6x07 Script created with Final Draft by Final Draft, Inc.
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14 INT. FAMILY'S HOME - STAIRWELL - CONTINUOUS 14
He walks calmly up the narrow passage of stairs and takes a
quick whiff of the air as he nears the top.
ANGEL
Getting closer.
15 INT. FAMILY'S HOME - UPSTAIRS HALLWAY - CONTINUOUS 15
Angel steps into the hallway – the door to the children's'
room lays wide open, and the fire poker that the man had
wielded is deeply embedded within the wall.
Though the smell of blood is boldly present, Angel is having
a difficult time finding any -- anywhere. He kneels down just
in front of where the man had been attacked and runs his
fingers over the thick, off white carpet. On the other side
of the hallway, he notices what appears to be a very small
spot -- possibly blood.
Upon closer inspection and smell, he confirms that it is a
minute spot of blood.
It looks as though someone had tried to clean it up by
scrubbing, almost like a dog had licked up the bulk of it,
leaving almost nothing behind.
16 INT. FAMILY'S HOME - KIDS' ROOM - CONTINUOUS 16
From within the room, we watch Angel examine the carpet stain
for several moments before he stands and walks toward us. The
smell of blood is intoxicating within the room, but just like
the hallway, nothing is to be seen.
The room, however, is a mess. A lamp has been knocked over
and broken. Bed fittings cover nearly the whole of the room.
There had obviously been a struggle within the room, but no
signs of blood. Angel runs a hand through his hair.
ANGEL
This could be a long night…
17 EXT. STREETS. NIGHT. 17
Illyria wearily navigates the crowded streets, obviously
still upset. As she wanders on aimlessly, a wannabe THUG --
about seventeen years old with baggy clothing and a backwards
ball cap -- bumps into her.
THUG
Yo, watch out, beyatch!
Illyria whips round, GRABS the boy by his neck, and lifts him
off of the ground.
Three other confused kids that were with him start to
threaten Illyria, but soon rethink their plan of action.
THUG #2
(almost freaked)
Hey! What the hell kind of
superbitch are you?
Illyria leans her head over and displays the scorned woman's
look of death to the youths.
THUG #3
Yo, I didn't call you no bitch!
(motioning to his friends)
It was those two!
THUG #2
Sorry Dre, you're on your own.
The boys take off in a dead sprint in the opposite direction.
Illyria now focuses her undivided attention upon the
gravitationally challenged young man within her hand.
ILLYRIA
You dare to refer to me as a dog? I
once bore more power than you dare
to imagine, and you speak to me as
though I am a lower being?
THUG
(between gasps for air)
I'm… s-sorry…
ILLYRIA
Death is a consequence far to
lenient for such an act, but it
will do.
She begins to tighten her grip around his neck and smiles
boldly as he is unable to steal a single breath of air.
Without warning, however, her face takes an entirely
different path and becomes extremely solemn -- a tear looks
to be on the verge of welling in the corner of her eye.
She drops the boy to the ground. As soon as he's able, he
jumps to his feet and runs as quickly as his feet will take
him. Illyria stands uneasily in the same place on the
sidewalk, looking confused.
ILLYRIA (cont'd)
(angrily)
Why must I feel these insignificant
emotions?!
As she stomps on, we cut back to:
18 INT. TAYLOR'S BASE. NIGHT. 18
Angel walks back into the base to meet Taylor and the usual
crew. He approaches Taylor and Sonia, not looking happy.
TAYLOR
(to Sonia)
Look at this. It's not even
sunrise!
ANGEL
I think I found something. Oh, and
thanks for calling me to let me
know when you needed me, by the
way. Really appreciated that.
SONIA
Oh, hey, I'm sorry, I wanted to,
but Taylor said-
TAYLOR
Never mind. You say you found
something? Well, we did too.
ANGEL
Okay, why don't you go first?
TAYLOR
First off, we found that you sent
us on a wild ass goose chase.
ANGEL
(confused)
What?
TAYLOR
If you would have done any kind of
preliminary work before sending us
off in search of a would-be vampire-
ANGEL
'Would-be'?
TAYLOR
(throwing him the paper)
It's right there in the paper.
Angel doesn't look at the paper.
ANGEL
What are you talking about?
TAYLOR
They weren't bite marks. Okay, they
were bite marks, but not from a
vampire.
ANGEL
What makes you so sure?
TAYLOR
We went to the morgue and the bite
marks didn't match up at all with
standard vamp markings.
(pointing to Angel's
mouth)
You see, those set of retractable
fangs there leave a set of bite
marks that are roughly two inches
wide. The ones on the bodies were
barely an inch. Even says it in the
paper. I thought you used to be a
detective?
ANGEL
It was a vampire.
