An Alternative Angel

THE OFFER

Completed: 26 May 2003

SCENE 1

INT - HOSPITAL - CORDELIA’S ROOM - LATE DAY

CLOSE UP - an overnight bag is sitting on the hospital bed. A pair of fuzzy slippers are placed on top of the clothes.

WIDER - Cordelia is dressed casually in a pair of loose fitting blue jeans and a long-sleeved dark blue sweater. She takes her hair brush and comb off the top of the bedside cupboard and puts them in the bag next to her slippers.

ANGLE - the door to the hospital room opens and Lindsey pokes his head in.

ANGLE - Cordelia looks towards the door and smiles.

CORDELIA
Hi.

ANGLE - as Lindsey moves into the room…

LINDSEY
Hi, sweetheart.

WIDE - Lindsey walks up to Cordelia and kisses her tenderly on the lips.

LINDSEY
Are you allowed to leave, or do you
still have to sign the release forms?

CORDELIA
Already signed. I’m a free woman
who wants to go home…now.

LINDSEY
You got everything?

CORDELIA
Yep.

Lindsey zips up the overnight bag and takes it off the bed with his left hand. He places his plastic right hand on the small of Cordelia’s back then they leave the room.

DISSOLVE TO…

SCENE 2

INT - WOLFRAM & HART - HOLLAND’S OFFICE - LATE DAY

WIDE ANGLE - Holland Manners is sitting back in his leather chair.

CLOSE UP - There is a troubled look on his face, as if he’s trying to decide whether or not to do something.

WIDER - he sits forward and reaches for the intercom.

HOLLAND
Marcia?

MARCIA (V.O)
Yes, Mr Manners?

HOLLAND
Can you get me Lyle McInerney’s
home number in New York please?

MARCIA (V.O)
Right away, sir.

ANGLE - Holland sits back and begins to tap his expensive pen on a notepad.

TIGHT - on the notepad we see a list of about a dozen names, including Leanne Maxfield, Lonnie Mudge, and Linus Mozzo. Most of the names have been crossed out. At the bottom of the list is the name Lyle McInerney which has one question mark beside it. Underneath it is Lindsey McDonald’s name with half a dozen question marks beside it.

PAN UP - to Holland who is staring at the list of names.

BLACK OUT

SCENE 3

INT - THE HOUSE, SANTA MONICA - BEDROOM - DUSK

ANGLE - after a moment, Angelus walks into the bedroom. He looks towards the bed where…

ANGLE - Paris is sitting, her arms wrapped around her knees. Her eyebrows are almost knit together in thought. As Angelus sits down on the edge of the bed…

ANGELUS
This is starting to get old, love.

PARIS
What is?

ANGELUS
You being little Miss Broody all week.
I thought only Angel brooded.

PARIS
I don’t see you trying to figure out
what our next move is.

ANGELUS
Because you seem to be doing enough
thinking for the both of us. Besides,
you can’t think on an empty stomach.

PARIS
We can’t move house either.

ANGELUS
(frowns)
Move house?

PARIS
All week I’ve been waiting for the Holland
Manners axe to fall. I don’t want to
be hanging out here waiting for him to
get back at us for killing his family.

ANGELUS
We didn’t do it alone, love.

PARIS
I still can’t believe you went and staked
the first person I turned…after you that is.

ANGELUS
No one is going to look at you the
way he did and live to tell about it.

CLOSE UP - Paris looks at Angelus and smiles.

PARIS
Jealous much?

ANGELUS
Me? Jealous? Pfft. You really
think I’m that insecure about us?

PARIS
Are you?

WIDE - Angelus moves quickly and is on top of Paris, gripping her wrists tightly near her head.

PARIS
You’re hurting me.
(then, smiles)
Well, that’s always a good sign
you care.

ANGLE - Angelus leans down and kisses Paris on the mouth. As he pulls away, he bites her lower lip causing it to bleed. He pulls his head back a little and looks at her.

ANGELUS
So…do you have a place in mind…
(off Paris’ look)
…of course you do. Where?

CLOSE UP - Paris smiles.

CUT TO…

SCENE 4

INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT

BACKGROUND - through the inter - office window, we can see Teresa sitting at Cordelia’s desk using the computer.

FOREGROUND - Wesley and Gunn are sitting opposite each other.

GUNN
I’m telling you, it hasn’t been the
same here without Cordy. It’s just…

WESLEY
Too quiet?

GUNN
Yeah.

WESLEY
I thought the activity of the other
night broke up the silence a little.

GUNN
With all those clicking sounds it made,
it should’ve been called a Klicken
demon instead of a Klacken.

WESLEY
Hmmm.

Beat.

GUNN
So, what time’s Lawyer Boy picking
Cordy up from the hospital?

Wesley refers to his watch.

WESLEY
He should’ve picked her up by now.

GUNN
So, are we going to go visit her
and see how she’s doing?

WESLEY
I thought we would.

GUNN
And we’re still sitting here because…

WESLEY
Right. Let’s go.

WIDE - Gunn is already standing and on his way to the door as Wesley pushes back from his desk.

CUT TO…

SCENE 5

INT - WOLFRAM & HART - HOLLAND’S OFFICE - NIGHT - INTERCUT

ANGLE - Holland is still at his desk. He reaches for the phone then refers to a piece of paper as he dials the number.

LYLE (O.C)
Hello?

HOLLAND
Hello, Lyle. This is Holland Manners
from the Los Angeles office.

ANGLE - Lyle is standing in front of the refrigerator in the kitchen. As he takes out a beer…

LYLE
(surprised)
Mr Manners. What can I do for you?

HOLLAND
No doubt you’ve heard of what
happened here last week.

ANGLE - Lyle puts the beer on the kitchen bench then leans back against the bench.

LYLE
Yes, sir. Please accept my deepest
condolences regarding the loss of
your family.

HOLLAND
Thank you.

LYLE
Lilah is certainly going to be missed also.
We got along quite well. You’re
going to be hard pressed to find
someone to fill her shoes.

HOLLAND
That’s why I’m calling, Lyle. The
Senior Partners would like you to
return to Los Angeles and fill Lilah’s
position in the company.

LYLE
(uncomfortable)
I don’t know if I can do that, sir. My
wife only started her new job on Monday.

HOLLAND
The firm is willing to put you up in a
new apartment, pay all relocation costs
and find your wife a new job if you
accept the position.

ANGLE - Lyle squeezes his eyes shut as he moves the cordless phone away from his ear a little. He agonizes over whether or not to accept the offer.

HOLLAND (V.O)
Are you still there, Lyle?

ANGLE - Lyle opens his eyes, unsure of what answer he’s about to give.

LYLE
Yes, sir.

HOLLAND
I don’t mean to pressure you, Lyle,
but I do need your answer now.

ANGLE - Lyle hesitates for a moment then…

LYLE
When would you need me to start?

HOLLAND
Monday.

ANGLE - Lyle winces a little, he’s not happy that he’s needed so soon.

LYLE
Okay…fine.

HOLLAND
Good. My assistant will be in
contact with you shortly in regards to
your accommodations and a job for
your lovely wife.

LYLE
(flatly)
Yes, sir.

HOLLAND
I’ll see you when you arrive, Lyle.

LYLE
Yes, sir.

ANGLE - Lyle turns the phone off as a lovely looking auburn-haired woman enters the kitchen from the living room.

LYLE
(mutters)
Three bags full, sir.

KARYN
Who was that?

LYLE
Holland Manners.

KARYN
(scowls)
What did he want?

LYLE
He wants me to assume Lilah
Morgan’s position in the LA office.

KARYN
(stunned)
What? When?

LYLE
Starting Monday.

ANGLE - Karyn stands by the sink in disbelief.

