7x03 Script created with Final Draft by Final Draft, Inc.
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10 INT. SPIKE'S ROOM - NEXT 10
Spike is sitting back on his bed, the curtains drawn and
'White Riot' by The Clash blasting out of the stereo. There's
a KNOCK at the door, but the music's up too loud for him to
hear it.
After a few beats, the door opens and Sonia steps inside,
yelling at Spike - but he still can't hear her!
He rolls his eyes and reaches over to turn the music down,
catching her mid-yell.
SONIA
(shouting)
WHY DON'T YOU-
(beat)
I was saying, why don't you want to
speak to Skye?
Spike doesn't answer, keeping his stare fixed on the ceiling
overhead. Sonia walks over, standing at the edge of his bed
with her hands on her hips.
SONIA (cont'd)
Don't you think you owe it to her
to at least check in with how she
is?
SPIKE
Drop it, squirt.
SONIA
'Drop it'? Where do you get off
talking to me like that?
SPIKE
Look, it's not something I'd expect
you to get your naive little head
round, so-
SONIA
(interrupts; yells)
My boyfriend's neck was broken
right in front of me! I think that
makes me uniquely qualified to know
what it feels like to lose someone
you love!!
Sonia reels a little, surprised by her own outburst. Spike
turns to look at her, and after a moment she sighs and sits
down at the foot of his bed.
SONIA (cont'd)
I'm sorry, I-
SPIKE
No, it's alright, pet. You're
right. Compared to what you're
going through, this is small
change.
SONIA
I don't mean to make out like you
don't have problems too, you know.
SPIKE
(grins)
No, just that mine are much smaller
than yours.
SONIA
(grins back)
Something like that.
Spike scoops his jacket from the floor and fishes out a
cigarette as Sonia watches him.
SONIA (cont'd)
So are you gonna speak to her when
Wes calls?
SPIKE
Maybe. Probably not.
SONIA
Why? I mean, don't you think you
should-
SPIKE
Listen, Sonia, I don't mean to get
funny with you, but-
Sonia gets the message, standing.
SONIA
Fine, fine, whatever. Just trying
to help.
SPIKE
I'm a long way past that, luv.
(beat)
You could say we both are.
Sonia looks back down at him, but he just grins.
SPIKE (cont'd)
Good job we've got each other,
then, eh?
Sonia shakes her head and chuckles, and heads back out of the
room, leaving Spike in peace.
His grin drops when she's gone, however, and as he blows out
some smoke his eyes fix on the ceiling again.
11 INT. WESLEY'S OFFICE - NEXT 11
Wes is on his phone as Illyria paces round his room, trailing
her hand across his bookshelves. He's making notes as he
talks.
WESLEY
(into phone)
And you're sure that's all of them?
SKYE
(filtered; through phone)
Yeah, pretty much. Abbey, Eva,
Shelley and some chick with a
Latino name I can't pronounce
properly.
WESLEY
(grins)
Understood. Could you get somebody
at your end to fax over some
contact details for them?
SKYE
No problem. How's things back in
sunny LA?
WESLEY
I'd say 'business as usual,' but...
SKYE
There is no 'usual business' as far
as you guys are concerned.
WESLEY
Certainly not. How are you finding
your second term at the Academy?
SKYE
I'm good. Lot of strange stuff
going on, though. Oo, I made squad
leader.
WESLEY
Well done.
SKYE
Yeah, well, you say that, but it
pissed off a good friend of mine so
it's kind of a double-edged thing.
And did you know we have a guy
Slayer now?
WESLEY
(frowns)
A what?
SKYE
I thought you'd be in the loop on
that? You know, ex-Watcher and
everything?
WESLEY
I'm afraid that was a long time
ago.
SKYE
Yeah, guess so... well, nobody
knows much about him yet.
Australian guy named Braeden. Most
people like him but I ain't so sure
yet. I guess we'll just have to
wait and see.
(beat)
So...
WESLEY
If you're going to ask me about
Spike, then he's fine too.
SKYE
I wasn't.
(beat)
Is he?
WESLEY
He doesn't mention you much, but I
think we both know that means he
thinks about you a lot. I'm sure he
feels bad about what-
SKYE
Uh, Wes? Can we skip that for now,
please? Like, what happened
happened, and there's nothing that
can be done about that now. Just
keep an eye on him for me, will ya?
WESLEY
I will.
SKYE
Okay. Speak to you all soon.
Wesley hangs up, and glances over to Illyria. A look of alarm
crosses his face as Illyria nears a sealed tube sitting on
his bookshelf.
WESLEY
Skye's sending us over the details
we need.
Illyria pauses and looks round. Wes' eyes flick to her hand,
inches away from the tube, and after an agonisingly long beat
she steps over to his desk.
