7x11
Script created with Final Draft by Final Draft, Inc.
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13 INT. HYPERION - FOYER - LATER 13
Angel and the others rush in through the front door to find
Kirsten sitting on the couch, holding her pounding head.
ANGEL
What the hell happened?
KIRSTEN
Nice to see you too.
ANGEL
Really not the time for sarcasm.
KIRSTEN
I don't know what happened! Some
kind of green smoke started coming
in through the vents and before I
had time to react, I'm out on the
floor. I come to, Illyria's in the
room and the kids are gone.
SPIKE
Oh, well that's bloody convenient,
innit?
KIRSTEN
What is that supposed to mean?
SPIKE
We leave the coop for a few hours
and the mama hen loses the chicks
without anything in the way of an
alibi!
KIRSTEN
If you think I had something to do
with this, just come out and say
it.
SPIKE
I think you had something to do
with it!
Spike turns around, venting. Kirsten jumps up from the couch
and as soon as Spike turns around, she's all but DECKED him
with a RIGHT HOOK.
Spike quickly jumps up from the floor and looks to go on the
offensive before Angel pushes him back.
ANGEL
Spike!!
He starts to unload a rant, but Kirsten beats him to it:
KIRSTEN
Who spends most of their days with
them? Teaching them, feeding them,
telling them that things are going
to be alright when, deep down, they
know and I know that nothing is?!
I do! I love those kids! And the
next time that you imply and
duplicity on my part, you're going
to need more than Angel between us
to keep me from staking your
skinny, bleach blonde ass!!
She turns around and hurries up the stairs, concealing the
tears from the others as they start to fall.
Spike finally starts to simmer down and Angel gives him an
accusing glare.
SPIKE
What? It was a reasonable
assumption.
ANGEL
From now on, when we're reacting to
things, you don't get to talk.
Spike starts to open his mouth.
ANGEL (cont'd)
If it's not something that's going
to help, keep it to yourself.
He doesn't even give Spike time to answer as he turns back to
Wes.
ANGEL (cont'd)
What do you think?
WESLEY
If she did have anything to do with
it, that was one hell of an acting
job.
ANGEL
Yeah, so... How do we go about
this?
WESLEY
First thing would be to check the
security feeds.
ANGEL
You do that. I'm going to try to
pick up some kind of trail.
SPIKE
I'll help.
Angel looks doubtfully back at him.
SPIKE (cont'd)
And try to refrain from pissing
anyone off!
ANGEL
Let's go.
14 INT. W&H - LINDSEY'S OFFICE - SAME 14
Lindsey is still sitting in his office, staring at his phone
when:
LILAH (O.S.)
You wanted to see me, boss?
Lindsey looks up to see Lilah walking whimsically into the
room.
LINDSEY
I did. I do.
LILAH
Guilty conscience finally getting
to you?
Lindsey studies her for a moment.
LINDSEY
How long have we worked together,
Lilah?
She stares strangely back.
LILAH
Are you trying to hit on me?
Because it's nothing personal,
but... Actually it is something
personal, but I also don't date men
a foot shorter than me.
LINDSEY
Just answer the question.
She throws up her hands.
LILAH
I don't know. Five, maybe six
years, in between your sabbaticals
and our collective sentences to
hell.
LINDSEY
And in all that time, have you ever
known me to be on the losing side
of things?
LILAH
There's a certain vampire that
comes to mind.
He ignores that.
LINDSEY
Think about it. I beat you out for
that Vice President gig, I had the
partners beat outright before Angel
came along. Let's face it. I'm a
winner.
LILAH
Have you been reading self help
books?
LINDSEY
My point is, that...
His cell phone rings and he quickly stops.
LINDSEY (cont'd)
I need to take this.
LILAH
Of course.
Lindsey waits a moment.
LINDSEY
It's private.
LILAH
Oh, I don't care.
Lindsey grabs the phone and EXITS his office, leaving Lilah
there.
15 INT. W&H - CORRIDOR - CONTINUOUS 15
He flips open his phone.
LINDSEY
(into phone)
It's about damn time!
OPERATIONS OFFICER
(filtered through phone)
Sorry, sir. We were experiencing
difficulty with our comms.
LINDSEY
Doesn't matter. Did you achieve
your objective?
OPERATIONS OFFICER
We did, sir. We're on our way to
the drop point now.
LINDSEY
And the plan was carried out
precisely?
OPERATIONS OFFICER
Yes, sir.
