A/N: The final installment in this short story/small experiment. Please consider leaving a review with your thoughts on the story and the format (either positive or negative are welcome). Also, or alternatively, drop me a PM if you want to discuss the story or "Chuck" -I'm always game to chat about my favorite show.

Thanks go to WillieGarvin, David Carner and atcDave for either encouraging me to write this story after reading my first one, reviewing drafts of this story, or both.

I believe Warner Brothers owns "Chuck." I'm not Warner Bros.

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It is spring, 2021, and a week after the studio for "Chuck" had tweeted "What's happening at Volkoff's Site B?" with a link to a video, yet another tweet appears on its account saying, "Have we seen the last of Chuck and Sarah?" Like the prior ones, the tweet has a hyperlink, "#Chuck" and "#Charah." The link is for a new video; with a click it launches…

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[Fade in. Setting: Antechamber to the vault. Camera: Most of the room is shown in frame, loose wires and damaged ceiling panels hang from above, the control panel and its electronics are mostly pulverized, walls and surfaces throughout are charred, and a thin haze hangs in the air. On one side of the camera's frame is the vault door, closed, covered in soot, but intact. On the other side is the now door-less entrance with daylight showing through. A few silent seconds pass.]

[Camera: Facing vault door, a muffled, deep sound of meshing gears in motion starts up and the vault door swings out and open, revealing Chuck (C) and Sarah (S) standing within, Chuck holding a small control box hanging from a cable on which he is depressing a large button.]

[Vault door now fully open, Chuck drops control box and he and Sarah step into the antechamber, looking about at the destruction.]

S: [spoken a bit numbly] Well, good to know that when motivated by a ticking timebomb, the Piranha still has the speed to match the moves.

C: [said as a sigh] Yeah. [a smile mixed with relief spreads across Chuck's face]

C: [points across antechamber] More good news.

[Camera: cuts to door-less entrance; cuts back to Chuck and Sarah]

C: The door is now unlocked.

[Both begin walking, stepping around debris and toward the open entrance. After a few steps, Sarah stops, takes Chuck's hand in hers, stopping him.]

S: [earnest] Thank you for getting us out of harm's way. For saving the day once again.

C: [speaking softly] Hey, I think of you, the kids, and it brings out the best in me.

S: [gives him a quick kiss] That was amazing work.

C: [with a tone of satisfaction] Well, yeah, I am a bit pleased with myself. I already had full access to the event log and realized that the event recording subroutine was susceptible to quick modification. [excitement rising] That allowed me to start feeding the event log back to the system, reversing the flow if you will. [excitement rising more] It was then a simple matter of altering the system clock so that the event log timestamps were now…

S: [interrupting] Uh, sweetie, I adore that brain of yours, but let's save that story for later. We need to get back in the air, and then you need to do whatever you can to find and contact Vivian or Hartley to warn them. And to find out what they know, if anything.

C: [sobered] Right.

[Both resume walking, as briskly as the debris will allow, to and out the entrance.]

[Fade out]

[Short commercial]

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[Fade in]

[Setting: Airport tarmac at early twilight. Camera: A Gulfstream jet is seen from a distance. Chuck and Sarah exit the jet briskly, briefly speak with a pair of men in dark blue pants and windbreakers, then move quickly to an SUV parked nearby and enter. The SUV starts and drives towards the camera, rapidly accelerating as it passes the camera and out of frame.]

[Camera: Tight on the SUV's grill, then slides up facing into the vehicle's cabin showing Sarah at the wheel and Chuck in the front passenger seat. Both have serious, focused expressions, with Chuck looking towards his lap. Camera: In the cabin, showing Chuck working on a laptop computer balanced on his thighs. Chuck's eyes widen.]

C: I know I said this probably a half o' dozen times on the plane, but I think I've tracked down a working number for Vivian. Geez, She and Hartley have kept a low profile all these years.

[Chuck dials a number on his mobile phone. Ringing is heard through the SUV's radio speakers.]

S: Let's hope she answers a call from a number she's not going to recognize.

Vivian (V): [heard through the SUV's speakers] Uh, hello?

C: Vivian, hi, its Chuck Bartowski. I'm here with Sarah.

V: Chuck? Chuck, wow. Don't take this the wrong way, but how did you get this number?

C: I... may have... poked around some servers owned by a couple government agencies and a few cellular phone companies... maybe?

S: Vivian, sorry for the intrusion...

V: No, no, it's fine, I'm just surprised that's all. And a bit concerned, since I don't think this is just a call to catch up with an old acquaintance.

C: I'm afraid not.

S: [spoken quickly and immediately on the heels of Chuck's words] Vivian, Riley is still alive. Has he been in contact with you or attempted to contact you? Your father?

[Silence; Chuck and Sarah glance at each other.]

C: Vivian? You there? Did you know that Riley was alive?

