6x22
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
A T.V. SCREEN. Blank. CLICK. A flickering image appears,
projected. The print is dirty and washed out, but we can
see a happy family celebrating a birthday in the same
cliché fashion any other family would. These are the
RILEYS.
Their son: CONNOR, eight years old and loving it. He tumbles
down slides and has a go with the merry-go-round.
The perfect childhood continues, as we cut to:
1 INT. PRISON HALLWAY - NIGHT 1
Two GUARDS -- GRIMY and CHUBBS -- drag an unconscious boy by
the arms. It's CONNOR, now 20. Grimy moves ahead to a heavy
steel door. Pulls out his keys and turns the lock. It slides
open. Inside is nothing but a black void.
Grimy takes Connor's other arm and, with great effort, both
men TOSS Connor into the void.
2 INT. ISOLATION CELL - CONTINUOUS 2
The door SLAMS SHUT. A small port-hole lets light from the
hallway seep through. Connor comes to a little. Groggy.
Pretty unsure of what's happening. Looks up to see:
GRIMY, staring in through the port-hole with a creepy
satisfaction.
CONNOR
What's going on? Who are you?
GRIMY
Doesn't matter who I am.
Question is -- who did you piss
off?
CONNOR
What?
GRIMY
Someone ain't happy with you,
kid, that's for damn sure.
Connor looks around. A rat scourges for food. Trails around
his leg. Connor doesn't move. He just closes his eyes, maybe
ready to give up -- THUNK!
Grimy slumps. A shadow crosses the port-hole. Keys JINGLE in
the lock. Connor waits, half terrified and half hopeful as
the door opens...
It's ANGEL! He strides in, brandishing a broad sword. Spots
Connor on the ground. He immediately swoops down and slings
Connor over his shoulder. Bolts through the door and over
Grimy -- and the downed Chubbs -- without a single word.
CONNOR
Wh... How... When...?
ANGEL
Save your strength. We need to
get out of here.
3 INT. PRISON HALLWAY - CONTINUOUS 3
Moonlight spills in through windows as Angel leads Connor
down the long corridor. Rusted steel and a sense of
claustrophobia are all that waits ahead. The pace is
frantic.
CONNOR
Where are we?
ANGEL
The thirteenth precinct in
downtown L.A. Wolfram & Hart
didn't go through much trouble
to keep you hidden.
CONNOR
That's kind of insulting.
They turn a corner --
CONNOR (cont'd)
Unless it's a...
Angel freezes. Two HULKING DEMONS stand no more than twenty
feet away, their teeth just as large as their considerable
muscles.
ANGEL
Trap.
Angel clutches the sword... The demons attack! Claws tear
flesh as Angel uses his own body to defend Connor. Blood
flows. Angel brings the sword up and IMPALES it through the
demon's face! It slumps.
The other beast bites down hard, taking a chunk out of
Angel's leg... Metal flashes through the air and the demon's
head rolls away, leaving a geyser of green gore.
Connor eyes the green-stained blade, a bit repulsed.
CONNOR
Always room for jell-o, I guess.
ANGEL
Not exactly a time for jokes,
Connor.
Angel helps Connor to his feet.
CONNOR
Never is.
ANGEL
Come on.
They round one last corner. A large wooden door is directly
ahead, their way out... they get closer and closer and
finally Angel pushes the heavy thing open, into:
4 INT. ISOLATION CELL 4
A small port-hole lets light from the hallway seep through.
Connor comes to a little. Groggy. Pretty sure of what's
happening. Looks up to see:
GRIMY, staring in through the port-hole with a creepy
satisfaction.
CONNOR
What's going on? Who are you?
GRIMY
Welcome to the worst nightmare
of all, kid.
Grimy's lips form a toothless grin.
GRIMY (cont'd)
Reality.
The port-hole slides shut. DARKNESS.
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
5 INT. HYPERION - LOBBY - NIGHT 5
Closing time at the Hyperion. The lights are off and the
whole lobby reeks of false comfort. NINA sits just outside
of Angel's office.
