6x02
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 EXT. LA SKYLINE. SUNRISE. 1
Time lapse photography as we watch the sun try to rise, but
finds itself struggling to be seen behind thick clouds, to
the strains of Mungo Jerry's 'In The Summertime.'
We take a flying tour of the city, but the wrecked buildings,
broken windows, hastily-made barricades and raging fires soon
tell us that things haven't improved inside the city limits.
We push in on one street as three police cruisers race into
frame, sirens wailing, screeching to a halt sideways on to
block off one end of the road.
The car doors open and six COPS leap out, dressed in bulky
flak jackets and sporting shotguns. They take up positions,
aiming off screen as they rest against the car bonnets.
Looking down past them, we can't see anything moving in the
distance – the streets are ghostly quiet, but the abandoned
cars and general wreckage strewn around tells us we're in the
heart of No Man's Land.
The SERGEANT in charge of the squad grabs his radio.
SERGEANT
Control, this is unit 1412, we're
in position, over.
RADIO
Copy that, 1412.
The sergeant puts the radio away and squats down next to
HIGGINS, one of the younger cops.
SERGEANT
(loads shotgun)
Alright, son, here's the plan. We
stay here until whatever we're
supposed to be holding off shows
up, and then… we hold it off.
HIGGINS
Got it. Sarge?
SERGEANT
Yeah?
HIGGINS
What the heck is going on? There's
all sorts of crazy stories going
round the precinct, like we're in
the middle of a war zone or
something…
SERGEANT
Truthfully, I have no idea. I just
know what they choose to tell me,
and back it up with what I see with
my own two eyes. And speaking of
which…
The sergeant looks up as we hear marching feet approach.
Looking back down the previously empty street, we can see a
horde of people marching sloppily towards us. There is the
distant clink of armour and gruff, heckling voices.
SERGEANT (cont'd)
You know the drill! We're not to
let them get past us. Backup is on
its way, till then we're the last
line of defence. Take aim and fire
when they're in range. We may be
usin' rubber bullets, but shoot to
knock the wind out of these goons!
The approaching mass of bodies draws ever closer – we get
brief flashes of what they are, glimpsed between buildings
and piles of debris, and we see it's another squad of the
demon soldiers unleashed on the city.
They march to within firing range, and from a shouted command
from the Sergeant, his squad OPENS FIRE – a fusillade of
shotgun blasts that fail to slow down the advancing soldiers.
A second and third round of fire does nothing, before arrows,
spears, rocks and flaming bottles start to hurtle towards the
cars, and as windows shatter and the ground around them
starts to fill with smoke and flames, the sergeant barks the
order to pull back.
Still firing shots as they hurry away, the cops are quickly
routed by the demons. With a chorus of cheers, the army
gleefully set about overturning the police cars and smashing
them to fragments.
We pull back and upwards, finding ourselves looking through a
window in a building with a view of the street below us. A
figure steps into frame – it's ANGEL, watching the demons.
We switch to watch his troubled expression as he carries on
observing the rampaging demons, knowing that there's too many
of them to tackle if he stepped outside.
Manners' words echo round his mind as we close in.
MANNERS
It's simple, my boy. To reverse
this, to take away the Failsafe
armies and restore your beloved Los
Angeles to its former glory, you
only need to do one thing. Admit
that you've lost.
As we pull away from Angel, Manner's speech still
reverberating all around us, we:
BLACK OUT
END OF TEASER
ACT ONE
FADE IN:
2 INT. WOLFRAM & HART – SCIENCE DIVISION. DAWN. 2
We walk into the science lab that was previously Fred's
domain, but it is filled with unfamiliar faces now it's back
in enemy hands. A handful of white-coated lab techs mill
around, but the focus of the room is behind a glass screen
set into one wall.
An unconscious NINA is there, gagged and bound at the wrists
and ankles and strapped down to a reclined leather chair,
almost like a captive dental patient. Several large, complex
looking machines are gathered around her.
After a few moments, her eyes flutter, and we push in closer,
through the glass and inside her section of the lab. There's
no-one in there with her, but that doesn't stop her looking
terrified as she realises where she is.
She struggles against the restraints but she's down tight –
she stretches and pulls for a few moments before slumping
back, still woozy from the knockout gas.
