6x12
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 EXT. ALLEYWAY - NIGHT 1
Cliched clouds of fog rise up in the cool, night air from
pipes alongside a tall, brick building that helps to enclose
the alley.
As we slowly push in to street level, we just begin to make
out a shadow that is working itself into view from the other
side of the dense fog.
Before the shadow can become anything more, however, an
uplifting voice works to alleviate the tension created by the
dreary surroundings.
VOICE
I know that you think you're
helping, but you're really not.
SONIA emerges from the fog, rolling her eyes with a
patronizing smile on her face, as she steadily continues on
toward the street.
A mere few steps later, TAYLOR comes quickly into view and
hurries to catch up with Sonia, grabbing her lightly by the
wrist as he finally catches her. She sighs and turns around
to stand, facing him apathetically.
TAYLOR
All I'm saying is that it might not
be such a good idea.
SONIA
(whimsically)
And all I'm saying is that it's
none of your damn business who I
decide to date!
TAYLOR
You're a soldier.
SONIA
I'm also a person.
TAYLOR
He's a kid.
SONIA
Hello? I'm nineteen!
TAYLOR
(annoyed)
He's in the business.
SONIA
So am I.
(beat; sincerely)
Plus, he's Angel's son. That's like
a pedigree as far as I'm concerned.
TAYLOR
I don't know if you realize this,
but you're only furthering my
point.
SONIA
Taylor, you're in charge of every
facet of the UTF. You're in control
of all the recruits. You're in
control of all the missions. You're
even in control of what we eat.
Where that control ends, however,
is with my personal life.
Sonia gives a reaffirming expression before turning to walk
from the conversation. Taylor shakes his head and sighs as he
watches her willfully walk away. After several seconds,
however, he yells out once more.
TAYLOR
Soldiers don't have personal lives!
SONIA (O.S)
This one does!
Taylor stares at the ground, both angry and saddened by his
defeat, but after a few moments, shakes it off and begins to
walk in Sonia's direction. Before he can even get a few
steps, however, he stops as CRASH echoes out from the end of
the alley.
Sonia quickly spins around as the noise seems to almost rock
the very ground upon which she stands. She looks to the sky
just in time to see a large chunk of building SPIRALING
speedily in her direction.
With no time to move, Sonia throws her hands over her head
out of reflex and prepare for the worst. All that's left to
do is close her eyes and duck her head.
After a split moment, however, another loud CRASH rings out
from somewhere off screen. Sonia remains as she was for what
seems like an eternity before finally coming to the
realization that she's okay.
Slowly, Sonia opens her eyes and begins curiously checking
her surroundings.
Back across the alley, the dislodged part of masonry lies
motionless, a ball of fledgling dust in the air round it.
Sonia looks back up to the wall from which the stone had been
cast as she lets out a thankful sigh.
SONIA (cont'd)
(shaky)
Taylor, did you see that?
(beat; confused)
What the hell just happened?
After a few moments, Sonia looks back toward Taylor who is
standing with his back to her.
SONIA (cont'd)
Taylor?
She gets no reply from her leader as she starts walking
cautiously in his direction. After coming within only a few
yards of him, Sonia nearly trips over her own feet when a
YELL comes from a distressed Taylor.
TAYLOR
(angrily)
Get away from me!!
Sonia quickly takes a step back and stares on in confusion.
SONIA
(freaked)
Taylor, what's going on?
After she gets no response, she, in one swift move, reaches
out and grabs him by the shoulder.
SONIA (cont'd)
Taylor?!
As Taylor is quickly spun around by her, we see that his eyes
are nearly glowing with what appear to be electrical sparks
flying hastily through his retinas.
He stares back with a blank and eerie look on his face for
several moments as the tiny lightning storm in his eyes rages
before we...
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
2 INT. HYPERION - LOBBY - DAY 2
We fade in to rest tightly on WESLEY'S face, looking as
apathetic as he ever has. For several seconds, he stands with
his eyes constantly rolled up, staring at the ceiling as
though extremely annoyed. After several more seconds, he
drops his eyes to look directly in front of him.
WESLEY
(angrily)
Would you please stop that?!
We pull back to see SPIKE standing directly in front of him,
sporadically sticking his hand through the center of Wesley's
chest with a maniacal smile on his face.
Wes tries to swat his hand away, but it, of course, goes
straight through without any kind of effect. Finally, Spike
stops and smirks at Wes.
SPIKE
Oh, like the lot of you didn't have
a jolly old time with peek-a-boo
willie some months back?
WESLEY
I, for one, took no such pleasure
in your condition.
SPIKE
You really should have, Percy. This
is more fun that a gent might ever
venture to guess!
