Resistance, Part 2

Resistance

Part 2

(November 28, 2004)

Written by OnM and Masquerade

Act Three

INT. THE MONASTERY - MIDDAY

ANGEL
(incredulous)
They just let you walk out?
Illyria, once again FULLY BLUE, is standing at the door of the workshop/sitting room, eyes on Angel as he paces the floor.

ILLYRIA
Yes. It was quite an experience. I am beginning to
understand why humans find the acting profession so
worthy of obsessive adulation. The power to manipulate
one's adversaries by pretense and guile is surprisingly
substantive.
ANGLE - Gunn, standing at the opposite door.

GUNN
Helps to sell stuff, too.
Angel turns to look at him.

ANGEL
(to Gunn)
Where'd you go?

GUNN
I was upstairs, having lunch with Hobbes.
(he gestures at Illyria)
What's she going on about?

ANGEL
The military--they have Spike.
Gunn enters the room, concern on his face.

ANGEL (cont.)
I guess they've converted the old Movietone Studios lot
into a detention facility. That's where they take
whoever they've captured.
(he gestures at Illyria)
Although it seems that after they process the humans,
they let most of them go.
He turns back to Illyria.

ANGEL (cont.)
Now, you said they had collars on the prisoners. What
do you think they are, some sort of restraining device?

ILLYRIA
(still reliving her moment)
It was fortunate that Spike was adept enough to comprehend
my strategy and complement the deception. I was unsure if
his higher brain functions were equal to the task.

ANGEL
(eyeing her, puzzled)
Yeah, with Spike that tends to be a bit of a crapshoot.
Illyria, about the collars--

ILLYRIA
(puzzled look)
"Crapshoot"?

ANGEL
(irritated)
It's an idiom, Illyria--a human figure of speech.
It means there are random variables involved.
"Craps" is a game of chance--

ILLYRIA
(head tilt)
Played with dice.... Yes.
Her eyes finally focus and she looks from Gunn to Angel, her expression at first unsettled, then defensive. She glares at Angel.

ILLYRIA
I know what it means.
My command of your primitive tongue is excellent, by any
reasonable measure. I spent nearly three point five of your
seconds absorbing and processing the language sector of
this shell's--
She stops abruptly.

Her eyes look wide and lost. Her voice softens.

ILLYRIA (cont.)
...of Winifred Burkle's memories, when I....
Angel and Gunn stare at her as she pauses again. A look of confused discomfort passes between them.

ILLYRIA (cont.)
...and she had an extensive vocabulary, and....
It was a long interval...for....
...by comparison.
There is dead silence in the room for a long moment.

Finally -

GUNN
Illyria...are you O.K.?
Illryia stares at the two of them. Her eyes dip and grow thoughtful as though trying to process what happened.

And then quickly snap back into GOD-KING FOCUS.

ILLYRIA
(to Gunn)
I do not require your compassion, or your assistance.
I alone will deal with the weaknesses you have
imposed on me.

ANGEL
Well, then, deal with them, because we have other problems.
Spike, the internment camp. You said the prisoners had--

ILLYRIA
Collars. Yes.

ANGEL
Do you have any idea what they were for?
Illyria looks up at him.

ILLYRIA
One of the soldiers...spoke of them as a "preventive
measure." He assured us that if a prisoner misbehaved...
or escaped their custody, they could quickly
bring about the prisoner's demise.

ANGEL
(nodding grimly)
The collars are lethal. We've seen that before.

Gunn eyes Illyria for a moment with a look of concern, then turns to Angel.

GUNN
So what's the plan?

ILLYRIA
A rescue attempt will be difficult.
They can identify vampires by body temperature.
I was able to modify my outer appearance and regulate
my internal temperature to emulate human norms, but
of course Spike had no such ability.

ANGEL
(frowning)
But if you show up again after being released, they
might find that a little odd.
(he glances at Gunn)
And there's still a chance you're wanted for killing
the Senator. If you are, the military would know that.

GUNN
(crossing his arms)
Sounds like we could use some human back-up just in
case. I'll go talk to Annie's crew.

ANGEL
(nodding)
In the meantime, I'm going to go to the camp to do
recon. Figure out what we're dealing with, come up
with...some sort of plan.
(he glances at Illyria, then back at Gunn)
Meet us there as soon as you're done.
Gunn nods.

EXT./INT. MOVIETONE STUDIOS - MIDDAY

We start with a series of establishing shots of the MAKESHIFT DETENTION FACILITY. What we see shows a temporary solution to an overwhelming problem, a solution that was supposed to be improved upon by some other plan, but never was.

Although METAL CAGES have been set up inside the warehouse buildings to hold the more violent demons, most of the inhabitants are MILLING ABOUT FREELY, scattered over the outdoor and indoor sets and sound stages of the studio lot. And all of them are wearing DECAPITATION COLLARS.

We see huddled families of Brachen and Mok'Tagar staring suspiciously at a group of M'Fashnik thugs, who are eyeing a gang of Kailiff dangerously. And we see dozens upon dozens of isolated individuals of both familiar and unfamiliar races, fighting over and guarding their own little pieces of Hollywood, California.

Patrolling all of this are NATIONAL GUARDSMEN AND REGULAR-ARMY SOLDIERS armed with heavy automatic rifles, stake-guns and hand-held PDAs.

INT. MOVIETONE STUDIOS BUILDING 12 - MIDDAY

We linger on our final establishing shot, another warehouse-like building with a sign in the upper right corner with a large "12" painted on it.

It's daytime outside, but in here, it is relatively dark. As we PAN across the expansive warehouse ceiling, we see that much of the lighting that once illumined the sets has burnt out and not been replaced.

Slowly, the camera winds its way through dim-lit sets and sound stages that once stood as family living rooms and fictional coffeehouse lounges before they were trashed. And this is where we find a scattering of prisoners who appear at first to be human, but are not. As we pass amongst the vampires, a few of whom are FIGHTING, we see yet another huddled family of demons, Listers, who are trying to keep their distance from disgruntled-looking thugs of a variety of origins.

Finally, we reach the far corner. And there we find SPIKE, sitting collared, trying to mind his own business in his own little piece of Movietone Studios.

INT. LOEWS STATE THEATER BASEMENT FILM ARCHIVE ROOM - AFTERNOON

In the doorway beyond the archive room is another smaller room with a kitchenette and a restroom. Gunn is standing at the kitchenette counter with Anne, who is making sandwiches in bulk.