A shadow falls across her, and she looks towards it.
We see DR. BENJAMIN SERRANO, early fifties, balding and
wearing a pair of glasses that reflect the room's overhead
lighting back down on us. He grins.
SERRANO
Ah, awake at last, are we?
Nina glares back at him, starting to struggle to be free
again.
SERRANO (cont'd)
Spirited, I see. Good. You can
fight all you want, but you're not
going anywhere unless we want you
to, Miss Ash. So I suggest you calm
down…
Serrano holds a SYRINGE before us and squirts a spray of red
fluid from it.
SERRANO (cont'd)
Otherwise I'll give you something
to make you calm down. Do we
understand each other?
Nina, trying to kill him stone dead with her stare, closes
her eyes and nods, settling back down.
Satisfied, Serrano steps away, and we pull back to watch him
at work inside his lab. A young, floppy-haired intern passes
him a clipboard, and he checks a few items off on it before
handing it back and leaning down to Nina again.
SERRANO (cont'd)
You're probably wondering why
you're here. Well, truth be told,
so am I, but that's one of the
beautiful things about working for
Wolfram & Hart. Opportunities
really do just fall into your lap!
But enough from me. Time to get you
up to speed.
Serrano takes the back of Nina's chair and swivels it round
so she's facing a blank video screen. He steps forward and
clicks it on, and it starts to cut between various CCTV
cameras across the city, showing the scope of the
devastation.
Nina looks suitably freaked out by the hellish visuals.
SERRANO (cont'd)
Now, your next question would most
likely be 'How did this happen?'
and I can answer that in one word.
He leans up close and whispers in her ear.
SERRANO (cont'd)
Angel…
Serrano leans back, and we hold on Nina's shellshocked
expression for a moment, before we cut to:
3 INT. TAYLOR'S BASE - CORRIDOR. DAWN. 3
SPIKE and ILLYRIA are marching down one of the corridors in
Taylor's underground headquarters when the leader himself,
TAYLOR, calls out to them from off screen.
TAYLOR (O.S.)
Hey! And where do you two think
you're going?
Spike pauses and turns round, looking aggravated.
SPIKE
Out!
(beat; sarcastic)
Dad.
He starts up again, but Taylor jogs into frame after them and
with a sigh, Spike stops again.
SPIKE (cont'd)
I'm sorry, did I miss the staff
meting where I have to report in to
you with my comings and goings?
TAYLOR
I can't let you just walk out of
here whenever you want, you could
compromise the entire base!
SPIKE
Oh, right, because if I see any
demons, I'm naturally likely to
shoot a flare into the skies and
shout 'This way!,' what with me
being an evil bloodsucking freak
and all that.
Spike turns to leave again but Taylor lays a hand on his arm.
Spike whips round and tenses up, but manages to control his
anger and just shrugs the hand off.
SPIKE (cont'd)
We're going to look for Angel.
ILLYRIA
Our companion is still missing. We
fear for his safety.
SPIKE
Well, she fears for his safety. I
just don't want his death on my
conscience in case he comes back to
haunt me.
TAYLOR
(confused)
What?
SPIKE
Never mind. Point is, we're going,
so, t-t-f-n.
Taylor seethes as the duo march away from him. He calls out
again as they near a large access door leading back up to the
surface.
TAYLOR
You're just gonna get your dumb ass
staked if you go out there alone!
SPIKE
Better that than rotting down here,
listening to your sanctimonious
speeches all bleedin' day!
ILLYRIA
We shall return if we are
unsuccessful.
SPIKE
Speak for yourself, luv, whether we
find Major Frown or not, I don't
plan on coming back down here.
With a last glare towards Taylor, Spike opens the door and he
and Illyria disappear up a stairway.
Taylor watches them go, then retrieves a walkie-talkie from
his belt and speaks into it.
TAYLOR
It's me. They just left. Keep an
eye on 'em, don't let them see you.
I just want to make sure they've
gone.
He thumbs it off, and with one last look after the departing
duo turns and walks back down the corridor.
4 INT. GARAGE. DAWN. 4
We're looking at a rusted old iron shutter over a back door
inside a dark garage, the carcass of an old car filling most
of the space.