Wes stares at Spike while shaking his head for a moment and
then looks past him.
WESLEY
Angel! Spike refuses to stop
'touching' me, if that's what you
can call it.
ANGEL (O.S)
(beat; idly)
Don't make me pull this car over,
children.
Angel is standing at the front desk with an old book lying
open before him, and a combination of ingredients scattered
about the desktop, mixing them as he reads from the book.
Spike looks back to Wes once more, smiles, and sticks his
hand through him one more time before smirking and walking
towards Angel.
He hops upon the desk itself, causing a few of the books to
nearly fall to the floor. Angel glares at him but the look
just bounces off Spike.
SPIKE
I've got an idea. Let's ask the
bloke that gave me back the ability
to shag how he went about doing
this whole thing. Oh, wait...
(beat; smiling)
...that's right. You had him
executed didn't you? Couple of
bullets to the chest, as I recall?
ANGEL
(tetchy)
Can I help you with something,
Spike?
SPIKE
Nothing in particular.
Angel sighs and looks up from his spell preparations.
ANGEL
Then why are you standing so close
to me? And talking to me?
SPIKE
Thought you might use a bit of
company, that's all. A million and
one failed spells in a twenty-four
hour period can't be good for the
old self confidence.
(beat)
Fancy a pep-talk?
ANGEL
(forcing a smile)
I'll pass.
SPIKE
Suit yourself, but don't blame me
if you end up living in a van down
by the bloody river.
ANGEL
(yelling)
Skye?!
SPIKE
She's out.
ANGEL
The one person that can shut you up
is out of the building.
(sighs)
What did I do to deserve this?
couldn't have possibly killed that
many people in my lifetime...
As Spike chuckles, we cut to:
3 EXT. HYPERION - GARDEN 3
Illyria is standing outside the hotel walls, staring vaguely
into the distance. As she stares on for a few moments, she
quickly WHIPS around to see Wesley standing innocently in
front of her.
Illyria stares back at the closed door that Wesley quite
literally walked through before focusing her attentions on
him once more.
ILLYRIA
Taking advantage of your non
physical state is not as amusing as
you may assume that it is.
Illyria turns back around to stare at nothing in particular
again.
WESLEY
You've been extremely quiet these
last few days.
ILLYRIA
(assertively)
There is nothing I wish to discuss.
WESLEY
(beat; curiously)
What's bothering you?
Illyria turns angrily back to face Wes.
ILLYRIA
(almost angrily)
Nothing afflicts me! You assume
that I should be overtaken by an
emotion because I do not speak
incessantly about one thing or
another. If you wish to converse
with something, there is a vampire
within those walls that will speak
with no end. He is the one with
whom you should discuss emotion.
Not I!
Her outburst doesn't frighten Wes - in fact, it just makes
him more intrigued as he raises an eyebrow at her.
WESLEY
You seem readily defensive.
ILLYRIA
I seem readily angry because I'm
being abraded by an untouchable
being that I am unable to force
into submission!
Off Wesley's concerned gaze we cut to:
4 INT. HYPERION - LOBBY 4
Angel is still standing near the front desk, now with a
different book in his hand as he hastily flips through the
pages. He looks up to see Wesley entering the room.
ANGEL
Wes, glad you're here. I may have
found something.
WESLEY
What is it?
Wesley walks over to stand next to Angel and peer at the book
he has outstretched. Wes begins reading under his breath for
several moments before reading the last of the passage aloud.
WESLEY (cont'd)
...and thus bringing the ghostly
creature-
Wesley abruptly stops reading, leaving Angel to shift his
stare from the book to Wes.
ANGEL
What?
WESLEY
This isn't it.
ANGEL
How do you know?
WESLEY
This is a resurrection spell for an
ancient band of demons known as the
Itrep'Nok tribe.
ANGEL
(confused)
How did you come up with that?
WESLEY
(pointing to the book)
This symbol can be loosely
translated into "man." Its true
origins, however, stem from an
early Hebrew dialect and when taken
with the context of the paragraph
can be factually translated into
"unholy night of darkness."
ANGEL
(dumbfounded)
Oh...
WESLEY
Don't feel badly. It's a common
mistake that could have happened to
anyone.
ANGEL
Except for you.
(beat; curiously)
Have you spoken with Illyria
lately?
WESLEY
I didn't so much speak, as I
listened to the ravings of an angry
demi-god.
ANGEL
I know that she's never been the
poster child for normal, but ever
since you've been back, she seems
more distant than ever. Yesterday,
Spike referred to her as a 'frigid
ice maiden in need of a proper
shag' and barely got a scowl.
