7x02 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
BLACK
WHISTLER (V.O.)
Open your eyes, champ. You won't
want to miss this.
1 EXT. OPEN PLAINS - NIGHT 1
ECU of ANGEL's eyes as they snap open.
Angel's lying on his back in the middle of a field of some
sort, the ground beneath him churned to mulch. Dim, muffled
sounds of BATTLE wash over him.
Angel cautiously stands back up - and sees that the world
around him has been reduced to CHAOS. Rivers of blood,
mountains of fire, crimson skies and demons - thousands and
thousands of demons.
They HOWL with unearthly glee as they swarm towards us, but
leading them are four tall WARRIORS, mounted on horseback.
The sea of demons parts to let them through, and Angel starts
to back up as they gallop towards him, not slowing down for a
second.
The first horseman is almost upon us, and he raises his
flaming sword high in the air, his black-furred, red-eyed
horse rearing back on its legs and letting out a piercing
SCREECH.
Angel clamps his hands over his ears, and as the first wave
of demons start to pour over the rocks and rubble underfoot,
the horseman SLICES down with his sword:
2 INT. DARKENED ROOM - TWILIGHT 2
Back in the room ANGEL has made for himself, as the vampire
CRASHES into frame, reeling from something as he SHIVERS.
A pair of loafers step into frame, and WHISTLER kneels down
into frame, looking down on the shaking form of Angel.
WHISTLER
Yeah, I know. It's a lot to take in
all at once. Messy business,
throwing out a full strength vision
like that. You're lucky your head
didn't just pop like a firework!
He waits, but Angel is clearly too traumatised by whatever he
just saw to respond, so Whistler stands again.
WHISTLER (cont'd)
I knew that was too much for you.
Maybe I ought to leave you to-
ANGEL
No...
Angel pushes himself upright, burying his face in his hands
for a beat as Whistler looks round the dilapidated room again
- dripping puddles of murky water and single source of light
all in place.
ANGEL (cont'd)
What... when did you come back?
WHISTLER
Just now.
ANGEL
I thought you were gone...
WHISTLER
I was. But there's still some
things you need to know, and while
you're stuck here the Powers
decided to do what they can to help
you be more prepared.
Whistler offers Angel a hand, pulling him to his feet.
ANGEL
What do you mean, 'while I'm stuck
here'?
WHISTLER
(beat; quickly)
So, want to know what you just got
a flash of?
ANGEL
(narrows eyes)
Okay. Surprise me.
WHISTLER
The End, Angel. That's what's
coming for you. That's what you've
got to face when all the pieces are
in place and the endgame begins.
(beat)
Do you think you're ready?
Angel looks away, not sure how to process what he just
experienced, and as Whistler watches him, we cut to:
ANGEL
I need to see it all.
WHISTLER
Woah there, tough guy. I mean, not
that I don't respect you saying
that after the jolt you just took,
but I don't want to blow the back
of your metaphorical head out by
feeding you too much at once. Could
blow the back of your actual head
out, for one thing.
Angel quickly stands, turning on Whistler and not looking
like he's about to negotiate.
ANGEL
Show me everything. Now.
WHISTLER
(sighs)
Alright. On your own hopefully not
exploding head be it.
Whistler reaches his hands out and presses them to either
side of Angel's head, and as a white FLASH illuminate the
room and Angel grimaces in pain, we cut to:
3 INT. MESSY APARTMENT - KITCHEN/LIVING ROOM - DAY 3
We're looking in on a pretty scruffy apartment, panning
across a sink filled with unwashed dishes, piles of clothes
heaped by the silent washing machine, and across a living
room space full of discarded plates, empty takeaway cartons
and more scattered clothes.
4 INT. MESSY APARTMENT - BEDROOM - CONTINUOUS 4
Moving through and into the bedroom, we track across several
piles of paper, files, binders and folders covering the
threadbare carpet, before we scroll up to the bed to see
KIRSTEN, the former Wolfram & Hart secretary now a far cry
from her old, well groomed self.
Kirsten's hair is a mess, she's wearing no makeup and she
looks like she hasn't slept properly for a long time.
She's surrounded by more papers and folders as she sits cross
legged on the bed, cross-referencing and checking things
against a swathe of notes in her lap.
There's a KNOCK at the door, and Kirsten's head whips round,
instantly alert.
She reaches across to the bedside cabinet, opens a drawer and
after a bit of searching retrieves a HANDGUN. She checks that
it's loaded, then carefully stands.