V: I'm here, Chuck. No. No he hasn't tried contacting me that I know. But… Yes, I knew he was alive.

S: You knew? When? And how exactly is he still alive?

V: [sounding ashamed] I've known all along. When you shot him, I was certain you had killed him. I ran and I assume you did too before the Moscow police could arrive. Shortly thereafter I learned that he had barely clung to life on that street. Volkoff Industries kept emergency medical specialists in Moscow on retainer. The first Moscow police on the scene were on Volkoff's payroll and called into their Volkoff contact who relayed the information to the medical team. The team got to Riley in time to stabilize him. With the police officers paid off, it was a simple matter to get him to Volkoff's medical facilities without having any official police report of the incident stating that he was still alive.

S: Did your father know?

V: No, I didn't tell him, and he never found out.

C: My God, Vivian. If you knew Riley was alive back then, why, when your father was free of his Volkoff alter ego and providing information to the agencies so they could round up members of Volkoff Industries, you didn't say anything?

V: I felt sorry for him, Chuck, and I didn't think he would ever trouble anyone again. He recovered physically but he seemed so diminished, so mentally -I don't know- infirmed. Nearly dying sapped the fight out of him and he didn't return to Volkoff Industries after that. I know back then he was trying to lead me down a terrible path, but in his own twisted way he seemed to care about me, to look out for me in that difficult time when I thought I had no one I could trust. Now of course it seems foolish, reckless. Why are asking me this now? What has happened?

C: Vivian, Riley's trying to resurrect Volkoff Industries.

V: What?

C: For you.

V: No! I, I, I don't want that. Chuck, you must believe me! I would never ever consider that life again.

C: I do. [glances at Sarah] We both do. But Riley is already moving on his plan.

S: Vivian, he's unstable, but seems to have regained all his former ruthless cunning, if he ever lost it. He's dangerous; he's made an attempt on our lives and our friends' lives. You and especially Hartley need to be careful.

V: My father? Why do you say that?

C: Riley no longer thinks your father is, um, a good influence on you.

V: Oh my God, are you saying he may try to kill my father? [despondent] This is all my fault.

C: Vivian, we're going to stop him. [Chuck and Sarah exchange a look; Chuck nods but his brow is furrowed with worry] But if we don't, you and your father need to be on alert and do what you can to stay safe.

V: Ok. Thank you, both of you. I'm so sorry about this, about everything.

C: Goodbye, Vivian.

V: Goodbye. Good luck.

[Chuck ends the call. Camera: Above the hood, looking into the vehicle's cabin, showing both Chuck and Sarah. Sarah takes her right hand off the wheel and reaches out as Chuck reaches out with his left, each taking the other's hand and giving a quick mutual squeeze. The hands part and Sarah regrips the wheel as the two look over the camera at the road ahead with deadly serious expressions.]

[Fade out]

[Short commercial]

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[Fade in]

[Setting: Interior of the red door, white picket fence house from Season 5. Camera: Inside, facing the front door. Windows show that its night time outside. The interior is illuminated by moonlight. Riley (R) with two mercenaries right behind him -one is Pavel, the other a hulking man easily over six feet tall and very muscular- enter, moving slowly and quietly through the house. The mercs each hold a military carbine and Riley a semiauto pistol. As they move through the house, the sound of running water and dishes clinking mixed with a woman humming grows louder. The sound draws the men towards the kitchen, which is clearly brightly lit as light spills out of its entrance. Nearing the entrance, Riley gestures for the two mercs to follow him into the kitchen. They turn the corner and enter. Camera: The kitchen is seen from what would be the men's point of view; the sink can be seen but there is no running water and no one occupying the room. Camera: Facing Riley, his eyes darting around, then they lock onto something. Camera: In close facing the kitchen sink, where to one side an iPad type tablet sits with an audio playback app running (made obvious by a rolling audio wave visual). Camera: Facing the three men, whose expressions are changing from confusion to surprise as they realize the sounds they followed are emanating from the tablet.]

R: [seething, through clenched teeth] Frost.

[The men stand abreast, each separated by about a foot. Behind them and seen between the separation and over their shoulders, Chuck and Sarah step from the darkness of the adjacent room, pistols levelled at the men.]

C: Guess again.

[Riley begins to pivot.]

C: Don't move! Lay your weapons down and then slowly turn around.

[The mercs and Riley lay their weapons down on the floor and turn slowly to face Chuck and Sarah.]

R: [surprised, then with a tight face] I thought I'd killed you.

S: Funny how that works.

[Riley looks past them, eyes searching.]

R: Only the two of you? No backup, no cavalry? [a devilish smile begins to form on Riley's face]

C: We can manage the likes of you just…

R: Ha! Two washed-up spies. [pointing at Chuck] You, on your best day, were hardly a threat. No. It will not end here. [turning to Pavel, a threatening tone] I warned you that failure a second time was not acceptable.

