Resistance II, Part 2

Resistance II

Part 2

(December 16, 2004)

Written by Masquerade and OnM

Act Three

INT. THE DETENTION CAMP - BUILDING 12 - NIGHT

PAN across the DIMLY-LIT WAREHOUSE SPACE. The sound stages and sets are in even more disrepair than the last time we saw them. Prisoners roam the area, casting hostile looks at the guards and at each other.

Gunn and Illyria/Fred are deep inside the building, approaching the large open doorway. Suddenly, a SHOUT catches Gunn's attention.

VOICE
Yeah? And what are you going to do about it?
Gunn's POV - a family of unidentifiable demons are seated on the ground near a makeshift tent. A HULKING DEMON THUG hovers over them, grabbing food right out of their hands.

Gunn frowns and glances around at the guards, who are paying no attention to the incident.

ILLYRIA-F
(oblivious)
If Spike was indeed here as the sorcerer claimed, he is
here no longer.

GUNN
(still watching the demons)
Yeah.
(he looks away)
And we should head back to the tunnel. This place is
seriously messed up, and I don't want to be around when it
blows again.
They exit the building and start off across the lot.

CLOSE-UP on Illyria/Fred, whose watchful eyes look over the DEMONS that they pass.

ILLYRIA-F
I do not understand this. Why does your leadership not
simply exterminate their enemies immediately? Why are the
demons in this prison still living, if they have openly
sought to kill your kind?

GUNN
(honestly)
I dunno. It makes no sense to me, either. Except some of
these demons aren't dangerous, I guess.
(beat)
And from what I can see here, the whole enchilada looks
like it was just cobbled together ASAP, probably to get
the demons off the streets and out of the public eye.

ILLYRIA-F
(harrumphs)
It is poorly organized and governed. Whatever trouble has
occurred here, those who maintain it have brought on
themselves.
Gunn frowns.

GUNN
(pained)
I wouldn't say that. I mean to some extent, yeah,
but...this whole situation--demons everywhere, in the
streets--people are finally getting a good look at them
and what they are. And I think they realize that the
solution to the problem is a lot more complicated than
just "blowing them all away."

ILLYRIA-F
Be that as it may, I tend to believe that your leaders
will realize the prudence of rapid extermination, if they
haven't already. Even humans could not be so ignorant or
misguided as to let a threat of this magnitude continue to exist.
Gunn says nothing to this as we CUT TO a CLOSE-UP on the face of a man weary from everything he's seen, and in serious need of some sleep.

INT. UNIQUE ANTIQUES BACK ROOM - NIGHT

Michael is still seated on the floor in his CIRCLE OF SAND, his expression pensive. Angel is in the desk chair.

MICHAEL
When you say you need to stop it "any way you can"...
what do you mean? What if this being literally is a child?

Angel nods, pausing a moment to collect his thoughts.

ANGEL
Say that it is, for argument's sake.
Did you see the damage that "child" did? The whole camp
could have burned down and killed everyone inside it!
(beat)
I'm not saying that I'd hurt a child. But I've learned
that sometimes in this fight, there are no good
choices, only hard choices. A powerful child might
be one of those "sometimes."

Michael nods, his expression sober. He finally stands up and steps outside of the sand circle on the floor.

MICHAEL
Yes...power in the hands of a child....It can be quite
frightening. Or heady, if you are the child.

Angel gazes at him with a puzzled frown.

ANGEL
Sounds like you know something about that.
Michael shrugs. He bends over and picks up the incense holders off the floor.

MICHAEL
Well, like this--I hope--hypothetical child, I was born
with a predisposition for my abilities.
(he glances at Angel)
My mother was a witch, and I inherited her power. She...
(he blinks thoughtfully)
She said she "saw what I was born to be."
CLOSE-UP on Michael - his eyes are sad, as if remembering things unspoken.

MICHAEL Well, I'm sure you know how parents can be with precocious
children. I was fighting your "good fight" before I
was eight.

CLOSE-UP on Angel's somber expression.

MICHAEL (cont.)
After a while, that kind of pressure gets to be too much.
(he shrugs)
So I left. I had to, for my sanity.
His eyes rise to -

His POV - the PHOTO OF HIS SON.

Michael lets out a ragged breath.

Angel reflexively gazes at it as well.

ANGEL
And now all that's changed?
Michael frowns.

MICHAEL
Yes. It has.
He carries the incense holders over to the trunk and places them carefully inside. Then he stands. His eyes roam the room and land on -

His POV - a DUST-BUSTER, hanging from the wall by the door. He walks over to it.

MICHAEL
I guess you can't escape from yourself indefinitely, though.
When I saw what's been going on out there now--
A pained look comes to his face.

MICHAEL (cont.)
--all this death and destruction, I knew it was time to
come back.
He grabs the small vacuum cleaner off the wall and turns back to the circle of sand.

MICHAEL
(murmuring)
...My destiny.
Angel looks over at him uncertainly.

ANGEL
What's that?
Michael chuckles. He shakes his head.

MICHAEL
Nothing. Just a sad man a bit past his prime.
Angel stares thoughtfully at the PHOTOGRAPH of Michael's son again for a moment. We can hear the WHIR of Michael's vacuum cleaner in the background, sucking up sand.

EXT. THE DETENTION CAMP - BUILDING 12 - LATE NIGHT - ESTABLISHING

POV - Looking down the ADMINISTRATIVE HALLWAY from the door of the Captain's office. Gwen walks briskly towards it.

REVERSE ANGLE, approaching the door with Gwen. THE NATIONAL GUARD MILITARY POLICE CORPORAL from Act 1 is positioned at the door, a sidearm and a PDA holstered at his waist. The door is cracked, and as we near it, we can hear the Captain speaking inside.

The corporal nods to Gwen.

CORPORAL
Ma'am.
Then he continues to stand quietly. Gwen comes to a halt, glancing at him awkwardly. Another moment passes; then, from inside the office -

CAPTAIN
All right, Corporal.
The Corporal turns and enters the office. He comes out a few seconds later escorting a skinny, pale demon in an institutional brown shirt and pants. The two pass Gwen and start down the hall. Gwen enters the Captain's office.

INT. CAPTAIN'S OFFICE - NIGHT

The Captain taps at his computer keyboard, pausing between sets of taps to study the monitor screen in front of him.

GWEN
It's very late.

CAPTAIN
I'm still interviewing the witnesses.

GWEN
So what's the preliminary verdict? Have anything yet?
The Captain looks at her soberly.

CAPTAIN
It's a military matter, Ms. Raiden.
Gwen raises her eyebrows.

GWEN
Ah, so it's classified, now, is it? You have found something.

CAPTAIN
As, apparently, have you.
Gwen gives him a quizzical look.

The Captain slowly stands up and walks over to the front of his desk. He sits down on the edge of it and stares at Gwen, his features set in a FULL-ON POKER FACE.

