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 starring David Boreanaz J. August Richards Amy Acker and James Marsters |
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Existential Scoobies presents Angel: the Series Season 6 Episode 6 Chimera Part 1 (January 16, 2005) Written by Alliterator |
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PREVIOUSLY, ON "ANGEL" - - LORNE and ANGEL stand talking in "Not Fade Away." I'll do this last thing for you. For us. But then I'm out. And you won't find me in the alley afterwards. - The GANG in the alleyway north of the Hyperion. A DRAGON opens a PORTAL. Angel, Gunn, Spike, and Illyria are sucked inside. - The Gang and the Wa!Jani Shaman use the dragon's stone to return through the portal to L.A. - Scenes of UTTER DEVASTATION around Los Angeles. - The interior of a MONASTERY CHAPEL with high, stained-glass windows. - Angel, Spike, Illyria and Gunn in the MONASTERY DINING ROOM with a MONK. - A former movie studio, now a DEMON INTERNMENT CAMP. - Gunn walks with Illyria through the Internment Camp. (pained) 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." - GWEN RAIDEN standing outside the Captain's office in the Internment Camp, smiling at Gunn. I see you're still in with the out crowd. (she tilts her head) Too bad. - Illyria, Angel, and Gunn, doing surveillance on the demon internment camp. MICHAEL surprises them. A sorcerer. And with knowledge of the Old Ones. - Angel in the Monastery talking to Michael. 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. (looking thoughtful) She may not have a soul, but there's something about her that intrigues me as much as it...frightens me. A struggle that's taking place inside of her... (beat) ...somewhere. FADE / CUT TO: INT. MONASTERY BASEMENT PANTRY - NIGHT Complete darkness. A horizontal SLIVER OF LIGHT CUTS ACROSS THE SCREEN. The sliver grows larger and larger until we realize that we're looking up from inside a wooden box, which is being opened by - ANGLE UP on - GUNN. We just see his face, looking down at us. Damn, look at all the junk that's in here. I guess monks don't believe in spring cleaning. CUT TO - THREE-SHOT, outside the box, which we now see is actually a WOODEN CHEST. SPIKE and ILLYRIA are standing behind Gunn. Beyond them, we can see a door leading into the monastery kitchen. The pantry, which the three of them have crowded into, has obviously served for the monks like a big over-stuffed closet. There are boxes and crates piled high in the small space, stuffed with who knows what, including the wooden chest that Gunn is now rummaging around in. ANGLE ON the chest. Inside we see kitchenware - some empty jars, a few equally empty tupperware containers, some string-bundled silverware, and a cylindrical silver container. (glancing at Spike) If you see that rat again, will you kick it for me? Spike leans against the wall, watching Gunn. Sure, mate, although I don't know why you hate the buggers so much. ILLYRIA Why do you concern yourself with an insignificant rodent? GUNN 'Cause that "insignificant rodent" will sit on your face while you sleep. ILLYRIA Enough of this. I will resume my work on this other box. She steps over to a cardboard box and stares down at it disdainfully, but doesn't move to do any actual work. Don't worry, Charley, we'll catch 'im. He needs to eat sometime. Gunn scratches his head. He glances around at the other two. What are we doing in here? SPIKE (gazing around the tight space) Well, we were cleaning out this sty until our little friend came up and said hello. GUNN (frowning) No, I mean, what are we doing in here? (gesturing towards the ceiling) We got chaos outside, with demons and crazy military dudes and God knows what else! And we're on cleaning duty? SPIKE Charley, don't piss an' moan to me. You're the one that asked Hobbes if there was anything of value-- GUNN (rolling his eyes) Yeah, after Angel asked me.... Illyria looks at Gunn and tilts her head with curiosity. Spike stifles a grin. Don't understand what you seem to be saying, Charley. GUNN Never mind, I'm fine, let's just finish this up. He looks down, and his exasperated expression melts into one of cautious interest. I think I found something. Gunn reaches into the chest and brings up his hand. In it is a SILVER CYLINDER about a foot long and several inches thick, with words in a foreign alphabet carved all around