ILLYRIA
So are we to hunt down the demons
responsible now?
WESLEY
Indeed we are. We'll have to see if
Kirsten has had any luck with young
Abbey first.
Illyria nods and heads back out into the foyer - and Wes
glances at the tube on his bookshelf again.
Once Illyria has left, he reaches for it and tucks it away in
his desk, locking the drawer. With a dark look on his face,
we cut to:
12 INT. HYPERION - FOYER - NEXT 12
Wes steps out of his office as Illyria watches Kirsten walk
down the stairs.
ILLYRIA
Where is the girl?
KIRSTEN
Sleeping it off. I put her up in
one of the spare rooms, I figured
you guys had enough to go round.
You know, this being a hotel and
all.
WESLEY
Settling in already, are we?
KIRSTEN
Wesley, I'm just-
SONIA
Hey! We ready to go?
Sonia steps into frame, and with a glance at Kirsten, Wes is
forced to let his comment slide.
WESLEY
We'll be receiving details of the
four Slayers' home addresses
shortly. Once we have those, we can
head out to wherever Abbey is able
to point us to with regards the
demon's lair.
KIRSTEN
She couldn't remember much, looks
like they dosed he up with
something when they took her so she
was pretty out of it until she got
a few blocks away.
ILLYRIA
How did she know to come here for
assistance?
KIRSTEN
Apparently you guys are more famous
than you'd think! And I guess your
year at Wolfram & Hart was kept
pretty quiet to the rest of the
outside world, so as far as she
knew Angel Investigations has
always been right here.
SONIA
Speaking of Angel, where is he?
KIRSTEN
Uh, upstairs, I think.
WESLEY
Sonia, do you think you could-
SMASH! Something breaks upstairs, and everyone in the foyer
freezes. Wes and Sonia swap glances - then they race towards
the stairs, passing a startled Kirsten.
13 INT. HYPERION - CORRIDOR - NEXT 13
Following the sounds of a struggle, Wes barrels up to one of
the hotel doors, rattling the handle but finding it won't
open.
ABBEY (O.S.)
(muffled; through door)
Help! Somebody help me!
WESLEY
Abbey? Abbey, hold on, we're coming
in!
We steps back and tries to BARGE the door down, but he
bounces off the thick oak door with a SHOUT of pain.
ILLYRIA
Stand back.
Illyria marches straight towards the door - and SMASHES it
down with one mighty kick.
14 INT. HYPERION - ROOM - CONTINUOUS 14
Wes and Sonia pile in behind Illyria, all three stopping in
shock at what they see.
Angel is kneeling across Abbey's bed, a wicked smile twisting
across his lips as he THROTTLES her, her hands scraping
feebly at his as he chokes the life out of her.
WESLEY
Angel!
He races over and tries to pull Angel off the girl, but gets
SWATTED away for his troubles. Sonia tries but meets a
similar fate.
ANGEL
Don't interrupt me now, the fun's
just getting started!
Abbey's strength is fading, and her struggles are beginning
to die down.
Through Angel's eyes, however, the scene looks quite
different - Abbey, sporting the same fresh cuts he saw
earlier, glares up at him defiantly.
ABBEY
Is that all you've got? Come on,
vampire! I thought you wanted to
kill me! Do it!
Angel's eyes are wide - he looks lost in whatever delerium
he's worked up into, so he doesn't hear Illyria grab a nearby
lampstand and march over.
THWACK! She breaks the tall stand in half across Angel's
back, and he drops to the floor, releasing Abbey who GASPS.
ILLYRIA
What is the meaning of this
treachery, Angel?
Angel rolls onto his back - and his expression is one of pure
disbelief. Frowning, Illyria lowers what's left of the
lampstand.
Sonia gets between Angel and Abbey, who sits up in bed,
coughing and rubbing her throat.
ANGEL
What... what happened?
ABBEY
(ragged)
He tried to kill me!
SONIA
What?!?
ABBEY
He came in here, saying how he
hadn't finished having 'fun' with
me yet... he kept calling me
Elizabeth! He's crazy!
Wes looks down at Angel, who stays on the floor, not looking
like he knows where he is.
WESLEY
Angel? Is this true?
ANGEL
I... I don't remember...
Wes and Illyria exchange a concerned look, as we:
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
15 EXT. TOWN STREET - NIGHT 15
TITLE OVER - Yorkshire, England, 1762
A quiet part of town, just a few homesteads spread out among
the fog-filled streets. A horse and carriage rolls by and an
elderly couple take a late stroll through the streets as a
young girl staggers out of the fog.
She's only in her late teens, with long, blonde hair and pale
skin, and an uncanny resemblance to Kirsten. This is
ELIZABETH. She's cut and bruised, with blood and dirt all
over her skin.