CAPTAIN
I've been following your most recent exploits within our
normally very secure database records, Ms. Raiden. Records
that you are not cleared for access to. Would you care to
explain to me how you obtained the necessary passwords?
(beat)
And to whom you're selling the intel that you retrieve?
Gwen smiles, placing her bets.

GWEN
I don't know what you mean.

CAPTAIN
(taking two cards)
I have you on camera, Ms. Raiden, so cut the crap.

GWEN
(raising)
The cameras that run on that handy "electricity" stuff?
Those cameras?

CAPTAIN
Not the ones you touched and blanked out, the ones hidden
where you didn't think to look for them.

GWEN
(bluffing--or maybe not)
Ahhh, but there is no such place. If it has an electrical
field around it, I can sense it.
(beat--straightening her shoulders)
Assuming I wanted to, of course.
The Captain gets up off the desktop corner and returns to the rear of his desk. He opens the top left drawer, reaches in, and pulls out a what looks like a standard MINIATURIZED CAMERA. He tosses it at her. Gwen deftly catches it, only slightly startled at the abrupt move. She furrows her brow slightly, then regains her studiously indifferent pose.

GWEN
Kind of early for my Christmas bonus, but thanks.
(she smiles)
I'll treasure it always.

CAPTAIN
Burn it. Be my guest. I have backups off-site.
Now Gwen does frown.

GWEN
Bite me. I'm not a trained seal.
A hint of a smile twitches on the Captain's lips.

CAPTAIN
No, you're a highly skilled thief, Ms. Raiden. And you've
been stealing from us. The recording from that camera
proves it. All I have to do is present it to my superiors,
and you're not only no longer working here, you might be
spending a little time on the farm yourself.
Gwen gazes down at the camera in her hands. She raises it and tilts her head, studying it. Finally, she gazes up at the Captain, looking stunned.

GWEN
Wait...there's no metal in this thing. What the....

CAPTAIN
(full house...)
Bit of intelligence technology they use in my branch of
the service. Demons who use magic can play havoc with
electrical systems. But that thing's got no wires, no circuit
boards, no electrical fields. Purely photonic coupling
from pickup to data port. Fiber-optic link from there to the
main server.
He pauses, then gestures to the computer on his desk.

CAPTAIN
Server to me, here. With my handy CD burner.

GWEN
(smiling, now bluffing for sure)
Clever.
The Captain nods and sits back down in his chair.

CAPTAIN
Not so much me. I just associate myself with clever
people.
Gwen leans forward in her chair, placing the camera gently--too gently--back on the Captain's desk.

CAPTAIN (cont.)
You managed to clear any electronic record of what you were doing,
but just having a visual record of you breaking into my system is
damning enough.
Gwen's smile vanishes. She peers at him guardedly. A LONG MOMENT TICKS BY. Finally -

GWEN
I wasn't stealing. I was investigating the explosion.

CAPTAIN
(irritably)
Don't give me that crap--

GWEN (cont.)
...And now I know the cause of it. And....
(she lowers her voice to a whisper)
I have proof that you know what it is, too.
Or rather, who it is.
She sits back in her chair again and scrutinizes him.

GWEN
What I can't figure out is how long you've known. Or what
you intend to do about it.
The Captain tries to retain his look of utter control, but we can see the color rise to his cheeks and the muscles in his neck start to tighten into knots.

CAPTAIN
The situation is under control, Ms. Raiden. And none of
your damned business.

GWEN
(shrugging)
Fine, then. I'll just pass on my witness report to your
superiors and get back to...zapping things.

The Captain shakes his head.

CAPTAIN
Don't think that you can use this to bargain with me.
Gwen laughs.

GWEN
You're protecting that thing, aren't you?

CAPTAIN
She's not a "thing." She's a little girl.

GWEN
A "little girl" who killed a half dozen men under
your jurisdiction!
Do you think that when your superiors find out you
knew what she was capable of, they won't arrest you and
charge you with treason?
The Captain's chin dips as he tempers an angry scowl. He takes a deep, calm breath.

CAPTAIN
Ms. Raiden. You will leave her alone. You will go back to
the duties that the Army hired you for and leave this
matter to the officers in charge of the investigation.
CLOSE-UP on Gwen as she regards him, her expression returned to its former cool bravado.

GWEN
You're a fool, you know that?

EXT. OUTSIDE THE MOVIE STUDIO DETENTION CAMP - LATE NIGHT

CLOSE-UP on the SEWER DRAINAGE GRATE at the curb.

INT. SEWER TUNNEL BELOW THE STREET - NIGHT

Illyria-in-blue and Gunn are standing just out of the light filtering down from the sewer grate.

ILLYRIA
(impatiently)
Where are they?

GUNN
They'll be here. It takes a while to cross town, even in a
stolen car.

ILLYRIA (scowls)
You put unjustifiable faith in that sorcerer. We have
absolutely no reason to trust him.

GUNN
So far, he's only helped us. I think that counts as a "reason."

ILLRYIA
He deliberately sabotaged our first attempt to retrieve Spike.

GUNN
We've been through this already. I think he was just trying to--
Gunn stops in mid-sentence and pauses, tilting his head as if listening. As he does, we hear the distant sound of footsteps.

ILLRYIA
They are exceedingly late.
After a moment, Angel appears out of the shadows, followed by Michael clutching his "house call" satchel. Angel gazes at Gunn and Illyria.

ANGEL
So, nothing on Spike?
Gunn shakes his head.

GUNN
We checked around; none of the demons seemed to know
anything, or else they weren't telling. But then, those
glamours made us look like the guards, so maybe that was
what you'd expect.
(pauses)
That place is a tinderbox, Angel, and I don't mean because
of that fire last night.

ANGEL
Well, we're going back in regardless, and this time we'll get
the job done.

MICHAEL
Do you want me to do the locator spell again?

GUNN (shaking his head)
From what I saw, most of the demons are allowed to come
and go, even the vampires. The Army seems to place a lot
of faith in those collar gadgets. We're pretty sure
Spike's being held in or around Building Twelve, since
that's where we saw the most vamps, but he could be
anywhere. By the time we do a spell, he could have
moved on.

ANGEL
Then what do you suggest?

GUNN
We start at Building Twelve and move out from there.
Angel nods in agreement.

ANGEL
And once we track him down, we have to get that collar off
of him.
(he turns to Michael)
You clear on what we need to do?
Michael nods.

MICHAEL
Once we find him, I will attempt a spell to disarm the collar.
He hesitates, then his voice becomes very serious.

MICHAEL
I must caution you, though, that using magic on technology
is always extremely risky.

GUNN
Hold up, Angel. Those collars are controlled by some kind
of device all of the guards keep on them. It might be a hell
of a lot easier if we can just get our hands on one of
those things.

MICHAEL
(wide-eyed)
Yes, that would be better, no question. Let's do that
if it's at all possible.

Michael unzips his satchel and pulls out another GLAMOUR TALISMAN. Angel turns towards him as Michael prepares to cloak Angel in the guise of a camp guard.