[Pavel is standing across from Sarah and stares intensely at her, his weight subtly shifting forward. Sarah senses the shift, begins to level her pistol at Pavel.]

C: Sarah, wait!

[Sarah's eyes dart towards Chuck for an instant and in that moment Pavel lunges and is able to extend his reach to strike the pistol from Sarah's grip. He presses forward with two wild swings at Sarah, but is unable to connect as she deftly dodges each. Pavel's advantage quickly dissipates as Sarah delivers several rapid palm strikes; the first he is able to block but the remainder connect with his sternum and head, followed by a fierce kick to his abdomen that staggers him.]

[Camera: On Riley and the heavy merc, who are transfixed by the ferocity of Sarah's counterattack on Pavel. Camera: On Chuck, who is similarly momentarily transfixed, he then turns to Riley and the heavy merc as the heavy merc turns his focus to Chuck and charges forward. Chuck gets off a hasty hip shot with his tranq gun, the dart striking the merc in his midsection; the merc's momentum carries him onward, barreling semiconscious into Chuck. The two strike the floor hard, the tranq gun knocked from Chuck's grasp. Chuck is on his back, stunned, with the heavy merc, unconscious, sprawled across Chuck's legs.]

[Riley regains his wits, picks up his pistol, and pivots towards Sarah. Camera: Over Riley's shoulder from behind, showing his attempt to get Sarah in his gun's sights, but unable as Pavel stands in between, continuing to be struck by Sarah while unable to land any blows of his own. Camera: On Riley's face, which flashes his frustration briefly before swinging his head to look in the direction of Chuck and then bringing his pistol around to point it at Chuck. Camera: On Chuck, who is still on ground, shaking the daze from his head and struggling to get the merc off him. Looking up, he sees he is in Riley's gunsights and closes his eyes, bracing for the shot.]

[Camera: On Riley, a victorious grin on his face. There is a flash at his shooting hand and suddenly a small throwing knife (the flash having been the glint off the knife's metal) is protruding from the back of his gun hand; he howls, loses his grip on the pistol, and clutches his wounded hand with his other. Camera: On Sarah, her arm still extended from the throw, with Pavel sprawled on the floor at her feet, his breathing labored, attempting but unable to get back to his feet. Camera: Back on Riley, who drops to one knee, his legs weakened by the pain. Sarah comes to stand over him and yanks the knife free from his hand, drawing another howl from Riley.]

S: [eyes locked with Riley's] Not so blunt after all, wouldn't you say?

[Heavily armed FBI agents rush into the house, announcing their presence with shouts. Agents begin securing the wrists of the two mercs and Riley, one agent quickly wrapping Riley's wounded hand in bandaging.]

C: [staring at Riley with a satisfied smile] The cavalry. Probably were just busy cleaning up whatever rabble you had outside.

[Riley gives Chuck a sour expression, then stares defiantly at the agents and finally at Sarah; Sarah moves to Riley, her face close to his, speaking with controlled intensity].

S: I have no doubt you are going to be thrown into a dark hole from which you will never come out. And you should be thankful for that, because if I ever get the inkling that you might again threaten my family -my kids!- or my friends, I will finish you, utterly. That I vow.

[Riley shrinks, defiance replaced with fear; Chuck's eyes widen at the intensity coming from Sarah and then he nods approvingly. Riley and a wobbly Pavel are led away by FBI agents while the heavy merc, still out cold, is carried with some difficulty on the shoulders of two more FBI agents. One agent (A) trails behind, picking up the mercs' dropped weapons.]

C: Agent, did you see John Casey?

Agent: Yes, he's outside. The General and Ms. Verbanski helped subdue the other perps who were setting up outside the house. [wearing an expression that suggests he feels a need to explain] Orders had come down from the top to give the Brigadier General and Ms. Verbanski wide latitude to aid with the operation. Frankly, I don't think they would have stood down had we told them to.

C: [chuckling] Thanks. If I know him, he's enjoying a celebratory cigar right about now.

[Agent departs. Chuck and Sarah are alone in the house.]

C: [turning to Sarah] You saved me from that mad man… again.

S: [staring intently into Chuck's eyes] Always. [Sarah's expression becomes contemplative] But not just you; I was saving me, too. [Chuck gives Sarah a questioning look softened with a small smile; Sarah takes a deep breath] I found myself when I fell in love with a nerd [places her hand on Chuck's chest] with the biggest heart I've ever known. [Chuck's smile grows] And then he was stolen from me and I was lost again. [sorrow edges in on Chuck's expression] But he never gave up on me and helped me find my way back... [Sarah's voice hitches as emotion washes over her] back to myself, back to him, back to us [Chuck's eyes moisten and his smile broadens more as Sarah moves her hand from his chest to his cheek]. If I lost you… [shakes head, speaking with conviction] I won't lose us again. I won't. [each look into each other's eyes for a couple beats, silent.]