DISSOLVE TO…

SCENE 6

INT - WAREHOUSE - NIGHT

WIDE ANGLE - the warehouse is full of activity. A handful of men are working out on makeshift punching bags near a large sliding door that leads to the rear of the warehouse. On the far right wall there are eight men carving stakes. PAN LEFT to six men sharpening knives of various lengths, including one machete. PAN LEFT to four men who are sorting out arrows for the seven crossbows that hang on wall pegs behind them. PAN LEFT to…

ANGLE - DelRey, Javier, Tommy, Polson (all last seen in "Divided We Stand") and D-Man (new guy…large black dude…looks like a bald footballer). The five men are sitting in an office off to the left.

DEL REY
(impatiently)
What the hell’s keeping Jorge?

JAVIER
He’ll be back soon.

DEL REY
These guys are going down tonight,
one way or another.

POLSON
Definitely, Del. I mean they ain’t
even trying to hide the fact that they’re
killing people…leaving bodies in alleys
and stuff.

D-MAN
They’re vamps, man. What’d you
expect from ‘em…manners?

TOMMY
It’s felt like the vamps have been running
riot east of the one-oh-one ever since
LaVon up and left Pasadena.

ANGLE - O.C we HEAR someone run into the warehouse. Javier stands up and peers out the office window.

JAVIER
It’s Jorge.

ANGLE - on a tall thin Latino man in his early twenties. Despite the chill in the air, strands of long black hair cling to the sweat on his face. Jorge stands in the doorway to the office.

JORGE
(breathlessly)
They’re standing ‘round in a car park
a couple of blocks east of here.

DEL REY
(standing)
How many?

JORGE
I lost count.

ANGLE - PAN from Javier to Tommy to Polson to D-Man, all of who look a little worried by the large number. Finally settle on DelRey who tries not to look worried.

DEL REY
Alright…let’s take the fight to them.

ANGLE - Jorge steps aside to let…

WIDE ANGLE - Del Rey walk out of the office. As the others follow…

DEL REY
Alright…listen up!

WIDE ANGLE - everyone stops what they’re doing and turns their attention to Del Rey.

DEL REY
The fang gang’s in the car park a couple
of blocks east of here. Get everything
you need and be ready to move out
in five minutes.

ANGLE - Del Rey turns to D-Man who’s taking one of the crossbows off the wall.

DEL REY
Give me one too.

ANGLE - D-Man takes another bow then turns and hands it to Del Rey. As D-Man then starts to grabs some arrows we HEAR a loud screech that echoes throughout the warehouse. Several of the men cover their sensitive ears while others wince at the sound.

WIDE ANGLE - on the large sliding doors at the front of the building as they are pulled back with great force. Within moments, we see half a dozen vampires, then another half dozen, and another. They are lead by a large vampire with a bat tattooed on his forehead.

JUVENTUD
Buffet’s open, boys!

WIDE ANGLE - Del Rey, Polson, D-Man, Javier, Jorge and all the others scramble for their weapons and positions, but are soon overwhelmed by the hordes of vampires.

CUT TO…

SCENE 7

INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT

ANGLE - on the front door. We HEAR the key slide into the lock then the door opens. Lindsey steps aside and allows Cordelia to go in first. She doesn’t get more than two feet inside when she stops dead.

CORDELIA
(breathless)
Oh, my God.

WIDE ANGLE - PAN around the living room which is decorated with brightly colored balloons and streamers, and on the wall next to the kitchen door is a big glittery ‘WELCOME HOME’ sign.

ANGLE - Lindsey steps up beside her.

CORDELIA
I can’t believe you did this.

LINDSEY
I had help.

Cordelia turns and hugs Lindsey.

CORDELIA
Thank you.

Cordelia lets Lindsey go then she moves further into the living room. As Lindsey closes the door…

CORDELIA
Thank you, Dennis.

ANGLE - FX - from out of the kitchen, Phantom Dennis carries a small square chocolate mud cake with a candle stuck in the top of it. He brings it to Cordelia who looks at it.

TIGHT - on the top of the cake, in fancy white writing is "WE’VE MISSED YOU".

CORDELIA
Awwww…you’ve both missed me?

LINDSEY
Definitely. Dennis has been moping
about all week.

CORDELIA
You two seem to be getting along okay.

LINDSEY
I’ll admit it’s still a little weird talking with
a ghost, but I’m getting used it.

CORDELIA
I’m glad.

ANGLE - Cordelia blows out the candle then puts the cake down on the coffee table.

BACKGROUND - Lindsey walks towards the bedroom then a few moments later returns without Cordelia’s overnight bag. As he returns, he sees…

FOREGROUND - Cordelia looking around the apartment, a small furrow in her brow.

LINDSEY
What is it?

CORDELIA
I don’t know…something seems…
different.

LINDSEY
Maybe it’s because you’re seeing
everything clearly now instead of
through a drug-induced haze.

Beat.

CORDELIA
Yeah, that could be it. But I’m
clean now, and the meditation
techniques that my therapist taught
me in the hospital seem to be working.

LINDSEY
Do you want to lie down for a bit?

CORDELIA
I’ve been lying down for over a week.
I just want to stay upright for a while
and…you know…get…through…this…

INSERT - Del Rey is bleeding from a large cut near his hairline.

INSERT - Tommy lies dead in the middle of the warehouse.

INSERT - Javier is moving around slowly.

ANGLE - on Cordelia who has managed to stay upright with Lindsey’s help. O.C we HEAR a knock on the door.

LINDSEY
(concerned)
Cordy…

EXT - standing outside the door are Wesley, Teresa and Gunn.

DISSOLVE TO…

SCENE 8

INT - WAREHOUSE - NIGHT

WIDE ANGLE - there are at least a dozen bodies lying motionless on the cold concrete warehouse floor. Several human warriors are sitting on the floor, leaning up against the wall trying to feign off their undead enemy. It’s clear the vampires are winning this battle.

ANGLE - one Latino man fires his crossbow as the vampire approaches. The vampire explodes and the cloud of ash and dust rains on the injured man.

LATINO MAN
(wearily)
Son-of-a-

HARD CUT TO - Tommy is holding a stake in his left hand as he punches a tall vampire (VAMPIRE #1). The vampire’s head jerks back when Tommy’s fist connects with his nose.

BACKGROUND - VAMPIRE #2 comes up behind Tommy. At the same time, we see Javier staggering around in shock as he looks at all his injured or dead friends.

ANGLE - VAMPIRE #1 spins and raises his leg to kick Tommy, but misses when Tommy takes a step backwards…straight into VAMPIRE #2. VAMPIRE #2 quickly wrenches the stake from Tommy’s grip and uses it to stab through the side of Tommy’s neck.

CLOSE UP - Tommy’s eyes widen as he gasps in surprise.

WIDER - VAMPIRE #2 is still holding the stake when Tommy slides off it and into a bloody heap on the floor.

VAMPIRE #2
I hate it when they die too easily.

VAMPIRE #1
It hardly…

JAVIER (O.C)
Tommy!

WIDE ANGLE - the two vampires turn to face Javier who watched Tommy die.

CUT TO…

SCENE 9

INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT

ANGLE - Cordelia is sitting back on the couch as Lindsey hands her a glass of water.

CORDELIA
Thanks.

ANGLE - Gunn is standing in the middle of the living room looking at Cordelia.

GUNN
Can you describe one of the guys?

CORDELIA
I can do one better…the name Tommy.

GUNN
Tommy…any other names?

CORDELIA
(thinks)
Del something.

GUNN
DelRey?

CORDELIA
Yeah.

GUNN
(alarmed)
And they were attacked by vamps?

CORDELIA
A whole gang of them.

GUNN
(urgently)
Where?

CORDELIA
In a warehouse on North Bronson,
near the one-oh-one.

ANGLE - As Gunn moves towards the door…

GUNN
I gotta get over there.

WESLEY
I’ll go with you.

WIDE ANGLE - Wesley starts to follow Gunn to the door but Gunn stops and turns to face him.

GUNN
I can go by myself, Wes.

WESLEY
You shouldn’t go alone, Charles.
You don’t know if the vampires
have already attacked or not.