GUNN
A friend of mine is being held in a detention facility
in Hollywood. I could use some muscle to help get him out.

ANNE
(glancing at him with a puzzled look)
I heard they were letting the humans go.
Clomp, clomp.
RONDELL (o.s.)
He's not human, is he, bro?
Gunn turns to see Rondell enter the kitchenette, a SEMI-AUTOMATIC RIFLE slung over his shoulder.

Anne glares at Rondell.

ANNE
I told you guys to keep your street weapons in the
closet when you're in here.
Rondell pulls the rifle up off his shoulder, and, keeping it vertical, shows her that the safety is on.

RONDELL
Just hadn't gotten to it.
Perimeter's clear, in case you're interested.
Rondell begins to turn away, then stops and looks back at Gunn.

RONDELL
You know, I don't get why they got those demons all
locked up there like that. Why don't they just kill 'em?
(he shakes his head)
Place like that, packed full of animals, they're just
asking for it.
(he pauses)
Why do you suppose that is, Gunn, huh?
At that, Rondell turns to take his weapon to the closet.

Anne resumes slathering mustard on freezer-burnt bread.

ANNE
(to Gunn)
So is that true? About this "friend"?
Gunn is still staring after Rondell, looking somewhere between sad, tense, and angry. Slowly, he shifts his attention back to Anne.

GUNN
That he's a vampire? Yes.
But you know I wouldn't ask if that's all there was to it.

ANNE
Which one is he?
(off Gunn's puzzled look)
Is it Angel, or the other one?

GUNN
(shaking his head)
Look, Annie, I'm not asking you to go. I can
understand you not wanting to help someone who hurt
you in the past. But Spike's not like that anymore. He
has a soul now.
Anne stops what she's doing and looks Gunn in the eye.

ANNE
Charles, you're not going to convince anyone else to
go, either. I mean, think about what you're asking.
(she makes a diagonal gesture towards the ceiling)
The kids see demons everywhere--killing, looting. If
you tell them you want them to go into a studio lot
full of demons to save a vampire--
Gunn sighs. Anne goes back to work, plunking down Spam on the bread.

GUNN
(nodding)
I get it. I guess I even expected it. I just had to try.
His brow wrinkles, as if he is caught in his own internal struggle. Finally -

GUNN
Not all demons are bad, Anne. It took me a long time
to wrap my brain around that, even after I was already
working with Angel.

ANNE
I know that. But right now, with the way things are,
we don't have the luxury of making distinctions. I
wish we could.
She closes one of the sandwiches with another piece of bread.

ANNE (cont.)
We pretty much have our hands full just protecting our
own, you know?
(she glances up at him)
And I have my hands full just trying to keep them all
together. You remember what that was like.

GUNN
Yeah.
Anne works for a moment, closing sandwiches. Finally -

ANNE
We could really use your help, you know. Our old
neighborhood--it was the first to go. And the people
who survived--they've had to make do with a lot less than
other people have.
Gunn reaches over, picks up a couple of the sandwiches, and moves them onto an empty plate.

GUNN
Annie, the only way we're going to beat this is if we
start working together. My friends, they don't like
this situation any more than yours do. They're on your side.
Anne smiles wryly.

GUNN
What?

ANNE
(pausing in her work)
"Beat this"? Things are falling apart out there,
and not just in L.A., and you're talking about
"beating this"?
She shakes her head, places both hands on the sink, and sighs thoughtfully.

ANNE (cont.)
Although, God knows some of the kids are spoiling for
a battle they have a chance of winning.
(she looks up at Gunn)
If you have ideas, I'm willing to hear them. But
before I let you run them by the others, they have to
be a whole lot better than "help me save a vampire."
CLOSE-UP on Gunn as he sighs and looks away pensively.

EXT. A BUILDING ACROSS THE STREET FROM MOVIETONE STUDIOS - LATE AFTERNOON

Angel and Illyria/Fred are standing in the shaded over-cropping of a building, peering across the street. They are holding their swords discreetly at their sides.

Their POV - Through the metal gates of the studio, we can see one of the LARGE WAREHOUSE BUILDINGS. The number on the building is "7."

ANGEL
Seven. We're back where we started.
(he glances up)
And we had more shade the last time we were over here.
Now, you said Building Seven held the humans?

ILLYRIA-F
Yes. This is where they brought me, and I saw only humans
when I was inside it.
We hear the sound of footsteps approaching.

Illyria and Angel turn to see Gunn, ax in hand.

GUNN
(coming to a halt)
Sorry it took me so long. Getting around this town is
half the job now.

ANGEL
I notice you've come alone.
Gunn nods grimly.

GUNN
I want to say "it was worth a try asking."
(he shakes his head)
...I managed to keep the line of communication open,
at least.
Angel nods.

Gunn looks across the street at the studio lot.

GUNN
So what's up?

ANGEL
(grimacing)
We've been studying their perimeter defenses.
They don't have any guards posted on the street.
Angel raises a finger and points to several locations on the buildings across the way.

ANGEL (cont.)
But there are cameras there, and there, and there, so they
can check for people who might wander in.

GUNN
Assuming anyone would be dumb enough to.
(looking)
So what do you think...the rooftops?

ANGEL
Maybe. But we don't know what the coverage area is.
We could still trigger an alert, and I don't want to
engage these guys unless there's absolutely no
alternative. They're only doing their job.

GUNN
(sadly)
Yeah, used 'ta be our job.

ILLYRIA-F
(getting fidgety)
We must take action. Knowing Spike's temperament, he
may have already provoked his own demise in this place.
Gunn and Angel both turn to stare incredulously at her.

ANGEL
Spike's temperament? Pot calling the demon blue here?
Illyria gazes silently back at Angel.

GUNN
(grinning)
Yeah, but you gotta admit--she's not in there with
him, now, is she?

VOICE (o.s.)
Excuse me.
Startled, the gang turns to see -

REVERSE ANGLE - The ANTIQUES STORE SHOPKEEPER from the teaser.

Angel and Illyria raise their weapons. The shopkeeper halts, a nervous smile on his lips. He raises his hand.

SHOPKEEPER
Please, don't be alarmed. I just want to talk to you.

ANGEL
(lowering his sword)
I remember you.
(beat)
How did you find us?

GUNN
Yeah, we sure as hell didn't leave any phone messages.
Illyria continues her defensive posture, glaring at the shopkeeper with deep suspicion. The shopkeeper shifts his gaze from Gunn to Angel to Illyria, then chuckles softly.

