Heroes and Demons, Part 1 (airdate February 8, 2006)
Heroes and Demons
Part 1
(October 31, 2008)
Written by: Masquerade
Teaser
Previously on The Destroyer...
EXT. COUNTY GENERAL HOSPITAL - DOWNTOWN LOS ANGELES - LATE EVENING - ESTABLISHING
A gentle, upbeat piano melody plays as we DISSOLVE TO a POV LONG SHOT up a HOSPITAL CORRIDOR -
INT. WAITING ROOM
Faith and Kristin stand beside the couch. Kristin has a relieved smile. Faith clasps her shoulder with the hand of her uncasted arm, then turns and starts down the hall. Buffy is waiting for her.
CUT TO - INT. ANOTHER HOSPITAL CORRIDOR
The music picks up an urgent pace. TIGHT TWO-SHOT - Buffy and Faith are on the move.
BUFFY
We have to do this before we lose our chance.
But it's your show.
Faith throws her a distrustful glance, which Buffy catches.
BUFFY
You think I'm kidding?
She stops at an elevator and stabs the "down" button.
BUFFY
This is L.A., which means you're in charge.
But if you think I'm setting you up to fail,
(earnest beat)
remember...it's Angel.
FAITH
I know.
The elevator doors part. The Slayers enter.
INT. ELEVATOR
The elevator jerks as it starts its descent. Faith leans against the wall, hands clutching the rail behind her. Her manner is still guarded.
FAITH
So here's the plan.
She lets a moment tick by before continuing, leaving Buffy waiting.
FAITH
Vaughne and Julian are meeting us there.
They have the Amulet of Aurelius.
It's how we'll be sure where Angel is.
(Buffy nods)
We get the witches in there--
doesn't matter if they're cloaked--
they bring down any barriers to Willow's spell.
BUFFY
And if they can't, Willow can.
She's ready to go.
FAITH
(with skepticism)
Yeah, in Brazil.
BUFFY
She'll be doing distance magic regardless.
FAITH
Willow opens the portal, we get Angel out.
Then, all we gotta worry about is how
Wolfram and Hart will fight back.
BUFFY
I have that covered.
I've invited the closest thing we have
to an expert on them to come with.
As if on cue, the elevator jerks to a halt. The doors part.
EXT. HOSPITAL PARKING STRUCTURE
Buffy and Faith stride out of the elevator. Then Faith slows, frowns, and rolls her eyes away. LONG SHOT - Gunn is waiting besides Buffy's minivan. He gives Faith a puzzled look. The two women approach.
GUNN
Where's Connor?
FAITH
Probably already there.
Buffy halts beside the van, balking at her.
BUFFY
You let him go see Angel, after what happened?
GUNN
(lost)
What happened?
FAITH
(defensively)
Hey, Connor's not that guy anymore.
BUFFY
You mean, the "guy" you had to stop from killing
his own father four years ago?
FAITH
What happened today doesn't matter.
GUNN
(now concerned)
What happened today?
With an uneasy frown, Buffy veers around to the driver's side door.
BUFFY
I hope you're right.
DISSOLVE TO - EXT. SEASIDE MEDICAL COMPLEX - LATE EVENING
INT. UTILITARIAN CORRIDOR
TRACKING SHOT - Two orderlies race a gurney down the hall, coming to an abrupt halt at a closed door.
CUT TO - INT. PRIVATE ROOM
The enter and roll the gurney up to Angel's bed. The weak and charred Angel stares up at them, bewildered. He is instantly JABBED in the shoulder with a STUN GUN. He cries out and slumps, unconscious. CUT TO the cramped space beneath Angel's bed. Connor hunches on his belly there.
BLACK OUT.
END OF TEASER Opening CreditsThe theme song plays as we see images of
CONNOR REILLY walking to classes, swinging a SWORD in a street fight,
starring
Vincent Kartheiser
FAITH THE VAMPIRE SLAYER, taking aim with her CROSSBOW at a multi-armed, blade-swinging DEMON,
Eliza Dushku
and AIDEN WALSH, sitting at a TABLE with a BOOK opened in front of him.
and
Sean Maher
Act One
with special guest stars
Catalina Sandino Moreno
Sarah-Michelle Gellar
J. August Richards
David Boreanaz
Alan Tudyk
Juliette Landau
Indigo
Megalyn Echikunwoke
Rachel Leigh Cook
and
Amy Acker
INT. PRIVATE ROOM - SEASIDE MEDICAL BUILDING - CONTINUOUS
The first orderly frowns at his stun gun-wielding companion.
ORDERLY ONE
Careful with that thing.
ORDERLY TWO
(defensively)
What?
It knocks out humans; vamps, it just knocks back.
ORDERLY ONE
This one isn't exactly in top shape.
The two men gingerly lift Angel from the bed to the gurney, then guide the gurney out the door. CUT BACK TO the bed. Connor crawls out from under it.
INT. CORRIDOR
ANGLE ON the door to Angel's room. Connor glances up and down the hallway before stealthily following.
ORDERLY TWO
Where are we going?
ORDERLY ONE
The roof.
ORDERLY TWO
(surprised)
The heli-pad?
I thought they were transporting him
with some portal.
ORDERLY ONE
Can't do that.
I told you--he's too fragile.
Those portal things are like tornados.
The men wheel the gurney around a corner. Connor approaches the corner cautiously. We hear the quiet swish of elevator doors opening. Connor inches up to the corner and peers around. His POV - The orderlies roll the gurney into the elevator.
Connor dodges back around. The elevator doors shut. He turns. His attention is drawn up. The ELEVATOR INDICATOR LIGHT glows behind successive numbers as the elevator rises. Connor's eyes shift left. He bolts towards a door marked STAIRS.
INT. STAIRWELL
He races up the stairs. CUT TO the landing at the top of the stairwell. Connor cracks open the ROOF door. His POV, through the crack - A helicopter waits, blades spinning. Nearby, hair tousled by its gust, stand JASON GUELPH and AN ARMED GUARD. We hear the crystalline bong of the elevator arriving.
EXT. ROOF - LATE EVENING
Guelph and the guard approach the elevator. Their POV - The doors open to a DARK cab. The metal of the gurney glints off the exterior lights, but there is no evidence of anything else within. The guard stops Guelph with a hand and continues to the elevator, cocking his gun. Guelph's eyes widen as the guard lets out a STARTLED CRY. Grunts, crashes, and screams come out of the darkness. THE GUARD SLUMPS OUT, bloody and DEAD.
INT. STAIRWELL
Connor's eyes narrow. He eases the door shut and backs down the stairs out of sight.
EXT. ROOF
The elevator still hangs open and dark. The gurney with a comatose Angel rolls slowly out onto the roof, followed by DRUSILLA. Guelph's eyes widen. Hers are on the helicopter.
DRUSILLA
(in wonderment)
Oooh. A dragonfly, fit to swallow him whole.
Her gaze shifts to Guelph. She walks towards him.
DRUSILLA
Daddy's soul burns a hole inside him,
because you refuse to blow the candle out.
GUELPH
(backing away)
The Partners...don't want it that way.
DRUSILLA
They lay the Page of Swords beside the Fool,
and then draw Death.
Change is coming.
GUELPH
Um.... Yeah, sure.
(with a jerk, he hits the roof ledge)
S--security are on their way up.
DRUSILLA
(sing-songy)
And they'll find you down.
She VAMPS OUT and takes another step. Then, sensing something behind her, she whirls around, and -
*craaaaackle*! Connor draws the stun gun away. Drusilla crumples to the ground.
GUELPH
(with nervous laughter)
Well, look who it is.
You're pretty sneaky, aren't you, kid?
Connor DROPS HIM WITH A FIST. He stares down at Guelph.
CONNOR
Huh, Drusilla was right. You're down.
Spooky.
He leaves them lying there and heads back to the gurney.
CUT TO - INT. HELICOPTER - A MOMENT LATER
The engine roars. LONG REAR SHOT - Helmet headset on, the PILOT busies himself with pre-flight checks. He doesn't glance back as the side door rattles open and a gurney is lifted inside. Connor disappears just as he does. Pilot's POV - Life support equipment, a gurney containing Angel, and empty seats. Not a medical person in sight.
The pilot frowns and returns to his job.
REVERSE ANGLE - Then Drusilla slumps inside, disoriented. Connor appears and heaves her up into a seat. Her head droops down. Connor shuts the door behind them. The pilot glances back again. His POV, his passengers - Two semi-conscious vampires and a human with a GUN POINTED AT HIM.
CONNOR
Get this thing in the air.
PILOT
Who are you?
CONNOR
Doesn't matter.
The pilot stares defiantly.
PILOT
I'm not afraid of a gun. Or a vampire.
The Senior Partners will do a lot worse to me
if I don't get this guy where he's supposed to go.
Connor lifts Drusilla's head so her face is fully visible.
CONNOR
You sure about that?
Drusilla's face goes human. She stares dizzily.
DRUSILLA
Oooh. The belly of the beast.
The pilot's eyes widen with recognition. He turns forward quickly and reaches for the controls.
PILOT
Where do you want to go?
Connor smiles.
EXT. SHOT - Blades chopping the air, the helicopter RISES FROM THE PAD.
INT. HELICOPTER
Hunched slightly, Connor approaches the cockpit. He takes in the dials, switches, and LED displays, then points at the co-pilot's headgear, secured neatly in its rack.
CONNOR
What's the radio connect you to?
PILOT
Any hospital on the ground within range.
(hesitant beat)
And the office of a few selected Wolfram and Hart execs.
CONNOR
Can you reach a telephone with it?
PILOT
It's possible.
CONNOR
Great. I need to make a call.
EXT. INTERSTATE 5 - LATE EVENING
ESTABLISHING SHOT of BUFFY'S MINIVAN, racing down the freeway.
INT. CHEVY VENTURE
Gunn is hunched awkwardly in the back seat behind Buffy. Faith sits beside her, staring sullenly out the front window. If she senses Gunn's eyes on her, she gives no indication. He sighs and looks away. Just then, Faith's phone rings. She answers it.
FAITH
Hey.
(a pause; Faith grows bewildered)
Connor, whose phone is this?
CLOSE-UP of the PHONE -
CONNOR'S VOICE
You wouldn't believe me if I told you.
FAITH
Try me.
EXT. AERIAL SHOT - The helicopter swoops over a vast basin of city lights.
INT. HELICOPTER - SOMEWHERE ABOVE ORANGE COUNTY
Connor is now seated beside the pilot, wearing a headset of his own.
CONNOR
I need a place to land a helicopter.
CUT BETWEEN the helicopter and Buffy's van -
INT. VENTURE
FAITH
You need a place to what a what?
INT. HELICOPTER
CONNOR
I've got Angel!
FAITH
In a helicopter?
This gets startled looks from Buffy and Gunn.
CONNOR
A Wolfram and Hart helicopter.
(with uneasy bashfulness)
I sort of...hijacked it.
The pilot throws him a glare.
FAITH
Can't they track that?
CONNOR
Probably.
FAITH
Which means wherever you take him, they're gonna know!
CONNOR
(uneasily)
Yeah.
Faith lapses into thought.
FAITH
So...you need to head somewhere they can't touch him,
land, and get him out of there, fast.
CONNOR
Know any place like that?
FAITH
Actually, I do, hot-shot.
Connor glances towards the rear of the helicopter.
CONNOR
There'll be someone else with us, too.
CUT TO Drusilla, sitting to one side of Angel, bound to her chair by a seatbelt and anxiety.
EXT. AERIAL SHOT - The helicopter makes a turn, heading northeast.
INT. HELICOPTER
Connor pulls off the headset and, standing, returns it to its rack. Unsteadily, he moves to the rear of the helicopter and sits down on the other side of Angel's gurney. He straps himself in. His eyes settle on his father with concern.