WESLEY
(beat)
Judging from our "conversation"
earlier, I can only venture to
guess that she is still mildly
upset with my lack of enthusiasm to
be back in this world. Either that
or the simple fact that she failed
to bring me back properly could be
weighing upon her mind.
ANGEL
Or she could be worried about her
own fate more than she lets on.
WESLEY
Yes. It's- I'm sorry, what?
ANGEL
Aside from her powers slowly
returning, there have been other...
things that have been
occasionally... well, happening.
WESLEY
(suspicious)
What kind of things, exactly?
ANGEL
(reluctant)
Fred... things.
Wes looks intriguingly at Angel as he takes in the words.
5 INT. UTF - TAYLOR'S OFFICE 5
Taylor is sitting uncomfortably behind his desk, looking as
though his conscience is weighing heavily upon him. A few
light knocks on the door precede Sonia's entrance. For
several moments, they stare at one another without words.
SONIA
So, am I going to get any kind of
explanation today?
Taylor only stares back at her, and Sonia sighs.
SONIA (cont'd)
Is this going to be like last
night? 'Cause tell me now if I'm
wasting my time asking an array of
questions that aren't going to be
answered.
(beat; angrily)
Fine.
Sonia turns to walk from the office, but stops short as
Taylor finally speaks up.
TAYLOR
(reluctantly)
It was part of the terms of my
employment.
Sonia stops at the edge of the door.
TAYLOR (cont'd)
That's why I never told you.
SONIA
Told me what, exactly? That you can
control falling objects? I still
don't know what the hell happened
last night, Taylor! I- One second
I'm seeing my life flash before me.
The next, your eyes are glowing and
the two-ton piece of building that
had my name written on it is lying
halfway across the city!
TAYLOR
It's complicated.
SONIA
Un-complicate it!
Taylor sighs loudly as he looks up from the depths of his
desk. He runs his hands through his hair.
TAYLOR
(reluctantly)
I'm-
He hesitates before correcting himself and continuing.
TAYLOR (cont'd)
I was a warlock.
SONIA
(in disbelief)
A warlock?
Taylor nods lightly at her uneasy expression.
SONIA (cont'd)
So, this whole time, you've just
been James Bonding me?
TAYLOR
My agreement with the UTF
specifically states that my past
remain in the past. No-one, and
that means no-one was to know or I
would lose command.
SONIA
But it's me!
TAYLOR
(loudly)
That doesn't matter!
Sonia appears shocked by Taylor's outburst.
TAYLOR (cont'd)
What do you see me doing without
this?! Being a doctor... a lawyer?
This is who I am, Sonia!
SONIA
Apparently not.
TAYLOR
So what, after all this time,
you're just going to lose faith in
me at the drop of a dime?
SONIA
This is a pretty damn big dime! You
can't just tell someone you've
known for years that you're a
warlock and not expect some kind of
adjustment period, Taylor. Jesus
Christ! You're the kind of thing
that we're supposed to be fighting!
TAYLOR
Bold words coming from someone
sleeping with the enemy...
Taylor instantly regrets that remark, but the damage is done.
Sonia looks as though she could snap at any moment, but after
taking a deep breath, offers only a few words.
SONIA
I don't know you any more.
TAYLOR
Sonia...
Sonia turns and walks from the office, leaving Taylor to run
to the door after her.
TAYLOR (cont'd)
(yelling)
Sonia!
She's long gone. Taylor slumps back down behind his desk.
6 EXT. FREEWAY - DAY 6
We sweep across a busy freeway as cars zip in and out of
traffic. As we watch the ocean of speeding metal, our focus
comes to rest on a bridge that stands in the distance.
Upon said bridge, we catch a person slowly walking along the
very edge of the bridge with apparent disregard for their own
life.
7 EXT. OVERPASS 7
As we come in on the bridge itself, we quickly discover that
it's not a suicide attempt, but a bored Illyria walking
precisely upon the narrow handrail as she overlooks the
swarming vehicles with the certain apathy that only she can
possess.
Illyria walks along for several moments with the same
familiar look upon her face before a single, but audible
SCREECH triggers an oncoming of events.
Illyria stops in mid-stride and WHIPS her head around as she
takes in what is happening.
As a red, foreign car cuts closely between an SUV and an
eighteen wheeler, the SUV slams on its breaks to avoid a
similar maneuver from another car. Upon the SCREECHING
brakes, an amazingly loud texture of sounds claims the air
for what is most likely miles.
The small, foreign car is propelled several feet into the air
before it SLAMS down, hard upon the ground, leaving the
eighteen wheeler to slam on its brakes and quickly resulting
in a total jack-knife.