6 EXT. HYPERION - GARDEN - NIGHT 6
An arm brushes a plant. A blue arm. ILLYRIA follows WESLEY
as he makes for the door. But she pauses. Looks up.
She sees a beautiful ocean of stars, not one missing amidst
the masses.
BACK TO SCENE, as Illyria cocks her head with the most
interesting of expressions.
7 INT. HYPERION - LOBBY - MOMENTS LATER 7
Wesley tosses his jacket away. Nina's SNIFFLES can be heard
from a mile off. Wesley notices, walks to her.
WESLEY
Nina, what's wrong?
NINA
Angel.
WESLEY
Where is he? I'd like to have a
word with him, if at all
possible.
NINA
He's gone. I'm not even sure I
want him to come back.
WESLEY
What is it? What happened?
NINA
Nothing. He went to check on
Connor. He was worried something
happened.
WESLEY
Connor's fine, we can be sure of
that. Did something happen
between you?
Nina continues talking, oblivious to Wesley's comment.
NINA
He didn't even take me with him.
He'd rather have Spike and the
Slayer along than me.
WESLEY
Buffy?
NINA
The other one. Skye. Though
goldie-locks did drop by for a
quickie before skipping town.
Wesley slides to the floor next to Nina.
WESLEY
With Spike and Skye, it
shouldn't be taken personally.
Those of us without... special
abilities, we'll only slow him
down.
Nina throws a dark glare at Wesley, as we cut to:
8 EXT. SAFE HOUSE - NIGHT 8
Angel swoops in through the front door. SPIKE and SKYE
follow suit into the decrepit building.
9 INT. SAFE HOUSE - LIVING ROOM - CONTINUOUS 9
Angel looks around -- surprised, but not yet panicked.
Spike gives the place the general once-over.
ANGEL
Connor?
(no response)
Connor?!
SPIKE
The kid's not exactly a chip off
the old block, skipping town.
ANGEL
He didn't leave on his own.
Check the place out.
Skye stands around, a bit unsure of her place in things.
SKYE
This isn't exactly my area of
expertise.
ANGEL
I don't care. Sniff around,
trip over a shoe -- do anything
that gives us a clue.
SPIKE
Ah, forensics. Your general
"CSI" investigation, only
without that New York nonsense.
SKYE
Whose idea was it to do a spin
off in New York? Dumb idea.
ANGEL
Get to work.
Angel moves to the disgusting-looking sofa. With little
effort he lifts the couch and CHUCKS it over. Nothing under
it.
Spike looks at Skye.
SPIKE
Come on, love. I think it's best
we leave Forehead here to his
own devices, if you catch my
meaning.
SKYE
Agreed.
They move through a swinging door. Angel, done with the
living room, hurries upstairs.
10 INT. KITCHEN 10
Spike and Skye enter. Compared to the ragged living room,
this is actually in pretty good shape. An inviting fridge
and a food closet. Skye moves to the pantry and rummages
around. Spike's content with eyeing the stove.
SPIKE
So, what'd you think of him?
SKYE
Connor?
SPIKE
Yeah.
SKYE
I don't know. We weren't close
or anything, but I guess I liked
him enough.
SPIKE
So you weren't exactly like
rabbits, then?
SKYE
Not exactly. I'm generally not
the kind of person who wants to
bounce around from one lay to
the next.
She glances at Spike, then quickly avoids his gaze when he
looks. Skye tosses a box of cereal away. Continues digging
through items.
SKYE (cont'd)
This is so incredibly not my
thing.
SPIKE
You'll be fine. You have to have
some of those vampire senses.
SKYE
I'm just not the type of girl
who goes all Scully in bed when
the going gets rough.
A beat, then --
SPIKE
I'm not even going to pretend I
know what that means.