DRUSILLA (O.S.)
I don't like it in here.
Connor glances up. Drusilla's gaze is on the wide, disorienting view out the front window. She caresses her thin shoulders with pale, bony hands.
DRUSILLA
The air, it burns.
Connor smiles wryly.
CONNOR
This isn't exactly how I pictured Angel's rescue going, either.
(he gestures at her)
I mean, I figured there'd be demons, but....
Last time there was this whole journey to hell,
and a lot of hallucinating....
It was just more--
Drusilla stares at him.
DRUSILLA
Baby brother isn't going to hell.
Hell is coming to him.
Connor returns the stare for a beat, then looks away.
EXT. MAUSOLEUM - LOS ANGELES - LATE EVENING
ESTABLISHING - A multi-winged stucco building with an arched glass roof.
INT. INTERNMENT WING
Square marble burial plots rise to a cathedral-like glass ceiling on either side of the narrow corridor. There are flowers in small bud vases scattered next to the name plates. Illyria and the scaly, bone-thin K'SHAN take it in, strolling.
ILLYRIA
(voice echoing)
What is this place?
Their footsteps echo as well.
K'SHAN
Above ground, a burial place for humans.
Deep below, the former headquarters of the Order of Marenschadt.
(beat)
No one has heard anything of them in forty years.
ILLYRIA
Demons?
K'SHAN
They were human, but they had a devotion to the Old Ones.
They performed dark rituals designed to
bring forth the Old Ones from inside themselves.
Not in a human shell, as you were brought back,
but in a more literal transformation,
which they called an "Ascension."
ILLYRIA
Did they succeed?
K'SHAN
One of them...almost did.
Seven years ago, he became the living embodiment of Olvikan.
(beat)
He was killed by the Slayer.
Illyria scoffs with disdain.
ILLYRIA
Then he was no Old One.
K'shan throws her a sideways glance.
K'SHAN
Well, that is the question, isn't it?
It's said they had a way to be certain.
An ancient ritual dating back to your era.
CUT TO a REAR TWO-SHOT. They approach a door at the end of the hall.
ILLYRIA
An ancient ritual?
The only magic I can recall which resembles that
was the Ceremony of Essence.
We used it to uncover imposters masquerading as
individuals they were not.
But I don't see how that could--
They stop at the door. Another look from K'shan.
K'SHAN
The Stone of Skol. It's said to be here.
ILLYRIA
Unlikely.
K'SHAN
If it is, that would be the proof
the Gathering requires.
He reaches for the doorknob.
CUT TO - INT. SUB-BASEMENT CHAMBER
Water-stained marble walls, a crumbling altar, and decades of dust. Scattered across the cracked stone floor are splintered chards of furniture and the paraphernalia of dark magic - broken clay pots, fallen voodoo statues, bleached human bones, and deteriorated ornamentation. K'shan takes it in with simmering anger.
K'SHAN
It's been pillaged.
He turns in place, scowling, not noticing Illyria hone in on the altar. She cuts around the debris, headed for it.
K'SHAN
My apologies, Old One.
I thought it would be here....
He finishes his turn. Illyria stands with her palm on the altar.
ILLYRIA
The Stone was here, recently.
And removed.
K'shan frowns darkly.
K'SHAN
Who would....
EXT. SLAYER COUNCIL OFFICE BUILDING ROOF - LATE EVENING
LOW AERIAL SHOT - We can hear the chopping of the helicopter blades, see the wind tossing the hair of girls standing poised on the perimeter, blinking up at beaming lights. They are armed with CROSSBOWS, STAKES, and STUN BATONS.
WIDE SIDE SHOT - The helicopter sinks to a landing in the center of the roof. Its blades slow. Rona gestures the girls on her side of the helicopter forward. A beat later, a tall red-head Slayer we've seen before does the same to the girls on the other side.
INT. HELICOPTER
Drusilla remains in her seat, huddled into herself with bewilderment. The door slides open. Climbing into greet her - ARMED SLAYERS. *Craaackle*
Connor opens the door on the other side. He shifts Angel's gurney around and lowers it with the help of the Slayers there, then hops down beside it.
EXT. ROOF
Kristin and a petite blond Slayer come around the front of the helicopter, holding a now-unconscious Drusilla by her armpits and booted feet. Rona lets them proceed and approaches Connor with a skeptical look. His answering scowl is defensive.
CONNOR
She was at that medical complex.
I couldn't just leave her there.
RONA
No, you could have killed her.
CONNOR
(with determination)
Believe me, I will.
But she knows things. About the Senior Partners;
about what they want from Angel.
(his eyes dip off her continued skepticism)
Did you do get things ready?
RONA
Yeah. Called in a favor.
ANGEL (O.S.)
(weakly)
Connor?
Connor turns around. Angel blinks up at him from the gurney.
ANGEL
What's going on?
Connor sets a hand on his father's shoulder.
CONNOR
You're safe, Dad. Lie still.
CUT TO - INT. HELICOPTER
Rona climbs inside. Her POV - The pilot eyes her from the cockpit warily.
PILOT
What are you gonna do?
Rona pulls a LUMINESCENT GREEN STONE from her pants pocket.
RONA
This.
She enters the cockpit and holds it briefly up to the panel. It SHOOTS OUT arcs of MYSTICAL ENERGY. The pilot raises a protective arm.
PILOT
Hey!
RONA
It's a cloaking charm.
Rona fishes in her pocket again and pulls out a piece of paper. She hands it to him.
RONA
If you wanna live, fly to this location.
You'll find a truck waiting there.
The driver'll take you to a place you can disappear.
The pilot glances at the piece of paper, his expression anxious. Then he reaches for the helicopter controls, nodding.
PILOT
Okay.
INT. HALLWAY - SLAYER COUNCIL SUITE
Connor wheels Angel's gurney up to the SWIRLING THRESHOLD of the library pocket dimension and halts. Rona appears beside him with a pair of Slayers, who are holding blue mats from the training room. The scholar NIGEL emerges from the library, holding a book.
CONNOR
(to Nigel)
Faith told you about the portal turbulence thing?
NIGEL
She did.
He turns to face the threshold, opens the book, and raises it up where he can read it.
NIGEL
Patefacio porta, ut...tutus trans...eat ille.
The barrier calms and parts, revealing the featureless white room within. The scholars Rachel and Ferrar are standing at the table, gathering up books and papers. Nigel closes the book and rejoins them. Connor pushes Angel's gurney through the doorway. Rona and the two Slayers follow. The portal closes up behind them.
INT. LIBRARY
The scholars step away from the table.
RONA
Okay, mats first.
The Slayers lay the mats out on the tabletop. Rona and Connor lift Angel by the gurney mattress and lower him onto the table. Connor adjusts the single sheet that covers Angel's body. Angel's eyes blink open. He winces around.
ANGEL
This...this is....
RONA
You're in the Slayer Council library.
Buffy's on her way.
She's going to take you somewhere you can heal.
ANGEL
...Buffy's here?
The scholars stand beside the bookcase near the threshold. Ferrar's expression is cool. He turns and leaves. Nigel and Rachel follow.
INT. TRAINING ROOM
The tall, red-haired Slayer opens the door of a ten-foot by ten-foot STEEL CAGE which has been secured to the floor in a far corner of the room. Kristin and the blond Slayer, Deb, cross the room, carrying Drusilla. They walk her into the cage, lay her down on the floor, and exit. Rachel and Nigel enter the room, looking on.
RACHEL
Hard to imagine she's the fiend we've heard so much about.
She looks so sweet.
The red-haired Slayer throws Drusilla a scoff.
MARY
I've heard of her, too.
Little kids, Slayers....
What she is is a vicious, twisted killer.
She SLAMS the cage door shut. CLOSE-UP on Drusilla as we DISSOLVE TO -
EXT. ARCHED STONE BRIDGE - ROME - NIGHT (FLASHBACK)
SUPER LEGEND:
Rome, 1861
A bell tolls steadily across the Tiber as DARLA and DRUSILLA cross the bridge dressed in elegant gowns. A horse-drawn carriage clatters by. It comes to a halt in a wide, torch-lit piazza. A well-dressed family steps down, joining a throng of others headed for a CATHEDRAL carved in stone and marble. Its doors hang open. A priest in elegant attire stands on the staircase, greeting parishioners.
Drusilla comes to a halt.
DRUSILLA
Oooh, look at all the people....
It's time for Mass.
She starts towards the cathedral. Darla rolls her eyes with taxed impatience.
DARLA
We can eat later, Dru. Let's not keep him waiting.
Drusilla stops, but doesn't turn back. Impatiently, Darla strides towards her and grabs her by the arm. She yanks her across the piazza, dodging the curious onlookers in their path.
DRUSILLA
(stumbling after her)
But Father...expects us at Mass...every Sunday.
DARLA
Your father's dead, Dru.
I don't think he cares now whether you go to church or not.
Darla releases her as they clear the crowd. Drusilla moons back over her shoulder, her pace slowing to a stroll, losing pace with the bustling Darla.
DRUSILLA
God is watching me.
Darla approaches a broad flight of descending steps and starts down them.
DARLA
Drusilla!
CUT TO - INT. UNDERGROUND CATACOMBS
Torches flicker on limestone walls. Box-like openings have been carved into them for the disposal of bodies turned to dust millennia ago. The women pass through the narrow tunnel, then through an arched passageway into a LARGE, CRUMBLING-STONE CHAMBER fussed up with candelabras, elegant draping fabrics, and jewel-encrusted vases. On an elevated stone platform is a velvet-padded chair. The silk and leather-clad MASTER lounges there. His bat-like face breaks into a grin at the site of his visitors. He holds out a hand.
THE MASTER
Darla. It's been years.
His vampire courtiers look on as Darla crosses the stone floor. Drusilla trails behind for a few steps, then slows and circles, taking in the room.
DARLA
Nearly twenty.
She takes her sire's hand and kisses his ring briefly.
DARLA
I've been traveling.
The Master knits his fingers together in his lap.
THE MASTER
So I've heard.
Angelus has gained himself quite a reputation
in the past century.
I can see you weren't wrong about him.
DARLA
Of course I wasn't.
Drusilla wanders, exploring. Darla glances back at her with something close to embarrassment.
THE MASTER
(musing)
I want a devil like him to sit on my right hand,
come the day.
His name alone will strike terror in people's hearts.
DRUSILLA
(murmuring)
Even the stars tremble.
Darla regards the Master with matter-of-fact resignation.
DARLA
That might take a little coaxing.
Angelus sits on no one's right hand.
(then, in a murmur)
Certainly not mine.
CUT BACK TO Drusilla, still with the exploring, then -
THE MASTER, observing her.
THE MASTER
And who do we have here?
Darla turns, her voice taking on a snappish, impatient tone -
DARLA
Dru.
(weary beat)
Drusilla. Pay attention.
Drusilla turns. She gives Darla a child-like sulk.
DRUSILLA
I'm hungry.
DARLA
I told you we'd eat later, Dru.
THE MASTER
Nonsense. Where are my manners?
He snaps his fingers at one of his courtiers, who nods and retreats. Darla gestures behind herself.
DARLA
This...is Angelus' progeny.
(a weary sigh)
The latest, anyway.
Then, recovering her supreme self-possession -
DARLA
She was on the verge of becoming a nun
when he saved her from that fate.
The Master pays Darla's embarrassment no mind and takes in Drusilla.
THE MASTER
Come here, child.
Drusilla eyes the powerful Gothic dandy with dark scrutiny.
DRUSILLA
You are not the hunter.
You are the lamb.
The Master looks taken aback for a moment. Then, with aplomb -
THE MASTER
We are the wolves, child.
We stalk the shadows, our eyes piercing the darkness.
This pleases Dru. She finally approaches.
DRUSILLA
Like needles.