SHOPKEEPER
(calmly)
I must say, this is extraordinary. I had my suspicions
when I first encountered your group outside my shop,
but frankly, I couldn't believe it.

ANGEL
(eyeing him guardedly)
Believe what?

SHOPKEEPER
(gesturing at Illyria)
That an Old One would willingly serve at the side of
those It would consider lesser beings.
(his eyes move to Gunn and Angel)
No offense, gentlemen. That isn't my opinion, I assure you.
(beat)
Although--a vampire with a soul, that's quite rare also--
Illyria steps towards him, sword still raised.

ILLYRIA-F
(anger rising)
I do not "serve" any being.

ANGEL
(now suspicious as well)
How do you know these things about us?
(pause)
And who are you, really?

SHOPKEEPER
Oh, sorry. I'm not doing this right. Here.
The shopkeeper reaches into his coat. But before he can pull anything out, Illyria leaps at him, bringing her sword high. The man sees it and startles. He raises his arm, wincing reflexively.

GUNN
Illyria....!
Angel leaps at her.

ANGEL
Illyria, don't!!

SHOPKEEPER
(shouting, panicked)
Protego!
But it's too late. Illyria SWINGS THE SWORD DOWN with tremendous force at the man's head....

...and it BOUNCES OFF HARMLESSLY just an inch shy. The kickback energy from the deflected blow SENDS ILLYRIA FLYING. She lands in a heap on the ground a few feet away.

GUNN
Holy sh.....
The shopkeeper blinks, then exhales, his eyes wide.

SHOPKEEPER
It worked.
(gasping)
Wasn't sure that it would.
With a nervous tremor, he pulls a BUSINESS CARD from his coat pocket and holds it out to Angel.

Shopkeeper's POV - Angel and Gunn, staring, stunned.

Then Angel smiles wryly.

ANGEL
The window.

GUNN
(huh?)
The window?
Behind them, Illyria gets back up, glaring.

ILLYRIA-F
I was right.
Angel walks slowly over to the shopkeeper and takes the card. Gunn joins him, peering down at it.

ANGEL
That window on your shop wasn't some new "super-plastic,"
was it? It was a protection spell.

ILLYRIA-F
A sorcerer. And with knowledge of the Old Ones.

GUNN
(reading from the business card)
"Michael Barber, Proprietor, Unique Antiques."

MICHAEL
(giving them a small wave)
That would be me.
He glances over at the still-glaring Illyria with concern.

MICHAEL (cont.)
Normally I'd ask if you're all right, but considering
the circumstances....

GUNN
Yeah, she's O.K.

ANGEL
(scowling)
Except for the part where she forgot her promise not
to kill humans. Again.

ILLYRIA-F
(bristling)
He is a sorcerer. His "humanity" is already in question.

ANGEL
(with irritation)
Yeah, well, another human being that you were
inexplicably fond of was something of a sorcerer, in
case you've forgotten.
Illyria stares at the shopkeeper sullenly for a moment, then brings her sword down to her side, an air of resentment evident in her body language.

MICHAEL
(to Angel and Gunn)
Sorry about all this.
Let me explain.
Michael runs his fingers over his brow, still looking a little overwhelmed by Illyria's greeting.

MICHAEL (cont.)
When I saw you that night--humans and demons together,
fighting the hooligans who'd turned my neighborhood
into their own version of hell--well, I...I knew I
had to find you again. Talk to you.

ANGEL
Talk to us about what?

MICHAEL
(with sincerity)
Helping.
(he holds out his hands and looks up and down the street)
Doing something about all this--
This...disaster.
Angel crosses his arms.

ANGEL
It's interesting, though, you showing up out of
nowhere, all but invulnerable, ready to help.

MICHAEL
(with a grimace)
Not invulnerable. A bit rusty, actually.
He glances at Illyria, who is eyeing him distrustfully.

MICHAEL (cont.)
But I'd prefer not to prove it with another swing of
her sword.
(his eyes shift to Angel)
Or yours.
Gunn scrutinizes Michael. He nods towards the studio lot.

GUNN
What do you know about this place over here?
Angel throws Gunn a startled glance. His brow dips.

MICHAEL
(glancing over at it)
The detention camp? I know I wouldn't want to be in
there, either as a visitor or a prisoner.

GUNN
Well, that's where we're going.
You still want to "help"?

MICHAEL
What's your business there?

GUNN
One of our friends is trapped inside.

MICHAEL
(taking a stab)
The other vampire who was with you that night.
Gunn nods.

Michael gazes across the street again. Then, thoughtfully -

MICHAEL
And you're wondering how to get a vampire out of there
once you've found him?
Gunn nods again.

ANGEL
(apprehensively)
Gunn....
Gunn turns to Angel.

GUNN
Do you have another idea?
(he gestures at the camp)
I mean, that place looks pretty solid.
Angel pulls Gunn aside. Illyria drifts over to them.

ANGEL
(voice low)
C'mon, Gunn. This guy? The whole thing smells like a setup.

GUNN
Maybe.
(he points at his nose)
But what do you really smell? The guy seems sincere.
Illyria snorts derisively. Gunn's eyes turn to her.

GUNN
And you're the one with the built-in lie detector.
What do you sense? Because your only objection so far
seems to be that he's a sorcerer. Which could come in
handy right about now.
Illyria glares at Gunn coolly, then turns her attention across the street.

ANGEL
(eyeing Michael)
A little too handy. Some guy shows up just when we
need help, trying to insinuate himself--

GUNN
And you're thinking what? That he's an agent of the
Senior Partners? There's no evidence of that.
I say we cross that bridge when we--If we--
He cuts himself off and raises his hands.

GUNN (cont.)
But it's up to you.
Angel continues to eye Michael, who is standing, watching them, an awkward smile on his face.

Finally, Angel looks back at Gunn.

ANGEL
Keep an eye on him.
Gunn and Angel turn back to the sorcerer.

ANGEL
(to Michael, his tone one of challenge)
I'm going to need a way to pass as human. That should
at least get us into the camp and Spike back out. Can
you do that?

MICHAEL
(thinking it through, nodding)
I could create a glamour spell to disguise your
body temperature, lack of a heartbeat.
(he frowns)
But I'm going to have to return to my shop for some
supplies. I assume time is of the essence here.

