6x15 Script created with Final Draft by Final Draft, Inc.
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9 INT. HYPERION - LOBBY. NIGHT. 9
Illyria is once again standing in the centre of the room,
listening to the constant crash of thunder. Wes is standing
near the desk, just watching her.
ILLYRIA
Why do you stare at me so?
WES
I wasn't staring.
ILLYRIA
You were, although I cannot see
you, I can sense it. You are
staring at me.
(beat)
Is it because I remind you of her?
WES
Partly. But I think we both know by
now you'll never completely be Fred
again, despite whatever's happening
inside you.
ILLYRIA
You used to despise me. You would
hurl things at me, and call me
names meant to spite me.
WES
It was hard for me in the
beginning.
Illyria turns to face him, fixing him with her steely gaze.
ILLYRIA
Ever since I came to this place,
everything has been strange,
nothing here feels right,
especially now. This storm is
unnatural. The vampire was right,
this is connected to them.
WES
Why did you want to stay here? It's
not like you to turn down a chance
to beat something.
ILLYRIA
(lowers her head)
I have explained to you that
someone needs to stay here, to
protect this location in the event
of an attack.
WES
It seems unlikely that someone
would attack us now. If we were an
electronics store, perhaps...
ILLYRIA
Darkness is the perfect cover, many
of the demons I have encountered in
my time preferred it, now is the
prime time for such a strike.
WES
Still, you waiting for something to
happen isn't what we're used to.
(eyes her)
Is everything alright?
ILLYRIA
What if something were to happen to
you?
Illyria looks up at Wes, slightly un-sure as to what to
expect his reaction to be, Wes however seems slightly touched
by it.
WES
How can anything happen to me? I'm
incorporeal.
ILLYRIA
There are ways, and we cannot take
that chance.
There is another crack of thunder and two consecutive flashes
of lightening. Illyria looks up, alarmed.
ILLYRIA (cont'd)
Something is happening...
10 INT. WOLFRAM AND HART - LAB. NIGHT. 10
The lab workers are still swarming around The Keeper who
hasn't moved an inch. Manners is still watching carefully.
Suddenly he moves forwards, shooing the lab workers away
leaving him just with The Keeper.
MANNERS
Well now. It seems your arrival has
caused somewhat of a stir in the
city, although of course, that
probably has a lot to do with us.
Then again, it's never a bad thing
to make a big entrance, especially
for someone as powerful as
yourself.
The Keeper simply looks down at Manners, breathing heavily
and still not moving.
MANNERS (cont'd)
As I mentioned before, we'll be a
little off schedule, but once the
power comes back on we can make you
solid again and then get straight
on with the plan. Our biggest
threat is of course Angel.
THE KEEPER
An... gel?
He speaks in a deep, throaty voice.
MANNERS
Yes, Angel. The vampire with a soul
trying to make up for a hundred
years of very bad deeds. He is the
thorn in our collective side, he is
the firm's problem and the Senior
Partners don't like that.
A lab worker rushes into the scene, looking nervous and
trying to avoid looking at the intimidating figure of The
Keeper.
LAB WORKER
Uh, Mr. Manners, sir, we need to
complete some preliminary scans
before we can go forward with the
plan.
MANNERS
Yes, of course. Carry on.
(to the Keeper)
We can talk more later.
He turns and walks out of the lab, and we cut to:
11 INT. WOLFRAM AND HART - HALLWAY. NIGHT. 11
The hallway is lit by candles on the wall, giving it a dark,
Gothic feeling. As Manners is making his way up, Kitridge is
coming down and they meet in the middle.
MANNERS
Ah, James. Finished already?
KITRIDGE
There wasn't much to do, and I was
more interested in what's going on
down here.
MANNERS
No need to worry, everything is
going to plan.
KITRIDGE
But what is the plan?
MANNERS
To bring The Keeper here, and
that's what we did.
KITRIDGE
But what next? And who is 'The
Keeper'? Where did he come from,
and why is he here? With all due
respect, sir, I'm the CEO, and I
didn't know we were even going to
attempt this today. I followed my
orders, but I don't know a thing.
MANNERS
You will know everything you need
to soon enough, but for now you
shouldn't worry, I'm sure there are
other things for someone like you
to worry about in a place like
this!
Manners puts his hand behind Kitridge's back and begins
guiding him up the hall and away from the lab, giving him
only one chance to look back over his shoulder at the closed
door of the lab.
12 INT. POWER PLANT - NIGHT. 12
The gang are gathered back around the turbines, Taylor is
once again kneeling on the floor near a silver box.