ANGLE - Gunn looks at Cordelia.

GUNN
(demands)
Have they?

CORDELIA
I got the feeling it was already
happening when I got the vision.

ANGLE - Gunn looks back at Wesley.

GUNN
See? The vamps’ll be gone
before I get there.

WIDER - Wesley watches as Gunn proceeds towards the door. As he opens it…

WESLEY
Make sure you take a weapon…

Gunn leaves, slamming the door behind him.

WESLEY
(continues)
…with you.

ANGLE - Wesley stares at the door for a moment then turns towards Lindsey and Cordelia.

WESLEY’S POV - Cordelia has her eyes closed and is doing some deep breathing exercises while Lindsey gently massages the back of her neck. There is a strained look on Cordelia’s face as the pain threatens to overwhelm her.

LINDSEY
(gently to Cordelia)
Would you like some tea?

CORDELIA
Tea would be good.

ANGLE - Lindsey gets up off the couch while Cordelia continues to try and meditate her pain away.

LINDSEY
Would anyone else like some tea?

WESLEY
Please.

TERESA
Yes, please.

WIDE ANGLE - Lindsey moves off towards the kitchen and we HEAR him fill the kettle up with water from the tap.

ANGLE - Cordelia massages her temples then opens her eyes and stands up.

CORDELIA
I’ll be back in a minute.

WIDE ANGLE - Cordelia moves towards the bedroom.

BEDROOM - CORDELIA’S POV - Cordelia sees her overnight bag on the bed. Her view then shifts to the nightstand, specifically the top drawer. She moves forward and reaches out. She pulls the drawer open and finds…

LINDSEY (O.C)
They’re all gone.

ANGLE - Cordelia quickly closes the drawer and turns to face Lindsey who’s standing in the doorway.

CORDELIA
Sorry?

As he moves forward…

LINDSEY
The pills. Gunn got rid of all
the bottles. He said you had
quite a collection both here and
at the office.

ANGLE - Cordelia slowly sits down on the bed and bows her head almost in shame.

WIDER - Lindsey moves forward some more and sits down on the bed next to her.

LINDSEY
(low)
How long had you been taking them?

CORDELIA
Things like Vicodin I’d been taking for
over a year…others like the morphine,
I’d been taking for two or three months.
I’d take combinations of the pills, but
no combination ever got rid of the
pain completely.

WIDE ANGLE - Cordelia pushes herself off the bed, stands then turns to face Lindsey.

CORDELIA
Hi…my name is Cordelia and I’m
a drug addict.

ANGLE - Cordelia bursts into tears as the realisation of that statement hits home.

WIDER - Lindsey stands up and wraps his arms around her.

LINDSEY
It’s okay, sweetheart.

CORDELIA
No, it isn’t. I can’t even remember
the last time I was pain-free or what
that felt like.

LINDSEY
Sshhh.

CORDELIA
God…how did my life get so screwed up?

LINDSEY
Sshhh…you’re not alone in this anymore,
Cordy. You have me now.

ANGLE - Cordelia grabs the back of Lindsey’s shirt as if her life depends on it. In the background, the kettle whistles then stops as it’s taken off the gas. After a few moments, Lindsey releases his embrace and looks down at Cordelia’s tear - streaked face.

LINDSEY
(gently)
How about that tea, huh?

ANGLE - Cordelia wipes the tears from her face then nods.

DISSOLVE TO…

SCENE 10

INT - WOLFRAM & HART - HOLLAND’S OFFICE - NIGHT

ANGLE - looking across the room. The air begins to shimmer and get brighter as the portal slowly appears. A large figure can soon be seen in the bright light before it steps out on to the carpet. It’s Edictoradi in his human form of Eddie Radi.

EDDIE
Mr McInerney is a good choice,
Mr Manners. Who have you offered
the other vacancy to?

ANGLE - Holland is still seated behind his desk. He looks up from his list of names at the Senior Partner, but remains silent.

BLACK OUT

SCENE 11

EXT - CONVERTED WAREHOUSE - NIGHT

LONG ANGLE - a pair of headlights come down the potholed street towards the camera. As the vehicle gets closer, we realise it’s the Angelmobile with Paris behind the wheel. She slows down as she pulls the car over towards the kerb then stops.

ANGLE - As she cuts the engine…

ANGELUS
You’re kidding, right?

PARIS
You of all people should know that
looks can be deceiving, my dear.

WIDER - Paris opens the door and gets out from behind the wheel.

PARIS
Come on. I think you’ll be
pleasantly surprised when you see it.

Paris walks out of frame as Angelus opens the door and exits the convertible.

TIME CUT TO…

SCENE 12

EXT - LILAH’S APARTMENT - NIGHT

CORRIDOR - the corridor is rather dirty looking with several overhead lights blown. The remaining lights cast long shadows along the dim corridor. Paris comes up the stairs at the end of the corridor, and Angelus is about six feet behind. Note: Paris has a slight limp due to her broken right ankle last episode.

ANGELUS
So far, I’m neither pleasant
nor surprised, Paris.

PARIS
Just wait.

ANGLE - Paris moves to a grey colored door, its paint peeling away. On the door is the number six.

CLOSE UP - Paris wraps her fingers around the doorknob but the door is locked. With hardly any effort at all, she twists the knob and the lock gives way.

WIDER - Paris opens the door and pokes her head in and switches on the lights. After a moment…

PARIS
Come on.

LIVING ROOM - Paris enters the apartment then so does Angelus who closes the door behind him. He stands beside Paris as he looks around the apartment. He seems impressed.

PARIS
Well?

ANGELUS
(sniffs the air)
You sure it’s vacant?

PARIS
As sure as I can be unless Lilah’s
planning on rising from the dead
any time soon.

ANGELUS
(mutters)
Thought I smelt someone familiar.

ANGELUS’ POV - he sees the door that leads to the bedroom. PAN right to the bathroom and continue to the kitchen which still has the stainless steel appliances. The living room has been cleared of all of Lilah’s personal items (pictures, knick-knacks, etc). All that remains is the couch and arm chair, coffee table, a couple of side tables and an empty 6’ x 6’ bookcase. The walls are painted a peach color to help warm the room.

WIDE ANGLE - Angelus steps deeper into the room as Paris moves to the couch and plonks herself down.

ANGELUS
Never would’ve figured this for her
place. I mean, what’s with the
pink walls?

FOREGROUND - on Paris who is amused by Angelus’ comment.

PARIS
I think it’s called peach.

BACKGROUND - the camera follows Angelus as he sticks his head into the bedroom and the bathroom. He then stands near the kitchen and gives the apartment a complete overview.

PARIS
Well?

ANGELUS
Tunnel access?

PARIS
Basement.

ANGLE - Angelus looks around again then looks down at Paris.

ANGELUS
Home sweet home.

PARIS
Excellent. We’ll get our stuff and
move in tomorrow.

ANGLE - Paris gets up off the couch and walks around it to where Angelus is standing near the kitchen. She grabs his shirtfront and looks up at him.

PARIS
(sweetly)
Didn’t I tell you you’d like it?

ANGELUS
Actually, you said I’d be pleasantly
surprised.

PARIS
Which you are.

ANGELUS
Which I will be once we paint the walls.

ANGLE - Angelus walks away from Paris and towards the front door.

ANGELUS
I refuse to live inside a giant peach.

PARIS
How about a giant lemon then?

WIDE - Angelus walks out of the apartment and as Paris follows…

PARIS
Fine…next time we have to move,
you can choose the place.

CUT TO…

SCENE 13

EXT - WAREHOUSE, HOLLYWOOD - NIGHT

WIDE ANGLE - Gunn drives his pick - up into frame and looks out the driver side window.

GUNN’S POV - he sees the warehouse which seems to be all quiet now.

CUT TO…

SCENE 14

INT - WAREHOUSE - NIGHT

ANGLE - on a blue tarpaulin that covers half a dozen bodies.

ANGLE - on a darker blue tarpaulin that covers another five bodies.