With a few determined THUDS, the shutter finally rattles
upwards as Spike and Illyria step out, making their way
through the gloom.
ILLYRIA
Where is this place?
SPIKE
An old garage, more commonly known
as a 'lock-up,' Blue. Just the kind
of place to hide the entrance to a
secret hideout.
Spike gets to the door and spots sunlight peeping in beneath
it. He motions towards Illyria.
SPIKE (cont'd)
Do me a favour? Opening this door
would leave me a little hot under
the collar, so why don't you take a
look outside, and I'll wait here
till I can make a dash for cover.
Illyria readies herself to wrench the door up as Spike
locates an old blanket and covers himself with it.
ILLYRIA
Why are we moving around in
sunlight? Is it not dangerous for
your kind?
SPIKE
Yes, very. But another five minutes
cooped up down there and I was in
danger of dropping a barney, or
'going postal' as you Yanks like to
say. Besides, Angel's more likely
to stay in one place so he'll be
easier to find. In theory, anyway.
ILLYRIA
Are you ready?
SPIKE
Sitting in the dark with a smelly
blanket over me head? Like a day at
the bloody seaside. Just hurry up,
alright?
Illyria lifts the door up – and sure enough, the garage is
filled with the dawn sunlight. There isn't much, but it'd
still be enough to flame grill Spike, who ducks behind the
car as Illyria strides into the open.
5 EXT. CITY STREET. DAWN. 5
Looking around for signs of life, Illyria sees nothing but
desolation. The streets are filled with either bodies, rubble
or scattered belongings, the city eerily quiet save for the
distant sounds of helicopters and police sirens.
Walking with difficulty over the stonework below, she scans
for any hostiles in the area but sees nothing.
Waving Spike out, he darts out from the garage and safely
behind the cover afforded by a building's shadow, tossing
away the blanket as it starts to smoulder.
ILLYRIA
There are none of the human insects
here. Their trails are still in the
air, but… they have run in fear.
(closes her eyes; smiles)
It's a delicious smell, one I had
thought forgotten to my senses…
Spike nudges her to snap her out of her reverie and points
towards an open fire door in a building nearby.
SPIKE
Plenty of time for reminiscing
about the good old days of
bloodshed and mayhem, right now,
we'd better find Angel before he
gets himself into any more
mischief.
Spike walks off screen. Illyria pauses a moment to savour the
scents of panic and fear in the air, then follows.
6 INT. EMPTY BUILDING – STAIRCASE. DAWN. 6
Illyria enters the stairwell and looks up as she hears
Spike's footsteps overhead.
He leans over the railings and shouts down to her.
SPIKE
Come on, we haven't got all bloody
day!
She catches him up as they climb.
ILLYRIA
What do you plan to find in this
shell?
SPIKE
A better viewpoint. One good thing
I've noticed about LA, plenty of
high buildings to go play lookout
from. And these two ol' blue eyes
of mine can spot a frown at a
thousand yards, so we should have
more luck tracking him down in the
harsh light of day.
ILLYRIA
If Angel still exists.
SPIKE
Oh, trust me, one thing you can
always be sure of, that bugger's
going to be around to confound me
for a long time yet.
7 INT. ABANDONED HOUSE. DAWN. 7
We pan across the hastily-exited sitting room of a typical
downtown home, moments before the door is BARGED open and
Angel hurtles inside. Checking round for any signs of the
occupants, he heads for the nearest phone.
Relieved to find a dial tone, he types in a number.
8 INT. W&H – SCIENCE DIVISION. DAWN. 8
Sitting alone on a table next to her wallet and keys, Nina's
phone starts to vibrate – the ringtone is the tune to 'Angel'
by Aerosmith.
We pull back as an uncertain looking lab tech looks around,
not sure if he should answer it or not, His hand starts to
reach out for it when Serrano appears, grabbing the tech's
wrist to stop him.
SERRANO
It's probably him. Let it ring. We
want him to know she's gone
missing.
The tech nods and steps back, leaving the phone to ring. In
the background, we can see Nina struggle as another tech
draws out a blood sample from her arm.
9 INT. ABANDONED HOUSE. DAWN. 9
Angel sags and replaces the receiver. He sits down on the
sofa, his brooding look firmly in place as he considers his
next move.