GUNN
Always is, I'm afraid. And even with your spells,
there's some thorny technological issues to deal with as well.

MICHAEL
There are always those, too.
(to Gunn)
Well, then, shall we go?

INT. MOVIETONE STUDIOS BUILDING 12 - LATE AFTERNOON

IN FRAME - a soundstage that once was the domain of a popular, incisive talk-show host. The furniture and light fixtures are long gone, but the cracked plastic logo with the host's name in bold script--Dennis!--still hangs behind the stage.

Off-camera, we hear noises that sound like a SCUFFLE. We PULL BACK, gradually widening the angle of view so that the stage takes up less and less area in the frame and the surrounding room more and more.

Suddenly, we hear a LOUD SHOUT, and the body of a TALL, THIN GREEN DEMON slams up against the plastic logo, breaking it right along its fractures. The demon falls to the stage with a thud.

SPIKE (o.s)
I said, leave her the hell alone!
The demon shakes its pointed head a bit and pulls itself up to standing. We can see round silver- and gold-colored spots running up its flanks and onto its face. It charges forward and leaps off the stage onto the floor.

GREEN DEMON
(angry)
What's it to you?
She has more than she needs,
and I haven't eaten anyone for days!
Spike walks into view, posture full-on aggressive, his fists clenched tight and ready for more violence.

SPIKE
More than she needs?
She's attached to what she needs, you stupid git!
The demon backs away, arms and hands held in front of itself defensively.

GREEN DEMON
Still don't see what it means to you, vampire.
Your kind kill to live, too--
I have as much right to food as anyone.
REVERSE ANGLE, the Green Demon's POV - looking back beyond Spike at a SMALL DEMON CHILD. She is lightly lavender-skinned, female, and more than half human by appearance. The child is standing a few feet behind and to one side of Spike, tightly clutching a FABRIC DOLL that looks like a Raggedy Ann, but with a body type and demon features roughly matching her own. She doesn't seem frightened or visibly traumatized; she just looks very distant and slightly sad.

Spike relaxes a little, but doesn't drop his guard.

SPIKE
Awright then. Just piss off, and I'll let it slide this time.
(beat)
An' at least make it a fair fight next time 'round.
The demon moves towards Spike a few more steps, then stops. It gives him the once-over, then grins. With that, it takes off running. Spike watches him go, then pivots around to face the child.

SPIKE
(awkwardly)
So, what's your name, there?
The child just stares back at Spike, meeting his gaze, but not speaking.

SPIKE
Do you understand me?
He drops down on one knee to get closer to the child's height.

SPIKE
You're a Frehmayn, aren't you?
Most of your clan speak English, as I recall.
The child lowers her eyes, but still doesn't say anything. Spike lets the silence carry for a bit, then reaches out and points at the doll without touching it.

SPIKE
She have a name?

CHILD DEMON
(after a long pause)
We don't name her.
She's just cloth and stuffing. She's not alive.

SPIKE
She needs to be alive to have a name?
(he frowns)
I had an undead dog years back, and I still gave him a name.
The child looks back up at Spike, her expression a mixture of disbelief and puzzlement.

CHILD DEMON
A vampire dog?? You sired a dog?
(her nose wrinkles)
Ewwww!

SPIKE
(chuckling softly)
No, someone else sired him. But then the one who did
that didn't treat him so well, so I dusted the nasty
bloke and took Fabersham for myself.
'E was a good dog, too. Kept watch over my crypt when
I was sleepin'.

DEMON CHILD
(with a baffled, skeptical look)
Fabber--Fabber-shamm? What kinda name is that?
I never heard of a dog named "Fabbershamm."
Spike brings his knee down and eases himself to sitting.

SPIKE
(smiling broadly)
Well, I was really into the Beverly Hillbillies for a
while there, and I just thought it was a classier name
than "Rover."
(long beat)
I mean, can you believe that moron actually named his
dog "Rover"??

DEMON CHILD
(smiling, just slightly)
You're funny.

SPIKE
(proudly)
I write poetry too!
Was a big hit in this one club just a few months ago!

DEMON CHILD
(quieting down a bit; then, after a pause)
Are you going to bite me?
Spike's brow wrinkles. He stares at the girl almost sadly.

SPIKE
(with sincerity)
No, I won't bite you. You have my word.

DEMON CHILD
(takes it in)
O.K.
The child looks over at the large garage-sized warehouse DOORWAY, where the border between inside and late afternoon daylight hovers dangerously. We see a variety of demons loitering there and passing in and out of the building.

DEMON CHILD
You can't go outside, can you?

SPIKE
(glancing over at the doorway)
Not right now. Wish I could. It's getting pretty
crowded and nasty in here.
Might be nice to get some fresh air.

DEMON CHILD
(innocently)
But you don't breathe, do you?
Spike grins and shakes his head.

The little girl extends one hand towards Spike.

DEMON CHILD
When you go outside, can I go with you?
I--I don't want to be alone in here.
Slowly, Spike stands up. Then he extends his hand down to the child.

SPIKE
Sure. Be glad for some company.
The camera PULLS BACK SLOWLY from Spike and the demon child as the two of them walk towards the large open doorway. Then we start FORWARD behind them, tracking their movement. They stop just short of the patch of light beaming in from outside, but the camera continues on into the sunshine.

EXT. JUST OUTSIDE MOVIETONE STUDIOS BUILDING 12 - LATE AFTERNOON

WIDE SHOT, PANNING -

While demons mill around the open space between buildings, HUMAN GUARDS with rifles, PDA's and binoculars keep watch from multiple vantage points. We HOLD the shot for a moment, then -

BLACK OUT.

END OF ACT THREE

Act Four

INT. BUILDING 12 BASEMENT CELL BLOCK - DUSK

We start with an establishing shot of a CONFINED, CLAUSTROPHOBIC SPACE with concrete walls and a row of crudely-fashioned but sturdy-looking metal cages down one wall. HOLD on that image as the pounding drumbeats and crunching guitar chords of Warren Zevon's "Ain't That Pretty at All" flare up.

Slowly, the camera DOLLIES forward down the row of cages. As we pass each individual cell, the distant and dull eyes of various DEMONIC PRISONERS stare back at us, or stare at nothing at all.

Over the music, we can hear the VOICE of one captive, clearly angry as hell, YELLING LOUDLY AND GETTING LOUDER. The voice competes with the BARKING of a very large German shepherd, which enters the frame from below as the dolly continues, followed by the hand, then the arm, and finally body of the guard who is holding it by a thin and shabby leather leash.