The Master welcomes her with an outstretched hand. Drusilla returns the gesture. Their TOUCH sends Drusilla into a brief swoon. Just then, the vampire courtier returns, holding the hand of a ringlet-haired girl of five. Slowly, Drusilla opens her eyes and hones in on the child with eerie fascination. In a heartbeat, she is ON THE FLOOR BESIDE HER, a DEMON. The girl screams. Drusilla feasts heartily at her neck.
The Master smiles broadly.
THE MASTER
Oh, she is wicked, this one.
Darla looks unimpressed.
THE MASTER
I see her surpassing even your deeds, Darla.
Darla lets out a skeptical harrumph.
DARLA
She won't live that long.
But the Master only has eyes for his new daughter. Drusilla lets her hor'dourve slump to the floor. Blithely, she wipes the blood from her mouth and licks at it.
THE MASTER
She'll live long enough to see my new world.
Won't you, child?
Drusilla turns her blood-addled attention back to him.
THE MASTER
Hell on Earth. Imagine it.
(his voice rises)
When the Old Ones return....
Drusilla stands, her brief feast forgotten. The Master is in full dramatic flair. He sweeps his arm broadly.
THE MASTER
...They will lay waste to world above!
(he shakes a fist high)
It is our destiny to usher in that Armageddon!
(he looks Drusilla in the eye)
Men will tremble and hide like rats,
ripe for the picking.
Drusilla raises her chin, her voice filled with pleasure.
DRUSILLA
We'll be angels...
of death.
CUT TO Darla looking on, her expression enigmatic.
The Master gestures at the other vampires in the chamber.
THE MASTER
We are the elect, the Order of Aurelius.
Drusilla turns, taking in the room with new eyes.
THE MASTER
And you are one of us.
There is an expectant hush in the chamber. All eyes are on Drusilla. Finally -
DRUSILLA
My mummy told me if I was good I'd go to heaven.
(a dark pause; she smirks)
But hell is so much better.
She wanders off across the room in a sashaying dance. Darla takes her place at the Master's side.
THE MASTER
(voice lowered, dead-pan)
She's a few eggs shy of a dozen, isn't she?
Darla shrugs jadedly.
BLACK OUT.
END OF ACT ONE
Act Two
FADE UP TO Angel, lying on the conference table, asleep.
INT. LIBRARY - NIGHT (PRESENT DAY)
Buffy appears through the whirlpool door and is stopped short by the sight of bookshelves, file cabinets, and a table with neither walls, nor ceiling, nor floor. Connor is standing beyond the table, staring at the white nothingness through the hovering window frame. Buffy regards this curiously for a moment, then continues forward.
BUFFY
How is he?
Connor turns casually, yawning into his hand.
CONNOR
Sorry.
He's, uh...he's in and out.
Is it time?
Buffy shakes her head.
BUFFY
Not for a while.
I had to arrange transportation.
She walks around the table until she is at Angel's side, pulls out a chair, and sits. Her small hand caresses the side of his face with familiarity. Connor watches for a beat, then heads around the other side of the table.
CONNOR
Let me know when you're ready.
Buffy stops and looks after him.
BUFFY
Connor, you can stay.
Connor shakes his head, paused at the door.
CONNOR
No, he needs to rest.
I'll be around.
Buffy watches him leave, then returns her gaze to Angel. She clasps his hand with her own.
INT. TRAINING ROOM
Drusilla drifts behind steel bars, humming to herself. The mirrored wall behind her shows an empty cage and several curious Slayers peering in. A crossbow-bearing Faith enters the reflection with Rona beside her. She grips one of the bars to check its strength.
FAITH
Where'd you get it?
RONA
Our Army Special Ops friends.
Faith turns away, then saunters across the broad stretch of floor. Rona accompanies her.
FAITH
(voice low)
Probably should have just given her to them.
Rona scoffs.
RONA
(murmuring)
If you ask me, we "probably should have just" staked her.
She killed Meg and Sandy...and that Slayer before you, Kendra.
(then with weary skepticism)
But Connor thinks she "knows something."
FAITH
Even if she does, would it make any sense?
She and Rona share a knowing expression. They pause and turn their attention back to the cage.
FAITH
Might as well let her talk, though.
Maybe it'll give us a clue what she's up to.
Just then, the door opens and Vaughne enters, woven Mexican bag slung over her shoulder.
VAUGHNE
Hey.
Faith and Rona turn.
FAITH
Vaughne. Sorry for the jacked-up road trip.
Vaughne grins.
VAUGHNE
We got as far as Carlsbad.
(she gestures back out the door)
If you're ready, I'll set up in the office.
RONA
(to Faith)
Ready for what?
FAITH
Vaughne's gonna tie the suite's
protection spell to me again.
Rona gestures her on.
RONA
You're the boss.
Faith scoffs and nods towards Vaughne.
FAITH
I think she just likes to make me bleed.
Vaughne grins again and heads out of the room. Faith turns towards the team of Slayers. Her POV - Weapons low, curiosity high. We see Kristin, the blond Slayer Deb, and the red-haired Mary among them. Faith saunters over.
FAITH
Listen up, guys.
Now they look nervous, but earnest. Faith pulls them aside, speaking softly.
FAITH
This job's about keeping people out, got it?
(the Slayers nod)
When you're on guard, don't make eye contact with Drusilla,
don't talk to her, don't let her talk to you.
And stay at least five feet away from the cage.
EXT. AERIAL SHOT - SANTA MONICA - NIGHT
ESTABLISHING - The up-scale WHITE HIGH-RISE glows against the black Pacific.
WOMAN (O.S.)
We're not remotely prepared for this.
INT. PENTHOUSE APARTMENT
WIDE SHOT - Scattered throughout the expensively-furnished room are the half-dozen odd MEN AND WOMEN we've seen previously--among them, the WOMAN with the florescent red hair and dark sunglasses, pacing with agitation; the greasy-haired sorcerer with black onyx jewel set in his forehead; and the bald, suited man.
BALD SUITED MAN
"This" is what we formed this organization for!
The woman pivots on him.
WOMAN
An Old One, Reginald.
Do you have any idea what that means?
BALD SUITED MAN
I know perfectly well--
A calm voice cuts in.
MAN (O.S.)
Illyria in the here and now is weakened.
This draws their attention around. Seated in the corner is the Slayer Council scholar FERRAR. He has a heavily-scrawled-upon notebook in his hand.
FERRAR
The Slayers' database has a great deal of
information on her.
WOMAN
(with disdain)
"Her."
FERRAR
Illyria was brought forth in the body of a human,
and not a particular large human, either.
It's true that at first, she had nearly all her original power intact--
(he consults his notes)
colossal strength, the ability to alter
the time frame of objects around her,
an empathic awareness she used to manipulate
her enemies--
WOMAN
(bristling)
Would you stop calling it "her"?
It's not a person, it's a demon.
She stands glaring at him, arms crossed.
FERRAR
Fine, "it", whatever.
(annoyed beat)
As I was saying...
its power threatened to overwhelm
the human shell it was in,
so the good folks at the new Wolfram and Hart
drained off that energy before it could burst out
and destroy half the continent.
BALD SUITED MAN
Why didn't they kill it at that point?
FERRAR
Apparently, there was some disagreement about that.
The vampire wanted her killed,
but the lieutenant he put in charge of doing so,
a one...
(he runs a fingertip down his notes)
...Wesley Wyndham-Pryce believed she could
be turned into an ally.
The woman scoffs softly.
WOMAN
They were fools, the whole lot of them.
You don't make deals with demons.
And you certainly don't follow them as leaders.
The jeweled sorcerer stirs in his club chair.
JEWELED SORCERER
This is all moot.
Illyria is here, now.
We need to ally ourselves with the Slayers.
If the prophecy is true--
WOMAN
"The Slayer will drive the last demons from the Earth."
(she looks to the bald suited man)
It's what we've been working for.
The bald suited man in turn looks at Ferrar.
BALD SUITED MAN
What do you think?
You're on the inside now.
Ferrar sits forward.
FERRAR
Well, the Council scholars know about the prophecy.
You don't hear them speculate about how it might go down,
but they take prophecy pretty seriously in general.
(then he shakes his head)
But the Slayers themselves are...unreliable.
A band of disorganized, hormone-addled adolescents--
with priorities to match.
The assembled group reacts to this news with stiffening postures and restrained disappointment. Except the sunglasses woman, who guffaws with delight.
WOMAN
That's perfect.
(the others turn puzzled looks on her)
Adolescent energy can be molded. Channeled.
(to Ferrar)
Can't it?
FERRAR
(thoughtfully)
Maybe.
DISSOLVE TO a WIDE, LOW AERIAL SHOT - Rooftops and glowing windows; houses rising on a hill.
EXT. ROOF OF THE SLAYER COUNCIL BUILDING - NIGHT
Connor stares out at the view, hunched into his jacket against the whipping breeze. We hear a soft masculine chuckle behind him.
GUNN (O.S.)
You think this is cold?
Connor scuffs a foot on the tarred gravel and glances back. Gunn approaches across the roof.
GUNN
(shrugging)
Eh, what do I know, I grew up here.
Connor looks out again.
CONNOR
It never got cold where I grew up.
(beat)
The first time I got cold,
I mean, really cold,
was after Angel kicked me out of the hotel.
Another soft chuckle.
GUNN
You sort of deserved it at the time, kid.
CONNOR
Yeah.
Gunn gives him a quirky grin. He rubs at his nose with his hand absent-mindedly.
GUNN
Did you really commandeer a Wolfram and Hart helicopter?
Connor nods, glancing back. Gunn shakes his head, impressed.
GUNN
They don't lack for over-confidence.
But still, that was ballsy.
Connor grins dismissively.
CONNOR
I think I was just delirious.
I haven't slept more than an hour in the last two days.
(he finally turns, eyes downcast)
And anyway, I got the pilot killed.
Gunn shakes his head again.
GUNN
Nah.
The Council gave him asylum.
Connor's eyes rise with an uncertain expression.
CONNOR
Do they do that?
Gunn nods affirmative. Then he aims a thumb towards the stairwell door.
GUNN
C'mon, the girls want you downstairs.
He and Connor start back.
GUNN
I've been looking into the charges against you.
Gunn opens the door. The men head inside.
GUNN
And you were right.
INT. STAIRWELL
They start down the poorly-lit stairs, Gunn first.
GUNN
Someone sent the police the videotape
of that night in the sporting goods store,
and told the Registrar's office to look up your transcripts.
CONNOR
Who?
GUNN
I don't know.
But the university said it was a man's voice, anonymous.
Which I know doesn't help--
Connor scowls with frustration.
CONNOR
That tape was supposed to have been destroyed.
Gunn throws him a glance over his shoulder.
GUNN
Yeah, well, about that?
I tracked down Kate Lockley and asked her about it.
She said the tape was in a safe deposit box,
and no one could have taken it out but her.
(another frown from Connor)
'Course, she swears she didn't do it,
and didn't tell anyone where it was, not even Angel.
Connor's brows knit with realization.
CONNOR
You mean it just vanished from a locked safe?
GUNN
(nodding)
Yeah, I thought of that, too.
But we don't have any new leads on who
took the Nyazian Scroll out of the safe.
The two of them come to a halt at a door marked SECOND FLOOR. Gunn reaches for the knob.
CONNOR
I got two names for you.
They exit out into the hallway.
INT. SECOND FLOOR CORRIDOR
CONNOR
Ronald Da Silva.
He's the owner of a club called Sekhmet in Long Beach.
(Gunn nods as they walk)
And Melanie Roth. She's a professor at UCLA.
GUNN
Been doin' a little detective work yourself, huh?
CONNOR
Wouldn't you, if you were me?
GUNN
If I were you,
I'd have busted somebody's chops before now.