5 INT. MESSY APARTMENT - LIVING ROOM - NEXT 5
Kirsten silently pads towards the door, her gun raised and
ready. She pauses a few steps away from the door.
KIRSTEN
Who is it?
LINDSEY (O.S.)
(through door)
Lindsey McDonald, Wolfram and Hart.
A beat as Kirsten registers this, before she steps closer to
the door. Keeping the chain on the latch and her gun in the
other hand, she unlocks and opens the door a notch.
Lindsey, smartly dressed and groomed, nods and smiles back at
her as she peeks out from behind the door.
LINDSEY (cont'd)
Kirsten Walsh?
KIRSTEN
Maybe. Who wants to know?
LINDSEY
I have a business proposition for
you, Miss Walsh. May I come in?
Kirsten stares hesitantly at him for a beat, then nods and
pushes the door closed. We hear the chain being unhooked
before she opens the door fully. Lindsey respectfully stays
outside, a briefcase in his hand.
KIRSTEN
What do you want?
LINDSEY
Hadn't I better come inside if
we're going to be talking business?
Kirsten sighs, then steps away so Lindsey can walk into the
apartment. She puts the gun down on a table by the door
before closing it and following him, and we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
6 INT. MESSY APARTMENT - BEDROOM - NEXT 6
Lindsey waits for Kirsten to head back into her room before
he steps inside. She takes her place back on the bed, nestled
in amongst the papers, as Lindsey scoops to pick some up.
LINDSEY
Keeping busy?
KIRSTEN
Got to do something with myself
since you guys fired me.
LINDSEY
An unfortunate oversight. I'm here
to make you a mutually beneficial
better off-
KIRSTEN
(interrupts)
Cut the executive speak, Lindsey.
Just say what you've been told to
and go, I'm sure Mr. Manners has
other places for you to be today.
(off his look)
Yes, I know all about how you came
back. I know we fed everyone the
cover story that you'd been
transferred, but I was in on some
parts of the plan to bring you
back. I know what's going on.
LINDSEY
(grins)
Good. Saves me a hell of a lot of
effort.
Lindsey drops his briefcase on the bed and opens it, handing
a set of glossy photos inside to Kirsten.
KIRSTEN
(flicking through)
What's all this?
LINDSEY
Your new assignment. Wolfram and
Hart are willing to reinstate you
immediately, if you do us a little
favour first.
KIRSTEN
(suspicious)
And what would that 'favour' be?
LINDSEY
(beat)
Before I tell you, I just want to
stress that I'm here under strict
orders. Holland asked me to contact
you personally, because he feels
you have the best chance of
infiltrating the objective and
carrying out your mission.
We see that the photos are of the Hyperion, with shots of
Wesley and Sonia moving in and out, along with several UTF
members.
KIRSTEN
You want to break into Angel's
hotel? I thought they'd moved out
of there?
LINDSEY
A lot's changed in the last six
months. Wesley's been busy doing
some redecorating while Angel's
still incapacitated, and it looks
like he's running the store while
his boss takes a little paid
vacation. We want you to go over
there, ask for sanctuary and get
inside the building.
KIRSTEN
How am I supposed to do that? They
know I was working for James,
they're not going to trust me!
LINDSEY
Probably not. At first. You need to
tell them that there may be
something they can do to help
Angel, to bring him out of his
catatonia.
Lindsey hands Kirsten a wad of paper, officially stamped
Wolfram & Hart documents.
LINDSEY (cont'd)
You can claim you stole these from
our offices, use them as evidence
to support your claim. Then, when
you've got them all working on it,
you can carry out your mission.
KIRSTEN
Which is?
LINDSEY
You're going to find Angel, and
then you're going to kill him.
Kirsten blinks, not knowing how to react.
KIRSTEN
Excuse me?
LINDSEY
He's vulnerable. Helpless. It's the
only chance we'll get to take him
out clean and simple.
KIRSTEN
Holland would never-
LINDSEY
Did I forget to mention the part
where I said I'm here on Holland's
orders? And, on a personal level,
you can finally get some payback on
the man who killed your boyfriend.
Kirsten stares back, then looks down at the photos. We push
in on Lindsey's face as she does so, and the smug grin
creeping across his face tells us that he's lying through his
teeth to her - and she just bought it.
7 INT. HYPERION - LOBBY - NIGHT 7
WES walks across the foyer, the loud sounds of construction
work filling the hotel lobby. He's checking through a
flipchart of reports, and glances to his left to see a pair
of UTF recruits installing a new part of the Hyperion's
increased security systems - CCTV cameras, monitoring the
whole floor.