ANGEL
Let's hurry this up. We're running out of night fast here,
people.

EXT. JUST OUTSIDE BUILDING 12 - SHORTLY BEFORE DAWN

SMOOTH, QUICK PAN across the stretch of lot outside the building. We can see the SCORCHED STOREFRONTS of the Western movie set in the background. Some of the "buildings" are charcoaled husks, while others are blackened but still intact. Closer to the Building 12 entrance is GROUND ZERO. Prisoners and guards mill around the area, occasionally eyeing the gaping hole, which is now surrounded by flashing A-frame warning signs connected by yellow tape. We end the PAN at the open doorway of Building 12, where we see Angel, Michael, Gunn and Illyria/Fred enter and nearly run smack into -

Their POV - a DAZED-LOOKING SPIKE.

INT. BUILDING 12 - PREDAWN

Spike staggers back, his hand cradling his forehead. He takes in the sight of them, his expression a mixture of relief and frustration.

SPIKE
Bloody hell! Took you people long enough!
He stares at them in their uniforms.

SPIKE
Well, look at you lot. All dressed up and only this place to go.
Then he notices the addition to the group and gestures at him with a frown.

SPIKE
Who's this wanker?
Michael looks miffed and opens his mouth to reply.

ANGEL
(abruptly)
Sorcerer. He's helping us out. He's how we got in here.

SPIKE
Right. Well, now we need to get out of here.

GUNN
(to Spike)
We figured we'd get one of those remote control things the
guards have and disable your collar.
Spike fingers the yoke around his neck.

SPIKE (smiling, looking very smug)
Collar's already disabled, mate. Been tryin' to avoid the
guards in case they use one of their little toys
and figure that out.
Angel frowns, impressed despite himself at what appears to be Spike's cleverness. He sets his hands on his hips.

ANGEL
I'd ask how you managed that, but I think we should just go.

SPIKE (shaking his head vigorously)
First I need to find a friend. Little girl. Told her I'd
get her out of here, too. We were together, and then I
lost her--again. She gets skittish around the
guards. Can't say I blame 'er.

ANGEL (startled, concerned)
A girl? A human girl in this place? You can't be--

SPIKE
Nahh, demon, maybe half-breed, dunno.
(he shrugs)
But her mum'n'dad're dead, she's all alone, and I'm damned
well not leavin' 'er here.

GUNN
(worried look)
Do you think they'll try to kill her?

SPIKE
Dunno why they haven't killed all of us yet, except maybe
for this Captain bloke. Seems to have a soft spot for the
peacefuller demon types.

ANGEL
Spike, as much as I'd like to help, there's no time. It's
almost daylight now, and...
(he glances at Michael)
...this place is probably going to blow again, soon, the way it
did last night. We need to get you out of here.
Michael nods in agreement.

SPIKE
I'm not leaving until I find her and get 'er to the
Captain so he can disable her collar, too.
He glances around again. Illyria eyes him with a frown.

ILLYRIA-F
It would be unwise for us to be widely seen around this
camp. Despite the appearance of our uniforms, the guards would
not recognize either of us as one of their own. Enough of
your foolish sentiments.
Spike glares at her sullenly.

SPIKE
I didn't hear anyone calling your sentiments "foolish,"
Blue.
(he shrugs)
Fine, then, you all stay here. I'll go look for her myself.
He marches off, heading for the next building over. Angel frowns deeply and rolls his eyes. He starts after Spike, quickly followed by the others.

ANGEL
(catching up)
What do you mean, you have to "get her to the Captain"?
Can't any of the guards disable her collar?

SPIKE
Nahh. Any of 'em can set it, but only an upper-brass guy
can unset it. Some of the demons here have already tried that.
He turns half-way towards Angel and then draws his one finger across his neck in a slashing motion. Angel reaches out and grabs at Spike's shoulder, whirling him the rest of the way around.

ANGEL
Spike, are you listening to me? This place is going to--

SPIKE
(shoves Angel away)
Yeah, ka-boom, I got it.
And I'm bloody well going to get her out of here first!
Spike glares at Angel, determination and steadily growing anger coloring his face.

SPIKE (cont.)
What the hell's the matter with you, anyway? Whatever
happened to your "helping the helpless"?
Angel blinks at the vehemence of Spike's anger. Spike sags a little, his expression earnest.

SPIKE
Look, I'm not leaving until she's with me. Now you and
Charley and Blue and whoever this wanker is can come with
me, or keep low somewhere.
Your call, mate.
Angel shakes his head with exasperation, muttering beneath his breath.

ANGEL
All right, fine. Let's go help look for this kid.

Gunn
(to Spike)
What's she look like?

SPIKE
Violet skin, dark hair, looks about eight in human years. Carries
a rag doll that looks just like her.

MICHAEL
If you have anything of hers, a possession of some kind, I
can do a locator spell. It'd be faster. (then he stops, frowning deeply)
Did you say "rag doll that looks like her"?
Spike raises his brows, regarding Michael appreciatively.

SPIKE
You can? Damn, I take back the "wanker" bit. But I
don't....
Suddenly his eyes widen. He bolts back towards Building 12.

SPIKE
(shouting)
G'nea!
INT. BUILDING 12 - DAWN

First light is rising over the horizon.

ANGLE ON - The front entrance. Angel, Illyria/Fred, Gunn and Michael enter the building, running quickly after Spike.

REVERSE ANGLE - Spike is kneeling on the ground in front of a SMALL DEMON CHILD with lavender skin. She stares up at the approaching quad, bug-eyed.

Spike's hand tightens on her arms as she tries to lurch away.

SPIKE
G'nea, wait. They're not guards. They're my friends.
They're just in disguise.

G'NEA (still uneasy)
They're human.

SPIKE
(looking at them)
Well, yeah, some of them are. Charley there is, and I
reckon this other bloke is as well. But the other two aren't.
(he looks back at her)
They're here to help us get out of here. We just need to
disable your collar, and--

G'NEA
(cautiously, her eyes still on the others)
How?
Spike fingers his own collar.

SPIKE
You see this? It doesn't work anymore. The guards?
They can't hurt me. And if you come with me, we can do
the same for you.
G'nea gazes at him skeptically. Finally -

G'NEA
O.K.

Spike rises, taking G'nea's hand. As they start forward, she snatches a distrustful glance back at the others, who are all looking at Spike with odd expressions on their faces. As she turns around to look forward again, Michael moves over next to Angel and motions him closer. His voice drops to a bare whisper.

MICHAEL
Angel? Th--there's something very critical you need
to know about that little girl.

ANGEL
What about her?
(his brow wrinkles)
I suppose you think that she's....

He stops talking abruptly. The expression on Michael's face tells it all.

ANGEL (cont.)
(skeptically)
No.

BLACK OUT.