11 INT. UPSTAIRS HALLWAY 11
Angel, determined as hell, striding into --
12 INT. MASTER BEDROOM - CONTINUOUS 12
Angel inspects. The bedspread is disheveled. Cans of soda
littered about. And something else on the endtable, gleaming
in moonlight. Angel walks over and swipes the item away,
looks at it.
A watch. Platinum Rolex, and expensive as hell. Angel
smirks. Turns it around to look at the back of the face.
There's an inscription: Property of Wolfram & Hart. J.K.
Angel smirks.
ANGEL
What a surprise.
13 INT. KITCHEN 13
Skye sits on the counter-top. Spike leans against the
refrigerator, smoking like a madman.
SPIKE
To tell you the truth, you're
handling this better than I
thought you would.
SKYE
What's that supposed to mean?
SPIKE
Well, know the guy or not, I'm
used to you girly-types going
all AWOL the second something
surprising comes along, is all.
SKYE
Guess I'm not most girls.
She casts Spike a mischievious grin --
The door swings open and Angel barrels through. Looks at
both of them like a disapproving older brother.
ANGEL
Not working. What a shock.
SPIKE
What'd you find?
Angel tosses Spike the watch. He finds the inscription on
the back side.
SPIKE (cont'd)
'J.K.' You thinking Kitridge,
mate?
SKYE
Well, that's the least
surprising twist ever. Except
"The Village."
SPIKE
What's the next move?
ANGEL
We pick up a few things and then
pay him a visit.
And with that, he turns and walks THROUGH CAMERA,
encompassing us until the screen goes BLACK and we cut to:
14 INT. PRISON HALLWAY - NIGHT 14
In one continuous move, as though the camera never stopped.
We stalk down the hallway, getting closer to Grimy and
Chubbs, parked on chairs in front of the isolation cell's
foreboding steel door.
Chubbs stands to face us.
CHUBBS
You cut the check yet, Jimmy
boy?
BACK TO SCENE where KITRIDGE smiles.
KITRIDGE
Soon enough, I promise. You need
to wait for the banks to open
anyway.
CHUBBS
Screw the banks. Sumner's on my
ass that if we're not paid by
tomorrow afternoon, we're
cuttin' him loose.
KITRIDGE
Well, I appreciate you taking
him off my hands for a few
hours. You'll get your money,
trust me. Can I see him?
Grimy stands.
GRIMY
What for? He's pretty locked
down, chief.
KITRIDGE
Just a talk. Quick one.
GRIMY
I can't give you more than five
minutes.
KITRIDGE
That's enough.
GRIMY
Then feel free to knock yourself
out.
Grimy digs the keys out of his pocket. Inserts one into the
lock, TURNS. The door rumbles open...
15 INT. ISOLATION CELL - CONTINUOUS 15
Kitridge looks in. Bathed in blackness, Connor is still
visible sitting against the far wall, one leg extended.
Grimy looks at Kitridge and shrugs. Finally Kitridge swoops
in as Grimy SLAMS the door shut. He looks in through the
port-hole.
Kitridge approaches Connor.
CONNOR
What do you want?
KITRIDGE
Happiness, world peace, and
floppy bunnies running free
through wheat fields. Think I've
got a shot?
CONNOR
Leave me alone.
KITRIDGE
I'm thinking not. I figured all
you wanted right now was a
friend.
CONNOR
You're not my friend.
KITRIDGE
Ah, but one of your friends
stabbed you in the back to get
you here. I figured we could
form a clique.
CONNOR
Get to the real reason. I was in
the middle of a pretty great
Natalie Portman fantasy.
KITRIDGE
(blunt)
They're going to kill you,
Connor.
CONNOR
What?
KITRIDGE
This nice little cell, those
guards -- it's just a facade. A
few particularly senior members
of Wolfram & Hart want to see
you in the ground.
CONNOR
Good for them. It's nothing I
haven't heard before.
Kitridge kneels and looks Connor in the eye. His voice is
slow -- disarmingly calm.
KITRIDGE
But it's never been definite,
has it? Well, it is now. You're
going to die tomorrow, Connor.