it. What do you think? Very large cigar case? Spike bends over to get a closer look. (perplexed) Not a very monk-like item there. (pause) Think maybe it's Hobbes' secret stash of illegal Cubans? GUNN Whatever it is, I don't think we should open it. SPIKE (grinning, standing up again) You were complaining this was a waste of time-- a nice cigar might ease the pain. GUNN (examining it, face pensive) This looks a little fancy, and a little too big for a-- Gunn tilts the cylinder over to look at the bottom. The end of the jar falls off and hits the floor with a clatter. Quickly, he rights it again. CLOSE-UP - looking inside the jar. It is HOLLOW inside. ANGLE ON - Gunn, Spike, and Illyria, gazing at it, surprised. Hummh. Well, give that man no cigars. (beat, he peers at the cylinder) Looks like whole lotta nuthin', mainly. GUNN I wonder if.... Suddenly, a GREEN LIGHT erupts from the cylinder and HITS GUNN IN THE FACE. CLOSE-UP on Gunn - A green glow suffuses his face, and we see an X-RAY-LIKE OUTLINE OF HIS SKULL. The image fades as the green light travels into his nose and mouth. THREE-SHOT - Gunn, with Illyria and Spike on either side of him, gaping at him. Gunn's eyes roll up into his head. His body goes limp. Illyria catches him before he hits the ground. BLACK OUT. |
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starring David Boreanaz J. August Richards Amy Acker and James Marsters |
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INT. MONASTERY OFFICE - UPSTAIRS - NIGHT Angel is sitting at an old bureau desk, examining a street map of Los Angeles. Angel! Angel looks up. REVERSE ANGLE - Spike enters the room. We have a problem. Illyria enters behind him, holding Gunn's unconscious body in her arms. (startled) Gunn! ILLYRIA He experienced a breakdown in the basement. Illyria crosses the room over to a COUCH. She lays Gunn down across the cushions. Angel walks over to him. (concerned) Are his wounds opening up? SPIKE Nope, but he'd just found this silver-colored jar thing. Mystical etchings and whatnot on the sides. It opened up, there was this green light...now he's out like one. ILLYRIA Something may have infected him. SPIKE So, hospital? ANGEL No, no, if this thing is mystical, a hospital won't help. (beat) We need a sorcerer. ZOOM IN ON - Gunn's eyes and nose. His eyes are closed. Then, slowly, we PULL AWAY again until we can see his ENTIRE FACE. Without opening his eyes, he starts to mumble. Spike?...'Lyria? Sorry...'bout falling down like that, don't know what come over me.... Must have been something that freaky cylinder did.... Gunn opens his eyes and blinks, disoriented. PULL OUT again and PAN AROUND until we can see what he sees. We are no longer in the monastery office. We are in - INT. THE WHITE ROOM Wolfram and Hart's eerie interdimensional conduit. The walls, the floor, even the metal beams cutting from ceiling to floor and wall to wall are ALL WHITE. The camera SWIRLS AROUND THE ROOM, showing us Gunn's disorientation. The monotonous color of the room moves likes waves, shimmering and vibrating. The walls seem to flicker and morph, pulsating to Gunn's ELEVATED HEARTBEAT. Suddenly, the confusion stops. The room--or Gunn--is still. ANGLE on Gunn, standing in the middle of the room. Oh, no. He stares around in disbelief. No, no, no, this can't be happening. This definitely cannot be happening. I'm--I'm dreaming or something. (he pinches himself on the arm and winces) O.K., not dreaming. (beat) Oh, I know. It's finally happened, has it? This is the end, right? I'm dead, right? WOMAN'S VOICE You ain't dead. GUNN What? Is someone there? WOMAN'S VOICE Someone's always here, big brother. Gunn turns around, searching for the owner of the voice. ZOOM IN on his face as he finally sees her. His eyes are wide. No. No, not you. EXT. UNIQUE ANTIQUES - NIGHT - ESTABLISHING The small sign on the windowsill inside says "Closed." INT. UNIQUE ANTIQUES BACK ROOM/OFFICE - NIGHT Michael sits in the middle of the room at the edge of a white plastic sheet spread across the carpet. Painted on the sheet is a CIRCLE WITH A TRIANGLE IN THE CENTER OF IT. Holding down the sheet at each of the triangle points is a BURNING WHITE CANDLE. Michael is at one point of the triangle; his back is to us. We can see that there's something in his hands, but we can't see what yet. (incanting) I beseech the Amagander for protection during