INT. SUITE HALLWAY - A MOMENT LATER
FAITH
She not going to just talk to us, Connor.
GROUP SHOT - Connor is standing just off the front foyer with Gunn. Faith and Buffy are opposite them in the hallway. Gunn manages to catch Faith's eye, but only for a beat before she looks away. It brings a fresh frown to his face.
CONNOR
I know, making sense of anything she says is--
BUFFY
No, what Faith means is, she's going to need convincing.
GUNN
(curiously)
Like what?
CUT TO - INT. TRAINING ROOM
Drusilla's POV - Steel bars and a circle of expressionless Slayers with crossbows low but at the ready. Buffy stands behind them near the door. Gunn and Connor are seated on the weight benches in the corner, keeping their distance. This is the Slayers' show.
REVERSE ANGLE - Drusilla faces off with them.
Faith strolls forward, clutching her crossbow.
FAITH
So this is the deal.
You answer some questions, we tell Spike you're here.
The name strikes a melancholy place in Drusilla.
DRUSILLA
Spike.
FAITH
He's a sentimental kind of guy.
I'm betting he'll try to convince me
not to kill you.
Drusilla looks down and away.
DRUSILLA
My Spike always leads with his heart.
BRIEF CUT to Buffy, looking on. Faith waits a few beats, letting Drusilla pace.
FAITH
So what's it going to be?
'Cause I got a room full of girls here
just itching to dust a Slayer-killer.
Drusilla continues pacing, staring at the ground as if finding something fascinating there.
FAITH
Why don't you start with why you're after Tammy Pitts.
CLOSE-UP on Drusilla's beautiful, downcast face.
DRUSILLA
They need her.
She's the voice. Without her, they're mute.
FAITH
The Senior Partners need her, you mean.
Rona looks bursting with frustration.
RONA
(challenging)
I don't get it. Why would you even care?
Drusilla smiles faintly. Her dark eyes turn on the Slayers. As she speaks, her gaze glides over them, causing each to look away in turn.
DRUSILLA
Tonight, the king rises.
PANNING - Rona and the young blonde, then Kristin, and finally the red-haired Mary. Mary's hands tighten on her crossbow reflexively, drawing a reprimanding glance from Faith.
DRUSILLA
Then everything will tip, like a teeter-totter.
(she demonstrates with long fingers)
Rocket charges fall like shooting stars.
(she looks up as if they are falling now)
Pretty.
FAITH
Who's the "king"?
Drusilla walks with liquid grace towards the bars of the cage.
DRUSILLA
That's why they scrabble and scurry, all a'fright.
Now all the Slayers go on guard. Drusilla gives the jumpy Mary another lingering look.
DRUSILLA
The grown-ups are coming to scold them.
(a mischievous smile)
They've been very naughty.
Buffy tosses back her hair and starts forward.
BUFFY
The Senior Partners.
That's who's "scurrying," isn't it?
The newbies glance back, then part like the Red Sea.
BUFFY
Someone who scares the Senior Partners.
Drusilla regards her with contempt.
DRUSILLA
You.
You took my Spike from me, piece by piece.
Chopped him into messes.
BUFFY
That was his choice.
DRUSILLA
Blood runs deeper. It calls to him.
(ominous beat)
He'll betray you.
Buffy's unflappable demeanor doesn't slip.
BUFFY
Spike and I aren't together like that.
DRUSILLA
He's not one of your soldiers?
BUFFY
He fights for his own reasons.
Drusilla turns away from her steely gaze. The melancholy returns.
DRUSILLA
...All my boys are your soldiers. Conscripted.
She stares into space for a beat, then turns suddenly on - Connor.
DRUSILLA
This one doesn't want to be.
But he fears what would happen if he wasn't.
Connor's defensive look twists into a scowl.
CONNOR
I'm not your "boy."
Drusilla wraps her red-nailed fingers around a bar of her cage. Her eyes bore into his.
DRUSILLA
Your blood whispers where you belong, uncle--
(she tilts her ear towards waggling fingertips)
Shwir...swishriwi...sishriwisir...shwisr.
(beat; she lowers her hand)
Hell is coming to town,
and you'll want your family close.
With another scowl, Connor rises and strides out of the room. Faith watches him go, then turns on Drusilla.
FAITH
Now for the bonus question.
(Drusilla looks at her)
Why do you care?
You were once in league with the Senior Partners.
Now you're buds with their...what, their enemies?
DRUSILLA
Where's my Angel? Bring him to me.
Faith waits, but Drusilla says nothing more. When no one responds to her request, either, Drusilla turns away. ANGLE ON the mirror behind her. All we see is a small crowd of young Slayers, looking to their leaders. Buffy turns to go.
FAITH
Whoever has the next guard shift, report to Rona.
The rest of you can go home.
Faith follows.
INT. HALLWAY
LONG SHOT - Buffy heads around the corner and into the office. Faith strides after her, followed by Gunn. He picks up his pace just before she reaches the turn in the corridor.
GUNN
Yo, Faith, wait.
Faith stops and circles around, her dead-pan expression not particularly inviting.
FAITH
What?
Gunn's answering look is bewildered.
GUNN
This cold shoulder thing? Ain't your style.
If you want me, you want me,
if you don't, you don't.
What's this about?
A wry smile from Faith. Her eyes narrow.
FAITH
Oh, I bet you'd just love to keep sticking it to me.
Gunn looks even more bewildered.
FAITH
What? I'm just supposed to lie back and take it
when you find some new way to let the Council screw me?
CUT TO the end of the hall. Rona exits the training room and starts towards Gunn and Faith, then hesitates when she sees them talking.
GUNN
(still confused)
Are you talking about me inviting Giles to town?
(exasperated beat)
Look, Buffy called me at four a.m. this morning...
yesterday morning...whenever the hell it was.
I didn't think you'd want to be up that early.
FAITH
The mission was to rescue Angel!
GUNN
We weren't leaving right away!
FAITH
No, but you were coming up with the plan.
Gunn raises defensive hands.
GUNN
All right, all right, fine, I screwed up.
Next time I'll haul you out of bed.
(then, irritably)
Just don't give me shit about it.
Faith shrugs noncommittally. Gunn lowers his hands, relaxing.
GUNN
So are we good?
FAITH
You mean, are we still screwing?
I am, if you are.
And with that, she turns and heads towards the office, leaving the still slightly bewildered Gunn with mouth hanging open.
CUT BACK TO Rona. She starts up the hall again. Several Slayers exit the training room after her. Mary is all scowls.
MARY
Well, that was useful.
Deb finishes her thought.
DEB
Not.
The exchange turns Rona back around.
RONA
Hey.
The two Slayers look up, then at each other, with chagrin. Behind them, other Slayers are returning their crossbows to the weapons locker. QUICK-CUT TO - The suite door opens. Ferrar enters. His POV - Rona passes down the cross-secting main hallway.
RONA
(to Mary and Deb)
Buffy and Faith are in charge here.
They've been slaying for a long time.
Last time I checked, you were new at this.
The other girls pause to take in the drama. Kristin is among them. Mary tucks her crossbow close to her side.
MARY
Yeah, maybe they've been at it too long.
QUICK-CUT TO - Ferrar stays put in the foyer.
Rona scoffs. Mary backs down defensively.
MARY
I'm just saying--
Buffy's slept with two vampires,
and Faith's, like, buds with them.
DEB
I heard Faith slept with Spike, too.
Mary rolls her eyes. Kristin drifts up behind Mary and Deb.
RONA
Guys, it was Connor who thought we'd get
something out of Drusilla.
MARY
'Cause he's objective.
His parents are vampires!
KRISTIN
(speaking up)
So what are you saying, Mary?
Mary gives Kristin a quick glance as she enters the circle, then turns back.
MARY
Rona, if this Spike guy shows up,
what do you think will happen to Drusilla?
RONA
(shrugging)
I don't know.
KRISTIN
Maybe he'll just ask Willow to give Drusilla
her soul back.
Mary balks, aghast.
MARY
You say that like it's a good thing!
Kristin looks uncertain. It isn't?
MARY
So we give Drusilla a "get out jail free card"
just because she's the "friend of a friend"?
KRISTIN
No.
(defensive beat)
But she was just a girl once, like us.
Then a vampire got her.
(she throws out a hand towards the library)
Now we're trying to save that vampire's life.
Why's Drusilla any different?
Mary shakes her head adamantly.
MARY
We kill monsters every night who used to
be innocent victims.
So they deserve to die and Drusilla doesn't
just 'cause we know her?
She glances around for support from the others, but gets mostly uncomfortable hesitation, even from Rona.
MARY
Look...all I'm saying is we do our job.
Let's not wait for a vampire to show up
and decide what's going to happen to another vampire.
Rona looks torn. Then, lowering her voice -
RONA
Listen, Mary--for all we know, that was a bluff.
There's no one here who'd think twice
about killing Drusilla if keeping her alive didn't get us something--
not Faith, not Buffy, and not Connor.
(firm beat)
Don't do anything stupid.
It's not our call.
Rona pivots and heads towards the office, leaving the Slayers to stare at one another. A girl with pinned, braided hair steps closer to Mary.
BETSY
Mary, if you were gonna do it, how would you do it?
Mary sighs and throws up her free hand.
MARY
I guess I'm not gonna do it.
(she saunters over to the still-open weapons locker)
I mean, we do want to get more
information out of her, don't we?
She puts her crossbow away.
CUT TO Ferrar. He turns in the foyer and heads out of the suite again.
INT. OFFICE
Rona enters and quietly shuts the door behind herself. Faith is leaning against the desk. She watches Rona take a chair beside Gunn.
FAITH
...It doesn't track, though.
Why's she so down on the Senior Partners?
Keeping the world a demon playground sounds
right up her alley.
Connor is slouching in the chair behind the desk, eyes at half-mast. He opens them, stretching out his back.
CONNOR
She doesn't like their plans for Angel.
She has her own plans.
GUNN
Which are what?
FAITH
(with a chuckle)
You mean besides taking Angel and Spike's souls,
bringing back Darla from the dead,
and making Connor a vampire?
Buffy is leaning against the wall closest to the library.
BUFFY
No, this seems bigger than that.
(she looks up and around)
Not that that's not, you know...big.
GUNN
(brow knit)
"Bigger"? She doesn't seem that ambitious.
I mean, the vamp plays with dolls.
BUFFY
How about the end of the world?
Gunn blinks. Buffy gestures towards the training room.
BUFFY
You heard her in there, talking about "hell coming to town."
One of the first things she did after getting her strength
back in Sunnydale was assemble the Judge--
a big, ugly demon who would have killed every
human being on the planet.
(then, murmuring)
...If I hadn't blasted him into itty bits.
(a breathy pause)
After that, she...helped bring forth Acathla.
A demon who was going to swallow the world into hell.
Rona's eyes dip pensively. The conversation continues around her.
GUNN (O.S)
So you think she's up to her old tricks?
BUFFY (O.S.)
(matter-of-factly)
I think she's more with it than people give her credit for.
FAITH (O.S.)
(musing)
How do you "swallow the world into hell"?
Rona's voice is almost a murmur.
RONA
So what do we do?
Faith's attention is drawn to her.
FAITH
(with a shrug)
Find out what she's up to.
Why she's trying to cut off the Senior Partners' communication.
GUNN
And who this "king" is.
Rona glances around at the others.
RONA
What about afterwards? Do we kill her?
GUNN
As opposed to what?
Putting her in jail?
Just then, the phone on the desk rings, snapping Connor out of a slumbery trance. Faith reaches around.
FAITH
We'll cross that bridge when we come to it.
She picks it up.
FAITH
Silver Lake Fitness.
(pause)
You are?
She glances over at Buffy -
who starts immediately for the door.
FAITH
Okay.
She hangs up.
FAITH
Angel's ride's about fifteen minutes out.
BLACK OUT.