While the truck and trailer fall victim to the laws of
motion, all the subsequent vehicles traveling behind it begin
slamming on their brakes as well.
Back with Illyria, she stares on in horror. Her typically
resilient demeanor is overtaken by a look of absolute shock
as she watches the events unfold before her.
After several more moments, the sounds of screeching tires
and colliding metal cease, leaving Illyria to stare, still,
at the travesty at hand.
Overturned vehicles lie on both sides of the freeway - an
onslaught of smoke rising into the otherwise clear sky.
Moments before, the volume of the roaring motors was almost
deafening, but now an eerie silence is present - the scene
bereft of motion.
Illyria has yet to move; the expression upon her face the
same. A thundering EXPLOSION rocks the ground and causes the
bridge to sway a bit, but she still stands firmly upon the
rail.
Off of her conflicted expression, we...
BLACK OUT.
END OF ACT ONE
ACT TWO
FADE IN:
8 EXT. TAYLOR'S HOME - MORNING 8
SUBTITLE: LOS ANGELES, 1995
A large, expensively constructed home stands valiantly behind
a well kept lawn and assortment of ornamental trees and
shrubberies, cropped to perfection.
A desirable neighborhood lies on all sides of the home,
engaging the calm streets and offering a warm feeling of
security. As that warm feeling takes over, the front door to
the home in question slowly swings open.
From within the home, Taylor emerges into the warm sunlight
and follows the walk down to the trash can at walk's end.
After disposing of the trash, he stares confidently at his
surroundings and stretches boldly for a moment before turning
to go back inside.
9 INT. TAYLOR'S HOME 9
As Taylor walks back through the door, he's nearly mauled by
a small child, his son JONATHAN - approximately three years
old - who jumps rampantly upon him as Taylor falls playfully
to the ground.
JONATHAN
Did I scare you, daddy?!
TAYLOR
You sure did, boy.
(playfully)
How did you know that I was going
to be coming back in so soon?
JONATHAN
Because you had the trash in your
hand.
TAYLOR
(laughing)
I see.
JONATHAN
And because mommy said that I had
to watch Barney because you and her
were going to wrestle in the
bedroom again.
TAYLOR
She told you what?
VOICE (O.S)
(promiscuously)
Taylor?
TAYLOR
Mind your mother, son. Go watch
Barney.
Taylor smiles as the boy runs into what is most presumably
the living room before quickly ascending the stairs and
vanishing around the corner.
10 INT. TAYLOR'S HOME - BEDROOM 10
The bedroom door slowly creaks open to reveal Taylor standing
promiscuously against the door's frame, already without
shirt, as he stares lustfully into the bedroom.
TAYLOR
(confidently)
I love Sunday mornings.
Across the room, upon their bed, lies his wife MARISSA - an
attractive, blonde woman in her early thirties, lying
enticingly across the comforter in a black, near transparent
night gown of sorts.
MARISSA
(smiling)
You know as well as I do that
Barney only lasts 23 minutes
without the commercials. Clock's
ticking.
Taylor nods appreciatively for a moment before walking in the
room and closing the door behind him. He makes it across the
floor and comes to stand over his wife.
TAYLOR
They don't have words for the
things I'm going to do to you.
MARISSA
You're talking again.
As Taylor leans in to kiss his wife, the phone RINGS just in
time to interrupt the picture perfect moment of a sex scene
in the making.
Taylor reaches over to answer the phone, but is stopped from
doing so as Marissa grabs him by the wrist.
MARISSA (cont'd)
Let it ring.
Taylor stares at his wife for a debating moment, but with a
slight shake of his head, makes up his mind.
TAYLOR
It might be important.
Marissa sighs and lays back upon the bed.
MARISSA
Like the world is going to end if
an insurance salesman doesn't
answer the phone on Sunday.
Taylor shakes his head playfully as he picks up the phone.
TAYLOR
Taylor.
VOICE
(filtered through phone)
Your services are needed.
TAYLOR
Yes, sir.
Taylor hangs up the phone, sits down on the bed, and quickly
begins putting his shoes back on.
MARISSA
Again?
TAYLOR
It's an emergency, baby.
MARISSA
That's what you said Friday night.
TAYLOR
You know that, given the choice, I
would much rather stay with you...
MARISSA
But..?
TAYLOR
But, I don't have a choice.
MARISSA
Taylor...
Taylor leans in and quickly kisses her before she can get
another word out.
TAYLOR
I love you.
With those words, he quickly heads toward the door, picking
up his shirt on his way.
Marissa stares at the empty doorway, sighing as she
reluctantly stares at the ceiling.
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Script created with Final Draft by Final Draft, Inc.