. Caroline looks on worriedly. Alpha moves toward the chair, expectantly. WENDY/CAROLINE (CONT'D) WHAM! Echo is on her feet, pulling the electrode wires out in one fluid movement. Her eyes are open, clear. ALPHA ECHO (nods to herself) ALPHA Echo reaches over, picks up a piece of stray REBAR. Tilts her head to look down on the tied up mortal. ECHO BASH! She comes around with the rebar and SMASHES ALPHA in the HEAD with it! He goes down. She looms over him. ECHO (CONT'D) 41 INT. ALPHA'S LAIR - NIGHT (N1) 41 Alpha's on the ground, scooting backwards on his ass, hand to his bleeding head, looking at the goddess looming over him. ALPHA ECHO ALPHA ECHO ALPHA ECHO ALPHA ECHO ALPHA ECHO ALPHA ALPHA (CONT'D) ALPHA (CONT'D) ECHO ALPHA 42 INT. DOLLHOUSE - ADELLE'S OFFICE - NIGHT (N1) 42 A FAT FILE (like, maybe a phone book size?) is dropped onto the table in Adelle's Office. Paul is across from her. Boyd and Topher are there, too. PAUL ADELLE TOPHER PAUL TOPHER PAUL TOPHER PAUL ADELLE BOYD TOPHER He leaves. Adelle looks to the others. ADELLE PAUL She rises, moves to a credenza. Finds the Kraft FILE. ADELLE Boyd is hearing this for the first time. Doesn't like it. Adelle hands Paul the file. On the front is clipped a small photo of KARL WILLIAM KRAFT -- Alpha from a different life. BOYD ADELLE BOYD PAUL (off file) ADELLE BOYD She looks at him. It's not like she's proud of this. Still. PAUL ADELLE PAUL BOYD (takes the file) PAUL Boyd notes that DAWN has broken outside the windows of Adelle's Office. BOYD PAUL BOYD ADELLE PAUL BOYD 43 INT. ALPHA'S LAIR - DAY (DAY 2) 43 Echo - ALPHA ECHO ALPHA WENDY/CAROLINE ECHO WENDY/CAROLINE ECHO WENDY/CAROLINE ECHO Alpha's up and back in the fight. Echo is knocked Alpha comes at her again, connects -- ALPHA OFF the fighty fight -- 44 INT./EXT. APARTMENT BUILDING - DAY 44 PAUL BOYD PAUL BOYD Boyd hits the buzzer. NITA (V.O.) (from intercom) PAUL NITA (V.O.) PAUL NITA (V.O.) PAUL After a beat, clearly shaken - NITA (V.O.) PAUL NITA (V.O.) She clicks off. Boyd looks at Paul. BOYD NITA (O.S.) They turn -- NITA WALSH is an attractive, professionally dressed woman. With HORRIBLE KNIFE SCARS on her face. NITA (CONT'D) 45 INT. DOLLHOUSE - TOPHER'S LAB/IMPRINT ROOM - DAY 45 Topher, along with his WEARY STAFF, are rebuilding the stolen Echo imprints. They cycle through on the screens. An ASSISTANT hands him a WEDGE. TOPHER Background singer ninja girl. He inserts it. Has a DIAGNOSTIC METER he reads from. TOPHER (CONT'D) He hands it off. His phone RINGS. He pops on his headset. TOPHER (CONT'D) (into headset) INT./EXT. BOYD'S CAR - MOVING - INTERCUT 46 Boyd driving, on hands-free speaker phone. Paul is shotgun. * BOYD (into phone) TOPHER Can you be more specific? BOYD During that realization has been dawning on Topher -- TOPHER Boyd looks to Paul. His looks says it all. Paul is eager. At the lab, Topher is moving to his stored wedges. TOPHER (CONT'D) During this we POP OUT to TOPHER's LAB (or outside the door to his lab) where WE FIND SAUNDERS listening, holding some paperwork. Topher's words stirring something in her - TOPHER (CONT'D) BOYD Boyd clicks off. END INTERCUT. We stay with Topher. He holds the old Whiskey wedge. He moves to the chair on a whim. Inserts it. Holds his diagnostic tool up to it -- it BEEPS GREEN. OFF that -- 47 INT. ALPHA'S LAIR - DAY 47 ALPHA ECHO ALPHA ECHO Alpha COLLAPSES. Echo steps back, breathing hard from the exertion. She remembers Caroline, goes to her -- ECHO (CONT'D) WENDY/CAROLINE Echo smiles at that. Echo's untying her now. Caroline regards her -- regards herself. WENDY/CAROLINE (CONT'D) Echo looks at her -- ECHO WENDY/CAROLINE ECHO (feeling it) Caroline nods. Yeah. WENDY/CAROLINE A wave of hope washes over Echo. But Wendy/Caroline adds: WENDY/CAROLINE (CONT'D) ECHO Oh, shit. She really wants to. WENDY/CAROLINE ECHO WENDY/CAROLINE Caroline smiles. For a second. TWAT! The BULLET goes right through her throat. Her hand flies there automatically. Blood burbles through her fingers. She collapses into Echo. As she dies in Echo's arms, Echo turns to see -- -- Alpha with a HAND GUN, a cabinet open behind him. He holds up the CAROLINE WEDGE. He puts the gun to it -- ALPHA 48 INT. DOLLHOUSE - ADELLE'S OFFICE - DAY (D2) 48 Topher and Adelle. ADELLE TOPHER ADELLE TOPHER ADELLE TOPHER ADELLE TOPHER ADELLE He leaves. She picks up her phone. 