END OF ACT THREE

Act Four

INT. BUILDING 12 - THE CAPTAIN'S OFFICE - DAYBREAK

Gwen is still sitting on the other side of the Captain's desk, facing off with him.

Suddenly, we hear the SCUFFLE of shoes against linoleum out in the hallway, followed by a WAILING CRY.

G'NEA (o.s.)
No!!!!
Gwen leaps to her feet and flings open the door.

REVERSE ANGLE - The corporal just outside the door pivots quickly to face her, his expression changing to dismay when he sees that it is not the Captain. Beyond him in the corridor, we can see Spike holding a WRIGGLING AND TWISTING G'NEA against his flank with both hands. He stands, jostled by her, looking baffled. Behind him, Angel, Illyria, Michael, and Gunn race around the corner.

SPIKE
G'nea! This bloke's all right. 's O.K. Stop this.

G'NEA (o.s.)
(panicked)
Let me go!!
CUT TO - Gwen, standing in the doorway. She bolts forward, reaching out for G'nea. The guard bounds after her.

GWEN
(to Spike)
Give her to me. You're in this way over your head.
CUT TO - THE GANG, watching. Angel and Gunn's eyes both widen in recognition and surprise at the sight of the woman in the guard's uniform.

BACK TO Spike. He eyes Gwen and the corporal. Then, mustering all possible bravado -

SPIKE
(authoritatively)
I'm here to see the Captain.
G'nea cries out again. She gapes up at Spike, shaking. Spike stares down at her, still bewildered at all the fuss.

SPIKE (cont.)
He's going to help you, luv. Don't worry.
Suddenly -

CAPTAIN (o.s.)
What the hell is this?
Who are these people?!
Gwen and the guard whirl around. Spike looks up.

Spike's POV - The Captain is standing in the doorway behind Gwen. His eyes move from Gwen to Spike.

GUARD
(snapping briefly to attention)
Captain! These two prisoners just showed up out of the blue.
I don't know who the other people are.
The Captain gazes down at G'nea.

She stares back, still shaking.

The Captain waves the guard down.

CAPTAIN
Stand down, Corporal. I'll handle the prisoners.
(he gestures at the gang behind Spike)
Find out who these people are and deal with them.
The Corporal eyes Angel, Gunn, Illyria/Fred, and Michael, reaching for his sidearm.

Spike shakes his head.

SPIKE
Hey, hey, don't bother with that, mate.
(indicates Angel, then Illyria with a nod of his head)
He's like me and she's mighty fast. You'll never get it
out of the holster.
ANGLE on Gwen. She is eyeing G'nea with apprehension. We can see a soft sheen of sweat on her forehead. She turns to face the Captain.

GWEN
(with a warning tone)
Captain....
The Captain's eyes are locked with Spike's, and he doesn't look happy.

CAPTAIN
(glaring)
Into my office. Now.
Spike starts forward, looking momentarily relieved. Then G'nea SHRIEKS AGAIN AND STRUGGLES against him again, almost knocking him over. Spike peers down at her, gripping the child more tightly.

SPIKE
G'nea, will you stop this? What's the matter with you?

CAPTAIN
(eyeing his guard)
Corporal? Will you please assist him?
(beat)
She's stronger than she looks.

The Corporal reaches out for G'nea's hand, and as he does, we see that, like Gwen's, his forehead is beaded with droplets of sweat. G'nea jerks her free hand away from the guard, but he manages to grab it anyway. He and Spike drag the struggling G'nea into the Captain's office.

SPIKE
Everything's all right, G'nea. G'NEA
(terrified)
No!!
Angel, Illyria, Gunn, and Michael start forward as well.

ANGLE on - Gwen, as she looks more closely at Gunn and Angel and realizes who they are. Angel pauses as the two lock eyes.

ANGEL
(coolly)
Gwen Raiden.
Fancy meeting you here.
Working a new angle now, are we?
(beat)
Must say, not one I expected. Spike turns. His hand loses some of its grip on G'nea.

SPIKE
(huh?)
Her? You know electro-bitch here?

ANGEL
We have some...history.
Gwen gives Angel a disoriented smile.

GWEN
You could say that.
She turns to Gunn, her smile warming noticeably.

GWEN
Charles.
Gunn nods at her, his smile somewhat subdued by events around him.

GWEN (cont.)
I see you're still in with the out crowd.
(she tilts her head)
Too bad.
With that, her smile vanishes and she turns and enters the Captain's office. The others follow her, quickly cramming into the small space.

INT. THE CAPTAIN'S OFFICE - EARLY MORNING

REVERSE ANGLE - The Captain has put his desk between himself and his visitors.

Spike steps forward.

SPIKE
(calm and straightforward)
We're not here to bust up your joint, mate, we just wanna
get these nasty dog collars offa me and my little friend here
(he gestures at the trembling G'nea)
and take her outa here with us.
ANGLE on - Angel. He stands, sniffing the air, a bewildered expression on his face. Then his eyes settle on the Captain. Slowly, his face CONTORTS WITH ANGER. In a move so fast no one can even blink, he dodges around the desk and PINS THE CAPTAIN DOWN on it, shoving his arm into the Captain's throat. The Captain chokes out a muffled cry.

ANGEL
Nina.
You have Nina here, you bastard. I can smell her on you.
Where is she?
CLOSE-UP on the Captain's spine, which is pressed harshly up against the top edge of the desk.

The Corporal instantly releases his hold on G'nea and GRABS AT ANGEL, trying to pry him off the Captain. Just as instantly, the demon child yanks loose from Spike's inattentive grip and bolts from the room. Gwen dives after her, just missing, then runs out the door after her. Spike snaps to attention and follows on her heels.

Angel releases the Captain, twists around, and DECKS THE GUARDSMAN with a blow to the face. The Corporal stumbles back and falls to the floor. Angel pivots back to the Captain, stopping him from rising with a LOOK.

ANGEL
Tell me where she is, or I'll put you in a wheelchair for
the rest of your life.
We hear G'nea SHRIEK out in the hallway, but her tone seems oddly different now--COLDER, LESS HUMAN.

SPIKE (o.s.)
(with bewildered frustration)
G'nea!
(then, with angry surprise)
What the hell are you doing!
We hear something clatter on the linoleum, followed by a distinctive zap. Spike grunts. G'nea screams again.

Gunn, Illyria and Michael scramble to the doorway to see what's going on out in the hall.

The Captain shivers involuntarily.

CAPTAIN
(murmuring)
G'nea, no...
He gazes up at Angel.

CAPTAIN
(bringing a trembling hand to his throat)
Nina's...in the cell block directly below us.
(beat)
She's fine...safe....
Angel reaches out and grips the Captain's hand, pulling him to his feet. The Captain grabs at his back and winces.

CUT TO -

INT. ADMINISTRATIVE CORRIDOR - EARLY MORNING

Gwen grunts as she grips the struggling G'nea. Her PDA, broken off from its holster, is lying on the floor several feet away.

Spike is flat on the ground on the other side of the corridor, gaping up, his eyes shooting darts at Gwen.