The dolly ends at a CELL DOOR. The guard grabs his key ring and unlocks the door. He opens it.

His dog jumps and lunges at the door, restrained only by the firm grip of the soldier. We see the man's face in profile, smirking and leering into the cell. The music fades.

WOMAN'S VOICE
(from inside the cell)
You bastard!
How dare you! No frickin' way.
Not again!
The soldier allows a length of leash to slip out from his hand. The dog barks louder and enters the cell, snarling and snapping its jaws viciously.

SOLDIER
(still smirking)
Oops--gee, damp down here. My palms are gettin' all sweaty.
(then, softly, and obviously insincere)
Hey, Ozzie--settle down now, be a good boy.
The soldier grins wider as the dog, not surprisingly, continues to bark.

Behind him, we hear THE SOUND OF A DOOR OPENING behind the soldier, followed by the clomp of boots. Two more soldiers walk into frame and take up positions either side of the first soldier. One of them looks a few years older than the first soldier, who is in his mid-twenties. The other one looks barely over eighteen.

YOUNGER SOLDIER
(startled)
Jesus....

OLDEST SOLDIER
(chuckles)
Nahh, this's Jimmy.
Jesús' shift ended a few hours ago.
YO, OZZIE! SHUT THE HELL UP!!
The younger soldier winces as Ozzie barks louder than ever. Jimmy (the first soldier) grins wide and lets the leash slip forward another six inches.

The younger soldier squints and grimaces.

YOUNGER SOLDIER
(yelling to be heard)
What's the matter with Ozzie, why won't he listen?
The boy peers into the cell, and his eyes widen.

YOUNGER SOLDIER (cont.)
You're tellin' me she's--one of those demon things?
(pauses)
She looks normal to me.

JIMMY (FIRST SOLDIER)
We figure ol' Ozzie's either deaf or brain-damaged,
dunno which for sure.
(sniggers)
Works for us, either way.

YOUNGER SOLDIER
(still eyeing the woman inside the cell)
Man, she's pretty. You sure about this?
(getting somewhat nervous)
I mean, if she's human, then....

OLDER SOLDIER
(slaps the "kid" on the back)
Ohh, no. You'd'a been here last night, you wouldn't be askin'.

JIMMY
Word up, dude.
(he pulls back hard on the leash)
Ozzie! Heel!
The dog quiets down and sits back on his haunches at Jimmy's side. Jimmy looks at his watch.

JIMMY
(to the prisoner)
O.K., babe.
Five minutes to go. Get 'em off and hand 'em over.
Or the next three words you'll hear me say are "Sic 'er, Ozzie."
At this, the dog barks and leaps. Jimmy's hand tightens on the leash.

We finally PAN AWAY from the trio of soldiers towards the woman in the cell.

The soldier's POV - one exceedingly angry, but obviously frightened -

NINA
(spitting the words out)
You pricks. If I ever get out of here after I've turned....
She is wearing a prison-issue shift but has no collar.

OLDER SOLDIER
(laughing harshly)
Yeah, that'll happen anytime now.

YOUNGER SOLDIER
(looking baffled)
Huh? Why're you wanting her to....

JIMMY
When she turns, her body'll grow a whole lot bigger, and
tear her clothes all to hell.
(he looks over at the kid and smiles)
Damn sure Uncle Sam ain't gonna keep giving her new ones, right?

OLDER SOLDIER
Damn sure.

JIMMY
(to Nina)
Count of five, wolf-babe, then our bite-your-head-off
buddy here gets his way.
He gives her a malevolent look that makes it plain he's not bluffing.

JIMMY (cont.)
One...two...three....
Without changing her death stare, Nina slowly begins to unbutton and then slide her shift up off of her body.

CUT TO - a POV behind Nina, shot carefully framed from just above the buttocks on up, revealing her naked back.

Ozzie growls softly and barks. The moment stretches on for a good ten seconds, then -

NINA
Uhh!
Nina winces and hunches over as a shudder snakes through her body.

JIMMY
(frowning deeply)
Crap. Watch must be slow.
It's starting already.
Nina cries out a second time, then lets out a gasp that almost sounds like relief as her body BEGINS TO CONTORT IN ITS WOLFEN TRANSFORMATION.

Jimmy jerks back Ozzie's leash, then hands the dog over to the older soldier and quickly slams the cell door shut. As he does, Nina screams loudly one last time--a long, harrowing cry that morphs into a GROWL and then a ROAR.

ANGLE on THE WOLF as its churning and pulsating flesh subsides. Nina is gone. A heavily furred, ferociously snarling animal JUMPS AT THE THREE MEN, crashing into the restraining bars of the cell door with such immense force that they actually bend.

The wolf falls back, then leaps forward again, and again. On the third leap, she deftly swipes a THICK, SHARPLY-CLAWED PAW through the space between the bars, missing Jimmy's face by inches. He steps back, unfazed, and smiles.

The younger soldier jumps back, frightened but still staring raptly.

YOUNGER SOLDIER
Jesus....

OLDER SOLDIER
(grinning wide)
Hey, kid, he's gone--don't'cha listen?

EXT. MOVIETONE STUDIOS BUILDING 12 - EVENING - ESTABLISHING

A low-hanging FULL MOON slides out from behind some clouds.

EXT. A NEARBY MOVIE SET, DRESSED FOR A WESTERN - EVENING

We see a row of storefronts--a saloon, a blacksmith's shop, a provisions store.

SPIKE and the DEMON CHILD FROM ACT 3 are seated on a mock-up of a stagecoach outside the blacksmith's shop, watching other demons milling about. The demons look dangerously bored.

The demon child looks up at Spike.

DEMON CHILD
How'd you get the name Spike? Wouldn't "Spike" have
been a better name for your dog than...
(hesitating)
Fab--Fabersham?
Spike looks down at her and smiles.

SPIKE
Oh, right--I tell you all my secrets, but I still
haven't heard what your name is.
The child looks down at her lap. She is gripping her FABRIC DOLL against her stomach, although not quite as tightly and defensively as before. She stares at it as she speaks.

DEMON CHILD
(mumbling)
My momma said not to tell anybody while I was here.
She said that names give humans power over us, and
then they'll kill us.
Spike nods and pats the child on the shoulder.