NINA
It doesn't look like it can do
much. Are you sure that's it?
TAYLOR
This is the control panel. It sends
an electronic signal to the actual
power lines, and redirects them to
the turbines.
He flips open the top of the box and inside we see a large
red handle, next to a small touch screen that's lit up.
Taylor expertly begins presses buttons and tapping into the
system as Angel cranes over to watch.
ANGEL
Are you sure that you know what
you're doing?
TAYLOR
Would I be trying it if I didn't?
Or, you could have a go if you
want, seeing as you assume you know
everything about everything.
Angel rolls his eyes, obviously not in the mood for Taylor.
The box beeps loudly and Taylor claps his hands once with a
satisfied grin.
ANGEL
What did that noise mean?
TAYLOR
It means we're ready to get going!
Taylor rolls up his sleeve and grabs the handle in the box
before begin to move it up and down.
ANGEL
How will you know when it's ready?
With his free hand Taylor points to the touch screen - there
are three red bars, and along the bottom is a red line that
is getting longer as Taylor continues to move the handle.
TAYLOR
When that bottom line reaches the
end of the screen, one of the bars
will fill up a little and when all
the bars are full, the power will
come back on.
ANGEL
What can we do in the meantime?
TAYLOR
(exasperated)
Well, gee, Angel, I don't know, how
about 'wait'?
NINA
What about checking around, seeing
if this place keeps records? If the
power was drained, something here
must have registered it just
before it went off. It might help.
ANGEL
Good idea, Nina, you stay here,
Connor and I'll look around, see
what we can find.
Nina nods as Angel taps Connor on the shoulder to get his
attention, and the duo head off screen.
13 INT. POWER PLANT - OFFICE. NIGHT. 13
Through the old and broken blinds that cover the windows of a
tiny office, we see the two torch beams that signify Connor
and Angel are approaching. The door knob rattles and easily
swings open. The two step in and look around.
The office is big enough for a desk with a computer and a
large grey unit in the corner that is some sort of monitoring
system for the whole plant.
Angel instantly heads over to a printer on the desk and pulls
out a piece of paper so long that it's trailing on the floor.
It's stopped mid print, and Angel examines it for a few
seconds before putting it back down
ANGEL
I can't make any sense of this,
it's all just lines and numbers to
me.
CONNOR
Here, let me look at it.
(takes printout)
See, there was a major surge in the
power at 10.41, and that's the last
thing that came off the computer,
so the black out must have happened
just after this.
ANGEL
Does it say where the surge came
from?
CONNOR
Somewhere downtown, which means we
were right. Wolfram and Hart.
ANGEL
How can you tell all that from that
piece of paper?
CONNOR
I read it properly, Dad!
Connor smirks and heads back out of the office, as Angel
blinks, then follows.
14 INT. POWER PLANT - NIGHT. 14
Nina is sitting on the floor, watching as Taylor continues to
work on bringing the power back up. The box gives a BEEP but
Taylor doesn't stop.
NINA
Is that it? How many are charged?
TAYLOR
Just the one, it's taking longer
then I thought but you don't want
to overload the turbines.
NINA
How do you know all of this stuff
anyway?
TAYLOR
When I started the UTF, I started
learning stuff like this, I thought
it would come in handy one day, and
guess what, it did.
NINA
Yeah, but Angel doesn't know
anything like this, and he gets by
alright.
TAYLOR
Angel's a vampire, he has certain
advantages over the rest of us.
NINA
You still don't trust him, do you?
TAYLOR
That's beside the point, he helped
me out so I'll return the favour.
Plus, the city is in need, and I do
what I can for people in need.
NINA
Help the helpless?
TAYLOR
Yeah, help the helpless. It's what
I do.
NINA
It's what we all do.
Taylor glances at her, then gets back to work.
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
15 INT. W&H - KITRIDGE'S OFFICE. NIGHT. 15
Kitridge is sitting at his desk, staring into space. We can't
hear the storm from outside, but we can still see it through
the windows. The door opens and KIRSTEN walks in.
KIRSTEN
James? Mr. Manners is here to see
you.
Kitridge sits up straight and re-adjusts his tie.
KITRIDGE
Alright, send him in.
She disappears back out the room, and seconds later Manners
strides in, standing before Kitridge and smiling.
MANNERS
I know you're frustrated James, not
knowing anything about the current
situation and all.
KITRIDGE
I wouldn't say I was 'frustrated,'
sir. After all, I am in charge
here.