PAN - by the rear sliding door, four men who escaped the battle virtually unscathed, attend to their friends’ injuries.

ANGLE - one black man in his early twenties has a stake protruding from his left thigh.

LATINO MAN
Hold still…this is gonna sting.

ANGLE - the Latino man picks up a bottle of cheap vodka and unscrews the lid.

OFFICE - ANGLE - in the office are four men. Polson, a white male who’s holding an ice pack to his left eye and has a bandage around his upper right arm; D-Man - a large black man who appears uninjured; Javier, a short Hispanic man who’s sporting a bandage wrapped around his head; and DelRey, a solid black man who’s holding a relatively clean rag to a large cut under his left eye. All four men have various bumps and bruises.

O.C we HEAR the injured black man roar in pain, the sound echoing through the building.

POLSON
I can’t believe those vamps just
waltzed in here and nearly destroyed
us, man.

D-MAN
When the hell did there get to be
so many of ‘em? Was there a
Vamps-R-Us convention we didn’t
know about?

DEL REY
They’re obviously turning a lot of their
victims instead of just killing them.

JAVIER
They’re building an army.
(then)
We need G.

DEL REY
(sharp)
No…we don’t.

POLSON
Yeah, Del, we do.

DEL REY
We can dust them vamps perfectly
well without Charlie Gunn.

GUNN (O.C)
Doesn’t look that way to me.

WIDE ANGLE - Everyone turns to face the door and they see Gunn standing in the doorway. As Javier stands up…

JAVIER
(relieved)
G…am I glad to see you, man.

Javier holds out his hand which Gunn backslaps. They go through a whole special handshake greeting. When they’re done, Gunn looks at the others.

GUNN
Polson.

POLSON
Hey, Gunn. How’s things?

GUNN
New day, new demon to kill.
(then)
How’s it hanging, D-Man?

D-MAN
Been better.

GUNN
DelRey.

DEL REY
(hard)
Gunn. What’re you doing here?

GUNN
Heard there was trouble…came to
see if you were all okay.

DEL REY
(bitterly)
If you call losing eleven guys tonight
‘okay’, then, yeah, we’re doing just great.

GUNN
What about Tommy?

ANGLE - DelRey is silent, as are the others.

CLOSE UP - Gunn hangs his head.

GUNN
(angrily)
Damn.

D-MAN
Things ain’t been right since LaVon’s
crew in Pasadena disbanded.

GUNN
When’d that happen?

POLSON
Last month. LaVon up and
disappeared…heard last week he’d
went and got himself a real job.

GUNN
Really. So, what’s up with the
fang gang that attacked you tonight?

DEL REY
What’s it to you?

GUNN
‘Cause I thought I might be able to help
you deal with them. But if
you don’t want my help, then…

ANGLE - Gunn turns to leave the office.

JAVIER
G, we need your help, man…don’t
leave until you know what we’re
up against.

ANGLE - Gunn turns back around.

GUNN
Alright…let’s hear it.

Off Gunn.

DISSOLVE TO…

SCENE 15

INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT

ANGLE - Cordelia is sitting on the floor, eyes closed, meditating and doing deep breathing exercises.

ANGLE - Lindsey is sitting in an arm chair watching her.

ANGLE - Wesley and Teresa are sitting on the couch nursing their cups of tea. Wesley is watching Cordelia intently.

TERESA
(to Lindsey)
So the meditating helps?

LINDSEY
It seems to.

CORDELIA
It doesn’t if you guys keep talking.

O.C. a cell phone rings, breaking Cordelia’s concentration altogether.

ANGLE - Lindsey answers the call on the second ring.

LINDSEY
Hello?
(listens)
Oh…hello. How are you?
(listens)
Good to hear it.
What can I do for you?
(listens)
Right.
(listens / sceptical)
Really?
(listens)
How soon?
(listens)
Okay…I’m going to need to think
about it and get back to you tomorrow.
(listens)
Okay.

As Lindsey turns the phone off…

CORDELIA
Who was that?

LINDSEY
Holland Manners.

CORDELIA
Why’s he calling you?

LINDSEY
Apparently Paris and Angelus were a
little busier last week than we first
thought.

WESLEY
What happened?

LINDSEY
They killed Leon Maddox and Lilah
Morgan just hours after they killed
Holland’s family.

WESLEY
They killed Lilah?

CORDELIA
(to Lindsey)
What’s that got to do with you?

LINDSEY
Holland’s offering me my job back.

CORDELIA
Well, he can just rescind the offer,
can’t he?

WESLEY
What’s he offering for your return?

LINDSEY
A new hand.

CORDELIA
What? How can…?

LINDSEY
I’m not exactly sure, but Holland says
it can be done.

CORDELIA
No, it can’t. He’s just saying that
so he can get you back to Wolfram
And Hart. It’s a trick, Lindsey.
Don’t do it.

WESLEY
I think he should.

CORDELIA
Why?

WESLEY
Lindsey could act as a double agent,
if you will, provided he’s careful.

CORDELIA
No.

WESLEY
He could feed us any information that
might provide useful somewhere down
the track…Wolfram And Hart needn’t
ever know of his connection with us.

CORDELIA
No.

TERESA
Wesley’s right, Cordelia. The
information Lindsey would have access
to is far greater than anything we
could hope to find.

CORDELIA
No.
(to Lindsey)
I don’t want you ending up like
Lilah and Leon.

LINDSEY
I won’t.

CORDELIA
You don’t know that, Lindsey.
How could you possibly know that?

ANGLE - Cordelia gets to her feet and goes towards her bedroom.

ANGLE - Lindsey starts to go after her as we HEAR Cordelia slamming the bedroom door.

WESLEY (O.C)
Don’t.

ANGLE - Lindsey stops and looks at Wesley.

ANGLE - Wesley stands up.

WESLEY
Just leave her alone for a while.
Once she’s had a chance to think
about things, she’ll realise it’s for
the best.

ANGLE - Lindsey looks from Wesley to the direction of the bedroom.

CUT TO…

SCENE 15

INT - WAREHOUSE - NIGHT

OFFICE - ANGLE - Gunn looks at Javier, D-Man, Polson and finally DelRey then bows his head and sighs.

JAVIER
Please, G.

GUNN
Alright…I’ll help you…

WIDE ANGLE - as the guys get excited…

GUNN
…but it’s gotta be on my conditions.

DEL REY
I knew it. Everything’s gotta be
on your terms.

GUNN
What’s that supposed to mean?

DEL REY
Everything’s gotta be done your way
or not at all.

GUNN
And where exactly has your way got
this crew lately, huh? There’s only
a handful of you that I recognise
because ‘your way’ has got everyone
else killed.

DEL REY
Like ‘your way’ got your sister ki-

ANGLE - In the blink of an eye, Gunn grabs DelRey and slams him against the wall.

GUNN
You leave Alonna outta this, man!

ANGLE - Gunn slams him against the wall again for affect.

ANGLE - Gunn is angry. Polson steps up behind him and places a hand on his shoulder.

POLSON
Take it easy, Gunn.

WIDER - Gunn slowly lets DelRey go and steps back.

GUNN
I came down here ‘cause I got word
there was trouble. Now, there’s
two ways this can go down.
One…I turn around and leave you to
fight a battle you know you won’t win.
Or two…you let me and my friends help you
defang this gang. What’s it gonna be?

ANGLE - Gunn looks at DelRey and waits for an answer.

DISSOLVE TO…

SCENE 17

EXT - THE HOUSE, SANTA MONICA - PRE DAWN

WIDE ANGLE - Angelus slows down and pulls the car into the drive way. Note: the top is up. Using a remote, the garage door opens then he moves the car forward.

ANGLE - Angelus and Paris get out of the car and exit the garage. Angelus uses the remote to close the garage door then pockets it.

WIDE ANGLE - Angelus and Paris walk towards the front door, but as they near it, a strange feeling comes over Angelus.

PARIS
(low)
What is it?