Gunn is also gaping at Gwen, bewildered.

GUNN
Gwen, what are you doing?

MICHAEL
(eyes widening as he looks at G'nea)
Gunn, get away from her.
CUT TO - AN ELECTRICAL UTILITY CORD running along the base of the wall. We can see a THIN LINE OF SMOKE rising up from the insulation.

INT. THE CAPTAIN'S OFFICE - EARLY MORNING

ANGEL
(to the Captain, still on edge)
You have humans in here, locked up?
The Captain's fingers brush over his DAMP AND PINKENING forehead.

CAPTAIN
Just a few. It was the safest thing for everyone. We
couldn't just let her wander around--

ANGEL
Give me the keys to her cell. I'll take responsibility for her.
The Captain points to a metal cabinet hanging on the wall behind his desk.

CAPTAIN
Key cabinet. Upper left...top row.
(then, eyes widening)
My corporal--did you...?
Angel glances down at the Corporal.

Angel's POV - the Corporal is still lying on the floor, unconscious.

ANGEL
He'll live.
Angel turns to the cabinet and RIPS THE DOOR OPEN, tearing the lock loose. He grabs the key from the location the Captain indicated, pivots, and stalks to the office door.

REVERSE ANGLE - SMOKE IS CURLING UP from papers stacked on the filing cabinet and the Captain's desk, and from the electrical cord running from a desk lamp to the wall.

INT. ADMINISTRATIVE CORRIDOR - EARLY MORNING

Angel bolts out into the corridor. His eyes scan the scene there briefly as he passes by.

ANGEL
Gunn--I'll meet you outside.
Gunn nods. Angel disappears around the corner as Spike struggles back to a sitting position.

SPIKE
(to Gwen)
Let' er go, you stupid bint.
ANGLE on Illyria. She is gazing around the room in her bird-like way, her eyes alert. A troubled look comes to her face.

ILLYRIA
Charles--the temperature in this corridor is rising rapidly.
ANGLE ON - Gunn, sweat beading on his face. He nods blankly.

REVERSE ANGLE - the Captain appears at his office door, holding his PDA.

CLOSE-UP on G'nea as her eyes focus on the device and narrow.

Suddenly, a light fixture on the wall CRACKLES. The bulb POPS and the socket BURSTS INTO FLAME. The Captain gapes at the smoldering remains of the lamp. Then his eyes move to G'nea.

INT. BUILDING 12 BASEMENT CELL BLOCK - MORNING

ANGLE ON - NINA, lying on a thick brown blanket. Her naked form is covered by a second blanket. CLOSE-UP ON HER FACE as her eyes open. She gazes around for a moment, disoriented.

Her POV - the concrete and metal of the cell block, melding and shifting in a blur.

She closes her eyes again, blinking several times in an attempt to clear her vision.

Her POV - The concrete floor of her cell and the thick steel bars intersecting it a few feet away.

She grimaces, starts to get up, then winces, crying out softly. CLOSE-UP - Her wounded arm, peeking out from beneath the top blanket. The blanket beneath her shifts, rubbing the coarse fabric against her wounds.

NINA
Ah!
She stops moving and shivers, her eyes closing again.

Suddenly, we hear a POUNDING AGAINST THE CELL BLOCK DOOR, followed by the squeak of the door opening and a CRASH as the door hits the wall.

Nina's eyes reopen and widen with alarm.

Her POV - A MAN enters the narrow room, his eyes scanning the metal cages.

His POV - The row of cages. The bars of cage against the far wall are bent, and the door is missing. His gaze finally settles on Nina in a closer cell. Nina sits up quickly, yanking the top blanket up around her body. Her eyes are guarded. Her lips hang open. Then, slowly, she blinks, and the edges of her lips curl up.

NINA
Angel...?
She struggles up to her knees and gasps.

NINA (cont.)
(stunned)
Angel, what are you....How did you know?
ANGLE on - ANGEL. He approaches her cell, the key pressed tight in his fingers. We hear the scrape of metal on metal as he unlocks the door and swings it open.

ANGEL
(business-like)
We'll talk about it later.
Nina's POV - the brown institutional shift on the floor outside her cell.

She reaches out and picks it up, along with the shoes beneath it. Then she rises, holding the blanket against her breasts, and sits down on the small metal-framed bunk welded to the side bars of the cage.

Angel hesitates awkwardly, then turns his back to her.

NINA
(smiling weakly)
Not really worried. It's nothing you haven't seen before.

ANGEL
Well, I figure you've probably suffered enough indignity
in here already.

NINA
(quietly)
You have no idea.
CLOSE-UP on the restrained anger on Angel's face. He gazes forward at the wall. We hear the soft thump of Nina's blanket hitting the floor.

ANGEL
That Captain guy, did he--

NINA (o.s.)
No! Angel, no. It wasn't him. He...he's the only decent
person in this place.
Angel doesn't seem quite convinced by this.

Shoulders-and-up ANGLE on Nina as she slides her prison shift over her body, wincing stoically as the crude fabric grates against the wounds on her skin.

She retrieves her shoes from the bunk and slips them on.

NINA (cont.)
You can turn around now.
Slowly, Angel does so. He meets her eyes and gives her a restrained smile.

TWO-SHOT - Nina steps outside the cell, THROWS HERSELF INTO HIS ARMS, and KISSES HIM. Angel accepts the kiss, but his eyes are oddly distant. Nina pulls away, wincing slightly, and he reaches for her hand.

ANGEL
C'mon, we gotta get out of here.

NINA
(worried)
What about the guards?

ANGEL
Let me take care of that.

NINA
And it's daylight! You can't--

ANGEL
(almost smiling)
You want to wait until tonight?
Still holding her hand, he turns and walks briskly toward the door. Nina stumbles trying to match his pace.

NINA
Well, my cycle's over for the month--
(she frowns)
The wolf one is, anyway.
(she chuckles)
But no, now is good.

INT. ADMINISTRATIVE CORRIDOR - JUST AFTER DAYBREAK

Gunn, Illyria, Michael, and Spike are standing in the corridor, their eyes on - GWEN, clutching a vigorously squirming G'NEA. The child's gaze is locked with -

The CAPTAIN'S. He is leaning against the doorway of his office, sweating profusely and looking exhausted, still holding the COLLAR-TRIGGERING PDA in his hand.

CAPTAIN
(calmly and reassuringly, but with a quiver of anxiety)
G'nea, I'm going to disable your collar now. I have to
punch in a security code and my password, and then you'll
hear a clicking noise and a kind of whir. It's just the
latch mechanism releasing, so don't panic, O.K.? It'll
just take a few more seconds.

CLOSE-UP on G'nea. Her fright is slowly turning into ANGER. Her brow furrows in concentration.

The Captain gazes down at the PDA.

His POV - the PDA screen with an array of push buttons below it. The Captain's right index finger taps out a sequence on the buttons.