SPIKE
Guess that's true sometimes. But....
(beat)
...I'm not human, I'm a demon like you.
So can you cut me a break here? Or do I have to go on
calling you "small purplish demon girl" in my head?
The demon girl laughs and relaxes her grip on the doll, allowing it to lean loosely against her stomach. Then she reaches a hand up to her forehead, backing two of her four fingers up flat against it. The others are curled into her palm and facing outwards in what seems to be a ceremonial action. She looks up at Spike.

DEMON GIRL
I'm G'nea.

SPIKE
Guh-nay-uh.... G'nay-eh.

G'NEA
(nodding once and lowering her hand)
That's it. The second way.
She turns and looks out across the studio lot.

SPIKE
(sincerely)
Well, I understand why you were hiding it, 'cause you
should always listen to yer mum....
(he pauses)
Well, usually always.
(he looks down at her)
It's a pretty name. And this place....
His eyes shift to look out where she is looking, drawn to the sound of -

Their POV - three demons, about seventy feet away, getting into an INCREASINGLY VOCAL ARGUMENT in a cacophony of different languages.

SPIKE
...damn well needs all the pretty it can get.
We CUT BACK TO the demons as their argument begins to escalate. One of the demons shoves another roughly, almost knocking it to the ground. A third demon grabs the first one, yanks it off balance, then slams it to the pavement, kicking up a small cloud of dust.

EXT. OUTSIDE THE MOVIE STUDIO ENCAMPMENT - EVENING

Angel and Illyria/Fred are huddled down near the base of some trees, staring across the street.

ANGEL
(with concern)
They oughta be back by now. Maybe we need to--

ILLYRIA-F
I advise not waiting for the sorcerer to return.
We should act with all possible speed, and I do not
trust his motivations.

ANGEL
(looking over at Illyria)
Yeah, I know.
But our options are pretty thin at the moment.

ILLYRIA-F
Our "options" have been thin ever since we returned to
this realm--
Angel looks sharply to their right.

ANGEL
Someone's coming.

ILLYRIA-F
(head tilt, listening)
From the sound of the gait, I believe one of them is Charles.
Angel slowly stands.

ANGEL
(with relief)
Finally.
Illyria stands as well.

REVERSE ANGLE - Gunn appears, looking around the area cautiously. A few feet behind him is Michael, holding a small black leather bag in his hands.

ILLYRIA-F
(to Gunn)
We have redoubled our perimeter survey, and
determined two possible entry points that will
maximize our chances of successful deployment.
If you are ready, Charles, we should begin.
Gunn looks over at Michael, who is staring at Illyria with dismay. Then Michael notices that he at least has Gunn and Angel's attention, and opens his leather bag, revealing the contents to them.

MICHAEL
(chuckling nervously)
My "house-call" bag.
He roots through it, pulling out a few things.

MICHAEL (cont.)
Eye of newt, binding powder, an obfuscation crystal,
a Swiss Army knife....
(he shrugs)
Pretty much the basics.
Plus a couple of standard glamour talismans to get you in and out.
ANGEL
Sounds simple.
Michael looks at him.

MICHAEL
Sounds simple, but it's not.
Glamours can be unstable.
You need to invoke the power of the talisman with an
incantation, then keep the thing with you at all times.

ANGEL
(looking Michael in the eye)
Well, then, start invoking.
'Cause we're going in.

EXT. THE LOT OUTSIDE BUILDING 12 - EVENING

The fight among the three demons has escalated to a vicious slugfest. One demon aims a sharp-knuckled fist into the third eye of another. In return, he gets a tightly-curled tentacle tip hard to the chest. He falls to the ground, groaning and gasping. His companion turns on the tentacled demon with menace as other demons begin to close in, watching.

REVERSE ANGLE - We see soldiers running in from the perimeter of the lot towards the fight, weapons at the ready.

CUT TO - Spike and G'nea, still sitting on the stagecoach prop. Spike sits up, looking concerned.

SPIKE
(quietly)
Time to get out of here, G'nea.
G'nea is once again clutching her doll tight against her body, and the normally warm lavender of her face appears paler and more blue.

Spike glances around.

SPIKE
Where's your mum?
Good time to be gettin' you back to her.

G'NEA
(frowning deeply, looking very sad)
I don't know. The humans took her away. I don't know where.
(long pause)
I think she's dead.
Spike stares down at her, his face registering shock. We HOLD on him as his expression hardens into consternation, then -

SPIKE
What about your dad? Is he here?
G'nea's eyes are moist. She shakes her head.

G'NEA
(murmuring)
He...he is dead. They killed him when they came
to take us to this place. He was trying to get us
away, and when he wouldn't stop, they--
She haltingly raises one shaking hand to her throat. Her lip trembles. Her face is a jumble of emotions--sadness, fear, and a child's rage.

Reflexively, Spike reaches up to his own throat as well. His fingers brush over his collar.

SPIKE
Oh.
Suddenly, the sound of AUTOMATIC WEAPONS FIRE rips through the air.

Spike's head snaps up. G'nea screams. Spike looks quickly around again, then grabs G'nea's hand.

SPIKE
C'mon, I'm getting us out of here.

G'NEA
(looking up, hope appearing and disappearing on her face in a second)
Out of the camp? We can't--

SPIKE
(firmly)
That's another night, another plan. Right now....
(he points)
...we go this way.
WIDE SHOT - Together, they walk swiftly down the row of fake storefronts.

REVERSE ANGLE - The GUARDSMEN who moved in to break up the fight are standing, SURROUNDED BY A NUMBER OF DEMONS. They raise their weapons.

INT. BUILDING 12 BASEMENT CELL BLOCK - OUTSIDE NINA'S CELL - EVENING

Wolf-Nina makes yet another VIOLENT LUNGE against the bars, trying futilely to break through. We can see streaks of blood matted into her fur from the force of flesh against steel. The door lock creaks. A wafting stream of fine concrete dust drifts down from the ceiling where the bars intersect it.

The two older soldiers continue to watch the action with unconcealed glee, but the younger soldier has backed up near the door behind them. He looks unnerved.

YOUNGER SOLDIER
(edging still closer to the door)
Jimmy, you...you sure that lock's gonna hold?
She...it....
...it doesn't seem to be getting any weaker.
No sooner does he speak when he is startled by the SUDDEN, ALMOST EXPLOSIVE BANG OF THE DOOR behind him as it opens and slams against the wall, narrowly missing knocking him over.

The younger soldier grabs at his hand, which wasn't missed.