MANNERS
(frowns)
You're not in charge, you're simply
a pawn for the Senior Partners, you
do and go wherever they tell you.
That's just the way it is.
KITRIDGE
(beat; smiles)
And in the lab, how are things
going down there?
Manners sighs, beginning to pace the room with his hands
behind his back.
MANNERS
You have to understand, this is a
very delicate and complex plan.
Something we've been working on for
some time now. Timing is everything
here. One little slip up and
everything could be lost, and that
would make the Senior Partners very
unhappy.
Manners stops pacing and stands right in front of Kitridge,
leaning over the desk to speak to him.
MANNERS (cont'd)
It's best if you distance yourself
from this project.
KITRIDGE
Why?
MANNERS
Because I'm asking you to.
KITRIDGE
Why won't you tell me anything
about The Keeper?
MANNERS
Because you don't need to know
anything. The information about The
Keeper and what he's doing here is
to be given out on a need to know
basis only.
KITRIDGE
And I'm not important enough to
know? I know the entire working
order of this company, every little
thing that goes on. Nothing happens
here that I don't hear about.
Manners pulls back, Kitridge looks fairly confident that he's
made a good argument.
MANNERS
On behalf of myself and the Senior
Partners, we would like to thank
you for all your help during this
time, but your involvement in this
project is no longer needed.
KITRIDGE
Why?
MANNERS
Frankly, this is too top level for
you. It would be better for
everyone if you stayed out of the
way, stick to what you're good at,
carry on with your job here and let
me take care of the rest.
With that, Manners exits the office, leaving Kitridge alone,
seething.
16 INT. HYPERION - ILLYRIA'S ROOM. NIGHT. 16
With a few candles placed around the room, a soft glow is
being cast on the room. Illyria is sitting on the edge of the
bed, staring at the window.
ILLYRIA
You are staring again.
WES (O.S.)
I wasn't staring this time, just
watching.
ILLYRIA
The storm fascinates me. There is
so much power, the ability to cause
so much damage. There are parallels
between it and me.
Wes steps on screen, standing close to her, his attention
also drawn to the window.
WES
You're comparing yourself to a
storm?
ILLYRIA
It would be illogical to deny the
similarities.
She turns to look at him, before standing up and looking
around the room.
ILLYRIA (cont'd)
Being here brings so many feelings.
There are voices in my head that I
do not understand, things that
bring back images of times I do not
remember. Everything in this place
has her mark on it, and so much of
what I see drags memories from her
life into my mind.
WES
What did you expect?
ILLYRIA
I am unsure. Not this. I did not
expect everything to be so
difficult, so strange. How can I
feel so weak, when I am a God?
WES
You feel weak?
ILLYRIA
Sometimes, when I am here alone. It
is not so much a weakness as it
is...
(beat)
I am unsure how to describe it. It
is a feeling, something I am not
used to.
She looks around the room again, taking in all of the things
scattered there that once belonged to Fred. Her eyes well up
slightly, and Wes looks like he'd trade in everything just to
be able to touch her for a moment.
ILLYRIA (cont'd)
She is everywhere.
WES
If you don't like it, maybe you
shouldn't spend so much time in
here.
ILLYRIA
I cannot help it, I am drawn to
this place, just like I am drawn
to...
She cuts herself off and decides to change the subject
ILLYRIA (cont'd)
Angel has not yet returned, his
task must be taking some time.
Neither have the two vampires,
perhaps they have run into some
trouble?
WES
Spike is probably holed up in some
bar, riding the whole thing out,
and the way Skye follows him around
I daresay she's with him.
ILLYRIA
I have spent time with Spike, is
main concern is not always liquor.
He helps people. If Angel asked him
to keep people safe, then I am
certain that is what he's doing.
WES
(smiles)
That sounds like a different Spike
than I remember!
ILLYRIA
Many things have changed in your
absence, we were divided for a
time, people have been lost.
WES
You mean Gunn?
Illyria nods and walks back over to the window, the thunder
is now nothing more then a low rumble, it seems to be fading.
ILLYRIA
First you, and then Charles.
WES
At least one of us came back. In a
manner of speaking, at least.
ILLYRIA
But you are mortal, one day you
will go again and then you will
move on. There may be no way to
bring you back again. If Angel does
not return soon, then you may never
become physical again!
WES
Angel will be back, he's a man of
his word. We just have to wait a
little longer.
ILLYRIA
(agitated)
I have been waiting long enough!