The whole place looks back to its former glory - there's no
sign of the damage incurred when the Keeper's forces invaded.
He looks back at the reports and walks on, almost bumping
straight into SPIKE and SONIA.
SPIKE
Easy there, Percy!
They're both tooled up and ready for a fight, if the weapons
in their hands are anything to go by.
WES
Where are you two going?
SONIA
Vortech demons. Got a nest of them
over in Culver City, we're taking a
ride out there to check it out.
WES
Whose 'ride'?
Spike dangles a pair of car keys in front of Wes.
SPIKE
Angel's, actually. Not like he's
using it now, is it? While he's
tucked up back in his old bed and
all.
WES
Spike, we've moved our operation
back to the Hyperion to aid Angel's
recovery, not to give you free
reign to use all of his equipment
while he's still out of action!
SPIKE
I'm not using all of his equipment!
Just his Mustang.
WES
(beat; sighs)
Alright. Just remember to check in
every few hours, like we've been
doing recently.
Spike rolls his eyes and throws Wesley a mock salute.
SPIKE
Yes, sarge.
WES
Don't you need a little backup? The
shifts are about to change over,
I'm sure I could find-
SONIA
(quickly)
We'll be fine. Come on, Spike.
She takes his arm and starts to drag him away, and Spike
shrugs to Wesley - what can you do? Wes watches them go
before turning and heading up the stairs.
8 INT. HYPERION - WESLEY'S ROOM - NIGHT 8
Wes' neatly kept room is in darkness, the thick curtains
drawn closed, as the door opens and Wes steps in, still
engrossed in his charts.
He reaches for the lights, pausing when a voice speaks to him
from somewhere in the room.
ILLYRIA (O.S.)
No... leave the room in darkness.
Wes peers towards the bed - and sitting up in it is ILLYRIA.
Her long, blue and auburn hair is trailing around her, the
bedsheets pulled up tightly round her.
Wes drops the chart on a chest of drawers nearby and walks
towards the curtains, starting to open them but then
stopping, turning and looking at Illyria.
WES
Does the light bother you?
ILLYRIA
I... I just wish there to be no
light for now.
Wes nods, stepping away from the curtains and over to the
bed. He looks down at Illyria, who shuffles to the left a
little to give him chance to sit down. Wes settles down next
to her.
WES
The new camera network is almost
installed, and then I think we've
covered every angle security wise
with this place.
Wes hasn't noticed Illyria staring intensely at him.
WES (cont'd)
Still nothing new with Angel,
either. I was hoping the familiar
environment would trigger some sort
of response, but there's been no
change in his condition. We're
going to have to start trying more
aggressive forms of-
Wes is cut off as Illyria suddenly leans over and KISSES him -
and as Wes starts to return the kiss, the little light we
have shows us that Illyria is now in Fred Mode. They break
away, and Fred giggles innocently at him.
FRED
You talk too much sometimes. All a
girl wants is a little quiet time
with her man, you know?
Wes stares back at her - then a smile breaks out across his
face. He clearly doesn't want to break the illusion at the
moment.
WES
It's been a busy day.
FRED
Kinda stressful?
WES
Oh, very.
FRED
(suggestive)
So... can I see what I can do to
relax you?
WES
By all means.
Fred leans across and KISSES him again, and as their clinch
quickly becomes more passionate, we cut to:
9 EXT. LA STREETS/ANGEL'S CAR - NIGHT 9
Driving along in Angel's convertible, the top down and loud,
bouncy punk courtesy of The Ramones blasting out through the
stereo, Spike clearly looks like he's enjoying himself, but
Sonia is staring blankly out across the world as it flies by.
Spike finally notices her distant expression and turns the
radio down, nudging her to get her attention.
SONIA
(turns)
Hmm?
SPIKE
Earth to Sonia? You haven't said a
word since you left the hotel,
chicken! You seemed like you were
in a hurry to get out, so I thought
maybe you wanted to say something,
but then you've been quieter than a
nunnery the whole ride out!
(beat)
Is there anything you wanted to
talk about?
Sonia looks like she's struggling to put her thoughts
together, taking her time before she answers.
SONIA
It's... it's about that stuff we
were talking about the other week.
SPIKE
'Stuff'?
(remembers)
Oh, right. Stuff. How could I
forget.
SONIA
And, I know we didn't exactly get
very far with it last time, so
maybe...
SPIKE
Maybe we should try again?
SONIA
(nods)
Yeah.
SPIKE
Good idea.