TAYLOR
'Fraid not, chief.
ANGEL
Look, even if it wasn't a vampire,
which I'm almost certain it was,
it's still some sort of killer. It
drained these people dry!
TAYLOR
You go to the morgue too?
ANGEL
Didn't have to. I've got this great
sense of smell. It's kind of a
gift.
Taylor smirks apathetically at Angel.
ANGEL (cont'd)
(throws the paper over)
Plus, it was in the paper. There
was barely a single drop of blood
in the house.
TAYLOR
And you would know because…
ANGEL
I would. And I had to look really
hard for it. So you know what that
tells me? That it was hungry.
Starving even. When you're first
sired, for the first few months,
you eat everything in sight.
TAYLOR
You mean everyone.
SONIA
(slapping his arm)
Taylor!
TAYLOR
So what you're telling me is that
we've got a tiny novice out there
draining people dry?
ANGEL
(beat)
More or less.
TAYLOR
(long beat; thinks)
Okay. It's better than what we came
up with.
SONIA
We should probably hit the streets
then, before it feeds again.
TAYLOR
Yeah. It'll probably strike again
tonight if it's as damn hungry as
Angel claims it would be. Where
should we start?
ANGEL
I would say somewhere in the same
vicinity as last night's attack.
From what I saw, whatever did it
isn't thinking clearly. It was
being careless, simply feeding
primal urges.
TAYLOR
Six block radius?
ANGEL
Works for me.
(curiously)
So what did you guys come up with?
TAYLOR
Not important.
Taylor moves away from the desk, and Angel has time to throw
him an annoyed look before we cut to:
19 INT. SPIKE'S OFFICES - JOE'S ROOM. NIGHT. 19
Illyria cautiously pokes her head in to check on the little
boy. Skye is already in the room, watching him sleep.
ILLYRIA
How is the young worm?
SKYE
He's not a 'worm,' Illyria, he's a
little boy!
Illyria appears to be on the verge of snapping, but somehow
holds herself back.
SKYE (cont'd)
He's fine. He just went to sleep.
ILLYRIA
He is in pain?
SKYE
Nope. Just tired.
ILLYRIA
(beat)
The young ones… they don't seem
nearly as vile.
SKYE
Heh, I wouldn't say that. I've met
a lot of evil things in my life,
and little kids can go right to the
top of the charts sometimes…
ILLYRIA
It's strange. This world is cold,
void of any kind of meaning, and
yet beings procreate. Why don't
your people just die?
SKYE
Which people are you talking about
here? Kind of got two sets.
ILLYRIA
(ignoring her)
I tried to kill a young one today,
but found myself inadequate.
SKYE
(shocked)
You did what?!
ILLYRIA
It's this decaying shell! It does
things to me, it calls to me to
feel things that a being such as I
was never meant to feel. I'm
beginning to think that I should
have chosen a more primal host…
though I find it hard to think that
there is such a thing!
SKYE
(whispering)
Hey! You're going to wake him up.
Why don't you go take your rants
somewhere else?
Illyria finds herself doing nothing again. Confused, she
leaves the room as we cut to:
20 EXT. STREETS. NIGHT 20
Angel, Sonia, and Taylor stand in the same neighborhood that
the murders had taken place the night before.
ANGEL
Just look for anything suspicious.
I guess I'll take the section on
the right, you guys can fight over
the other two.
TAYLOR
Hey! I'm the boss here. Remember?
ANGEL
Not of me, you're not.
Angel starts to walk off before Taylor stops him.
TAYLOR
Hey!
He throws Angel a radio.
ANGEL
What's this?
TAYLOR
It's a two-way.
(sarcastically)
I know you're really old, but-
ANGEL
I know what it is, why are you
giving me one?
TAYLOR
You'll be thanking me when the
killer attacks you and you're
calling me for help.
ANGEL
(walking away)
Not gonna happen.
Sonia walks carefully around the corner of a large, nicely
erected home into the back yard, shining her flashlight
occasionally. She takes a quick look around.
Satisfied that everything looks right, she turns to leave,
but stops dead in her tracks.
She walks over to a clothesline and admires a blouse that's
hanging proudly in the moonlight.
SONIA
Man, that is nice!
(shaking her head)
It just ain't right, leaving it
hanging there like that…
She begins walking away again, but quickly comes back into
view and takes it off of the line.
SONIA (cont'd)
It's not like they're dying for
money…
Taylor is examining every possible inch of the neighborhood.
He looks carefully throughout, but is coming up with nothing
until he sees an open window on the closest house. He quickly
looks up and down the entirety of the block and sees that
every other window is sealed tight.
TAYLOR
I know these people have got
central air…
He sneaks up to the home's front porch and carefully slips in
through the window.