LINDSEY
Good.
He hangs up the phone and hits the quick dial button as he
looks back into the office to see Lilah sitting on his desk,
peeking at his paper work.
LINDSEY (cont'd)
(into phone)
It's me. You don't know how close
I just came to trying to bribe
Lilah over to our side.
(beat)
Proceed with everything as planned.
He sighs his relief before quickly turning and going back
into his office.
16 INT. W&H - LINDSEY'S OFFICE - CONTINUOUS 16
He takes the files from Lilah's hands and sits comfortably
behind his desk again.
LILAH
Good news?
LINDSEY
Extremely. My copy of 'The
Departed' finally came in from
Netflix.
LILAH
So what the hell do you want,
Lindsey?
LINDSEY
You know, it wasn't really
important. You can go.
He smiles happily as we FADE TO:
17 EXT. NEW YORK CITY - STREETS - NIGHT [2002] 17
The crowded streets of NEW YORK CITY. Even at night, people
are having to navigate their way through the crowd.
Through all of the people, we're finally able to make out a
commotion. A MAN is trying to sprint down the street,
KNOCKING people to the ground everywhere as he goes.
Every few moments, he glances behind him, but nothing other
than a sea of people.
Finally, he ducks in through a door.
18 INT. MOVIE THEATRE - CONTINUOUS 18
The theatre, is likewise crowded as he pushes his way to the
bathroom.
19 INT. MOVIE THEATRE - BATHROOM - CONTINUOUS 19
He quickly opens one of the stalls and closes the door behind
him. He sits on top of the toilet with his feet up on the
seat and goes deathly quiet.
He sets there and waits for the door to open, but nothing.
Finally, he steps down from the toilet and cautiously peers
out around the stall door. Nothing.
Almost reluctantly, he walks over to the sink and runs water
over his face before staring in the mirror for a beat.
MAN
You've got to be tripping.
He stares back hard for a few moments, takes a deep breath,
and heads for the door.
As soon as he opens the door, Kate is on the other side and
shoves a stake through his heart. The door slowly edges shut
as the vampire dusts. Kate looks back to the dozens of
people, but in all the noise, no one even noticed.
She smirks at the peoples' blissful ignorance, puts the stake
in her jacket, and disappears into the crowd.
20 INT. NEW YORK CITY - KATE'S APT. - LATER 20
The door opens into a terribly bedraggled apartment. Crappy
furniture and no decorations to speak of. She's living more
like Faith than Buffy.
She drops the stake onto the couch with her jacket and opens
up the small bag to reveal a single box of Chinese food.
She sits down on the edge of the chair, avoiding the spring
sticking out of it. She takes a bite of her food before
there's a KNOCK at the door.
She looks suspiciously at the door as she sits her food on
the floor and pulls a PISTOL from underneath the chair's
cushion.
She makes her way to the door and peers through the peep hole
as she quietly cocks the gun.
AGENT JOHNSON (O.S.)
Ms. Lockley?
KATE
Who is it?
AGENT JOHNSON (O.S.)
Special Agents Johnson and Terry,
FBI.
She slowly opens the door, keeping the gun pointed at them
through it. She looks them over for a beat before:
KATE
Badges?
Both Agents smirk, but present their badges.
KATE (cont'd)
What do you want?
AGENT JOHNSON
For you to take a ride with us.
KATE
Where to?
AGENT JOHNSON
Washington.
She stares back unknowingly for a moment before we FADE TO:
21 INT. UTF HEADQUARTERS - INFIRMARY - NIGHT [PRESENT DAY] 21
SONIA is lying beside the LITTLE GIRL from the previous
episode on different hospital style beds. Both are
unconscious. DR. VASQUEZ checks both machines and scribbles
something down on a clipboard.
He walks across the room and EXITS through the door.
22 INT. UTF HEADQUARTERS - CORRIDOR - CONTINUOUS 22
He walks down the hallway to find DAVID sitting in his
office. Dr. Vasquez stops in his doorway.
DAVID
How are they looking?
DR. VASQUEZ
They're not looking all that great,
but their vitals are fine. They're
not suffering from anything
physical from a medical standpoint.
DAVID
And they've got enough sedatives to
keep them out until we find some
kind of cure, right?
DR. VASQUEZ
An elephant would stand a better
chance at coming out of the
medically induced coma than these
girls would.
DAVID
Good.
