6x21 Script created with Final Draft by Final Draft, Inc.
[previous | bottom] problems here! You ever think of
that? Showing up and screwing
everything up?
SKYE
Woah, Nina, chill out!
Skye hurries over and tries to pull Nina away - but as she
touches Nina, Skye experiences the same moment of dizziness
that we've seen happen to the others.
Nina continues to shout at Buffy as Skye tries to regain her
balance.
NINA
Do you know what you are to me? Do
you know what your name makes me
think of?
Buffy is recovering now, not quite ready to hit Nina back yet
but rapidly getting there.
BUFFY
No, why don't you tell me?
NINA
It makes me see how I'll always be
second best! How I'll never be as
important to him as you are!
Nina points towards Angel, who is rubbing his jaw as he
marches over, vamp face now thankfully gone again.
ANGEL
Nina, that's enough! Let her go!
Nina throws a dark glare at Angel, then SHOVES Buffy away
from her before turning her fury on Angel.
NINA
Why don't you just come out and say
it? We both know that's the score
here - difference is, I've learned
to live with it, to accept it! You
won't even do that for yourself!
ANGEL
That's now how it-
NINA
Like hell it isn't!
BUFFY
Hey! Look, Nina, we don't even know
each other, so don't go saying
things like-
NINA
Oh, give it a rest, will you? All
both of these two goons ever think
about is you, and we both know it!
Nina points to Angel and Spike this time, prompting an angry
glare from Skye.
SPIKE
Don't drag me into this!
NINA
Why not? You were the next guy she
shacked up with after Angel, right?
SPIKE
(floundering)
Well, yeah, but, I mean, you can't-
NINA
So doesn't that prove my point?
(to Skye)
Face it, Skye - we're always going
to be 'the other woman' with these
two.
Skye is silent. She looks to Spike to give him chance to try
and dig his way out of this.
SKYE
Well?
Spike opens and shuts his mouth, trying to think of what to
say, but after a few beats of failing to confirm or deny
anything, Skye turns and marches away from him, tears already
filling her eyes.
SPIKE
Skye, wait!
As she runs back upstairs, Spike chases after her, the two
soon disappearing off screen.
Angel turns angrily to Nina.
ANGEL
Are you happy now? You see what
you've done?
Nina turns to glare at Buffy again.
NINA
Oh, yeah. I see exactly where the
problem is.
As Buffy stares back at Nina, not knowing whether to yell,
scream or start punching, we cut to:
12 INT. KITRIDGE'S APARTMENT. MORNING. 12
Kirsten walks in from the small, scruffy kitchen with two
mugs of coffee.
She heads over to Kitridge, who is sitting on the edge of the
bed, a large steel briefcase open before him. Inside the case
is a bulky piece of surveillance equipment, and from that
lead a pair of headphones, which Kitridge wears.
He chuckles and takes the 'phones off one ear as Kirsten
passes him the mug.
KITRIDGE
I'm almost sorry I couldn't get a
camera in there as well for this -
this is absolute gold! Luckily, the
bug in Nina's t-shirt is picking up
everything just fine. I can't
believe my luck in having Buffy
Summers show up as well!
KIRSTEN
So what's going on? You said you
were expecting to see them at each
other's throats - what did you do
them, exactly?
The various soundwave displays on the equipment flicker away
as Kitridge turns to her.
KITRIDGE
You remember that one vial I asked
you to get from the science
division? That compound with the
unpronounceable Latin title?
KIRSTEN
Yeah, took me long enough to find
it! What is it?
KITRIDGE
I heard some of the lab boys
talking about it a while back, they
said they'd gotten the idea from
the movie '28 Days Later.'
Kitridge sips his coffee, chuckling again as he listens in on
another barrage of angry shouting from the Hyperion.
KITRIDGE (cont'd)
It's a unique semi-magical virus,
transferrable through any kind of
physical contact, that gets into
the target's system and accentuates
every negative thought process
rattling round their brain,
heightening the angry and violent
responses, and basically turning
the victim into a one-man protest
march.
KIRSTEN
(beat)
It's a virus that makes people get
really pissed off?
Kitridge nods, sipping his coffee again.
KIRSTEN (cont'd)
But what's it going to achieve? I
mean, isn't this just a little
petty?
KITRIDGE
Not at all. I want them all at each
other's throats because when we
execute the next stage of our plan,
it's going to end up tearing that
team apart. Angel's nothing without
his friends, and this should help
take care of that quite neatly.
Kirsten shakes her head and smiles.