I'm just giving you some time to
think of how.
Connor is silent. Kitridge seems satisfied. He stands and
walks away from Connor. Nods to Grimy through the port-hole.
The keys jingle as the door is pulled open.
Light spills onto Kitridge's face.
KITRIDGE (cont'd)
We'd give you one last meal, but
the kitchen's closed.
He exits, and we cut to:
16 INT. HYPERION - LOBBY - NIGHT 16
Nina sits at the front desk. Illyria stands on the top stair
before the second level, looking oddly like a perched bird.
Wesley enters FRAME with a mug filled with a viscous-looking
fluid. He hands it to Nina...
WESLEY
Drink this. You'll feel better.
...who takes it. She sips some down and her face goes a
little green. The expression in her face is -- odd -- as she
drops the mug in an instinct-like reflex.
NINA
You said I'd feel better!
WESLEY
Well, more alive.
Wesley notices something as Nina pushes the revolting mug
away.
WESLEY (cont'd)
What are those?
NINA
What are what?
Wesley grabs her arm -- rather sharply -- and twists it so
he can see her wrist. A few dried cuts with bruising are
visible.
WESLEY
These. What are they?
NINA
I... I don't know. I woke up
with them.
WESLEY
It looks like a syringe was
used. Were you injected with
something?
NINA
I --
WESLEY
Did you inject yourself with
something? Anything at all?
NINA
No. Absolutely not.
Wesley studies her face. Truthful, but she's definitely
hiding something...
The doors BURST OPEN. Wesley and Nina watch as Angel, Spike,
and Skye stride through the lobby. Angel heads to the armory
cabinet and yanks open a door. Wesley turns to Nina again.
WESLEY
Try to remember something --
anything. We'll talk more later.
He stands and walks towards Angel, who takes two long
daggers from the cabinet and tosses them to Skye.
ANGEL
Mind telling me where you've
been, Wes?
WESLEY
Later. Are we mounting some kind
of attack?
ANGEL
Maybe. You can never be certain
in this line of work, but better
safe than sorry.
WESLEY
Said the assassin before he was
slaughtered by the blind man.
What's happened?
Spike pulls free a sword. Studies it, pleased.
SPIKE
The fruit of Angel's loins is
missing.
ANGEL
Kitridge left his watch. So
we're going to drop by and --
ask -- what he knows about
what's going on.
WESLEY
Is it tied to the Keeper?
Angel, armed to the teeth, starts back through the lobby.
Wesley follows.
ANGEL
Won't know until we ask him,
will we? Mount up. You're coming
with us.
Nina wipes away a tear and, almost painfully, rushes to
Angel.
NINA
What should I do, Angel?
ANGEL
Stay here. There's no reason for
you to get involved in this.
He hasn't stopped moving. She struggles to keep up.
NINA
I can help!
Finally Angel stops. Flustered, maybe even a little angry.
ANGEL
How?
And Nina doesn't have an answer. Angel spares her one last
look and then barrels through the front doors, followed by
Spike, Skye, Wesley, and Illyria.
Nina stands in the hotel lobby. Alone.
17 EXT. WOLFRAM & HART - NIGHT - ESTABLISHING 17
Ominous as always, backlight by the full moon. The sign in
front reads: "WOLFRAM & HART - Attorneys at Law."
18 INT. WOLFRAM & HART - MANNERS' OFFICE - NIGHT 18
HOLLAND MANNERS sits at his desk, signing some kind of form.
He drops the pen and neatly tucks the piece of paper into an
envelope.
His phone BEEPS. He clicks on the speaker option.
MANNERS
Yes?
SECRETARY (V.O.)
(filtered)
Sir, your four o'clock is here.
MANNERS
I don't have a four o'clock,
Stephanie. If it's another
vampire trying to trade an
employee for access to a twenty
four hour blood bank, let him
keep the employee.
SECRETARY (V.O)
(filtered)
No, sir. It's James Kitridge.