23 INT. UTF HEADQUARTERS - INFIRMARY - SAME 23
Sonia's eyes FLASH open where she lays in her bed. She
quickly looks around the room and wastes no time in getting
up from her bed and RIPPING the tubes out of her arm.
She sees the little girl and goes to stand beside her bed.
She stares at her for a moment before realizing that she's a
demon. Sonia doesn't even think as she grabs a nearby
scalpel and plunges it into the Girl's chest.
SMASH CUT TO:
24 INT. HOSPITAL - KATE'S ROOM - NIGHT 24
Kate's eyes FLASH open, much more violently than Sonia's.
She stares at the ceiling in horror, breathing heavily as she
calls out:
KATE
Angel!
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
25 INT. HOSPITAL - KATE'S ROOM - NIGHT 25
Angel rushes into the room.
ANGEL
Kate!
He makes his way to her bed, but she's unconscious again. A
UTF MEMBER enters the room behind Angel.
ANGEL (cont'd)
I thought you said she was awake on
the phone!
UTF MEMBER #2
She was.
ANGEL
But?
UTF MEMBER
They say that she just slipped back
under after a brief relapse.
ANGEL
A relapse?
Angel sighs and tries to not to shout.
ANGEL (cont'd)
Then why didn't you call me back
and tell me that?
UTF MEMBER #2
Because she said something. Before
the doctors and nurses got here, I
was standing outside and heard it
all.
ANGEL
Well?
UTF MEMBER #2
She was screaming about Sonia.
ANGEL
What about Sonia?
UTF MEMBER
That we had to stop her.
ANGEL
She must be nightmaring.
UTF MEMBER #2
Maybe. She said that Sonia was
killing everyone, and that if we
didn't get there in time that they
would all die.
ANGEL
I'll... have someone check on her
in the off chance that Kate knew
something that we don't and was
trying to tell us. You stay here
and report back if anything
changes.
UTF MEMBER #2
Yes, sir.
Angel leaves the room.
26 INT. HOSPITAL - CORRIDOR - CONTINUOUS 26
He flips open his phone and dials a number. A beat and:
ANGEL
(into phone)
Hey, Wes, it's me. I don't have
time to explain right now, but you
might call or send someone over to
the UTF building to check on...
(beat)
What?
27 INT. UTF HEADQUARTERS - MESS HALL - LATER 27
Angel steps through the door of the Mess Hall to find the
grotesque scene. Bodies are everywhere, but not unconscious
this time. Dead.
As Angel walks around the corpses, Wes pops his head in
through the door. Not saying a word, but Angel senses him.
ANGEL
How many survived?
Wes walks into the room to stand alongside him.
WESLEY
Only the ones that weren't here.
ANGEL
She killed them all?
WESLEY
As far as I've seen.
ANGEL
How did this happen?
WESLEY
We're not sure. And when I say we,
I mean I. Because, Angel, they're
all dead. Not just the soldiers
themselves, but David, Dr. Vasquez,
all the staff.
Angel hangs his head.
WESLEY (cont'd)
I hate to suggest it, but we might
have to...
ANGEL
... put her down.
WESLEY
Only as a last resort. But it
appears that her powers are only
increasing in strength. If we -
Angel?
Angel doesn't say a word, but slacks out into the hall.
28 INT. UTF HEADQUARTERS - CORRIDOR - CONTINUOUS 28
Wes follows him out as Angel leans against the wall,
thinking.
ANGEL
She knew.
WESLEY
Knew what?
ANGEL
That it happened.
WESLEY
Are we still talking about Sonia?
ANGEL
Kate. She knew that this was going
to happen.
WESLEY
What are you saying?
ANGEL
While I was out, I got a call from
your guy we left at the hospital,
saying Kate was awake. She was
back out of it by the time that I
got there, but when she woke up,
she said that we had to stop Sonia
or they all would die.
WESLEY
You think that she foresaw it
happening?
ANGEL
I don't know. Maybe it was just
dumb luck and she was nightmaring
about earlier tonight.
WESLEY
Either that or she received...
ANGEL
... a vision.
WESLEY
Is that even possible?
ANGEL
Back in Sunnydale, would you have
thought that Cordy would be having
visions in a few years?
They both ponder over it for a moment.
WESLEY
Well, there's nothing conclusive at
the moment. And besides, we've got
much more pressing matters at hand,
don't we?
ANGEL
I actually almost forgot for a
second.
He bangs his head lightly against the wall.
ANGEL (cont'd)
Which one do we even go after
first?