KIRSTEN
You are one mean bastard, James.
KITRIDGE
What can I say? Necessity is the
mother of invention.
He leans over to kiss her, and as they embrace we cut to:
13 INT. PARK. MORNING. 13
Wesley is getting dressed as best he can, having to leave his
jacket and trousers as they're still covering up the sleeping
Illyria, who is still using Fred's body.
The park is still empty as far as we can tell, but we can
hear people's distant voices. The two of them had better get
moving soon, before somebody finds them.
Wes gently shakes Illyria awake. She yawns and turns to him,
smiling as she sees him and reaching up to touch him.
FRED
Morning.
WES
Yes, it is. We should get moving.
FRED
(frowns)
Can't we have five more minutes?
WES
We could, but chances are
somebody's going to find us any
second, and I don't fancy
explaining to the police what we
were doing out here.
(glances down)
Especially if you're still sans
clothing...
Illyria looks down at herself, her naked body covered by the
rest of Wes' clothes, and she sits up, wrapping his jacket
protectively round herself.
ILLYRIA
I thought you would-
WES
Illyria, we really do need to get
moving. I'm not sure yet how your
ability to create the appearance of
human clothes works, but if you
could be a dear and make it happen,
I'd feel much less exposed.
(beat)
No pun intended.
Wes stands, taking his trousers from a sour-faced Illyria as
she closes her eyes and takes a deep breath.
Wes turns to look - and her terracotta jumpsuit starts to
materialise, flowing like a liquid from Illyria's hands, up
to her arms, and in moments its covered her whole body.
She stands, still with Fred's face, but dressed now as
Illyria once more. With a gesture, her jumpsuit morphs itself
into something more Fred-like - a plain summer dress and
blouse. She turns to Wes.
ILLYRIA
Is this suitable?
WES
Perfect. Thank you.
ILLYRIA
(hesitant)
The act we performed last night,
was it-
WES
Something we can discuss later.
Come on.
Wes takes one of her hands, and the duo head off towards the
treeline, out of sight.
As they leave our view, we:
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
14 INT. SEWER TUNNELS. MORNING. 14
We're back down in LA's sewer system, picking up SONIA as she
stalks into frame, peering left and right as she reaches a T
junction.
She chooses left, and as she turns the corner and walks on
through the wide, circular tunnel, TAYLOR appears behind her,
walking along far more casually.
TAYLOR
Alright, Sonia, we've been doing
this for long enough now. If Connor
was down here, we'd have found him
by now!
SONIA
He's here somewhere, Taylor, I just
know it!
TAYLOR
Where, then? We've been over these
sections three times, we haven't
missed anything! Wherever Angel's
stashed the kid, it's not somewhere
us mere mortals can get to in a
hurry. Now will you give it up so
we can go back and get some rest?
SONIA
No!
Sonia turns round and marches back up to Taylor.
SONIA (cont'd)
I have to know he's all right, and
I'm not stopping looking until I
find him. If you want to go back to
the hotel, then go ahead. I'm
staying.
Sonia turns away and walks on, and after a beat Taylor SIGHS
and jogs to catch up with her.
TAYLOR
Alright, alright, one more hour,
then I'm done. Okay?
SONIA
Fine.
The duo turn into a darker section of the tunnels, and as
they break out their flashlights and start to pace into the
gloom, we cut back to:
15 INT. HYPERION - LOBBY. DAY. 15
Nobody notices Andrew as he sneaks carefully into Angel's
office, silently closing the door after him.
Buffy, Angel and Nina are in a true Mexican standoff, Nina
pacing up and down as Buffy and Angel throw awkward glances
at each other.
NINA
What I don't get is, what makes her
so much more special?
BUFFY
'Special'?
NINA
Why do they always want to go back
to you, no matter how badly you
hurt them, no matter how many
things went wrong?
BUFFY
I-
ANGEL
Nina, this isn't the time for-
NINA
So when is? When will be a good
time to address the fact that you
still love her?
Angel freezes, looking from Nina to Buffy and back.
ANGEL
But-
NINA
(snaps)
Look, spare me the attempts to deny
it, alright? I've had enough of
them in my time with you already.
Angel, we've got something really
great, but as long as she's still
around, it's never going to be good
enough, is it?
ANGEL
You know it's not as simple as
that.
NINA
Oh? Then explain to me how you can
sleep with me and not lose your
soul, yet the first time you hopped
into the sack with Buffy, you
started murdering people again? Was
it that good?
BUFFY
(shocked; to Angel)
You told her about that?