Elizabeth leans against the side of a house for support,
checking up and down the street to make sure no-one can see
her. She seems exhausted, and this moment's pause catches up
with her all too quickly.
She starts to SOB, sinking down the wall and pressing her
face into her hands, but the tears only flow for a few
moments. Sniffing and wiping her eyes, she makes a conscious
effort to control her emotions, closing her eyes.
When she reopens them, there's a calm look in them that
carries into the rest of her body language as she stands.
16 EXT. ELIZABETH'S HOUSE - NIGHT 16
Elizabeth pushes open a gate and walks up the long drive to a
modestly-sized townhouse, a few lanterns burning against the
gloom.
She pauses to rearrange her torn clothes to hide her
injuries, smoothing down her hair and trying to make herself
look respectable once again.
Taking a deep breath, she takes out a key and unlocks the
front door, stepping into:
17 INT. ELIZABETH'S HOUSE - HALL - CONTINUOUS 17
The inside of the house is dimly lit - it's clearly a long
way past bedtime here. Elizabeth peeks round the door to
check the coast is clear, then tip-toes towards the stairs
ahead.
18 INT. BATHROOM - NEXT 18
Scrubbing at her blood-stained hands, Elizabeth has changed
into a plain white nightdress as she tries to clean herself
up, careful to keep the noise down.
19 INT. CORRIDOR - NEXT 19
Elizabeth pads silently towards a door up ahead - her bedroom
- but stops as she hears the slow CREAK of a rocking chair
from up ahead.
The door to her father's study is open, and light from a
blazing fire ripples against the walls.
Curious, Elizabeth heads towards the study, pausing at the
door to rap her knuckles lightly against it.
20 INT. STUDY - CONTINUOUS 20
Elizabeth looks into the cosy room, lined with cabinets and
bookshelves.
ELIZABETH
Father?
A rocking chair faces away from us, rocking slowly back and
forth. Its loud CREAK is the only sound beyond the crackle of
the fire.
ELIZABETH (cont'd)
It's not like you to be up so late,
father. Is everything alright? I
was just, ah... just getting a
drink of water, when I-
ANGELUS (O.S.)
He can't hear you now, child.
Elizabeth freezes, the blood draining from her face - and
ANGELUS steps from the shadows of the room. He looks like
he's been in a fight - his hair is a mess and his clothes are
ragged, but that sinister twinkle is still in his eyes.
Elizabeth backs away as he steps towards her, her eyes
flicking round the room for something to fight with.
ANGELUS (cont'd)
Gave me quite the runaround, so you
did. Almost thought you had me for
a minute there, so lucky for both
of us that carriage came past when
it did, eh?
ELIZABETH
(cold)
If you've hurt my father, vampire,
I'll-
ANGELUS
'Hurt'? Oh, no, I haven't hurt him.
Angelus reaches for the rocking chair and spins it round -
and Elizabeth almost SCREAMS as she sees her father!
His throat is a bloody mess, and his blank, lifeless eyes
stare back at her.
ANGELUS (cont'd)
I'm sure he didn't feel a thing
after the first few seconds.
Elizabeth fights down her fear and glares at Angelus.
ELIZABETH
(snarls)
I'm going to finish what I started
with you, you monster!
ANGELUS
(not listening)
It was getting him to stay rocking
that was the hard part - but, as it
turns out, you give someone in one
of these chairs a nudge, and they
can just keep going back and forth
for hours!
Elizabeth spots a wooden letter opener on her father's desk
and starts to edge towards it.
ANGELUS (cont'd)
Of course, I had to kill him first,
just to keep him quiet, but I'm
sure you understand, as vampire to
Slayer... it's nothing personal,
lass.
ELIZABETH
Is that why you killed all those
other girls?
ANGELUS
Them? Oh, I was just hungry.
Elizabeth's eyes flick to the letter opener, and this time
Angelus catches it.
ANGELUS (cont'd)
I'd kill you before you got halfway
there, and we both know it.
ELIZABETH
You sure about that?
ANGELUS
Maybe.
(smirks)
Maybe we should find out?
A beat - and then Elizabeth LUNGES for the desk. Angelus
darts over, quick as a flash, but she gets there first,
SLICING round with the sharp opener.
Angelus YELPS in pain as the blade cuts across his cheek, and
it buys Elizabeth the few seconds she needs to race out of
the study.
Angelus presses a hand to his cheek - and GRINS.
ANGELUS (cont'd)
Oh, I love it when they run...
As he tears out of the study, we cut back to:
21 INT. HYPERION - ANGEL'S OFFICE - DAY 21
Angel sits at his desk, staring at the wall as Wes and Spike
stand nearby, both men armed.