YOUNGER SOLDIER
OWWWW! Dammit--what the hell?
The Captain from Act 2 is standing in the open door, and he is anything but happy.

CAPTAIN
(loudly)
What in the holy hell are you idiots doing?!
These inmates are supposed to be sedated!
He charges into the holding area.

CUT TO - Wolf-Nina, who momentarily stops throwing herself at the bars and growls low at the approaching captain.

CAPTAIN
(lowering his voice just a little, but not much)
So tell me, Sergeant--does that inmate look sedated to you??
Does she?

JIMMY
(not smiling now)
Well, uhh...gee, Captain, we--uhhh....

OLDER SOLDIER
(also not smiling)
Just havin' a little fun here, Captain, wasn't--

CAPTAIN
(getting into the older soldier's face big time)
FUN???
(now mere inches away from the soldier's face)
Are you out of your freakin' mind, Sergeant?
Do you understand just how powerful that creature is
when it's in this form? Do you?

JIMMY
(recovering somewhat)
Captain, it was my--
The Captain pivots, facing Jimmy.

CAPTAIN
Shut it. I do not want to hear this.
(he looks around)
Where's the tranq gun?
It's obviously too goddamn late now to give her the
normal injection, but if we don't get her down soon, it'll--
CUT TO - A deafening howl bursts from Wolf-Nina as she THROWS HERSELF AGAINST THE CELL DOOR WITH ASTONISHING FORCE. The cell door bows several inches forward, rending the door lock with a high-pitched screech. A thick shower of dust spills down from the ceiling.

The young soldier cowers against the rear wall.

YOUNG SOLDIER
Jesus....
With a quick, panicked glance, he bolts for the open door.

CUT TO - Jimmy and the older soldier, now backing up fast as well. The Captain looks about frantically, and then sees -

Captain's POV - the TRANQ GUN, hanging on a wall rack down the corridor. He runs for it.

CAPTAIN
(shouting back over his shoulder)
GET OUT!
Get out now!!
And lock the door behind you!
Jimmy and the older soldier turn to run, but it's too late. Wolf-Nina leaps one more time at the weakened cell door, and with a THUNDERING CRASH OF METAL AGAINST CONCRETE, it crashes open and swings back hard against the adjacent wall, sending chips and chunks of stone flying.

The beast hunches down in the corridor and casts its FERAL YELLOW EYES at the retreating soldiers.

We hear a loud crack from down the corridor.

CUT TO - the Captain is clutching the tranq gun. The rack that held it teeters loose from the wall, then smashes to the floor.

The wolf-creature's head snaps in the direction of the sound, then back again at Jimmy and the older soldier.

ANGLE - The two soldiers bolt through the door, leaving it open in their haste.

INT. BOTTOM OF THE BASEMENT STAIRWELL - BUILDING TWELVE - NIGHT

ANGLE - looking up.

We see their feet hit the stairway landing as the WOLF lunges up into the frame after them.

Teeth meet flesh.

BLACK OUT at the sound of their screams.

EXT. LOT OUTSIDE MOVIETONE STUDIOS BUILDING 12 - EVENING

Demons, closing in on the Guardsmen.

In CLOSE-UP, we see one of the Guardsmen's finger tremble on the trigger of his rifle.

GUARDSMAN
Sergeant, we have to--

SERGEANT
Negative, Corporal. If we open fire, we risk an instant escalation.
You fire when, and if, I tell you to.
CUT TO - Half a dozen additional soldiers stream out of Building 12 onto the lot.

Nearby, a group of loose-skinned, floppy-eared demons see them and race away, apparently getting while the getting is good.

MEANWHILE -

A Grappler demon looms close behind a PRIVATE, then grabs him and throws him into a nearby wall. The man shouts.

The Sergeant whirls at the sound, then immediately charges over, drawing a cattle-prod device from his belt. He jabs the demon with it. The demon roars at the pain, turns, and swings a heavily-muscled arm at him. This sends the Sergeant flying as well. He lands on the ground with a grunt fifteen feet away.

Instantly, THE CORPORAL OPENS FIRE.

CUT TO a series of shots - heads turning--both demon and human--all over the lot at THE SHARP NATTER OF RIFLE FIRE, and then -

The Grappler demon falls to the ground. A pale yellow fluid oozes from the holes scattered over his body.

EXT. LOT OUTSIDE STUDIO BUILDING 12 - WESTERN SET - EVENING

Spike and G'nea stand near the end of the row of storefronts, staring back in the direction of the gunfire. G'nea whimpers.

CLOSE-UP on Spike as he gazes around the lot. A soft hissing sound draws his attention back down to G'nea.

SPIKE
(murmuring)
Don't worry, we'll--
Spike's attention snaps back around to the front.

G'NEA
(squeezing Spike's hand and whispering, her voice quivering)
What is it?
Spike holds a finger to his lips.

SPIKE
Someone's out there. Coming towards us.
(he sniffs the air)
Human.

G'NEA
(fearful)
Human?
Spike nods. He points her in the direction of a shadowed area on the front porch of the last storefront. The camera holds its position as they move into it and hunker down into the darkness.

SPIKE (o.s.)
(whispering)
Wait 'til she goes by, then we move again.
Then -
A FEMALE FIGURE steps out of the shadows beyond the Western set, her face partially revealed in the moonlight but still obscured. She is wearing a GUARD'S UNIFORM, but it is not military. She comes to a halt about ten feet from where Spike and G'nea are hiding and gazes into that spot.

GUARD
Come out, vampire. You and your friend.
The figure gazes unmoving at the dark storefront.

GUARD
I know you're there. Let's not be all pointless about this.
The guard pulls a PDA from her belt clip, looks at the screen, then back over at Spike and G'nea. We can see now that she is wearing GLOVES.

GUARD
There are homing devices built into your collars.
(she awkwardly fingers a few buttons on the PDA)
Let's see now....
(pause)
Oh, you have a name. "Hostile 17."
The woman presses still more buttons.

GUARD (cont.)
And...an unidentified young female, species and name unknown.
(beat)
Now, we can't have that.
Suddenly, LOUD BURSTS OF GUNFIRE ERUPT again from across the lot, followed by the SOUND OF GLASS BREAKING. The guard glances over at the fray as we hear SHOUTING AND GRUNTING.