ANGEL
(guiltily)
Yeah.
BUFFY
(darkly)
Well, maybe we should-
NINA
Forget it! Just go and do whatever
it is you came here to ask, and
then go!
BUFFY
(angry)
Hey, just because you're obviously
a bad girlfriend, don't take it out
on-
SLAM! Buffy doesn't get chance to finish her sentence, as a
snarling Nina POUNCES on her, pinning her to the floor.
Buffy's eyes widen in shock as Nina seems to grow a pair of
huge FANGS, starting to GROWL like a cornered dog as she
presses down on Buffy.
ANGEL
Nina! No! Don't do this!
Angel tries to drag Nina away, but she just turns and BITES
him, sinking her new fangs deep into his leg.
Angel howls in pain and staggers backwards, and as Nina turns
back to Buffy, blood on her lips, her eyes start to cloud
over and darken.
Fur starts to sprout from the backs of Nina's hands, tufts of
it bursting out across her face.
BUFFY
Oh, my God...
Nina tilts her head back and HOWLS - she's starting to change
into her werewolf side for the first time in a long time, and
nothing is going to stop the transformation now!
Angel gets to his feet, clutching his injured leg, and
manages to grab Nina, yanking her up and away from Buffy.
Halfway through her change now, with her hands becoming more
like huge, clawed paws, Nina SWIPES at Angel, slicing into
his chest.
He still hangs onto her, her kicking legs managing to catch
the recovering Buffy.
We cut away from the degenerating fight scene into:
16 INT. HYPERION - ANGEL'S OFFICE. DAY. 16
Andrew, listening in on the melee outside, searches Angel's
office for a phone, spotting the one on the desk and racing
over.
He dials in a number, fidgeting nervously as he waits for
them to answer.
GILES
(filtered; through phone)
Hello?
ANDREW
Um, Giles? It's Andrew.
GILES
Is everything alright? Where's
Buffy?
ANDREW
Yeah, about that - something's
going very wrong over here, and I
was kinda hoping you could help me
with it.
GILES
'Wrong' in what way?
There's a loud CRASH from outside, followed by a HOWL that
could only come from a fully transformed werewolf.
ANDREW
(timid)
Um... every way, I think.
We cut from Andrew's tense expression over to:
17 INT. SEWER TUNNELS. DAY. 17
Back down in the depths with Sonia and Taylor, still having
no luck as they search for Connor. They walk past us, taking
a right turn and disappearing from view.
Moments later, two new arrivals walk onto the scene, a pair
of rough-looking guys by the name of GRIMY and CHUBBS. Grimy
is reading from a map via a small penlight, with Chubbs
standing anxiously behind him.
CHUBBS
Is it round here?
GRIMY
Not yet, a few more turns and we're
there.
CHUBBS
Come on, how much longer? This
place stinks!
GRIMY
Of course this place stinks, you
idiot, we're in the sewers! Now
shut up and follow me.
Following the map, Grimy heads onwards, off screen, with
Chubbs close behind.
As they leave, we pan back across to the right to see Sonia
lean back over, looking down the tunnel she just left.
SONIA
Did you hear something?
Taylor joins her, sweeping his flashlight through the
darkness.
TAYLOR
Nope.
(checks watch)
Alright, Sonia, your hour's up. I'm
heading back to-
As Taylor looks up, Sonia is already on her way, walking back
down the tunnel in the direction we just saw Grimy and Chubbs
heading.
Taylor glances over his shoulder, presumably towards a way
out, then back over to Sonia.
With a sigh, he starts to follow her, as we cut to:
18 EXT. PARK. DAY. 18
Wesley and Illyria, still in Fred's form, walk along a quiet
promenade of the park, Illyria sweeping her hands along the
flowers lining the path as Wes walks with his head down, deep
in thought.
Illyria glances at him a few times before finally breaking
the silence.
ILLYRIA
You have hardly spoken since we
awoke. Is something displeasing
you?
WES
(distracted)
Hmm?
ILLYRIA
Was it... Were things not as you
had expected?
Wes pauses, a faint smile on his lips.
WES
To say I'd 'expected' anything
that's happened the past few weeks
would be a pretty big fib. Last
night in particular!
ILLYRIA
I just felt that-
WES
You were just doing what comes
naturally, as I believe an old song
goes.
ILLYRIA
Is this a common impulse in humans?
WES
Of course! It's how we survive as a
species.
ILLYRIA
Interesting... But is it ever just
for enjoyment?
WES
More and more these days, it
seems...