WESLEY
Spike is on Sonia's trail. Kirsten
and Illyria are checking on a lead
for the kids.
ANGEL
What lead?
WESLEY
The only one we've got. I'll fill
you in on the way to the hotel.
29 EXT. PRESTON & DEAN OFFICES - SAME 29
Illyria and Kirsten are across the street from a respectable
looking building. They watch as a new model, black van pulls
into the parking garage.
ILLYRIA
That is the same vehicle from the
surveillance video.
KIRSTEN
These bastards have the kids.
ILLYRIA
Then let us take them back.
KIRSTEN
Whoa, Illyria... We're supposed to
go back to the hotel, report what
we see, then bring everyone else
back with us before we go in,
remember?
ILLYRIA
I grow weary of taking orders from
those inferior to me. I have been
supplicant for much too long and
will follow my own course of action
from this point forward.
KIRSTEN
That's great. Do your own thing.
Girl power and all that crap, but
this is one time that we should
follow the plans. You don't know
what's in there.
ILLYRIA
Nor care.
With that she takes a step forward and begins to RIPPLE, and
before Kirsten's eyes Illyria DISAPPEARS into thin air!
KIRSTEN
(sighs)
Great.
She stuffs the pistol under her belt and grabs the assault
rifle from the ground next to her.
KIRSTEN (cont'd)
Go team.
She runs toward the building.
30 INT. PRESTON & DEAN OFFICES - MOMENTS LATER 30
In the lobby, Kirsten bypasses a guard when she lands the
BARREL of the gun to his temple. The security guard at the
front desk reaches for his phone, but she takes out another
pistol from her jacket with a SILENCER and SHOOTS the phone.
She quickly spots the three security cameras in the room and
shoots each one out before walking over to the guard at the
desk.
She puts the gun in his face.
KIRSTEN
I think your bosses have something
that belongs to me.
31 INT. FBI OFFICE - DIRECTOR'S OFFICE - MORNING [2002] 31
Kate is sitting nervously in a chair across from a large desk
in a generically warm room. Glancing back to the door
occasionally.
Her stare keeps coming back to the small name plate on the
desk that reads: CORBIN HEATH, DIRECTOR.
Finally, the door swings open with an older gentleman
ENTERING the room. CORBIN HEATH is well dressed, barely
greying hair despite the wrinkles, and eyes full of wisdom.
HEATH
Sorry to keep you waiting, Ms.
Lockley. You're my first
appointment of the day, and it's
regretfully customary that I've
always got matters of some urgency
requiring my attention in the
mornings.
KATE
Uh, that's fine. But what am I
doing here?
HEATH
(laughingly)
Good Lord, no one's told you
anything, have they?
Kate shakes her head.
HEATH (cont'd)
You must forgive me, but yours is a
matter of the utmost secrecy so the
knowledge and involvement in it
must be closely monitored.
KATE
What 'matter'? I honestly don't
know why I'm sitting here.
HEATH
This is a job interview.
KATE
Excuse me?
HEATH
We're beginning a new division of
the FBI, Top Secret authorization
only.
KATE
And you want me to be part of it?
HEATH
I want you to run it.
Kate looks strangely at him.
KATE
You know that I was fired from the
LAPD, right?
HEATH
And what fools they were. The
truth is that not everyone can
handle knowing what people like us
know. And it's for that reason
that we're throwing together this
task force. The demon problem in
this country isn't becoming any
less prolific, and if we're going
to keep it as much of a secret as
it was yesterday, then we need to
start acting accordingly.
KATE
Why me?
HEATH
Why not you?
Kate frowns, weighing it over as we FADE TO:
32 EXT. FIELD TRAINING RANGE - DAY 32
Kate is wearing an FBI sweatshirt along with her fellow
cadets on the FIRING RANGE. After the round of shots cease:
INSTRUCTOR (O.S.)
Lockley!
KATE
Yes, sir?
The huge INSTRUCTOR walks over to her.
INSTRUCTOR
That was phenomenal shooting.
She smiles.
KATE
Thank you, sir.
INSTRUCTOR
You're going to be the first female
director of the bureau one day if
you keep...
VOICE (O.S.)
NO!!
The instructor's voice fades into the background as Kate
looks around for the voice. Everyone else is going about
their business. Other recruits are jogging, grappling, now
firing their weapons again. No sign of anything abnormal
until we:
SMASH CUT TO:
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Script created with Final Draft by Final Draft, Inc.