QUICK CUT TO - CLOSE-UP on the Captain's face. He grimaces, then -

His POV - His left hand, gripping the device, starts to twitch and shake.

As we watch, the PDA begins to SMOKE. Then, with a sharp cracking noise, the DISPLAY SCREEN FRACTURES. Two seconds later, the entire PDA BURSTS INTO FLAMES.

The Captain abruptly drops it, cursing and shaking his burnt hand. The PDA clatters on the floor. He jerks his head up as a HISSING NOISE starts up near the center of the corridor.

WIDE SHOT as everyone else turns to face the source.

ANGLE on - G'NEA, who is huddled into Gwen, staring at Spike, her eyes glistening and her expression dark and accusatory. In her arms where her doll used to be is a SMALL PURPLE BIRD-LIKE ANIMAL, looking for all the world like a cross between an eagle and a dragon. It climbs quickly up her right arm onto her left shoulder and perches there, clinging to her with tiny, clawed hands. A SERPENT-LIKE HISSING NOISE spits once again from its beak-like mouth.

G'nea glances around at the others, then slowly fixes her stare back on Spike. The eyes of the tiny demon creature follow along in perfect synchronization, as if its mind is connected to and one with hers.

G'NEA
(cold anger)
You did this!
You brought me here so he could kill me!

Above her, we see the color drain from Gwen's face.

CUT TO - Spike, staring at G'nea, bewildered.

SPIKE
No, G'nea, he's not--
(struggling)
G'nea, what are you....What is that?

The animal hisses and spits and shrieks. G'nea stops struggling against Gwen and closes her eyes. As we watch, the girl slowly enters a TRANCE STATE.

CAPTAIN
(frozen in place)
Oh no, G'nea... don't, don't do this, please.

CLOSE-UP on Gwen's face, once again beet red and streaming sweat from the heat.

Then PAN DOWN to her arms, clutching G'nea. One hand is still gloved, but the other is BARE. The loose glove is sandwiched between Gwen's skin and G'nea's.

REVERSE ANGLE on - Spike.

SPIKE
(all-but-freaking)
What the bloody hell is that thing?
What's it doing to her?
What happened to the doll?

Gwen glares at him, shaking her head.

GWEN
That is the doll, you sad son of a bitch. The thing's some
kind of familiar, or--or a living talisman, or a soul-carrier.
(resigned)
Who the hell knows.
It can change shape at will, or at her will.
(beat)
Thinking it's her will, right now.

Gwen's eyes rove over to Gunn and then the others.

GWEN
If you people know what's good for you,
you'll get out of here, now.

ANGLE on the OTHERS. Illyria is regarding G'nea coolly. Michael's eyes are also locked on the girl, his lips moving rapidly in a silent incantation. And Gunn is gaping at Gwen, wide-eyed and horrified.

GUNN
(uncertainly)
Gwen...what are you doing?

GWEN
(urgently)
Giving all of you a chance to get out of here in case this
doesn't work.

GUNN
In case what doesn't work?

GWEN
I think you know. G'NEA SCREAMS.

A DEAFENING SEQUENCE OF LOUD POPPING NOISES echo down the hallway.

ANGLE on everyone's faces as they stare around at the noise.

CUT TO - The fluorescent lights on the corridor ceiling as they EXPLODE ONE BY ONE, throwing the hallway into brief darkness until FLAMES ROAR UP FROM THE SHATTERED SOCKETS. Another series of POPPING EXPLOSION SOUNDS blast out from the Captain's office. The light from that room dims as well, then glows red-orange with open flame.

Gwen's POV - Gunn solemnly nods at her, then motions to Illyria and Michael. All three take off running down the administrative corridor as fast as they can.

GUNN
(calling back)
Spike! Move it! Let's go!

ANGLE ON � Spike's and the Captain's faces as they duck away from the walls and the rapidly growing heat. A LOUD ROAR wells up behind them as flames start to LICK ACROSS THE CEILING.

CAPTAIN
The cell block....

He raises his arms to ward off the billowing heat and takes off down the hall.

CLOSE-UP ON - Gwen. She LIFTS THE NAKED HAND that was pressing down on her glove, which sticks for a moment to the sweat on her palm, then falls away.

G'nea, in her trance, doesn't seem to notice.

Gwen closes her eyes as well and moves the bare hand just slightly inward, and -

CUT TO - Gunn, Illyria, and Michael run out towards the MAIN EXIT OF THE BUILDING, dodging the flames licking out from the ceiling and walls.

Then BACK TO -

Spike scrambles over to G'nea and TUGS HER OUT OF GWEN'S ARMS. Gwen tumbles to the floor. G'nea snaps out of her trance. The living talisman hisses at Spike and glares. Spike starts to take a swing at the animal, then jerks back his arm as if it's been burned. He screams and backs away from G'nea. He looks down.

Spike's POV - His arm, reddened but otherwise intact.

Spike looks back over at the child he's been trying to save.

SPIKE
G'nea...I don't understand.

CUT TO - the TREMBLING ANGER on G'nea's face.

Slowly, G'nea backs away from him, the long stretch of corridor behind her. Her living talisman HISSES LOUDLY. Her expression is an agonized blend of fear, betrayal, and cold anger.

G'NEA
I thought you were my friend. But you brought me here
so they could kill me.

Spike shakes his head sadly.

SPIKE
No, G'nea. I wanted them to free you.
So we could get out of this hell-hole.

G'NEA
(coldly)
So I could go with you to live with humans? The same
humans that killed my parents? That have been trying
to kill me?
(long pause, then...)
I really did think that you were my friend, but--
(beat, she shakes her head)
You're one of them, Spike. You're a human.

HOLD on G'nea's look of disgust and betrayal. Then she pivots around and STARTS DOWN THE HALLWAY, the FLAMES CLOSING IN BEHIND HER.

REVERSE ANGLE - Spike raises his arm0020against the SUDDEN RUSH OF HEAT.

Behind him, Gwen staggers to her feet. She winces at the flames, then glances around the corridor.

Her POV - the Captain's office, IN FLAMES.

Then, REVERSE ANGLE - their only route of escape, FRAMED IN FLAMES.

CLOSE-UP on her troubled and desperate expression. Then -

Gwen's POV - Suddenly, Illyria-in-blue emerges from down the corridor, heading for Spike. She grabs him and starts dragging him down the hall. Spike lets her, his expression disoriented. He gapes up at Illyria and the flames surrounding them. Then, together, he and Illyria tear down the hallway.

CUT TO - Gwen, arms raised, quick on their heels.

REVERSE ANGLE - Behind them, the ceiling and the walls of the corridor break out in ONE CONTINUOUS ROARING SHEET OF FIRE.

INT. BUILDING 12 MAIN SOUND STAGE - EARLY MORNING

ANGLE ON - THE GARAGE DOOR EXIT.

Spike stumbles along, following Illyria, hands up in front of his face.