this era of darkness and evil. I beseech the Amagander for safety from all evil spirits and those who would harm. For myself, and for those I walk with. I offer thee sacrifice. FRONT ANGLE on MICHAEL. In one hand, he holds a small blade with RUNIC MARKINGS etched into the metal. In his other hand is a RAGGED-LOOKING TABBY KITTEN. He raises the knife and gazes down at the kitten with pensive eyes. PULL UP AND IN until the kitten is just below the range of the camera. We hear it mew softly. (uneasy) I'm...I'm sorry, little one. In a swift movement, Michael BRINGS DOWN THE KNIFE. CLOSE-UP on his agitated grimace. A beat later, he leans forward and lays the now dead kitten down in the middle of the triangle. His fingers brush over its fur. He sits back and raises his fingers, now covered in blood, and brings them up to his face. With trembling fingers, he draws a red line across each cheek. Blood for blood. I thank thee. HOLD on Michael for a long, solemn moment. Then, slowly, he leans forward again and blows out each of the candles. In the center of triangle, the cat lies unmoving. CUT TO - EXT. THE ALLEY BEHIND UNIQUE ANTIQUES - NIGHT Michael walks towards a dumpster, carrying a plastic bag containing something small and round. He lifts the dumpster cover and throws it inside. Then he turns and walks back through the back door of his shop. INT. BACK HALLWAY - UNIQUE ANTIQUES - NIGHT We follow Michael down the hallway. He passes his office door, which is closed, and enters a bathroom. INT. BATHROOM - UNIQUE ANTIQUES - NIGHT Michael turns on the light. ANGLE ON - His knife, sitting on the sink. He picks it up, then turns on the water. The only sound we hear is the water running as he washes off the knife, and then his hands. ANGLE ON - THE MIRROR. Michael stares at his own face, then raises his hands and washes the blood off his cheeks. Suddenly, we hear a LOUD KNOCKING. Michael turns and switches off the bathroom light. INT. THE FRONT RETAIL AREA - UNIQUE ANTIQUES - NIGHT Michael walks quickly past the shelves of antiques towards the front door of the store. Who is it? ANGEL (o.s.) It's me. Michael's POV - Angel, waiting outside. Michael unlocks the door and opens it. Come...come in. Angel enters. I need your help. INT. WHITE ROOM ANGLE ON - Gunn reacting to the person in the room, who we are still unable to see. He's confused and frightened, backing away slowly. No, no, this can't be happening. This can't be happening. WOMAN'S VOICE Well, it is. The camera PANS AROUND, and we finally see the owner of the voice--ALONNA, GUNN'S SISTER. She walks towards Gunn, who continues to step away from her. I...I killed you. ALONNA Gunn, no, is that what you think? All this time you've been punishing yourself for my death? You didn't kill me, big brother. ANGLE - Side view of Gunn and Alonna as he stops and she finally closes the gap between them. Then - CLOSE-UP on Gunn's anguished expression. I know I killed a vampire with your face. I know that it wasn't you, but it was my fault you were turned in the first place. But...it doesn't matter. Because you're not here. This isn't you. Return to the side TWO-SHOT. Then who am I? GUNN You're some trick from the Senior Partners or something else, but you're not Alonna. You're not my sister. ALONNA Of course I'm your sister. Ask me anything. (she smiles) Remember when I was six and you went and stole a Barbie for me? When mom asked you where you got it, you told her the truth. And she whipped you good. (beat) You were always like that. Always telling the truth no matter what. GUNN I've changed. ALONNA Well, I haven't. And I'm telling you the truth now. It's me. It's really me. She places a hand on Gunn's cheek. CLOSE-UP on Gunn's face. A tear flows down it. Then - TWO-SHOT - Then why are you here? This...this is a bad place. A very bad place. ALONNA No, Gunn. In here, anything is possible. GUNN (looking around the White Room) You know what this place is? It's a realm between the dimensions, a meeting place for powerful entities. ALONNA But that's exactly why it's a good place! Because it's nowhere, and in nowhere, anything can happen. You can be with me, Gunn. I'm not dead here. GUNN Yes, you are. You're not real, you're dead. ALONNA It doesn't matter here. In here, "real" doesn't matter. Anything is possible, Gunn. Anything. HOLD on her face as we CUT TO - INT. MONASTERY LIBRARY - NIGHT PAN