(beat)
You start.
She throws him a look, but Spike just smirks back at her, so
with a weary roll of her eyes she continues.
SONIA
I was just thinking about exes. Do
you have many of those?
SPIKE
Coming out of my bleedin' ears,
luv.
SONIA
(eyes him)
Huh. Modest, much?
SPIKE
What I mean is, yes, I've had a
few.
SONIA
I haven't. I mean, there were a few
boys I hung around with at school,
but nothing serious for a long
time.
SPIKE
Too busy running round the streets
at night, being all vigilante, were
we?
SONIA
Pretty much. Doesn't leave much
time for a social life.
SPIKE
Which is why I always carry these.
Spike reaches into his jacket and holds up two miniature
spirits bottles.
SPIKE (cont'd)
Nowhere near getting a shot of the
real thing, but they do the trick
in an emergency.
Sonia snatches one out of his hand before he can react, and
knocks it back despite his protests. She grimaces as the
strong stuff goes down.
SONIA
Man! How can you drink this stuff?
SPIKE
Because I get into a lot of
emergencies. You were saying?
SONIA
Oh, right. Well, I never really had
what I'd call a 'proper' boyfriend,
not until...
SPIKE
Not until Connor.
She looks at him and nods, and Spike reaches across and
squeezes her arm.
SPIKE (cont'd)
Way of the world, pet. We always
lose the ones we love the most.
SONIA
Yeah, but even so... is it weird
that I feel this bad, when we were
only together for, like, not long
at all? Is it always going to feel
like this?
SPIKE
Feel like what?
SONIA
I can't sleep, I feel sick all the
time, and it all just hurts so damn
much every day...
SPIKE
You lost the two most important men
in your life in one night, luv.
That's not the kind of thing you're
supposed to bounce back from in a
few months.
You just take as much time as you
need to get yourself back together.
Nobody's expecting anything of you.
SONIA
I know, it's just... I don't want
to feel like I'm letting the side
down.
SPIKE
'Letting the side down' would have
involved staying at the hotel, not
riding halfway across town with me
to kill some bug demons.
She manages a half smile, as we cut away to:
10 INT. SEWER TUNNELS - NIGHT 10
Sweeping the path through the drained tunnel before them with
flashlights, their swords and axes at the ready, Spike and
Sonia continue their search for the vortech demons.
SONIA
So?
SPIKE
So what?
SONIA
Any notable exes worth telling me
about? Come on, we're supposed to
be talking, remember?
SPIKE
Blimey. Well, I suppose there are
three worth mentioning. Four, if
you count Cecily.
SONIA
(raises eyebrow)
'Cecily'? She sounds classy.
SPIKE
Long time ago, pet. Before your
grandparents were born. Then, there
was Drusilla. Same time frame. Same
rotten ending to the whole affair.
SONIA
Figures. So who were the other two?
SPIKE
A girl called Buffy and... and
Skye.
SONIA
(tongue in cheek)
Ah, so you and Skye were
actually...
SPIKE
Yeah. We actually were. Briefly.
SONIA
What happened? And is that 'Buffy'
the same one who came to visit?
(beat)
Wait, as in Angel's ex?
SPIKE
It's a little complicated. See,
what happened was, Buffy-
SONIA
Ssh! You hear that?
They both pause - and there it is. A distant, reverberating
PATTERING sound, like hundred of tiny raindrops against
metal.
SPIKE
What is that?
SONIA
I don't know...
(raises axe)
... but the vortech should be
nearby. It might be them.
SPIKE
That sounds like an awful bloody
lot of them, pet. How many are we
expecting to find?
SONIA
Uh, well, an adult female vortech
can lay up to two hundred eggs a
month, and given the survival
percentage of newborn that don't
get eaten by her siblings - or
their parents - we're looking at...
They both look up as the tapping sound suddenly shoots up in
volume - and hundreds of tiny black shadows appear on the
tunnel wall round a corner ahead. Spike grits his teeth and
lifts his sword as Sonia GULPS loudly.
SONIA (cont'd)
... lots.
Moments later, the first wave of vortech skitters round the
bend in the tunnels - a sea of small, black bodies, a thick
shell across their backs and burning red eyes glaring up at
the two intruders.
SPIKE
Any ideas?
SONIA
Aren't I supposed to say that?
SPIKE
Worth a shot.
The horde of vortech races towards us, the chittering noise
they make rising to deafening volume, and their bodies fill
the screen with black before we cut to:
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Script created with Final Draft by Final Draft, Inc.