Angel's hunt isn't going very well as he walks slowly through
several lawns. He intently reads every home, but doesn't
sense or see anything.
He's almost given up on this section of the neighborhood but
just as he does, he hears something.
Having determined that the sound came from three houses down,
Angel quickly jogs to the house and looks around. He finds a
broken window in the back yard and hurries in through it.
21 INT. SECOND FAMILY'S HOME - KITCHEN 21
Angel quietly, but quickly tries to make his way through the
home. He steps on a few loose shards of glass as he makes his
way through the silent, but quickly becoming crime scene.
22 INT. SECOND FAMILY'S HOME - LIVING ROOM - CONTINUOUS 22
He flies through the living room -- nothing there. He hits
the stairs as quickly as he can, knowing if he's right, the
killer is bloodthirsty beyond understanding.
23 INT. OTHER HOME - KITCHEN 23
Taylor is looking frantically for any kind of intruder as he
walks through the house -- stake in hand.
He moves covertly through the sleeping kitchen and on into
the living room; checking every possible exit on his way.
24 INT. SECOND FAMILY'S HOME - UPSTAIRS 24
Angel reaches the final step of the stairs just as a SCREAM
rings out. He hurries down the hallway and through a door
that was left open.
25 INT. SECOND FAMILY'S HOME - BEDROOM - CONTINUOUS 25
When he gets into the room, he's almost astounded by what he
sees. He was correct in his assumptions. It's a tiny VAMPIRE
- a child.
The girl, who can't be any more than nine years old, has her
teeth sunk into the MAN of the household, who by now is as
dead as his wife, slumped next to him on the bed.
The girl is dressed almost in rags. The clothes are
dreadfully dirty and her long, brown hair appears as though
it hasn't been combed in months.
Angel rushes over to the scene and tears the little fiend
from her victim, throwing her on the other side of the room.
Angel stands watching the little girl, trying to develop a
battle plan.
The little girl, with blood on her face and fangs extended,
looks more like Linda Blair than your typical child.
ANGEL
(to little girl)
You don't want to do this.
As Angel speaks, the girl's face goes back to normal. No more
fangs, no more bumps, just a normal little girl with blood on
her lips. It's almost more terrifying this way.
LITTLE GIRL
But I'm hungry…
ANGEL
I know that you're hungry, but it
doesn't have to be done like this.
LITTLE GIRL
There's another way?
ANGEL
Yeah. I'm just like you. My name's
Angel. What's yours?
LITTLE GIRL
Claudia.
Angel nods, then glances over his shoulder, as we cut to:
26 INT. OTHER HOME - LIVING ROOM 26
Taylor is still hot on the trail of what he thinks to be the
killer. The living room is huge, cluttered with an abundance
of furniture and ornate statues.
As he tiptoes through, he hears a faint sound from the
hallway, several feet on his left. He tenses up and raises
the stake in anticipation of the kill.
He takes a step back and trips over one of the many trinkets
that line the living room. As he does so the living room
LIGHT flicks on.
He jumps to his feet as quickly as he's able to -- ready for
the killer.
Enter FAT IRATE WOMAN.
F.I.W. is a pleasantly plump African American woman in her
late thirties and an all too revealing night gown, with the
classic rolling pin in hand. Think of a provocatively dressed
Aunt Jemima from the syrup.
FAT IRATE WOMAN
What the hell are you doing in my
house?!
Taylor freezes. He was ready for anything. Blood sucking
vermin from hell, death from above, but not this!
FAT IRATE WOMAN (cont'd)
(raises rolling pin)
Don't make me ask you again, you
scroungy looking S.O.B!
TAYLOR
I… I mean…
FAT IRATE WOMAN
You better get something better
than I out, or you're going to get
this rolling pin to the side of
your dope fried head! As a matter
of fact, I don't want to know, just
get the hell out of my house!
TAYLOR
(gulps)
I saw the window open…
FAT IRATE WOMAN
Oh, so you took that as an open
invitation to come in to my home
and violate me?
Taylor realizes that she takes the stake to be a sexual
object of sorts and quickly puts it behind his back.
FAT IRATE WOMAN (cont'd)
I'll tell you what I'm going to do.
I'm going to use this phone here to
call the police, and if you try to
come anywhere near me, I'm going to
bash your damn head in with this
here rolling pin! And don't think I
won't do it!
TAYLOR
Ma'am…
She's dialing now. Taylor starts to panic.
TAYLOR (cont'd)
I was trying to help!
FAT IRATE WOMAN
Oh, you gonna help alright… making
license plates in prison!
TAYLOR
I…
Taylor realizes that all hope is lost in negotiations and
hastily retreats from the house.