His POV - HUGE FIRES raging almost everywhere inside the building. BILLOWING SMOKE AND VISIBLE WAVES OF HEAT blur the air. Then, ahead of him - Gunn and Michael, nearly at the doorway. Michael stumbles but quickly rights himself.

From above Spike, we hear the HORRIBLE SOUND OF RENDING METAL. Spike looks up.

His POV - One of the metal rafter beams breaks loose from its mountings and PLUMMETS TOWARDS THE GROUND right behind him.

Spike throws himself forward with all the energy he can muster.

REVERSE ANGLE - The glowing hot beam crashes down only a few yards behind him, shooting out SPARKS AND PLUMES OF FIRE. One of them catches the leg of Spike's pants and SETS IT ALIGHT.

He rolls over instantly, snubbing the fabric against the concrete and extinguishing the flame. Then he clambers to his feet and tears madly for the exit.

EXT. THE LOT JUST OUTSIDE BUILDING 12 - MORNING

ANGLE - Looking back at the building, a WIDE SHOT centered on the garage door. We can see the faint glow of the early morning sun competing with the flames. Then, closer -

MEDIUM SHOT - FLAMES SHOOT OUT the doorway. MORE SMOKE BILLOWS.

Finally - the doorway FILLS THE FRAME. More FLAMES SHOOT OUT, followed by Spike, BURSTING THROUGH THE DOORWAY RUNNING FULL TILT.

CLOSE-UP on him as he gapes up at the blue sky above him.

SPIKE
Oh, bugger--
He grapples with his coat, dragging it up over his head, then continues full speed towards -

REVERSE ANGLE - The middle of the lot. Through the blur of smoke and expanding heat, we can see Gwen, Gunn, Illyria, and Michael standing, gaping, the burned-out remains of the Western movie set behind them. Nearby, several demons turn and run. There is no sign of Angel, Nina, or the Captain.

WIDE SHOT - Building 12 - Fire ENVELOPES AND CONSUMES the entire structure.

The gang's POV - Spike reaches them and whips past them into the shelter of the old Western saloon, then drops to the ground with exhaustion.

CLOSE-UP on his sad, horrified, and confused expression as he watches Building 12 go up in flames.

CUT TO - The rest of the group. Michael turns and says something to Gwen, inaudible in the roaring noise around them. Gwen shakes her head vigorously. Then she glances back at the fire, turns back to Michael, and slowly nods.

Gunn backs up and jogs over to Spike. Illyria follows.

GUNN
(shouting)
Spike, where's Angel?? Did you see him? Did he get Nina?

SPIKE
(lost)
Dunno...dunno, didn't see him.... Not--not here?
CLOSE-UP on - Michael. His eyes are closed tight. He is mumbling something rapidly and inaudibly.

ILLYRIA
No, there has been no sign of him since he left to
retrieve the wolf-woman. (beat) Perhaps they utilized a secondary exit.
Suddenly, Michael CRIES OUT.

CLOSE-UP on GWEN and MICHAEL. Gwen's bare hand is clutching Michael's clenched fist. A BRIGHT LIGHT RADIATES OUT from inside Michael's palm and ARCS OVER HIS ARM.

Michael falls to the ground screaming in pain. Beside him, Gwen grimaces and shakes, then drops to her knees, still clutching his hand.

REVERSE ANGLE - A SOLID WALL OF FIRE now encompasses Building 12 from the ground to the roof. We can just barely make out the garage door exit through the flames and smoke. Then, in the midst of it, an OPENING appears.

CLOSE-UP - ANGEL, NINA, and the CAPTAIN run madly through a BLACK TUNNEL in the midst of the flames. It closes up behind them and vanishes completely the very instant they clear the building. Nina collapses with exhaustion to the ground, Angel stumbling after her. Then he winces and ducks away from the bright light of the morning.

ANGEL
Uh!
CUT TO - Gwen releases her grip on Michael and falls down prone beside him, gasping and moaning.

WIDE SHOT - The Captain reaches down and pulls Nina up as Gunn and Illyria rush forward to help them. Angel struggles to pull his coat over his head, the skin of his hands SMOKING. As the five retreat back towards the others, we can hear the SQUEAL OF RENDING METAL JOIN THE ROAR OF FLAMES.

All but Angel turn to watch as -

REVERSE ANGLE - The entire structure COLLAPSES IN ON ITSELF.

Angel drags himself up off the ground and runs over to the shelter of the Western set, where Spike is gaping at the building.

CUT TO - Michael, on the ground, still shaking and twitching. Slowly, he pulls himself up to sitting.

WIDE SHOT - Building 12. Within twenty seconds, the flames abruptly die out and then disappear completely, leaving only BLACKENED, CREAKING WRECKAGE.

SMASH CUT TO BLACK.

EXT. THE MONASTERY - MORNING - ESTABLISHING

INT. MONASTERY BASEMENT BEDROOM - MORNING

A simple room with a bed, nightstand, and dresser. There is a cross on one wall and a statue of the Virgin Mary on the dresser. Daylight seeps through a small window near the ceiling.

Michael is sitting on the bed, watching and wincing slightly as Hobbes gently rubs ointment into the reddened and blistered skin of his left hand and lower arm. Angel is standing just out of the scant sunlight in the doorway.

ANGEL
So what do you think?
Michael glances up and around reflexively, as if he can see through the walls and ceiling.

MICHAEL
(nodding to Angel)
I can do something here.
It helps that it's on holy ground.

ANGEL
(chuckles)
Just don't do anything that's going to keep us out of our
own place.
Michael gives him a quizzical look.

MICHAEL
You shouldn't do that.

ANGEL
Do what?

MICHAEL
Dwell on the demon part of your nature. It's one element
of who you are, yes, but you're not some "unholy" thing.
He gestures in the direction of the workshop/sitting room, and then winces.

MICHAEL (cont.)
You're a hero, Angel. You have a life--and friends. (beat) You're a person.
Angel chuckles again.

ANGEL
Yeah, well, about the protection spell....
Michael glances at Hobbes, who raises a finger, then gestures at the bandage he has yet to wrap around Michael's burns. Michael nods.

MICHAEL
I think I should perform the spell in the sanctuary.

ANGEL
Well, as soon as you're done, I'll show you where it is.
Angel turns back out into the adjoining hallway. He walks to the workshop/sitting room.

INT. WORKSHOP/SITTING ROOM - DAY

Gunn is sitting on the couch, Spike in the armchair. Illyria is standing by the doorway to the kitchen. Gunn and Illyria stop their conversation and look over as Angel enters the room. Spike, however, remains staring into space, his face expressionless.

Illyria immediately crosses the room towards Angel, her expression stony.

ILLYRIA
Why have you allowed the sorcerer to enter here? There is
no necessity to treat his injuries in this place!

ANGEL
(without blinking)
He's doing us a favor, so back off.
But she doesn't. She stares at him coolly.

ILLYRIA
You trust no one, vampire. Why trust him?
Angel gives her that politely threatening little smile he has.