END OF ACT TWO
Part 2 (click here)
Part 1
(October 31, 2008)
Written by: Masquerade
Teaser
Previously on The Destroyer...
EXT. COUNTY GENERAL HOSPITAL - DOWNTOWN LOS ANGELES - LATE EVENING - ESTABLISHING
A gentle, upbeat piano melody plays as we DISSOLVE TO a POV LONG SHOT up a HOSPITAL CORRIDOR -
INT. WAITING ROOM
Faith and Kristin stand beside the couch. Kristin has a relieved smile. Faith clasps her shoulder with the hand of her uncasted arm, then turns and starts down the hall. Buffy is waiting for her.
CUT TO - INT. ANOTHER HOSPITAL CORRIDOR
The music picks up an urgent pace. TIGHT TWO-SHOT - Buffy and Faith are on the move.
BUFFY
We have to do this before we lose our chance.
But it's your show.
Faith throws her a distrustful glance, which Buffy catches.
BUFFY
You think I'm kidding?
She stops at an elevator and stabs the "down" button.
BUFFY
This is L.A., which means you're in charge.
But if you think I'm setting you up to fail,
(earnest beat)
remember...it's Angel.
FAITH
I know.
The elevator doors part. The Slayers enter.
INT. ELEVATOR
The elevator jerks as it starts its descent. Faith leans against the wall, hands clutching the rail behind her. Her manner is still guarded.
FAITH
So here's the plan.
She lets a moment tick by before continuing, leaving Buffy waiting.
FAITH
Vaughne and Julian are meeting us there.
They have the Amulet of Aurelius.
It's how we'll be sure where Angel is.
(Buffy nods)
We get the witches in there--
doesn't matter if they're cloaked--
they bring down any barriers to Willow's spell.
BUFFY
And if they can't, Willow can.
She's ready to go.
FAITH
(with skepticism)
Yeah, in Brazil.
BUFFY
She'll be doing distance magic regardless.
FAITH
Willow opens the portal, we get Angel out.
Then, all we gotta worry about is how
Wolfram and Hart will fight back.
BUFFY
I have that covered.
I've invited the closest thing we have
to an expert on them to come with.
As if on cue, the elevator jerks to a halt. The doors part.
EXT. HOSPITAL PARKING STRUCTURE
Buffy and Faith stride out of the elevator. Then Faith slows, frowns, and rolls her eyes away. LONG SHOT - Gunn is waiting besides Buffy's minivan. He gives Faith a puzzled look. The two women approach.
GUNN
Where's Connor?
FAITH
Probably already there.
Buffy halts beside the van, balking at her.
BUFFY
You let him go see Angel, after what happened?
GUNN
(lost)
What happened?
FAITH
(defensively)
Hey, Connor's not that guy anymore.
BUFFY
You mean, the "guy" you had to stop from killing
his own father four years ago?
FAITH
What happened today doesn't matter.
GUNN
(now concerned)
What happened today?
With an uneasy frown, Buffy veers around to the driver's side door.
BUFFY
I hope you're right.
DISSOLVE TO - EXT. SEASIDE MEDICAL COMPLEX - LATE EVENING
INT. UTILITARIAN CORRIDOR
TRACKING SHOT - Two orderlies race a gurney down the hall, coming to an abrupt halt at a closed door.
CUT TO - INT. PRIVATE ROOM
The enter and roll the gurney up to Angel's bed. The weak and charred Angel stares up at them, bewildered. He is instantly JABBED in the shoulder with a STUN GUN. He cries out and slumps, unconscious. CUT TO the cramped space beneath Angel's bed. Connor hunches on his belly there.
BLACK OUT.
END OF TEASER Opening CreditsThe theme song plays as we see images of
CONNOR REILLY walking to classes, swinging a SWORD in a street fight,
starring
Vincent Kartheiser
FAITH THE VAMPIRE SLAYER, taking aim with her CROSSBOW at a multi-armed, blade-swinging DEMON,
Eliza Dushku
and AIDEN WALSH, sitting at a TABLE with a BOOK opened in front of him.
and
Sean Maher
Act One
with special guest stars
Catalina Sandino Moreno
Sarah-Michelle Gellar
J. August Richards
David Boreanaz
Alan Tudyk
Juliette Landau
Indigo
Megalyn Echikunwoke
Rachel Leigh Cook
and
Amy Acker
INT. PRIVATE ROOM - SEASIDE MEDICAL BUILDING - CONTINUOUS
The first orderly frowns at his stun gun-wielding companion.
ORDERLY ONE
Careful with that thing.
ORDERLY TWO
(defensively)
What?
It knocks out humans; vamps, it just knocks back.
ORDERLY ONE
This one isn't exactly in top shape.
The two men gingerly lift Angel from the bed to the gurney, then guide the gurney out the door. CUT BACK TO the bed. Connor crawls out from under it.
INT. CORRIDOR
ANGLE ON the door to Angel's room. Connor glances up and down the hallway before stealthily following.
ORDERLY TWO
Where are we going?
ORDERLY ONE
The roof.
ORDERLY TWO
(surprised)
The heli-pad?
I thought they were transporting him
with some portal.
ORDERLY ONE
Can't do that.
I told you--he's too fragile.
Those portal things are like tornados.
The men wheel the gurney around a corner. Connor approaches the corner cautiously. We hear the quiet swish of elevator doors opening. Connor inches up to the corner and peers around. His POV - The orderlies roll the gurney into the elevator.
Connor dodges back around. The elevator doors shut. He turns. His attention is drawn up. The ELEVATOR INDICATOR LIGHT glows behind successive numbers as the elevator rises. Connor's eyes shift left. He bolts towards a door marked STAIRS.
INT. STAIRWELL
He races up the stairs. CUT TO the landing at the top of the stairwell. Connor cracks open the ROOF door. His POV, through the crack - A helicopter waits, blades spinning. Nearby, hair tousled by its gust, stand JASON GUELPH and AN ARMED GUARD. We hear the crystalline bong of the elevator arriving.
EXT. ROOF - LATE EVENING
Guelph and the guard approach the elevator. Their POV - The doors open to a DARK cab. The metal of the gurney glints off the exterior lights, but there is no evidence of anything else within. The guard stops Guelph with a hand and continues to the elevator, cocking his gun. Guelph's eyes widen as the guard lets out a STARTLED CRY. Grunts, crashes, and screams come out of the darkness. THE GUARD SLUMPS OUT, bloody and DEAD.
INT. STAIRWELL
Connor's eyes narrow. He eases the door shut and backs down the stairs out of sight.
EXT. ROOF
The elevator still hangs open and dark. The gurney with a comatose Angel rolls slowly out onto the roof, followed by DRUSILLA. Guelph's eyes widen. Hers are on the helicopter.
DRUSILLA
(in wonderment)
Oooh. A dragonfly, fit to swallow him whole.
Her gaze shifts to Guelph. She walks towards him.
DRUSILLA
Daddy's soul burns a hole inside him,
because you refuse to blow the candle out.
GUELPH
(backing away)
The Partners...don't want it that way.
DRUSILLA
They lay the Page of Swords beside the Fool,
and then draw Death.
Change is coming.
GUELPH
Um.... Yeah, sure.
(with a jerk, he hits the roof ledge)
S--security are on their way up.
DRUSILLA
(sing-songy)
And they'll find you down.
She VAMPS OUT and takes another step. Then, sensing something behind her, she whirls around, and -
*craaaaackle*! Connor draws the stun gun away. Drusilla crumples to the ground.
GUELPH
(with nervous laughter)
Well, look who it is.
You're pretty sneaky, aren't you, kid?
Connor DROPS HIM WITH A FIST. He stares down at Guelph.
CONNOR
Huh, Drusilla was right. You're down.
Spooky.
He leaves them lying there and heads back to the gurney.
CUT TO - INT. HELICOPTER - A MOMENT LATER
The engine roars. LONG REAR SHOT - Helmet headset on, the PILOT busies himself with pre-flight checks. He doesn't glance back as the side door rattles open and a gurney is lifted inside. Connor disappears just as he does. Pilot's POV - Life support equipment, a gurney containing Angel, and empty seats. Not a medical person in sight.
The pilot frowns and returns to his job.
REVERSE ANGLE - Then Drusilla slumps inside, disoriented. Connor appears and heaves her up into a seat. Her head droops down. Connor shuts the door behind them. The pilot glances back again. His POV, his passengers - Two semi-conscious vampires and a human with a GUN POINTED AT HIM.
CONNOR
Get this thing in the air.
PILOT
Who are you?
CONNOR
Doesn't matter.
The pilot stares defiantly.
PILOT
I'm not afraid of a gun. Or a vampire.
The Senior Partners will do a lot worse to me
if I don't get this guy where he's supposed to go.
Connor lifts Drusilla's head so her face is fully visible.
CONNOR
You sure about that?
Drusilla's face goes human. She stares dizzily.
DRUSILLA
Oooh. The belly of the beast.
The pilot's eyes widen with recognition. He turns forward quickly and reaches for the controls.
PILOT
Where do you want to go?
Connor smiles.
EXT. SHOT - Blades chopping the air, the helicopter RISES FROM THE PAD.
INT. HELICOPTER
Hunched slightly, Connor approaches the cockpit. He takes in the dials, switches, and LED displays, then points at the co-pilot's headgear, secured neatly in its rack.
CONNOR
What's the radio connect you to?
PILOT
Any hospital on the ground within range.
(hesitant beat)
And the office of a few selected Wolfram and Hart execs.
CONNOR
Can you reach a telephone with it?
PILOT
It's possible.
CONNOR
Great. I need to make a call.
EXT. INTERSTATE 5 - LATE EVENING
ESTABLISHING SHOT of BUFFY'S MINIVAN, racing down the freeway.
INT. CHEVY VENTURE
Gunn is hunched awkwardly in the back seat behind Buffy. Faith sits beside her, staring sullenly out the front window. If she senses Gunn's eyes on her, she gives no indication. He sighs and looks away. Just then, Faith's phone rings. She answers it.
FAITH
Hey.
(a pause; Faith grows bewildered)
Connor, whose phone is this?
CLOSE-UP of the PHONE -
CONNOR'S VOICE
You wouldn't believe me if I told you.
FAITH
Try me.
EXT. AERIAL SHOT - The helicopter swoops over a vast basin of city lights.
INT. HELICOPTER - SOMEWHERE ABOVE ORANGE COUNTY
Connor is now seated beside the pilot, wearing a headset of his own.
CONNOR
I need a place to land a helicopter.
CUT BETWEEN the helicopter and Buffy's van -
INT. VENTURE
FAITH
You need a place to what a what?
INT. HELICOPTER
CONNOR
I've got Angel!
FAITH
In a helicopter?
This gets startled looks from Buffy and Gunn.
CONNOR
A Wolfram and Hart helicopter.
(with uneasy bashfulness)
I sort of...hijacked it.
The pilot throws him a glare.
FAITH
Can't they track that?
CONNOR
Probably.
FAITH
Which means wherever you take him, they're gonna know!
CONNOR
(uneasily)
Yeah.
Faith lapses into thought.
FAITH
So...you need to head somewhere they can't touch him,
land, and get him out of there, fast.
CONNOR
Know any place like that?
FAITH
Actually, I do, hot-shot.
Connor glances towards the rear of the helicopter.
CONNOR
There'll be someone else with us, too.
CUT TO Drusilla, sitting to one side of Angel, bound to her chair by a seatbelt and anxiety.
EXT. AERIAL SHOT - The helicopter makes a turn, heading northeast.
INT. HELICOPTER
Connor pulls off the headset and, standing, returns it to its rack. Unsteadily, he moves to the rear of the helicopter and sits down on the other side of Angel's gurney. He straps himself in. His eyes settle on his father with concern.
DRUSILLA (O.S.)