FAT IRATE WOMAN
(into the phone)
Yes, officer, I just had a jacked
up pimp break into my house with
some kind of freaky ass sex toy!
27 INT. SECOND FAMILY'S HOME - BEDROOM 27
Angel and Claudia seem to be making progress. She's not
vamped out and he's not killing her, anyway.
ANGEL
Would you like me to help you?
CLAUDIA
I'm scared…
ANGEL
It's okay. I can help, I promise.
You've just got to let me.
Angel takes a step towards the girl, but she suddenly bolts,
ducking down to run between Angel's legs and away.
Angel spins round, too slow to catch her.
ANGEL (cont'd)
(shaking his head)
Why can't it ever be easy?
Angel takes up pursuit of the girl.
28 INT. SECOND FAMILY'S HOME - HALLWAY - CONTINUOUS 28
Claudia is halfway towards the stairs when Angel finally
catches up to her.
He picks her up by the collar of her tattered shirt and holds
her away from his body.
Much like a small dog whose been picked up by the hair of the
neck, Claudia growls and tries ferociously to claw Angel.
After a few seconds, however, she slowly begins to calm. She
looks apologetically at Angel as her face goes back to normal
yet one more time.
CLAUDIA
(sincerely)
I'm sorry...
Angel studies her momentarily before putting her back on the
ground.
CLAUDIA (cont'd)
I don't know why I did that.
ANGEL
I do. And trust me, I know what
you're going through.
Until the last bit, she had seemed calm, but she's on the
verge of getting worked up again.
CLAUDIA
(yelling)
No, you don't! How could you?
ANGEL
(calmly)
Because I've been there.
CLAUDIA
No you haven't! Not like this!
She nearly begins crying as teardrops well in the corners of
her eyes.
ANGEL
Look, everything's going to be
okay. You just have to trust me. I
can help.
She seems to finally begin to trust him at that moment.
She's all, but given in until -- the radio interrupts.
TAYLOR
(filtered; through radio)
Angel! I think we may have trouble.
I didn't find the killer, but I
found a really pissed off old woman
who called the police. We need to
go!
Claudia tenses up and jumps away from Angel.
CLAUDIA
You lied, you're hunting me!
ANGEL
No, we were-
Claudia takes off in a dead sprint through the hallway and
down the stairs.
ANGEL (cont'd)
(sighing)
…just trying to help.
TAYLOR
Angel?
Angel, already brooding, retrieves the radio from his coat.
ANGEL
The killer's headed your way.
TAYLOR
Gotcha.
ANGEL
But Taylor… she's a little girl.
TAYLOR
A little girl?
ANGEL
Yeah. I don't have time to explain.
Just… don't kill her.
TAYLOR
'Don't kill her'? Man, what the
hell is… Wait, here she comes.
ANGEL
Taylor, don't kill her!
TAYLOR
Angel, Sonia and I'll handle this!
Taylor out.
Taylor clicks his handset off, and with a concerned look on
his face, Angel races out of the house, and we:
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
29 INT. STREETS - NIGHT 29
Angel runs into the street -- nothing. Almost disappointed,
he takes the radio from his pocket again.
ANGEL
(into radio)
Taylor, where are you guys?
A quick rousing of frequencies storm through the radio,
meaning that the radios must be out of range.
ANGEL (cont'd)
Great.
He begins running in a dead sprint through the streets in
search of his lost compatriots.
30 INT. SPIKE'S OFFICE. NIGHT. 30
Spike enters his office, still in pain from the staking as he
winces a bit trying to remove his jacket. He regains his
composure and stops in the doorway when he sees Illyria
sitting behind the desk -- in his chair.
SPIKE
I hate to be a mean old bastard,
but… wait, no, I don't. Get out of
my chair.
ILLYRIA
(enthusiastically)
Did you find any evil beings to
destroy?
SPIKE
'Fraid not. Out of the chair.
ILLYRIA
I feel the need to do something.
Spike rolls his eyes, realizing that he's never going to get
his chair, and sits down in the chair opposite Illyria.
SPIKE
Yeah, I heard that you couldn't
kill a couple of wannabe wankers
earlier, what was that about?
ILLYRIA
(sternly)
The matter is not humorous!
SPIKE
(holding up his hands)
Oh, of course not. An ancient being
who can't kill a pubescent bugger
with a backwards cap is a
completely serious matter.
(beat)
When are you going to realize,
Blue? You're not calling all the
shots anymore.
Illyria glares back at him.
SPIKE (cont'd)
If you ask me-
ILLYRIA
I didn't!
SPIKE
(ignoring her)
… the world's better off with you
having a conscience. But if you
start seeing dead people who are
singing songs, you'd damn well
better not listen to them!
We cut from Illyria's cold stare to:
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Script created with Final Draft by Final Draft, Inc.