He says you'll want to hear what
he has to say.
Something's piqued Manners' interested. He looks intrigued.
MANNERS
Send him in. And Stephanie?
SECRETARY (V.O.)
(filtered)
Yes, Mr. Manners?
MANNERS
Some coffee too, if you don't
mind.
He clicks off the phone. Waits a beat -- there's a KNOCK at
his door. Manners straightens his tie and folds his hands.
At ease.
MANNERS (cont'd)
Come in.
Kitridge enters, dressed in his best suit -- more expensive
than Manners'. He notices.
MANNERS (cont'd)
What can I do for you, James?
KITRIDGE
I'd like my job back, sir.
MANNERS
I'm afraid that's out of the
question. You've become a
liability to this company, not
unlike a certain lawyer I once
knew. And you don't show a tenth
of his promise.
KITRIDGE
Nevertheless, I have...
information you need. And I'm
willing to trade it for a
position in this office.
MANNERS
Well, I guess that depends on
the information you have.
KITRIDGE
I want your guarantee
beforehand.
MANNERS
You won't get it. Show me what
you have, and then I'll decide.
A tense moment as the two men study each other, not quite
the master-apprentice relationship they shared in the past.
KITRIDGE
(finally)
Fine. I guess I haven't learned
enough not to trust you,
Holland.
MANNERS
I guess not.
Kitridge pulls up a chair and sits directly across from
Manners. When he talks, his voice has the confidence of a
champion racer.
KITRIDGE
I know, right now, where you can
find Angel's son.
Manners' smile would make the Devil shiver. And Kitridge
does.
19 INT. ISOLATION CELL 19
Connor, asleep on the floor, stirs. An AGELESS VOICE echoes
through the chamber.
VOICE
Connor ... Connor ...
Connor's eyes flutter. He looks around the cell. Dark and
empty. Even the port-hole is closed.
VOICE (cont'd)
Connor ... It's time to wake up,
Connor ...
His eyes flutter again.
CONNOR
The voice over routine is
getting old really quickly.
Show yourself or leave me alone.
VOICE
You don't know who I am?
CONNOR
Should I?
VOICE
I've been here since you were
born...
But the voice is changing. It's deeper, more raspy. And
infinitely familiar.
HOLTZ (O.S)
... before that, even.
Connor can't believe his eyes. HOLTZ circles the chamber,
bathed in the dark lights that reveal only glimpses of his
aging face.
HOLTZ (cont'd)
So trust me when I say this,
son, that you need to leave as
quickly as possible.
CONNOR
You're not my father.
HOLTZ
Then who is? The vampire who
failed to raise you? Or the
false family a deceased sorcerer
implanted into your brain?
Holtz feels the door, as though he's never touched a texture
in his life. He's transfixed.
HOLTZ (cont'd)
Regardless, if this face doesn't
invoke emotion, perhaps another
one will.
Holtz disappears into shadow. He reappears, slightly closer
to Connor... but his face is no longer Holtz. It's Angel.
ANGEL
Get up, Connor. Now.
CONNOR
Who are you?
ANGEL
Let's just say that if you're
the first of the Omega, I'm but
a face of the Alpha.
CONNOR
Can we skip Cryptic 101?
ANGEL
Certainly.
The shadows overtake Angel. We can HEAR FOOTFALLS
approaching Connor. Still we can't see Angel. Connor grows
apprehensive. What the hell is going to happen? Still
nothing... The sound draws closer...
And a face appears mere inches from Connor's face. This one
we haven't seen before. Bald and pale with a hint of blue.
THE ORACLE
I'll make this as clear as
possible. Everything depends on
the choice you make right now.
If you don't leave this cell,
I'll kill you where you stand
... or sit.
CONNOR
I can't exactly turn the
doorknob.
THE ORACLE
Foolish boy. Of course you can.
He draws closer to Connor and the two look at each other
directly in the eye...
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Script created with Final Draft by Final Draft, Inc.