I don't like it in here.
Connor glances up. Drusilla's gaze is on the wide, disorienting view out the front window. She caresses her thin shoulders with pale, bony hands.
DRUSILLA
The air, it burns.
Connor smiles wryly.
CONNOR
This isn't exactly how I pictured Angel's rescue going, either.
(he gestures at her)
I mean, I figured there'd be demons, but....
Last time there was this whole journey to hell,
and a lot of hallucinating....
It was just more--
Drusilla stares at him.
DRUSILLA
Baby brother isn't going to hell.
Hell is coming to him.
Connor returns the stare for a beat, then looks away.
EXT. MAUSOLEUM - LOS ANGELES - LATE EVENING
ESTABLISHING - A multi-winged stucco building with an arched glass roof.
INT. INTERNMENT WING
Square marble burial plots rise to a cathedral-like glass ceiling on either side of the narrow corridor. There are flowers in small bud vases scattered next to the name plates. Illyria and the scaly, bone-thin K'SHAN take it in, strolling.
ILLYRIA
(voice echoing)
What is this place?
Their footsteps echo as well.
K'SHAN
Above ground, a burial place for humans.
Deep below, the former headquarters of the Order of Marenschadt.
(beat)
No one has heard anything of them in forty years.
ILLYRIA
Demons?
K'SHAN
They were human, but they had a devotion to the Old Ones.
They performed dark rituals designed to
bring forth the Old Ones from inside themselves.
Not in a human shell, as you were brought back,
but in a more literal transformation,
which they called an "Ascension."
ILLYRIA
Did they succeed?
K'SHAN
One of them...almost did.
Seven years ago, he became the living embodiment of Olvikan.
(beat)
He was killed by the Slayer.
Illyria scoffs with disdain.
ILLYRIA
Then he was no Old One.
K'shan throws her a sideways glance.
K'SHAN
Well, that is the question, isn't it?
It's said they had a way to be certain.
An ancient ritual dating back to your era.
CUT TO a REAR TWO-SHOT. They approach a door at the end of the hall.
ILLYRIA
An ancient ritual?
The only magic I can recall which resembles that
was the Ceremony of Essence.
We used it to uncover imposters masquerading as
individuals they were not.
But I don't see how that could--
They stop at the door. Another look from K'shan.
K'SHAN
The Stone of Skol. It's said to be here.
ILLYRIA
Unlikely.
K'SHAN
If it is, that would be the proof
the Gathering requires.
He reaches for the doorknob.
CUT TO - INT. SUB-BASEMENT CHAMBER
Water-stained marble walls, a crumbling altar, and decades of dust. Scattered across the cracked stone floor are splintered chards of furniture and the paraphernalia of dark magic - broken clay pots, fallen voodoo statues, bleached human bones, and deteriorated ornamentation. K'shan takes it in with simmering anger.
K'SHAN
It's been pillaged.
He turns in place, scowling, not noticing Illyria hone in on the altar. She cuts around the debris, headed for it.
K'SHAN
My apologies, Old One.
I thought it would be here....
He finishes his turn. Illyria stands with her palm on the altar.
ILLYRIA
The Stone was here, recently.
And removed.
K'shan frowns darkly.
K'SHAN
Who would....
EXT. SLAYER COUNCIL OFFICE BUILDING ROOF - LATE EVENING
LOW AERIAL SHOT - We can hear the chopping of the helicopter blades, see the wind tossing the hair of girls standing poised on the perimeter, blinking up at beaming lights. They are armed with CROSSBOWS, STAKES, and STUN BATONS.
WIDE SIDE SHOT - The helicopter sinks to a landing in the center of the roof. Its blades slow. Rona gestures the girls on her side of the helicopter forward. A beat later, a tall red-head Slayer we've seen before does the same to the girls on the other side.
INT. HELICOPTER
Drusilla remains in her seat, huddled into herself with bewilderment. The door slides open. Climbing into greet her - ARMED SLAYERS. *Craaackle*
Connor opens the door on the other side. He shifts Angel's gurney around and lowers it with the help of the Slayers there, then hops down beside it.
EXT. ROOF
Kristin and a petite blond Slayer come around the front of the helicopter, holding a now-unconscious Drusilla by her armpits and booted feet. Rona lets them proceed and approaches Connor with a skeptical look. His answering scowl is defensive.
CONNOR
She was at that medical complex.
I couldn't just leave her there.
RONA
No, you could have killed her.
CONNOR
(with determination)
Believe me, I will.
But she knows things. About the Senior Partners;
about what they want from Angel.
(his eyes dip off her continued skepticism)
Did you do get things ready?
RONA
Yeah. Called in a favor.
ANGEL (O.S.)
(weakly)
Connor?
Connor turns around. Angel blinks up at him from the gurney.
ANGEL
What's going on?
Connor sets a hand on his father's shoulder.
CONNOR
You're safe, Dad. Lie still.
CUT TO - INT. HELICOPTER
Rona climbs inside. Her POV - The pilot eyes her from the cockpit warily.
PILOT
What are you gonna do?
Rona pulls a LUMINESCENT GREEN STONE from her pants pocket.
RONA
This.
She enters the cockpit and holds it briefly up to the panel. It SHOOTS OUT arcs of MYSTICAL ENERGY. The pilot raises a protective arm.
PILOT
Hey!
RONA
It's a cloaking charm.
Rona fishes in her pocket again and pulls out a piece of paper. She hands it to him.
RONA
If you wanna live, fly to this location.
You'll find a truck waiting there.
The driver'll take you to a place you can disappear.
The pilot glances at the piece of paper, his expression anxious. Then he reaches for the helicopter controls, nodding.
PILOT
Okay.
INT. HALLWAY - SLAYER COUNCIL SUITE
Connor wheels Angel's gurney up to the SWIRLING THRESHOLD of the library pocket dimension and halts. Rona appears beside him with a pair of Slayers, who are holding blue mats from the training room. The scholar NIGEL emerges from the library, holding a book.
CONNOR
(to Nigel)
Faith told you about the portal turbulence thing?
NIGEL
She did.
He turns to face the threshold, opens the book, and raises it up where he can read it.
NIGEL
Patefacio porta, ut...tutus trans...eat ille.
The barrier calms and parts, revealing the featureless white room within. The scholars Rachel and Ferrar are standing at the table, gathering up books and papers. Nigel closes the book and rejoins them. Connor pushes Angel's gurney through the doorway. Rona and the two Slayers follow. The portal closes up behind them.
INT. LIBRARY
The scholars step away from the table.
RONA
Okay, mats first.
The Slayers lay the mats out on the tabletop. Rona and Connor lift Angel by the gurney mattress and lower him onto the table. Connor adjusts the single sheet that covers Angel's body. Angel's eyes blink open. He winces around.
ANGEL
This...this is....
RONA
You're in the Slayer Council library.
Buffy's on her way.
She's going to take you somewhere you can heal.
ANGEL
...Buffy's here?
The scholars stand beside the bookcase near the threshold. Ferrar's expression is cool. He turns and leaves. Nigel and Rachel follow.
INT. TRAINING ROOM
The tall, red-haired Slayer opens the door of a ten-foot by ten-foot STEEL CAGE which has been secured to the floor in a far corner of the room. Kristin and the blond Slayer, Deb, cross the room, carrying Drusilla. They walk her into the cage, lay her down on the floor, and exit. Rachel and Nigel enter the room, looking on.
RACHEL
Hard to imagine she's the fiend we've heard so much about.
She looks so sweet.
The red-haired Slayer throws Drusilla a scoff.
MARY
I've heard of her, too.
Little kids, Slayers....
What she is is a vicious, twisted killer.
She SLAMS the cage door shut. CLOSE-UP on Drusilla as we DISSOLVE TO -
EXT. ARCHED STONE BRIDGE - ROME - NIGHT (FLASHBACK)
SUPER LEGEND:
Rome, 1861
A bell tolls steadily across the Tiber as DARLA and DRUSILLA cross the bridge dressed in elegant gowns. A horse-drawn carriage clatters by. It comes to a halt in a wide, torch-lit piazza. A well-dressed family steps down, joining a throng of others headed for a CATHEDRAL carved in stone and marble. Its doors hang open. A priest in elegant attire stands on the staircase, greeting parishioners.
Drusilla comes to a halt.
DRUSILLA
Oooh, look at all the people....
It's time for Mass.
She starts towards the cathedral. Darla rolls her eyes with taxed impatience.
DARLA
We can eat later, Dru. Let's not keep him waiting.
Drusilla stops, but doesn't turn back. Impatiently, Darla strides towards her and grabs her by the arm. She yanks her across the piazza, dodging the curious onlookers in their path.
DRUSILLA
(stumbling after her)
But Father...expects us at Mass...every Sunday.
DARLA
Your father's dead, Dru.
I don't think he cares now whether you go to church or not.
Darla releases her as they clear the crowd. Drusilla moons back over her shoulder, her pace slowing to a stroll, losing pace with the bustling Darla.
DRUSILLA
God is watching me.
Darla approaches a broad flight of descending steps and starts down them.
DARLA
Drusilla!
CUT TO - INT. UNDERGROUND CATACOMBS
Torches flicker on limestone walls. Box-like openings have been carved into them for the disposal of bodies turned to dust millennia ago. The women pass through the narrow tunnel, then through an arched passageway into a LARGE, CRUMBLING-STONE CHAMBER fussed up with candelabras, elegant draping fabrics, and jewel-encrusted vases. On an elevated stone platform is a velvet-padded chair. The silk and leather-clad MASTER lounges there. His bat-like face breaks into a grin at the site of his visitors. He holds out a hand.
THE MASTER
Darla. It's been years.
His vampire courtiers look on as Darla crosses the stone floor. Drusilla trails behind for a few steps, then slows and circles, taking in the room.
DARLA
Nearly twenty.
She takes her sire's hand and kisses his ring briefly.
DARLA
I've been traveling.
The Master knits his fingers together in his lap.
THE MASTER
So I've heard.
Angelus has gained himself quite a reputation
in the past century.
I can see you weren't wrong about him.
DARLA
Of course I wasn't.
Drusilla wanders, exploring. Darla glances back at her with something close to embarrassment.
THE MASTER
(musing)
I want a devil like him to sit on my right hand,
come the day.
His name alone will strike terror in people's hearts.
DRUSILLA
(murmuring)
Even the stars tremble.
Darla regards the Master with matter-of-fact resignation.
DARLA
That might take a little coaxing.
Angelus sits on no one's right hand.
(then, in a murmur)
Certainly not mine.
CUT BACK TO Drusilla, still with the exploring, then -
THE MASTER, observing her.
THE MASTER
And who do we have here?
Darla turns, her voice taking on a snappish, impatient tone -
DARLA
Dru.
(weary beat)
Drusilla. Pay attention.
Drusilla turns. She gives Darla a child-like sulk.
DRUSILLA
I'm hungry.
DARLA
I told you we'd eat later, Dru.
THE MASTER
Nonsense. Where are my manners?
He snaps his fingers at one of his courtiers, who nods and retreats. Darla gestures behind herself.
DARLA
This...is Angelus' progeny.
(a weary sigh)
The latest, anyway.
Then, recovering her supreme self-possession -
DARLA
She was on the verge of becoming a nun
when he saved her from that fate.
The Master pays Darla's embarrassment no mind and takes in Drusilla.
THE MASTER
Come here, child.
Drusilla eyes the powerful Gothic dandy with dark scrutiny.
DRUSILLA
You are not the hunter.
You are the lamb.
The Master looks taken aback for a moment. Then, with aplomb -
THE MASTER
We are the wolves, child.
We stalk the shadows, our eyes piercing the darkness.
This pleases Dru. She finally approaches.
DRUSILLA
Like needles.