ANGEL
(mutters)
Where are you…
10 EXT. ROOFTOP. DAWN. 10
Spike is standing out on the roof, keeping to the shade,
finishing the sentence Angel started.
SPIKE
… you daft git?
Spike scans the skyline, eyes narrowed.
SPIKE (cont'd)
Typical. The entire bloody city to
go and hide in, and he has to pick
somewhere I can't find…
Spike draws in a breath to shout out, but Illyria clamps a
hand over his mouth, suddenly on edge.
ILLYRIA
Danger. There is trouble near.
SPIKE
(through her hand)
Mmf. Nrrf mmf drf mffrff?!?
Illyria removes her hand as Spike glares at her.
SPIKE (cont'd)
I said, 'now what's the matter?'
Illyria doesn't answer, but moves her head, listening. Her
eyes suddenly widen and she takes a step back. Spike looks up
and sees what she'd seen.
SPIKE (cont'd)
Run!!
They both dive for cover as SMASH! A huge ball of flaming
wreckage crashes onto the rooftop, missing them by inches.
As Spike picks himself up, we hear the distant sounds of
laughing and jeering.
Looking out from the rooftop, we can just make out a gang of
demons around a home-made catapult, jumping up and down and
yelling abuse at our two heroes.
Back with Spike as he dusts himself down.
ILLYRIA
We should-
SPIKE
(interrupts)
Get off the roof, yes, thank you,
Sherlock.
They both disappear back through the door leading down from
the roof, leaving the burning ball behind.
11 INT. EMPTY BUILDING – STAIRCASE. DAWN. 11
Spike sits down and runs a hand through his hair. Illyria
stands over him, still on the lookout.
ILLYRIA
Our search is fruitless. There are
too many of our enemies to allow us
to devote our efforts efficiently.
SPIKE
One step ahead of you there. I say
we see if we can get to the root of
the problem next.
ILLYRIA
Wolfram & Hart?
SPIKE
Bingo. We may not be able to get
within a square mile of the bloody
place, but it's a start.
I'll bet any money our fearless
leader's on his way there now,
because if there's any way of
stopping this, that's where we're
going to find it. I find it hard to
believe that even a place as
downright evil as Wolfram & Hart
would let this city get skinned
alive without a way to turn the
clock back!
Spike stands and heads down the stairs.
12 EXT. OUTSIDE LA CITY LIMITS. DAWN. 12
We pan across a hastily-built military HQ, with a line of
tanks keeping a watchful eye on the besieged city. Squads of
marines jog past as we take in the assembled emergency
services – police, fire and ambulance workers – and also pick
up the trail of people evacuating the city.
There are several news crews covering the action, and we draw
in to the closest, a two-person crew of Asian cameraman
FUKUDA and brunette reporter DEBRA.
DEBRA
Okay, ready to do the link again?
On me in five, four…
(beat; flashes smile)
Here at the scene of the incredible
police, military and National Guard
co-ordinated blockade of downtown
Los Angeles, it's hard to get a
real sense of the scale of this
operation. At last check, an area
of almost five square miles of the
city was off limits, with the
overnight eruption of violence and
riots now sticking to one,
centralised area.
Debra walks over to the tired-looking MAJOR TANNEBAUM.
DEBRA (cont'd)
With me is Major Anthony Tannebaum,
Major, what can you tell us about
the situation inside LA so far?
TANNEBAUM
Well, as you can see we've set up a
perimeter and we're doing what we
can to steadily move inwards and
close that down, while making sure
the citizens trying to leave the
city get out quick as they can.
We cut from the Major's grim expression to:
13 INT. ABANDONED HOUSE. DAWN. 13
Angel sits watching the news report on the TV.
TANNEBAUM
In a few hours' time, we're going
to cut the power to the affected
area as part of our action against
these rioters. Details are still
sketchy about exactly what it is
we're dealing with here –
terrorists, some kind of Doomsday
cult, a massive gathering of street
gangs, nobody seems to be able to
give reliable reports. All we do
know is that they're extremely
dangerous, and if you're not
already on your way out of the
city, then get a move on!