ACROSS THE ROOM - Mahogany shelves line all four walls, filled with thick and aging books. Their titles are not legible. Along the center of the room are two tables. Michael sits at one of them, examining the carvings on the cylinder with a magnifying glass. Angel and Spike stand over his shoulder, trying to see what he sees. It's definitely ancient Greek. SPIKE "Ancient" like Socrates or "Ancient" like Zeus and thunderbolts and such? MICHAEL (not looking up) The carvings are worn. But from what I can read, it looks like it contained a Chimera. ANGEL You mean out of Greek mythology? SPIKE How'd they get it in there? Was it like one of those ships in a bottle? Michael finally gazes up at them. No, a Chimera is a parasitic demon. The mythological versions probably looked the way they did because real Chimeras like to stitch together bodies to inhabit. But it can only inhabit dead bodies. Any living person infected by a Chimera falls into a coma and eventually dies. (glancing down at the cylinder briefly) Chimeras are generally used as booby-traps in demon wars. I wonder what one was doing in the basement here? ANGEL Maybe it was left here by the demon we killed when we first got here. SPIKE Well, we offed that bugger right and proper. How do we bust this one's chops? MICHAEL Well, it has an actual body somewhere that it's linked to-- if you kill that body, you can kill the Chimera. CLOSE-UP on Spike. His gaze is distant for a beat. Then his jaw stiffens as a determined expression comes over his face. (standing, resolute) I'm on it, mate. Got an idea just where to look. Demon bar. Was there the other day, talking to a couple blokes who were telling me about the some of the stranger demons those military types were turning up. Michael glances up at him. You won't have much time....A Chimera usually kills its victim within two or three hours. SPIKE Then I best shove off. Spike grabs his coat and starts to leave. Angel glances up at him, surprised. Er...good luck. SPIKE (on his way out the door) That'd be a pleasant change. INT. THE MONASTERY SANCTUARY - NIGHT Spike charges down between the pews towards the front door, the bottom hem of his duster billowing ever so slightly. INT. MONASTERY OFFICE - NIGHT ANGLE ON Michael. His expression is grim. Your friend is brave. (beat) But it's not going to work. ANGEL Why not? MICHAEL He'll never find the Chimera in time. ANGEL Then we'll have to come up with something. I'm not losing Gunn.... Not like this. INT. WHITE ROOM Alonna raises her hand and holds it out to Gunn. Take my hand, big brother. I can show you rooms where things that you wouldn't think possible happen. Where death is defeated, where suffering ends, where hopes and dreams live. Gunn hesitantly takes her hand. CUT TO - A DOOR appears IN THE WHITE WALL beside them. It opens. Gunn and Alonna turn towards it. Then Alonna leads Gunn through. BLACK OUT. |
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INT. MONASTERY LIBRARY - NIGHT Angel is still standing beside a seated Michael. His hands are on his hips. There must be something we can do for Gunn. I'm not letting this happen again. MICHAEL Again? ANGEL Just tell me there's something we can do. Michael glances down at the cylinder briefly. The Ring of Ragshiel. ANGEL What's that? MICHAEL The Ring of Ragshiel--or rather, "a" Ring of Ragshiel, because there's more than one--will allow you to enter Gunn's dreams and wake him. It won't kill the Chimera; it'll only force it to enter a new host. But it will give Spike more time to find and kill the Chimera's body. ANGEL Good, I'm good with rings. Where do we get one? MICHAEL I can lead you to someone who knows someone who might have one. Though I have to warn you, they're quite expensive. ANGEL I don't care about money. At least we're getting somewhere. He turns to the door to the adjacent office. (raising his voice) Illyria! Illyria appears at the door. You are interrupting my care for Gunn. ANGEL (surprised) Your...care? ILLYRIA I am watching over him. He may go into convulsions, or--or--require my help. ANGEL (with only a flicker of bewilderment at the concern in her tone) Good. Watch over him. Michael and I are off to find something we hope's going to help him. If I'm not back in an hour don't...don't let Gunn out of your sight, O.K.? ILLYRIA (with her usual haughtiness) I do not require you to tell me something I already