The Master welcomes her with an outstretched hand. Drusilla returns the gesture. Their TOUCH sends Drusilla into a brief swoon. Just then, the vampire courtier returns, holding the hand of a ringlet-haired girl of five. Slowly, Drusilla opens her eyes and hones in on the child with eerie fascination. In a heartbeat, she is ON THE FLOOR BESIDE HER, a DEMON. The girl screams. Drusilla feasts heartily at her neck.
The Master smiles broadly.
THE MASTER
Oh, she is wicked, this one.
Darla looks unimpressed.
THE MASTER
I see her surpassing even your deeds, Darla.
Darla lets out a skeptical harrumph.
DARLA
She won't live that long.
But the Master only has eyes for his new daughter. Drusilla lets her hor'dourve slump to the floor. Blithely, she wipes the blood from her mouth and licks at it.
THE MASTER
She'll live long enough to see my new world.
Won't you, child?
Drusilla turns her blood-addled attention back to him.
THE MASTER
Hell on Earth. Imagine it.
(his voice rises)
When the Old Ones return....
Drusilla stands, her brief feast forgotten. The Master is in full dramatic flair. He sweeps his arm broadly.
THE MASTER
...They will lay waste to world above!
(he shakes a fist high)
It is our destiny to usher in that Armageddon!
(he looks Drusilla in the eye)
Men will tremble and hide like rats,
ripe for the picking.
Drusilla raises her chin, her voice filled with pleasure.
DRUSILLA
We'll be angels...
of death.
CUT TO Darla looking on, her expression enigmatic.
The Master gestures at the other vampires in the chamber.
THE MASTER
We are the elect, the Order of Aurelius.
Drusilla turns, taking in the room with new eyes.
THE MASTER
And you are one of us.
There is an expectant hush in the chamber. All eyes are on Drusilla. Finally -
DRUSILLA
My mummy told me if I was good I'd go to heaven.
(a dark pause; she smirks)
But hell is so much better.
She wanders off across the room in a sashaying dance. Darla takes her place at the Master's side.
THE MASTER
(voice lowered, dead-pan)
She's a few eggs shy of a dozen, isn't she?
Darla shrugs jadedly.
BLACK OUT.
END OF ACT ONE
Act Two
FADE UP TO Angel, lying on the conference table, asleep.
INT. LIBRARY - NIGHT (PRESENT DAY)
Buffy appears through the whirlpool door and is stopped short by the sight of bookshelves, file cabinets, and a table with neither walls, nor ceiling, nor floor. Connor is standing beyond the table, staring at the white nothingness through the hovering window frame. Buffy regards this curiously for a moment, then continues forward.
BUFFY
How is he?
Connor turns casually, yawning into his hand.
CONNOR
Sorry.
He's, uh...he's in and out.
Is it time?
Buffy shakes her head.
BUFFY
Not for a while.
I had to arrange transportation.
She walks around the table until she is at Angel's side, pulls out a chair, and sits. Her small hand caresses the side of his face with familiarity. Connor watches for a beat, then heads around the other side of the table.
CONNOR
Let me know when you're ready.
Buffy stops and looks after him.
BUFFY
Connor, you can stay.
Connor shakes his head, paused at the door.
CONNOR
No, he needs to rest.
I'll be around.
Buffy watches him leave, then returns her gaze to Angel. She clasps his hand with her own.
INT. TRAINING ROOM
Drusilla drifts behind steel bars, humming to herself. The mirrored wall behind her shows an empty cage and several curious Slayers peering in. A crossbow-bearing Faith enters the reflection with Rona beside her. She grips one of the bars to check its strength.
FAITH
Where'd you get it?
RONA
Our Army Special Ops friends.
Faith turns away, then saunters across the broad stretch of floor. Rona accompanies her.
FAITH
(voice low)
Probably should have just given her to them.
Rona scoffs.
RONA
(murmuring)
If you ask me, we "probably should have just" staked her.
She killed Meg and Sandy...and that Slayer before you, Kendra.
(then with weary skepticism)
But Connor thinks she "knows something."
FAITH
Even if she does, would it make any sense?
She and Rona share a knowing expression. They pause and turn their attention back to the cage.
FAITH
Might as well let her talk, though.
Maybe it'll give us a clue what she's up to.
Just then, the door opens and Vaughne enters, woven Mexican bag slung over her shoulder.
VAUGHNE
Hey.
Faith and Rona turn.
FAITH
Vaughne. Sorry for the jacked-up road trip.
Vaughne grins.
VAUGHNE
We got as far as Carlsbad.
(she gestures back out the door)
If you're ready, I'll set up in the office.
RONA
(to Faith)
Ready for what?
FAITH
Vaughne's gonna tie the suite's
protection spell to me again.
Rona gestures her on.
RONA
You're the boss.
Faith scoffs and nods towards Vaughne.
FAITH
I think she just likes to make me bleed.
Vaughne grins again and heads out of the room. Faith turns towards the team of Slayers. Her POV - Weapons low, curiosity high. We see Kristin, the blond Slayer Deb, and the red-haired Mary among them. Faith saunters over.
FAITH
Listen up, guys.
Now they look nervous, but earnest. Faith pulls them aside, speaking softly.
FAITH
This job's about keeping people out, got it?
(the Slayers nod)
When you're on guard, don't make eye contact with Drusilla,
don't talk to her, don't let her talk to you.
And stay at least five feet away from the cage.
EXT. AERIAL SHOT - SANTA MONICA - NIGHT
ESTABLISHING - The up-scale WHITE HIGH-RISE glows against the black Pacific.
WOMAN (O.S.)
We're not remotely prepared for this.
INT. PENTHOUSE APARTMENT
WIDE SHOT - Scattered throughout the expensively-furnished room are the half-dozen odd MEN AND WOMEN we've seen previously--among them, the WOMAN with the florescent red hair and dark sunglasses, pacing with agitation; the greasy-haired sorcerer with black onyx jewel set in his forehead; and the bald, suited man.
BALD SUITED MAN
"This" is what we formed this organization for!
The woman pivots on him.
WOMAN
An Old One, Reginald.
Do you have any idea what that means?
BALD SUITED MAN
I know perfectly well--
A calm voice cuts in.
MAN (O.S.)
Illyria in the here and now is weakened.
This draws their attention around. Seated in the corner is the Slayer Council scholar FERRAR. He has a heavily-scrawled-upon notebook in his hand.
FERRAR
The Slayers' database has a great deal of
information on her.
WOMAN
(with disdain)
"Her."
FERRAR
Illyria was brought forth in the body of a human,
and not a particular large human, either.
It's true that at first, she had nearly all her original power intact--
(he consults his notes)
colossal strength, the ability to alter
the time frame of objects around her,
an empathic awareness she used to manipulate
her enemies--
WOMAN
(bristling)
Would you stop calling it "her"?
It's not a person, it's a demon.
She stands glaring at him, arms crossed.
FERRAR
Fine, "it", whatever.
(annoyed beat)
As I was saying...
its power threatened to overwhelm
the human shell it was in,
so the good folks at the new Wolfram and Hart
drained off that energy before it could burst out
and destroy half the continent.
BALD SUITED MAN
Why didn't they kill it at that point?
FERRAR
Apparently, there was some disagreement about that.
The vampire wanted her killed,
but the lieutenant he put in charge of doing so,
a one...
(he runs a fingertip down his notes)
...Wesley Wyndham-Pryce believed she could
be turned into an ally.
The woman scoffs softly.
WOMAN
They were fools, the whole lot of them.
You don't make deals with demons.
And you certainly don't follow them as leaders.
The jeweled sorcerer stirs in his club chair.
JEWELED SORCERER
This is all moot.
Illyria is here, now.
We need to ally ourselves with the Slayers.
If the prophecy is true--
WOMAN
"The Slayer will drive the last demons from the Earth."
(she looks to the bald suited man)
It's what we've been working for.
The bald suited man in turn looks at Ferrar.
BALD SUITED MAN
What do you think?
You're on the inside now.
Ferrar sits forward.
FERRAR
Well, the Council scholars know about the prophecy.
You don't hear them speculate about how it might go down,
but they take prophecy pretty seriously in general.
(then he shakes his head)
But the Slayers themselves are...unreliable.
A band of disorganized, hormone-addled adolescents--
with priorities to match.
The assembled group reacts to this news with stiffening postures and restrained disappointment. Except the sunglasses woman, who guffaws with delight.
WOMAN
That's perfect.
(the others turn puzzled looks on her)
Adolescent energy can be molded. Channeled.
(to Ferrar)
Can't it?
FERRAR
(thoughtfully)
Maybe.
DISSOLVE TO a WIDE, LOW AERIAL SHOT - Rooftops and glowing windows; houses rising on a hill.
EXT. ROOF OF THE SLAYER COUNCIL BUILDING - NIGHT
Connor stares out at the view, hunched into his jacket against the whipping breeze. We hear a soft masculine chuckle behind him.
GUNN (O.S.)
You think this is cold?
Connor scuffs a foot on the tarred gravel and glances back. Gunn approaches across the roof.
GUNN
(shrugging)
Eh, what do I know, I grew up here.
Connor looks out again.
CONNOR
It never got cold where I grew up.
(beat)
The first time I got cold,
I mean, really cold,
was after Angel kicked me out of the hotel.
Another soft chuckle.
GUNN
You sort of deserved it at the time, kid.
CONNOR
Yeah.
Gunn gives him a quirky grin. He rubs at his nose with his hand absent-mindedly.
GUNN
Did you really commandeer a Wolfram and Hart helicopter?
Connor nods, glancing back. Gunn shakes his head, impressed.
GUNN
They don't lack for over-confidence.
But still, that was ballsy.
Connor grins dismissively.
CONNOR
I think I was just delirious.
I haven't slept more than an hour in the last two days.
(he finally turns, eyes downcast)
And anyway, I got the pilot killed.
Gunn shakes his head again.
GUNN
Nah.
The Council gave him asylum.
Connor's eyes rise with an uncertain expression.
CONNOR
Do they do that?
Gunn nods affirmative. Then he aims a thumb towards the stairwell door.
GUNN
C'mon, the girls want you downstairs.
He and Connor start back.
GUNN
I've been looking into the charges against you.
Gunn opens the door. The men head inside.
GUNN
And you were right.
INT. STAIRWELL
They start down the poorly-lit stairs, Gunn first.
GUNN
Someone sent the police the videotape
of that night in the sporting goods store,
and told the Registrar's office to look up your transcripts.
CONNOR
Who?
GUNN
I don't know.
But the university said it was a man's voice, anonymous.
Which I know doesn't help--
Connor scowls with frustration.
CONNOR
That tape was supposed to have been destroyed.
Gunn throws him a glance over his shoulder.
GUNN
Yeah, well, about that?
I tracked down Kate Lockley and asked her about it.
She said the tape was in a safe deposit box,
and no one could have taken it out but her.
(another frown from Connor)
'Course, she swears she didn't do it,
and didn't tell anyone where it was, not even Angel.
Connor's brows knit with realization.
CONNOR
You mean it just vanished from a locked safe?
GUNN
(nodding)
Yeah, I thought of that, too.
But we don't have any new leads on who
took the Nyazian Scroll out of the safe.
The two of them come to a halt at a door marked SECOND FLOOR. Gunn reaches for the knob.
CONNOR
I got two names for you.
They exit out into the hallway.
INT. SECOND FLOOR CORRIDOR
CONNOR
Ronald Da Silva.
He's the owner of a club called Sekhmet in Long Beach.
(Gunn nods as they walk)
And Melanie Roth. She's a professor at UCLA.
GUNN
Been doin' a little detective work yourself, huh?
CONNOR
Wouldn't you, if you were me?
GUNN
If I were you,
I'd have busted somebody's chops before now.
INT. SUITE HALLWAY - A MOMENT LATER
FAITH
She not going to just talk to us, Connor.