49 EXT. SOMEPLACE WHERE WE CAN SHOOT - DAY 49 Sierra is in the foreground, sitting on a motorcycle. Another one is parked next to her. In the deep background November is roughing a GUY up. Sierra's cell RINGS - SIERRA (answering) She clicks off, calls out -- SIERRA (CONT'D) Hey! Fritz! I got a solid. Let's motor! She KICKS OVER the engine on her bike. AS November drops the guy in the b.g. and hurries over to her bike -- 50 INT. ALPHA'S LAIR - DAY 50 Alpha holds the gun to the wedge. Caroline, Wendy in death, is on the floor. Echo is getting into the chair -- ECHO ALPHA He goes to his computers, starts firing everything up -- ECHO ALPHA I'm not gonna shoot the wedge. I'm going to keep the wedge. And I'm going to use the wedge. And I'll grab Wendys and Staceys and Beckys all over this great nation. And every one of them will be a This stirs something in Echo... a memory - ECHO He meets her eye. Gah. He smiles. ECHO (CONT'D) ALPHA ECHO ALPHA ECHO ALPHA She's getting out. Alpha jabs his gun at the wedge - ALPHA (CONT'D) ECHO ALPHA ECHO ALPHA ECHO She's stalking across the room toward him. He wavers... gun to the wedge, gun to her... gun to the wedge... he SHOOTS her instead. Kind of a wild shot, catches her in the shoulder. He runs. She's winged. Winces. Is in pain. Then she goes after him. 51 EXT. ALPHA'S LAIR - CONTINUOUS 51 Echo runs outside, sees Alpha climbing, starts going after him. Not that easy because of being shot - PPPTTEW! Alpha SHOOTS back at her as she comes for him, 52 INT./EXT. BOYD'S CAR - MOVING - DAY 52 Paul and Boyd bouncing over the rough industrial roads. Paul spots something -- PAUL BOYD PAUL BOYD Boyd stops the car. The men alight. Look to see - THEIR POV: of ALPHA and ECHO climbing on the industrial yardstructures - BOYD reaches for his firearm. PAUL Boyd leans into his car. Glove box. Retrieves a SPARE for Paul. PAUL (CONT'D) They hoof it -- 53 EXT. ALPHA'S LAIR - INDUSTRIAL STRUCTURES - DAY 53 Alpha climbing. Echo coming up fast. Alpha looks down, sees - ALPHA's POV: of PAUL and BOYD heading this way. Alpha starts FIRING down at them. Paul and Boyd take cover, opposite each other, an open space between them. They want to return fire, but - PAUL (calls over to Boyd) BOYD UPPER STRUCTURE. As Alpha fires down on the men, Echo gets closer --she's on a level just below him. Alpha sees her. But it's too late --she reaches up, grabs his ankle. He swings his gun toward her. SHOOTS! It ricochets off the metal between them. She's covered. Looks at her. Holds up the wedge -- ALPHA And... he tosses it -- ANGLE: the WEDGE. The only thing keeping the real Caroline alive. It sails through the air and - -- BAM! Lands on a cross beam. It teeters there. High about the hard ground. Teetering on oblivion. ANGLE: PAUL and BOYD. Boyd looks to Paul, points out two ways around behind Alpha, protected from gunfire and sight. A way for them both to do a kind of two man pincer. Paul UPPER STRUCTURE. Echo looks at the wedge. At Alpha. She makes a choice. Save the girl. She lets go of his leg. And he's moving again. Now she starts climbing down toward the wedge - PAUL and BOYD, moving with both of them as they run low and fast. Closing the distance. Almost there - VVRRRRROOOOMMM! They're both cut off by MOTORCYCLES. It's Sierra and November, bounty huntresses. They see Alpha up on the catwalks. Jump off their bikes -- locking and loading. Paul comes out of his cover -- PAUL SIERRA Paul looks across to Boyd. Boyd shakes his head -- do not get in their way. Paul ignores it. Here comes November, slamming a fresh clip into her weapon. Paul steps in front of her. She doesn't even slow. Boyd starts heading over to pull him out of the way. BOYD PAUL And November is nearly on top of him when - PAUL (CONT'D) (with purpose) WHACK! She bashes him with the butt of her weapon without breaking stride. He goes down. Boyd crouches at Paul's side. BOYD PAUL (dazed, head ringing) He passes out. 54 EXT. ALPHA'S LAIR - INDUSTRIAL STRUCTURES - DAY (D2) 54 Echo is crawling, with more than a little pain, down the narrow beam toward the Caroline wedge, while - NOVEMBER and SIERRA duck and cover, duck and cover, exchanging GUNFIRE with Alpha. BOYD moves under the proceedings, maneuvering in to lend back up, while -- ECHO is getting closer to the wedge, but she has been shot and she's getting woozy. Below her, Paul has started his climb toward her -- November and Sierra start converging on him, guns out -- SIERRA NOVEMBER ALPHA ALPHA (CONT'D) (perfect English accent) November's eyes go blank. We can see she's about to change ALPHA (CONT'D) But just then BOYD has appeared behind the women -- BOYD She lowers her gun. Sierra is surprised by Boyd, instinctively draws on him -- seems to recognize him. SIERRA She looks back to Alpha. You guessed it -- not there. Boyd and Sierra run over to the edge of the roof. Look down. He ain't there either. CATWALKS -- Echo reaches shakily for the wedge. Her fingertips brush it... almost has it... it teeters... it falls. ECHO's FACE wide-eyed with the realization that Caroline will die a second and final time today, except - PAUL's HAND reaches out into space, snatches the wedge. Echo looks down to Paul, who is halfway up to her. ECHO OFF Paul and Echo, holding the look - 55 INT. DOLLHOUSE - TOPHER'S LAB - DAY 55 Topher walks in, is surprised to see Saunders sitting in his throne, at his computer. TOPHER She doesn't react at all to the name. she turns to him - At first. Even before DR. SAUNDERS (then) He's moving toward her, a sinking feeling. ANGLE: the COMPUTER SCREEN. It's a VIRTUAL FILE FOLDER with a photo of WHISKEY virtually clipped to it. Now she looks at him. DR. SAUNDERS (CONT'D) TOPHER DR. SAUNDERS There is such a lump in Topher's throat. DR. SAUNDERS (CONT'D) He just looks at her. Boy does he not have any Topherisms. She rises. DR. SAUNDERS (CONT'D) She starts moving toward the door. He looks at the computer. Notices something. Makes her pause before her exit with: TOPHER DR. SAUNDERS TOPHER She looks at him a beat. DR. SAUNDERS And she turns and goes. OFF Topher - 56 INT. DOLLHOUSE - ADELLE'S OFFICE - NIGHT (NIGHT 2) 56 Adelle and Boyd. The wrap up. Adelle stares out at the city at night. ADELLE BOYD ADELLE BOYD ADELLE BOYD ADELLE Now we REVEAL -- Paul is there, too. Seated. PAUL ADELLE PAUL ADELLE Adelle's phone BUZZES. She picks it up. ADELLE (CONT'D) (into phone) She hangs up. The door opens. A delicate swirling of a dress as in comes - -- NOVEMBER. She will recognize Adelle, but no one else. ADELLE (CONT'D) NOVEMBER PAUL Adelle has the PAPERWORK ready. November sits and signs as Adelle points out the spots. Paul watches this. ADELLE They rise. Adelle hands her an envelope. NOVEMBER ADELLE NOVEMBER PAUL NOVEMBER PAUL NOVEMBER They hold a look. Is there any recognition in her eyes at all? No. Now a SONG might come up on our soundtrack, as - Paul watches November leave. She passes Boyd. He nods and smiles as she passes. Adelle watches Paul watching November - 57 INT. DOLLHOUSE - DR. SAUNDERS' OFFICE - NIGHT 57 Dr. Saunders tends to Victor's scars. He smiles at her. She smiles back. She finishes with him. He starts to go - DR. SAUNDERS He turns, looks to her. She holds up a jar with lollipops. Victor takes one, delighted. She watches him go, a mixture of regret and compassion - 58 INT. DOLLHOUSE - DINING AREA - NIGHT 58 59 INT. DOLLHOUSE - TOPHER'S LAB/IMPRINT ROOM - NIGHT 59 The CHAIR RISES. There is our Echo. ECHO Topher stares into a middle distance. give it the warmth of his usual pitch. TOPHER ECHO TOPHER (already turning away) This time he does not She rises. Pauses. Puts a hand on his shoulder. A little surprised, he turns to her. The smile she gives him is small. Unforced. And just what he needed. She leaves. FADE TO BLACK ========================== |