know. ANGEL (to Michael) Let's go. Angel starts forward towards the door where Illyria is standing. Michael follows. Illyria backs away to allow them through. INT. MONASTERY OFFICE - NIGHT Angel and Michael pass through the office towards the door leading to the monastery's front entranceway. As they do, we can see Gunn still lying stretched out on the couch, unconscious and mumbling softly. ANGLE ON ILLYRIA as she watches Angel and Michael leave. HOLD on her for a moment, then CUT TO - INT. THE "BLUE ROOM" CLOSE-UP ANGLE ON - A BLUE WALL. In front of it is a blue floor. Blue beams criss-cross the ceiling and floor. Exactly like the White Room, only blue. Off-camera, we can hear splashing noises coming from somewhere in the room. Just barely audible under that is a wind-up music box version of Song That Doesn't End. A door appears in the wall. Gunn and Alonna enter and walk towards the center of the room. We don't see what they are seeing yet. (gazing, puzzled) I don't understand. What...what's happening with them? Gunn's POV - In the center of the room is a SMALL SWIMMING POOL with several children in it. The children's flesh appears liquid, mixing and blending with the water. These are the souls of kids who were turned into vampires. This room is where they exist. Where they live. GUNN Why? ALONNA 'Cause there's nowhere else for them to go. Their bodies have been taken over by demons. Or they're dust. The children continue to play and the music rises, drowning out the sound of their splashing. CUT BACK TO Gunn, ZOOMING IN on his face as he takes in what he's seeing. EXT. A BAR - NIGHT A dive with blacked-out windows and a metal door covered in dents. A HORNED DEMON in a leather jacket exits, peering around ominously. Behind him, a neon Budweiser sign flickers in the window. INT. DEMON BAR - NIGHT A single dim-lit room with old, scratched tables and booths of peeling vinyl. We can see demons of various species sitting at the tables, in the booths, and at the bar. In one corner is a jukebox wailing country-western music. Beside it is a pool table, where two demons stand, playing. ANGLE on - SPIKE, standing by the bar. He's leaning in towards a LIZARD-LIKE DEMON, who is gazing up at him hostilely. Spike stands tall, frowning, frustrated. (mumbling) Forget I asked. Spike shakes his head and starts across the floor towards the door of the bar. An ugly, gnarly-looking demon passes by him, bumping into his shoulder. The demon glares at Spike. Spike glares back. Then his eyes widen. (startled, shocked) Damn! Spike's POV - A booth along the far wall. Sitting in the booth is LORNE. Across from him is a rather ragged-looking, spiny-faced BRACHEN DEMON. Spike moves around the gnarly demon, winds through the tables, and comes to a halt next to Lorne's table. Lorne glances up at him with dismay. (sighing) Great. Just what I need to cap off the day. Spike grabs his shoulder. Thought you were dead, mate. LORNE Well, same here. I take it you all survived that giant, unstoppable horde of vengeful demons? SPIKE (puzzled at his attitude) Yes. And we need your help. LORNE So I'm at your beck and call again, am I? SPIKE (sighs tiredly) It's just...something happened, and.... LORNE (chuckles) Sweetheart, when Angel-cake's involved, something's always "happening." You're just going to have to do whatever you're doing without the help of this ex-Host. Lorne turns back to his companion. (through gritted teeth) Charley Gunn's in trouble. CLOSE-UP on Lorne. He glances back up towards Spike but doesn't turn. Something's got into him. Chimera, we think. Lorne's expression saddens. His eyes dip. If a Chimera's got him, he's dead. CUT TO Spike, who shakes his head. Not if I can find the main body and do it in. 