GROUP SHOT - Connor is standing just off the front foyer with Gunn. Faith and Buffy are opposite them in the hallway. Gunn manages to catch Faith's eye, but only for a beat before she looks away. It brings a fresh frown to his face.
CONNOR
I know, making sense of anything she says is--
BUFFY
No, what Faith means is, she's going to need convincing.
GUNN
(curiously)
Like what?
CUT TO - INT. TRAINING ROOM
Drusilla's POV - Steel bars and a circle of expressionless Slayers with crossbows low but at the ready. Buffy stands behind them near the door. Gunn and Connor are seated on the weight benches in the corner, keeping their distance. This is the Slayers' show.
REVERSE ANGLE - Drusilla faces off with them.
Faith strolls forward, clutching her crossbow.
FAITH
So this is the deal.
You answer some questions, we tell Spike you're here.
The name strikes a melancholy place in Drusilla.
DRUSILLA
Spike.
FAITH
He's a sentimental kind of guy.
I'm betting he'll try to convince me
not to kill you.
Drusilla looks down and away.
DRUSILLA
My Spike always leads with his heart.
BRIEF CUT to Buffy, looking on. Faith waits a few beats, letting Drusilla pace.
FAITH
So what's it going to be?
'Cause I got a room full of girls here
just itching to dust a Slayer-killer.
Drusilla continues pacing, staring at the ground as if finding something fascinating there.
FAITH
Why don't you start with why you're after Tammy Pitts.
CLOSE-UP on Drusilla's beautiful, downcast face.
DRUSILLA
They need her.
She's the voice. Without her, they're mute.
FAITH
The Senior Partners need her, you mean.
Rona looks bursting with frustration.
RONA
(challenging)
I don't get it. Why would you even care?
Drusilla smiles faintly. Her dark eyes turn on the Slayers. As she speaks, her gaze glides over them, causing each to look away in turn.
DRUSILLA
Tonight, the king rises.
PANNING - Rona and the young blonde, then Kristin, and finally the red-haired Mary. Mary's hands tighten on her crossbow reflexively, drawing a reprimanding glance from Faith.
DRUSILLA
Then everything will tip, like a teeter-totter.
(she demonstrates with long fingers)
Rocket charges fall like shooting stars.
(she looks up as if they are falling now)
Pretty.
FAITH
Who's the "king"?
Drusilla walks with liquid grace towards the bars of the cage.
DRUSILLA
That's why they scrabble and scurry, all a'fright.
Now all the Slayers go on guard. Drusilla gives the jumpy Mary another lingering look.
DRUSILLA
The grown-ups are coming to scold them.
(a mischievous smile)
They've been very naughty.
Buffy tosses back her hair and starts forward.
BUFFY
The Senior Partners.
That's who's "scurrying," isn't it?
The newbies glance back, then part like the Red Sea.
BUFFY
Someone who scares the Senior Partners.
Drusilla regards her with contempt.
DRUSILLA
You.
You took my Spike from me, piece by piece.
Chopped him into messes.
BUFFY
That was his choice.
DRUSILLA
Blood runs deeper. It calls to him.
(ominous beat)
He'll betray you.
Buffy's unflappable demeanor doesn't slip.
BUFFY
Spike and I aren't together like that.
DRUSILLA
He's not one of your soldiers?
BUFFY
He fights for his own reasons.
Drusilla turns away from her steely gaze. The melancholy returns.
DRUSILLA
...All my boys are your soldiers. Conscripted.
She stares into space for a beat, then turns suddenly on - Connor.
DRUSILLA
This one doesn't want to be.
But he fears what would happen if he wasn't.
Connor's defensive look twists into a scowl.
CONNOR
I'm not your "boy."
Drusilla wraps her red-nailed fingers around a bar of her cage. Her eyes bore into his.
DRUSILLA
Your blood whispers where you belong, uncle--
(she tilts her ear towards waggling fingertips)
Shwir...swishriwi...sishriwisir...shwisr.
(beat; she lowers her hand)
Hell is coming to town,
and you'll want your family close.
With another scowl, Connor rises and strides out of the room. Faith watches him go, then turns on Drusilla.
FAITH
Now for the bonus question.
(Drusilla looks at her)
Why do you care?
You were once in league with the Senior Partners.
Now you're buds with their...what, their enemies?
DRUSILLA
Where's my Angel? Bring him to me.
Faith waits, but Drusilla says nothing more. When no one responds to her request, either, Drusilla turns away. ANGLE ON the mirror behind her. All we see is a small crowd of young Slayers, looking to their leaders. Buffy turns to go.
FAITH
Whoever has the next guard shift, report to Rona.
The rest of you can go home.
Faith follows.
INT. HALLWAY
LONG SHOT - Buffy heads around the corner and into the office. Faith strides after her, followed by Gunn. He picks up his pace just before she reaches the turn in the corridor.
GUNN
Yo, Faith, wait.
Faith stops and circles around, her dead-pan expression not particularly inviting.
FAITH
What?
Gunn's answering look is bewildered.
GUNN
This cold shoulder thing? Ain't your style.
If you want me, you want me,
if you don't, you don't.
What's this about?
A wry smile from Faith. Her eyes narrow.
FAITH
Oh, I bet you'd just love to keep sticking it to me.
Gunn looks even more bewildered.
FAITH
What? I'm just supposed to lie back and take it
when you find some new way to let the Council screw me?
CUT TO the end of the hall. Rona exits the training room and starts towards Gunn and Faith, then hesitates when she sees them talking.
GUNN
(still confused)
Are you talking about me inviting Giles to town?
(exasperated beat)
Look, Buffy called me at four a.m. this morning...
yesterday morning...whenever the hell it was.
I didn't think you'd want to be up that early.
FAITH
The mission was to rescue Angel!
GUNN
We weren't leaving right away!
FAITH
No, but you were coming up with the plan.
Gunn raises defensive hands.
GUNN
All right, all right, fine, I screwed up.
Next time I'll haul you out of bed.
(then, irritably)
Just don't give me shit about it.
Faith shrugs noncommittally. Gunn lowers his hands, relaxing.
GUNN
So are we good?
FAITH
You mean, are we still screwing?
I am, if you are.
And with that, she turns and heads towards the office, leaving the still slightly bewildered Gunn with mouth hanging open.
CUT BACK TO Rona. She starts up the hall again. Several Slayers exit the training room after her. Mary is all scowls.
MARY
Well, that was useful.
Deb finishes her thought.
DEB
Not.
The exchange turns Rona back around.
RONA
Hey.
The two Slayers look up, then at each other, with chagrin. Behind them, other Slayers are returning their crossbows to the weapons locker. QUICK-CUT TO - The suite door opens. Ferrar enters. His POV - Rona passes down the cross-secting main hallway.
RONA
(to Mary and Deb)
Buffy and Faith are in charge here.
They've been slaying for a long time.
Last time I checked, you were new at this.
The other girls pause to take in the drama. Kristin is among them. Mary tucks her crossbow close to her side.
MARY
Yeah, maybe they've been at it too long.
QUICK-CUT TO - Ferrar stays put in the foyer.
Rona scoffs. Mary backs down defensively.
MARY
I'm just saying--
Buffy's slept with two vampires,
and Faith's, like, buds with them.
DEB
I heard Faith slept with Spike, too.
Mary rolls her eyes. Kristin drifts up behind Mary and Deb.
RONA
Guys, it was Connor who thought we'd get
something out of Drusilla.
MARY
'Cause he's objective.
His parents are vampires!
KRISTIN
(speaking up)
So what are you saying, Mary?
Mary gives Kristin a quick glance as she enters the circle, then turns back.
MARY
Rona, if this Spike guy shows up,
what do you think will happen to Drusilla?
RONA
(shrugging)
I don't know.
KRISTIN
Maybe he'll just ask Willow to give Drusilla
her soul back.
Mary balks, aghast.
MARY
You say that like it's a good thing!
Kristin looks uncertain. It isn't?
MARY
So we give Drusilla a "get out jail free card"
just because she's the "friend of a friend"?
KRISTIN
No.
(defensive beat)
But she was just a girl once, like us.
Then a vampire got her.
(she throws out a hand towards the library)
Now we're trying to save that vampire's life.
Why's Drusilla any different?
Mary shakes her head adamantly.
MARY
We kill monsters every night who used to
be innocent victims.
So they deserve to die and Drusilla doesn't
just 'cause we know her?
She glances around for support from the others, but gets mostly uncomfortable hesitation, even from Rona.
MARY
Look...all I'm saying is we do our job.
Let's not wait for a vampire to show up
and decide what's going to happen to another vampire.
Rona looks torn. Then, lowering her voice -
RONA
Listen, Mary--for all we know, that was a bluff.
There's no one here who'd think twice
about killing Drusilla if keeping her alive didn't get us something--
not Faith, not Buffy, and not Connor.
(firm beat)
Don't do anything stupid.
It's not our call.
Rona pivots and heads towards the office, leaving the Slayers to stare at one another. A girl with pinned, braided hair steps closer to Mary.
BETSY
Mary, if you were gonna do it, how would you do it?
Mary sighs and throws up her free hand.
MARY
I guess I'm not gonna do it.
(she saunters over to the still-open weapons locker)
I mean, we do want to get more
information out of her, don't we?
She puts her crossbow away.
CUT TO Ferrar. He turns in the foyer and heads out of the suite again.
INT. OFFICE
Rona enters and quietly shuts the door behind herself. Faith is leaning against the desk. She watches Rona take a chair beside Gunn.
FAITH
...It doesn't track, though.
Why's she so down on the Senior Partners?
Keeping the world a demon playground sounds
right up her alley.
Connor is slouching in the chair behind the desk, eyes at half-mast. He opens them, stretching out his back.
CONNOR
She doesn't like their plans for Angel.
She has her own plans.
GUNN
Which are what?
FAITH
(with a chuckle)
You mean besides taking Angel and Spike's souls,
bringing back Darla from the dead,
and making Connor a vampire?
Buffy is leaning against the wall closest to the library.
BUFFY
No, this seems bigger than that.
(she looks up and around)
Not that that's not, you know...big.
GUNN
(brow knit)
"Bigger"? She doesn't seem that ambitious.
I mean, the vamp plays with dolls.
BUFFY
How about the end of the world?
Gunn blinks. Buffy gestures towards the training room.
BUFFY
You heard her in there, talking about "hell coming to town."
One of the first things she did after getting her strength
back in Sunnydale was assemble the Judge--
a big, ugly demon who would have killed every
human being on the planet.
(then, murmuring)
...If I hadn't blasted him into itty bits.
(a breathy pause)
After that, she...helped bring forth Acathla.
A demon who was going to swallow the world into hell.
Rona's eyes dip pensively. The conversation continues around her.
GUNN (O.S)
So you think she's up to her old tricks?
BUFFY (O.S.)
(matter-of-factly)
I think she's more with it than people give her credit for.
FAITH (O.S.)
(musing)
How do you "swallow the world into hell"?
Rona's voice is almost a murmur.
RONA
So what do we do?
Faith's attention is drawn to her.
FAITH
(with a shrug)
Find out what she's up to.
Why she's trying to cut off the Senior Partners' communication.
GUNN
And who this "king" is.
Rona glances around at the others.
RONA
What about afterwards? Do we kill her?
GUNN
As opposed to what?
Putting her in jail?
Just then, the phone on the desk rings, snapping Connor out of a slumbery trance. Faith reaches around.
FAITH
We'll cross that bridge when we come to it.
She picks it up.
FAITH
Silver Lake Fitness.
(pause)
You are?
She glances over at Buffy -
who starts immediately for the door.
FAITH
Okay.
She hangs up.
FAITH
Angel's ride's about fifteen minutes out.
BLACK OUT.
END OF ACT TWO
Part 2 (click here)