ANGLE - Angelus puts a finger to his lips to indicate her to be quiet. He then motions for Paris to move around the back of the while then indicates that he’ll enter the front of the house.

ANGLE - Paris nods then moves stealthily back towards the garage and disappears around the corner.

ANGLE - Angelus moves quickly and quietly up to the front door and opens it. As soon as he steps inside, he is attacked from all sides by tazer-wielding men in black.

BLACK OUT

SCENE 18

INT - THE HOUSE, SANTA MONICA - PRE DAWN

HALLWAY - ANGLE - Paris appears at the back door. She quietly breaks the lock and opens the door. As soon as she closes the door behind her, she HEARS the commotion coming from the living room.

REVERSE ANGLE - Paris moves quickly and quietly along the hall then…

PARIS’ POV - she sees four men in black attacking an immobile Angelus. Two of the men are using tazers to subdue him while the other two have stakes raised and ready to drive into his body. None of the men notice her until…

CLOSE UP - …she MORPHS into her game face and…

PARIS
Grrr.

WIDE ANGLE - Paris uses her speed advantage and launches herself at the four men before a stake can be thrust into Angelus’ unbeating heart. The four men all look up just as the tazer-wielding one closest to the open front door is kicked through it. Through the opening, we see the man land on the garden path, fifteen feet from the house.

ANGLE - Angelus is now able to move his left arm and has a weak grip on one of the stake-wielding men.

WIDER - Paris wrenches the stake from the man’s hand and drives it through his skull, killing him instantly.

ANGLE - the other tazer guy uses the weapon and barely zaps Paris’ back before she spins and kicks him in the chest. We HEAR a large number of his ribs break upon contact before he lands on the floor. He doesn’t move.

ANGLE - the last of the men has a knee on the side of Angelus head and has the stake raised. He brings it down as Paris steps up behind him and quickly snaps his neck.

CLOSE UP - the stake rolls out of the man’s hand and falls the six inches on to Angelus’ chest. The man slumps in a heap beside Angelus.

ANGLE - Paris stands up and moves to the door.

PARIS’ POV - she looks out the front door and sees the first man on his radio…

RADIO MAN
…men down…I’m coming back in…
I repeat, the mission has failed…

…as he runs through the front gate and down the street. When he’s gone from view…

WIDE ANGLE - she looks down at Angelus who is struggling to get up. She offers her hand, which he takes, and she pulls him to his feet.

ANGLE - Still vamped out, Paris checks Angelus’ chest for marks.

ANGELUS
(reassures)
I’m okay, I’m okay.

Paris looks up at Angelus who leans down and kisses her as she MORPHS back.

PARIS
Powerful tazers.

ANGELUS
One zap almost knocked me out.

PARIS
I was wondering why you weren’t
killing them.

WIDE ANGLE - as the two look around at the carnage…

ANGELUS
I think Holland’s axe has started to fall.

PARIS
Yeah.

FOREGROUND - Paris twists her head and peers out the front door.

BACKGROUND - The sky is getting lighter as the sun starts to rise.

PARIS
Sun’s up. We’ll have to wait till
dark before we can move.

ANGELUS
Wolfram and Hart won’t send any
more interruptions before then.

PARIS
I hope you’re right.

WIDE ANGLE - Angelus steps to his right and grabs one of the attackers by the back of the neck. He picks him up and carries him to the kitchen door then hurls him into the room.

BACKGROUND - Angelus then does the same to the one man.

FOREGROUND - Paris crouches down next to the one with the broken ribs.

PARIS
(mutters, surprised)
Huh…still alive…what d’you know?
(then, to Angelus)
Feeling hungry?

ANGELUS
I could eat again.

PARIS
Breakfast is served.

BACKGROUND - Angelus pushes the front door closed then moves towards Paris.

DISSOLVE TO…

SCENE 19

INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY

WIDE ANGLE - Wesley and Teresa are talking in Wesley’s office. Gunn hasn’t arrived yet.

WESLEY
When Cordelia returns to work on
Monday, she can show you her
supposed filing system. I’m not
game enough to touch it.

TERESA
Has it always been so…I don’t
know…bad?

WESLEY
Cordelia’s yes. When Paris did
the filing, at least things were where
you’d expect them to be.

TERESA
And the secret to decoding Cordelia’s
filing system is…?

WESLEY
If a client has money, look under ‘R’
regardless of their name.

TERESA
(puzzled)
‘R’?

WESLEY
As in rich. If they don’t have money…

TERESA
Look under ‘P’ for poor?

WESLEY
You’d think that, wouldn’t you?

O.C - we HEAR the whir of the elevator. Wesley looks towards it as…

ANGLE - Gunn ascends from the basement apartment.

WESLEY
Hello, Charles.

GUNN
Wes.

WESLEY
Did you find your crew?

GUNN
What’s left of ‘em.

WESLEY
They suffered casualties?

GUNN
It was like the first half hour of "Saving
Private Ryan". Half the crew was
wiped out in less than fifteen minutes.

TERESA
Oh God.

WESLEY
It was vampires?

GUNN
A whole gang of them came from
Pasadena. Turns out LaVon
did go and turn himself into Leon,
attorney-at-law.

WESLEY
He’s turned himself into more than that.

GUNN
What d’you mean?

WESLEY
He’s dead. Paris and Angelus
killed him and Lilah Morgan last week
in a failed attempt to get to the Files And
Records Division at Wolfram And Hart.

GUNN
How’d you find that out?

TERESA
Lindsey got a call from Holland
Manners last night.

GUNN
How come?

WESLEY
Holland’s asked Lindsey to return to his
position at the firm in exchange for a
new hand.

GUNN
Please tell me Lindsey ain’t seriously
entertaining this idea.

Off Gunn.

DISSOLVE TO…

SCENE 20

INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY

CLOSE UP - Holland is leaning forward, elbow on the desk. He massages his temple as he talks on the phone. He’s not a happy boy.

HOLLAND
Four of them should’ve easily been
able to subdue them.
(listens)
Yes, go to plan B, only this time I
don’t want anything to go wrong.
Do I make myself clear?
(listens)
Good.

WIDER - Holland hangs up the phone as we HEAR the door open O.C. Holland looks up.

HOLLAND
Lindsey.

ANGLE - As Lindsey closes the door…

LINDSEY
Holland.

HOLLAND
I’m surprised to see you.

LINDSEY
Marcia wasn’t at her desk, so I
thought ‘why wait’.

HOLLAND
I take that your being here means
you’ve considered my offer.

LINDSEY
It does.

HOLLAND
And?

LINDSEY
I’ll come back to Wolfram And Hart on
the proviso that I be put back on the
Paris and Angelus project.

HOLLAND
May I ask why?

LINDSEY
Do I need a reason?

HOLLAND
I’d certainly like to hear one.

LINDSEY
Why?

HOLLAND
Well, they were the reason you resigned
from the firm, weren’t they?

LINDSEY
I resigned for a number of reasons,
Holland. I can assure you that Paris
and Angelus were not one of them.

ANGLE - Holland sits back in his chair for a moment and regards Lindsey.

LINDSEY
Either I’m back on the project or I
leave right now.

HOLLAND
Alright…the project is yours.

LINDSEY
Who’s replaced Lilah?

HOLLAND
Lyle McInerney. He’s arriving in
the city tomorrow and will be in the
office Monday morning.

LINDSEY
I’ll have to catch up with him, you know,
after I get my new hand.

HOLLAND
Ah, yes, your hand.
The surgeon’s expecting you.

Off Lindsey’s surprise.

CUT TO…

SCENE 21

INT - CORDELIA’S APARTMENT - BEDROOM - DAY - INTERCUT

WIDE ANGLE - Cordelia is sitting cross-legged in the middle of the bed. She breathes in deeply through her nose then slowly out of her mouth. She repeats this once more. As she breathes in again, she gasps as a vision hits.

INSERT - Gunn and Wesley are fighting a couple of vampires.