SPIKE
So what you're telling me is
Frownmaster here went doo-lally
again, and I missed it? Why doesn't
anybody ever let me join in the fun
around here?
WESLEY
I'd hardly class Angel trying to
strangle one of our clients 'fun,'
Spike.
SPIKE
Not that part, you idiot. The bit
where Illyria clocked him with the
lamp. Now that I would have liked
to have seen. Or even done meself.
Wesley steps closer to Angel, the loaded crossbow in his
hands showing he's not taking any chances.
WESLEY
I think it's best if we keep you
under close observation while we
work out what's affecting you,
Angel.
ANGEL
That won't be necessary.
WESLEY
That's not your decision to make.
ANGEL
Excuse me?
WESLEY
I have to consider the welfare of
the others here, Angel. It's fair
to say you've not exactly been
yourself of late.
ANGEL
Wes, I can handle it. I can't
figure out what's wrong with me
sitting in here doing nothing.
SPIKE
Maybe, but there's also less chance
of you killing one of those lovely
paying clients we need so much.
WESLEY
Spike has a point - albeit a badly
worded one.
ANGEL
What are you saying, Wes? That I'm
a liability now?
WESLEY
Do I really have to answer that?
Angel glares at him, then settles back in his seat with an
angry HUFF.
WESLEY (cont'd)
I appreciate your frustration,
Angel. I know it must feel like
nobody trusts you here at the
moment.
SPIKE
Which we don't.
WESLEY
(eyes Spike)
But either way, I can't risk you
endangering the lives of the
others.
Wesley lays down his crossbow as a sign of faith.
WESLEY (cont'd)
You know I'm right.
ANGEL
(beat)
Maybe I don't want you to be right.
SPIKE
Can I suggest a new plan?
WESLEY
Not now, Spike.
SPIKE
It involves me tying Angel up, and
then giving him a kicking every
time he starts to go crackers
again.
WESLEY
(weary)
Spike...
SPIKE
It'll be like positive
reinforcement. Sooner or later,
after enough beatings, his mind'll
learn to stay on the right tracks,
and there you go! Problem sorted.
Wesley ignores Spike, slinging his crossbow over his shoulder
and looking back to Angel.
WESLEY
We'll be back later. Until then, I
think it's best we find some way to
keep you contained. I can arrange-
ANGEL
No, Wes. If I'm going to have to be
chained up like an animal, I'd
prefer to fix that up myself.
WESLEY
(beat)
Alright. Come on, Spike. We have
work to do.
Spike smirks at Angel as he follows Wes out.
SPIKE
See you later, Norman Bates.
Angel ignores him as Spike steps out into:
22 INT. HYPERION - FOYER - NEXT 22
Illyria, Sonia and Kirsten are ready and waiting as Spike and
Wes join them.
WESLEY
Alright, we've got four possible
locations for where the Slayers are
being held, based on what Abbey was
able to tell us and factoring in
the homes of each missing girl.
We'll move out in teams of two.
SPIKE
Me and Sonia, right?
WESLEY
(nods)
I'll go with Illyria. Take two
addresses each and report in the
moment you find anything.
Wes hands Spike a sheet of paper. He glances at it, then
hands it straight to Sonia.
KIRSTEN
What about me?
WESLEY
I'll need you here to monitor Angel
and make sure there are no more...
incidents.
SPIKE
How's she going to handle him if he
decides to go postal again?
ANGEL (O.S.)
There's a place I can go.
They all turn to see Angel standing in the office doorway.
ANGEL (cont'd)
After the last time I turned into
Angelus, when we had to stop the
Beast, I built myself somewhere
down in the sewer tunnels.
Somewhere more secure than the cage
you kept me in last time.
WESLEY
Why were we never made aware of
this?
ANGEL
I kinda hoped I'd never have to use
it. Besides, we moved out and went
to Wolfram and Hart, remember?
KIRSTEN
So... you want me to stay down
there with you, is that it?
ANGEL
Just help me secure it, then wait
for the others to come back. It's
completely safe. There's no way out
unless someone lets me out.
WESLEY
Alright then. Let's get moving.
Wes leads the team up towards the front doors - a SLOW MOTION
hero shot, Angel's absence from it not lost on the man
himself as he watches his team go without him.
Kirsten walks over as Sonia shuts the doors after them,
leaving Angel and Kirsten alone in the foyer.
KIRSTEN
They'll be okay. And they're just
worried about you. I mean, they-
ANGEL
They don't trust me.
Kirsten pauses, not sure how to respond.
ANGEL (cont'd)
And right now, I don't trust me
either.
(beat)
Let's go.
Angel heads off towards the tunnel entrance round the back of
the lobby, as we cut to:
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Script created with Final Draft by Final Draft, Inc.