GUARD
(with frustration)
Damn it. They just don't learn.
(she sighs)
Maybe they don't care, which, considering the circumstances....
CUT TO - the guard's POV - Spike slowly stands. Then -

CLOSE-UP on G'nea as she stands up next to him, holding her doll to her chest. As she does so, the doll appears to move on its own ever so slightly. Or maybe it's only a trick of the MOONLIGHT, which -

has finally slid out of its cloud cover, and now BATHES THE GUARD'S FACE IN ITS LIGHT.

CLOSE-UP on Spike, as he frowns at her.

SPIKE
And you are?

GWEN RAIDEN
(sardonic smile)
Your host for this evening, Mr. "Seventeen."

SPIKE
(grumbling)
It's just "Spike," thanks.
MORE GUNFIRE ERUPTS FROM THE LOT, louder and closer. Gwen, Spike and G'nea all turn to look. G'nea leaps behind Spike. We hear a low hissing coming from her again.

Their POV - we see what looks like a LARGE, DISFIGURED DOG racing right towards them, trailed by SEVERAL SOLDIERS, who are taking shots at it.

CUT TO - GWEN. Her muscles tensing, Gwen points her PDA at the approaching animal, then scowls at what's on the display screen.

GWEN
(angry)
Crap. Those idiots--I told them not to leave that woman
without a collar, but once again, they were thinking with their--
CUT TO - the WEREWOLF and its pursuers, drawing closer.

Then CUT BACK TO - Quickly, Gwen reholsters the PDA and slides her gloves off one by one.

WIDE SHOT - The werewolf is now thirty feet away and closing, running straight at Gwen. Spike grabs G'nea's arm, pulling her out of the way. Then he gapes back at Gwen.

SPIKE
(yelling)
What the hell's the matter with you?! Are you mental?

GWEN
(staring down the werewolf, her face tensing)
Maybe. But I'm also well-paid.
CUT TO Gwen's POV as - Wolf-Nina LEAPS AT HER, jaws aiming right for her throat.

Then, a TWO-SHOT, Spike's POV - Gwen raises her arms and ducks to avoid the wolf's teeth just as the animal SAILS INTO THE SPOT THAT WAS HER NECK. It hits her fingers instead, and Gwen grunts as she falls back with the force of it, digging her fingers into the werewolf's neck and chest.

A BRIGHT, BLUE-WHITE ELECTRICAL JOLT arcs instantly over the wolf's body.

The animal's momentum carries it over Gwen and towards the asphalt beyond. We hear its high-pitched, plaintive cry as the beast lands in a heap, rolls over several times, then lies unmoving.

CUT TO - Gwen, lying on the ground, gasping. Slowly, she sits up.

GWEN
(wincing)
Or maybe not well enough.
She looks up, then glares.

Gwen's POV - The Captain is running over to her, still carrying the TRANQ GUN.

CAPTAIN
(out of breath)
Dammit....
(wheezing slightly)
Did you kill her? I thought I told you, she's a--

GWEN
(icily)
She's not dead. I gave her just enough to knock her out.
The Captain strides past Gwen over to where Wolf-Nina lies on the ground, still unmoving. He crouches down and carefully reaches out a hand to her thick, furry neck, feeling around for a pulse. Then he lowers his ear to her snout to listen for signs of breathing.

GWEN
(to the Captain)
But I'd get those tranqs in her within the next couple of
minutes if I were you.
The Captain stands.

Gwen tilts her head in the direction of the studio lot.

GWEN
(with a sardonic smile)
You need my help over there too, I suppose?
The werewolf chase has briefly quieted the unrest, but as the Captain walks his tranq gun over to one of the other soldiers standing nearby, we can hear SHOUTS and GRUNTS starting up again across the lot.

CAPTAIN
No, Ms. Raiden. We'll handle things.

GWEN
Well, call me if you need me.
The Captain pulls his PDA collar-detonator device from his belt and punches some settings into it.

CAPTAIN
Sure. You were such a big help the last time this happened.

GWEN
Better their heads rolling than yours...or, more to the
point, mine.
The Captain turns and starts briskly away back across the open lot, soldiers flanking him.

CAPTAIN
(muttering under his breath)
Mercenary bitch.

GWEN
(mock-friendly)
I heard that!
The words no sooner leave her mouth when there is a HUGE FLASH OF LIGHT, instantly followed by a DEAFENING BLAST, and we CUT TO an-

AERIAL SHOT OF MOVIETONE STUDIOS - A HUGE FIREBALL RISES UP FROM THE OPEN LOT.

CUT TO SHOTS OF - THE CAPTAIN and HIS MEN, then GWEN AND SPIKE, as they drop to the ground and cover their heads. G'NEA, however, continues to stand, staring in disbelief.

Streamers of fire and burning debris fly out from the central core of the explosion in all directions. Some land on the buildings. Some land near the soldiers. Some land on top of the Western storefront sets. Within seconds the sets burst into flame, setting the nearby trees on fire.

Quickly, Spike reaches up and yanks G'nea down beside him, covering her protectively under the flap of his leather coat. Then he glances up at the rising column of flame and smoke reaching into the sky.

SPIKE
Bloody hell....
G'nea clings to his side, shaking in terror. Spike glances down at the demon child, then over at Gwen. She is lying prostrate on the ground, unmoving.

CUT TO - GROUND ZERO - the dead bodies of both humans and demons are strewn about everywhere.

EXT. THE STREET OUTSIDE THE MOVIE STUDIO ENCAMPMENT - EVENING

Across the street, Michael and the gang are staring at the fire and smoke rising up into the night sky in horror and disbelief. The only sound is the slowly receding, distant rolling thunder from the initial explosion.

One by one, we pass to a CLOSE-UP of each of their faces--first Michael, then Gunn, then Illyria, and finally Angel.

We HOLD on him, and the fire reflected in his eyes. A long moment passes. Then, finally -

ILLYRIA-F
(flatly)
We are too late.

BLACK OUT.

TO BE CONTINUED

Comments?

Written by	OnM and Masquerade
Executive Producer	Masquerade
Senior Script Editor	Anom
Main Credits photo credit	LittleBit

Angel	David Boreanaz
Gunn	J. August Richards
Illyria	Amy Acker
Spike	James Marsters



Anne	Julia Lee
Rondell	Jarrod Crawford
Chain	Maurice Compte
Gwen Raiden	Alexa Davalos
Nina	Jenny Mollen

"Angel the Series" is the property of
Joss Whedon and Mutant Enemy.
No copyright infringement intended.