INSERT - a gang of at least 20 vampires.

INSERT - a large Latino vampire with a tattoo on his forehead (Juventud).

ANGLE - The vision has ended and Cordelia is breathing hard to try and control the pain that threatens to split her head open.

CORDELIA
Dennis…phone.

WIDE ANGLE - FX - the cordless phone magically flies through the air then stops in front of Cordelia’s face.

ANGLE - she grabs it and presses the speed dial number.

CORDELIA
Teresa? Is Wesley there?

OFFICE - ANGLE - Wesley takes the handset from Teresa.

WESLEY
Cordelia?
What’s wrong?

CORDELIA
I just had a vision of you and Gunn
and his posse fighting that vampire
gang from last night. Please
tell me you’re not doing this.

WESLEY
Gunn and I were just discussing tactics.

CORDELIA
(sharply)
No. No tactic discussing.
You can’t do this, Wesley.
It’s not going to go well.

WESLEY
We’ll be careful, Cordelia.

CLOSE UP - Cordelia takes a moment and closes her eyes.

CORDELIA
Watch out for a big vampire with a
bat tattooed on his forehead.

WESLEY
(baffled)
He has a cricket bat tattooed on
his forehead?

CORDELIA
Okay…I don’t know what a cricket bat
looks like, Wes, but if it’s black and
has wings, then, yes.

WESLEY
(suddenly gets it)
Oh, a bat.

GUNN
(low)
I know him.

WESLEY
Have you heard from Lindsey yet?

CORDELIA
Not yet. If I don’t hear from him
by eleven o’clock, I’m going to call him.

WESLEY
Don’t. We can’t run the risk of
Wolfram And Hart finding out about
your relationship with Lindsey.

CLOSE UP - Cordelia winces and puts a hand to her head.

CORDELIA
I know.

WESLEY
How’s the post vision pain?

CORDELIA
Not too bad. I think the Powers
have taken pity on me and eased up on
the pain factor a little since I…you know.

WESLEY
It would’ve been nice if they’d done
that earlier.

CORDELIA
Nothing like a little drug overdose to
wake some people up.

WESLEY
Well, I’d best get back to strategising
for tonight.

CORDELIA
You guys be super careful tonight, okay?

WESLEY
We will.

ANGLE - Cordelia switches off the phone then looks at the clock which reads ten-thirty.

DISSOLVE TO…

SCENE 22

INT - OPERATING THEATRE - DAY

LONG ANGLE - looking up along Lindsey’s body, he is wearing a blue hospital gown. He is lying on a gurney and is being wheeled along a corridor by a heavyset orderly.

LINDSEY’S POV - the gurney approaches a set of double doors which open automatically. As he is wheeled into the operating theatre, we see two doctors wearing surgical masks, three nurses and an anaesthesiologist. In the far corner of the room is a dark-robed figure; head bowed, inhuman hands pressed together almost prayer-like.

DOCTOR (O.C)
Okay, Mr McDonald, could you scoot
on over to the operating table?

Off Lindsey as he looks up at the doctor.

CUT TO…

SCENE 23

INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY

WIDE ANGLE - Holland gets up from his desk and moves across his office to the door.

BACKGROUND - the air shimmers and the portal appears. Eddie Radi steps out of the bright light.

FOREGROUND - Holland stops and turns to face the Senior Partner.

HOLLAND
(surprised)
Mr Radi, I wasn’t expecting you to
return so soon.

EDDIE
Are you sure Mr McDonald is the
best choice?

HOLLAND
No, but he’s the only other person I
trust enough in the position.

EDDIE
I didn’t think you trusted anyone,
Mr Manners.

ANGLE - Holland doesn’t have an answer for that.

EDDIE
Ask yourself this question, Mr Manners;
how did Mr McDonald know about
your family before you did?

ANGLE - Holland frowns and bows his head in thought for a moment. When he looks up…

HOLLAND’S POV - Eddie Radi and the portal have both disappeared.

CUT TO…

SCENE 24

INT - ANGEL’S OLD APARTMENT - KITCHEN - DAY

ANGLE - Wesley is sitting at the kitchen table widdling a stake.

ANGLE - to Teresa who is sitting opposite Wesley. She is slowly and carefully sharpening a broadsword.

WIDER - Wesley finishes his stake and places it in a pile with half a dozen others. He begins work on another as…

ANGLE - the sliding door opens and Gunn steps inside from the external corridor. As he moves towards the kitchen…

GUNN
We found ‘em.

WESLEY
Where?

GUNN
In an old boarded up theatre on
Sunset and Vine.

TERESA
Are you going with a daylight attack?

WESLEY
It’s the best time…they won’t be
expecting a daylight attack.

GUNN
And there’s only so many places they
can go without getting burnt to a crisp.
The guys are getting some of LaVon’s
old crew together and meeting us
there at three o’clock.

WESLEY
Good.

TERESA
Can I come?

ANGLE - Wesley and Gunn look at each other and they both know what the answer is.

GUNN
It’s probably safer that you don’t.

WESLEY
Cordelia’s vision indicated that this
was going to be a particularly brutal
fight…not a place for a lady.

TERESA
(hurt)
So, you want me to just stay here
and wait for you to call?

WESLEY
Yes.

TERESA
Oh.

WESLEY
Maybe you can come next time.

TERESA
Whatever.

Uncomfortable beat.

WESLEY
(to Gunn)
Are your men aware that this is
a one time deal?

GUNN
That was made perfectly clear last
night when I saw them.

ANGLE - Wesley nods. He glances at a pouting Teresa then turns his attention back to his stake.

CUT TO…

SCENE 25

INT - OPERATING THEATRE - DAY

OVERHEAD - Lindsey is unconscious on the operating table. There is blood around the open flesh of his right wrist as it’s prepared for the attachment of the new hand.

DOCTOR
Okay…we’re ready for the hand now.

NURSE
Yes, doctor.

ANGLE - the nurse picks up a large steel rectangular dish that’s filled with ice and takes it to the doctor. The doctor reaches into the ice and removes the new right hand.

ANGLE - Carefully, the doctor places the hand in line with Lindsey’s wrist.

ANGLE - Instead of beginning the delicate procedure of attaching the hand, the doctors and nurses all step back.

ANGLE - The dark-robed figure that Lindsey had seen earlier, floats from his corner and around the table to Lindsey’s right.

ANGLE - The hooded robe obscures the creature’s face as he moves his inhuman hands over the length of Lindsey’s body. The figure then…

CLOSE UP - grips the severed hand and Lindsey’s right forearm. He brings the two together then carefully covers the join with his right hand.

WIDER - He moves his left hand over Lindsey and silently nods his head every-so-often. A few moments later, he removes his right hand to reveal…

CLOSE UP - the hand is now attached to Lindsey’s wrist without so much as a scar. It’s as if the hand had always been there.

DOCTOR
Thank you, Scaraniente.
(pr. Sca-rah-NYEN-tay)

ANGLE - Scaraniente bows then turns to leave. As he floats towards the door, he fades to nothing.

DOCTOR
Okay…let’s get him into recovery.

Off Lindsey’s face.

BLACK OUT

SCENE 26

EXT - OLD THEATRE, HOLLYWOOD - CAR PARK - DAY

WIDE ANGLE - Gunn and Wesley pull up in Gunn’s pick - up truck. About thirty men are waiting in the car park, not far from the side entrance to the theatre.

ANGLE - Wesley and Gunn get out then retrieve stakes, a crossbow, bolts and the broadsword from the back of the truck.

WIDER - they move across the car park to a mixture of black, Latino and white men, most in their early twenties.

JAVIER
Hey, G.

GUNN
(introduces)
Javier. This is Wesley. Wes, Javier,
D-Man, Polson, and DelRey.

ANGLE - Wesley nods at each man in acknowledgement. Javier, D - Man, and Polson don’t seem to have a problem with Wesley, but DelRey seems to resent his presence.