ANGEL
That's not true. I'm showing an awful lot of
trust in you.
ANGLE ON - Spike, as he takes in their confrontation with weary eyes.

ILLYRIA
You know that I am not an ally of your enemies.
You have no such assurance about him.

ANGEL
I'll keep my eye on him. But we need someone around with
some magical expertise. And right now, he's all
we've got.
Illyria's eyes dip away uncharacteristically, but her stoic frown doesn't waver.

CUT TO -

SPIKE
(bewildered)
What's she going on about?

ANGEL
(to Spike)
I've asked Michael to do a protection spell on the
monastery. We've had them before. A standard spell to
prevent demon and human violence inside the grounds.
Spike frowns.

SPIKE
(mumbling)
Great, turn the whole bleedin' church into a giant brain-chip.

ANGEL
Believe me, it's going to do more good than harm.
ANGLE ON - GUNN
(to Angel)
How's Barber doing?

ANGEL
(nods)
Pretty good, all things considered. That was some feat he
pulled off there, making that escape tunnel for us.
(beat, admiringly)
Old dog still knows a few tricks.

GUNN
He had a little help.
(off Angel's quizzical look)
Gwen. Gave him some sort of energy boost. It did the
trick, but I think it's what did him in, too.

ANGEL
Yeah...I was surprised to see her working for a place like
that. But I expect there's more in it for her than
meets the eye.

GUNN
(with a little smile)
Always more to her than meets the eye.
(pause)
Did Nina go home?

ANGEL
No, she's here. She's asleep in the other bedroom. We
stopped by her house for a while today, so she could
see what was left of it. After they locked her up in
that place, she lost track of her sister and niece.

GUNN
(shaking his head)
There have been some major human rights violations in that
facility. There's going to be some fallout, you just wait.
Just then, Michael enters the room, Hobbes walking beside him.

REVERSE ANGLE/CLOSE-UP - Angel, turning to look at them.

Then we PULL FOCUS so that Angel blurs in the foreground and Illyria, in the background of the frame, grows SHARP. She is glaring at Michael silently, her arms crossed. Michael looks back at her with dismay. Angel notices this with a frown.

ANGEL
Never mind her. She'll get used to you.
You're part of the team now.
Michael smiles, then wanders into the center of the room, his eyes roving over the wooden shelves and old furniture. Finally, they linger on the open door of the WEAPONS ARMOIRE.

ANGEL
The place is pretty small. We've got the church up top,
the living quarters here below.
Michael's POV - The gang's swords and axes dangle from hooks off a wooden shelf that sits at the top of the cabinet. On the shelf itself we see the spine of a thick book with a faded title and the dragon's stone sitting on a small metal tray.

CLOSE-UP on the DRAGON'S STONE.

REVERSE ANGLE/CLOSE-UP of MICHAEL'S FACE - A flicker of recognition crosses his features.

Michael turns back to Angel and Gunn. Angel walks past him towards the hallway and the stairs.

ANGEL
(indicating upstairs)
Let me show you the church.

INT. MONASTERY SANCTUARY - MORNING

POV - From the ground, looking up. Light filters through high stained-glass windows. We PULL BACK to a WIDE SHOT of the room - the two rows of pews, the altar table up front. Michael is standing beside it, his hand grasping the edge. Angel is leaning against the nearby doorway, bathed in shadows.

ANGEL
This place was desecrated by a demon.
We cleared it out before we moved in, but--
Michael's eyes rove the sanctuary and settle on -

His POV - The stained-glass window depicting Jesus and his disciples.

MICHAEL
For the spell I have in mind, that won't be a problem.
Creatures with souls lived here before the demon came, and
creatures with souls live here now. That should be all
that's necessary.

ANGEL
(frowning)
Well, except for Illyria. I don't think she has a soul.
Will that be a problem for your spell?

MICHAEL
It shouldn't. No more than Illyria is a problem for
your mission.
Angel grins weakly.

ANGEL
Well, Illyria...she is a wild card. I'm not sure of her
allegiances, but so far she's been cooperative...mostly.
If and when she's not--then I guess I'll have to deal with her.

MICHAEL
(mildly surprised)
You would kill her?
Angel nods.

ANGEL
I already tried to once. Since then, she's proven her worth to
me. But yeah, if she ever betrayed us, I would kill her.
Michael's eyes dip down to his leather satchel, which is sitting on the altar table. He rummages carefully through it and pulls out a small knife. The blade has RUNIC MARKINGS etched into the metal.

MICHAEL
(looking thoughtful)
She may not have a soul, but there's something about her
that intrigues me as much as it...
He pauses for several seconds, carefully considering his next words.

MICHAEL (cont.)
...frightens me.
A struggle that's taking place inside of her...
(beat)
...somewhere.
Michael looks back over at Angel, holding out the knife he just removed from the satchel. His expression is business-like again.

MICHAEL
(matter-of-factly)
For the spell I have in mind, I'm going to need some
of your blood.
Angel blinks at him, startled. Then his expression grows pensive. He crosses his arms and regards Michael.

ANGEL
Before we start in on that, there's something else I'd
like to talk to you about.
Another spell I'd like you to do.

MICHAEL
(brows raised)
What kind of spell?

ANGEL
A protection spell.
But not on a place. On a person.
His expression grows furtive.

ANGEL (cont.)
My son.

MICHAEL
(confused)
You? Well, surely--
He gapes at Angel in astonishment.

MICHAEL (cont.)
You're talking about a human child, aren't you?
Angel nods, then abruptly shakes his head.

ANGEL
Don't ask me to explain how it's possible. But yeah.

MICHAEL
Where is he?
Angel shakes his head again.

ANGEL
I'm not sure exactly. Far from here, I hope. Leading his
own life. My friends...don't even know about him.
He sets his eyes firmly on Michael.

ANGEL (cont.)
You said back in your office that people don't know what
it's like to lose a child. I do. I lost him once. I
thought he was dead. I thought I'd lost him forever.
(pause)
When I saw him again, he was nearly grown.
And by then, he was--he....
His expression grows briefly pensive. Then he focuses again.

ANGEL
The point is, my friends and I...we have enemies.
Powerful enemies who would stoop to anything
if it suited their purposes.
And I'm worried that once my enemies figure out I'm still
alive, they might go after Connor to get to me.
Michael raises a hand.

MICHAEL
Say no more.
(then he grins awkwardly)
Well, actually...do tell me what you have in mind, and
I'll tell you if I can manage it.

ANGEL
(smiling, almost a grin)
Thanks.

MICHAEL
It's no problem at all.
He gazes around the church.

MICHAEL (cont.)
It feels good to be doing good again, after all
these years.
I can't believe how long I just--
(he sighs)
But that's past.

BLACK OUT.

THE END

Comments?

Written by	Masquerade and OnM
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

Gwen Raiden	Alexa Davalos
Nina	Jenny Mollen

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