[The two begin to walk from the kitchen holding hands, find their way to the family room and come to stand where they had their picnic on the floor by candlelight at the end of S5E8 "vs the Baby".]

C: Sarah, I'm so sorry for distracting you when Riley's man charged.

S: Chuck, it's ok. [grinning] He never stood a chance. [quizzically] So, what was it? You didn't want me to kill him?

C: Well, yeah, there was that, but also I didn't want you to make a mess of the kitchen. [looking queasy] Viscera. Brain matter. [shudders]

[Sarah silently laughs while shaking her head.]

C: That reminds me…

S: [surprised] That reminds you?

C: Yeah, of Morgan.

S: [no longer surprised] Ah.

C: After we speak with Casey, we better call Morgan. I'm sure he's worrying. He's probably stressing out my mom and the kids.

S: [grinning] Probably.

[Chuck and Sarah wrap arms around each other's waist. Camera: Facing Chuck and Sarah, within a few feet of them. Both are looking at each other]

C: I love you.

S: I love you, too.

[Chuck turns his head to look towards the direction that the FBI agents led Riley and the mercs out of the house, then back to Sarah.]

C: [with a crooked smile] And I love it when a plan comes together.

S: Han Solo?

C: [Chuck slightly cringes, then smirks and looks at Sarah] Oh, honey, no, it's John 'Hannibal'…

S: [looking into Chuck's eyes, smiling, cuts him off] Chuck.

C: Yeah?

S: Shut up and kiss me. [Chuck's smile widens and the two begin to kiss]

[Camera: Further away from Chuck and Sarah, about 2 feet above floor angled slightly up, capturing them toe to head in frame, the two embracing and kissing. Camera's focus is drawn in causing view of Chuck and Sarah to soften while they continue to kiss. Camera slowly rotates left 90 degrees until the white painted frame board of the family room entryway, in sharp focus, takes up most of the camera frame width, the frame board awash with moonlight. Camera begins to rise slowly in line with the frame board, traveling its surface. At first the entryway frame board is plain white, then there is a horizontal mark penned on it with "Stephen, 3" written adjacent to it. In close proximity another mark with "Samantha, 3" is seen. The camera continues its slow ascent, passing over several more height marks labelled with one child's or the other's name and age, showing that Stephen has reached the age of six and Samantha seven. The camera ascends past the last height mark, over more plain white paint of the entryway frame board, and then comes to a stop on a carving, the exposed wood where the paint has been etched out darkened with age, making for tawny colored letters that clearly stand in contrast to the moonlit white paint.]

.Sarah.

.+.

.Chuck.

[Fade out. End.]

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A/N: The good news is the WB upped the budget a bit for the last webisode, allowing for the tarmac scene, Lauren Cohan to reprise her role as Vivian thereby providing the voice for the call in the car, Ray Wise and several extras on set for the final part, and a stunt coordinator for the fight (yes, Yvonne does her own fighting in the scene ;-) ). It did mean two commercial interruptions, one or both probably for the SUV that is prominently shown in the webisode as Chuck and Sarah's vehicle.

The last part of this episode draws on S5E8 "vs the Baby." The intention was to create the impression that the trap for Riley was the same as the trap for Ryker in that episode (Sarah at the sink pretending to by Mom Bartowski like she pretended to be her mom at her mom's sink), but I altered it to hopefully throw a bit of a curveball and to not be too repetitive.

"Viscera…Brain matter" is from S3E13 "vs the Other Guy" when Morgan, watching the security camera of Shaw's fight realizes Shaw is pulling punches. Chuck counters saying Shaw shot people, to which Morgan asks Chuck, "Did you see blood? Viscera? Brain matter?"

Chuck's "You saved me..." and Sarah's "Always." is essentially the exchange the two have after Sarah shot Riley to prevent him from shooting Chuck in S4E23 "vs The Last Details."

Sarah's dialog about finding herself was influenced by Zettel's "Sarah vs Omaha" story found here on FanFiction. I won't say more in case you haven't read it. (If you have not read it and you like highly entertaining "Chuck" stories with fantastic Charah, you absolutely should.)

The last piece of dialog is a blend of what the two say to each other during what are probably the two most significant kisses Chuck and Sarah had on the show. Sarah saying, "Chuck," and Chuck replying, "Yeah?" is what was said in the series finale before Sarah says the show's last bit of dialog, "Kiss me." For my last line I instead used "Shut up and kiss me," which is what Sarah says to Chuck right before they kiss in the Paris hotel room after she realizes he saved her from Shaw and Chuck is rambling on about how he's still the same Chuck despite having shot Shaw.

Thank you for reading. Write a review! Send a PM! And keep on enjoying "Chuck."