DEBRA
Thank you, Major. Moving back to
the camp, police chiefs are-
Angel switches the set off. With a determined look, he picks
up his sword and strides towards us, and we cut to:
14 EXT. WOLFRAM & HART. MORNING. 14
We're looking up at the imposing building as Spike and
Illyria stride into frame. The complex is a few streets away,
but even at this distance we can see the demonic activity is
concentrated around the law firm's offices.
The duo pause, covered behind an abandoned news kiosk, as
Spike studies the lay of the land.
ILLYRIA
We are unwise to come here. If we
are seen, we will-
SPIKE
I'll be extra careful, just for
you. Will that shut you up? You
sound like bleedin' Wes sometimes,
always sitting and thinking instead
of doing…
ILLYRIA
(beat)
Wesley is dead.
Spike sighs – he shouldn't have mentioned his name.
SPIKE
Yes. And Gunn, and Cordelia, and a
large chunk of Fred. But we're
still going, so that's what
matters.
ILLYRIA
Do you think we will find anything?
SPIKE
Honestly? Not a clue. But I'd bet
my arse that they've got some kind
of mystical orb thingy in there
that'll switch all this back to
normal.
ILLYRIA
And Angel?
SPIKE
He's on his way here.
(smirks)
I can tell. This kind of 'Charge Of
The Light Brigade' malarkey is
right up his alley.
They start to make their way forward, keeping close to cover
as we hear a voice talk over the scene.
KIRSTEN (V.O.)
Angel's been spotted, James. He's
on his way here.
We cut from Spike and Illyria up to:
15 INT. W&H – KITRIDGE'S OFFICE. MORNING. 15
JAMES KITRIDGE is behind his desk, looking out across the
city, with his PA KIRSTEN standing nearby.
KITRIDGE
Good. Make sure nobody tries to
stop him. Any sign of the others?
KIRSTEN
Not yet. We'll keep looking. Do you
want me to let them through if they
do show up?
KITRIDGE
Eventually. Angel's got to pick one
of them to go if he wants to make
this deal to stick, so we may as
well not kill them. Yet.
As Kirsten smiles and leaves the office, we:
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
16 EXT. WOLFRAM & HART. MORNING. 16
We fade up to a view of a small security booth not far from
the main Wolfram & Hart building, with a burly demon security
guard in an ill-fitting suit flicking through a newspaper.
He doesn't spot Spike sneaking up on him until the vampire is
able to reach out, tap him on the shoulder and then dart
away.
With a shout, the guard chases after him, round a corner, out
of sight. A beat, then we hear the sound of a heavy PUNCH and
a body falling to the floor.
Looking round the corner, we see Spike dragging the
unconscious guard away as Illyria rubs her knuckles.
ILLYRIA
His face was like stone. This shell
is not as strong or as resilient as
my natural form.
SPIKE
Yeah, well, you're stuck with it,
so shut it. Right, that's obstacle
one out of the way, now we just
need to get started on obstacle
two.
ILLYRIA
What is obstacle two?
SPIKE
(points off screen)
That big bugger.
We turn to look - and see a huge demon, another of those
'more muscle and fangs than organs' deals, guarding the front
door of Wolfram & Hart.
Back with Spike, he considers his options for a moment and
then grins and starts to match forward. Illyria watches him,
head cocked to one side, curious.
Spike walks boldly towards the hulking demon, which turns to
face him as he approaches. Spike has vamped out and is trying
to swagger like he used to.
SPIKE (cont'd)
Wotcha, mate, how's tricks?
The demon blinks once but stays silent.
SPIKE (cont'd)
Been out half the night tryin' to
find that Angel git! Heard
anything?
A blink, more silence. Undeterred, Spike ploughs on.
SPIKE (cont'd)
Right! So. Anyway. I'm just gonna
pop inside and check in, sooner I
can have a quick kip and get back
out there, the better! This early
morning sun don't exactly suit me,
if you know what I mean!
A long beat, then with a GRUNT, the demon takes two ponderous
steps to the side, allowing Spike to walk straight in through
the door. He looks surprised for a brief second and then nods
to the demon.
SPIKE (cont'd)
Ta.
Back with Illyria, she watches Spike walk casually inside the
main building, before the demon steps back.
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Script created with Final Draft by Final Draft, Inc.