For the longest time I have stayed
in his vile prison and waited for
your return, and now that you are
here there is nothing I can do, I
do not want to wait any longer!
WES
(frowns)
Wait for what?
We cut from Illyria's tense expression to:
17 INT. POWER PLANT - NIGHT. 17
Taylor is still working with the box while the others wait
around him, but looking bored. Nina is inspecting her nails
carefully, Angel is tapping his foot.
ANGEL
Maybe you'd have this done quicker
if Sonia was here?
TAYLOR
Well, whose fault is it for sending
her with the other two?
ANGEL
It's been hours.
TAYLOR
It takes time! Maybe you could do
something constructive instead of
standing there and criticizing me,
Angel!
ANGEL
Unless you hadn't noticed, there's
nothing else to do, we're stuck in
this plant waiting for you, so the
power can come back on and we can
go back to the hotel and fix Wes!
TAYLOR
I know the plan! I helped build the
damn machine, remember?
ANGEL
You know, I don't like your
attitude.
TAYLOR
I don't like yours either, so I
guess we're even.
Angel stares at him, then looks away, trying not to get into
another argument.
ANGEL
You're worse then Spike and believe
me, that takes some work.
NINA
I wonder where Spike is, anyway?
Angel throws her a look, and we cut to:
18 INT. DEMON BAR - NIGHT. 18
The bar is lit by torches on the wall, every available space
is packed and sitting right next to the bar are Spike, Sonia
and Skye. Spike is finishing off a beer while Skye is busy
carefully eyeing the clientele.
SPIKE
I told you there wouldn't be
anything non-human out on the
streets, all the ghoulies and the
beasties are in here having a pint,
while the respectable citizens of
LA are busy ram-raiding the 7-11s
to grab some free booze and
ciggies.
SKYE
Sure looks that way...
The BARTENDER, a huge dark green demon with horns that
protrude through it's clothes, clear away Spike's empty beer
bottles.
BARTENDER
Another one?
SPIKE
Go on mate, you've twisted my arm,
and a coke for the little lady.
SONIA
Shouldn't we at least go out and do
one more sweep of the streets, just
in case?
SPIKE
In case what? In case the
leprechauns are taking their bloody
revenge?
SKYE
Leprechauns?
Spike shrugs as if to say 'why not?' and pulls the cap off
his beer.
SPIKE
Look, if there are no humans
outside in this weather, then
there'll be no demons, so we're
safe. All we have to do now is sit
back, relax and wait for our cue.
SKYE
Which is?
SPIKE
When all the lights come back on.
Cheers.
The girls exchange a weary look as Spike swigs his beer.
19 INT. HYPERION - ILLYRIA'S ROOM. NIGHT. 19
Wes and Illyria are still in the same position, seemingly
having some sort of stand off as Wes waits for Illyria's
answer.
ILLYRIA
I do not understand.
WES
You said that you had waited long
enough. Waited for what?
ILLYRIA
(evasive)
It is of no importance.
WES
If it isn't important, then why did
you mention it?
ILLYRIA
It was a mistake, a simple slip.
One of many I have found myself
making as of late. It is this
place, I have told you, it is
having a strange effect on me!
She turns away from him, hoping that the conversation will
end there, but there is nothing else to distract her and Wes
is determined to get an answer.
WES
Was is it you were waiting for?
Knowing that Wes isn't going to give up, Illyria turns back,
trying to do her best to look fearsome, drawing herself up as
straight as possible.
ILLYRIA
Ever since you left I have longed
to... to hold you again, but
without the spectre of death at
your heels. When you returned I
thought that may be possible at
last, that perhaps your time away
may have healed the wounds I
inflicted on you. But then, you
were not really here, and the task
became impossible.
WES
(beat; nods)
I know what you mean.
ILLYRIA
(surprised)
You... understand?
Wes nods and shuffles on his feet slightly as though it's his
turn to be the nervous one.
WES
It would have been... nice, almost,
for you to hold me again without
knowing that it would be the last
time. To get a real chance to enjoy
it, even, before being snatched
away.
ILLYRIA
Then perhaps soon...
Suddenly the lights in the room begin to flicker and come
back on. Illyria returns to the window and pulls back the
curtains, all business.
ILLYRIA (cont'd)
The lights are back on, Angel has
completed his task!
WES
(smiles)
Then I think it's time we took care
of business, don't you?
From Illyria's hopeful look, we:
BLACK OUT:
END OF ACT THREE
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Script created with Final Draft by Final Draft, Inc.