They walk on in silence for a few moments before Illyria
stops, obviously struggling to phrase something. Wes turns to
her and waits for her to speak.
ILLYRIA
I do not... I do not understand why
I felt that way.
WES
I think it's pretty obvious by now
that Fred's consciousness is a
bigger part of your 'shell' than
any of us realised. Her thought
processes have been leaking into
your own since you took over, and
now it looks like things are
finally starting to balance out.
ILLYRIA
What does that make me now? Some
kind of hybrid?
Wes walks up to her, and after a moment takes one of her
hands. Illyria looks confused, but allows Wes to hold it.
WES
It makes you very special, that's
for sure. I'll admit now, I was...
surprised by what happened between
us. But I think I can tell that you
weren't doing it all just for me.
Some part of you wanted to, as
well.
Illyria looks away, but Wes reaches out and places a finger
under her chin, turning her back to face him.
WES (cont'd)
This, for example. As recently as a
few months ago, you'd have broken
my arm for daring to touch you like
this. And now? Now, here we are.
The archetypal morning after.
ILLYRIA
I almost feel... guilty?
Wes chuckles, and Illyria frowns at him.
ILLYRIA (cont'd)
(cross)
That is not a matter for humour!
WES
Actually, I think that's one of the
most human things I've ever heard
you say. If there was a way to
enjoy sex without guilt creeping
into the equation, this planet
would be in a much better state, I
think!
Wes turns and walks away, still grinning to himself, and
after a moment Illyria hurries to catch up with him.
19 INT. SEWER TUNNELS. DAY. 19
Grimy and Chubbs have almost reached the grate concealing
Connor's hideout, and with a nod from Grimy, Chubbs draws a
long nightstick from his jacket.
Chubbs taps his nightstick on the grate, grinning.
CHUBBS
Room service!
No answer. Grimy steps forward, shining his torch down into
the narrow tunnel beyond the grate.
GRIMY
Come on out of there, kid. We know
you're down there.
No answer again. Grimy nods to Chubbs, who reaches forward
and WRENCHES the grate free, dropping it on the tunnel floor.
GRIMY (cont'd)
Connor Riley! Get your ass out here
now, kid, save us all a long wait.
Silence.
Then, with a SHOUT, CONNOR bursts out of the tunnel, barging
into Grimy and Chubbs and knocking them both to the floor.
Connor looks round, trying to work out where to head for
next, but Chubbs is on his feet first, CRACKING the
nightstick across the back of Connor's head.
Stunned, he drops to his knees, and Chubbs is quick to grab
him, hoist him over his shoulder and start to jog off screen,
the recovering Grimy close by.
Moments later, Sonia and Taylor round the corner, Sonia
swinging her flashlight beam up and down the tunnel.
SONIA
I heard something, I know I did!
TAYLOR
You've been down here too long,
kid. I think it's definitely time
we went back up top. Besides, it's
been a while now, maybe Angel'll
tell you where to find him if you
ask him nicely this time?
Sonia turns to Taylor, scowling.
SONIA
'Nicely'?
TAYLOR
(raises hands)
Just a suggestion.
Sonia turns to scan the tunnel again, but this time she spots
the hole in the wall, and the discarded grate, partially
hidden by the running water underfoot.
Sonia walks over, shining her flashlight down into the
tunnel, as Taylor joins her.
TAYLOR (cont'd)
What's this?
SONIA
(penny drops)
Oh, no...
TAYLOR
Wait, wait - this was Angel's 'safe
house'? A hole in a sewer wall?
Sonia points - and we can see that the tunnel leads into a
small room, just barely visible thanks to the duo's combined
torchlight, with others branching off it.
TAYLOR (cont'd)
You think he was here?
SONIA
I think he was here. Emphasis on
the 'was.'
(turns to Taylor)
We need to find Angel. Now.
Sonia turns and starts to race away, back the way she came,
and as Taylor starts to hurry after her, we cut to:
20 INT. HYPERION - OUTSIDE SKYE'S ROOM. DAY. 20
Spike is banging on the door to Skye's room, glancing over
his shoulder as he hears more noise echoing up from the
lobby.
SPIKE
Skye, come on! Open the door!
Sounds like there's a bloody circus
on the loose downstairs, we need to
go and check it out!
Silence. Spike grunts with annoyance and BANGS on the door
again.
SPIKE (cont'd)
Skye, we can talk about this later!
Get your arse out here before
whatever's going on down there
spills out into the street!
We cut from Spike in the corridor to:
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Script created with Final Draft by Final Draft, Inc.