POLSON
So, how’s this going down, G?

GUNN
We’ll split into four group and attack
from each side at the same time.
With any luck, a bunch of these vamps’ll
go up in smoke before they’ve had
a chance to fight back.

DEL REY
And Juventud?

GUNN
He’s mine. Any questions?

Everyone is silent.

ANGLE - Gunn looks at DelRey.

GUNN
Alright…DelRey, Polson and what’s
your name again?

ANGLE - on a tall black man wearing an Oakland Raiders football shirt.

ALPHABET
Alphabet.

WESLEY
Alphabet?

ALPHABET
On account that my name’s so long
no one can pronounce it.

GUNN
Alright Alphabet, pick your men.
Del, take the north side, Polson take
the East, Alphabet can take the
South and I’ll take the West.

WIDE ANGLE - all the men disperse and the chosen leaders start picking the men they want in their groups.

DISSOLVE TO…

SCENE 27

INT - THE HOUSE - BEDROOM - DAY

ANGLE - start at the foot of the bed and move towards the head until we see Paris and Angelus sleeping peacefully in each other’s arms. The room is quite dark.

O.C - in the distance we can HEAR the sound of heavy machinery.

DISSOLVE TO…

SCENE 28

EXT - OLD THEATRE - DAY

ANGLE - on Polson as he checks his watch. He looks back at D-Man and the five other men he’s chosen to lead into the attack, and shakes his head.

ANGLE - DelRey is staring at his watch as his seven chosen men wait behind him.

ANGLE - Alphabet glances at his watch as he takes a stake from his rear waistband.

WIDE ANGLE - Gunn is looking to his left at Wesley and Javier who are standing about four feet from him. Wesley nods then Gunn looks back at his watch.

ANGLE - Gunn holds up his open hand. He begins counting down from five then…

TIME CUT TO…

SCENE 29

INT - OLD THEATRE - DAY

WIDE ANGLE - inside the theatre we see about fifty vampires sleeping. Some are sleeping on the faded red carpeted floor while others sleep on the stage or in the tatty red seats that had once been quite plush.

On cue, all the exit doors open simultaneously and we HEAR the sound of breaking glass. The theatre interior brightens as the sunlight is allowed in.

Some vampires are awakened by the loud noise the intruders have made. Several vampires that are sleeping near the western door are awakened by the sun hitting their combustible bodies. They burn then explode into clouds of ash and dust.

ANGLE - half a dozen of the vampire hunters starting pulling down the heavy red velvet drapes that line the walls of the building. One by one they are pulled down to allow more of the sunlight into the building. Rays of sunlight stream into the old theatre, one hitting the stage, as the vampire hunters pour into the building, their weapons at the ready.

ANGLE - several vampires on the stage burst into flames, while several others scurry away from them and the deadly sunlight.

OVERHEAD - there are about seven areas of the theatre that the vampires are doing everything in their power to avoid due to the sunlight as the vampire hunters begin to surround them. Of the original forty vampires, about ten have already burned.

WIDE ANGLE - most of the vampires have managed to find weapons varying from pipes and chairs ripped from the floor, to knives and a handgun. The vampire hunters are heavily armed with stakes and crossbows. Only Gunn has a sword capable of decapitating a vampire.

ANGLE - Polson kicks the handgun from the vampire’s hand and it skitters along the floor, resting partially under the pile of velvet at the side of the room. Both he and the vampire dive for it and miss it as it gets pushed further under the drapes. Polson reaches behind him and pulls a stake from his rear waistband. As the vampire reaches under the material, Polson gets to his knees and drives the stake into the vampire’s back. Dust settles over the red velvet.

ANGLE - DelRey ducks a lead pipe another vampire is swinging like a baseball bat. As the vampire prepares to swing the pipe again at DelRey’s head…

BACKGROUND - Wesley raises and fires the crossbow.

CLOSE UP - the bolt pierces the vampire’s back, killing him.

FOREGROUND - DelRey looks to acknowledge Wesley…

BACKGROUND - the Brit has turned away and is facing another vampire.

ANGLE - Javier quickly stakes a vampire in the heart. As the demon turns to dust, Javier is grabbed from behind by another vampire.

GUNN (O.C)
Javier! Duck!

ANGLE - Javier tucks his head in as much as the vampire will allow. Suddenly, we see a blade sever the vampire’s head then it and the body explode into dust. Javier quickly turns to look behind him. He sees Gunn standing a couple of feet from where the vampire had stood.

JAVIER
Thanks, G.

GUNN
Thank me later. There’s still
another twenty vamps to dust.

OVERHEAD - Gunn and Javier move away from each other. Gunn arcs his sword and decapitates yet another vampire. About six rows of seats away from him is Wesley who stakes a vampire from behind before he can sink his fangs into the neck of one of the vampire hunters. Before the dust has settled, Wesley moves towards the stage where two humans lay motionless.

ANGLE - above the action, a tall vampire of Latino origin is standing in one of the boxes.

CLOSER - He has prominent scars on his cheeks and chin and a large bat with red eyes tattooed in the center of his forehead. Note: he is in his human face. His arms are folded across his broad chest as he watches his brethren being killed off one by one. There is a wry smile on his face as he looks at…

ANGLE - Gunn who is fighting side by side with DelRey.

GUNN
You seen him yet?

DEL REY
Nope.

GUNN
I’m gonna be really pissed if
he ain’t here.

ANGLE - Wesley is standing between the first row of seats and the stage. He looks around at the dwindling vampire numbers (about a dozen are still fighting). About eight of the vampire hunters, including Polson and Javier, have stopped fighting due to injury, and four of them have been killed. He looks up towards the dress circle. Off to the left he see a large man standing in one of the boxes. Wesley lowers his crossbow slightly then notices the tattoo on the man’s forehead. Wesley raises the crossbow and fires but…

ANGLE - Juventud easily swats the bolt away.

ANGLE - As Wesley starts to nock another bolt into the bow…

WIDE ANGLE - Juventud swiftly steps up on to the railing then steps off.

ANGLE - Wesley is rather surprised to suddenly find himself staring up into the eyes of…

CLOSE UP - Juventud who now wears his vampire visage. He smiles then…

WIDER - knocks the crossbow out of Wesley’s hands, then in a flash takes Wesley’s head in his hands.

GUNN (O.C)
(firmly)
Let him go, Juvi.

WIDER - still with Wesley’s head in his grasp, Juventud turns around and sees Gunn standing behind him, sword hanging by his right leg.

GUNN
(more forceful)
I said let him go. You wanna
mess with anyone, you mess with me.

Juventud lets Wesley go and pushes him off camera.

JUVENTUD
(deep, raspy)
I was hoping to see you again.

GUNN
You and me both.

JUVENTUD
It’s been a while.

GUNN
Three years last month.
Where you been?

JUVENTUD
South of the border.

GUNN
And you’re back in Tinseltown
because…

JUVENTUD
I heard you were still fighting the evil.

GUNN
You heard right.

JUVENTUD
I see that.

ANGLE - Juventud looks around.

PAN - we see that all but three vampires remain.

JUVENTUD
Daylight attack…
(looks back at Gunn)
…smart. Your idea?

GUNN
Yeah.

ANGLE - on Wesley as he looks down at the ground.

WESLEY’S POV - he sees a bolt that has come away from his crossbow.

GUNN
(continues)
So you came back here to, what,
kill me?

JUVENTUD
After the maiming and torturing, yeah.
A couple of days of that and you’ll
be begging me to kill you.

GUNN
You drawing out the whole killing
process now, huh?

JUVENTUD
It makes the blood taste a whole
lot sweeter.

GUNN
Did it make Carlos’ blood sweeter?

JUVENTUD
It did but it could have been sweeter.
Twelve hours of scaring the kid just
wasn’t enough.

GUNN
Plus, I guess, you gotta take into
account that he was family.

ANGLE - Wesley, who is silently reaching for the stray bolt looks up in surprise that Juventud killed a family member.