'Least according to this new bloke we got workin' with us. Finally, Lorne looks up at Spike. We see that he's mad. Do you know how many places in this city a Chimera's body could be? There are a million and one places to hide where nobody wants to look. SPIKE Well, I'm going to look. Still got hope, ya know. (beat, eyes Lorne almost accusingly) What happened to yours? LORNE (to his companion) We'll talk later. The Brachen nods. Lorne slowly stands, gazing at Spike expressionlessly. Ask Angel. Lorne turns and leaves the bar. HOLD on Spike's puzzled face as he watches him go. INT. THE "RED ROOM" Like the White Room, only red. There are also torches on the walls, which seem to stretch on forever. A door appears in the wall. Gunn and Alonna enter the room. (seeing all the torches) Let me guess. This is the room where all the souls of children who died in fires live? ALONNA Not quite. Look. She points. REVERSE ANGLE - A man stands in the center of the room, his back to Gunn and Alonna. He is shirtless. Tattooed on his back is A VULTURE. TWO-SHOT - Gunn and Alonna walk towards the man. Who is he? ALONNA Well, you could call him "the personification of human suffering and guilt"...but I just call him "Prometheus." GUNN What's he doing? ALONNA He used to get his liver eaten every day by a vulture, but now he just stands there thinking. They circle around Prometheus. We see that he's standing inside a CIRCLE WITH A DEEP RED CRESCENT IN THE MIDDLE. I...I know that circle. ALONNA You do? GUNN Yes. That's the Circle of the Infinite Agonies. I remember it from...from a book. But he doesn't look like he's in pain. ALONNA (shrugging, hands in her pockets) Maybe it's not physical agony, maybe there's emotional agony that he won't show. Suddenly, Prometheus REACHES OUT OF THE CIRCLE, GRABS GUNN'S ARM and grips it tight. You belong here, with me. Gunn tries to tug his arm away, but Prometheus grips it tighter. No, I was...punished like you for a while, but I chose it, I wasn't...forced to do anything. PROMETHEUS Do you think I am forced to stay in this circle? Do you think I cannot just walk out of it? I choose to stay in here as well. GUNN Why? Alonna pulls Gunn away from Prometheus's grasp. You'll find out in a minute. Follow me. EXT. ALLEY - NIGHT Spike is walking down an alley. Ahead of him, we can hear another set of FOOTSTEPS. Well, look who's following me. Spike's POV - Lorne steps out of the shadows of the alleyway, then gestures vaguely around himself. I don't suppose Angel ever told you about this place. My club. PAN AROUND the dark alley, which looks like any other alleyway in the city. Mentioned it a few times last year. Told me about what you used to do. I know this spot's important to you, what with it being where you first came through to this dimension. (beat) Funny...how you never told me any of that. Did you restart the club? LORNE That "ex-Host" comment didn't take, did it? No. Caritas is all dust and cobwebs now. Nobody wants peace, nobody wants sanctuary. SPIKE We do. LORNE Yeah, but you always go against the grain. (beat. He sighs) All right. I'll help you. Spike casts Lorne a long questioning look. (irritably) You want my help or not? SPIKE Said I did. LORNE Fine. Come on. (he gestures Spike forward) There might be one place I know of. It's a zoo. Spike follows Lorne down the alley. INT. THE "GREEN ROOM" WIDE SHOT - Gunn and Alonna are now standing in a room of green walls and a green floor. There are chairs scattered around the room, each with a person sitting in it. What's this room for? Alonna's expression is furtive (and perhaps a little bit sarcastic). Oh, no. I didn't mean to show you this one. Gunn gazes at her suspiciously. Why? ALONNA Because this is the room where the souls of those who made Faustian deals are kept. GUNN You mean...? ALONNA All these people made deals with the Devil. As they look, wisps of red and orange light begin to flow from the floor and into the bodies of the people in the chairs. The people writhe and struggle, but they remain seated. Why don't they get up? Why don't they leave? ALONNA Don't you understand yet? They don't leave because they don't want to. They want to be punished. Nobody is here that doesn't want to be. ANGLE ON Gunn. His expression grows pensive. This...this is where I belong, isn't it? ALONNA No, big brother. But there is a place here where you can rest and release all that guilt and pain you're holding onto. GUNN Really? She walks over to the wall. A DOOR MATERIALIZES. Alonna places her hand on the doorknob. It's just through this door, big brother. GUNN Open it. She opens it. Gunn's POV, through the door - A GAPING MAW of DARKNESS. A mass of black smoke, with traces of green and white, swirling inward towards a deeply dark center that seems to be swallowing all the matter before it. Gunn doesn't have time to be frightened as arms of smoke curl around him and start to suck him in. He grabs the sides of the doorframe and holds on desperately. (smiling) Welcome to the Black Room, big brother. BLACK OUT. |