JUVENTUD
The fact that he was my brother
was a bonus.

GUNN
And my best friend.
Was it worth it?

ANGLE - Juventud smiles.

JUVENTUD
More than you could ever possibly know.

ANGLE - Wesley touches the bolt and picks it up. He straightens and steps towards Juventud, the bolt gripped in his fist, ready to strike.

WIDER - Juventud hears Wesley and whirls around to face him. He grabs Wesley’s wrist and stops the bolt about a foot from his chest. Wesley grimaces in pain and is forced to drop the bolt.

BACKGROUND - Gunn ceases the small window of opportunity and raises the sword. He arcs it from left to right, and slices through Juventud’s neck just as he’s looking over his shoulder.

ANGLE - Juventud’s head doesn’t even hit the ground before it turns to dust along with the body.

GUNN
(low)
Actually, I know more than you think.

ANGLE - Wesley is gripping his sore wrist when he steps up to Gunn and looks at him silently.

DISSOLVE TO…

SCENE 30

INT / EXT - THE HOUSE - DAY

ANGLE - Paris and Angelus are still asleep in bed.

O.C. we can HEAR the distinct sound of an engine revving outside. Suddenly…

ANGLE - a wrecking ball comes crashing through the front of the house.

ANGLE - Paris and Angelus are awake in a flash and scurrying out of bed.

ANGLE - As part of the roof is ripped away…

ANGLE - sunlight brightens the bedroom, forcing the two vampires to the shadows on opposite sides of the room. Paris is standing nearest the door.

PARIS
(angrily)
What the hell is going on?

ANGELUS
Holland’s axe in the form of a
wrecking ball.

ANGLE - as the wrecking ball swings back towards the front of the house…

ANGLE - Angelus edges his way along the wall to the chair his clothes are. He picks up a long sleeved white shirt and tosses it across the room to Paris. He then picks up a pair of black leather pants and quickly pulls them on.

ANGLE - Paris takes two long dusters off the back of the door and tosses one to Angelus. As he puts the coat on…

ANGELUS
Get a couple of blankets.

ANGLE - Paris reaches into the closet and takes two blankets off the top shelf. She tosses one to her husband then quickly unfolds hers.

WIDE - with the blanket draped over him, Angelus moves towards the door just as the wrecking ball crashes through the bedroom wall. The heavy lead ball narrowly misses Angelus but Paris isn’t so lucky. A piece of the timber door frame sheers off and darts towards Paris.

CLOSE UP - the wood pierces the left side of her neck as dust envelopes her.

PARIS
(pained)
Ugh!

Paris pulls the wood from her neck and throws it to the ground.

PARIS
That hurt.

ANGELUS
Not as much as that sunlight will if
we don’t get out of here.

PARIS
We can’t get to the car without avoiding
the sun.

ANGELUS
You have a good couple of seconds
before burning to a cinder.
It’s enough time. Trust me.

ANGLE - draping the blanket over his shoulder, Angelus starts to clamber over the four-foot high pile of rubble that is blocking the doorway. Paris does the same and follows Angelus out to the hallway.

HALLWAY ANGLE - Angelus suddenly appears at the back door then so does Paris.

POV - they look outside at the brightness.

PARIS
(sarcastically)
Trust it to be a clear day.

ANGELUS
Let’s go.

INT - GARAGE - outside of the garage we can HEAR the revving of the machinery operating the wrecking ball.

CONSTRUCTION MAN (O.C)
Two more should do it!

Off Paris and Angelus as they take the blankets from their shoulders.

BLACK OUT

SCENE 31

EXT - THE HOUSE - DAY

ANGLE - on the back door of the garage as it flies open. Angelus and Paris rush in, smoke penetrating through the blankets they have draped over their heads and bodies. Paris moves around to the passenger door while Angelus takes the garage door remote from his coat pocket and gets in behind the wheel. Paris climbs into the back seat and rummages around for something.

ANGELUS
Hurry up. That ball’s coming again.

PARIS
Here.

Paris hands Angelus a long piece of cardboard (perhaps from a refrigerator box). Angelus places it up against the inside of the windshield. We now see that a long narrow slit has been cut out of the board and the word ‘FRONT’ and an upwards pointing arrow are drawn on it. Once the cardboard shield is in place, Paris hands Angelus a smaller piece of board that he places in the driver’s window. It, too, has an upwards pointing arrow and the letter ‘D’. Paris quickly blocks up the back window as Angelus uses the remote to open the garage door. Paris climbs over the seat as Angelus starts the car and throws it in reverse. As Paris covers up the passenger side window, she notices something in the side mirror.

PARIS
(warns)
There’s an RV blocking the drive!!

EXT - OVERHEAD - Angelus reverses quickly out of the garage and once clear, turns the wheel sharply so the car ends up in the garden. He throws the car in gear then floors it through the neighbour’s fence and across their front lawn.

ANGLE - as the wrecking ball destroys the house, the construction men watch in amazement as the black Plymouth Belvedere speeds recklessly down the street.

CUT TO…

SCENE 32

EXT - THE OLD THEATRE - CARPARK - DAY

ANGLE - Wesley is sitting in Gunn’s pick up truck and is massaging his wrist.

ANGLE - Gunn and DelRey are standing about thirty feet from the vehicle.

DEL REY
Your boy’s pretty handy with a bow.

ANGLE - Gunn looks towards the truck for a moment then turns back to DelRey.

GUNN
Yeah, he is. He’s saved my
black ass a couple of times.

DEL REY
You work well together…kinda
like we used to.

GUNN
You can keep this crew together if you
use what’s between them ears of yours.

DEL REY
Yeah.

BACKGROUND - Javier comes running up behind DelRey and slows down enough to say…

JAVIER
Heat’s coming, Del.
(then, waves)
See ya, G.

WIDE ANGLE - Javier has run off before Gunn can respond.

BACKGROUND - more vampire hunters run by.

DEL REY
Thanks, G.

GUNN
No sweat.

ANGLE - The two men do a special ‘handshake’ thing then DelRey follows the last of his crew down the street.

ANGLE - Gunn watches them leave then a police car drives by. Gunn turns and moves towards the truck.

DISSOLVE TO…

SCENE 33

INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT

ANGLE - Cordelia is sitting on the couch eating a slice of pizza and watching reality television. She glances towards the door when she HEARS a key slide into the lock.

ANGLE - Lindsey enters the apartment and closes the door behind him. Note: his hand is in his coat pocket.

ANGLE - Cordelia uses the remote to turn off the TV and looks up at Lindsey as he moves into frame.

CORDELIA
It’s weird having someone that’s not
me using a key to open the door.

LINDSEY
It’s weird coming into an apartment
that’s not mine.

WIDER - Lindsey puts his briefcase down and as he starts to take off his coat…

CORDELIA
So, when do you get your new hand?

ANGLE - Lindsey removes his coat.

LINDSEY
I already have it.

ANGLE - Lindsey holds up his right hand and looks at it as Cordelia springs up off the couch.

CORDELIA
That isn’t possible.
(then)
Is it?

LINDSEY
There was a shaman there. I think
he hand something to do with it.

ANGLE - Cordelia looks closely at his hand and wrist.

CORDELIA
There’s no scar. Why?

LINDSEY
Did I mention the shaman?

CORDELIA
It’s like it’s been there all the time.

LINDSEY
I know.

ANGLE - Lindsey takes Cordelia’s left hand in his right then leads her back to the couch. Once seated, he looks at her, as if he wants to say something important.

CORDELIA
What’s going on?

LINDSEY
I heard people talking just before I
left the office.

CORDELIA
Talking’s a thing people have been
known to -

LINDSEY
(interrupts)
They were talking about Angelus
and Paris.

CORDELIA
Was it good talk or bad talk?

LINDSEY
It depends on how you look at it.

CLOSE UP - Cordelia hesitates for a moment then looks up at Lindsey.

CORDELIA
Are they dead?

Off Cordelia.

BLACK OUT

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